“To give truth the colour and narrative force of fiction,” this was Truman Capote’s ambition when he wrote ‘In Cold Blood’, the true account of a quadruple homicide in 1960s Kansas. It is the starting point for Non Fiction, a work of lyrical documentary that explores the porous boundary between fact and fiction in photography. Since its beginnings, photography has had a complex relation to truth: even the most ‘objective’ portraits will necessarily involve decisions relating to location, light and pose. In Non Fiction, this tension is pushed to its extreme through a variety of visual strategies e.g. staging, off-camera flash, subverting cinematic clichés. Images based on rumours, local news stories and chance encounters accumulate and coalesce, to form a narrative that is fluid and multidirectional.

191 x 248mm, 292pp, perfect bound, B&W; printed interior onto gloss stock, B&W; printed cover onto Colorplan stock with fluro sticker affixed, 2024 TGIGITFFY—037 / September 2024Asparagus Piss Raindrop (the book, this book) gathers a (near) complete history of the crytpo conceptual science fiction anti climax band of the same name. Active between the years of 2012 — 2017 and broadly based in Glasgow and its experimental music scene, the group performed at gigs, festivals, artist-led spaces and institutions internationally. Gathered here are artefacts and evidence of the group’s activity up to the original date of publication, including but not limited to scores, email correspondence, reflective texts, photographs, drawings and planning documents. Across more than twenty chapters, significant, durational projects are surveyed alongside the partial, speculative and improvisatory. Asparagus Piss Raindrop’s work arises from the questions: How can we do things otherwise? What musical forms arise from and inform our daily experience? Performances typically draw on such things as recycled children’s games, group therapy, shapeshifting, declarations of ridiculous texts, geology, architectural intervention, gender theory, site specificity and slug reproduction. Asparagus Piss Raindrop re-publishes the August 2017 edition of the book, which was produced in a limited run with Publication Studio Glasgow and Good Press, and includes a new chapter on the group’s final performance R&R; Rat Race at the Witch Hazel School from November 2017.

Published: Lenka Lente published in September 2024 French edition 10 x 15,5 cm (softcover) 42 pages + mini CDPlease note this edition is in FrenchTwo revenant stories by Léon Bloy, with music by Nurse With Wound. Léon Bloy (1846-1917) was a French novelist and pamphleteer, friend and disciple of Jules Barbey d'Aurevilly, close to Paul Bourget, François Coppée, Joris-Karl Huysmans and Jean Richepin, and famous for his partly autobiographical novel "Le Désespéré". A British music project formed in 1978 by Steven Stapleton, John Fothergill and Heman Pathak, Nurse With Wound (now Stapleton's variable geometry project) is an essential figure of English experimental and industrial music since the early 80's. With more than 150 releases, alone or with other musicians, Stapleton has swept widely different musical styles, from industrial music to mambo, through electronics, improvisation, electroacoustics, with a lot of humor.

Published: Tochnit Aleph published in April 2016 English edition CD + 20 pages booklet (21 x 29,7 cm)Dorothy Iannone tells her Fluxus Story in a Berlin recording from 1979. “There, Maciunas and I looked deeply but impassively into each other's eyes, not knowing then that we would meet again on these pages. Perhaps he was thinking, ‘Who is this woman?'. Perhaps it might even have amused him, somewhere far back in his mind, to know that I am she who is the Fluxus woman artist who is not the Fluxus woman artist.”Dorothy Iannone Limited edition of 270 copies.   For more than six decades, American artist Dorothy Iannone (1933, Boston–2022, Berlin) attempted to represent ecstatic love, the union of gender, feeling, and pleasure. Today her oeuvre, which encompasses painting, drawing, collage, video, sculpture, objects, and artist's books, is widely recognized as one of the most provocative and fruitful bodies of work in recent decades in terms of the liberalization of female sexuality, and political and feminist issues. As Fluxus artist Robert Filliou declared as early as in 1972, "She is a freedom fighter, and a forceful and dedicated artist, skillfully blending imagery and text, beauty and truth. Her aim is no less than human liberation." A narrative element fed with personal mythologies, experiences, feelings, and relationships runs through all of her work, unified by her distinctive colorful, explicit, and comic book style.Active from the 1960s to the early 2020s, her work has been recently exhibited at the Louisiana Museum of Modern Art, Humlebaek (2022); the Centre Pompidou, Paris (2019); the Serpentine Pavilion, London (2018); the Swiss Cultural Center, Paris (2016); MAMCO, Geneva (2017); the Migros Museum für Gegenwartskunt, Zurich, and the Berlinische Galerie, Berlin (2014); the New Museum, New York (2009).

