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	<title>Tilly Glascodine</title>
	<link>https://tillyglascodine.com</link>
	<description>Tilly Glascodine</description>
	<pubDate>Sat, 03 Dec 2022 05:53:22 +0000</pubDate>
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		<title>home</title>
				
		<link>https://tillyglascodine.com/home</link>

		<pubDate>Sat, 03 Dec 2022 05:53:22 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

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		<title>Bio</title>
				
		<link>https://tillyglascodine.com/Bio</link>

		<pubDate>Tue, 13 Sep 2022 11:31:23 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

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		<description>Bio

Tilly Glascodine is an artist living and working across Djarra and Wurundjeri Country, with her practice revolving around creative approaches to community learning, imagination, and experimentation through librarianship, research, workshops, publishing, writing, and film. 
Tilly has a particular interest in ecofeminism, histories of gender and women’s labour, interspecies kinship studies, transformative justice, collective care, utopian theory and speculative fiction. She is passionate about reading, writing, and thinking with community.&#38;nbsp;

In 2016 Tilly co-founded Incendium Radical Library (IRL), a community library and archive focused on critical literature not commonly available in public libraries, with an emphasis on centering marginalised voices. Since then she has run the IRL publishing press, writer’s residency program, and the IRL Poetry nights. She deeply believes in the transformative potential of reading and writing with community and this is where her artistic and creative practice is based. 

In November 2021 Tilly started Another World Library, a portable library and art project centred around imagining worlds against ecological destruction and building socially and environmentally just futures through community exploration, research, and experimentation. 

&#38;nbsp;Artist C.V.&#38;nbsp;

Education:&#38;nbsp;

Bachelor Fine Art, RMIT, 2016&#38;nbsp;
Graduate Diploma Arts, Gender Studies, University of Melbourne, 2022.&#38;nbsp;

IRL Publishing Press: 

In 2017 I started IRL Press, an independent publisher, run out of Incendium Radical Library. The press prioritises critical and experience-based perspectives of the world, and attempts to centre marginalised voices. 

I occupy space which is to say i am always grieving by Chi Tran, published 20/ 04/2017 Liquidation by Autumn Royal, published 16/12/2019 

The Tower by Ainslie Templeton, published 21/12/2019 

Electric Lotus by Manisha Anjali, published 30/01/2020 

Undocumented by A’isyiyah, published 7/10/2020 

None of us are Free Until all of Us are Free: Poetry from People in Prison, published 18/10/2020 Work and Love by Kat Capel, published 24/03/2021

Spring Poetry by Vincent Silk, Spencer Lai, Brighid Fitzgerald, Fatma Hussein, and Tyson Campbell, published 5/04/2021 

Black Wattle by this mob, published 5/05/2021 

Petal by Chelsea Hart, published 26/07/2021 
Two Uncles by Saaro Umar, published 11/01/22


Programming for Incednium Radical Library:&#38;nbsp;

Writers’ Residencies: 

01/03/19- 31/03/19 Manisha Anjali 

01/06/19- 30/06/19 Saaro Umar 

01/02/17- 31/02/17 Chi Tran

Poetry Readings and Events: 
 NGV Art Book Fair 2022, Performing Poetics with Ainslie Templeton, Chi Tran, Saaro Umar, Manisha Anjali, Stacey Stokes, and Chelsea Hart. 
31/01/2020 Electric Lotus Book Launch with readings by Manisha Anjali, Mohamed Chamas, and Panda Wong. 

22/12/19 The Tower Book Launch, with readings by Ainslie Templeton, Panda Wong, and Arben Dzika
 
12/10/19 Spring Poetry reading with Spencer Lai, Fatma Huss, Tyspon Campbell, Vincent Silk, and Brighid Fitzgerald 

2/02/19 Summer Poetry reading with Manisha Anjali, Chi Tran, and Autumn Royal 20/06/18 Winter Poetry reading with Lei Lei Kung, Tyson Campbell, Frankie Hanman-Siegersma, and Saaro Umar 

16/06/18 New Space Launch &#38;amp; Poetry Reading with Chi Tran, Panda Wong, and Fatma Huss 20/ 04/17 I occupy space which is to say i am always grieving: book launch, West Space Gallery. With reading by Chi Tran, Atong Atem, and Miss Darius Le 

05/02/17 Summer Poetry Night with Chi Tran, Atong Atem, and Anupama Pilbrow

Another World Library

Event: Another World at the Park, 26th of February, 2022. 

