Leaps in conversation, 

leaps onto balloon dogs. 
Something to talk about.
This, the SPOKEN 
Handbook, is a collage 
inspired by the early days of 
Facebook, when your 
page was filled only 
with surprises from 
friends and people you 
barely knew.  
Social collage/virtual reality; 
ten people walking around 
and speaking about 
different things, all at once. 
Time and society:our 
display screens are both 
window and canvas. You 
can speak to anyone now.  
Look at anything. 
Digital, digital, digital. 
Social media digital. 
Gaming digital. Ebooks and 
mobile.This is 2014 art, not 
made of marble or oils or 
uni degrees or acidfree 
paper. SPOKEN is not 
institutionalized. Like a very 
good conversation between 
strangers, it is unplanned. 
Images are starting points. 
This handbook/e­catalogue will evolve and grow;a harvest of documentational art will be ready in February. 
We’ll celebrate something finished then. 
Thank you for your interest in SPOKEN 
Stephen Black 
PS We greatly appreciate those who have made SPOKEN what it is. For information about them, as well as 
the project overview, please visit www.blacksteps.tv Questions.comments and suggestions always 
welcome. I would like to personally thank Katz Inc.and Jewellery Design and Management International 
School (JDMIS) for their brilliant support! Finally, THANKS EUGENE!  
Helium meets Lily Su
I was floating in Black Operations, run by the youngest woman CEO on Wall Street. Mostly
twenty-somethings, all dressed like professionals, walked through me. The men left nice trails
of aftershave, the women were perfumed. Computers, chalkboards, hippety hop music and,
on the water cooler, a human embryo in a bar of soap.
The windowsills were probably over a hundred years old; dark aged wood and thick glass, the
kind that are never easy to move up and down.
I left by using the elevator, walked a bit and then greatly enjoyed that time and place: the
river, the Brooklyn Bridge, New York City.
Like locking Kerouac,  Zuckerberg and xxx in a chat room. Like pinning a Chinese ink 
drawing onto a MOMA wall. Like being speechless. That’s what SPOKEN is. Curating a 
show featuring artists who spoke to Helium (Helium?) means that SPOKEN will always 
hover. By definition, phonocentricism involves something like floating. 
Light­hearted, yet serious, open­ended yet defined, SPOKEN is a phenomenon; 
something unusual worth speaking about. 
Alps Bethneck. 
Produced by Eugene Soh and Stephen Black
Curated by Helium
Featuring works from an eclectic collection of dynamic artists and
writers, SPOKEN is a light-hearted forum for communication, digital and

In 2014, what is an online gallery?

Artists: Arleen Schloss, Mel Araneta, David Black, Christophe Charles,
Stephen Black, Paul Dodd, Andrés García-Peña, Morvarid K, Godwin
Koay, Hans Lagner, Vincent Leow, Yasumasa Morimura, Irving Paul
Pereira, Kembra Pfahler, David Severn, Eugene Soh, Stelarc, Lily Su,
Liqing Xue
Writers: Yesim Agaoglu, Argus the Curator, Norm Black, Carla Bonollo,
Jamie Grefe, Setsuko Hiratsuka, Ho Rui An, Lagos 2060 (Kofo Akib,
Chiagozie F. Nwonwu, Ayodele Arigbabu), Richard E. Lewis, Chihiro
Masui, Kinuyo Miagawa, Julie O’Yang, Stuart Rankin, Kimberly Shen,
Sjón, Paul Stamets, Yoshiaki Takafuji, Nhung Walsh, Roy Voragen, Lee
Williams, Xu Xi
Poster Design: Roy Chan
Documentation: Rachel Minn Lee
Video Curation: JUMPTHECUT
Introduction by Alps Bethneck 
Bios of ES, SB and Helium 
History of gallery.sg 
­The Web Art Show 
SPOKEN is an impossible Rosetta stone of three languages: the correspondences, spoken and
otherwise, that occurred between the curator and the artists, the English written on SPOKEN’s
documentation, and the unique language of thoughts, images, actions and associations that
occurs only in your head, dear visitor.
Nhung Walsh
is it alright if ı don’t write poems to you 
ı’ve  gone back to playing prophet again 
the game of lovership  
ı’m not a coward 
ı can sink to the very bottom 
and just as well pull the bow to the limit too 
is it alright if ı dont write poems to you 
ı have used up all existing words long since 
hey­ could this be o new love may be, 
a new shape ı never knew before? 
ı was a private poet once 
the private poet of the diminutive giant 
ı saw his eyes in yours there for a moment 
when we were playing at being ants 
is it alright if ı dont write poems to you 
Yesim Agaoglu 
Yasumasa Morimura’s art work provided with the courtesy of Ikkan Art Gallery, Singapore. 
All JPEG artworks supplied by the artists or their representatives. 
The works by Eugene Soh are not meant to misrepresent Jeff Koons or Ai Weiwei. 
The works of Paul Dodd and David Black were modified slightly for this exhibition 

