Robin Fencott on Robin and Clive Fencott at The Other Room

Robin Fencott has reflected on last year’s performance at The Other Room. You can see the performance in our archive in the middle column of this website.

The second piece, titled ‘Schläfli {5,3} Arduino Bluebird’ is based around typewritten text attached to the faces of a dodecahedron. I constructed the dodecahedron specifically for this performance and installed within it an accelerometer and wireless transmitter broadcast orientation information. During performance, rotating the dodecahedron caused changes to a range of live vocal processing and sound synthesis.



Clive Fencott & Robin Fencott: a preview

Clive Fencott and Robin Fencott will perform at the next Other Room on Wednesday 2nd July for a special evening of digital poetics at The Castle Hotel, Oldham Street, Manchester, M2 4PD. 7 PM start. Biographical details below. The video above shows Clive performing Restringing a Rotary Clothes Line at The Other Room in 2012. The other performers will be Hazel Smith & Roger Dean.


Clive Fencott is a writer-researcher, cybertext artist and sound poet who has published and performed his work since 1975. In 1974 he started attending the experimental poetry workshops organised by Bob Cobbing at the Poetry Society in London and from this developed an enduring interest in improvised vocal performance. He was a founder member, with cris cheek and Lawrence Upton, of the performance group JGJGJGJG. In the 1970s and 1980s he performed extensively with Bob Cobbing and with him founded both the electronic vocal group Oral Complex, with John Whiting, and the improvisation group Bird Yak, with Hugh Metcalf. In the 1990s he wrote and performed with Bill Griffiths. His interest in digital media began in the early 1980s when he collaborated with saxophonist and computer programmer Steve Moore on the early cybertext project The Manual of the Permanent Waver. This led on to a parallel career in computer science and over 50 publications on such subjects as virtual reality, video games, virtual storytelling and, latterly, cybertext theory. He has created many cybertext works and is currently researching augmented cyber/texts as dynamic entities in live performance with his son Robin Fencott.

Robin Fencott’s artistic practice crosses the boundaries of music, computer programming, sound art, electronics and installation. His pieces have included interactive installations, home-made instruments, software for musical collaboration, heavy metal albums and bespoke interfaces for musical performance. His work uses a variety of technologies and has been showcased in contexts as diverse as gallery installations, music festivals, public museums, nightclubs and electro-acoustic concerts. In an academic capacity Robin has published research on group musical interaction and computer interface design, and has presented on these subjects at various international conferences. In 2012 he chaired and an international digital arts exhibition as part of the SuperCollider Symposium, and he has contributed to a wide range of projects that engage with the intersections of arts, performance and technology. Robin lives in London, where he works as independent computer programmer specialising in mobile applications, micro-controller electronics and bespoke software development.

Clive and Robin Fencott: Augmented Cyber/Text Performance

A taste of what is to come at The Other Room on July 2nd for our evening of technopoetics, as described by Clive Fencott:

“The text as a catalyst for performance, the poem/piece realised through performance, the text thus lost in performance rather than an end in itself, has been of particular interest to and a way of working for sound poets and others for many years.

The ergodic text, and in particular the cybertext, the dynamic presentation of lexia, selections/creations of a text in response to the reader’s interaction with it through digital means, has been a growing phenomena for over 3 decades now.

This performance is an exploration of the augmented cyber/text as a dynamic entity in performance; the use of both the real and the virtual as augmentation. For instance, the the tactile interaction with the text, in the process of perception, generates data for the augmentation, the digital completion of the audible and/or visual performance.

In this process the text reasserts itself in performance: becomes a player in amongst the performer(s).”

The other performers are Hazel Smith and Roger Dean. Full previews to follow.