Residency at Bus Projects, April-July, 2022. 

Utopian Visions: 6 week imaginiative reading and writing course, at Composite Site, May- June, 2022.&#38;nbsp;

Residency at Watch This Space Gallery, August 2022. 

Workshop Series, Thinking Futures, at Watch This Space Gallery, August 2022. 

Another World on the Merri, Master of Architecture studio at RMIT, July- November, 2022. 

Library curation for Arts Gen Library at Footscray Arts Center and day workshop, Feburary, 2023.&#38;nbsp;

Irresistible Futures, creative reading and writing workshop at Arts Gen, Janurary, 2023.&#38;nbsp;

Utopian Visions #2: Ecological Futures, eight part workshop Composite Site, March- May, 2023.

Thinking Futures, Rohden White Library, Union House, University of Melbourne.&#38;nbsp;

World Building with Young People, Sunshine Library, Brimbank Council, November 2023. 
Brew Residency at Plumwood Mountain, Spring 2023. 

Waste of Energy: Work and Climate Crisis, three part reading group with A Climate For Art, 2024.&#38;nbsp;

Waste of Energy: Four Futures, four part reading group with A Climate for Art, 2025.&#38;nbsp;

Waste of Energy: Discard Studies, four part reading group with A Climate for Art, 2025.&#38;nbsp;

	
	
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		<title>Another World Library </title>
				
		<link>https://tillyglascodine.com/Another-World-Library</link>

		<pubDate>Tue, 13 Sep 2022 11:31:24 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

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Another World Library&#38;nbsp;


Another World is a portable library and art project focused on imagining ecologically and socially just futures through collective world building, learning, and research. &#38;nbsp;
In 2022, AW was in residence at Bus Project, Composite Site, and Watch This Space Gallery. At Bus, the collection was available for visitors to read, and AW held a six-week course called Utopian Visions based on imagining sustainable futures, queer ecology, and interspecies kinship, co-facilitated by Vincent Silk.&#38;nbsp;&#60;img width="1560" height="1194" width_o="1560" height_o="1194" data-src="https://freight.cargo.site/t/original/i/b73f19e1e61d5c491ff03043abaaebce0673284ba47b9f575bde05c70934f473/catalogue-books.png" data-mid="238822818" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/b73f19e1e61d5c491ff03043abaaebce0673284ba47b9f575bde05c70934f473/catalogue-books.png" /&#62;

 
At Watch This Space, AW ran three creative writing and readings workshops on imagining futures on the places we call home.&#38;nbsp;
In 2023, AW ran a reading group called Communising Care at Composite Site, reading Sophie Lewis’s book Family Abolition, alongside supplementary texts on community care. AW also ran the Utopian Visions Course #2: ecology, inter-species kinship and the zoo-opolis, at Composite, as well as a four-part creative writing workshop for young people in Brimbank. AW was also a guest librarian at the Arts Gen Library at Footscray Arts Centre, running a workshop on creatively imagining futures and curating a selection of books for the library.&#38;nbsp;
In 2024, AW collaborated with A Climate for Art to run Waste of Energy, a reading group exploring the links between art, work, and climate crisis. In 2025, we have continued the group and read Four Futures by Peter Frase, and Discard Studies by Josh Lepawsky and Max Liboiron.&#38;nbsp;

Most recently, AW collaborated with Panda Wong to run a two-part workshop on Synanthropes, exploring the animals who live near us through discussion, reading, and writing exercises.&#38;nbsp;
 
&#38;nbsp;


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		<title>Another World on the Merri </title>
				
		<link>https://tillyglascodine.com/Another-World-on-the-Merri</link>

		<pubDate>Sat, 03 Dec 2022 04:36:21 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

		<guid isPermaLink="true">https://tillyglascodine.com/Another-World-on-the-Merri</guid>

		<description>

Another World on the Merri&#38;nbsp;

Designing a library for the Merri Creek with RMIT masters of Architecture students, based on environmental philosophies of ecofeminism, interspecies kinship, and post-humanist studies.&#38;nbsp;2022- ongoing&#38;nbsp;



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&#38;nbsp; &#38;nbsp;Student nest prototypes (exploring birds from the Merri Creek)


The idea was to create a library on the Merri Creek that promotes ecological imagination, with the library’s architecture underpinned by ideas of interspecies kinship, posthumanism, queer and feminist ecology, and a respect for First Nations environmental philosophies. The hope being that the library would encourage imagining futures grounded in these theories while also embodying this theory in the library’s formation and structure. Throughout the process, we tried to design in ways that considered not just humans but all beings that came into contact with the library, to try and avoid anthropocentrism, to attempt to undo the western dualism between humans and nature, and work with, rather than against, the complexities of the space in which we were situated.

