Love, Emily (vinyl LP)

Adorno’s Noise is a collection of experimental, poetic, and conceptual essays. Adorno’s Noise takes a stunning plunge into a kaleidoscopic world of globalization, female sexuality, the place of art and artist, and the looming power of the state. Phrases from Theodor Adorno’s aphoristic philosophical text, Minima Moralia, serve as catalysts for an explosion of thought and language that quickly breaks Adorno’s orbit.

“This work by Carla Harryman, startlingly astute, once again proves how necessary an encounter with her writing has become for us today. Her grasp of theoretical and poetic exigencies is unbypassable, and she moves lightly, lifting the prose poem into the amplitude of a new articulation.” — AVITAL RONELL

“Adorno’s ‘noise’ may be nothing more than the consonance of late modern capital talking to itself, but Carla Harryman listens to Adorno listening, and what she hears is a very different sort of dissonance, something Adorno himself may have been deaf to. Listening for a noise that can’t be heard, Harryman attends to the disruption of signal the aesthetic artifact called a corpse at the limit of Adorno’s magisterial eloquence, where thought steps over the body. Atonally faithful to his negativity the afterglow of torment passing through figures of speech while refusing the authority of a masterful dialectic, Harryman makes our unthought horizon “normality is death” audible, presencing a body that can’t be redeemed by aesthetics the bosy wants tobe art and fails at it. From Gender the Status of Dogs to works by Sun Ra, Anais Nin, Robert Smithson, and Kenzaburo Oe, this radically asynthetic writing moves thru polyphonic configuration of word, image and concept. Synthesia? Emotional truth? The intersection between abstraction and narration? Practicing a militant ethic of non-mastery as every one of its sentences sounds like a sensory organ in the process of becoming its own theoretician. Adorno’s Noise reinvents the “essay as form,” but it doesn’t stop short of reinventing thinking.” — ROB HALPERN

Carla Harryman is the author of twenty-four books of poetry, prose, plays, and essays. Harryman is widely acknowledged as an innovator in poetry, prose, and inter-disciplinary performance. An active collaborator, she is one of ten co-authors of The Grand Piano, an Experiment in Collective Autobiography: San Francisco, 1975-1980 (2006-2010). Open Box, a CD of music and spoken text performance created with composer and musician Jon Raskin was released on the Tzadik label in 2012. Her Poets Theater plays and music/text collaborations have been performed nationally and internationally, including at dOCUMENTA 13, where she presented the closing keynote performance Occupying Theodor W. Adorno’s “Music and New Music,” a music/text work that folds segments of Adorno’s Noise into her poetic adaptation of Adorno’s lecture. She is the editor of two critical volumes: Non/Narrative, a special issue of the Journal of Narrative Theory ( 2012) and Lust for Life: On the Writings of Kathy Acker (with Avital Ronell and Amy Scholder, Verso, 2006).

Other books by Carla Harryman include the collection of poetry and performance writings published in French and English editions Sue in Berlin and Sue á Berlin (2017); A Voice to Perform (Split/Level 2020); the epistolary essay, Artifact of Hope (2017); the diptych W—/M— (2013), Gardener of Stars: A Novel (2001), and two volumes of selected writing: Animal Instincts: Prose, Plays, Essays (1989) and There Never Was a Rose without a Thorn (1995). Her grants and awards include The Foundation of Contemporary Art, New York, Opera America Next Stage (with Erling Wold), and The Ronald W. Collins Distinguished Faculty in Creative Activity Award from Eastern Michigan University, where she serves on the faculty of an interdisciplinary creative writing program.

Impossible Princess is the third collection of gay short fiction by PEN Award–winning San Francisco–based author Kevin Killian. A member of the “new narrative” circle including Dennis Cooper and Kathy Acker, Killian is a master short story writer, crafting campy and edgy tales that explore the humor and darkness of desire. A former director of Small Press Traffic and a co-editor of Mirage/Periodical, Killian co-wrote Jack Spicer’s biography, Poet Be Like God, and co-edited three Spicer books, including My Vocabulary Did This To Me: Collected Poems. His latest book, Action Kylie, is a collection of poems devoted to Kylie Minogue.

An original reading of Pier Paolo Pasolini's work and “impulses”, between aesthetic and psychoanalytic reflection.

Une lecture originale du corpus et de la biographie de Pier Paolo Pasolini, sous le signe de l'éthique et des « pulsions » qui y sont à l'œuvre, entre réflexions esthétique et psychanalytique.

