Emily Orley

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The Creative Critic: Writing As/About Practice
An edited collection with Katja Hilevaara
Routledge, 2018

An edited collection of creative-critical writings that brings together a range of examples of how to think and write about one’s own work in creative yet academically rigorous ways. We explore how to discuss and analyse our own work, or work that has inspired us, without compromising the creative drive that inspired us in the first place. With a foreword, afterword and middlewords by Jane Rendell, Peter Jaeger, Maria Fusco and Timothy Mathews respectively, and over thirty contributions by leading researcher-practitioners and emerging artists alike.


 

In the Emptiness Between Them

A site-writing in response to a sound installation by Ella Finer

Where We Meet Volumes 1 and 2Galerie8 

London,  September 2012


Twelve speaker boxes played back twelve voice compositions which sound artist Ella Finer had created over a twelve week period in the Gallerie 8 space. The recordings included singing, conversation (both scripted and incidental) and the building's own natural sounds. I composed a Jane Rendell-esque site-writing in response which was displayed alongside the installation.


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Photo © Kitty Walker

 
A Methodology of Locks 
Chapter written with Ella Finer and PA Skantze published in Poetic Biopolitics: Practices of Relation in Architecture and the Arts, edited by Peg Rawes, Timothy Mathews, Stephen Loo
I.B. Tauris, 2016

A creative response, that began as a performance and ended as a written chapter, to current conditions (disaster) in which there is productive interaction between performer and performer and spectator and performer.  A call to arms/a call to imagination. First performed at the Sexuate Subjects: Politics, Poetics and Ethicsconference at UCL in December 2010 and again at the (Re)Branding Feminism conference hosted by the Institute of Germanic & Romance Studies, London in March 2011.
 

Meme 1 & 2

Two dialogues in images with Elinor Brass

London, 2008-10


An experiment in memetics, where we transmitted information in a visual format and left it open to re-interpretation by the recipient.


The project involved two web-based dialogues documenting the discovery and response to the new places in which we found ourselves, following moves to opposite ends of London. The dialogue took place solely through images, which we posted online. We exchanged images with no text and responded within an agreed period of time. Each image was a response to the previous one, and referenced our location at the time. The result became two series of visual correspondence, referring to the places (geographical and poetic) in which we were dwelling. The first series lasted a year (2008-9) and the second six months (2010).