The decision to position the library on what is known as the Merri Creek (or its traditional Wurundjeri name the Merri Merri) is because for many, the Merri acts as a symbol of “where nature is”, making it already a potent site of ecological imagination. The Merri is often positioned as a natural enclave within an unnatural city—but what are the boundaries of natural and unnatural? Where does the city begin and where does nature end?&#38;nbsp; 

In English, “nature” is defined as all that is not human nor of human creation, with “natural” meaning what is derived from nature and “not made or caused by humankind.” In line with these meanings, the Merri Creek is in no way a natural place. For thousands of years, managed and cultivated by the Wurrundjeri clan, then used as a rubbish dump during colonial settlement, then regenerated as a green space by community groups, the creek has been cared for, changed, neglected, disturbed, uprooted, re-routed, and partially regenerated—all by humans. 

There can also be no boundary between the idea of natural spaces and non-natural spaces, with the “unnatural” always creeping into the “natural” and vice versa. Pollution from the city does not stop at the boundaries of the creek, pigeons nest in building alcoves, spiders and rats often prefer human houses to their, so called “natural” habitat, and some fish are now on human medications from living in water that has passed through our chemically bodies. We are constantly nibbling and being nibbled by beings smaller than ourselves, the plastic we leave in rivers and oceans is made microplastic by krill, then drunk by us and incorporated back into our bodies through a plasticy gestation and exchange. When prodded, the western idea of what is natural, and the boundaries between nature and non-nature, quickly crumble into nothingness; revealing the construct of humans as unnatural and nature as what is not human to be nothing more than a fantasy.&#38;nbsp;
 
&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6d49a209372cef65ca34c9fbd6544e064fe8b4ee44f9ef8e49d2aa54b0d92528/image_123923953-12.JPG" data-mid="160877445" border="0"  src="https://freight.cargo.site/w/1000/i/6d49a209372cef65ca34c9fbd6544e064fe8b4ee44f9ef8e49d2aa54b0d92528/image_123923953-12.JPG" /&#62;

This separation of what is nature and what is human has an important political impetus in that it allows for the exploitation of non-human nature through a denial of our interdependence with it. The environmental feminist and philosopher Val Plumwood describes this as a dualistic relationship where reciprocity between humans and nature is denied, and humans are epistemologically positioned as superior to the non-human world. This dualism, which separates humans from nature within a power binary, justifies environmental exploitation and an absence of care or responsibility. This Western philosophy of nature is in stark contrast to First Nations environmental philosophies, where there is no separation or hierarchy between humans and the non-human surroundings, a world view that seems far more grounded in reality. 

Really, the library could have been situated anywhere as there is no place, either directly touched or created by humans or not, that is not in some way natural, a part of the ecological web we live in, or implicated in ideas of environmental philosophy. However, places like the Merri draw to the surface the complexity and philosophical contradictions created in Western thought, making it a rich place for imaginative speculation. The creek has been philosophically and physically co-constructed by humans, chemical pollutants, plastics, volcanic planes, shifting tectonics, and plant and animal life, both native and introduced. This is a good place for thinking about and imagining what Donna Haraway calls “staying with the trouble,” or the idea that we need to find ways of living alongside, and with, a complicated, impure, and unnatural world with care and consideration. 

&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/bded9c9fc0ba57f6306eb355c7dbd757f2eaaa086fcbce97df28a515df309c7a/image_123923953-15.JPG" data-mid="160877448" border="0"  src="https://freight.cargo.site/w/1000/i/bded9c9fc0ba57f6306eb355c7dbd757f2eaaa086fcbce97df28a515df309c7a/image_123923953-15.JPG" /&#62;

But what might a library for environmental imagination based on these ideas look like? 

