Table of Contents Jean-Luc NancyResonance of Sense Tomoko SauvageA Bowl of Ocean: Notes on Hydrophonic Feedback Practice Christian ZanésiA Big Noise Maryanne AmacherNotes on Additional Tones Christina KubischHidden Resonances Okkyung LeeFive Small Stories David ToopResonant Frequency Pali MeursaultEchoes Return David RosenboomResonance Morphogenesis Chris CorsanoImprovisation and Resonance Ellen FullmanInstrument Design is Composition, The CaretakerUntitled --- Published with INA GRM.   published in May 2020   bilingual edition (English / French) 13,5 x 20 cm (softcover) 196 pages (ill.)    The second issue of Spectres is devoted to the concept of resonances, with contributions by Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage, The Caretaker, David Toop, and Christian Zanési. To resonate: re-sonare. To sound again—with the immediate implication of a doubling. Sound and its double: sent back to us, reflected by surfaces, diffracted by edges and corners. Sound amplified, swathed in an acoustics that transforms it. Sound enhanced by its passing through a certain site, a certain milieu. Sound propagated, reaching out into the distance. But to resonate is also to vibrate with sound, in unison, in synchronous oscillation. To marry with its shape, amplifying a common destiny. To join forces with it. And then again, to resonate is to remember, to evoke the past and to bring it back. Or to plunge into the spectrum of sound, to shape it around a certain frequency, to bring out sonic or electric peaks from the becoming of signals. Resonance embraces a multitude of different meanings. Or rather, remaining always identical, it is actualised in a wide range of different phenomena and circumstances. Such is the multitude of resonances evoked in the pages below: a multitude of occurrences, events, sensations, and feelings that intertwine and welcome one other. Everyone may have their own history, everyone may resonate in their own way, and yet we must all, in order to experience resonance at a given moment, be ready to welcome it. The welcoming of what is other, whether an abstract outside or on the contrary an incarnate otherness ready to resonate in turn, is a condition of resonance. This idea of the welcome is found throughout the texts that follow, opening up the human dimension of resonance, a dimension essential to all creativity and to any exchange, any community of mind. Which means that resonance here is also understood as being, already, an act of paying attention, i.e. a listening, an exchange. Addressing one or other of the forms that this idea of resonating can take on (extending—evoking—reverberating—revealing—transmitting), each of the contributions brought together in this volume reveals to us a personal aspect, a fragment of the enthralling territory of sonic and musical experimentation, a territory upon which resonance may unfold. The book has been designed as a prism and as a manual. May it in turn find a unique and profound resonance in each and every reader. Spectres is an annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales.

“The expression "ghost in the machine" emerged within a particular context, namely as a critique of Cartesian dualism's separation of soul and body, and thus served to revive a certain mechanistic materialism. In simple terms, this critique denies the existence of an independent soul (the 'ghost') contained in a corporeal organism (the 'machine'). It asserts, on the contrary, that the 'soul' is just a manifestation of the body—that ultimately they are one and the same. Although this remains a fraught question, always accompanied by the risk of slipping into the register of belief, it is resurfacing today in relation to the emergence of artificial intelligences: Can there be such a thing as an artificial intelligence? Can such an intelligence really add up to something more than the sum total of the binary operations that generate it? And what exactly is the "artificial"? The artificial always brings with it the fantasy of emancipation and autonomy, and a break with a supposedly natural order of things. It is subversive. AI, precisely in so far as it is artificial, embraces this subversion, hybridizing the Promethean and the Faustian, heralding as many promises as potential dangers, and raising the stakes as high as the survival or extinction of humanity itself. In this respect, the domain of musical creation constitutes a kind of front line, at once a terrain of exploration for possible applications of AI and a domain that boasts an already substantial history of the integration of machines and their calculative power into creative processes. From algorithmic composition to methods of resynthesis, from logical approaches to the creation of cybernetic systems, from the birth of computer music to neural networks, for more than half a century now music has been in continual dialogue with the binary universe of electron flows and the increasingly complex systems that control them.Each of the texts included here, in its own way, reveals a different facet of the strange prism formed by this alliance. Each projects its own particular spectrum—or spectre; each reveals a ghost, evokes an apparition that is a composite of ideas, electricity, and operations. This book, then, does not set out to cut the Gordian knot constituted by the question of the possible mutations and becomings of binary logic, and in particular its most recent avatar, AI. On the contrary, it seeks to shed a diverse light upon the many possible ways of coming to grips with it today, and upon the dreams, promises, and doubts raised by these becomings, whether actualised in the creation of codes and programs to assemble sounds or infusing a whole compositional project; whether they reveal the algorithmic dimension of the human being, or directly take over the writing of the text itself, rising to the authorial level. Above all, though, what is at stake here is to discover how these developments resonate together, and how this resonance manifests itself through all these approaches, all these reflections, all these modes of creation and of living. For the artificial, the artefact, is always the extro-human brainchild of a human, all too human dream.” Contributions by Keith Fullerton Whitman, Émilie Gillet, Steve Goodman, Florian Hecker, James Hoff, Roland Kayn, Ada Lovelace, Robin Mackay, Bill Orcutt, Matthias Puech, Akira Rabelais, Lucy Railton, Jean-Claude Risset, Sébastien Roux, Peter Zinovieff.

