Sonic Meditations

This book follows my journey of launching, growing, and ultimately failing in the adult entertainment industry. It explores society’s complex relationship with porn and sex education, the challenges of entrepreneurship, and the struggles of working in a deeply stigmatized space. Sometimes funny, often dramatic, and always surprising, it offers an unfiltered look at the business side of porn and what it really takes to challenge the status quo.

FUGUES is a study of objects. Elements repeat and imitate one another like a polyphonic canon of voices narrating stories of domestic confinement in looped time.

With images by photographer Nicole Maria Winkler & texts by artist Issy Wood, writer Ella Plevin, model Freja Beha Erichsen and curator Elaine Tam.

The Fair Kin Arts Almanac is made with the voices of more than 130 artists, writers, and activists spinning their thoughts and experiences into 12 chapters around a year. Surprising perspectives, recipes, sound practices, and reflections around ecology, parenthood, the need to rest in a life that never stops, the urgency for space and infrastructure for artists, redistribution of resources, accessibility of the sector, artistic involvement in politics and much more.

The FAIR KIN ARTS ALMANAC is a circular book, filled with perspectives, recipes, astrological wisdom, ideas, games, proposals and in depth reflections around topics of social political relevance. For the Arts and beyond.

The book was edited by a team of 13 editors that in turn each worked with artists, art workers, writers and academics. Chapters range from politics, making space, education, parenthood, accessibility, ecology, mutuality, rest, migration, redistribution, property & open source and relationality.

Ce jeu memory invite à découvrir la symbolique de l’ours à travers l’Histoire, et plus précisément à travers l’histoire de l’ours en peluche. L’animal n’a pas toujours eu bonne réputation chez les humains. Comment un jouet à son effigie a-t-il pu devenir un emblème de l’enfance ? Le jeu se compose de 54 cartes numérotées (27 paires) et d’un poster explicatif imprimés en risographie. 

This game of memory is an invitation to discover the symbolism of the bear through history, more specifically, through the history of the teddy bear. The animal didn’t always have such a good reputation among humans. How could a toy in his likeness become an emblem of childhood ? The game is made of 54 numbered cards (27 pairs), and an explanatory poster printed in risography.

The occasionally-published broadsheet Civilization was founded in New York in 2018 by Richard Turley,  Lucas Mascatello, and Mia Kerin. Its origin was as a response to New York City life, but has now transformed into an art project that gathers language, overheard conversations, secret recordings transcribed by rapid-capture software to produce a dense, rhythmic assemblage of texts from both public and private spaces alike. As a result, Civilization’s design texture has found fans in the fashion world, leading to collaborations with Calvin Klein and Junya Watanabe. 

The publication has also enjoyed contributions from a wide array of artists, writers and personalities including: Aaron Maine, Alis Atwell, Amos Poe, Amalia Ulman, Aria Dean, Alicia Novella Vasquez, Bill Drummond, Biz Sherbert, Babak Radboy, Carly Busta, Darcie Wilder, Echo Wu, Ella Plevin, Eric Johnson, Honor Levy, Iris Luz, Mel Ottenberg, Isabelle Rea, Joey LaBeija, Jordan Barse, Lovefoxx, Maddie Quinn, Patrick McMullan, Rachel Rabbit White, Sybil Prentice, Thom Bettridge, and Zans Brady Krohn.

Deep Listening is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats.

‘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

In the long interview that forms the body of this publication, Éliane Radigue talks about her work, her reflections and underlying research, as well as her historical context. The publication also contains a commented list of works and Radigue's programmatic text on The Mysterious Power of the Infinitesimal.

New expanded edition of the book first published in 2019.

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.

Julia Eckhardt is a musician and curator in the field of the sound arts. She is a founding member and artistic director of Q-O2 workspace in Brussels, for which she conceptualized various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists, and extensively with Eliane Radigue. She has performed internationally, and released a number of recordings. She has been lecturing about topics such as sound, gender and public space, and is (co-)author of The Second Sound, Conversation on Gender and Music, Grounds for Possible Music, and The Middle Matter, Sound as Interstice.

Edited by Julia Eckhardt.
Texts by Éliane Radigue and Julia Eckhardt.