Translated from French by Patrick Love Al Haschische is a vivid and beguiling work by Safaa Fathy, a multi-talented artist who seamlessly delves into personal, humanitarian, and metaphysical matters through trance-inducing lyricism. Reminiscent of Benjamin's Über Haschisch, the book employs Hashish as a catalyst for interpretation, taking us on a journey into the depths of places, plants, and people within the realm of Language. Drawing inspiration from her experimental film, Hidden Valley, Fathy skilfully integrates stills that offer a visual, verbal, and textual glimpse into her quest. Al Haschische serves as an exploration of dreams, madness, and the intricate musings of the mind through an investigative and psychic travel. Its pages invite us to encounter elemental forces, ranging from the enigmatic Canticle Prophet to the interplay of shadows and remedies, employing hypnosis against a backdrop of a mesmerizing blue curtain. Fathy's poetic work beautifully underscores the notion that the body is the primordial abode of words, while the term "haschiche" resonates with profound significance throughout.

Paperback B&W; Edition of 2500 Released: March 2019 ISBN: 9780991558520 Published: Primary Information & Ugly Duckling PresseConstance DeJong’s long-neglected 1977 novel, Modern Love, is one thing made up of many: It is science fiction. It is a detective story. It is a historical episode in the time of the Armada and the dislocation of Sephardic Jews from Spain to an eventual location in New York’s Lower East Side. It is a first-person narrator’s story; Charlotte’s story; and Roderigo’s; and Fifi Corday’s. It is a 150-year-old story about Oregon and the story of a house in Oregon. Modern Love’s continuity is made of flow and motion; like an experience, it accumulates as you read, at that moment, through successive moments, right to the end. An important figure of downtown New York’s performance art and burgeoning media art scene in the late 1970s and early 1980s, DeJong designed Modern Love herself and published it with help from Dorothea Tanning on the short-lived Standard Editions imprint. Critically acclaimed in its time, Modern Love is now back in print on the 40th anniversary of its original publication. Constance DeJong is an artist and writer who has worked for thirty years on narrative form within the context of avant-garde music and contemporary art. Considered one of the progenitors of media art, or “time-based media,” DeJong shapes her intricate narrative form through performances, audio installations, print texts, electronic objects, and video works. Since the 1980s, DeJong has collaborated with Phillip Glass, Tony Oursler, and the Builders Association on performances and videos at Walker Art Museum, Minneapolis, MN; the Wexner Center, Columbus, OH; Philadelphia Museum of Art; and in New York, at The Kitchen, Thread Waxing Space, the Whitney Museum of American Art, and the Dia Center for the Arts. Her books include I.T.I.L.O.E. and SpeakChamber, and her work is included in the anthologies Up is Up, But So is Down: New York’s Downtown Literary Scene, 1974–1991 (NYU Press, 2006); Blasted Allegories (New Museum/MIT, 1987); and Wild History (Tanam Press, 1985).

136 pp. | 4.5 in x 7.3 in Edited by Marie Roux and Rod Hunt Introduction by David Toop  Victor Segalen (1878–1919) had one of France's most curious literary careers, applying his imagination to musicology, ethnography, exploration, medicine, synesthetics, Chinese history, and the occult. This collection gathers together his previously untranslated essay “Synesthestics and the Symbolist School” and his novel In A Sound World, a work of fantasy concerning an inventor lost in his own immersive harmonic space. Segalen's medical training (he had a career as a ship's doctor) inspired an interest in the link between the prevailing Symbolism of the time and synesthesia, the condition whereby one sense affects the perception of another. This edition also includes an essay by the musician and cultural historian David Toop that explores the historical context of Segalen's ideas. Also included is Segalen's libretto for Orpheus Rex, a collaboration with the composer Claude Debussy, which he would use as an opportunity for further explorations of his synesthetic concepts. This book makes available all three texts for the first time in English.

