Romance Utopia

Dead Minutes is a storytelling game about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

The first half of this book gives you everything you need to play a session of Dead Minutes, which takes 2-5 hours with 3-6 people.

The second half features an essay by Patricia Reed that expands on the concepts of heuristic fictions and vital zombies in relation to the afterlife, and a series of afterlife generating 'seeds' contributed by different types of writers - a demonic boardroom presentation by writer and art critic Habib William Kherbek, a ritual from horror game designer Samuel Clarice Mui Shen Ern, a premise by Arthur C Clarke award winning author Chris Beckett, and a letter from Selma Selman.

Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
 
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
 
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.

More info at http://www.thiscontainer.com

Drama, careers, sabotage, compromises... The first issue of Suckcess Magazine begins with a selection of poems by the flamboyant Rene Ricard, edited with the help of Editions Lutanie, and continues with contributions from Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, and Bunny Rogers. Cartoons and tennis players are also on the program.

This publication is a collection of poems written through a method called Transtexting. Transtexting explores the body’s implication in poetic production positioning the body and its movement as a listening aid, acting as a filter; a net capturing words, syntax and sounds.

Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.

The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz 

It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.

Empathic Intimacies: A Touch That You Can Really Feellllll is two essays written 2 years apart (April 2020 and April 2022), published together to create a timeline between two points during the pandemic.

Aleen Solari’s work is shaped profoundly by insights into various subcultures. These insights are partly drawn from her own experiences, partly borrowed from members of certain scenes who she invites to be part of her work. Her sculptural practice moves in and out of life within these groups, and is full of codes and quotations from antifa members, football hooligans, bored youth clubs or those embedded in neonazi networks. 

Direct Into Chaos is a book that dives deep into these worlds, shape-shifting between fiction, documentation and artwork. In ghost written texts, Solari fictionalises her own artistic biography, morphing interviews with football hooligans who had their phones tapped by the police, into a dream world where they receive generous compensation for years lived under surveillance. 

In this publication – in a chaotic, dreamlike state of mind – fiction and documentation, art and activism meld into something new.
Aleen Solari is an artist who lives in Hamburg, Germany

An artist's guide to copyright, written for makers.

Both practical and critical, this book will guide you through the concepts underlying copyright and how they apply in your practice.

How do you get copyright? For what work? And for how long? How does copyright move across mediums, and how can you go about integrating the work of others? Because they get copyright too!

Copy this Book will detail the concepts of authorship and original creation that underlie our legal system. This way, it will equip you with the conceptual keys to participate in the debate on intellectual property today.

Eric Schrijver is a Dutch interaction designer, artist and author, born in Amsterdam in 1984. He lives in Brussels, and works for the Belgian IT company ACSONE, designing and developing interfaces for clients in the public and private sector. Eric Schrijver directs a group blog called I like tight pants and mathematics, that aims to motivate designers and artists to get more involved in the world of computer programmers. From 2011 to 2017 he was a core member of the graphic design collective Open Source Publishing. Eric Schrijver has taught workshops at art schools around the world. He has been a teacher at the Masters Graphic Design at the École de Recherche Graphique (ERG), and as well as a faculty member at KABK (The Hague), where he taught coding and interaction design.