Five Years: Werewolf Part 2 17-18 October 2026

Five Years. [Werewolf: Making/ Workshop] 17-18 October 2026

[...]

13:18
25 September 2026

Edward Dorrian
to Five Years:

Alex Schady, Anne Robinson, Carol Mancke, Catherine Harrington, Edward Dorrian, Esi Eshun, Esther Planas, Gordon Hon, Heyse Ip, Ilga Leimanis, Jhinuk Sarkar, Laura Nicholson, Marc Hulson, rgm, Rochelle Fry, Rolina Blok, Sally Morfill, Stephen Hennessy,

[Rolina’s having problems with her emails. She’s asked me to forward this text to us all. I haven’t read it yet. Eddy]

.................

Werewolf Parts 1-2 | Werewolf Moons

A collective publication project at Five Years.

I would like to propose a series of in-person workshops with the members of Five Years, culminating in the production of a collectively authored, hand-bound publication to be shared publicly in December.

As a point of departure, I am interested in the opening sequence of An American Werewolf in London (1981), in which two American travellers arrive in a rural part of northern England and find themselves confronted with an unfamiliar landscape, its inhabitants and an increasingly ambiguous sense of threat. The sequence establishes a particular relationship between the foreign and the familiar, between hospitality and suspicion, and between the ordinary and the uncanny.

I would propose that, as part of the project, we watch this opening sequence together in December. Rather than treating it as an illustration of the project’s themes, I am interested in using it as a shared cultural reference — something we can collectively look at, discuss and respond to before returning to the figure of the werewolf itself.

The project takes Werewolf as its wider point of departure. I am interested in the term not simply as a folkloric or fictional figure, but as a conceptual and linguistic proposition: a site through which questions of transformation, embodiment, identity, language and alterity might be approached. The werewolf occupies an unstable threshold between categories, inviting movement between human and non-human, individual and collective, familiar and unfamiliar.

The workshops would use this instability as a generative framework. Rather than prescribing a particular interpretation of Werewolf, I would invite members to produce situated responses through writing, drawing, image-making, discussion, found material, annotation and other forms of practice. The emphasis would be on producing material through collective encounter, allowing individual responses to enter into relation with one another and generating forms of knowledge that may not emerge through individual practice alone.

Following these sessions, Eddy and I would undertake an editorial process, working with the material generated by the group to develop it into a publication. Editing would be understood not simply as selection and refinement, but as another form of collective thinking: establishing relationships, juxtapositions and productive tensions between disparate contributions.

The final stage would return the publication to the collective. We would gather around a table at Five Years and produce the physical publication through a shared, static assembly-line process. Members would participate in the different stages of folding, collating, sequencing, assembling and hand-binding the publication.

This material process is central to the proposal. It locates publishing not solely in the production of content, but in the social and embodied labour through which a publication comes into being. The table becomes both a site of production and a temporary collective structure, in which individual acts contribute to the formation of a shared object.

The publication would consequently operate across several registers: as a collection of individual responses, as an edited constellation of contributions, and as a materially produced object that records the collective labour of its making. Rather than seeking coherence through a single authorial position, it would allow difference, discontinuity and multiple forms of knowledge to remain visible. The intention is to complete and publicly share the publication in December. The project would move, therefore, through a sequence of shared activities — watching, discussing, responding, editing, assembling and binding — with Werewolf functioning as the proposition that holds these activities together.

I see this as an opportunity to use a familiar cultural figure as a means of thinking collectively about Five Years itself: its forms of exchange, collaboration, individual practice and shared knowledge production, while producing a publication that is materially and socially specific to the collective

Shopping list: If people can pls bring ->

Bone folder
A3 and A4 print outs and paper
Scissors
Glue
Anything you can imagine (for mark making)?

Groovy? :)

[Rolina Blok]

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20:36
6 October 2026

Rolina Blok
to Five Years:

Alex Schady, Anne Robinson, Carol Mancke, Catherine Harrington, Edward Dorrian, Esi Eshun, Esther Planas, Gordon Hon, Heyse Ip, Ilga Leimanis, Jhinuk Sarkar, Laura Nicholson, Marc Hulson, rgm, Rochelle Fry, Rolina Blok, Sally Morfill, Stephen Hennessy,

Hi everyone!

Hope you’re all keeping well! I’m very much looking forward to seeing as many of you as possible this coming weekend for our first session of working together on the publication/zine/pamphlet WERE WOLF.

I understand that Eddy very kindly emailed you what I had written up as a starting point, and that some of you will be joining us. I thought it would be useful to share the dates and timings:

Part 1:
This weekend 10–11October 2026, 1-6pm
FIVE YEARS members — Session 1

Part 2:
Next weekend 17–18 October/2026, 1-6pm
Public binding / workshop / making — Session 2

Part 3:
12–13 Dec 2026 TBC
Public sharing of WERE WOLF — Session 3

I have lots of thoughts for Session 3, which I’ll share when we’re together and we can think through collectively.

Things to bring I’m not sure how everyone likes to work, so please bring anything that could be useful. For example:

A4 and/or A3 paper
Photocopies, images or text you might like to work with
Mark-making tools — pencils, pens, etc.
Glue, scissors, tape and other making materials
Laptops / phones if you’d like to work digitally
A bone folder, if you have one

If anyone has a printer that they would be able to bring and let us borrow for the two weekends, that would be wonderful.

I can also hotspot internet from my phone if that’s useful.
Really looking forward to seeing you and hearing your thoughts, and to getting started!