120 pages10.9 x 18 cmPaperbackEdition of 2200 Co-Published with Primary InformationManaging Editors: James Hoff and Bill KouligasDesigners: NMRCopy Editor: Allison DubinskyLiturgy is a journey into the uncanny realm of the senses that dives into histories of perception and intuition. The artist Flora Yin-Wong deploys a variety of images and texts to explore issues related to cosmic principles, conspiracies, and parallel universes. The result is a constellatory work filled with religion, dreams, and fragmented memories and knowledge that also gestures at the artist’s own history. The book’s chapters—Rituals & Fire; Omens; Hexagrams / Oracles; Curses; Gods & Creatures; Places Doors to Hell / Ghost Cities; Paradoxes; Sound Phenomena; Reality—function like a secret dossier inflected with flights of fantasy, speaking to systems of faith and language and its corruptions. Divining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions, Liturgy interweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound. Flora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria & Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).

112 pgs, 26.7 × 19.5 cm, Hardcover, 2023 Smooth, natural shade, matte coated paper, vibrant photographs;Screen-printed chocolate canvas spine with accent book block rib/kaptal.Fifth Quarter: Derek Jarman, Keith Collins & Dungeness brings together collaborators, friends, contemporary artists, writers, musicians, and curators to respond to the influence and legacy of Jarman and his late partner Collins. Drawing inspiration from the captivating landscape of Dungeness and Romney Marsh alongside Jarman’s expansive body of work, the 112-pages book gathers contributions and reflections from the past and present, cultivating a merger of history and memory, which explores the deep bonds between art and nature.Using archive photography, film stills, commissioned writings, and new artworks, Fifth Quarter assembles a chorus of voices, mirroring Jarman’s collaborations with Collins and his wider circle of friends and colleagues, while locating collective practice as a central theme within Jarman’s polymathic work and life.Edited by Alexander TuckerContributors:Barry Adamson, Jennifer Lucy Allan, Sarah Bade, Derek Brown, Keith Collins, Garry Clayton, Peter Fillingham, William Fowler, Dan Fox, Elise Lammer, Matthew R. Lewis, James Mackay, Frances Morgan, Garrett Nelson, Stephen O'Malley, Paul Purgas, Damien Roach, Howard Sooley; Mark Titchner, Alexander Tucker, Peter Tucker, Luke Turner, Simon Fisher Tumer, and Cosey Fanni Tutti.

This is the second issue of the new We Jazz Magazine, 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Includes inspiring stories on music including John Coltrane by Ashley Kahn, Irreversible Entanglements by Daniel Spicer, Marshall Allen by Francis Gooding, Linda Fredriksson by Arttu Tolonen, Alan Silva by David Mittleman, French Caribbean Music by Markus Karlqvist, Pablo Held by HT Nuotio, record reviews, book reviews, plus more. This is a magazine put together by a quality cast of writers and illustrators/photographers with references such as The Wire, The Quietus, Pitchfork, Jazzwise, etc.

This is the third issue of the new We Jazz Magazine, "Tetragon" for Joe Henderson. 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Stories include Joe Henderson by Daniel Spicer, International Anthem by Tina Edwards, Tokyo Jazz Joints by Philip Arneill, The Lisbon Scene by Rui Miguel Abreu, plus many more.

