Words are my warders but don’t keep an I on me

A text on speaking, listening and being understood made in conversation with iOS speech-to-text software.

Lisa’s work takes the form of a visual score, a sound work and a short accompanying essay on the metaphorical act of singing underwater, within the context of the migrant crisis in the UK. It is a beautifully haunting.

With link to online sound work.

‘A Tone or Two’ comes in the form of a text score and a melodic voice work. Noticing a shift in her voice in recent years, Thams tracks how within the last decades female voices have lowered 23hz in pitch. Tuning into the shift toward more gender equality, vocal pitch is explored in relation to authority, electability, courage and rhythmicity.

With link to online sound work.

DEAR EAR is a fragmentary text, moving through subvocalization, lingual acrobatics, ingressive speaking and rhythmic reading in various experiences of the visualised voice.

‘Five Devours’ is a short essay in five parts about need and food as a part of speech, about speech’s relationship to nourishment and hunger; the currency between eating and speaking, expending and consuming.

12 pages
150 x 200mm
risograph printed 
edition of 150

‘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

Curator, writer and dealer Seth Siegelaub (1941–2013) is legendary for his promotion of Conceptual art in New York in the 1960s and ‘70s.

Acknowledging the unusual scope and essentially unclassifiable nature of his manifold interests and activities, this volume shows how Siegelaub’s projects and collections are underpinned by a deeper concern with printed matter and lists as ways of disseminating ideas. The book’s chapters explore the various facets of and connections in Siegelaub’s work, from his groundbreaking projects with Conceptual artists and his research and publications on mass media and communications theories to his interest in handwoven textiles and non-Western fabrics. It also highlights his collecting activity, which culminates in a unique ensemble of books on the social history of textiles and a textile collection comprising over 750 items from around the world. The survey also reflects on current practices through contributions by contemporary artists, such as Mario Garcia Torres and writer Alan Page, who co-created a new work inspired by Siegelaub’s bibliographic project on time and causality.

With essays by art historians and curators, a previously unpublished conversation between Siegelaub and artist Robert Horvit and an annotated chronology, this comprehensive survey pays homage to one of the most distinctive characters in 20th-century exhibition-making.

Great is the Power of the Name considers the works of authors Elena Ferrante, Pauline Reáge, Karl Ove Knausgård, Colette and artist Lee Lozano. 

In 2016, when Anne-Mette had invited Signe to take on the role as editor of her text The Institute of Applied Speech, they both began reading Elena Ferrante's The Neapolitan Novels. They were specifically fascinated by the author’s use of pseudonym. Anne-Mette's Institute of Applied Speech was a tale of a fictive place, a pseudo-topos, and Elena Ferrante’s ideas about the pseudonym as a space for the writing itself was useful in thinking about fictive authorship. In a number of written interviews, Elena Ferrante unfolds the feminist perspective of her use of pseudonym. They were attracted by the idea that the author could avoid the biographical question; that she could disappear behind her own writing. 

To them, the artist Lee Lozano is the ghostly presence of hard-core moralist and humorous fuck-off art from another decade. During the course of her life, Lozano continuously reconfigured and gradually dissolved her own name, starting from Leonore Knaster ending up with E. Her work Boycott Women, in which she decides not to have any contact with women, expands the notion of feminist critique. 

Great is the Power of the Name publishes a readership interested in the position of the artist, and how it conditions the way we make art.