We had planned a library architecture that would enact the theories it held on its shelves. Rather than a symbol of ecological thought, we wanted the library to embody the theories that underpinned its conception. So often, architecture that deals with ecology simply represents, taking the form or the vision of nature symbolically, rather than engaging deeply with ecological theory in its formation. How could the form of the library be entirely dependent on what it does, and what it does be a reflection of the environmental philosophies it contains? 

This meant decentering the human, taking the animals, insects, grasses, soil, air, and water that were to come in contact with the structure as key stakeholders, as clients, and as friends—or at least beings we would attempt to be friendly to. Initially this led us to try and create designs that somehow catered to the non-human: maybe a shelter that could also water a tree, a bridge people could meet on that traps rubbish in the creek, a structure with its foundation made out of seed pods that could break down and release native seeds, or a library that feeds mushrooms and fungi and eventually composts. However, it quickly became clear that, as visiting architects, rather than ecologists who had worked in this space for a long time, we were deeply unprepared to make meaningful contributions in this area. Whatever design we suggested that did something to the surroundings seemed to have endless, unwieldy repercussions. We were also limited by the bureaucracy of council and legality, which meant that whatever structure we made would also need to be easily assembled and taken away. The grand ideas of bird boxes, bee hotels, planting, and watering all gave way to the realisation that seeds would get trampled if planted in the same place as the library, that we could not make an animal shelter that would then be taken away, and many scientists were already doing what we were trying to do but much better. 

&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/052d5104000317d57e5fc5c2a5f6ea95522c881d881285ef9987d2a44091dbbc/5826D0B8-7602-4C04-9989-83F714CD2895.JPG" data-mid="160877456" border="0"  src="https://freight.cargo.site/w/1000/i/052d5104000317d57e5fc5c2a5f6ea95522c881d881285ef9987d2a44091dbbc/5826D0B8-7602-4C04-9989-83F714CD2895.JPG" /&#62;

Where we came to in the end was that all we could give, as novices in this space, was care and attention. Of simply being there and being interested, of watching, and of learning. The intervention we made, maybe unsurprisingly, came back to an intervention into human thought rather than any action or doing associated with the surrounding environment of the project. Where we had been quick to act on the other we had ignored the need to continue working on our own beliefs and ignorances. It became clear that the best we could do at this point was to be there with a light touch. This is of course not to say that human intervention into the environment should not happen—the conclusion was not that humans as a whole should let non-human nature be, to the contrary all that we discussed suggested that a separation from humans and nature is the least natural thing—rather that meaningful intervention takes a relationship built out of careful and long term observation, and that we as a small group were at stage where this kind of intervention was not yet possible. We instead needed to learn and observe and reflect, and probably do this for quite a while–certainly longer than the 13 weeks assigned to the studio’s semester.

A crossover emerged in realising that libraries are often quiet places, conditions that align well with observation of an environment and its inhabitants that may otherwise be put off by noises. This became the new direction of the project: A library architecture that does not cause harm, that incorporates the philosophies we had been studying as a class, and a space for learning and observing that did not prioritise this learning at the expense of the beings we were learning about. We wanted to make a structure for learning both from theory as well as the land and creatures that surrounded it. 

&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/1a6615c6745b06a52afd424b90d58ea01654fd7f4b291a7315619a28ea1500af/image_123923953-16.JPG" data-mid="160877457" border="0"  src="https://freight.cargo.site/w/1000/i/1a6615c6745b06a52afd424b90d58ea01654fd7f4b291a7315619a28ea1500af/image_123923953-16.JPG" /&#62;

A theme throughout the project was humility and resisting the urge to build big. We are often told that architecture needs to be impressive and follow particular conventions; however, Western architecture has been largely a reflection of Western philosophies that have also caused mass ecological destruction. As Hélène Frichot asks, 

“How can we stay with the trouble in architecture? How can we trouble architecture’s status quo and imagine other clean up acts for our discipline? Ones that are perhaps less glamorous, ones that engage a poetic pragmatics, ones in search of glimmers of joy amidst the islands of unholy mass.”