Catalog for an exhibition held at Corbett vs. DempseyJuly 27 – August 17, 2013Includes an essay by Jim DempseyDesign by Sonnenzimmer softcover, 48 pages, 9 x 7 inches

Publisher: Lenke Lente published in April 2021 texts in English and French 10 x 15,5 cm (softcover) 180 pages (b/w ill.)   ISBN : 979-10-94601-39-6 EAN : 9791094601396169 fundamental free jazzrecords recommended in 180 pages by Maurizio & Roberto Opalio (My Cat Is An Alien) and Philippe Robert, from must-have classics to indispensable curiosities. Free Jazz Manifesto is not simply a list of 169 recommended records, but a poetic vision, a parallel universe based on a personal aesthetics of perception and an in nite love for the most creative, incendiary, spiritual music. If Sun Ra, Ornette Coleman or Anthony Braxton are well present, many unknown musicians make a place in this list of essential curiosities: Ahmed Abdullah, The Baden-Baden Free Jazz Orchestra, Black Unity Trio, Byron & Gerald, Cairo Free Jazz Ensemble, CCMC, Ric Colbeck, Jerome Cooper, Michael Cosmic, Phill Musra, Leo Cuypers, GL Unit, Griot Galaxy, Stephen Horenstein, INTERface, Interspecies, Clint Jackson III, Milo Fine Free Jazz Ensemble, Muun Music, Robert F. Pozar, Abdullah Sami, Synthesis, Motoharu Yoshizawa... --- My Cat Is An Alien is the world-renowned outsider duo of radical, experimental instantaneous composers and intermedia artists formed by brothers Maurizio and Roberto Opalio in early 1998. They started their activity in Torino, Italy, before moving in a remote, secret region of the Western Alps. MCIAA is a single intermedia entity that acts through music, shamanic live audiovisual performance, painting and drawing, art design, photography, “cinematic poetry” films & videos, installation, writing and poetry, phonographic editions and artists' books. French musical critic Philippe Robert works for Revue & Corrigée, and is a former collaborator for Jazz Magazine, Les Inrockuptibles, Octopus, and Mouvement. He runs the blog Merzbo-Derek (merzbow-derek.tumblr.com). --- Lenke Lente, 2021

Published: Trost Released: March 2021 Language: english Hardcover: 222 pages First edition, 2021A doumentation of art made while on the road from 2010-2020 by the one and only Peter Brötzmann. --- Being on the road so much, the time-space between the tours is not long enough for preparing big canvases and starting oil-paintings. You use what’s on the table - paper, cardboard, an empty cigar box, pens, felts and brushes, ink in a glass or a Chinese ink stone.You use what there is and that’s what we musicians call improvising and that’s what the works in this book are about [and my life too]: IMPROVISATION - Peter Brötzmann, Wuppertal, October 2020 --- Texts by Brötzmann, Stephen O'Malley, John Corbett, Karl Lippegaus, Heather Leigh, Sotiris Kontos, Thomas Millroth, Markus Müller --- Trost, 2021

Published by: Lenka Lente published in June 2021 texts in English and French 14 x 19 cm (softcover) 478 pages (ill.)   ISBN : 979-10-94601-40-2A polyphonic evocation of the American saxophonist through the testimonies of some forty international musicians.   And you, how do you hear him? As we approach the twentieth anniversary of Steve Lacy' death (or the ninetieth anniversary of his birth), Guillaume Tarche asked the question, in English, in French, in Italian, to Steve Adams, Irene Aebi, Guillaume Belhomme, Etienne Brunet, Frank Carlberg, Kent Carter, Andrea Centazzo, Allan Chase, Alvin Curran, Martin Davidson, Jean Derome, Jorrit Dijkstra, Jean-Marc Foussat, Christoph Gallio, Ben Goldberg, Guillermo Gregorio, Phillip Johnston, Peter Katz, Suzanna Klintcharova, Gilles Laheurte, Vincent Lainé, Pablo Ledesma, Urs Leimgruber, Dave Liebman, James Lindbloom, Giancarlo nino Locatelli, Michala Marcus, Gianni Mimmo, Uwe Oberg, Roberto Ottaviano, Evan Parker, Jacques Ponzio, Jon Raskin, P.-L. Renou, Patrice Roussel, Bill Shoemaker, Josh Sinton, Bruno Tocanne, Jason Weiss, Elsa Wolliaston, Seymour Wright.   A specialist of improvised music, Guillaume Tarche (born 1973) is a saxophonist, writer and music journalist (Le son du grisli, Improjazz...) and translator (of Evan Parker).   ---   Lenka Lente, 2021

