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Cover of Breath, rhythm, silence, resonance: listening beyond seeing in the films of Trinh T. Minh-­ha

Courtisane

Breath, rhythm, silence, resonance: listening beyond seeing in the films of Trinh T. Minh-­ha

David Toop

€8.00

In the context of the Artist in focus Trinh T. Minh-ha program at Courtisane festival 2023, Courtisane invited musician, author and curator David Toop to reflect on the sound work in her films. The resulting publication, titled Breath, rhythm, silence, resonance: listening beyond seeing in the films of Trinh T. Minh­ha, is the first publication in the Echoes of Dissent series, devoted to the politics of the soundtrack.

Language: English

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Cover of Bodies of Sound: Becoming a Feminist Ear

Silver Press

Bodies of Sound: Becoming a Feminist Ear

Sarah Shin, Irene Revell

Fiction €20.00

‘I am concerned with the power of sound! and what it can do to the body and the mind,’ wrote composer Pauline Oliveros. In the body, histories and politics come together with sound and listening, memory and feeling. Bodies of Sound offers a resonant exploration of feminist sonic cultures and radical listening in over fifty contributions. In this book of echoes, a variety of forms – from essays to text scores to art, fiction and memoir – speak across gender, ways of knowing, witnessing, sounding and voicing, translation, displacement, violence and peace.

With contributions from: 

Sara Ahmed, Ximena Alarcón, Svetlana Alexievich, Ain Bailey & Frances Morgan, Anna Barham, Xenia Benivolski, Leanne Betasamosake Simpson & Kite, Elena Biserna, Karen Barad & Black Quantum Futurism, Anne Bourne, Daniela Cascella, Theresa Hak Kyung Cha, Maria Chávez, Don Mee Choi, Carson Cole Arthur, Petero Kalulé & AM Kanngieser, Lindsay Cooper, Julia Eckhardt, Lucia Farinati & Claudia Firth, Ella Finer, Annie Goh, Louise Gray, Christina Hazboun, Johanna Hedva, Sarah Hennies, Tomoko Hojo, IONE, Lee Ingleton, Hannah Catherine Jones, Christine Sun Kim, Nat Lall, Cathy Lane, Jeanne Lee & Lona Foote, Marysia Lewandowska, Annea Lockwood & Jennifer Lucy Allan, Cannach MacBride, Elaine Mitchener & Hannah Kendall, Alison O'Daniel, Naomi Okabe, Pauline Oliveros, Daphne Oram, Gascia Ouzounian, Holly Pester, Roy Claire Potter, Anna Raimondo, Tara Rodgers, Aura Satz & Barbara London, Shortwave Collective, Sisters of the Order of Celestial Nephology, Sop, Syma Tariq, Marie Thompson, Trinh T. Minh-ha & Stoffel Debuysere, Salomé Voegelin

Cover of DEARS No. 5 ever:over

A Winning Cake

DEARS No. 5 ever:over

Robert Steinberger, Delphine Chapuis Schmitz and 1 more

Poetry €10.00

DEARS is a print magazine for transversal writing practices at the crossroads of art, poetry and experimental writing. It brings together authors and writers from different backgrounds and constitutes a dedicated platform for texts escaping the usual genres and disciplinary boundaries.

DEARS promotes the exploration of new forms of language as a way to foster new forms of living together, and emphasizes the growing relevance of trans- versal writing practices in this respect.

DEARS no. 5 / Summer 2023 / ever.over

With texts by Diaty Diallo, Douglas Keaney, Dzifa Benson, Sevinç Çalhanoğlu, Jana Vanecek, and an epigraph by Trinh T. Minh-ha.

Cover of Screen Writings

University of California Press

Screen Writings

Scott MacDonald

"Ask audience to cut the part of the image on the screen that they don't like. Supply scissors."—Yoko Ono, Tokyo, June 1964

A dazzling range of unconventional film scripts and texts, many published for the first time, make up Scott MacDonald's newest collection. Illustrated with nearly 100 film stills, this fascinating book is at once a reference work of film history and an unparalleled sampling of experimental "language art." It contributes to the very dissipation of boundaries between cinematic, literary, and artistic expression thematized in the films themselves. Each text and script is introduced and contextualized by MacDonald; a filmography and a bibliography round out the volume.

This is a readable—often quite funny—literature that investigates differences between seeing and reading. Represented are avant-garde classics such as Hollis Frampton's Poetic Justice and Zorns Lemma and Morgan Fisher's Standard Gauge, and William Greaves's recently rediscovered Symbiopsychotaxiplasm: Take One. Michael Snow turns film loose on language in So Is This; Peter Rose turns language loose on theory in Pressures of the Text.