Arleen Schloss http://en.wikipedia.org/wiki/Arleen_Schloss
Poem on Softblow
For Arleen Schloss
“The world is a collage”
This is a poempaintingwordperformancepiece.
All of the following words describe scenes. All of these scenes contain signs. The signs may not
obvious, but they are there. In some cases, there may be a large number of signs, in which
case, all are to be included. The colors of the signs, the numbers on the signs and the text and
language of the signs are to be emotionally and chaotically combined on one huge imaginary
and ever-present canvas, a painting dedicated to Arlene Schloss.
The signs exist in the following situations:
Nurses talking near hospitals before they begin work on autumn days when the moon is full,
mailmen who drink canned coffee by themselves, retirement age janitors at the Louvre
looking over new tools, miners in dangerous elevators, mechanics with legs sticking out from
underneath cars with oily radios pouring out 20 year old music in the background, people
with hangovers standing near open graves, hippos that go into the ocean, gardeners driving to
buy trees with roots wrapped in burlap, people leaving yellow cabs in a hurry at night, an
urban area full of people flying kites, parades in cold weather, parades in hot weather, soccer
games, baseball games, mushroom hunters, tennis games, weavers of silk carpets, football
practice, smugglers who do so to feed their children, archery ranges, barbecues for groups of
people ranging from three to three thousand, streets being paved for the first time, clothes
being hung to dry, hunters who do not drink when they are hunting, the tallest building in
Manila, fishermen who drink but stay on shore, fireman, trappers who do so with respect,
amusement park employees who have lost their keys, children who sleep in tents in their
backyards, photographers stranded in Mozambique, moviemakers who sleep well, people who
use handphones during meetings and housepainters who do good work.

Places where elephants are, shelves full of books about ferns, silver airplanes that seem like
paralyzed flying birds, the happiest person in Uganda, red weather balloons, magazines
launched in the ’70s, instructions for assembling tents, Vietnamese tour guides, the cost
breakdown for a satellite dish to be installed in Yugoslavia, ugly public sculptures, the Vatican,
Domino Pizza, Mecca, the Holy Land, toothpaste factories, a place where a picnic table was
accidentally burned, a barnyard, a waterfall, flocks of thin white birds, grey lines of highways,
the only stuffed armadillo to be found in South Africa, lakes holding sailboats, a Paris metro
ticket, canoes on rivers, the oceans slapping big ships, the most loved Swedish politician, the
most elegant shoe store in Mumbai, fog eating a city, organic apple orchards, alphabets,
Christmas tree farms, strip mined landscapes, desserts full of unwanted testing, an
environmentally friendly golf course, a fireworks display watched by an Amish family in a bus
station between Chicago and Kansas City, bonfires, the diets of djs, traffic accidents as a result
of animals crossing highways, unemployed male prostitutes in Taipei, railroads used by bikers,
places that serve take out prata, housing subdivisions, the Empire State Building, the
Pyramids, the shopping list of newlyweds in Bowling Green, Ohio, the first Chinese cookbook
in Peru, the Tokyo Dome, a kindergarten in Bonn, the most depressing high school in Teaneck
New Jersey, the harbor of Rio de Janiero during an eclipse, the Great Wall of China being
discused by mathematicians, Red Squarebeing discussed by visiting Irish tourists, Kmarts in
Canada, driving schools, elephant orphanages, missile testing ranges, forest fires, a
Gutamelan dentist’s office, power plants in Minsk, black boxes of intergalactic spacecraft,
Kyoto florists located within the train station, the insects which live in the main Xian post
office, the humidity within the Sydney Opera House, the deli on the corner, New Orleans
classical musicians, Microsoft paper usage files, cloud seeding programs, glider competitions
in Norway, ancient light houses, beaches where there are no beach towels, umbrellas on
Avenue A, Coney Island, the dreams of a Singaporean civil servant, a painting of the the
Great Lakes hanging in a Green Bay bar, the video collection to be found on a typical North
Sea oil rig, the Rocky Mountains, the garage of the grandson of Dali’s least favorite barber, the
Amazon, the Urals, the Andes, the Great Rock, Mt. Fuji, the Pyrennees, Ireland, India, Idaho,
Inokashira, Iran, Iraq, Iowa, people on horses, goats in trees, the Statue of Liberty, every
bridge in the world, every phone line in the world, every bit of dust on Broome Street, every
modem, every email ever written in Spanish and the oceans.
Mel Araneta
Helium’s email to Vincent Leow

As you know, SPOKEN’s curatorial approach is simple: we are showing works by artists that
Eugene and I have spoken to. Essays and short stories about the conversations or various
word exchanges will also be part of the project.
SO…I think my strongest memory of speaking to you was at Sculpture Square, probably 2002
or 2003. I was new to Singapore, and still not used to the gases of the island. I cannot
remember what event it was. I do remember we were standing outside and you pointed to the
wall and mentioned something about history. I think you said that a hill used to be where the
wall was, but that seems incorrect to me now and I think I am confusing that with
something else…sounds like a place I know in Bukit Merah…
Either that same time or another time I mentioned that I always document my hair cuts and
you said something about a haircutter friend of yours or someone who lived near you…?
Also, we probably chatted (at least) when I was floating on Emerald Hill Rd and you had the
gallery down the street. And PKW, of course and openings here and there… always smiling
and some chatting, but my strongest memory is how friendly and informative you were at
Sculpture Square…
Helium and the Founder of the Zone System
When I was still a teenage gas, I drifted with clouds over Alexis Road, over soybean fields,
wheat fields, the Mississippi, the Rockies, and the Great Basin Desert. One evening I settled
with the fog upon a public beach in Carmel, California. There was a payphone and a not so
thick phone book that had become wrinkled and warped; it was frosted with salt.I found the
number of Ansel Adams, put in a dime and dialled.
Months after we’d spoken, he sent me a postcard.
  spring time in andalusia 

