Air and Its Lessness
To write on air—that which surrounds us, from which we draw breath, now thick with our emissions, our signals, our machines—might seem to call for a writing that can convey our immixture, and be at once convoluted and diffuse. That, at least, is the suggestion of its more recent surveyors, whether in Steven Connor's cultural history of air, or Peter Sloterdijk's philosophy of our airborne condition.
But to write on a diminished air—air that's no longer breathable, whether because it's too thin or too vacuous, too clogged or cloying—may then suggest other modes. Beginning with Robert Boyle's first experiments manufacturing a vacuum in the seventeenth century—drawing from his apologies, scruples, suspicions and digressions—this project engages with and trials the different forms of writing air's lessness has and might solicit.
School of Arts & Humanities
MA Critical Writing in Art & Design, 2018
Two years at the RCA led me to fret over: what I'm missing (blind spots, scotomata, Cameron Rowland's procured objects); cruel cinema, crueller writing (through Don Levy's Herostratus); views from a helicopter, ways critics comb and scour; the wallpaper in King's Cross Yumchaa's toilets; vacuity (or, more generally, any air not fit for breath), parentheses, splinters, scruples, apologies; words wrenched, syntax mangled, fumblings with form; (and while I've been fretting) all that I've missed.
- BA English Literature, University of Oxford, 2013
- Editor, Propland: Reprogramming Television Centre, Royal College of Art, 2018; Curator, The Dodo and The Seed, Siobhan Davies Studios, London, 2017