Experimental film practice from an international and transdisciplinary perspective.

Karel Doing is an experimental filmmaker and researcher who has worked across the globe with fellow artists and filmmakers, creating a body of work that is difficult to pinpoint with a simple catchphrase. In Ruins and Resilience he weaves autobiographical elements and critical reviews together with his wide ranging interdisciplinary approach, reflecting on his own practice by positioning key works within the context of a vibrant experimental film scene in Europe, North and South America, and Asia. Doing demonstrates how experimental filmmakers have continued to renew their practice despite the almost total demise of analog motion picture film and the constant neglect of this art form by institutions and critics. Written in a fluent and accessible style, the book looks into the connections between the work of groundbreaking artists within the field and subjects such as transgression, improvisation, collectivity, materiality, phenomenology, and perception. Specifically, intersections with music and sound are investigated, appealing to the idea of the cross-modal brain, the ability to perceive sounds and images in an integrated way. Instead of looking again at the "golden era" of experimental film, the book starts in the 1980s, showing how this art form has never ceased to surprise and inspire. The author's hands-on engagement with the medium is formational for his more theoretical approach and writing, making the book a highly original contribution in the field that is informative and inspiring for academic and practitioners alike.

The history and future of an alternative, oppositional translation practice.

The threat of machine translation has given way to an alternative, experimental practice of translation that reflects upon and hijacks traditional paradigms. In much the same way that photography initiated a break in artistic practices with the threat of an absolute fidelity to the real, machine translation has paradoxically liberated human translators to err, to diverge, to tamper with the original, blurring creation and imitation with cyborg collage and appropriation.

Seven chapters reimagine seven classic “procedures” of translation theory and pedagogy: borrowing, calque, literal translation, transposition, modulation, equivalence, and adaptation, updating them for the material political and poetic concerns of the contemporary era. Each chapter combines reflections from translation studies and experimental literature with practical guides, sets of experimental translation “procedures” to try at home or abroad, in the classroom, the laboratory, the garden, the dance hall, the city, the kitchen, the library, the shopping center, the supermarket, the train, the bus, the airplane, the post office, on the radio, on your phone, on your computer, and on the internet.

Selected short stories by one of the most acclaimed voices in post-war US American science fiction.

This volume presents a selection of short fiction by Vonda Neel McIntyre (1948–2019), one of the most acclaimed writers of post-war US American science fiction, and the winner of multiple awards for both novels and short fiction.

These stories, which span the whole of McIntyre's career, show the broad range of her interests and her voice, taking us from bleak dystopian worlds on the verge of environmental collapse to baroque intergalactic civilizations populated by genetically modified humans, from cries for freedom to sharp-eyed satire to meditations on aging. Throughout run her distinctive themes of gender and power dynamics, human and species diversity, and a pragmatic utopianism that emphasises our mutual dependency.

The stories included in the volume are: "Breaking Point," "Thanatos," "Shadows, Moving," "Elfleda," "A Story for Eilonwy," "Malheur Maar," "The Adventure of the Field Theorems," "Little Faces", "Little Sisters," and "XYY" (previously unpublished).

Vonda Neel McIntyre (1948–2019) was one of the most acclaimed voices in US American science fiction from the 1960s onwards. A novelist, short story writer, essayist, and critic, she won her first Hugo Award in 1973 for her novella "Of Mist, and Grass, and Sand." This formed part of her ground-breaking feminist novel Dreamsnake (1978), which won both the Hugo and the Nebula Award. A later novel, The Moon and the Sun, won the Nebula in 1997. McIntyre contributed extensively to debates within the US sf community over the role of women in science fiction, and was instrumental in founding the Clarion West Writers Workshop for novice sf writers. A final novel, The Curve of the World, was completed shortly before her death.

A post-apocalyptic retelling of William Shakespeare's The Merchant of Venice.

Who will survive when the world is destroyed? Can stories from the distant past teach us how to change a dismal present? Merchant shifts perspective between three survivors of a flooded world as they try to navigate the threat of mass starvation; Jessica, a patrilineal Jew from Venice (named after the Italian city but located on the mountain K2) who has memorized the complete works of Shakespeare; Cem, an orphan of Venice; and Shinobu, an advisor to the empress Ama in Fuji. Ama has been gifting edible algae blocks to nations worldwide, but Jessica's arrival in Fuji to beg for more food for Venice upsets the delicate international balance Shinobu has been maintaining. As a series of buried secrets and miscommunications carry consequences of potential global destruction, everyone must determine what they are willing to do to survive in a hopeless world.