"I think many of the problems of art from about 1960 belong to what I call 'The Cow Tail-Up' syndrome. If you watch the cow when it urinates it lifts its tail and there is this stream of hot urine that comes out. After a while it's over and the tail comes down. It seems to me that most current art is of this kind. Tail comes up; there's a flow. Everyone watches the flow, estimates the quantity and the look of the flow. The tail goes down: that was a piece. And in a little while another one comes up and it urinates in a different color, a different quantity. The only thing that characterizes it is its continuity and the fact that you can perceive it as it is happening. You showed up and you left. It seems to me that people like Phil Glass and Robert Wilson don't solve this problem at all. Pina Bausch doesn't either."— Jerry HuntBlank Forms' journal brings together a combination of never-before published, lost, and new materials that supplement Blank Forms' live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art. Jerry Hunt (1943–1993) has been described as a shamanic figure with the look of a Central Texas meat inspector. One of the most compelling composers in the world of late twentieth-century new music, he made work that combined video synthesis, installation art, and early computers with rough-hewn sculptures, scores drawn from celestial alphabets, and homemade electronics activated by his signature wands and impassioned gestures. Hunt lived his entire life in Texas, eventually settling in a house (“an interactive environment”) he built with his partner, Stephen Housewright, in a rural area outside Canton, but his pataphysical, abrasive, and humorous performances took him across North America and Europe, where he amassed a small but dedicated following. This volume, accompanying an exhibition of the same title, represents the first ever book-length collection devoted to the underknown composer’s work, and includes a biographical essay by Tyler Maxin and Lawrence Kumpf, interviews with and essays by Hunt, and detailed analyses of his visual art, and reflections from his friends and collaborators. Contributors include art historian Kris Paulsen, composers Guy De Bièvre, George Lewis, David Rosenboom, Gordon Monahan, and artist Karen Finley.

232 pgs, 26 × 22 cm, Hardcover, 2021Harry Everett Smith (1923-1991) was a boyhood resident of Anacortes, Washington for ten years of the Great Depression. Sounding for Harry Smith: Early Pacific Northwest Influences is a visually compelling oral history-based biography that immerses the reader in Salish Sea traditions and discord to explore the myths of a counter-cultural shaman whose strange impacts on art, music and film resound from studies of place to beat improvisation, through brain paintings to a Grammy Award for his folk music bible, Anthology of American Folk Music (Smithsonian Folkways). Pacific Northwest musician-historian Bret Lunsford (Beat Happening/D+) unravels a string of mysteries to reveal the avant-garde shards of a 20th century alchemist in his hometown. A beautifully printed and bound 232-page hardcover book that includes chronology, selected bibliography, endnotes, maps and over 100 historic photographs within 17 substantial and hearty chapters. Foreword by John Szwed and Preface by Phil Elverum (Microphones, Mount Eerie)

May 2022, English11.5×18 cm, 148 pages, softcover Sternberg PressAlienation and dire frustration mount as an unnamed woman—a mother—struggles to survive in the face of state repression, neighborhood surveillance, extreme weather, and familial control. Told through one side of an epistolary exchange, the novel’s letters are bookended by dense ramblings by the mother’s son, who struggles to speak and write and spends most of his days in lockdown rearranging his “vessels,” hysterically laughing, drooling, writhing, withdrawing—a state that will ultimately consume his mother as well. This is a story that explores how power is enacted on and through the body—the physical, the social, and the political. Custody of the Eyes (Los Vigilantes) reconfirms the essential, constitutive nature of language and expression in power and freedom.

RESTOCK DUE 6TH MARCH Milford Graves (1941 - 2021) was a revelatory force in music, who, beginning in mid-1960s, embarked upon a lifelong pursuit of liberating the drummer from the role of "timekeeper" to instrumental improviser and giving rise to the free-jazz movement, with groundbreaking performances alongside Lou Reed, Min Tanaka and John Zorn.  But music cannot contain the energies of his creativity and intellect. Graves' kaleidoscopic genius led him to develop an unprecedented body of interests - from medicine to botany, stem-cell regeneration to martial arts.  A Mind-Body Deal gathers the multifaceted work of Milford Graves, exploring the practices and predilections of this extraordinary mind. Fully illustrated, this catalog includes documentation from the eponymous show at ICA Philadelphia, exhibiting a collection of Graves' hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs and costumes, with elements from his scientific studies.