Relue à l'aune de la psychanalyse et des théories queer, l'œuvre de Pier Paolo Pasolini constitue un Dehors fertile pour la réflexion contemporaine. Pour faire face à l'apathie, pour affronter la souffrance, pour réveiller la réalité désabusée, comment tirer parti de la descente aux enfers pasoliniens ? Comment son travail peut-il aider à mieux appréhender le contemporain sans le condamner d'une traite ? Pasolini aimait se définir comme « une force du passé ». Il ne faut pas laisser sombrer sa lutte contre le conformisme petit bourgeois et le développement du capitalisme dans un conservatisme quelconque. La lutte pasolinienne, son combat au corps-à-corps avec la langue, le visible, le dicible ne peut rester vain.

Re-lire et re-revoir Pasolini pour nommer le contemporain : le chantier est vaste, d'autant plus imposant qu'il est resté inachevé. Films, pièces de théâtre, romans, poésies, essais... en chaque lieu, surgit la suspension des certitudes bien-pensantes et résonnent les voix des sans-voix : ragazzi, prostituées, spectres, lucioles, sous-prolétariat du monde entier. S'ensuit une série de questions déterminantes pour l'actualité de la pratique psychanalytique et de la pensée. Comment (se) dit-on ? Comment (se) réfléchit-on ? Comment (se) désire-t-on ? Où et comment retrouver un peu de « grande santé » ? Où et comment trouver un nouveau cap ?

D'Edipo Re à Salo, d'Orgia à Petrolio, de Comizi d'amore aux Ecrits corsaires, Pasolini décline des corps, des visages, des personnages animés par des pulsions qui ne cessent d'inventer une logique mettant au défi le moralisme de l'autorité paternelle. Ces pulsions répètent sans cesse un même échec. Que signifie cette omniprésence de l'échec, l'insistance de la foirade tant dans l'œuvre filmée qu'écrite ? Comment articuler le refus du père pasolinien avec son attachement revendiqué à l'œuvre freudienne? Répondre à ces questions, c'est entrer dans la poétique même de l'écriture pasolinienne et dans des questions psychanalytiques de la plus brûlante actualité.

Rapprocher Pasolini de la psychanalyse et des théories du genre ne vise ni à psychologiser son œuvre, ni à faire du poète un précurseur des idéologies queer. S'emparer des pulsions pasoliniennes, c'est, bien plutôt, mettre au travail la praxis par les idéologies : réveiller l'écoute analytique, les idéologies queer et l'esthétique pasolinienne.

L'essai se veut une porte d'entrée pour comprendre l'éthique à l'œuvre chez Pasolini et dans la pratique de l'inconscient. Son champ référentiel principal est le corpus pasolinien analysé à partir de l'œuvre freudienne et des apports lacaniens ainsi que de leurs reprises par les avancées des théories du genre (Teresa de Lauretis, Leo Bersani, Gayle Rubin...).

Derek Jarman’s unrealised film treatment, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights, takes as its subject matter the events leading up to and including the murder of Italian film director Pier Paolo Pasolini following the making of his final film Saló, or the 120 Days of Sodom in 1975. 

Written in 1984, the setting of Jarman's film is inspired by the renaissance painter Hieronymus Bosch’s triptych, The Garden of Earthly Delights (1490-1500), a painting that depicts both the joys and perils of temptation, and which Jarman encountered on a visit to the Museo de Prado in Madrid the year he began working on the project. 

For the first time, a facsimile of the treatment is presented alongside reproductions from the film's workbook, which show Jarman's calligraphic notes towards the film’s sequences, themes, cinematography, lighting, sound, costume, casting and props. 

2025 marks fifty years since Pasolini's murder and thirty-two since Jarman’s death due to AIDS. Against a backdrop of funding cuts to the arts and the arrival of the HIV/AIDS epidemic that vanished away so many important artists and visionaries, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights is a powerful elegy to the decadence of queer cinema and the tragedy of its last auteur. 

Derek Jarman was one of the most influential British artists of the twentieth century. His practice, as diverse as it was prolific, spanned painting, sculpture, film, writing, stage design, gardening and activism. He was an outspoken campaigner for LGBTQIA+ rights, and was one of the first public figures in the UK to raise awareness for those living with HIV/AIDS, announcing his own HIV diagnosis on the radio in 1986.

I Want reviews the eponymous duo's double-projection film installation examining issues of gender, sexuality and performativity—and inspired by the words of punk poetess Kathy Acker and convicted whistle-blower Chelsea Manning. This publication documents the major film installation I Want (2015) by collaborative artists Pauline Boudry and Renate Lorenz, which was presented at their 2015 solo exhibitions at Kunsthalle Zürich and Nottingham Contemporary.

The double-projection film installation is based on a script that borrows texts from American punk-poet Kathy Acker (1947-1997), as well as chats and materials by convicted whistle-blower Chelsea Manning that speak of her reasons for revealing nearly one million secret military and diplomatic documents through WikiLeaks, at the same time exposing her transgender identity to her superiors.

