A short series of evening live reading events taking place on Instagram Live @curatingdesign. Each speaker will read a poem or short text on different film themes and genres.

ten Bhömer

Award winning designer
and filmmaker
22 September
8-9pm (BST)

Ten Bhömer is currently working on a research project focused on directing women’s movements on screen (which she interprets as designed actions) and intends to measure the muscle activation of the audience in response to those movements.

The reading focuses on women’s movement on screen and blocking. Blocking refers to the positioning and movement of the actors and the camera. The act of blocking is a vital part of steering an audience’s reading or perception of a woman on screen, who she is, what her motives are, what she represents, how much control over her body she has, where she is allowed to go or what her place is. These representations in turn shape ideas about women. As such films are mirrors with agency and serve as methods for liberating or policing women’s physical movements and social mobility.

With the potential that audiences mimic movements on screen through covert muscle activation, films become immediate controlling muscle training devises.


Marloes ten Bhömer is a Senior Research Fellow in Design at Kingston University. Her practice-based research focuses on women’s footwear from technical, material, socio-political and cultural perspectives.

List of Readings

In order of appearance

Film: Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, 1975, directed by Chantal Akerman.

Thesis: Temporality, spatiality and Looking at Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) and Agnès Varda’s Cléo from 5 to 7 (1962), 2015, by Genevieve Pocius.

Lecture: Film Factory Of Gestures. Body Images And Body Memory In The Age Of Globalization, 2020 by Oksana Bulgakova. Available at: “Film Factory of Gestures. Body Images and Body Memory…”

Journal Article: Ideomotor design: Using common coding theory to derive novel video game interactions, in Pragmatics and Cognition, vol. 18 issue 2, 2010, pp.313-339 by S. Chandrasekharan, A. Mazalek, M. Nitsche, Y. Chen and A. Ranjan.

Film: Life of Oharu, Saikaku Ichidai Onna, 1952, directed by Kenji Mizoguchi.

Chapter: ‘Floating Femininity: A look at Performance Art by Women’ in Women’s Images of Men, 1985, pages 164, 170, 173, by Cary Elwes.


Writer, design historian
and professor at University of the Arts London
2 October
8-9pm (BST)

Curtis’ current research explores states of sleeplessness, insomnia, anxiety and the symbolism of beds in film.

For our evening reading series, Curtis reads an anthology of texts that meander through dream states, dark places, states of mind and night terrors. Curtis is the author of Dark Places: The Haunted House in Film, published in 2008, a text that investigates connections between haunted places in film to dark places in the human psyche.


Barry Curtis is currently Associate Director of Doctoral Programmes at University of the Arts, London. Professor Emeritus in Visual Culture (Middlesex University), a Fellow of the London Consortium and former tutor at the RCA. He teaches Design, Film and Cultural History.

List of Readings

In order of appearance

The Library at Night, 2006 by Alberto Manguel.
A Field Guide to Getting Lost, 2006 by Rebecca Solnit.
The Toothpaste of Immortality, 2006 by Elemer Hankiss.
The Great Indoors, 2014 by Ben Higmore.
Night, 1994 by Al Alvarez.
Everything in Its Place, 2019 by Oliver Sacks.
The Poetics of Space, 1969 by Gaston Bachelard.
Dark Places, 2008 by Barry Curtis.
The Weird and the Eerie, 2016 by Mark Fisher.
Ghosts of My Life, 2014 by Mark Fisher.


Filmmaker, director
and professor at Kingston University London
10 October
8-9pm (BST)

Warnell titles his reading ‘The Open’ and reads extracts from his own unpublished film script. The reading is an assemblage of itinerant, nocturnal and flighted thought, tales of first worlds and unruly sky dialogues, combining announcements of life elsewhere and mourning for its impending extinction.

Includes excerpts from Percival Lowell, Herodotus, Aristophanes and French poet Jean-Christophe Bailly.


Phillip Warnell is an artist, filmmaker and writer from London. He produces cinematic art works exploring a range of philosophical, poetic and sensorial themes. His work is often performative, establishing elements for a film shoot as (part) event, resulting in an interplay between scripted, documented and (sometimes) precarious filming circumstances.
A recent Fellow at the Radcliffe Institute of Advanced Studies and Film Study Centre at Harvard University, his work has featured in film festivals internationally, including Locarno International Film Festival, New York Film Festival, Viennale, IDFA Amsterdam, Valdivia International Film Festival, and FID Marseille.