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Rosanna Mclaughlin
Rosanna Mclaughlin is an editor at The White Review.

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The Pious and the Pommery

Essay

Issue No. 18

Rosanna Mclaughlin

Essay

Issue No. 18

I.   Where is the champagne? On second thoughts this is not entirely the right question. The champagne is in the ice trough, on...

Essay

April 2019

Ariana and the Lesbian Narcissus

Rosanna Mclaughlin

Essay

April 2019

‘Avoid me not!’ ‘Avoid me not!’                                   Narcissus   Let me describe a GIF I’ve been watching. A lot....

Painter, performer, poet, writer and mystic Brion Gysin (1916-86) was an early prophet of our age He was a pioneer of the cut-up method, a technique that in many ways anticipated the internet’s impact on the way that we break down information and ascribe meaning to symbols and words   His innovations include early sound poetry and a scientifically-researched device known as the Dreamachine Despite forging a creative practice that would influence some of the twentieth century’s most important artists, from the Beat Generation to Bowie, Gysin has slipped into relative obscurity His anonymity is in stark contrast to his lifelong friend and collaborator William S Burroughs, whose Naked Lunch became a countercultural bible and must-read for any teenage recluse Gysin was born in England to Canadian parents in 1916 He was introduced into Surrealist circles while studying at the Sorbonne, and after the war accompanied Paul Bowles to Morocco It was there that Gysin met Burroughs The two ended up back in Paris together in 1958 at the infamous Beat Hotel Their experiments with the cut-up technique, in which words and phrases are literally cut up into pieces and rearranged to disassociate them from their received meanings and reveal new ones, culminated in Burroughs and Gysin’s The Third Mind, a book-length collage manifesto on the possibilities of the practice From the late 1950s to the early 1960s, Gysin’s style manifested itself in a series of calligraphic paintings and drawings that he produced in Morocco Fluent in written Japanese and Arabic, Gysin’s script-like canvases represent an attempt to fuse writing and painting into a single complex system of mark-making He used a grid formation, making marks from top to bottom as well as right to left, to create a dense pattern of abstract language Circa 1960, Gysin collaborated with Ian Sommerville, a mathematician and budding computer scientist studying at Oxford He and Sommerville were attempting to computerise the shift and change of words and sounds, naming these experiments with printed words and magnetic tape Permutations Works like ‘Pistol Poem’, comprised solely

Contributor

July 2016

Rosanna Mclaughlin

Contributor

July 2016

Rosanna Mclaughlin is an editor at The White Review.

Ten Years at Garage Moscow

Art Review

November 2018

Rosanna Mclaughlin

Art Review

November 2018

When I arrive in Moscow, I am picked up from the airport by Roman, a patriotic taxi driver sent to collect me courtesy of...
Becoming Alice Neel

Art

August 2017

Rosanna Mclaughlin

Art

August 2017

From the first time I saw Alice Neel’s portraits, I wanted to see the world as she did. Neel was the Matisse of the...

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Interview

Issue No. 1

Interview with Will Self

Jacques Testard

Interview

Issue No. 1

Standing on the doorstep of Will Self’s London home ahead of this interview, last August, I was quite terrified....

poetry

January 2012

Mount Avila

W. N. Herbert

poetry

January 2012

‘el techo de la ballena’   Time to be climbing out of time as the wild city rates it,...

poetry

October 2013

Steam

Jon Stone

poetry

October 2013

Steam in the changing rooms, stripping off after the race, breathes like an engine. The air is filled up...

 

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