Alexandra Grunberg attended New York University's Tisch School of the Arts earning a BFA in Theatre. She earned her MLitt and DFA in Creative Writing at The University of Glasgow. Grunberg presented her research at various academic conferences in the UK, including “Once and Future Fantasies” at the University of Glasgow, “CRSF 2021 10th Anniversary Conference—Speculative Futures & Survival” by the University of Liverpool, “Beast Modernisms Conference 2019” at The University of Glasgow, “Creative Writing: Processes, Theory, and Influences” at The University of Edinburgh, and “The Literary Self: From Antiquity to the Digital Age” at The University of Edinburgh.

The collected manifestos of Édouard Glissant and Patrick Chamoiseau: for a postcolonial response to planetary crisis.

Manifestos brings together for the first time in English the manifestos written by Édouard Glissant and Patrick Chamoiseau between 2000 and 2009. Composed in part in the aftermath of Barack Obama's election in 2008, the texts resonate with the current context of divided identities and criticisms of multiculturalism. The individual texts grapple with concrete historical and political moments in France, the Caribbean, and North America. Across the manifestos, as well as two collectively signed op-eds, the authors engage with socio-political aspects of climate catastrophe, resource extraction, toxicity, and neocolonialism.  

Throughout the collection, Glissant and Chamoiseau engage with key themes articulated through their poetic vocabulary, including Relation, globalization, globality (mondialité), anti-universalism, métissage, the tout-monde (“whole-world”) and the tout-vivant (“all-living,” including the relationship of humans to each other and “nature”), créolité and the creolization of the world, and the liberation from community assignations in response to individualism and neoliberal societies.  

Translated as the first volume in the Planetarities series with Goldsmiths Press, the themes of Manifestos resonate with the planetary as they work in response to contemporary forms of (economic) globalization, western capitalism, identity politics, and urban, digital and cosmic ecosystems, as well as the role of the poet-writer. A distinguishing feature of this publication is its interventional aspect, which prioritizes engaged scholarship and practice while demonstrating the relevance of the poetic in response to the urgencies of planetary crisis. 

Translated by Betsy Wing and Matt Reeck

Afterword by Edwy Plenel

When the dead begin speaking to sixteen-year-old Kim Nguyen, her peaceful childhood is over.

A delicate meditation on the nature of ghosts, belief, and how the future is shaped by the past. When the dead begin speaking to sixteen-year-old Kim Nguyen, her peaceful childhood is over. Suddenly everyone wants to exploit her new talent—her family, the Vietnamese government, and even the spirits themselves.

Hoa Pham is the author of several books and two plays. Her most recent publication is Empathy, also published by Goldsmiths Press under the Gold SF imprint. She is also the founder of Peril Magazine, an Asian-Australian online arts and culture magazine. Hoa lives in Melbourne, Australia.

A literary odyssey along the highways at a time when a new form of superintelligence has emerged.

Autodrive is a work of literary fiction that melds techno-scientific inquiry and storytelling, critical theory and comedy, speculative fiction and satire. It is a road novel of sorts, an odyssey along the highways at a time when a new form of superintelligence has emerged. This new form of artificial intelligence is not entirely distinct from the characters in the narrative—it is ingrained in the machines they already use, the vehicles they already take, the systems they are already part of, but cannot fully see. The human character who is typically at the center of the fictional world gives way to an eccentric cast of performers—an ensemble of people and machines.

Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban--ecologies that can never simply be reduced to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city.  

Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiment with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Teklife, Ghettoville, Eski foregrounds the sonic specificity of 12 records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life.  

Pushing the critical debates concerning the phonic materiality of blackness, undercommons, and aesthetic sociality in new directions, Teklife, Ghettoville, Eski rethinks these concepts through concrete examples of contemporary black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism.

A rich collection of essays tracing the relationship between art and sound. 

In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art.

Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works.

Inflamed Invisible collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible.

In Sonic Agency, Brandon LaBelle sets out to engage contemporary social and political crises by way of sonic thought and imagination. He divides sound's functions into four figures of resistance--the invisible, the overheard, the itinerant, and the weak--and argues for their role in creating alternative "unlikely publics" in which to foster mutuality and dissent. He highlights existing sonic cultures and social initiatives that utilize or deploy sound and listening to address conflict, and points to their work as models for a wider movement. He considers issues of disappearance and hidden culture, nonviolence and noise, creole poetics, and networked life, aiming to unsettle traditional notions of the "space of appearance" as the condition for political action and survival.