Composing While Black eröffnet einzigartige neue Perspektiven auf zeitgenössische afrodiasporische Komponist:innen, die zwischen 1960 und heute aktiv waren bzw. sind, ein Zeitraum, der von der Forschung, der Programmgestaltung von Konzerten und journalistischen Darstellungen vor allem in Europa bisher weitgehend ignoriert wurde. Diese interdisziplinäre Aufsatzsammlung befasst sich mit Oper, Orchester-, Kammer-, Instrumental- und elektroakustischer Musik sowie mit Klangkunst, Konzeptkunst und digitalen Intermedien und zeigt die afrodiasporische Neue Musik als einen interkulturellen, generationenübergreifenden Raum der Innovation, der neue Themen, Geschichten und Identitäten bietet. Composing While Black presents unique new perspectives on Afrodiasporic contemporary composers active between 1960 and the present, a period that academic inquiry, concert programming, and journalistic accounts have largely ignored up to now, particularly in Europe. This interdisciplinary essay collection engages with opera, orchestral, chamber, instrumental, and electroacoustic music, as well as sound art, conceptual art, and digital intermedia, revealing Afrodiasporic new music as an intercultural, multigenerational space of innovation that offers new subjects, histories, and identities. “Composing While Black is a brilliant collection of essays on the black presence in contemporary Classical music. From the poignant and richly resonant title through the editors‘ authoritative historical introduction to the mix of reflection, anecdote, analysis, and study of the compositional process across nine essays, the book illuminates black creativity on terrain previously figured as white. Timely, informative, and challenging, this bilingual text is a must-read for anyone interested not only in the work of Afrodiasporic composers but in the reach of the very notion of the contemporary itself.” KOFI AGAWU The Graduate Center, City University of New York “What an essential book this is: an invigorating corrective packed with bright sounds, big musical personalities and astute social context. The introduction alone is a terrific primer; the chapters are vivid case studies written with fresh and authoritative clarity. Above all, the music of this book demands to be heard. Its pages will send you down countless avenues of discovery and fill whole notebooks with names, ideas and intersections to pursue – the greatest thrill.” KATE MOLLESON, author of Sound Within Sound: Opening Our Ears to the 20th Century. “This brilliantly illuminating survey of twenty-first-century Afro-diasporic composition testifies to the countervailing powers of identity and difference. The modes of art-making that the editors place under the rubric “Composing While Black” are, in fact, a teeming, ever-expanding universe of musical possibility, one that resists, absorbs, and transmutes immense pressures. Composers are seen both as self-governing individuals and as figures within far-flung, intricately networked communities: the doubleness of vision honors the inward-outward ardor of human creativity.” ALEX ROSS

No music swung as erratically between extremes as his: folk song, march or acoustic apocalypse – anything was possible in the cosmos of Albert Ayler’s soundscapes. With his furious instrumental glossolalia and his pathos-laden ballads, the musician from Cleveland, Ohio quickly became the most radical of the Sixties free jazz expressionists. In his hands the saxophone became a different instrument and even John Coltrane’s late work was unmistakably shaped by the influence of his younger colleague. He had little time to proclaim his message of a new spiritual music: in 1970, at just 34 years of age, Albert Ayler died in mysterious circumstances.  Peter Niklas Wilson spent six months in the USA following in Albert Ayler’s footsteps. Through conversations with numerous contemporary witnesses (including Ayler’s father and brother, as well as drummers Sunny Murray and Milford Graves, violinist Michael Samson, multi-instrumentalist Howard Johnson, bassists Gary Peacock and Steve Tintweiss) and analysis of both Ayler’s published and unpublished recordings, he reconstructs the biography and erratic musical path of this prophet of the 'new thing'.