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Part 1:
This weekend 10–11October 2026, 1-6pm
FIVE YEARS members — Session 1

Anonymous voice memos transcription on iPhone.
Edward Dorrian

Werewolf Recordings: 10 October 2026 Five Years

Unedited

01 W-01.m4a (Introduction I.) (4:14)
02 W-02.m4a (Introduction II.) (7:41)
03 W-03.m4a (Introduction III.) (1:21)
04 W-04.m4a (Introduction IV.) (1:53)
05 W-05.m4a (Introduction V. Questions) (10:25)
06 W-06.m4a (Introduction VI.) (36:36)
07 W-07.m4a (Introduction VII.) (1:18)

Editing notes: Edward Dorrian

Correct clear and obvious errors made in auto-transcription.
Correct paragraph formatting lost when copying between Voice Memo onto the page.
Separating speakers? Keeping anonymity?
Attention to punctuation, non-verbal transcription.
Use of ellipsis Full stops, commas, #
‘I know’

01 W-01.m4a (Introduction I.) (4:14)

First Edit

Now recording… and now our behaviour… will be changed… and you know… what I really loved about… you know… you and… I love the way this… this… this… this… project has come about… in conversation… you know… you just see… you know… that… that scene in… in… American Werewolf in London… where they come into the pub… you know… that’s how I feel… this is… this is how I remember you saying that… you know… that sense of crossing the threshold into this thing which… you know…. either I don’t belong or… and I said… Yes… I know… that’s how I feel every time I go into a pub… and even my hometown… especially in my hometown… you know… still absolutely so… that kind of it’s… it’s a… it’s so emblematic… you know… but I… and the more I’ve thought of it… look at it… and when I look at it… and I look at it… it definitely has Five Years written on it… it’s like… it’s a picture of how I’ve always described… these participatory things at Five Years… inside… you’re housed… and when someone turns the corner and they enter into this… thing… and it’s like… I walk around the corner… with the… we are the… we are the little pub… and we are the… this… what you call it… The Slaughtered Lamb…
Yes, that’s why I want to make the sign for outside! No, seriously!
…because… but then also… we are… these people… that are coming in here… because it’s like… oh… how can we interrupt? How can we interrupt this… this… this… this thing that’s going on… but anyway… I love it! I love the puffer jacket
The red one?
…yes… I mean it’s… it’s one of those things where you… because everything is beautifully shot… in the sort of… Yorkshire Moors… everything is a… dreich… sombre… bluey… grey… melancholic landscape… Everything is… all the characters are… all in brown… and then you have this… one accent that comes in…
Well, I really tried to get some of the stills from the Moors on A3, but it wouldn’t spit it out and it’s very frustrating because you know… the opening credits. It’s just like.
…but they’re all quintessentially and actually it’s interesting… because all… all the references are there… I mean, who’s the who’s the guy who made the film? He did… Trading Places and things like that… and of the more famous ones… but… I mean… not without difficulty… especially Trading Places… I think that might have Dan Aykroyd… and Eddie Murphy… is that right? As later anyway… but it’s an interest… it’s the whole outside of… an American view on ‘English culture’… so all the things are all ticked off there… you know… whether it’s the Brontës… whether it’s the romantic… melancholic… or… yes… so it’s such a beautiful romantic landscape that they’re going through as well… I think it’s just wonderfully shot… I love it… that palette anyway… I’ve always liked… maybe it’s a Scottishness to me as well, but Maybe? Maybe!? You not… saying Aye then? Mibbe Aye, Mibbe Naw… do you know where that comes from? no? it’s a great ambiguity… ambiguous statement… is a Kenny Dalglish-ism… it’s a classic Scottish non-committal… but you… maybe not… hmm… Anyway. Do you want to see what I brought as well?
Yes.
What I’ve brought to the table? [shuffles off] Stop. One thing, I was just, I’m gonna episode these things, just to keep them…

02 W-02.m4a (Introduction II.) (7:41)

First Edit

Do you want a tape? I’ve got some tape… We couldn’t put it on the wall… No… I don’t… They all right… These are designed for walls… They were… I think they may even… They know… No… no… no… they’ll just eat four… It’s just……… Ooh… Do you want me to get something? So… I mean… it’s just it’s just fairly straightforwardly… It was the text that goes onto the wall… It’s they’re nine anal pieces which could… Originally kind of start a piece… but it’s just a nightmare to put it up it was that was a performance in itself and it was… And then I sort of pinned them… So what is it? It’s just like turn as you can see is it’s tanks… but I know… that it’s too large to be read… but I was wondering how we were constructing the publication… I like the way you’ve been talking terms of folding and about… Wrestling with the with the material itself and which takes it out of like just… …um a matter of like putting things on the screen and up a bit around about I mean I can… But I… I didn’t… I don’t know you know… when when we were sitting sitting in the British Library and you were you… Playing around in the newspaper and and the ways that you… Been describing or showing or you know… formats for folding… And we’ve already spoken about how much we like the idea of folding as a way of… …um kind of… We didn’t see it like this and I’m all going to see this… but you know… having to wrestle with the publication itself… Yeah… But it’s made up of smaller parts… which then either you know…… You like the folded out in say art… And how do you deal with that? Do you? I mean… I know… that what you were talking about whether you’re stitching it or whether you’re folding it you’re you’re you’re you’re creating a… …ah similarly for for producing editions of… And I didn’t know whether like off cuts forming the basis of the bottom line of something I don’t know whether you would you were talking about drawing into or cutting into… I don’t know… Or just… …um… So there’s there’s one two… three… four… I don’t think they’re they may not all be the same… It’s a change… I’m not a change… One piece… or can you take one out and do something? I think you do or know these… like… these… you can do whatever you want with these ones… These are just one cause I… I genuinely can’t… I’m not entirely sure if I can remember what they said when it says which one which one it’s for… Can I take one out? You can see… No… because I know… you’re really… like… sometimes very precise… No… I don’t depend… I just want to… Yeah… no… no… Put it on the floor and then……… Alright… so there’s one of the ones where… you know…… there’s …um…… No… of course it is… but it’s one of the ones subsect there… It’s one of the ones where the text is has been …um… Redacted… Yeah… There’s a slight… slight… there’s this… but you can see what the letters are so they don’t… They do formulate no new letter forms… but I think it’s… You okay? Yep… And don’t put them on the ball… Why not? It’s too big… It takes up a hole in the small here… …Ah… not just tell you why don’t it just be used on the floor? Just keep it… I’d rather not put them on the wall that actually this this is a thing… They were originally wall based things… but I think I want… I want us to just talk of… Regard them all as …um as objects… so I’d rather not fix it to the wall… By all means fine… put them… Huh? Uh… that’s true… but we haven’t decided… but if if that’s the case… then yeah… fine… Yeah… It’s a stretch… The table… I can’t see it… As much as tables are really offy… I find it quite upset and for viewing sometimes… Yeah… yeah… You know…… because it’s… like……… I want to say……… Yeah… Are we gonna use… um……… things with fun living… for this implication? And that was a big issue… All right… actually… what are we gonna do? Just……… I know… what it was… remember? So… I think there’s a… Don know… Is it? Yeah… One… I’ll take it… …um what’s an E and an A or not being together is not enough… thing that’s going to sense… You tell me a little bit heavier… Five weeks? Yeah… no… And I… I don’t think there’s a name in your phone… If it’s name… it is a fool… the fool one… One… two……… Stop again …um getting back to how DO you think we can composite… Things together… Do we? Try something… Tim’s looking out… You know…… like… one image…