Through poetic gestures of appropriation and recombination, Boudry and Lorenz examine issues around gender, sexuality, the performance of identity, and the nature of collaboration. Alongside generous color documentation, written contributions by Gregg Bordowitz, Laura Guy, Dean Spade, and Craig Willse unpack and reflect upon both the historical context and contemporary significance of this multivalent work.

Basta Now. Women, Trans & Non-binary in Experimental Music is a non-academic essay by French poet, novelist and music enthusiast Fanny Chiarello. It’s also the first book to be published by Permanent Draft, an all-female record label and micro-press founded by Chiarello & musician Valentina Magaletti, dedicated to promoting contemporary female, non-binary and transgender artists.

Basta Now is essentially a huge (yet admittedly not definitive) overview of 2,371 womxn in the global experimental sound & music scene. It’s been writ ten in playful and compelling prose and stylishly presented with photos, illustrations, and discographies.

“This book has nothing against men, it’s just not about them” (Fanny Chiarello)

The first book dedicated exclusively to the female protagonists of Latin American electronic music.

The book has been edited by independent curator, researcher and label head of Buh Records, Luis Alvarado, and experimental musician, multimedia artist and researcher Alejandra Cárdenas (also known as Ale Hop).

Composers and sound artists featured in this historical account include: Alicia Urreta, Beatriz Ferreyra, Elsa Justel, Eulalia Bernard, Graciela Castillo, Hilda Dianda, Ileana Pérez Velázquez, Irina Escalante Chernova, Iris Sangüesa, Jacqueline Nova, Jocy de Oliveira, Leni Alexander, Margarita Paksa, Marietta Veulens, Mónica O'Reilly Viamontes, Nelly Moretto, Oksana Linde, Patricia Belli, Renée Pietrafesa Bonnet, Rocío Sanz Quirós, Teresa Burga, Vania Dantas Leite, among others.

The official history of 20th-century avant-garde electronic music has been predominantly narrated from the point of view of Anglo-American and Western European experiences and largely remained focused on its male protagonists. To destabilize this history, this editorial project presents a collection of perspectives, essays, interviews, archival photos, and work reviews centered on the early electronic music production by Latin American female creators, who were active from the 1960s to the 1980s. The book also brings us closer to the work of a new generation of researchers who have focused on offering a non-canonical reading of the history of music and technology in Latin America. The publication is the record of a new vision, an account of the condition of being a woman in the field of music technology at a time when this was a predominantly masculine domain. The decision to take electronic technologies for sound creation as the backbone of this history is related to the intention of broadening our focus of interest outside the spectrum of institutional electroacoustic music to include other experimental, interdisciplinary and sonic arts practices involving new technologies, beyond the circuits of academic avant-garde music.

The texts that make up this publication are organized spatially and conceptually, rather than following a chronology. The selection of female composers profiled sheds light on a variety of relevant aspects: key musical contexts, experiments with technologies (such as tape, electronic synthesis, the first commercial synthesizers), diverse formats (i.e., radio art, electroacoustic pieces, installation, multimedia, theater, film, etc.), intertwined with themes, such as migration, memory, identity, collaboration, interdisciplinarity, social engagement, the acceptance of electronic music, etc. Moreover, the framework of this editorial project opened a space for intergenerational dialogue and a meeting of aesthetics, as many of the authors gathered as collaborators are composers and sound artists themselves.

Livre d’images sans images by Mette Edvardsen & Iben Edvardsen borrows its title from a book by H.C. Andersen, also referred to as The Moon Chronicler. The book follows a conversation between a painter and the Moon, where the Moon describes to the painter what she sees on her journey around the world every evening, telling the painter to paint what she describes. “This conversation, as in the now obsolete meaning of the word (‘a place where one lives or dwells’), was the starting point for our work. Using the weather report as dramaturgy, (‘the moon did not show up every evening, sometimes a cloud came in between’), we have created and collected materials from our conversations in the form of recordings, text, voice, drawings, references, found images, loose connections, inspirations and imaginations, in the order they came to us. They are at the same time sources and traces, material and support for new imaginations or events to come.” The work consists of three different media: vinyl, paper and live performance. 

Mette Edvardsen is a choreographer and performer eager to explore the performing arts as a practice and situation, also in relation to other media such as books and writing. This work is in collaboration with her daughter, Iben Edvardsen.

Published by Xing & Varamo Press
XONG collection – artist records XX10 (2023)
First edition, September 2023
Recorded and edited by Mette Edvardsen & Iben Edvardsen
Format white 12’ vinyl LP in cardboard sleeve
Released in a numbered edition of 300 copies, including collector’s edition of 25 copies, each accompanied by a unique poster hand drawn with black marker by Mette Edvardsen & Iben Edvardsen, 59,4 x 84 cm, folded, signed by the artists