Some of the most influential feminist filmscripts of recent decades—Laura Mulvey and Peter Wollen's Riddles of the Sphinx, Su Friedrich's Gently Down the Stream, Trinh T. Minh-ha's Reassemblage, Yvonne Rainer's Privilege—confirm this book's importance for readers in gender and cultural studies as well as for filmmakers and admirers of experimental writing, independent cinema, and the visual arts in general.

Cover of I Speak Radio

Archive Books

I Speak Radio

Anna Bromley, Achim Lengerer and 1 more

Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Anne Bromley's collaborative radio practice.

Since 2010, Anna Bromley has been inviting artists, activists and cultural researchers into the radio studio to explore language and voice together, in the context of sound, politics and everyday life. What began as an artists' radio research format has developed over the years into a series of exhibition pieces focusing on radio and its visible and invisible transmission bodies.
Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Bromley's collaborative radio practice. The publication also provides insight into the corresponding exhibition formats of these projects, including cooperations with a large number of artists, activists, radio makers and theorists. An index of images and texts on Bromley's other artistic works is inserted into the book.
I Speak Radio opens with Bromley's eponymous multimedia essay on the feminist appropriation of early radio technology in the 1920s. A Voice Exists in Voicing, the series of radio essays and sonic portraits with which Bromley opened the Manifesta Radio in Prishtina in the summer of 2022, comprises the core of the book. The accompanying visual element to this section is a series of drawings by Michael Fesca. Contextualizing texts by Catherine Nichols and Hedwig Fijen provide an introduction to A Voice Exists in Voicing. Finally, Bromley talks to media activist Diana McCarty about the politics of persistent radio voices and considers critical perspectives on radio as a medium within art exhibitions.

The reader series Scriptings: Political Scenarios publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Contributions by Anna Bromley, Diana McCarty, Hedwig Fijen, Catherine Nichols, Tetsuo Kogawa, Alla Mitrofanova, JD Zazie.

Cover of Assembling a Black Counter Culture

Primary Information

Assembling a Black Counter Culture

DeForrest Brown Jr.

DeForrest Brown, Jr.’s Assembling a Black Counter Culture presents a comprehensive account of techno with a focus on the history of Black experiences in industrialized labor systems—repositioning the genre as a unique form of Black musical and cultural production.

Brown traces the genealogy and current developments in techno, locating its origins in the 1980s in the historically emblematic city of Detroit and the broader landscape of Black musical forms. Reaching back from the transatlantic slave trade to Emancipation, the Industrial Revolution, and the Great Migration from the rural South to the industrialized North, Brown details an extended history of techno rooted in the transformation of urban centers and the new forms of industrial capitalism that gave rise to the African American working class. Following the groundbreaking work of key early players like The Belleville Three, the multimedia output of Underground Resistance and the mythscience of Drexciya, Brown illuminates the networks of collaboration, production, and circulation of techno from Detroit to other cities around the world.

Assembling a Black Counter Culture reframes techno from a Black theoretical perspective distinct from its cultural assimilation within predominantly white, European electronic music contexts and discourse. With references to Theodore Roszak’s Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the “techno rebels” of Alvin Toffler’s Third Wave, among others, Brown draws parallels between movements in Black electronic music and Afrofuturist, speculative, and Afrodiasporic practices to imagine a world-building sonic fiction and futurity embodied in techno.

DeForrest Brown, Jr. is an Alabama-raised rhythmanalyst, writer, and representative of the Make Techno Black Again campaign. As Speaker Music, he channels the African American modernist tradition of rhythm and soul music as an intellectual site and sound of generational trauma. On Juneteenth of 2020, he released the album Black Nationalist Sonic Weaponry on Planet Mu. His written work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music, and has appeared in Artforum, Triple Canopy, NPR, CTM Festival, Mixmag, among many others. He has performed or presented work at Haus der Kulturen der Welt, Berlin; Camden Arts Centre, UK; Unsound Festival, Krakow; Sónar, Barcelona; Issue Project Room, New York; and elsewhere. Assembling a Black Counter Culture is Brown’s debut book.

Editor: Rachel Valinsky
Editorial Consultant: Ting Ding and Camille Crain Drummond
Designer: Scott Ponik
Copy Editor: Madeleine Compagnon

Cover of Issue 9: John Akomfrah

Plaster Magazine

Issue 9: John Akomfrah

John Akomfrah

This special, limited-edition issue of Plaster celebrates Akomfrah’s commission for the British Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. The linen presentation box contains: an essay by Akomfrah’s long-time friend and collaborator, the BAFTA-winning film curator June Givanni; an interview with Akomfrah by Harriet Lloyd-Smith; original portraits by photographer Siam Coy and a fold-out poster featuring an exclusive still from Akomfrah’s film installation, Listening All Night To The Rain, now screening in the British Pavilion at the Venice Biennale.

With creative direction by Constantine // Spence and design by Emma Ralph.