03 W-03.m4a Introduction III.) (1:21)

First Edit

No… Well… I don’t know… I mean… I’m guessing no… I mean… I think this this is more like something I would put together as like… …Ah… you know you’ve got a certain amount of space school we do something come back and put it in a role… Yeah… Join it together… Whereas what’s interesting about you know? Even just what it looks like on the on the table right now is that okay? All the stuff on the table is you right? That’s fine… But if there were other people… I was sort of trying to to to introduce and in the way that you described in the text and the text… I think is a really… A nice… Prime or anime is is that …um? Yeah… I cocked it up because instead of December… I meant to stay October… to watch… I thought it would be £5… I have to film one like this weekend… Okay… it doesn’t matter… It doesn’t really matter… Well… we could do it for next… That’s not the thing that’s that’s that’s kind of an important… I think the thing that’s important is just quite how you’ve how you’ve set out trying to describe what’s going on… Let’s see where is it? Do you want to see?

04 W-04.m4a Introduction IV.) (1:53)

First Edit

Right… …Ah… the project takes the werewolf as a point of departure… I’m interested in… the I in the first person… that’s great… I am interested in the term… not simply as a folkloric and fictional figure… but as a conceptual and linguistic proposition… a site… which questions transformation… embodiment… identity… language… and alterity… alterity… alterity? How do you pronounce alterity? Alterity? alterity… alterity… Alterity might be approached… The werewolf occupies an unstable threshold between categories and writing movement between human and non-human and vision collective familiar and familiar… …um… Yeah… just but where's the bit about the workshop… Would use the instability so you… Yeah… The workshops shops would use this instability… The workshops would use this instability as a generative framework rather than prescribing a particular interpretation… A generative framework… …ah I would invite members to produce situated responses through writing… drawing… image making discussion… Found material annotation and forms of practice… The emphasis would be on the producing material through collective encounters… So this is the thing that really leaps off the page for me… Allowing individual responses to his responses to enter into relation with one another and generating forms of knowledge that would be not emerge through individual practice alone… So I always kind of see it as like this collective undertable dismembering… Fantastic… Come in the right point…