May 2022, English11.5×18 cm, 94 pages, softcover Sternberg PressValerie Solanas’s rarely published, legendary play, Up Your Ass, explodes social and sexual mores and the hypocritical, patriarchal culture that produces them through her signature irreverence and wit, incisiveness and camp. The play, whose full title is Up Your Ass or From the Cradle to the Boat or The Big Suck or Up from the Slime, marches out a cast of screwy stereotypes: the unknowing john, the frothy career girl, the boring male narcissist, two catty drag queens, the sex-depraved housewife, and a pair of racialized pickup artists, among others. At the center is protagonist Bongi Perez—a thinly veiled Solanas—a sardonic, gender-bending hustler who escorts us through the back alleys of her street life. The fictionalized predecessor to SCUM Manifesto, the play shares the same grand, subversive, implicative language, equally spitting and winking, embracing the margins, the scum, and selling a trick along the way.

Unpayable Debt offers a black feminist reading of the political architecture of the global present. Inspired by Octavia E. Butler’s novel Kindred, in which an African American writer is transported from 1970s Los Angeles to the antebellum South to save the life of the child of a slave-owner who is also her ancestor, the concept of the unpayable debt—a debt someone owes but that is not hers to pay—relates post-Enlightenment versions of ethical and economic value to colonial and racial subjugation. Focusing on the philosophical basis of these renderings of value, Denise Ferreira da Silva exposes how coloniality and raciality operate in the juridical, ethical, and symbolic systems that facilitate the expropriation of labor and extraction of land essential for the accumulation of Capital.

A sketch history of the 1980s American home-taping and electronic music scene through the career of sound artist, field recordist, percussionist, and visual artist Jeph Jerman. Jeph Jerman has released over 200 untraditional sound works since 1980, both under his own name and under the moniker Hands To, as well as with countless collaborators. Improvising with a variety of sound sources—natural found objects, crude homebuilt devices, tape machines, and occasionally traditional instruments—Jerman investigates the properties of sound on media and in live performance, both alone and in collaboration. Having lived and worked in four states across the American West, he now makes his home in Cottonwood, Arizona. This book-length interview traces Jerman's life and the evolution of his creative process from his earliest sound experiments, free rock and jazz units, and postal collaborations, to his more recent work with decaying matter and landscape. Profusely illustrated with unpublished photos, this highly readable conversation recounts the various phases of Jerman's artistic life and offers insights into the thought behind his work. The narrative, in tandem with the book's Introduction by Aram Yardumian, also serves as a sketch history of the 1980s American home-taping and electronic music scene, in which Jerman was a key figure, and brings together a community of anti-luminaries such as G.X. Jupitter-Larsen, Eric Lunde, Mark Schomburg, Tim Barnes, Dave Knott, and Dan Burke. In addition, Listen includes a selection of Jerman's visual art. The original incarnation of this interview appeared in the now-defunct online arts and culture journal Times Quotidian. Caucasus-based writer Aram Yardumian is Assistant Professor of Anthropology at Bryn Athyn College, Bryn Athyn, Pennsylvania. His research has appeared in numerous scientific and arts-related publications. Born into a military family in 1959 in Agana, Guam, Jeph Jerman moved around a lot during his early years. Drum lessons and a music theory class in high school were his only musical education until he began working at a college radio station during the mid-1980s. Around that time he was also working in various dance bands playing drums, bass and guitar, which he eventually found unfulfilling and began working toward his own music. A series of groups and solo investigations followed: noise-rock improvisations by Big Joey, sampler and tape dronage with City of Worms and hands to and punk free jazz in Blowhole. Around 1986, Jerman founded the Big Body Parts label, eventually publishing a large number of cassettes, records and videotapes, along with a short-lived magazine. After moving a few more times, Jerman found himself in Seattle where he fell in with the local improvised music community and began playing and listening constantly. In 1997 he ran a weekly improvised music session at Anomalous Records, and began investigations into very quiet sound making. In 1999 he formed the first animist orchestra, which played music written by him for natural objects (stones, feathers, shells etc). Around 2004 he began a long partnership with Tim Barnes, producing many recorded works and touring extensively in the US and Europe. In 2014 he was awarded an artists grant by the Foundation for Contemporary Arts, and the next year was featured in a documentary film by director Jacek Blawut (How to Destroy Time Machines). His recorded work has been released by many labels, including Erstwhile, Anomalous, Falt, Grisaille, Mappa, tsss, White Centipede Noise and New Forces. Jerman lives and works in central Arizona.