  they left their roses behind, when they went 
their violets and their loquat plums 
geraniums on balconies 
and nightingales in cages 
ever singing across the sea 
to make their voices heard 
church bells instead of the ezan 
echo within the mosques now 
from the fountains water flows sadly 
and the women are not there anymore 
beauteous women balancing water jugs on their heads 
along the narrow streets are still heard 
the sound of ceramic dishes and  
wafting all around, the saffron mixed aromas  
and the sadness they left behind. 
dust and chaos everywhere 
the age has surrendered long since 
they got on their horses,  
their strong arab steeds and took off 
leaving mostly roses behind them 
never  have ı seen such profusion of lovely roses anywhere.   
Yesim Agaoglu 
David Black
David Black currently has no online presence. 
to write poetry 
rothko on the curtains 
turner on the sea 
gaugin on the palm tree 
viewing the women the women 
the big breasted island women 
matisse on the red sofa 
and on the chair van gogh 
putting his ears in an envelope 
dripping with blood 
in the bed as if painted by modigliani 
a poet is writing a poem 
against the whole wide world and everything 
inspite of it all 
writing poetry 
Yesim Agaoglu 
Helium and the Japanese Marilyn Monroe guy
Gallery NW house was a charming concrete box between Waseda and Takadanobaba.
Endo-san gave me my first solo show and around that time Yasumasa Morimura had a solo
show there as well. We met on a cold but sunny Spring day. He was bundled up. I was just a
cold gas. That is all I remember of that.
Thirty years later we met at Ikkan International in Singapore. I have a transcript of our
conversation which I need to add to this document. We ate kways and there was a delightful
translator. “All art is self-portraiture” and the significance of Iwo Jima…)
“Gallery.sg: part Bauhaus,part Warhol’s factory.SPOKEN,its second 
exhibition, redefines the idea of “gallery”.Gallery.sg is visionary 
and primitive,the ongoing collision between social media, gaming and 
the arts.” 
The languages of press releases.
Conceptual difficulty vs. commercial populism.
Helium is to speaking as writing is to paper.
It is Sunday, September 14, at 11:40 AM Bali time. 
WAX LUNGS: by Jamie Grefe
We sensed she had a secret to speak, but she came in the night and stole our ears, lauded our
drums with the lost echo of her leaving by boat. And now she's gone east. The way of the sea.
This is why we murmur our nails to the sky. Our voices ring like quiet hammers. We paint
words made of the water she left in our ears. It's not enough to make her hear us choke or
gurgle. Our spittle forms a river in the middle of the water. And I've taught others to whisper
invisible steps to the center. Three days out we discover her empty boat floating in circles. A
slick of red entrails preface the spot where we believe her to be haunting. She has left us with
nothing to hold. The air is sour. No anchor of mercy. No stepless ladder. And the nailed sky is a
tunnel of split-veins and wet cheeks as if she sank up into a cloud and burst weeping. This is
why we jump and never hold our tongues under water. This is why our lungs burn wax, ears
burst like hammer-smashed flowers left adrift down the poems of who we always thought we
were. This is all we have left. She's our secret.

