Entr’acte (Antwerp) are publishing an illustrated libretto and audio CD release of my “posthuman play” The Happy Jug, with musician Kepla.
“I brought the happy jug home the day I found out about a grant, which would eventually lead me to write this play. The grant is a Paul Auster style narrative device, in that it makes me unanswerable to material demands, and projects my life into a boundedlessness vertigo … the happy jug a concrete marker of my vulnerable but precise re-emergence into the world of matteringlessness: theory.”
At this time, my wife Nina has migraines. She goes for an MRI scan but we hear nothing, her exhaustion apparently just an example of the general pressure of living under austerity. This austerity is due to be relieved when a left-leaning coalition gain control of government.
A year later, I smash the jug. The MRI scan is transformed. Nina now has a brain tumour which has been growing for more than fifteen years. The result of the general election is also rewritten.
The play follows the narrative of Nina’s consultations and brain surgery in the emotional aftermath of the 2015 general election, by speculating on the role of the jug.
The chapters are presented alongside slices from an MRI scan on opposite pages. The ‘cuts’ of the novel’s various voices, from medical diagnosis to speculative philosophy to love letter, replicated and echoed in the ‘cuts’ between MRI scans as the reader is encouraged to reconstruct the story for themselves.
by Nathan Jones
additional imagery by Chris Boyd
Design by Nathan Jones and Entr’acte
Script by Nathan Jones
Sound by Kepla
Including voice by Nina Jones, Imogen Stidworthy, Nathan Jones
A Liverpool Biennial commission. Published in LUNE literary journal.
Unicode Class Vernacular is a project exploring the character database Unicode, and its potential as a writing tool via post digital methods. The vastly extended character array of unicode transforms the potential relation between written and spoken language.
Edited book of work by Fine Art BA students attending my Media Art Writing seminar series at Liverpool John Moores School of Art and Design, 2017
Designed by Mark Simmonds
A cover feature article/poem for Poetry Wales, edited by Nia Davies.
l a n g u a g e is compressing,
cracking under the weight of the anthropocene
& post truth politics is the white male body
cracking under the pressure of its own l i e s, (Rosi Braidotti, speaking at Liverpool University,11th October 2016.)
What are these linguistic cracks, and what leaks out from them? poems
With imagery generated using the OCR software Texture by Nicolas Malevé
Experiments reworking quotations and poetry from my performances and theory reading using columns and ‘track-changes’ in my word processor. Submitted as part of my MPhil thesis in 2012.
The pages hopefully reflect and enact a kind of rich reading experience with many layers
and operate in a way which questions the nature of a ‘pure’ reading experience. Again here I am looking at the notion of ‘noise’ and its implications on a new poetic.
It’s also excellent to work with such a simple administrative tool as the NeoOffice track changes in order to create something that has a rich aesthetic.
Cascade consists a quote from Michel Serres’ “The Parasite”,
with a nod to Daniel Rourke’s excellent blog-stream where I found the quote.
Henningham Family Press have done a smashing job of producing a publication of this collaboration between myself and Sam Meech. The book is handmade, and features a leather cover with a silver foil on the front and inside cover.
It is my first official publication, and I am really proud of it.
It retails at £16.50. You can get a copy off me for slightly cheaper. Please do.
Here are some excerpts…
Scott Spencer has done some beautiful settings for my poems over the last couple of years.
These prints use bi-lingual text, referencing the composition method of the poems –
in which I translated poems by Dan Beechy Smith into Spanish and Italian respectively, using Google translate,
then wrote my own translation from these foreign languages, of which I have little or no knowledge.
The presentation of the poems was designed to produce an enigmatic question
over the heritage of the text.
Scott’s settings are large scale prints. They are available as limited editions from the Mercy shop.
We also collaborated on these huge mind-warping prints for installation outside one of Mercy’s church events.
The original text is a latin palindrome (and title of a Guy Debord film)
The second panel is a bastardisation of that piece.
The prints look like this up close:
Our earlier collaborations for page were simpler, like this setting for a ‘google poem’ for Mercy’s Flatline Zine
An original poem, written in response to an exhibition of the same name at the Bluecoat.
The poem was made into an art book by artist Emily Speed. It is very beautiful.
Here is an audio file of the poem, which I made for people to listen to as the explored the exhibition
Slow Magic Nathan Jones