280 x 180mm 26 pages Risograph printed throughout saddle stitch, Card cover Released: 2020 TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- Issue #8 of Talker features a conversation with artist Paul Maheke. Born in France and now based in London, Paul’s work has been exhibited widely and, at the time of this conversation, his most recent performance Sènsa, developed with musician Nkisi and lighting designer Ariel Efraim Ashbel had just been presented at Performa festival in New York. Paul’s own dancing body is a central feature of his practice and we discuss the development of this in his recent projects. He also describes the significance of others in his creative process and his ambition to create events and share practice rather than produce images through dance. ---

Self-Published 280 x 180mm, 24 pages Risograph throughout Saddle stitch, Card cover, Released: 2017 TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- Issue #2 of Talker features a conversation with performer Kate Valk. As a founding member of experimental theatre company the Wooster Group she has contributed to some of the most vital and exploratory live work of the past three decades. --- This interview took place in October 2016 as her first directorial contribution to the company Early Shaker Spirituals was being performed at the Pompidou Centre.

'No one has captured the look of alternative UK music over the past half a century more tellingly than Kevin Cummins.' - Simon Armitage'Kevin Cummins is a true master in being able to capture the essence of music, the soul of the band. Whatever he does however he does it is a mystery to me but it's pure genius.' - Rankin'Kevin has the uncanny ability of capturing the inner mood of musicians. Be it the dynamics within a pensive Joy Division, or the sense surrounding the fledgeling Fall that something special was around the corner for us all. Kevin's book is nothing less than a remarkable document of a bewildering and defiant anti-fashion movement born in Prestwich, north Manchester in the grimy mid-70s.' - Marc Riley'Capturing forty years of the band's career via his archive, the legendary photographer (whose recent book, Juvenes, documented the story of Joy Division) gives his take on the phenomenon of The Fall and the late, great Mark E. Smith.' - Vive le RockFrom chaotic early gigs to their final years, NME photographer Kevin Cummins provides a definitive, unique perspective on cult favourites The Fall. In this stunning visual history spanning four decades, discover how and why they emerged as one of the most innovative, boundary-breaking bands in modern music.With a foreword by Poet Laureate and Fall fan Simon Armitage and an interview with Eleni Poulou, as well as never-before-seen images from Cummins' archive, this is the ultimate visual companion to The Fall.

In Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military's wartime records and radio programs; the French record industry's catalogs of blues, jazz, and R&B; recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African American music was intertwined with contemporary structures of racism and imperialism, Moore demonstrates this music's centrality to postwar France and the convergence of decolonization, the expanding globalized economy, the Cold War, and worldwide liberation movements.

John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records Ruin the Landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation. How could these proudly evanescent performance practices have been adequately represented on an LP? In their day, few of these works circulated in recorded form. By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings but also in even greater volume through Internet file sharing and online resources. Present-day listeners are coming to know that era's experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings. In Records Ruin the Landscape, Grubbs surveys a musical landscape marked by altered listening practices. --- David Grubbs is Associate Professor in the Conservatory of Music at Brooklyn College, City University of New York, where he also teaches in the M.F.A. programs in Performance and Interactive Media Arts and Creative Writing. As a musician, he has released twelve solo albums and appeared on more than 150 commercially released recordings. Grubbs was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has appeared on recordings by the Red Krayola, Tony Conrad, Pauline Oliveros, Will Oldham, and Matmos, among other artists. He is known for cross-disciplinary collaborations with the writers Susan Howe and Rick Moody and the visual artists Anthony McCall, Angela Bulloch, and Stephen Prina. A grant recipient in music/sound from the Foundation for Contemporary Arts, Grubbs has written for The Wire, Bookforum, and the Süddeutsche Zeitung.