05 W-05.m4a (Introduction V. Questions.) (10:25)

First Edit

[sound of crayon/ pencil rubbing paper on hard wooden ply table]
[Ok, that’s it. Actually… maybe it would be quite good then if you… What we’ll do is we’ll just go around one question each… I mean… It’ll be interesting when it comes to you asking a question of yourself… So… do you want to ask a quick question? Just a one question… and then we’ll go round the table for a wee while until we’ve got a series of questions… and then…]
Well, what prompted this idea?
[Still, you’re asking that to to us… right, we’re not going to answer. Ok. So it’s… but it’s that… that’s the question? What prompted it?]
Who can be involved in this?
[You’re not answering it. It’s just. Yeah, no, but it’s a it’s a kind of a rhetorical thing… It’s like you know for your sake… We’re trying to figure out what this thing is… It was always described to me as this… it’s… it’s at the stage of the project where… you’re… it’s not quite sure what it is… which I quite like… I like that bit… that we can keep that bit as long as possible [laughs]… but right… keep it brief…]
How do we work together?
[How long are we doing this…? We’ll do it for about ten minutes? Ok?]
How do we know how to evaluate this?
What’s the basic format of it? Is it a printable thing or is it an online thing?
How do I make people trust me?
[Trust you? Yeah.]
How do we know what to contribute to?
[I’m gonna have to say… well…]
Why are you the person that we have to trust in?
Why does it matter?
What do you love about this?
[What do you love about this?]
Is this activity… can this… be in incorporated into the… thing… the publication… thing?
What is our predominant colour?
[laughs]
How do you communicate to a public, what’s going on?
In terms of the Scene from American werewolf in London, where the two tourists arrive. Where’s the public and that? [laughs]
[I didn’t so. Can I speak on that? Nearly done. Are you done yet? No, no, I don’t work. Ok.]
Can we bring children?
[Where’s the public in that? Funny? I wish I could answer that question because it’s been many, many, many years since I’ve seen that film and therefore I’ll have to throw that question back at you… if that’s a question? It’s not a question to you. Yeah, no, no. Right now, anyway, you don’t have to answer it, no, it’s fine. Just. Ok. I was trying to... work out what the... I was still trying to grasp onto that question.]
Can I do some drawing?
[Yes, you do. Ok, well, stop them. Oh, no, no, no. Well, well, we’re all comparing. No, it’s usually. No, it’s just, it’s a it’s a kind of… it’s just it’s quite a… So you don’t want me to draw while we…? No, no, no, colouring. Well, just though, maybe, ok, each of us… [laughs] all right… What was your question? What was the last question? Oh… can I draw… Can I do some drawing? Can I draw while I’m doing this? Well, it’s any colouring like she’s doing? I’m not going to get into… What is drawing? Well, you’ve had how many years? Eight? Oh, since… my first degree… Um… I don’t know, actually I can’t think of the kind of questions. How? How do we again? I think it’s a… it’s a similar question to one of those previously…]
How do we composite… in a publication… our disparate… contributions?
[One last or? Can I have a break, Yeah? [laughs] No, no, no, I’ve got one final one. Oh, you have it? I have a final. No, I like it when you get the bit between your teeth. I have a book. It’s called Witches and Werewolves and Fairies. Ooh. Shapeshifts and Astral doubles in the Middle Ages. I like that theatre. That’s a French translation of someone called Claude Lecouteux So, I was wondering if someone wanted to borrow it. I mean, if it’s allowed to be here, would you leave it here for the week? Yeah, I could leave it here for the week. I just refound it this morning, so I haven’t reread it. Are there excerpts that you would wish to… I would, I would gladly, as I say, I have not read it for fifteen years… That’s fine. Yes. Ok. But I would happily open up a page at random? But this is has to be a question, though, so ok, we can come back to read it…]
Would someone like to read from this?
[Right. Ok. Not at this particular instance… but yes…]
Does the publication only work with the activities that are happening within the space or on this table?
I would say no. No, you don’t have to answer. I’m not asking you. Sorry, I thought we’d finished. No? All right, are we finished? because I don’t mind… Not necessarily… You can keep talking. No, no, there’s always somebody wants to get the last… Somebody always wants to get the last word… You in other words! [laughs] No! I’m… I… we’ve got… no. Hey! There are three of us around this table or...? Yeah, but that’s the thing, isn’t it? Because when you’re in twos, you have equal... No, no, that’s exactly why three is much, much better. You think so? Yeah, exactly. Ok, keep going. More questions? Ok… [laughs]
Is this going to be a little publication?
[Like these are the little ones. What’s little? Good question. Yes.]
Do we like the moon?
[The moon? Yes. Oh it’s your turn.]
How personal can we be with werewolf… type?
[ok, here’s an editorial question]
What can’t be in this publication?
[Interesting. What is not allowed? I have words for that one before, but it comes with a very bad story. Alright, was that a trust question? I don’t know. Anyway. When when can we start answering these, by the way? When you want to stop this part. Oh, I see. I’ll write these all out and it’ll be… I would like to put this into the publication… I don’t need to… well, you can put your name to it if you want… Ok, so as soon as we finish this particular part. So whoever wants to have the last word? That’s it? Asking. I feel like I know. I thought your last question. Moon. The moon. Especially as there’s no moon today. Oh, ok. It’s a moon free day, ok. Yes, I’m redacting the sky, it’s quite exciting. So yeah. So is that the last question? I think so. Yes, I think it’s a good last question. Would you like to have the last word? [laughs]

05 W-05.m4a (Introduction V. Questions.) (10:25)

Second Edit Questions:

What prompted this idea?

Who can be involved in this?

How do we work together?

How do we know how to evaluate this?

What’s the basic format of it… is it a printable thing or is it an online thing?

How do I make people trust me?

How do we know what to contribute to?

Why are you the person that we have to trust in?

Why does it matter?

What do you love about this?

How can this activity [making process] be in incorporated into the publication – thing?

What is our predominant colour?

How do you communicate to a public, what’s going on?

In terms of the Scene from American werewolf in London, where the two tourists arrive. Where’s the public and that?

Can we bring children?

Can I do some drawing?

How do we composite – in a publication– our disparate contributions?

Would someone like to read from this?

Does the publication only work with the activities that are happening within the space or on this table?

Is this going to be a little publication?

Do we like the moon?

How personal can we be with werewolf… type?

What can’t be in this publication?