We knew that to attempt an ecological architecture, we may not be able to live up to all the expectations of the discipline, with our results being, as Frichot suggests, less glamorous. Instead of drawing on grand eco buildings, our biggest inspirations came from community kitchens and DIY protest structures that sit lightly on the land and use recycled materials. This made sense for the context we were working in and best reflected the philosophies we were exploring. We had to get used to the idea of doing less but maybe considering more. The group decided on lightweight walls and canopies constructed from patchworked recycled plastics, made durable by fusing the plastics with heat. This use of plastic meant no waste was created while referencing eco anarchist histories of bricolage and re-use. Instead of using “natural” materials that symbolically reference nature, the use of plastic nods to Haraways idea of “staying with” an impure environment where plastics are a reality, as well as Heather Davis’s queer ecological theory that ponders what it means to see plastic as a kind of illegitimate kin. Trees on the site are used as scaffolding, avoiding uprooting or piercing the land and allowing for easy assemblage, while bike tubes gleaned from the local bike shed attach the walls without damaging the tree trunks or interfering drastically with insect highways. The plastic walls of the library are positioned with gaps between them and the ground to make space for animal routes across the ground, for instance, travelling dogs, possums, or snails. The library is designed to be easily assembled and then taken away, challenging the belief that proper architecture needs to be permanent. The temporary, soft, and movable nature of the library prompts us to think about how we can build with flexibility and in ways that allow for friendlier relations with the ecology we are a part of. 

Importantly, we wanted there to be no boundary or distinction between the space of the library and the surrounding environment. Western and colonial architecture has traditionally reiterated the western philosophical dualism between humans and nature, with buildings physically working to separate humans from non-human nature. These buildings go beyond shelter by working culturally to create a feeling of separation and superiority to the non-human world, keeping it at a psychological and physical distance. Although contemporary Western architecture sometimes does attempt to bring non-nature into the building, it is usually contained and strictly controlled within the limits of human desire. We wanted the walls of the library to always open out into the surrounding area, emeshing the structure within the wider space and insisting on an engagement with the environment. 
So while this library is essentially a patchwork plastic sheet with pockets strung up amidst the trees, made of recycled and found materials, and not at all glamorous looking, there is a deep thought behind it and a provocation in its refusal to be impressive. It is a first-stage attempt to think through an architecture that does not impose itself without consideration for its non-human kin, and what it means to design with ecological care. So please take this as a gesture, or a prompt, for thinking and imagining what an environmental architecture may look like and what it may or may not do.&#38;nbsp;

&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/36921e536a40382975c27351c43742d045153039248db511b225f8afe0a906c6/image_123923953-14.JPG" data-mid="160877447" border="0"  src="https://freight.cargo.site/w/1000/i/36921e536a40382975c27351c43742d045153039248db511b225f8afe0a906c6/image_123923953-14.JPG" /&#62;


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	<item>
		<title>Incendium Radical Library</title>
				
		<link>https://tillyglascodine.com/Incendium-Radical-Library</link>

		<pubDate>Sat, 03 Dec 2022 04:26:52 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

		<guid isPermaLink="true">https://tillyglascodine.com/Incendium-Radical-Library</guid>

		<description>Incendium Radical Library



Incendium Radical Library is a community library, reading room, and publishing press with a focus on radical politics and critical literature, founded in 2016.&#38;nbsp;


&#60;img width="2448" height="1746" width_o="2448" height_o="1746" data-src="https://freight.cargo.site/t/original/i/c2aced7240ec7900f14bd6aed3635a492570b26bac4940decd41c7778f97df3d/IMG-1168.jpg" data-mid="160877714" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/c2aced7240ec7900f14bd6aed3635a492570b26bac4940decd41c7778f97df3d/IMG-1168.jpg" /&#62;</description>
		
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	<item>
		<title>Residencies</title>
				
		<link>https://tillyglascodine.com/Residencies</link>

		<pubDate>Tue, 13 Sep 2022 11:31:23 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

		<guid isPermaLink="true">https://tillyglascodine.com/Residencies</guid>

		<description>Residencies

Front Yard Residency, 2017
Substation Gallery, Incendium Radical Library year-long residency, 2021&#38;nbsp;
Bus Projects, Librarian in Residence, June-July 2022
Watch This Space Gallery, Artist in Residence, August 2022&#38;nbsp;

 Arts Gen, guest Librarian, 2023
Plumwood Mountain, Artist in Residence, Spring 2023&#38;nbsp;
Melbourne Art Library, Another World Library residency, 2023-2024

	
	



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		<title>Publishing</title>
				
		<link>https://tillyglascodine.com/Publishing</link>

		<pubDate>Tue, 13 Sep 2022 11:31:24 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

		<guid isPermaLink="true">https://tillyglascodine.com/Publishing</guid>

		<description>Publishing &#38;nbsp;


Two Uncles 
by Saaro Umar&#38;nbsp;
Saaro Umar’s book of poems, Two Uncles, draws on film, conversation, accumulative feelings, insticts, and observation to create a deeply felt and meticulously crafted text.&#38;nbsp;Umar is interested in the ways writers use form to house watery ideas. Some nights I sleep withinyou, like an inner planet nestlingthe sun, you lick the hardened mayofrom the bend in my lips, little daggers of selenite.