Published: Nero Presspublished in May 2024 English edition 16 x 23 cm (softcover) 76 pages (ill.)A new poem composed by the legendary dancer, artist and choreographer Simone Forti. New Book is the title of a new poem composed of three existing poems re-edited by Simone Forti. As reading this poem, one moves forward with wonder amid everyday memories, recollections of life, a sense of civic duty, glimpses of a precarious world, the beauty of nature, melancholy, a rage to live.   American dancer and choreographer Simone Forti (born 1935 in Florence, Italy) has been a leading figure in the development of contemporary performance over more than fifty years. Artist, choreographer, dancer, writer, Forti has dedicated herself to the research of a kinesthetic awareness, always engaging with experimentation and improvisation. Investigating the relationship between object and body, through animal studies, news animations and land portraits, she reconfigured the concept of performance and dance. Forti emigrated from Italy with her family via Switzerland to Los Angeles in 1938, where she subsequently studied for four years with choreographer Anna Halprin and has since spent most of her life. She joined the experimental downtown art scene in New York during the emergence of performance art, process-based work and Minimal Art and spent a fruitful time in Rome in the late 1960s, where she used the spaces of L'Attico to study and perform. Her work is seen as a precursor of the famous Judson Dance Theater—a group of artists experimenting with dance, including Trisha Brown, Steve Paxton, and Yvonne Rainer—and Minimal Art, although she prefers to be referred simply as a "movement artist."Forti has worked with artists like Dan Graham, Robert Whitman, Allan Kaprow and Claes Oldenburg and composers like Charlemagne Palestine, Peter Van Riper, and La Monte Young.

Self Published: 2024A5 Saddle-Stitched Booklet24 pagesA true crime / noir fiction novella by 43 year old Hitchin resident Russell Walker. ‘Walker is like the anti-Nick Cave.’ - The Quietus.‘A non-league Derek Raymond.’ - Matt Atkinson, book lover.

"Earth, ecology, catastrophe: perhaps Senyawa are themusical embodiment of catastrophe of the Anthropocene?Perhaps. That would be one way to appreciate Rully’scompound lyricism, but certainly not the only one. Thebeauty of poetic forms lies in their open nature. Findingone way in doesn’t meant that there aren’t many more toexplore. And that’s what this booklet is for: to presentRully’s lyrics for Senyawa, so now we can read, understand,and discuss as we listen."Translation of lyrics from experimental Indonesian band Senyawa Senyawa, the experimental Indonesian band formed by Rully Shabara and Wukir Suryadi, does not sound like anyone else… the combination of Wukir’s handmade instruments and Rully’s other-worldly vocals, channeling Javanese melodies with the intensity of punk and metal, with an avant-garde / DIY approach to constant experimentation and boundary pushing. Over the past ten years Senyawa have continually developed their sound, shifting in relation with the instruments Wukir builds. Unfortunately for people who do not understand the various Indonesian dialects used, while you can appreciate their music and performances, you can appreciate the aurality of Senyawa – the sheer force and wonder of their music – but not the lyrical content. This project is intended to rectify that, translating Rully’s lyrics for Senyawa into English for the first time.