06 W-06.m4a (Introduction VI.) (36:36)

Second Edit

What? Did you see the new photographs of the moon with the hiding cameras where they can keep up on different particles of how lives are practising and it was actually really colourful… It’s just our eyes… Because they tried to bring printouts with that… but I did not see they could all get black and white… It’s really quite special… It’s… like… green toms and… These are real… what? How do our eyes? Why do our eyes? Those trains are quite difficult… No… I’m not… I’m not… I’m not… I need a highlighter… So Eddy… sorry… I mean what you were saying… Uh-huh… Is there any way that you could rephrase? Resend… What’s bing? What’s the pain? It’s the man with the printer coming to drop it off… Yeah… he’s on his way… Oh wow… You know…… I’ve tried to put in the email… someone has a printer… and one of my students was like… do you want it? I said… yes… So he’s… I’m gonna bring us so we can print in real time because I know some people like do a little digitally as well… Borrow or B… I think maybe if he’s very lovely… let me just have it… So cool… But yeah… okay… you… Sorry… sorry… Right… no… you were asking about… do I like them? And I do… but I over the last… I just noticed that it resembled… A singular eye… …Ah… but it’s also caught in the wrong direction so it always looks …um… Because it’s like… Well… it’s like all those occasions where you think somebody’s looking at you or you’ve got those or those those you see a face… It’s one of the reasons why I can’t… I’m rubbish at taking drugs… I feel very suggestible to to images like that and as soon as I see the face that’s looking at me and and it’s with the eye of the moon itself… it just is… So… The moon itself is an eye… Yes… Yes… it’s part of the larger face hiding behind the rest of the sky… And what’s really disappointing is that and as I say… I loved it… I always… I think it’s a still beautiful thing to see… but I just …Ah… no… no… no… Not that long… It wasn’t… it was not like a childhood thing at all …um… I think just just once I noticed I could not notice it again… And maybe in my probably maybe even in my 50s maybe in my 50s… Okay… so is it like your book? A long time ago… A long time ago… Sorry… I do know… I know… Is it is it this bulbous bit here? That’s like the art? I can see it… No… My phone calls apart… No… it’s just it’s always at an angle and it’s… it’s not full… The film in is fine… I can see all… The man and the creators and stuff and that’s lovely… And it doesn’t look like an eye… but it’s just it just looks like an eyelid and then it’s kind of I think it looks it just… Yes… it’s sinister… Whatever sinister means… So it looks very life-handed… Devilish of the devil… I have to confess… I cannot picture what me… I can’t see this in my own head… Fine… well… no… no… no… it’s not… it’s not… it’s not a… No… but I just… I have like a very skinny moon sickle in the sun… No… it’s just whatever it is… it’s somewhere in the landscape in the landscape it’s hiding… So the sky is a like an old poetic… Kind of renditions this or yeah… I don’t know who is it? Walter de la Mare the moon is a ghostly galleon greasing cross the sky blah blah blah… But you generally it’s… it’s it’s… it’s fairly… No… so it just looks like it’s peeking out from the vastness of eternity… You know…… Not like in the stars… not like in the way that things look like an empty void and this one’s pretty close up… Does it remind you of a deity in England? It does sound like it… doesn’t it? Yeah… Only deities are very big… I don’t know some ginormous figure that is that sees all got is getting washed there… Did you sleep into your nightmares? Uh… no… it doesn’t… The things that seep into my life… there’s a if we’re on the subject of night… …Ah… you’ve come in again …um… Mother’s fathers… et cetera… no… it’s not… It just is a waking one… It’s just looks like it’s …ah the there’s there’s this… …um… The veracity of the actual image in the and especially when it’s at night time where things… Yeah… yeah… yeah… Which is I guess one of this is all… Powerful evocative… Not guessing about it… Can I see those cards again? Yeah… So… so you are able to thank you… Oh… I see… Can you see that? Yeah… I can see the colours you know… that… that looks like it’s …um… So it’s mineral composting… It’s the image stacking in colour saturation… boosting to reveal hidden mineral compositions that look great to make it up… Yeah… So… if you’re on… if I should move… national CBs… I think it’s an imaging device… isn’t it? Through interacting through the lens… but it’s Artemis… the 2nd from NASA… that crew is using the concept nine… Border spacecraft… The double… Yeah… the… Yeah… I like the double… Well… I don’t link… I’m not sure we’re kind of reassured and double somebody else is getting the blame… Okay… I quite like… um… I really like super millions… and they seem to be… like… um… natural around them these days… In a way… I don’t understand… When I was growing up… once we sleeping in… I didn’t quite know what’s going on… You go on purpose to like somewhere really high up so you can see them… Why would you go hang up? Because it’s quite difficult to see the horizon in London… Yeah… Near the horizon… cause it’s nearest to us when it’s low… you know…… so the name like Primrose Hills is really good for Super Bowl… Yeah… but I did… because I think I live in an actually hilly bit of London… Ooh… And so……… But the Superman’s……… They need to slash that platoon… So they’re a bit… you’ll see style… Yeah… and there are bits where the supermoons as far as I can look… hang me low… really low in the sky… So you can see them above water… especially when they’re almost like… you know…… it’s really……… I think that’s the… isn’t that the… it’s optical effect is that as it rises… and the proximity to… to the objects that are in the foreground… it does definitely look super ginormous… Yeah… And as it gets into the top of the height… the height of it’s that doesn’t have you don’t have the same things to reference off of them… That’s why it doesn’t quite look as super dynormous… but it’s just when it porks out of that and actually it’s when you notice it moving as well… when it’s low and as it comes up… …um he’s a cold mate he’s really travelling quite fast… doesn’t it? Yeah… that’s another thing on there… Was it always like that? No… it’s new age… It all good really fast… It all on speed… Somehow… there’s something going on with the astronomical… Make-up of my back of my eye… yeah… Yeah… but your version of talking about seeing the movement really dumpy and poetic… I’m just not… It was really bad as I thought a really embarrassing story… but if you don’t… No… no… no… no… They don’t come out… Are you going to stay? Yeah… go on then… So……… Do you have a pair of scissors? I have… Okay… So……… Finisbury car station… when you come up to the sort of on set of sisters road by the bridge… then we’re building a new hotel… In the amount of time… there was a big logo on… but the logo has not been installed yet… And it was… like… the traffic light… and then I’d come from the pub from maybe… like… a private view or something… And quite inebriated… And I looked over and said… oh my God… The moon is enormous… Wow… really impressed… And it was actually just… like… the premiere in logo… And since then… I can’t look at a femur in without laughing… No… no… no… This is it… Once it’s there… you