Jamie Grefe is an author and educator working within the realms of the bizarre, the darkly
comedic, the surreal, the horrific, and the cinematic. His first book, The Mondo Vixen Massacre,
was published in 2013 by Eraserhead Press. It has been described by author Stephen Graham
Jones as, “…the beating heart of the action movie always playing in the back of all our reptile
brains.” Grefe is also the author of two Dynatox Ministries titles: Cannibal Fatales, a tribute to
the “cannibalsploitation” genre, currently in print as a limited-edition hardcover with a
paperback edition set for late 2014, as well as Mutagon II, a bizarre crime novella inspired by
the work of Japanese filmmaker, Takashi Miike. His short work appears in such venues as
Birkensnake, The Bacon Review, New Dead Families, elimae, Prick of the Spindle, Sein und Werden
as well as Bizarro Central among other places. Grefe is a current graduate student in the New
England College Master of Fine Arts in Creative Writing program as well as a post-bachelor
student in Education at Northern New Mexico College. His overarching creative interests
include the manifestation of excess, fear, anti-comedy, horror, the body, the gratuitous, and
writing for the screen.
His site is: http://jamiegrefe.com
Twitter: http://www.twitter.com/ShreddedMaps
Helium in a Hackathon
Here is the extremely short version: from 2002 until 2008 I was involved with a visionary
virtual reality project that combined educational practices with gamemaking and
multimedia. However, the spiritual captain of the project was part Disney, part Microsoft and
part Sex Pistols. An unexpected death, treachery, incompetence, inexperience, bureaucratic
boondoggles and more made my life “interesting”… I have pages of notes about the events
and the spirit of the times. We were doing things like Youtube and Second Life before they
started. The project was so close… and yet so far away. (Actually, now that mobile
technology has settled down, I hope that the lessons and products of that experience can be
revitalized. But that’s yet another story.)
In 2006, as a way of showcasing our technology, I entered a gamemaking hackathon. A
theme was given on a Thursday morning and the next day at five the results were judged.
The theme was something about healthy eating, I think. Working with my programmer in
Hong Kong, we made a game in which the viewer learned about the calorie count of certain
foods. The player competed with an AI character. It was fun to do.
However, what I remember most was a team that made an incredible flash game. I don’t
remember if they won or not, but I do remember two guys on that team very well. George
Parel and Eugene Soh were full of energy, knowledge and bursting with creative ideas.
They still are.
she clothed herself 
She clothed herself in her house 
like putting on a skin tight sweater 
the hose which looked like the scary castles in fairy tales. 
the haunt of bats and owls 
the house would go after her if she tried to get away 
she tried it 
places changed 
scenery ground horizon trees 
they were not the same 
she turned round to look back 
her house had followed her 
like a faithful puppy 
she clothed herself in her house 
not like donning  hat and gloves by putting on a suit of mail 
that really she had never taken off anyway... 
Yesim Agaoglu 
“Stephen Black is an egotistical manipulator who has taken advantage 
of an unrelated group of artists and writers to benefit only 
“SPOKEN is the future. Not only is SPOKEN Oculus­friendly, it is a 
punky, DIY prototype for a new type of user experience, one that 
combines virtual reality, social media, art, creative writing, video 
and more. 
a phenomenon of virtual reality, art and creative writing 
Eugene Soh Stephen Black 
Curated by Helium 
gallery.sg September 17, 2014­February 14, 2015 
Stephen Black
Christophe Charles
killer longplays 
she is undressing to an empty mirror 
even her comeliest, her cougar'est image is not there 
the mirror is not watching  anymore 
her lip­ prints are dead flies 
her nail­ bases are in death­throes 
her hair roots have long been asleep 
the hair on her scalp is keeping up the fight 
her tummy is more of a tummy 
her breasts are more breasty  
her hands are octopusses 
her eyes mussels 
she puts the malest records around her neck 
the hairiest, the most mustachioed record 
tighter, tighter, breathless 
she is drowning in longplays 
her spirit is now more of a spirit 
her mirror, all­mirror 
Yesim Agaoglu 
Helium and David Black
I was a very young bundle of gas myself and David Black was a newborn.The one syllable
words I used were answered with sounds from a moth, a brain and lungs that were still
surprised to be using oxygen.
Helium and the Drummer of Personal Effects
It was a Friday and I had spent the day visiting relatives at Kodak, before drifting down the
Gennessee River to Scorgies to check out the Hi-Techs and Paper Faces show.
When Helium Met Mo K
She was sleeping on a couch.
The Time When Helium Bleached His Hair
Yes I was in a band in New York in the Eighties. Someone had to stay in the apartment with
the gear all of the time because it would get stolen. Junkies in the stairwells and ten in the
room next door andall that. I never rehearsed but went on stage and performed sometimes.
Andres did art for our posters and stage backdrops. Oh, it was wild fun but not long after I
moved to Tokyo our friends in the band started dying.
He Was in the Air, a Guest in the Domain of Gases and Birds
I was just another fresh whiff of gas in Manhattan, but one lucky to have immediately landed
a job. I worked in a place called Young Filmmakers/Video Arts, in the scheduling department.
One day Dub came running in, bursting with excitement,
“Man you gotta see this. There’s a naked guy hanging out over 11th Street!
“What do you mean, ‘hanging out over 11th Street?’”
“Hooks! The guy is naked and he’s got big fish hooks in his body! He’s hanging from a pole
and they put him out over the street!
A year or so later I was mingling with the vapors of art and new books in a gallery in
Harajuku and I ran into Dragan Ilic. Surprise, surprise and the next thing I know we’re in
Yokohoma eating bologna sandwiches with Stelarc.
wish ı could get on trains 
where would trains take me 
wish ı could get on them 
horse racing cars 
screaming sirens 
you can not look out of the same window twice 
nor see  again the same trees or houses or anything  
where would the trains take me 
to night­misted platforms 
whose clocks never work and where faces are always half­veiled as if arriving from ghost 
where would trains take me 
who is the one who sits opposite me 
the secret ı’ve been keeping all this time 
the love of a single night is worth a whole life 
where would trains take me 
what murder would they make me an accomplice to  
whose is the blood soiling my hand 
the pomp of danger’s reign is worthwhile to live  
where would trains take me,  
in full gallop and breathless 
could it be to the sorrow which has no ending 
Yesim Agaoglu 
Paul Dodd
Paintings: http://www.popwars.com/art/
Blog: http://www.popwars.com/blog/
Free downloadable music: h ttp://www.popwars.com/art/
Andrés García-Peña
Ekphrasis: a literary description of a visual work. Thank you Xu Xi and David
Clarke for this word and the superb little pamphlet!
David Clarke's book: Hong Kong Art: Culture and Decolonization 
Paul Stamets on David Black’s Umbrella 
Parasol Mushrooms (Macrolepiota procera) and Fungi Perfecti 
Mushroom Tribe 
Published on Oct 28, 2010 
Paul Stamets and life­partner Dusty Yao share their delicious, giant Parasol mushroom 
(Macrolepiota procera) patch with their teammates at Starship FP (www.fungi.com). We 
inoculated a thatch ant mound with one gallon of pure cultured spawn by mixing the mycelium 
into their mound. The ants were initially disturbed but then quickly rebuilt their nest incorporating 
the Macrolepiota procera mycelium into its structure. The next year a few Parasol mushrooms 
sprouted. In the years subsequently, several hundred giant mushrooms appeared. Attine ants 
started cultivating Parasol mushroom mycelium more than 25,000,000 years ago as part of their 
'host defense' against disease. The Parasol mycelium pre­selects a bacterium (actually an 
actinomyces) which, in turn, produces an anti­fungal antibiotic that prevents fungal pathogens 
from infecting the ant colony. Perhaps there is a lesson for humans here? By pairing with select 
mushrooms, we can prevent disease. Who knew ? (Answer: Ants !) 
Morvarid K
Godwin Koay
Dan Lacey
Hans Lagner
Vincent Leow
Yasumasa Morimura
Kembra Pfahler
Pereira Irving Paul
David Severn
Eugene Soh
Lily Su
Liqing Xue
Using photography,video, machinima and screen captures,
Rachel is creating a portfolio of the visual side of SPOKEN.The
digital realm is in direct contrast with her specialty, 35 mm
film travel photography. Her first book, My Everyday
Marseille: The Film Photographs, was successfully
Travel photographs at
Twitter (@geekySG
JUMPTHE CUT has curated videos especially for SPOKEN.
Musical Portraits of Artists 
Curatorial and VR aspects 
Music of SPOKEN 
SPOKEN Word Art (Writers’ works)
Yesim Agaoglu on Wikipedia
... newest art project is 5th Tumen River International Art Festival at Tumen City, Jilin
Province, China. Starting 20 August but I and 2 other members of Perahu Art will fly
there 9 August for making installation art/public art by displaying "figures of change".