Selten hat eine Radio-Institution in so kurzer Zeit eine solche Spur in der Musikgeschichte hinterlassen. Das 1951 gegründete Studio für Elektronische Musik des WDR gerät früh in die Schlagzeilen, es verwandelt die Domstadt zeitweise in die Metropole der Neuen Musik, die nicht nur Komponist:innen anzieht. Radio Cologne Sound zeichnet in Essays, Tonaufnahmen, Bildern und persönlichen Erinnerungen die bewegte Geschichte des Studios nach: von den goldenen 50er und 60er Jahren über Zeiten der Öffnung wie Stagnation bis zur späten Blüte. Drei Portraits widmen sich den Studio-Leitern Herbert Eimert, Karlheinz Stockhausen und York Höller. Weitere Texte beleuchten das intensive Wechselspiel zwischen Technik und Ästhetik, Teamwork im Studio, internationale Ausstrahlung und die wichtige Frage der Aufführungspraxis: Wie kommt elektronische Musik auf die Bühne, wenn die Technik längst museumsreif ist? Herzstück des Buchs ist der Sound von „Radio Cologne“: 28 Stücke auf fünf CDs lassen ein halbes Jahrhundert Revue passieren. Rarely has a radio institution left such a mark on music history in such a short space of time. Founded in 1951, the WDR Studio for Electronic Music hit the headlines early on, at times transforming Cologne into the metropolis of new music, attracting not only composers. Radio Cologne Sound traces the eventful history of the studio in essays, recordings, pictures and personal memories: from the golden 50s and 60s through times of opening and stagnation to the late heyday. Three portraits are dedicated to the studio directors Herbert Eimert, Karlheinz Stockhausen and York Höller. Other texts shed light on the intense interplay between technology and aesthetics, the teamwork in the studio, its international appeal and the important question of performance practice: How can electronic music be brought to the stage when the technology has long been ready for the museum? The heart of the book is the sound of “Radio Cologne”: 28 tracks on five CDs allow us to look back over half a century. CD 11 Heinz Schütz Morgenröte (1952) 2 Karel Goeyvaerts Compositie Nr.5 met zuivere tonen (1953) 3 Gottfried Michael Koenig Klangfiguren I (1955) 4 Giselher Klebe Interferenzen (1955) 5 Karlheinz Stockhausen Gesang der Jünglinge (1955–56) 6 Franco Evangelisti Incontri di fasce sonore (1957) 7 György Ligeti Artikulation (1958) 8 Herbert Brün Anepigraphe (1958) 9 Mauricio Kagel Transición I (1958–59) 10 Herbert Eimert Epitaph für Aikichi Kuboyama (1960–62) CD 21 Johannes Fritsch Fabula rasa (1964) 2 Michael von Biel Fassung (1964) 3 Karlheinz Stockhausen Mikrophonie II (1965) 4 Peter Eötvös Mese (1968) 5 Mesías Maiguashca Hör zu (1969) CD 31 Nicolaus A. Huber Aion (1968/72) 2 Henri Pousseur Lob des Langen Marsches (1972–73) 3 Winfried Jentzsch Cellomusik (1972/74) 4 Rolf Gehlhaar Fünf deutsche Tänze (1975) 5 Thomas Kessler Dialoge (1977) CD 41 Iannis Xenakis La Légende d’Eer (1977–78) 2 York Höller Schwarze Halbinseln (1982) 3 Michael Obst Chansons (1986) 4 John McGuire Vanishing Points (1988) CD 51 Youngi Pagh-Paan Tsi-Shin-Kut (1991/1994) 2 Jonathan Harvey One Evening… (1993–94) 3 Luc Ferrari Porte Ouverte sur Ville (1994) 4 Marco Stroppa Zwielicht (1994–99) erscheint: 12. Dezember Deutsch and English

A catalogue book about the Wuppertal „universal artist“ Hans Reichel, the third in the triumphant marriage with Brötzmann and Kowald. Hans Reichel was a musician, composer, improviser, instrument inventor and builder, sound engineer, typeface inventor, game designer, graphic designer, photographer and much more. His music, which cannot be confined to any genre, was of „complex beauty“. As a sound researcher, he developed instruments such as the Daxophone, which sounds out of itself. His music, whether improvised or composed, is recorded on numerous discs and performed again and again by ensembles. It has lost none of its power and effect, with which it has put our listening habits to the test and at the same time opened up a new cosmos of sound for us. The catalogue presents his entire world of artistic creation in numerous contributions and is a treasure trove for musicians, typographers and designers alike.

With Good night the pleasure was ours, David Grubbs melts down and recasts three decades of playing music on tour into a book-length poem, bringing to a close the trilogy that includes Now that the audience is assembled and The Voice in the Headphones. In Good night the pleasure was ours, the world outside the tour filters in with eccentric sparseness. From teenage punk bands to ensembles without fixed membership, and from solo performance to a group augmented by digital avatars, Grubbs presents touring as a series of daily dislocations that provides an education distinctly its own. These musicians’ job is to play that evening’s gig—whether to enthusiastic, hostile, or apathetic audiences—and then to do it again the next day. And yet, over the course of the book’s multidecade arc, Grubbs depicts music making as an irreversible process—one reason for loving it so.

Violence is arrayed against us because we’re Black, or female, or queer, or undocumented. There is no rescue team coming for us. With that knowledge, we need a different operational base to recreate the world. It is not going to be a celebrity savior. Never was, never will be. If you’re in a religious tradition that is millennia-old, consider how the last savior went out. It was always going to be bloody. It was always going to be traumatic. But there’s a beauty to facing the reality of our lives. Not our lives as they’re broken apart, written about, and then sold back to us in academic or celebrity discourse. But our lives as we understand them. The most important thing is showing up. Showing up and learning how to live by and with others, learning how to reinvent ourselves in this increasing wasteland. That’s the good life.