do……… There’s no getting away from it… It’s so cute… And we’re all gonna die… No… no… it’s fine… It’s September in… it’s okay… Yeah… That’s cute… So they took it down now… so it’s a different hotel… It’s a very……… I think it’s okay… Bring it back… Oh… I have a main story… I uh… I was going through a period of intense growth… Okay… I can create a church… Wow… And I was seeing this… and I remember… I said to her… I… I dread last night… that I was howling in moon… and… um… I was… sort of… I looked like a wolf… and I was howling in moon… and it had to be my mother… pulling up her mouth… and she said… You were a wolf… I was like… to kick down… I was like… Okay… that’s pretty cool and yeah… that’s the only… You wear a wolf? She said… yes… You were… Wolf… You were wolf… You were wolf… Exactly… It for me… Oh… my God… I’d somehow shapeshifted in the middle of the night in the common roof… How are you going? Proper how? Proper… Oh… how? You a werewolf… I could see the sort of moon… I was like doing a proper……… I’m good… it was it was really painful… ‘cause it was about looking for my mom… We somehow didn’t appear… So it was a really painful experience as well… But somehow… in the shape of the week… for reasons that were extreme… But… um… yeah… everything said… I think… was quite good… Right… right… right… right… right… Do you want some blue? No… see… this is the thing… Okay… All right… Can we work out what we mean? Is this? Is it this seem? …Ah… Are we doing a collage? Maybe… Right… Do want to? I don’t know what’s a bit about? I see this is why I was describing… I was when when you were when I was sort of reading out bits that I thought well… From from from what had been written… Yeah… about allowing individual responses to enter into relation with one another and generating forms of knowledge that may not emerge through individual practice alone… …um …ah and this one down here editing would be understood right? Following these sessions… eight and I would undertake an editorial process… I’m I’m …um …um a big question over… Yeah… so you said you don’t want that… so that’s fine… Well… an editorial… uh… Eddy’s Torial… …Ah… an editorial process would have to be undertaken anyway so that’s that’s part of what we were questioning anyway working with the material generated by the group… So this is what we’re doing… We’re making… Well… we’re working with your material… Right now… As it stands… Yeah… yeah… yeah… yeah… By the group to develop into publication… right? Editing would be understood not simply as selection and refinement… It was a good one refinement… But as another form of collective thinking establishing relationships… juxtapositions… and productive tensions between disparate contributions… I love that… I mean… I would… I would put that on a T-shirt… I’ll make you a tish food… Send me the frozen… It’s okay… you didn’t insist… But another form of collective thinking was even if it was thinking anyway… but establishing relationships juxtapositions and the productive tensions… There’s juxtapositions… Productive tensions… disparate contributions all these words… So this is about the thing about glue and and positioning whether you know… you fix things down… And are necessary or whether there is a… …Ah… an ongoing… Yeah… I really need to get early to fix anything… Awesome… Well… there are two ways of looking at it… I don’t know either it’s not or it is… If it’s not… the best things have happened the first time everything else is super… No… I’m gonna say no it’s I guess or else… Yeah… the first ideas of probably shouldn’t you want to get rid of them but so I don’t know… But it’s just this thing about what I like about the juxtapation and… I’m wondering whether that… The question about an editing process is where does that begin and end? Where does that begin and end in terms of publishing or is it a reading? Aspect as well as a real quality of… Readership that… that incorporates just that thing that’s that’s being described about… That’s where the collective thinking is that’s where the establishing of relationships is… That’s where the juxtapositions and productive tensions and disparate contributions are… In the continual making… not just for us with the with the with the big with the tools… but that’s where the question the public or the reader or… How that dynamic is understood as well… And and I just kind of wondering about this… yeah… no… I’ve lost it now… It was this… Yeah… …… oh no… he’s back… Well… that’s why… Yeah… no… absolutely… Constantly… No… no… no… absolutely… No… you wrote this and the the kind of terminology of… Of college of of montage of of juxtaposition of movement between disparate… Occurrences you know… in in play all these kind of words are really fruitful for considering how we what was it? One of the questions that you may have asked was… What does how does the public understand? What is? But so it’s about presenting the the… The occasion of of reading this… which is it would it be useful to? Think about it in terms of how we’re making it as well… I don’t know is this continuation of the process that takes out of just our own… Okay… Rem up… These images you put… yeah… Yeah… just kind of one… What? Like why would choice be interesting to what you want doing? So… I didn’t know who was coming here… or what people might bring… and I thought… would you have something to work from? Mm-hmm… Just as a starting point… I have no expectation of any of them to be in use… but I have certain ways of doing demos… so for different types of folding… printing certain things more than once… I can show how that can happen in a page… You don’t have to fragment an image if you don’t want to… if you have doubles… but you can in a black space… what that means… Instead of looking where tension sits… and some of them are smaller on a page so that they can be either cropped or have annotations around it… They just wanted to see what people might draw or what might come out… And I had a full set of these bits still from a previous work… which I thought… oh… they’ll sit quite good on the dark bits… Because they did try to get as much black and white out… so the colours will sing… but I couldn’t find my post… There was… like… maybe for marketing those… because I didn’t know who would bring water… Okay… okay… But some scissors… some glue… bone folders… got needles… you can stitch on paper as well… which can be cute… You know…… so this is just the amount that I’ve brought in… and my student is coming with the printer… so that you can’t print new stuff in the space as well to generate… so… There is a case of… as you say… in college… If you like… you know…… you can slice collage… terror part… simple drawing… not engage with it at all… You know…… like… I just think it’s quite good to have something physical around to play with it… a process thought very well if my hands are busy… You know…… No… absolutely… I think it is what you’re describing it is what’s happening on the table… It’s just the question of inputting as much disparate material the contributions… Because I didn’t know what it would bring… right? No… you haven’t done anything together yet… so I just wanted to see what people choose to do… Can I ask why you’re putting things on the wall? Because I can see it… And also… the actual material… the whale of movies… that you brought from… obviously… you mentioned the……… The specific one that started this whole… as