With over four decades in the educational/children's book business, Norm Black has
been involved with every aspect of publishing except writing. Until now.

Graduated in English and French from the University of Venice (Italy) in 1995. She
worked and lived in London for seven years and moved back to Italy in 2002 to
complete an MA in literary translation from English. She self-published two short
fictions (December, 2010), a collection of haikus, "Che haiku vuoi?" (What haiku do
you want?), and wrote a series of articles on Venice for a creative project on cities told
by authors - "Città Raccontate" - for the Italian webzine "Cartaresistente" (April-May
2013). She took part in the "Creative Insomnia Nights", multi-disciplinary and
multi-sensorial events on colours organised by the atelier Meta-morphic, a cultural
association based in Madrid (Spain). So far four contributions: a red haiku and some
recollections/suggestions evoked by the analogies enacted by the colour red; a
video-tale, set in the Seventies exploring orangeness and its dark side; a yellow playlist
encompassing fifty years of music from the Sixties to the New Millennium and three
articles on Amaryllis, Virgil's sheperdhess, Women's Day, and her translation of a Josif
Brodskij's poem ("I threw my arms about those shoulders"), an essay on the green ray,
the green mirage, inspired by Jules Verne's novel, Le Rayon Vert. At the moment she's
working on a new speculative fiction.
Twitter Facebook LinkedIn Blog

Japanese poet specializing in tanka. Her second book, The Road to Which I Came,
featuring drawings by Ken Hiratsuka and translation by Gloria McLean, was published
by Bungeisha in 2011.

HO RUI AN is an artist and writer working in the intersections of contemporary
art, cinema, performance and theory. In a practice that researches the questions
of visuality across social, cultural and discursive contexts, he writes, talks and
thinks around images, investigating their sites of emergence, transmission and
disappearance. He is currently developing a body of work surrounding image
economies in Singapore and Southeast Asia and has presented projects at
Serpentine Galleries (London), Singapore Art Museum, LUMA/Westbau (Zürich)
and Witte de With (Rotterdam). He is the Singapore desk editor for ArtAsiaPacific
and has contributed to numerous catalogues and periodicals. In 2011, his first
novel, Several Islands, was published by The Substation (Singapore).
He lives and works in London and Singapore.
Some of the authors in the anthology of science fiction titled LAGOS 2060, are
contributing individually, including KOFO AKIB, MAZI CHIAGOZIE F.
Kofo Akib was born in Nigeria in 1983. She is from Ilorin in Kwara State. She
studied English at the University of Ilorin, Kwara State and currently lives in
Lagos with her husband and three children, Kofo writes poetry, prose and movie
scripts. ‘A Starlit Night’, a Sci-fi short story, is her first published work.
Chiagozie Fred Nwonwu is an editor and freelance writer with a bias for
speculative fiction. His articles, essays and book reviews
have appeared in Daily Times, The Guardian, 234Next, Nigeria Village Square
among others and his fiction has appeared in AfricanWriter, Sentinel Nigeria,
Naijastories, Storytime and some international anthologies, notably AfroSF, the
first PAN-African Science Fiction anthology. He is awaiting the publication of his
collection of short stories and working on his first novel.
Ayodele Arigbabu is a founding partner of Architects' Collaborative, an
architectural practice based in Lagos, and also directs the
activities of the Dream Arts & Design Agency- a digital media company. He is a
co-author of The Three Kobo Book (Evolution Media, 2004) and also authored A
Fistful of Tales (DADA books, 2009). Ayo writes for film, theatre and comic books.
He won the 2001 Liberty Bank Prize for short stories for his short story- ‘You Live
to Die Once’. He writes on design and the environment for different magazines and
LAGOS 2060 is now in a campaign to become Unglued. 
Lagos 2060 even has its own soundtrack!
Author of Bones of the Dark Moon
Website, other books
Chihiro Masui was born in Japan in 1964. After studying philosophy at the
Sorbonne she became a translator and journalist for the Japanese and French
press. She has written many articles on great French chefs such as Joel Robuchon,
Pierre & Michel Troisgros, Georges Blanc and Frederic Anton. She is the author of
several books including 'Le Pre Catelan: the Restaurant' ( 2008), 'Poissons: un art
au Japon' (Glenat, 2009), 'Sushi'(Grund, 2010) and 'Kama Sutra Cooking'
(Editions du Chene, 2010). http://chihiromasui.com/
Born in Tokyo. Studied in Tokyo and Moscow, Ph.D (University of Tokyo).
Teaches Russian language, literature and culture at universities, and continues
with research into Russian literature. Interested in how the senses are depicted in
images. Published articles, essays and a book (“Bunin’s vision: Literature of

Родилась в Токио. Училась в Токио и Москве. Получила докторскую степень
в Токийском университете. Преподаватель русского языка, русской
литературы и культуры. Исследователь по русской литературе. Работа
посвящена чувственным образам в литетаруре. Опубликованы ряд статей,
эссе и монография («Видимое Буниным: литература образа»).


