Imogen Reid : Work in Progress

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In obstructing the reader’s ability to draw on his or her established reading habits, and effectively resisting passive assimilation, each text aims to draw the reader’s attention to the structures that usually underpin conventional reading practice; to the material properties of the printed page, and the margins that surround it, for example, the running headers and pagination, to paragraph length, side notes and the tactile qualities of the paper itself, etc. Utilizing visual technique to cut across and alter the pace and line of reading/speaking, each text effectively encourages the reader to physically engage with it, to feel the halting sentence structures, to experience the unexpected variations in vocal rhythm and intonation generated in the reader’s encounter with it. In so doing each text aims to incite alternative, interactive, embodied forms of reading/speaking practice."

Imogen Reid completed a practice-based PhD at Chelsea College of Arts, her practice being writing. Her thesis focused on the ways in which film has been used by novelists as a resource to transform their writing practice, and on how the non-conventional writing techniques generated by film could, in turn, produce alternative forms of readability. Among the writers explored during the course of her research were: William S. Burroughs, Alain Robbe-Grillet, Don DeLillo, Marguerite Duras, and Michel Butor. Her work has appeared in issue three of Partisan Hotel magazine, issue five of LossLit, and in 3AM magazine. She has work forthcoming in issue nine of Gorse Journal, and in issue four of The Projectionist’s Playground. She is a member of The Reader’s Union at Copy Press.