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Borges

Callie Rose Petal

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Petal outside Carlton Recording Studios, Glasgow

Callie Rose Petal (born 17 April 1994) is a Scottish avant-garde conceptual performance artist, composer, software developer, and language artist. Her work spans experimental literature, noise composition, and transmedia ritual. She is known for her work as a "noise alchemist", fusing experimental sound, ritual structure, and semiotics.

Early life and creative development

Petal demonstrated academic aptitude from an early age but experienced delayed diagnosis of ADHD and autism, a manifestation of twice-exceptionality. Her initial creative output was poetry, later expanding into music and visual art, particularly through her album cover designs. Her background in bioinformatics and scientific research into virology eventually integrated into her interdisciplinary transtextual narrative framework, Lexicomythography, which leverages these diverse specialisms into a research methodology for characters within her multiverse.

Her creative practice initially โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆshield against โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ growing up trans in โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆUnited Kingdom, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆshifting from insular, contemplative โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆwork to "performance-as-purge", and ultimatelyโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆintegration of โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ opposites. This trajectory underpinsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ central arc of the short film What It Means to Be, filmed over three years, which documents โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ of transitionโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ illness, and โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

Petal also โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ radioโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ€œthe medium is the wreckageโ€ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆEHFM, where โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ many forms โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆabrasion โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ; โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆoriginal noise works, abrasive soundsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ poetry fragments and โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ personalโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆs, which โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmerge fโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ andโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆfiction โ€”โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆliterary method โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆiscent of Borges' work.

Career

Petalโ€™s practice involves the design of โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆfictional languages, hybrid systemsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆconstructed linguistic elementsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆesoteric programmingโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ features, used andโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆwritten by charactersโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ entities within her narrative universe,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ the compilation of conceptual dictionaries. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆlaces programming logic with mythopoetโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ fโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ complex symbolic meanings. She was a Creative Informatics Resident Entrepreneur in Edinburgh, exploring transmedia narrative platforms โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆaudio, computational statistics, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆdigโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆstorytelling.

She holds โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆpublished academic โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ virology โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ bioinformatics, contributing notably to research on avian โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ her โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ as a Researcher โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Roslin Institute. While at Roslin, sheโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆOutโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆent โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆence โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆward โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ her extrโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, introโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆnโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆs โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆalโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆoโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆnโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆe โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆorganโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsing itโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆqueโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆts. Petal has staโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆted โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthis scientific foundation underโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆher cโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆaโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆve โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrawโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆfrom intersecting โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆlogicโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ and โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆpโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆaโ–ˆโ–ˆiโ–ˆโ–ˆnโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆcomposeโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthe score and starโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ What It Means to Be by Lea Luiz de Oliveira, which won Best Short Documentary at the KASHISH Pride Film Festival. It was โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆenโ–ˆโ–ˆโ–ˆdโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆEdโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, Glasgow, and Brussels, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Petal โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrโ–ˆโ–ˆiโ–ˆโ–ˆpโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ pโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆst-screโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆing โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆperformance artโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ was โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmissioned by the international queer art showcase Homografรญa Festival in Brussels, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsentinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ rid โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ of live โ–ˆโ–ˆโ–ˆโ–ˆformโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆnoโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆpositionโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆritual. Her commissioned performance work at Homografรญa 2023, IF ONLY HANDS COULD SPEAK, was a โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆdisciplinary ritual, drawโ–ˆโ–ˆnโ–ˆโ–ˆโ–ˆ fromโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmyth โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆas cโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrโ–ˆโ–ˆsis โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆher own โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ sexual trauma. The โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆstaged self-mutilationโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆblood, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtongue, live painโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆendโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ aggressive โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆended โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtechniqueโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ open, industrโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆdressโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ theโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆforced vulnerabilityโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆbiological essentialism imposed on trans women". โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆliveโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆa hybrid liโ–ˆโ–ˆe โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆwith โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆdoubโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ bass โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆboards, mโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆeld recordโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆnoโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆse aโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ queโ–ˆโ–ˆโ–ˆโ–ˆstโ–ˆโ–ˆโ–ˆionโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆSnโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆakโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆeโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆone-woman โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ performance HOW MUCH DO I HAVE TO BLEED โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ embodied exhaustionโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆcensorshipโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ proximityโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆboundโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆgagged, drenchโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆblood, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmarkedโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthe namesโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ trans people killed inโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ violenceโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ act of endurance โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆifying โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsilenced grief โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆbodily โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ. It was โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ and โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆchestโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrelease, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ What It Means โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ

She is โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆincorporating โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ into interactive, narrative-driven systems โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

Petalโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆunder โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ alias โฟแต’แต—Borges. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆred under the nameโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆlonely carpโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆCARPVS MORTVVM. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthe album _ KATABASIS: an underworld opera_, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆritual theatre whichโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆin 2022, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆeveโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆnโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆfollowโ–ˆโ–ˆโ–ˆโ–ˆSโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmโ–ˆโ–ˆโ–ˆeโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆat โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆall'โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmy โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆhโ–ˆโ–ˆatreโ–ˆโ–ˆโ–ˆโ–ˆd โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆspโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆeakโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆs inโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ gradually stripping naked to expose โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆlโ–ˆโ–ˆโ–ˆeโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆbility, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆiโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsurvival sexโ€”โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆamongst trans women,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrooted in โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmarginโ–ˆโ–ˆโ–ˆsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ_โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆiโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆstand, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ-air โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆin โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆGardens.

โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ the compilation cassette No Authority Without Corruption, No Power Without Abuse, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthe label Venalism, to which she is โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsignโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrelease on Venalism, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ lamb., โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆDissolve โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ The โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆLife โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆiโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆorganisedโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆBโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆe โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆLabyrinthโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ That same โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆPetalโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆin the fullโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆdinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆRising โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆHer โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆoriginโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆcโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ

Awards and nominations

2019: โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆward โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Disability Rights โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Trans Rights Activism workโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ

2019: โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆHelp Musicians UK, Do It Differently Fund โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ vinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆetโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtribution of KATABASIS: an underworld opera.

2019: Creative Bridge โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ emerging โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ technology โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆpractice.

2019: Resident Entrepreneurโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Creative Informaticsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

2022: Noโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆBest Newcomer โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Scottish Alโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆeโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆnatiโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Music Awardsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.

2023: Shortlistโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Unlimited Fund UK Open Awards, supporting artists with โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆabilities and โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆdivergence.

2023: Best Short Documentary for What It Means to Be,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, KASHISH โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆFilm Festival.

2025: installation & endurance work lamb. Longlisted for ART EVOL 2025, Saatchi Gallery, London.

Style and influences

Petalโ€™s multidisciplinary practice integrates experimental literature, abrasive music production โ€”often accompanying visceral ritual performance โ€” and digitally innovative alternate reality game (ARG) creation. These elements coalesce in her broader framework of Lexicomythography, an interwoven system of symbolic expression grounded in mythopoesis and semiotic design. She employs a โ€œnoise alchemistโ€ approach, integrating ritual structure and semiotics within an "artifact-as-artefact" framework. Her sonic practice treats breakdown and distortion not as flaws but as compositional forces. Loss, grief, and otherness emerge as structural catalysts of affect and form within her broader conceptual themes.

Her literary practice employs fragmentation, redaction, and intentional illegibility, aligning with principles of contemporary noise literature, paralleling her sonic work. Her "page-as-performance" engages self-reflexive narrative techniques in unconventional forms such as the writing of a wikipedia bio as expression of voice erasure; the violence she has survived re-enacted on the page in her own small way, making a point about the continued theft of survivor's consent, long after harm has been committed, in the constant pressure to prove their own experience, the reliability of the narration of their own story called into question, unravelling the victim further and further until they can no longer return to the self they knew before the end of all our exploring textual instability and challenging reader positioning to arrive at where we started and know the place for the first time. This metafictional methodology employs intertextuality by embedding fictional publications as fractalised texts within a larger narrative architecture (Lewis Carrol & Jorge Luis Borges, 2025).

