Cafe urgency

The idea of Cafe urgency was to create a loose and social atmosphere in which performers, audience and everyone present explored the ideas of the evening together. What Urgency do we have in our lives? Which pressing ideas, compelling needs, burning desires fill a day? Which insistent thoughts, driving wishes, forceful longings span a lifetime? Our delectable menu of musings, meditations and magnificent imaginations will provide bite-sized morsels and overlapping slabs of creative sustenance to suit all tastes: song, sound, spoken word, dance, music, live art, installation.

Whose purpose I don't know

It was bound to be a horrible night.

You see, I had begun working hard at conceptualising our separateness. Inventing my way back from the geomancy-of-two towards the alchemy-of-one. In this way, I could tolerate your bed. The frontiers were not at the level of skin, anyway, they were at the level of horizon, thought and interdiction.

That grave pleasure

This paper argues that gravity is often opposed to lightness in a conceptual manoeuvre reminiscent of the binaries of a metaphysics of presence (the latter as interrogated by Derrida; see generally 1997). In this paradigm, lightness operates akin to the ‘origin’ or presence, and is deemed to have been contaminated by the arrival of weight, the latter framed as threat to this (presence)/lightness. The paper challenges this conceptualisation, one that arguably dominates quotidian attitudes to the body and its movement capacities. It proposes instead that gravity can be read ‘deconstructively’—in other words, that lightness and weight emerge from and produce one another, and that weight always already operates, and therefore includes lightness. In order to inhabit this desiring-body (a body affected by gravity), particular framings of the body’s internal structures can permit a harnessing of gravity’s vectors of attraction, enabling what the author terms ‘a rigorous laziness’. The latter would involve both an initial attitude and a practice that eschews vocabularies of ‘force’ and ‘effort’, in favour of a ‘close reading’ of structural veracities, engaging strategically with, rather than against, them, in an approach akin to deconstruction’s reading along with a text. Drawing ekphrastically on the structural suggestiveness of Deleuze and Guattari’s rhizomatic and arborescent lenses, the paper finally contends that both these models are at work in human bodies, and that they operate in mutually generative ways. Taken up, this thinking may extend what the human body can do, and, most importantly, its pleasure in such doings.

Incredibly close encounters : magical realism and the intimate elegies of Jonathan Safran Foer’s everything is illuminated and extremely loud and incredibly close

This paper will investigate the relationship between prose elegy and magical realism in Jonathan Safran Foer’s novels, Everything is Illuminated and Extremely Loud and Incredibly Close. It will propose that absence is generative, and that the state of melancholia—or unsuccessful, unresolved grief—is conducive to creativity.

Flash-floods : genre subversion and the abject erotic in Dorothy Porter’s The monkey’s mask and El Dorado

When discussing her verse novels, Dorothy Porter explicitly stated that she loved to ‘write bad’. This paper will argue that it was Porter’s engagement with the verse novel form and genre subversion, most notably seen with her detective and crime thriller verse novels The monkey’s mask and El Dorado, that allows for a destabilisation of traditionally established genre conventions, which in turn provide a narrative foundation for Porter’s use of abject erotic imagery.

In both The monkey’s mask and El Dorado there are several types of ‘bodies’ to be examined: the body of the verse narrative, the bodies of the characters subjected to crime, the body of poetry that is referred to as evidence, and the abject eroticised body. Extending upon the studies of Rose Lucas (1997) and Fleur Diamond (1999), this paper contends that it is Porter’s engagement with the abject erotic, as informed by Julia Kristeva’s (1982) theory of the abject and Johanna Blakley’s (1995) discussion of the abject in relation to eroticism, that allows Porter to subvert the phallocentric limitations upheld through the crime fiction genre and offer an alternative representation for lesbian sexuality and desire.

Nothing is free in this life

This chapter raises the notion of whether creativity can be 'bought' and draws on Derrida's category of the 'invention' (as opposed to creativity, which Derrida defines differently) in order to examine closely the criteria of inventiveness. The latter overlap in certain ways with a Badiouian understanding of the event. The chapter goes on to argue, using Badiou's notion of the event and the void, that creativity is abundant and 'free', but that creative industries may be ethically justified in selling other knowledges relating to creative practice, but that they should be clear about what can be 'bought' and that which is - if examined rigorously - always already 'free'.

Prose fiction’s infinite playlist : encountering music in fiction narrative

This paper will argue that reference to music in young-adult prose fiction stimulates movement across narrative and artistic boundaries in ways that facilitate a unique reading encounter. The inclusion of musical reference opens up a space for a multisensory experience that is beyond that of the reading experience devoid of musical association, even when the audio is not immediately available at the time of reading. This experience is bound to the role of the reader, however, be it through the remembered or imagined experience of the music that is signaled in-text, or even the reader’s pursuit of the audio in response to the reading. As ‘a threshold literature’ (Eaton 2010, np) that targets a young audience for whom ‘popular music is globally acknowledged as affectively and culturally central’ (Bloustien & Peters 2011, 4), young-adult fiction is an apt space for explorations into the potential that exists when a text includes musical reference. In particular, Gerard Genette’s paratexts (1997), J Hillis Miller’s ‘membranes’ (2005) and T Austin Graham’s ‘literary soundtrack’ (2009) will be used to examine how Rachel Cohn and David Levithan’s young-adult fiction novel Nick and Norah’s infinite playlist (2006) functions as an ‘infinite playlist’ in itself via a series of paratextual and epitextual elements. Discussion of the latticework of music-narrative interaction that exists as a part of this text will facilitate an understanding of how musical reference can encourage movement within and beyond the narrative towards a potentially unique reading experience.

That tender discipline: spacing, structured nothingness & kumbhaka

In the discussion that follows here, I will attempt what I have decided to call an onto-poetic reading of the yogic practice of kumbhaka. I choose the double-barrelled nomination 'onto-poetic' since I would like to use my experience of kumbhaka both to think of certain current ontological paradigms and implications, and also to allow myself the flexibility and discipline that I associate with the poetic register. I will draw on three particular thinkers, namely Alain Badiou, Jacques Derrida and Luce Irigaray. Badiou makes very explicit metaontological claims that, I believe, have something to contribute to a reading of kumbhaka. Derrida, for his part, has written extensively about phonologocentrism and its inherent links with speech and breath in the history of phallocentric metaphysics. Irigaray, finally, demonstrates a way to think unity, breath and praxis so as to bring these conceptual strands together in a kind of elegant, but urgent, agency.
What can the very practice of kumbhaka help me to think? And how can such thinking impact on what happens when I practice pranayama that involves kumbhaka? Kumbhaka can be situated as a practice within the broader discipline of Yogic pranayama. Yoga, as it often encountered in this historical moment in the so-called West, can appear to emphasize physical posture (which are certainly as aspect of its breadth). Yoga, however, as a technology of existential and ontological inquiry, has often, throughout its long and meandering history, made use of the manipulation of, and abstinence from, breath. I will begin by cursorily outlining the place of pranayama itself within the yogic canon of practice. Then, I will go on to explain specifically the technology of kumbhaka, before embarking on my onto-poetic discussion.