Never does the patient seem more ill than when they try to order associations into a logical tale. Classical analysis sees this in terms of a repudiation of sexuality: an attempt to avoid speaking from a place of desire. But why should psychoanalysis reduce everything to sex? If sex only ever achieves partial satisfactions, fragments of pleasure, its pursuit creates our subjectivity and our world. Disorganisation & Sex argues that the sexuality of psychoanalysis is not a reductive biologism, but an archaic remainder that cannot be colonised, endlessly disorienting meaning in our everyday lives. It is our proximity to this terrain that undoes our most tedious habits, and opens onto something revelatory.

"Tracing the borders between essay and poem, quotation and the fragment, Aurelia Guo’s writing circles and contradicts narratives of power. Her close readings of contested histories, abject biographies and her own experiences of migration and displacement transfix and unsettle. This book is mesmerising." - Natasha Soobramanien "An uncategorisable writer … intimate, impersonal, visionary and pitiless." Sam Riviere --- 978-1-9164250-5-72 b&w; illustrations21.6 x 13.9 cm138 p.Paperback In World of Interiors I use collage and appropriation to destabilise the first-person ‘I’. I also write directly about the inescapable condition of being perceived and positioned by other people. Our lives take place in time and space, meaning in history and geography, as well as in relation to one another – not just interpersonally, but intergenerationally, with all the baggage of race, class, gender and nation that this implies. I write about economic cycles of wealth and poverty at the levels of the individual, group and state. The book is about travel and immigration: migrants, tourists and refugees. It is about the work of survival and the cost of survival. It is also a hopeful book – about how strong and indomitable the will can be. Aurelia Guo is a writer and researcher based in London. She is a lecturer in law at London South Bank University.

"Divided we fall, but where do we land? This collection explores some of the grounds on which thinking and writing can begin again." - Sadie Plant "Many of the writings in this book remind me of times when I seek something to save myself from destruction. These are texts for the thing that comes before protecting yourself from capture or dampening any pain." - Hamishi Farah "Divided Publishing show themselves willing to question the intellectual status quo and the ways in which it is maintained. Let this reader create much chaos." - Pete Ayrton (founder, Serpent’s Tail) --- 978-1-9164250-4-021.6 x 13.9 cm232 p.PaperbackAlenka Zupančič Alexander Kluge Amy Ireland Anne Boyer Aurelia Guo Bini Adamczak Carolyn Lazard Chi Chi Shi Denis Ekpo Feminist Judgments Project Gili Tal Houria Bouteldja Huw Lemmey Keziah Craven Marina Vishmidt Nat Raha Sarah Lamble Teflon Vanessa Place   --- A collection of anti-capitalist poetry, philosophy, cultural analysis, legal studies, manifesto and critique spanning 1996 to the present. Edited by Divided.

Paperback, 104pp Divided, London, April 2022     "It feels we aren’t reading prose but language that oscillates between liturgy and prayer." - Eugene Lim The story of failure asks one question only: What do people who lose do next? “Let the best one win.” War is one way. The other way is religion. Let me at the stakes. It’s so much a matter of patience. No fury, beyond all reason, no sequence broken, but diverted. Nothing seems to cooperate when you lose control. Blue becomes violet. Bend your head to the blank. The solution is so simple: don’t identify yourself with your description of yourself. Fanny Howe is the author of more than twenty books of poetry and prose. She has taught literature and writing for many years. She is currently Professor Emerita in Literature at the University of California at San Diego. She has mentored a generation of American poets, activists and scholars working at the intersection of experimental and metaphysical forms of thinking.

"Before she spurred everyone to spit on Hegel, Carla Lonzi arranged her Self-portrait in the form of a dialogue recorded with friends – artists – with whom she had been in conversation for years. She wanted to feel less alienated, to figure out a way for art to be a part of living, not a stupid contrivance to be consumed. Soon after the book was published, in order to continue to ‘live life in a creative way, not in obedience with the models that society proposes over and over’, she abandoned art criticism, but not art – and never life." - Bruce Hainley 978-1-9164250-8-8105 b&w; illustrations21.6 x 13.9 cm364 p.PaperbackRecorded and transcribed throughout the 1960s, Carla Lonzi’s Self-portrait ruptures the narration of post-war modern art in Italy and beyond. Artmaking struck Lonzi as an invitation to be together in a ‘humanly satisfying way’, and this experiment in art-historical writing is a testament to her belief. Lonzi abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising. Afterword by Claire Fontaine.