โฟแต’แต—Borges is both her musical moniker and the pseudonym for her broader transmedia and literary work, the latter encompassing over four million words, structured as a layered, recursive universe, composed of cryptic fragments and multimedia forms, information embedded behind verbose walls of text as commentary on the exclusionary and inaccessible nature of academic research itself, pushing literary form past its canonical limits; denying the Derridean assertition that there is nothing outside of the text. Instead, Petal suggests that there is only text, and we are all writing it. According to Petalโ€™s own conceptual framing, โฟแต’แต—Borges functions as an inversion of Borgesโ€™ literary approach: rather than referencing fictional works, it actively creates themโ€”fictional, nested sources, that deepen the labyrinthine dialogue between the story and self-reference. This embodies a self-described โ€œneophilologicalโ€ practice, synthesising chaotic, hypergraphic and compulsive art with stillness and structure, likened to genetic material dissolved and rebound as triple strands โ€” an alchemical metaphor for the projectโ€™s self-replicating, interwoven layers.

Immersive storytelling and metanarrative work

Petalโ€™s durational narrative project incorporates fictional languages, mythopoeic systems, and interlinked documents distributed across textual, sonic, visual, performative, and digital forms. She has described her narrative work as โ€œa durational literary project that will undoubtedly last the rest of [her] lifeโ€, stating that she aims โ€œto frame the conditions of marginalisation [she], and so many others have been dealt, not as absences, but as generative states of meaning.โ€

Petal coined Lexicomythography, a pseudo-academic field that centres mythopoesis through etymology and dissection of The Word, as both a creative schema and a critical commentary on the exclusionary politics of traditional academia, particularly from the perspective of a queer, disabled woman in STEM. Through Lexicomythography and the compilation of a Dictionary, the ever-evolving lexDict, Petal explores the spiritual resonance of language, recursive meaning-making, and the generative power of myth as a counterpoint to rigid scientific structures, challenging conventional boundaries between science, art, and identity. It forms the basis of her multiyear project, The Childrenโ€™s Gospel Music Songbook, one of the narrative fictional canons within the wider โฟแต’แต—Borges multiverse. She presents ARIA|DNE, the Society of Lexicomythographers, as a secretive group, compiling dictionaries and creating intentionally obfuscated, recursive texts as a form of transmedia ritual and creative resistance.

She maintains multiple independently-produced, continuously updated digital platforms as part of the Lexicomythography project, along with a regularly updated GitHub profile โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ multiple in-universe repositoriesโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthreads encoded withinโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ commit messages.โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtechnical infrastructure, but as canonical โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ embedding recursive โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ logic and symbolicโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ into the very architecture of their version control. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ entry pointsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆinitiation โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ. Examples include: โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ These platforms operateโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ standalone art objectsโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆactive interfaces โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ immersive Aโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ€”blendโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ magick, software โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆscientific โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtrans mysticismโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthe secret society โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ permeatesโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆmultiverse.