a wise chose… werewolf… Let it go… Did they have a very bad picture of this film itself? So… this one? No… I do have one bad image of them stepping into the tub… All right… Tottenham Court Road… Maybe under… Oh… I don’t know where it went… Anyway… fine… Yeah… And the boys… that… that… while it’s normal… so yeah… opening scene… America… In London… the two of them step into the power… and everyone just turns around… or something… just really powerful about that skin… And you stay with me… Yeah… From……… No… I think you’d……… But you describe it and this is what you describe it to me and that’s how we sort of set about or… As a point of departure… I am interested in the opening sequence of an American werewolf in London… In which two American travellers arrive in a rural part of northern England and find themselves confronted with an unfamiliar landscape… Its inhabitants and an increasingly ambiguous sense of threat… The sequence establishes a particular relationship between the foreign and the familiar between hospitality and suspicion and between the ordinary and the uncanny… Now… I keep on thinking that’s Five Years… isn’t it? So which better we are we are we the hosts that? …um… We’re we’re this one now we said we are the pop… Yeah… Yeah… yeah… yeah… yeah… So we… I wanna make this big… I mean… even if we weren’t going to say Five Years… I mean… is it sort of like a question of community… isn’t it? We read the passage… you mind… Yeah… As a point of departure… I am interested in the opening sequence of an American werewolf in London 1981… In which two American travellers arrived within a rural part of Northern England and find themselves confronted with an unfamiliar landscape… Is inhabitants… And an increasingly ambiguous sense of threat… The sequence establishes a particular relationship between the foreigner and the familiar… Between hospitality and suspicion and between… The ordinary and uncanny… obviously I’ve emphasised between them… …um and I think… The I think it’s a great deal about… I mean how this thing’s been organised a collective publication project at Five Years… Also known as the slaughtered lamb… But you know…… but it’s interesting how… I mean… the ideas of community or you know… DIY about people who are collectively organising things about how… About how to be how can can be read because you know… like some of the questions you were asking was about… Well… how what do other people who are not invested or not? Paying the subs or you know… what’s it for me? If it’s just a you know… the usual old thing anyway… And that’s why it’s kind of interesting to get towards you know… this this sort of… The kind of ambiguous sense of threat and the relationship between hospitality hospitality and suspicion… I like hospitality… Hospitality… isn’t it? You know…… we’re absolutely hostile… Well… hospitality… No… hospitality… Hospitality and hosting and……… But very good… Yeah… no… but the hosting thing is really important anyway because because it’s… it’s the relationship between you know…… That much gifts and also the parasitic of things which kind of… Takes now if it was if it was if we were thinking about Five Years as a… T shirt right there… Is that it? Because that’s a dog… not the scary… and that’s hospital… Yeah… I don’t think it’s ambiguous… though… I don’t think that’s ambiguous… It becomes ambiguous with the world… I know… no… it doesn’t… It just makes that… He’s funny… Okay… No… I think there’s much more game… nuance… Entrapment at least… you know…… something… a lure… you know…… rather than… yeah… Well… you don’t want to pet it… Huh? You don’t want to pet this dog? No… you know… I’m a cat person… So? No… I don’t want to pin the dog… cause cause when I’m walking past… For dogs… I… I can’t in any way so try and pretend that like that’s what I love dog what a lovely dog… I just have to like you’re not there… And then… in that way… they don’t even say …oh yeah… I’m bringing people come come up with a conversation but… I know she don’t have this yapping dog sort of trying to borrow you and mean sliver over you… I don’t mind dogs don’t get it wrong… but you know…… For the record… But no… I think there’s something kind of is really interesting about …ah… Yeah… the kind of ambiguity between… You know… …uh-huh… Hosting had been posted upon… Yes… Are you still recording? Yeah… I’ve seen it being hosted… Yeah… I’ve been thinking… Um… yeah… But that’s… but it’s also the kind of it feeds into all the productive tensions… …ah between disparate contributions… That ambiguity because the you know… whenever you talk about contributions… And less so about juxtapositions when you’re thinking about contributions… you really are thinking about community and about the tribute that you’ll have to pay to be part of that community… So the kind of social contract bit… you know…… and this is what you… …um… You know… it’s not a little bit …oh this is great you know… it’s like it comes AT the cost price… Whereas immunity… I suppose you know… the thing that doesn’t get is outside of that you’re not… You’re not beholden to the protections… But it does leave you exposed to all sorts of… Contagions… Yes… Contagions is a good that was sorry that was the word I was thinking about when I couldn’t remember the one that the sally kind of comes up which is nice… About about damn ambiguity in relation between things about about how things are affected by other people and contagion is a… Is a funny one… I like all that… but… And some great deals being made about embodied hand bound publications… And then the word sharing as well… I think sharing is a really nice is a really interesting about you know… taking part and divisions between… The hours and layers and and it it plays really through all the productive tensions between disparate contributions… So that’s it that I know we always make an awful lot about of a kind of how we are allowed to interrupt… Am I right in thinking that deserve to think about a different conversation? …Ah… the rupture stuff so with with …um a lot of creative practice… …um… I knew I’d get somebody to acknowledge… I don’t know… collectively awesome… I mean… I don’t I think it’s… it’s the great lexicon of woods that you’ve used which I like a big massive tick box for me… As to… You know… that’s even before we get to discontinuity… multiple forms and knowledge and the remain invisible… This is great… I love it… But it’s so all the tensions are in there already in the in the is this this this kind of? I would like to propose a series of in-person workshops… I think it’s great …um… Fine… so we know that we ordered that’s a new known… But right now… what we’re doing is we’re working into Europe into the material you’ve you’ve… You’ve brought in as a base as as a as a ground and to walk onto… Yeah… that’s the contribution I brought… Yeah… So it gives us an ideas… this is why we could scope over the generation of the two weekends… …ah to think all right… …ah is this about bringing all even more different things and enforcing them to be? Into… To play together… Maybe… It would be interesting to see what people bring… Like… you brought these… but you told me I can’t put it up… Yeah… no… I get them now like that… Yeah… no… I’d like to… what is it? When we were describing about… about folding into folding out… so then you were talking about… is it a small publication? Is it a small thing of a larger part… or