Julie O'Yang is novelist and visual artist based in The Netherlands.
Born and brought up in China, Julie O'Yang came to Europe in 1990s to study at
the University of London. Then she read Japanese Language and Culture at the
University of Leiden, Holland, and Tokyo, Japan. Her fiction, short fiction, poetry
and articles have appeared in publications worldwide.
Her most recent title, Butterfly, a novel, has received praises from global
audiences as well as international literary and art scene. Known for her unique
literary voice both daring and challengingly contemporary, she is a forerunner
and trendsetter of media reforms and 21st century indie publishing.

Butterfly, a novel. Print version on Amazon
Butterfly, a novel. ebook version on Lelivro
An interview with Julie O'Yang
A writer and video post-production editor, Stuart Rankin has written scripts for the
Turner Classic Movies channel and for Hong Kong director Ann Hui. He co-produced
the short film, Flashes (Hong Kong). Stuart did editing and post-production on the
following award winning films: 'In Search of The Dragon’s Tale', (Hong Kong); 'Fast
Trip, Long Drop' (USA); 'Gravity & Grace' (USA/NZ); 'Dance And The Camera', BBC (UK)
and 'Logodi Utca', Magyar Television, (Hungary).
He has also been involved in post­production on projects for  the BBC, Al Jazeera,Bloomberg, 
Zhang Ziyi and National Geographic. Stuart was also the script consultant for Three Cities, a Hong 
Kong/Russia co­production 
Kimberly Shen (b.1986) is a curator and arts administrator from Singapore. She
was formerly Assistant Curator at OH! Open House (2012), Senior Executive
(Curatorial Administration) at the Institute of Contemporary Arts Singapore
(2010-11) and Assistant Manager (Corporate Communications) at the National
Heritage Board (2008-10). A recipient of the National Arts Council Arts
Scholarship (Postgraduate), she recently graduated with a Master of Research in
Art: Theory and Philosophy at Central Saint Martins College of Arts and Design
(United Kingdom). Currently the co-founder and editor of ellipsis journal,
Kimberly’s research explores the pluralism within contemporary art and how art
is represented through systems of inclusion and exclusion. ellipsis journal
From Wikipedia
Sigurjón Birgir Sigurðsson (born 27 August 1962), known as Sjón (/ˈʃoʊn/ shohn),
is an Icelandic poet,novelist, and lyricist. His pen name (meaning "sight") is an
abbreviation of his given name (Sigurjón). Sjón frequently collaborates with the
singer Björk and has performed with The Sugarcubes as Johnny Triumph. His
works have been translated into more than 25 languages.[1]
Sjón wrote The Blue Fox. http://en.wikipedia.org/wiki/The_Blue_Fox_(novel)
Paul Stamets has written six books, all related to mushrooms. He constantly
presents strong examples of mushrooms improving the health of people and our
planet. http://en.wikipedia.org/wiki/Paul_Stamets
Proper translation to follow...(Google translate used here)
Yoshiaki TAKAFUJI の紹介 
1980年代半ばから、芸術表現を通した文化活動を支える事業を始める。 そのキッカケと
Since the 1980s my company has supported cross-cultural activities that are
based on artistic expression and social diversity. I have written for many
magazines and newspapers. My latest project is a book called Discipline de
Mayonnaise, created with Kenji Bertheau Suzuki.
書籍名:マヨネーズ・ディシプリン discipline de mayonnaise
7月2日時点での販売:KATZ SELECT

Nhung Walsh works with artists in Southeast Asia mainly in the field of Vietnamese
contemporary arts. Based in Chicago, she works between Hanoi and other locations.
Raised in Vietnam, she has a background in International Studies and History, having
researched the wars in Vietnam, the politics of war memories, and the development of
Vietnamese contemporary arts. She participated in UNESCO/Vietnamese cultural
programs and has worked with Vietnamese NGOs.
Walsh now engages in curatorial projects and cultural programs in Vietnam and the
US. She established Nối Projects ('nối' is the Vietnamese word for 'connect') as a means
of expanding the conversation of contemporary arts. Currently, she is studying Arts
Administration and Policy at the School of the Art Institute of Chicago.

Selection of writings: http://issuu.com/royvoragenRoy is the founder of Roma
ArtsRoma Arts, founded in 2011, is a collaborative nomadic initiative, which promotes
passionate, ambitious and focused ways of producing, presenting, experiencing, and
writing about the diverse forms of arts. Roma Arts gives keen attention to art practices,
forms of presentation, experiencing the arts, and discourses on art. In 2012, Roma Arts
started a residency program to foster creative person-to-person contacts. In 2013,
Roma Arts started the website Contemporary Arts Bandung to promote art-related
events in Bandung.

