Notes on Contributors

Stephen Benson is a senior lecturer in the School of Literature,

Drama and Creative Writing at the University of East Anglia. He is
the author of Cycles of Influence: Fiction, Folktale, Theory (Wayne
State University Press, 2003) and Literary Music (Ashgate, 2006),
and the co-editor of Creative Criticism: An Anthology and Guide
(Edinburgh University Press, 2014). He has published a number of
essays on the relation between literature and music.

Daniela Cascella is an Italian writer. She is the author of Singed.

Muted Voice-Transmissions, After the Fire (Equus Press, 2017),
F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing
Sound (Zero Books, 2015), and En Abîme: Listening, Reading, Writ-
ing. An Archival Fiction (Zero Books, 2012). She edits Untranslated
at Minor Literature[s] and has published in international magazines
such as the Los Angeles Review of Books, Music and Literature and
Gorse. She has taught at a number of institutions in Europe and as
an Associate Lecturer on the MA Sound Arts at LCC / University of
the Arts London.

Patrick Farmer is co-founder of the online curatorial platform,

Compost and Height, co-editor of the new-music journal, Wolf
Notes, and curator of the Sound I’m Particular lecture series and
the Significant Landscapes festival. He has published four books
and written compositions for groups such as Apartment House
and the Set Ensemble. Festival appearances and residencies include
Audiograft (Oxford), The Wulf (Los Angeles), LMC (London),
Geiger (Gothenberg), Forestry Commission England (Cumbria)
and MOKS (Estonia). His work has appeared on labels such as
Another Timbre, nadukeenumono and Winds Measure.
272 Notes on Contributors
Dominic Lash has studied literature, composition and film at the
universities of Oxford, Oxford Brookes, Brunel and Bristol. Among
his publications are articles on Derek Bailey in Perspectives of New
Music and on V.F. Perkins in Screen. He is also a musician active in
improvised, contemporary and experimental music.

Nicholas Melia is an archivist, musicologist and composer. His

research interests include the history and politics of experimental
music and sound art, and the interrelation of continental philosophy
and art practice. He is currently cataloguing the archives of compos-
ers Trevor Wishart and Richard Orton at the Borthwick Institute for
Archives, University of York.

Will Montgomery is a senior lecturer at Royal Holloway, University of

London. He specialises in modernist and contemporary poetry, with a
particular interest in sound. He is the author of a book on Susan Howe
(Palgrave, 2010) and the co-editor of an essay collection on Frank
O’Hara (Liverpool University Press, 2010). He makes electronic music
and works with field recordings, and has released music on the Winds
Measure, Cathnor, Entr’acte and nonvisualobjects labels.

Redell Olsen is a poet, performer and critic, and professor in the

Department of English at Royal Holloway, University of London.
Her publications include Film Poems (Les Figues, 2014), Punk
Faun: a Bar Rock Pastel (subpress, 2012) and Secure Portable Space
(Reality Street, 2004), along with critical essays on Susan Howe and
Frank O’Hara. In 2017 she published two bookworks, Smock and
Mox Nox. She is a former editor of How2 and in 2013-14 was the
Judith E. Wilson Lecturer in Poetry at the University of Cambridge.

Michael Pisaro is a composer and guitarist, a member of the Wandel-

weiser Composers Ensemble and Co-Chair of Music Composition at
the California Institute of the Arts. He has composed over 80 works
for a variety of instrumental combinations, with recordings appear-
ing on labels such as Edition Wandelweiser Records, Compost and
Height, Another Timbre and Cathnor, and extensively on his own
label, Gravity Wave. His work is frequently performed in the U.S.
and in Europe. Most of his music of the last several years is published
by Edition Wandelweiser.

Lisa Robertson is a poet and essayist. Her publications include

3 Summers (Coach House Books, 2016), R’s Boat (University of
 Notes on Contributors 273
California Press, 2010), The Men (BookThug, 2006; Enitharmon,
2014), and The Weather (New Star Books, 2002), which Robertson
wrote during her Judith E. Wilson fellowship at Cambridge Univer-
sity. Her prose works include Occasional Works and Seven Walks
from the Office for Soft Architecture (Coach House Books, revised
edition, 2010), and Nilling (BookThug, 2012). Robertson has been
the subject of a special issue of Chicago Review (2006). In 2017 she
was the inaugural recipient of the C.D. Wright Award for Poetry.

Jonathan Skinner is a poet and critic. He was founder and editor

of ecopoetics, a journal which featured creative-critical intersections
between writing and ecology. His work includes Chip Calls (Little
Red Leaves, 2014), Birds of Tifft (BlazeVOX, 2011) and Warblers
(Albion Books, 2010). He has published essays on Charles Olson,
Ronald Johnson, Lorine Niedecker and Bernadette Mayer, and trans-
lations of French poetry and garden theory. He is currently associate
professor in the Department of English and Comparative Literary
Studies at the University of Warwick.

Carol Watts is a critic and poet. Her poetry collections include Wrack
(2007) and Occasionals (2011), both published by Reality Street, and
a number of chapbooks, including the When Blue Light Falls series
(Oystercatcher Press, 2008, 2010, 2012) and Mother Blake (Equipage,
2012). While at Birkbeck, University of London, Carol ran the inno-
vative Voiceworks project with colleagues at the Guildhall School of
Music and Drama, bringing postgraduate writers together with com-
posers and singers to produce songs annually performed at London’s
Wigmore Hall. She is currently professor and Head of the School of
English at the University of Sussex.