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Petal by Chelsea Hart
This book is about knowledge found in grief–of the body and its entanglements, and of the way it responds, moves, and is altered when someone leaves the earth. The body, holding the temporal discipline of capital wants to move forward, but sometimes doesn’t. Loss too opens a spacethat is out of synch,it stays very still.



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Work &#38;amp; Love by Kat Capel

 A patchwork of romantic poetry and desperately horny found texts. Work &#38;amp; Love is a blurring of the real - jumping castles, mummy issues, secrets - circling the topic of paid and unpaid intimacy in the 21st century.

living lifetimes in bed with others always makes me miss youafraid, I squash the extent of this missing like a lemonand pour the juice down the drain before your arrivalrelationships are built on such unspoken thingsthis is bad practice, like indulging a person’s request to be humiliatedwithout finding out exactly what this means to themtruth is, people are often more comfortable being pissed onthan pulled apart






&#60;img width="1466" height="1356" width_o="1466" height_o="1356" data-src="https://freight.cargo.site/t/original/i/e87c9b06615d171828669f56f073949d2a1f86d40d523d5cde7268969f02d7ad/Screen-Shot-2022-12-03-at-2.42.02-pm.png" data-mid="160875423" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/e87c9b06615d171828669f56f073949d2a1f86d40d523d5cde7268969f02d7ad/Screen-Shot-2022-12-03-at-2.42.02-pm.png" /&#62;
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Black Wattle&#38;nbsp;
by this mob

Black Wattle is a keeping place: a collection of poetry, photography, collage and illustration developed by this mob arts collective over the last 12 months.Published by Incendium Radical Library, Black Wattle showcases the work of five key artists and the conversations they exchanged throughout lockdown.&#38;nbsp;

&#60;img width="990" height="1520" src="https://freight.cargo.site/w/990/q/94/i/e9e35237c6d4aa38279fb68acc7aeba12f5734a01188d8ff4f906073de3c26e8/Screen-Shot-2021-07-26-at-4.02.26-pm.png" style="width: 259.36875000000003px; height: 398.2227272727273px;" data-scale="53"&#62;Common themes include tracing waterways, backyard gardens, thinking locally and relationships to place. After the onslaught of screens and digital communication in recent times, refresh your mind and senses with 100 pages of new work in print.“Warmth, respect, and strength thread our conversations together. We map our connections and disconnections from one another, but also from ourselves. We celebrate the things we have been able to do together and imagine the things we haven’t been able to do together.” – this mob, 2021.this mob is a blak arts collective based on Boonwurrung and Wurundjeri lands. we centre and prioritise Aboriginal and Torres Strait Islander people in the work that we do, creating spaces to come together to unite emerging blak artists. in the past this mob have curated group exhibitions including Because of Her, We Can: HEAL at Schoolhouse Studios and Yelmo Garang at Footscray Community Arts Centre. we also run workshops, sharing skills in life drawing, emu feather adornment making, collage, makeup, lino-print and more. by centering blakness, we’re finding new ways to exist and thrive in the arts world that do not cater to whiteness.



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Spring Poetryby Spencer Lai, Fatma Hussein, Brighid Fitzgerald, Tyson Campbell, and Vincent Silk. A collection of poems read at the Incendium Radical Library Spring Poetry night in 2019.



&#60;img width="1032" height="1158" width_o="1032" height_o="1158" data-src="https://freight.cargo.site/t/original/i/38fa88c50707542849df900b16b3cb1fc817947d5d75cae4a35332e03495c5db/Screen-Shot-2021-04-05-at-7.48.20-am.png" data-mid="160931989" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/38fa88c50707542849df900b16b3cb1fc817947d5d75cae4a35332e03495c5db/Screen-Shot-2021-04-05-at-7.48.20-am.png" /&#62;
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Undocumented by A’isyiyah

Undocumented is a narrative essay that weaves ancestral remembrance together with dreaming abolition to imagine a world founded upon principles of love and nurturance. It was written in conversation with community, alongside those who practise insurgent care in their daily lives, in hopes to grow strong roots for the next world."A’isyiyah is a Batak and Jawa mama who grew up on unceded Cabrogal Land (South-West Sydney). They are invested in building strong communities founded upon intergenerational, ancestral, and collective healing. They organise in community both autonomously and with Anticolonial Asian Alliance, a First Nations solidarity collective. They dream and study prison abolition and transformative justice, and are the vocalist of anticolonial erratic hardcore band Arafura.