Self-Published 280 x 180mm 20 pages Risograph throughout Saddle stitch, Card cover Released: 2023TALKER is an interview zine about performance. Issue #12 is a conversation with Agus Nur Amal PMTOH Agus uses household objects for storytelling performances and creates art objects to share ideas, knowledge, conflict resolutions and trauma healing. Collaborating with artists, photographers, videographers, and educators, he aims to entertain and educate through various methods. This interview traces the formation of his performance practice following his graduation from the theatre faculty at the Jakarta Institute of Arts and return to his hometown Weh Island (Aceh, Sumatra) where he researched and studied the art of Acehnese storytelling. We also discuss his involvement in community empowerment activities, trauma healing and peace building projects throughout Indonesia. His work was featured in a major exhibition in Kassel, Germany as part of Documenta Fifteen in 2022. Previous issues of TALKER have featured Ian White, Kate Valk, Richard Maxwell, Sue Tompkins, Spalding Gray with Kathy Acker, Dora García, Jo Fong, Paul Maheke, Clifford Owens, Barby Asante, Gustav Metzger and Miranda July. This issue is supported by a Connections through Culture UK-Southeast Asia 2022-2023 Grant from the British Council.

Self-Published 280 x 180mm 20 pages Risograph throughout Saddle stitch, Card cover Released: 2022#10 is a conversation with Barby Asante. Barby is a London-based artist, curator, educator and occasional DJ. Her work is concerned with the politics of place, space memory and the histories and legacies of colonialism. The work is collaborative, performative and dialogic, often working with groups of people as contributors, collaborators or co-researchers. This issue focuses on her live work, from South London community intervention Noise Summitto her intricate, iterative project Declaration of Independence. The interview explores the crucial role of ‘contributor-performers’ and the challenges of presenting performances online.

280 x 180mm 24 pages Risograph printed throughout saddle stitch, Card cover Released: 2019TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- Issue #7 of Talker features a conversation with director, choreographer and performer Jo Fong. Though her background is as a dancer, performing as part of Rosas, Rambert Dance Company, Mark Bruce Company and National Dance Theatre Wales among many others, she also works across film, theatre and the visual arts. Her own work is distinguished by an open, self-aware process and an innovative and expansive approach to research and rehearsal. This interview begins with her ongoing project Ways of Being Together, a series of workshops, discussions and performances centered on the idea of belonging. Jo goes on to share insights into her working methods and discusses her complex relationship to dance, the difficulty of speaking and the impulse to do so. ---

amaican dancehall has long been one of the most vital and influential cultural and artistic forces within contemporary global music. Wake the Town and Tell the People presents, for the first time, a lively, nuanced, and comprehensive view of this musical and cultural phenomenon: its growth and historical role within Jamaican society, its economy of star making, its technology of production, its performative practices, and its capacity to channel political beliefs through popular culture in ways that are urgent, tangible, and lasting.Norman C. Stolzoff brings a fan’s enthusiasm to his broad perspective on dancehall, providing extensive interviews, original photographs, and anthropological analysis from eighteen months of fieldwork in Kingston. Stolzoff argues that this enormously popular musical genre expresses deep conflicts within Jamaican society, not only along lines of class, race, gender, sexuality, and religion but also between different factions struggling to gain control of the island nation’s political culture. Dancehall culture thus remains a key arena where the future of this volatile nation is shaped. As his argument unfolds, Stolzoff traces the history of Jamaican music from its roots in the late eighteenth century to 1945, from the addition of sound systems and technology during the mid-forties to early sixties, and finally through the post-independence years from the early sixties to the present. Wake the Town and Tell the People offers a general introduction for those interested in dancehall music and culture. For the fan or musicologist, it will serve as a comprehensive reference book.

Paperback, 544 pp, English/German Edition. Wolke Verlag, Berlin, 1998 In 2002 Christian Wolff was a guest composer at the Huddersfield Contemporary Music Festival and during the course of the festival he was interviewed by Christopher Fox and by James Gardner. Fox's interview took place before an audience in the Lawrence Batley Theatre on 25 November; Gardner's interview was recorded in private in the George Hotel, Huddersfield on 27 November, and edited excerpts from that recording were subsequently used in a programme produced by Radio New Zealand. The conversation presented here has been compiled by James Gardner from his transcriptions of the two interviews and presents a wide-ranging discussion of Wolff's musical preoccupations across every phase of his compositional career, from the early piano pieces of the 1950s, to his involvement with indeterminacy in the 1960s, to the political concerns evident in his music after 1970, to the works of the last three decades in which indeterminate and determinate methods of composition are combined.