is it a large thing that can be different… gives detail? I don’t know… But …ah… The table is too small… but for the for the vast array of things that are being brought… but I kind of like the table… I like the glass surface of the table as a way of of having to although things get lost… To shuffle things together… but I was wondering myself how in the end of the world maybe this printer will come… Right… this printer will come… so therefore we can actually you know… have a have a photocopy in the room… It means they’re making… Yeah… yeah… yeah… How is the restless? It’s a bit like… you know…… most people that sit on the photocopy of to go to popular …um bombs… How do we get our stuff onto it? Is that? …oh WHO is IT? Well… if I’m bringing a photograph… you’re someone else can bring a computer maybe… Yeah… yeah… yeah… no… no… no… no… I’m still thinking till we could… And this is the real… this is the question about juxtaposition to fixing and then and then in the in the work… I think is it not colage refers to glue… doesn’t it? I mean… it depends on sort of which line of thought are you… we’re going… because we’ve called articulas assemblage… A celebrate none of it… It’s a good… So I’m really into Arjun… Right… All the Ashes… Just explain that one… Oh… the asses… I thought we were like the D’s? Like them as well? Yeah… Deez nurses… Hello… Eddy… So… yes… all of the above… Yeah… yeah… yeah… Oh… you know…… the thing… like… oh… do… do you like… I don’t know if you say it like that… I’m gonna say it in remaining… and you’re gonna figure out who it is and talking about… Okay… Cristantesara… Yeah… Oh… yeah… yeah… Okay… No… no… no… no… no… No… absolutely… absolutely… absolutely… absolutely… Yeah… yeah… yeah… yeah… Da da… da… da… When working with a new group of people… they tend to go to Mr… Desara’s family… Yeah… yeah… yeah… yeah… I try… That… that seems to be kind of……… I like me some pizzara… Yep… Okay… that’s duly noted… Yeah… they’re just sort of… you know…… go to……… And the more the area… I guess… Hi… Tony and Jo… just because……… She’s good… Mm… Mm… You find a bit while you’ve been talking… So… this is… …um… this is one bit that just… yeah… it… Commigo… and others… So… start from the story… and it’s called the Werewolves Cruise… And it starts with a story… which was recorded between 11… 16 and 1117… What in the morning? AD and it’s this …Ah and it’s in France somewhere… So here’s a summary of the text that was recorded so this book is all about legal… Got kings… I love……… Yeah… yeah… yeah… yeah… yeah… I love these ones… In the 90s… isn’t it? French mediaeval era… even when it was written… I don’t think it was… This is written in teeth… yeah… 1992… but it’s not okay… I did look that… Oh… right… So it’s about the unfaithful wife… the knight… tried to rid her son… her husband… he changed regularly into wolf… When she questioned him… he said that …um… He becomes …Ah become paraphrasing he becomes a Wolf a beast club… right? When he’s unclothed… So… and she said… where do you leave your clothes? And he said… if I lose my clothes… I’ll remain at this clever thing… or wear will forever… Um… and it would be uh… my misfortune would be irredeemable until my children are given back to me… So the wife… with the help of her love… steals his clothes… and it remains a little forever… You may as well… So one day… the king meets the wolf during the hunt… and intrigued by his human behaviour… adopts him and takes of that to the court… And then he very quickly guesses what the truth is… because he sees how the wolf is behaving with the adulterous woman… and her accomplice… So the woman is ever forced to give back the clothes… But then sort of she still had them… She still had… She still had the blink bird… burning the clothes… Yeah… And sort of somehow the clothes are put back on the man… the transformed back into himself while he was sleeping… But it says… a little bit later on in the wicket says… In what way would the loss of clothing be a hinderance to the metamorphosed… returning to human form? You close carry magic power… certainly it’s fair to assert that we take off our clothes needs to rid ourselves of our human nature… But in this statement… are we help remaining on the surface of the 1st level of all levels of complexity? On the other hand… if we admit… the body remains lifeless while we double travels and more form… we discover the clothes are… in fact… the substitute of the body… That is why they must not be touched… That is why… putting them back home in person… keep them again… What I’ll say is that the same rational act is the mediaeval and clerical… in the word… Christian vision for the return of the zooomorphic alter ego to the body… Oh… so there’s through several different sort of connotations… There’s one thing that says nothing… But this is kind of got me about this thing slash body slash clothing… And what if you……… What culture is the story from? It’s from France… but people from France… But I think it roams all over the place to other places… See… that’s what the moon looks like to me… Ooh… side blocks… It’s coming from… yeah… Like the cyclops love… Does it interfere with these? Yeah… nice… Nice… Does it interfere with your sleep? magic… Eddy… does it interview with this sleep? No… and I try not to… I kind of think Eddy does just… And then I forget about it… Once I’ve gone indoors and the moon no longer there’s looking at me… That’s kind of room… Yeah… know… I’m resisting… Yeah… I know I think you need to… what’s his name? Who’s he? The man who does that? John Stezaker… He does that doesn’t he? He has brilliant anything? It’s just as the simplest combination of two things… Yes… but he’s funny because he said to someone once that if you send me a picture and I use it… you can have the piece… And all these people were sending him pictures… and he’d never used them… ‘cause he didn’t like what they were sending… He only ever did it once… and he won’t reveal which one it was… Yeah… that’s right… But he has a wonderful theory about… uh… drag queens and hands… Drachkins are friends… Yeah… so you would talk about how he can sport from Billsville… Yeah… If the person was secretly a drag queen… the black and white country was watching? Yeah… girl… wow… You wouldn’t reveal it… but he said he knows… Oh… Okay… What? What you could see?

07 W-07.m4a (Introduction VII.) (1:18)

First Edit

Actually… could you just see that again? Oh God… no… I can’t… Okay… because……… What was I saying? The individual contributions… ‘Cause I was wondering whether… because you when you were looking at folding and putting into… Folders… …um and how much of this is to do with creating a portfolio or how much you know because the stitching is the thing that fixes the… The um… Over the out of the old bit of… But is it and you know people don’t really like having this thing at all? Oh my God… you take off and it falls over the place… but sometimes that’s… Is that is that something that you would like to do? We would entertain… I think there’s a balance to be struck between the two because it needs to be able to be done by members of the group… I not doing it alone… So that… Oh… God… no… no… no… no… You know… I don’t know how dexterity in terms of how to combine and how much patience they have… No… no… no… no… absolutely… No… we’re talking about… We are talking about collective…

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