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The Tower by&#38;nbsp;Ainslie Templeton
he thinks we’re walking the path but we’re not walking buddies that’s not my damp-sand path&#38;nbsp;
and not my dream of the lighthouse I am not your lobster, your little bug robe guide that takes what feels like walkies….
Described as “an automaton’s burn book” and “a collection of anti-psalms,” The Tower is a collection of 38 poems from Ainslie Templeton. The poetry interrogates sex magic, networked life, and public speech acts, interspersed with images gleaned from the poems’ development in the artist’s Instagram pages.



&#60;img width="914" height="1000" width_o="914" height_o="1000" data-src="https://freight.cargo.site/t/original/i/f8485efeb834ed6a7e8e1448c4c4232037605a9e44f75d7282574301f8432c8f/tower.png" data-mid="160932290" border="0" data-scale="67" src="https://freight.cargo.site/w/914/i/f8485efeb834ed6a7e8e1448c4c4232037605a9e44f75d7282574301f8432c8f/tower.png" /&#62;

Electric Lotus 
by Manisha Anjali Electric Lotus is an inquiry into the ‘ecstatic’–is it synthetic, manic or electric? It blooms in the naked recitations of the wandering mystic Lal Ded, in the animal and flower companions of the saint Akka Mahadevi, in the throat of the playback singer Asha Bhosle, in the indigo devotion of the cult star Ma Anand Sheela. This is an interactive text for play and performance. &#60;img width="490" height="493" src="https://freight.cargo.site/w/490/q/94/i/e74d9fdde16f990457bbe20dc29226d16409310c51fd0a9a3ae6002660ab56db/Screen-shot-2020-03-23-at-5.11.48-PM.png" style="width: 342.5625px; height: 344.65982142857143px;" data-scale="70"&#62;Electric Lotus was written during Manish’s recidency at Incendium Radical Library.



Liquidation 
by Autumn Royal
Liquidation is a collection of anti-elegies exploring how love &#38;amp; loss generate experiences of ecstatic awareness &#38;amp; the uncanny sensation of being both inside &#38;amp; outside the body. With shifts, spills &#38;amp; soaks, Liquidation interrogates the representational qualities of language in relation to how varying forms of value are placed on normative expectations relating to emotions &#38;amp; identities.

&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/00bfc6a01ae2423fa7e78b934336b8a8ae6900ab93034697c96c0a738b15db42/5DCD6C2E-0828-4739-A4B2-F008B5151C8E.jpg" data-mid="160932339" border="0"  src="https://freight.cargo.site/w/1000/i/00bfc6a01ae2423fa7e78b934336b8a8ae6900ab93034697c96c0a738b15db42/5DCD6C2E-0828-4739-A4B2-F008B5151C8E.jpg" /&#62;
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I occupy space, which is to say i am always grieving 
by Chi Tran
Someone &#38;nbsp;writes &#38;nbsp;the &#38;nbsp;word &#38;nbsp;controversial but I think they might mean cruel. Then blood and pleasure are, once again, made normal, and I remember what I had been told to forget.


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	</item>
		
		
	<item>
		<title>Events</title>
				
		<link>https://tillyglascodine.com/Events</link>

		<pubDate>Sat, 03 Dec 2022 04:05:13 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

		<guid isPermaLink="true">https://tillyglascodine.com/Events</guid>

		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Events&#38;nbsp;

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	<item>
		<title>Contact</title>
				
		<link>https://tillyglascodine.com/Contact</link>

		<pubDate>Sat, 03 Dec 2022 04:33:00 +0000</pubDate>

		<dc:creator>Tilly Glascodine</dc:creator>

		<guid isPermaLink="true">https://tillyglascodine.com/Contact</guid>

		<description>Contact&#38;nbsp;

anotherworldlibrary@gmail.com</description>
		
	</item>
		
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