Softcover, 432pp, Bilingual Edition (German & English) Wolke Verlag, MusikTexteThis volume documents the work of Alvin Lucier, one of the key figures in 20th-century experimental music. Through conversations, essays, interviews, prose scores, and introductory texts, a unique sonic universe unfolds, revolving around themes such as resonance, space, perception, and reduction. From classics such as I am Sitting in a Room and Music for Solo Performer to installations, diary entries, and collaborations with John Cage, the book shows how Lucier repeatedly pushed the boundaries of hearing. Forewords by Pauline Oliveros and James Tenney

Comprises scholarly engagements with the various outputs of the prolific Berlin based German artist Ulrike Ottinger born in Constance in 1942 to a Jewish mother and a non-Jewish father both of whom were protected from the Nazis by the paternal grandmother. The book consists of thirteen contributors, one commentator and 5 interviews. 20 b&w; illus.

From her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (1925–2000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.

Coiled Verbal Spring: Devices of Lenin’s Language brings together the first English translation of the Russian Formalist and Futurist writings on Lenin’s revolutionary language. The book includes the Russian Formalists’ (Viktor Shklovsky, Boris Eikhenbaum, Yuri Tynyanov, Boris Tomashevsky, Lev Yakubinsky, and Boris Kazansky) most ‘political’ texts, first published in 1924 in the journal of the Left Front of the Arts (edited by Mayakovsky). Together with this collection, the publication also includes Futurist poet Alexei Kruchenykh’s Devices of Lenin’s Speech, from 1925. Indispensable for any serious research dealing with the relationship between revolutionary politics and artistic forms, these writings had remained a marginal note, both in studies on avant-garde art, and in much literature on Formalist theory.The publication is edited by Sezgin Boynik, who wrote an extensive introduction to the translations by contextualising the experiments of the Russian avant-garde through theories of conjuncture, or more precisely, the theory of contemporaneity within the revolutionary moment. Darko Suvin in his afterword discusses the actuality (and limits) of Lenin and Formalists in the shadow of never-ending warfare.With this book, Rab-Rab Press is proud to present the first English translation of the most interesting project of political Formalism and avant-garde theory in the twentieth century.210x140mm, 366 pages, Black and white offset printed throughout, Perfect bound, Ed. of 1000 Published by Rab-Rab Press, 2018

Published by Public Bath Press, paperback & CD, 312 pp, 2017 The English translation of legendary folk singer Mikmai Kan's autobiography is now available. The book comes with a CD of Mikami live in Sapporo in February of 2017. The book is a complete translation of Folk ni Ikiru, with additional autobiographical writing and interview material added. Clive Bell writes in The Wire 412: "Hopkins has done a great job with a wild text. He has fleshed out the story by including extracts from Mikami's 1973 writings, plus an interview reviewing the ten records he made in the 1970s when Columbia tried repeatedly (and failed) to make him a star... The lasting impression is Mikami's passion in everything he tackles, and his thoughts about his spiritual and artistic path as he approaches his 70th birthday: 'In order to keep your essence pure, you have to become dirtier than the thing that tries to foul your pure essence'."

"Dokkiri! tells the history of a remarkable complex of musical subcultures that developed in Japan from the mid-1970s. Starting with a discussion of the earliest rumblings of punk and new wave, all types of independently produced music are covered in more detail than has ever appeared in English before. Punk, art music, noise, hardcore, psychedelic, dance music and more." - Public Bath Press This book fills in the gaps in my own appreciation of the Japanese independent music scene and provides context for sounds, lyrics and personalities that were all opaque mysteries until now – Steve Albini "Knowledge, affection and respect for the music illuminate an incredible creative and innovative scene. The what. The why. The how" – Ian MacKaye "Hopkins is that rare scene historian who was there at the beginning: and he's still there, recounting the details and telling the stories that no one else can remember. Maniacs and beginners alike, start here!" – David Novak, author of Japanoise     Published by Public Bath Press, paperback, 296 pp, 2015