Freelance writer and founding member of the Unbearables, a group of Lower East Side
(NYC) poets who drank and read poetry in bars.
from Wikipedia:
Xu Xi, (originally named Xu Su Xi (许素细) (born 1954) is an English language
novelist from Hong Kong.[1] She is also the Hong Kong regional editor of
Routledge's Encyclopedia of Post-colonial Literature (second edition, 2005) and
the editor or co-editor of the following anthologies of Hong Kong writing in
English: Fifty-Fifty: New Hong Kong Writing (2008), City Stage: Hong Kong
Playwriting in English (2005), and City Voices: Hong Kong Writing in English
Prose & Poetry from 1945 to the present. Her work has also been anthologized
internationally. Hong Kong magazines such as Muse run her writings from time to
time and her fiction and essays have appeared recently in various literary
journals such as the Kenyon Review" (Ohio), Ploughshares" (Boston), The Four
Quarters Magazine(India), Ninth Letter" (Illinois), Silk Road Review" (Oregon),
Toad Suck Review" (Arkansas), Writing & Pedagogy" (Sheffield, UK),Arts &
Letters" (Georgia), Wasifiri (London), Cutthroat: A Journal of the Arts
(Colorado), Hotel Amerika(Chicago), Upstreet (Massachusetts), and Asia
Literary Review (Hong Kong).
HABIT OF A FOREIGN SKY (finalist for Man Asian Literary Prize) 
"Two pics taken in a Chinese metro station. The station is called: Drizzling Bridge." 
your umbrella the vulture 
your umbrella stands by the door 
black as black 
perched there like a kahlibis bird of yore 
you had given it me 
during a sudden rain shower 
you dont really know anything do you 
the dead dont get wet 
you wont understand that 
they also say 
that the one who walks away weeps too 
ha ha ha 
your umbrella has taken wing 
a great big vulture 
ı'm frightened  
its eyes are on me 
Yesim Agaoglu 
● 1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings. An 
example of Heuristic art, or a series of instructions for how to obtain an aesthetic 
● Dear Artist,

● Heuristic (pronounced hyu-RIS-tik) comes from the Greek "heuriskein" meaning "to
discover." The heuristic process means achieving some desired result by intelligent
guesswork rather than by systematic formula. Generally used in the fields of invention,
computer science, psychology and law, examples of its use would be "seat of the pants,"
and "trial and error." Heuristic thinking generally results in reasonably close solutions. The
benefits are speed and expediency.

● The daily act of creating art is full of it. Here's an example: To choose the colour and tone
value of the light part of the sky, the colour chosen can be seen as correct only when the
rest of the colours around it are applied. Thus, when applying a sky early on, an artist
must make a heuristic decision to commit to an approximate sky colour. The artist then has
the choice of leaving it and remaining true to the first guess, or modifying it, perhaps many
times. Heuristics can apply when artists are looking for both realistic and imaginary truth.

● Some media, such as oil or watercolour, require a deadly eye and knowledgeable
commitment. "Forgiving" media such as acrylic and pastel are modified more readily.
Here are a few ideas for squeezing value from heuristics in any media:
● Heuristic—the art and science of discovery—has been integral for human progress. The                      
word "heuristic" is related to "Eureka!" 
● Heuristics and biases 
● Unfortunately, heuristic is a bad word. At least, that's the impression you might get,                          
seeing it hand­in­hand with "bias" in the psychological literature. In Judgment under                      
Uncertainty: Heuristics and Biases, Tversky and Kahnemanacknowledge that "in                
general, these heuristics are quite useful, but sometimes they lead to severe and                        
systematic errors." On Overcoming Bias, heuristics seem primarily discussed as                  
resulting in biases. 
● Bias­reduction is a form of skepticism that is a critical part of rationality. Due to the                              
uncertain nature of the territory of reality, many notions of the territory are wrong. Rational                            
skepticism helps us identify false assumptions, areas where our map will depart from the                          

● 1967: Sol LeWitt´s Paragraphs on Conceptual Art were published by the American art 
journal Artforum. The Paragraphs mark the progression from Minimal to Conceptual Art. 
● 1968: Lawrence Weiner relenquishes the physical making of his work and formulates 
his "Declaration of Intent," one of the most important conceptual art statements 
following LeWitt's "Paragraphs on Conceptual Art." The declaration, which 
underscores his subsequent practice reads: "1. The artist may construct the piece. 2. 
The piece may be fabricated. 3. The piece need not be built. Each being equal and 
consistent with the intent of the artist the decision as to condition rests with the 
receiver upon the occasion of receivership." 
CV of Helium
1. Helium is a chemical element with symbol He and atomic number 2. It is a colorless, odorless, 
tasteless, non­toxic, inert, monatomic gas that heads the noble gas group in the periodic table. 

