Kate Jessop • Dog

A young man comes to terms with his sexuality and confronts his bully in his home neighbourhood of Merton (London).
Specially commissioned for the Southbank Festival of Neighbourhood 2013, adapted from the poem by Richard Scott.


‘Make some room for yourself, human animal.’
Julia Hartwig

Sick with longing to be led by men
I stripped in the scrub
rubbed mud through my hair and sharpened my teeth on a rabbit’s bone.

I itched against brambles, ripping birthmarks, veins,
tore the human from myself
as night flickered open and shut like a nursery door

till I was rancid, meat-tongued, ready to love my master
but he laughed, spat half-breed,
then bruised my haunches berry-black with his already blood stained willow.

He fashioned me a muzzle from nettle and briar, kept me
silent, restrained
under the noted Roman oaks of Wimbledon Common . . .

but I bit free, grew wild in the coppice watching his red theatre;
runt after runt
beaten beneath the bone-white blades, the russet canopy.

I wore my blood like warpaint, gorged fat
on wolfsbane,
barked to the bald moon my dithyramb of hate

but he shut his yellowed eye behind weather
as I shimmied up drain pipes
through polite appointed bedrooms to savage my master . . .

I ate his heart, coiled like an adder,
right out of his chest;
left soil-black paw prints on the carpets of Merton.

Richard Scott

Eduardo Yagüe • DAISY CHAIN


from thebookofhours.org



‘Dark Water’ from the album ‘Fathomless / Ambient’
© GIFT Producciones 2017

Margaritas en el césped. Pétalos blancos ribeteados de rosa.
Brillando al sol. Botones de oro y dientes de león en el campo.
Y margaritas. Tallos duros y un anillo de hojas.
En el césped bajo el manzano.
Adolescentes dando volteretas.
Ojos brillantes y el pelo desordenado. Bikini y pantalones cortos.
Piernas de cachorro y piel rosa. Luego se dejan caer
a la sombra del manzano en flor.
Fabrican joyas. Una pulsera. Un collar.
Una frágil cadena de margaritas de más de un metro.
¿Quién hizo la primera? ¿Una madre y un niño de la Edad de Piedra?
No tenían tiempo, rascando la piel del cerdo con el pedernal.
O en el bosque buscando bayas.
Huellas en el barro.
Las margaritas no son flores del bosque.
Las margaritas crecen en los campos.
Segados por las ovejas, cortados con cuchillas.
Las dos hijas del granjero. Aún no se han casado.
Paran de hacer el queso y de amasar.
Se dejan caer sobre la hierba bajo los manzanos.
Escogen una margarita. Dividen el tallo. Lo enhebran.
Después otra. Un secreto susurrado.
Se secó en seguida. Se estropeó demasiado pronto.
(Traducción E. Yagüe)

Nam June Paik. Beatles Electronique (1966-69, 3 min)

Nam June Paik. Beatles Electronique (1966-69, 3 min, b&w and color, sound)
reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik’s early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik.

Dumfoundead – SAFE

Published on May 26, 2016

Dumbfoundead “Safe” OUT NOW!
Spotify: https://goo.gl/C053DK | iTunes: https://goo.gl/lxJoW2 | Amazon: https://goo.gl/lxh5LW

After the last Academy Awards and the regular whitewashing of hollywood roles, i wrote this song and made this video to add my piece to the conversation. If you have any experiences or stories about this issue join the discussion at https://www.facebook.com/dumbfoundead/

Twitter: https://twitter.com/dumbfoundead
SoundCloud: https://soundcloud.com/dumbfoundead
Instagram: https://www.instagram.com/dumbfoundead

Wife played by Joy
Follow on instagram @s.jjiin



(you took me as safe,
that was your first mistake, who said i was safe)

(verse 1)

the other night i watched the Oscars and the roster of the only yellow men were all statues,
we a quarter of the population there’s a room of fuckin’ 1 percenters laughing at you,
fuck a bambu ceiling, guess i gotta play the villain,
ODB up at the Grammys on the mic like “Wu-Tang is for the children!”

Bruce Jenner is woman, OJ was acquitted, Kim K is a hero,
the sky is the limit any minute now they gonna let an Asian brotha’ get a lead role,
shots fired ima reload, never saw this side of Chino,
he was always quiet keeping to himself, never messed with anybody else thats the Jonathan that we know


Seems so safe, till one day things go cray,
i swear if things don’t change, my actions can’t be blamed, (STAND UP!)

and now you gotta duck! you know you never gave a fuck!
i came to get my cut! (fuck you, pay me) you know i never gave a fuck!

(verse 2)

i aint never heard of none f y’all fools, i can do whatever every one of y’all do,
if i never get a chance you might see the homie show up on the 5 o’ clock news,
you aint never seen a yellow boy wild’n yellow boy shinin’ , sound the alarm i got news,
go ahead and pro-file em’ i aint pro-violence, shhhhh, silence is how yellow boys move,

its been the same ol’ thang, i swear the game don’t change,
what you talkin bout there aint no space, guess i gotta go and make more space,
you know I’m cool as a motherfucker chillin’ in the cut hella quiet with the loud pack,
since I’m a cool motherfucker you think everything is safe till i ask you where the safe at!


Seems so safe, till one day things go cray,
i swear if things don’t change, my actions can’t be blamed, (STAND UP!)

and now you gotta duck! you know you never gave a fuck!
i came to get my cut! (fuck you, pay me) you know i never gave a fuck!


(you took me as safe,
that was your first mistake, who said i was safe)

Music Production:
Harley Mac

King Kanobby


Additional Vocals: Liphemra


Produced By: Daniel Park
Produced by: Denny Kim & Kirby Lee
Executive Producer: Jonathan Park
Make Up & Hair By: Dill Lopez & Jasmine Chang
Edited By: Alex Oh & Mr. Sparky
Grip By: Alex Kim
Art Squad: Andrew Yi, Andrew Choi, Jiwon, Rebecca Yoon
Cinematography By: Hollywood
Visual Effects: Alex Oh
Directed By: Jay Ahn

Filmed at Thunder Studios in Long Beach, California

Dan Lander

Dan Lander – Talking to a Loudspeaker

Dan Lander studied art at the Nova Scotia College of Art and Design in Halifax (Nova Scotia) with a focus on performance, video and sound. After leaving school he set up a modest recording studio in his apartment and developed a method of composition which sprang from his interest in phonography and the referential in recorded sound. This interest also led to his involvement as an editor of two anthologies: Sound by Artists (1990) and Radio Rethink: Art, Sound and Transmission (194). He was the producer of the radio art program The Problem with Language (CKLN, Toronto) from 1987 to 1991. His works for radio and loudspeaker are dependent on sound recordings gathered from real life situations, organized with an ear to the ways in which meaning circulates through the invisible conduit of sounding and hearing. His works have been widely aired in North America and Europe.

Dan Lander – Composition

Dan Lander – Decomposition