Skip to main content
rile*books

Search books

Search books by title, author, publisher, keywords...

Cover of Ductus

Self-Published

Ductus

Paul Abbot

€10.00

DUCTUS is the latest solo project by Paul Abbott, featuring 51 minutes of audio, across 12 tracks, and a 42 page booklet featuring new writing. DUCTUS was written and recorded in Edinburgh and Porto in 2019. 

DUCTUS presents a playful weave of collapsing time through a number of speculative elements and fictional characters. Abbott feels his way through learning drums, rhythm and writing as fleshy research technologies. DUCTUS is the latest stage in a process considering sound, the body, imagination, and language through music. This features as part of ongoing investigations using real and imaginary drums, synthetic sounds, performance and writing.

Published in 2019

recommendations

Cover of Teeth Surrounding a Flower in the Meanings

Self-Published

Teeth Surrounding a Flower in the Meanings

Reinier Vrancken

Poetry €40.00

In ‘Teeth Surrounding a Flower in the Meanings’ a compilation of texts from the critical discourse surrounding his work, written by various authors between 2016 and 2023, serves as source material for a series of erasures.

Through retro- and introspectively reading into the works and the practice at large from poetic angles, these poems investigate the relation between art and its discourse, the words used, and their edges.

Cover of I am Welton Santos.

Self-Published

I am Welton Santos.

Sofia Caesar

I am Welton Santos reenacts a dialogue between the Brazilian geo-bio-architect Welton Santos and an Interviewer. The book, which is always read collectively, is used in reading performances by groups of at least 3 people.

Printed on the occasion of an artist residency at PAV, Parco d’Arte Vivente, Turin, July 2016. Texts based on transcripts of interviews with Welton Santos.

Cover of Evol/Love

Self-Published

Evol/Love

Nibor Traaw

Evol/Love is a project in three parts: a billboard series, installation and publication connecting 160 subtitled movie stills that all contain the word Love.

A collage of voices and definitions arranged in alphabetical order, from ‘Love is where you find it’ (A: A Date with Judy, US 1948, 00:22:37) to ‘But even if it’s a little late, love has a way of coming back to you’(Y: Yeonae/Love is a Crazy Thing, KR 2005, 01:38:02), but read backwards to sound like its antonym: evil.

Self-published: Stichting Mei, Amstelveen, NL 2020
19,6 x 19,6 x 2,3 cm
200 pages, 160 images
Japanese bound, buckram cover with flaps
Offset on pink paper (interior), screenprinted buckram (cover)

Graphic Design Vilmantas Žumbys, Vilnius

Edition of 666 copies

Cover of Child's Replay

Self-Published

Child's Replay

Adrian Bridget

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

This publication is limited to 100 copies, which are signed and numbered by the author. 

Cover of Ferrara Deux (Faits Divers)

Self-Published

Ferrara Deux (Faits Divers)

Ivan Cheng

faits divers are the various reports in a news bulletin, miscellaneous human interest stories, theorised by Roland Barthes as ‘total’ and ‘immanent’ information.

ferrara deux (faits divers) scrolls around the discovered corpse of a talented street musician named Landau, mangled and sealed into vacuum bags in the walk-in of a modern Italian-American restaurant. Street performance is content for an attention economy, playing on authenticities and profiting from recognition.

In this debut novel, artist Ivan Cheng reconfigures recent performance texts into an approximation of a murder mystery.

Cover of Blank Forms #10 – Alien Roots

Blank Forms

Blank Forms #10 – Alien Roots

Éliane Radigue

The tenth and final anthology from Blank Forms offers an exceptional insight into the work, working methods and thinking of the French pioneer of musique concrète and electroacoustic composition Éliane Radigue, through key texts, a wealth of archival documents (including correspondence, notes and sketches for works, concert flyers, photographs, drawings, reviews, etc.), in-depth interviews and commissioned essays.

This volume explores the early electronic work of French composer Éliane Radigue, whose radical approach to feedback, analog synthesis, and composition on tape has long evaded historical and technical interpretation. Combining key texts, newly translated primary documents, in-depth interviews, and commissioned essays, this compendium interrogates the composer's idiosyncratic compositional practice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification, and the very experience of listening.

Among these entries is an in-depth overview by cellist Charles Curtis, a close collaborator of Radigue's, examining the composer's earliest experiments with feedback techniques and analog synthesis, her eventual shift to composing for unamplified instruments and live performers, and her unique aesthetic configurations of time and presence. A number of detailed conversations between the composer and researchers Georges Haessig, Patrick de Haas, Ian Nagoski, and Bernard Girard provide crucial insights into her working methods at different points throughout her career. Religious studies scholar Dagmar Schwerk reflects upon Radigue's profound 1988 synthesizer work, Kyema, in the context of Tibetan Buddhist thought and its history, while texts by musicians Daniel Silliman and Madison Greenstone examine, in notably different ways, the technical characteristics of Radigue's sound practice. Sketches for unrealized work, contemporary reviews, concert programs, and other ephemera mapping the performance history of Radigue's early work are presented together for the first time. The anthology concludes with a roundtable discussion between Curtis, Greenstone and Anthony Vine, untangling the knot of paradoxes at the center of Radigue's artistic practice to trace the thread of her continued "ethos of resistance."

Edited by Lawrence Kumpf and Charles Curtis.
Texts by Éliane Radigue, Charles Curtis, Georges Haessig, Patrick de Haas, Ian Nagoski, Bernard Girard, Dagmar Schwerk, Daniel Sillman, Madison Greenstone, Anthony Vine.

Blank Forms' journal brings together a combination of never-before published, lost, and new materials that supplement Blank Forms' live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art.

Éliane Radigue (born 1932 in Paris) is considered one of the most innovative and influential contemporary composers, from her early electronic music through to her acoustic work of the last fifteen years. Influenced by musique concrète and shaped by regular sojourns in the United States, where she discovered analogue synthesisers, her work unfolds an intensity which is at once subtle and monumental. Through her deep reflections on sound and listening, not only her music but also her working methods have come to shape a widely resonating set of new parameters for working with sound as musical material.

Cover of In Perpetuity

Self-Published

In Perpetuity

Ivey Wawn

In Perpetuity is part of Ivey Wawn’s project of the same name. With contributions from those involved in the making of what would have been the live performance, it is an accumulation of thoughts, reflections and associated pieces of work that give some idea of what the work could, would, or may in the future come to be. 

In Perpetuity is an ongoing project that has taken a variety of forms, from publication, through video and into live performance.

Cover of Maquillage as Meditation: Carmelo Bene and the Undead

If I Can't Dance

Maquillage as Meditation: Carmelo Bene and the Undead

Sara Giannini

Performance €20.00

Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.