Discography

as lonely carp
Title Year Format Label Notes
Your Shirt 2014 Single (Digital) Self-released Spoken word collaboration with Will Toledo (Car Seat Headrest)
GAUDIA 2020 Single (Digital) Self-released From the original score of What It Means to Be (2023 Documentary)
WAR SORE 2020 EP (Digital) Self-released Precursor to KATABASIS: an underworld opera. Withdrawn by the artist post-release
Behold this SACRED STAIN (O! BREATH OF THE ALMIGHTY!) 2021 Single (Digital) Self-released Lead single from the studio debut album KATABASIS: an underworld opera
KATABASIS: an underworld opera 2021 LP (Digital, Vinyl, Cassette) Self-released Studio debut album
No Authority Without Corruption, No Power Without Abuse 2023 Compilation Album (Digital, Cassette) Venalism A benefit compilation supporting humanitarian efforts in Gaza
we are แดบever ( going on a bear hunt | ever a gain ) 2024 EP (Digital) Self-released Early demos and fragments from the forthcoming double cassette, Xหกแถฆแต‡สณแถฆหข
as CARPVS MORTVVM
THE LABYRINTH CYCLE: iterations on a dream of icarus 2022 EP (Digital) Self-released Reimagined/extended orchestral noise compositions of KATABASIS: an underworld opera
ARCHITECT OF MY ABUSE: this chapel you built must surely collapse 2022 EP (Digital) Self-released Orchestral noise accompaniment to performance piece IF ONLY HANDS COULD SPEAK
FAGOCYTE: my plate is empty i ate everything let me go 2023 EP (Digital) Self-released Harsh noise EP
THE WOMAN IN THE WARD CHAPEL'S WALLPAPER ... 2024 EP (Digital) Self-released Earliest example of textual illegibility and formatting experimentation in a release title. Final lonely carp release before adopting โฟแต’แต—Borges.
as {the(woman)wallpaper}
bairn | a folklorexic song circle neglected by the woman in the wallpaper 2024 EP (Digital) Self-released Part of The Children's Gospel Music Songbook, sonic components of the Lexicomythography narrative universe
as โฟแต’แต—Borges
XVII แตƒแตˆแต›แต‰โฟแต—แต˜สณแต‰หข แถ แต’สณ หขแต แต˜แตƒโฟแตˆแต‰สณแต‰แตˆ สธแต‰แตƒสณหข 2025 EP (Digital) Self-released
I หขสฐแต’สณแต— หขแต—แต’สณสธ แถ แต’สณ แต‡แต’สณแตแต‰หข แตƒโฟแตˆ แถฆ 2025 Single (Digital) Self-released Part of The Children's Gospel Music Songbook
XVIII แต˜โฟหขแต‰โฟแต— แต–แตƒหกแถฆแตแต–หขแต‰หขแต—หข แถ สณแต’แต แดถแต’สณแตแต‰ แดธแต˜แถฆหข แดฎแต’สณแตแต‰หข โฝแตƒแตˆแตˆสณแต‰หขหขแต‰แตˆ แต—แต’ แต–สฐแถฆหก แต‰หกแต›แต‰สณแต˜แตโพ 2025 EP (Digital) Self-released Samples work by Phil Elverum ( The Microphones)
Vแตƒสณแถฆแตƒ แถ แต’สณ แต‡หกแต’แต’แตˆ แตƒโฟแตˆ แต’แต—สฐแต‰สณ แตƒหขสฐแต‰หข 2025 EP (Digital) Self-released
Iแตƒแต‡แถฆแตˆแต‰ สทแถฆแต—สฐ แต—สฐแต‰แต‰ 2025 Single (Digital) Self-released Samples work by The Microphones, Trinity College Choir, and Thelonious Monk
VI หขสฐแต’สณแต— แต–สณแต’แต‡หกแต‰แตหข แถ แต’สณ แต‡แต’สทแต‰แตˆ หขแตƒสท แตƒโฟแตˆ หขแถฆโฟแตแถฆโฟแต แต‡แต’สทหก 2025 Album (Digital) Self-released Debut full-length under the โฟแต’แต—Borges moniker
IXแต–สณแตƒสธแต‰สณหข แถ แต’สณ แตˆแถฆแต›แถฆโฟแต‰ แถ แถฆหกแต—สฐ แตƒโฟแตˆ แต’แต—สฐแต‰สณ หขแต—แต’สณแถฆแต‰หข 2025 EP (Digital) Self-released Samples FK Alexander and Cat Boyd's When Everything I Love Falls from the Sky, the World will be Covered in Darkness
XII แถœแถฆสณแถœแต˜หกแตƒสณ แต‡สณแต‰แตƒแต—สฐหข แถ แต’สณ แต‡แต‰หกหกแต’สทหข 2025 Album (Digital) Self-released Sophomore full-length under the โฟแต’แต—Borges moniker
lamb. - Album (Digital, Cassette) Venalism The first full-length to be released under the Venalism label (forthcoming)

Personal life

Petal lives โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ experiencing psychotic episodes, including symptoms such as hypergraphia and clanging, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ integrates into her creative methodology. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ โ€˜The Woman in the Wallpaperโ€™, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthe author of The Childrenโ€™s Gospel Music Songbook โ€”a โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ text in the โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆlayered universe of Lexicomythography.

The project originated during a psychiatric hospitalisation in late 2024, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, RED_RING_PARALLEL, encodes this โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ within densely layered metatext, accessible only through oblique traversal of โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsiteโ€™s โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆarchitecture.

Pโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆexperiencing traits associated with schizotypal perception and cognition. โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ, disability justice, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆtemporal rhythms imposed by chronic illness and neurodivergence.

โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆherโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆsurvivorhood,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆinforms the themes of grief, resilience,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆrecovery โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ advocacy for trauma-informed โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆspacesโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆlayered perspectives influence โ–ˆโ–ˆ โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆpacing, ritual, โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆthematic navigation of pain, embodiment,โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ altered states.

Restricted Access Materials

Certain tunnels require institutional โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ. The โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ Society maintains strict protocols underโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆgroundโ–ˆ. Your credentials have been โ–ˆโ–ˆโ–ˆโ–ˆโ–ˆโ–ˆ.