Helium and Debbie Ding in the Old Airport Road Hawker Center
There was a discussion about a 3D gamemaking software and sugarcane juice. Years later I
gave her a rock I found on a street near Bukit Merah.
Scribd and Skype
Like most inert gases, I use Scribd as a public notebook, often posting things like very rough
drafts, mangled translations and half-finished stories. Something found its way in front of
Paul Pereira quite a few years ago, and we had an online exchange so brief that I forgot about
it. As SPOKEN took shape, I saw Paul’s artworks; he is a friend of Eugene’s.
Helium and Doctor Captain
I’m afraid I can’t think of anything particular re conversations we’ve had. You suggested
Doctor Captain for my exhibition title based on me telling you about two influences –
Beefheart and Dr. Seuss, and also you still call me Dr. 7 based on my anecdote about someone
asking for someone by that name at the place where I worked having mis-read or mis-typed
my initials D.R.
The following was written years ago.
Helium Meets Rauschenberg (Black AllStars/Nice Italian Jobs)
The late Eighties, New York City, a warm autumn Sunday afternoon. I’m walking in front of
of the Tower Records on Lafayette. A large black car, like a limousine, at the curb with a
U-haul trailer behind it. I walk by. The door opens and Mike Wallace gets out, very tan and
with a paper cup in hand. Smiling, like the skipper of a new yacht.
I pass by and then suddenly realize I need to get some blank video tapes at Tower. I spin
around to see Mike doing a kind of awkward jig; stretching his legs, rolling his shoulders and
swiveling his arms. Except it isn’t Mike Wallace. It’s Robert Rauschenberg, now almost
directly in front of me.
” Hello Mr. Rauschenberg”. He smiles and says ‘hello’ right back. A conversation starts, the
highlight of which involves a terrible pun about “popping over to Japan”.
I am soon back on my way, an opening party invite in hand.
Quite late, I went to the opening, someplace uptown. The place was empty but for
Rauschenberg and the woman who seemed to run the gallery. They spoke in quiet
businesslike voices. I circled a few of the brightly painted crushed wire sculptures, left before
I was noticed.
Helium Meets Christophe Charles
Second…there is a text dimension to this project. I am writing about conversations that I have
had with the artists. SO, if you remember any conversations we have had, please tell m… this
is a very unstructured idea, so anything is fine…and I will, of course send the final copy to you
for your approval….
Our first time to speak was, I think at my Galerie Lunami show in Higashi Ginza, 1988?
You commented upon the music of Kazuto Shimizu which was in a video I made called
Whirled….about Nona inside of her mother…
We also have talked about Sadato, SPP (where Barae “slept” with you, some conversations at
your place in Nezu….you came to our house in Hihashi Nakano when Chihiro and I were
married..a dinner party, you with a dancer….you came to Singapore in 2005? I am sure I am
missing some things….do jot down anything that comes into your head..I am sure I have
annoyed you often, for example….have we met with Shima ever? I think that is another
factor in how we met…We have never seen each other in Paris, have we? I remember you
told me about Muji’s occasional support of the arts and you mentioned a Hong Kong dance
theatre group whose name I cannot remember at the moment…
W.I.P. ( I have spoken to Ansel Adams, Robert Rauschenberg and William Wegman. I tried
to get pieces from them or their representatives, but met with no success.)
William Wegman has had a strong influence upon me. His work is Pop, it is personal and it is
usually bursting with idea. is just as more of a Pop artist than Warhol, yet William Wegman”s
work is personal. Performance art with pets. The first time I was really hit over the head with
by a piece of contemporary art was in a little bookstore in the basement of the Ikebukuro
subway station. A small paperback book contained a collection of photographs of Wegman”s
One showed a simple and small collection of kitchen utensils, One or two were obviously
spoons and one or two were clearly forks. The functional part of the other utensils was not
included in the composition. The piece was entitled something like ‘Two or Three Forks and
Three or Four Spoons’. Something like that. What struck me was that relationship to the title
and the piece itself: conceptual art first and photographic art second.
The other image in the book which struck me was a self-portrait of Wegman holding two
books. Simple and striking, one eye was clearly focused on one book and the other eye was
intent upon the other. This was well before Photoshop, of course. The simplicity of the black
and white photograph made the image powerful, made it True.
I’ve met William Wegman, met him on the street in Manhattan. Probably a few dozen other
people can say that as his dogs need to go outside every now and then and he is approachable.
What is unique about our meeting was that he kindly invited me to witness a shoot going on
in his loft, a shoot going on with Polaroid camera that produced images that were 20 x 24
inches long. Was the camera impressive? Certainly. So was the fact that there was a TV crew
from Japan there who was documenting the production of a book that retold the story of
Cinderella- but with costumed Weimaraner dogs portraying the characters.
The feeling was 10% Andy Warhol’s factory, 80% canine Holiday on Ice, 10% friend’s living
room. But the camera was what commanded my attention.
I was living in Tokyo at the time, and ran into WW during a stay in NYC. Earlier that year I
had held an exhibition at the Polaroid Gallery in Tokyo. It had gone reasonably well. Just
before I left Tokyo I had begun an investigation into the possibility of using the 20 x 24 inch
Polaroid camera. About a week later I received a reply. There were only three of the cameras
in the world. One was in Osaka and that one was being overhauled. Another was in
Cambridge, Massachusetts, the home of Polaroid. The other one was being used somewhere
was all my contact could tell me.
A lilac tale or seven days in Xanadu (A poem)
Carrying an oil-paper umbrella, wandering
in the deep, deep
and mirrored seven alley
I expect to meet
a girl with the sadness of a lilac tale, she
will be steeped in the liquid sunset, wandering
joined but alone
in my mirrored tale and carrying an oil-paper umbrella
just like me, solitary and walking.
in silence, she
will approach in lilac silence
draw close and gaze deep, deep into my eyes
will drift past like a figure
in a dream drifting, like an hourflower
further and further, in lilac silence and
passing a broken-down fence
treading on the melancholy pulse of the purple rain heart
her colour fading
her fragrance washed out
toward the end of my mirrored tale, she
will fade away like her gaze
with sadness of a lilac hourflower
drifting past me
like a girl
Julie OYang 
(the poem has been translated into Romanian) 
There really isn’t much point in reading beyond this point.  
Come back in an hour :)