Cover of Thing

Primary Information

Thing

Robert Ford, Trent Adkins and 1 more

Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of the Queer Black music and art scene in the early 1990s. Ford and his editors were part of the burgeoning House music scene, which originated in Chicago’s Queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles, Gemini, Larry Heard, Rupaul, and Deee-Lite. THING published ten issues from 1989-1993, before it was cut short by Ford’s death from AIDS-related illness. All ten issues of THING are collected and published here for the first time.

As House music thrived, THING captured the multidisciplinary nature of the scene, opening its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The HIV/AIDS crisis loomed large in its contents, particularly in the personal reflections and vital treatment resources that it published. An essay by poet Essex Hemphill was published alongside the gossip columnist Michael Musto and Rupaul dished wisdom alongside a diary from the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation. Joan Jett Blakk’s revolutionary presidential campaign is contained in these pages, as are some of the most underground, influential literary voices of the time, such as Dennis Cooper, Vaginal Davis, Gary Indiana, Marlon Riggs, David Wojnarowicz, and even David Sedaris.

THING was very much in dialogue with the club kids in New York and other Queer publishing ventures, but in many ways, it fostered an entirely unique perspective—one with more serious ambitions. In a moment when the gay community was besieged by the HIV/AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply-produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club culture that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community and understood the fleetingness of its moment. To reencounter this work today, is to reinstate the Black voices who were so central to the history of HIV/AIDS activism and Queer and club culture, but which were often sidelined by white Queer discourse. In many ways, THING offered a blueprint for the fundamental role a magazine plays in bringing together a community, its tagline summing up the bold stakes of this important venture: “She Knows Who She Is.”

The magazine included contributions from Trent D. Adkins, Joey Arias, Aaron Avant Garde, Ed Bailey, Freddie Bain, Basscut, Belasco, Joan Jett Blakk, Simone Bouyer, Lady Bunny, Bunny & Pussy, Derrick Carter, Fire Chick, Chicklet, Stephanie Coleman, Bill Coleman, Lee Collins, Gregory Conerly, Mark Contratto, Dennis Cooper, Dorian Corey, Ed Crosby, The Darva, Vaginal Davis, Deee-Lite, Tor Dettwiler, Riley Evans, Evil, The Fabulous Pop Tarts, Mark Farina, Larry Flick, Robert Ford, Scott Free, David Gandy, Gemini, Gabriel Gomez, Roy Gonsalves, Chuck Gonzales, Tony Greene, André Halmon, Lyle Ashton Harris, Larry Heard, Essex Hemphill, Kathryn Hixson, Sterling Houston, Ishmael Houston-Jones, Gary Indiana, Candy J, Jamoo, Jazzmun, Gant Johnson, Owen Keehnen, Lady Miss Kier, Spencer Kincy, Iris Kit, Erin Krystle, Steve LaFreniere, Larvetta Larvon, Marc Loveless, Lypsinka, Malone, Marjorie Marginal, Terry A. Martin, Rodney McCoy Jr., Alan Miller, Bobby Miller, Michael Musto, Ultra Naté, Willi Ninja, Scott “Spunk” O’Hara, DeAundra Peek, Earl Pleasure, Marlon Riggs, Robert Rodi, Todd Roulette, RuPaul, Chantay Savage, David Sedaris, Rosser Shymanski, Larry Tee, Voice Farm, Lawrence D. Warren, Martha Wash, LeRoy Whitfield, Stephen Winter, David Wojnarowicz, and Hector Xtravaganza.

Cover of A conversation, Nick Zedd & Marie Canet

Goswell Road

A conversation, Nick Zedd & Marie Canet

Marie Canet, Nick Zedd

“What happened to my book?”

This was the last email we received from Nick, in December 2021. A short, concise demand, which we responded to, telling him that the transcription was coming soon and that Marie was finalising the introduction. Little did we know, what Nick surely already knew: he was dying. The urgency should have given it away, but Nick was always blunt in our email exchanges.

Nick passed away on February 27th, 2022. We regret not getting the transcription to him while he could still edit it, so this book in your hands remains an unabridged testament.

The only thing he did edit were his final words, in an unsolicited email in September 2021:

“I was thinking about when you asked me if I had any final words, that it would be better to have me say: Freedom or death. At the crossroads. With a key.”

So we leave you with this; a homage to the legendary founder of the Cinema Of Transgression - a brilliant artist, a sharp mind, a loving father, a kind revolutionary, a boot stamping on the face of modernity forever, an underground phenomenon.
Nick Zedd, rest in peace.

[Note by the publisher.]

With a foreword by Goswell Road. Includes a conversation with Nick Zedd, and the manifesto 'Cinema of Transgression'.

Softcover (11 cm x 18 cm)
84 Pages
75 copies
Language : English