A zine and exercise book about the applied art of questioning, by the writer Cordula Daus and the choreographer Charlotta Ruth.This is the age of the answering machine. Of infinite input fields, of prompts and problem solving, of algorithmic feeding frenzy. But wait. Who/what is behind this text? Have you been reading these lines for real? Are you here?Since 2019 the writer Cordula Daus and the choreographer Charlotta Ruth have explored and trained what might be the last genuinely human quality: how to question, how to make oneself response-able. Together they have created environments, performances, writing exercises and live situations where ideas become material to be touched and processed between people.Questionology – Are you here? is a zine and exercise book for all those who'd like to know more about the applied art of questioning. Unfolding across three conversations, the zine recombines tricks and moves from midwives, Socratic maieutics, witchcraft and malfunctioning technology. In the opening text an anonymous author-mechanism lures the reader into a series of questions trying to grasp what reading is. Secondly, Daus & Ruth meet the sound artist and editor Brandon LaBelle to reactivate elements of the participatory work Questionology – Program for Applied Questioning (co-produced by brut Vienna, 2021). Equipped with new vegetable names and a towel, the three try out different selves and stances including one of the most complicated ones: listening. Thirdly, the artist Erik Valentin Berg joins the conversation to examine the field of artistic research. Together they defend each others' titles, fight over 'useless art' and get caught in a failed thesis scandal. Hope to meet you there!

The final issue of Sound American journal, as a tribute to the musical community. SA30: The Thirtieth Issue is the last issue in a ten-year run of the American publication on music and musicians edited by trumpet player and composer Nate Wooley. SA30 is a love letter to the creative humanity that the journal has tried to illuminate since its first issue. It is a celebration of work: how we do it, why we do it, and the doubts and triumphs we experience as it allows us to blunder toward some fuzzy creative resolution. To that end, the issue consists of interviews between artists from different milieus—all with a connection to the music that SA has championed over the years—and SA editor Nate Wooley about their working lives. Poet Eileen Myles, pastry chef Natasha Pickowicz, painter Albert Oehlen, and dancer/organizer Patricia Nicholson Parker share the issue's space with composer Nico Muhly, iconoclastic sound artist Ellen Fullman, and improvising bassist Brandon Lopez in talking about the personal ups and downs of living as an artist in America. It also features a long excerpt of an interview with iconic percussionist and composer Michael Ranta undertaken by American composer Sarah Hennies and Swiss writer and composer Vincent de Roguin. Percussionist and composer Lesley Mok contributes a conceptually stunning standalone Exquisite Corpse composition to close out this last issue.

Focusing on several major collaborative performance-videos by a figure of the British Black Art movement, this illustrated monograph includes a series of essays which interpret Boyce's interdisciplinary practice in the light of art history, and analyse her interest in black feminism, cultural studies, film studies, art history and critical theory.

Sibyl's Mouths is the most recent in a series of publications by Pure Fiction, a writing and performance group with shifting members active since 2011. From February 12 to March 6, 2022, Pure Fiction presented an exhibition and performance program at the Kölnischer Kunstverein in Cologne titled “Shifting Theater: Sibyl's Mouths”. The starting point was a collective reading of Mary Shelley's 1826 novel The Last Man, in which the narrator discovers a collection of scribbled oak leaves scattered in a cave outside Naples. Alleged prophecies of the Cumean Sibyl, the textual fragments inscribed on the leaves foretell the story of an epidemic that ravages the globe in the 2100's—a period where solitude, intimacy, and the perception of time is radically renegotiated. Through a multiplicity of textual genres and writerly approaches, contributors examine the questions and forms that emerge from prophecy: the role of the voice in text, writing and performance; fragmentary heterogeneous narratives. The mouth is consulted, not only as a mouthpiece or as a cavernous instrument for vocalization but as an essential part of the digestive tract. Processes in the gut, such as assimilation, excretion, and regurgitation involve multiple temporal directionalities, and may function as metaphorical gateways to intuitive truths.

In Dreams in Double Time Jonathan Leal examines how the musical revolution of bebop opened up new futures for racialized and minoritized communities. Blending lyrical nonfiction with transdisciplinary critique and moving beyond standard Black/white binary narratives of jazz history, Leal focuses on the stories and experiences of three musicians and writers of color: James Araki, a Nisei multi-instrumentalist, soldier-translator, and literature and folklore scholar; Raúl Salinas, a Chicano poet, jazz critic, and longtime activist who endured the US carceral system for over a decade; and Harold Wing, an Afro-Chinese American drummer, pianist, and songwriter who performed with bebop pioneers before working as a public servant. Leal foregrounds that for these men and their collaborators, bebop was an affectively and intellectually powerful force that helped them build community and dream new social possibilities. Bebop’s complexity and radicality, Leal contends, made it possible for those like Araki, Salinas, and Wing who grappled daily with state-sanctioned violence to challenge a racially supremacist, imperial nation, all while hearing and making the world anew.

In Deathlife, Anthony B. Pinn analyzes hip hop to explore how Blackness serves as a framework for defining and guiding the relationship between life and death in the United States. Pinn argues that white supremacy and white privilege operate based on the right to distinguish death from life. This distinction is produced and maintained through the construction of Blackness as deathlife. Drawing on Afropessimism and Black moralism, Pinn theorizes deathlife as a technology of whiteness that projects whites’ anxieties about the end of their lives onto the Black other. Examining the music of Jay-Z; Kendrick Lamar; Tyler, the Creator; and others, Pinn shows how hip hop configures the interconnection and dependence between death and life in such a way that death and life become indistinguishable. In so doing, Pinn demonstrates that hip hop presents an alternative to deathlife that challenges the white supremacist definitions of Blackness and anti-Blackness more generally.

In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. 

This first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars, drawn from a major public museum exhibition “Sounds of Our City” and built upon contemporary research. Leeds has rich musical histories and heritage, a long tradition of vibrant music venues, nightclubs, dance halls, pubs and other sites of musical entertainment.The city has spawned crooners, folk singers, punks, post- punks, Goths, DJs, popstars, rappers and indie rockers, yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore, Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music, racialisation and social equity; industrial decline, de-industrialisation, neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation, while concomitantly tracing arguments about “heritagising” popular music within discussions about music’s “place” in museums and in the urban economy, this book contributes to debates about why music matters, has mattered, and continues to matter in Leeds, and beyond.

mahogany is about the passing of time and unimaginable loss, strength, humor, and love mahogany takes its name from the dark wood prized for its durability, workability, and elegant look, and from the Diana Ross movie, whose theme song asks if what lies ahead is what you really want. This book is the third in a trilogy, and like the first two books it is steeped in pop music. Each poem here takes its title from a line of a Diana Ross and The Supremes song, as well as songs from Diana Ross' solo career. Short lines flow down the page like postmodern psalms, connecting dailyness to timelessness, merging the historical and the beloved through reverence for family, music, and the life we actually live. mahogany is a lament for the passing of time and unimaginable loss, and at the same time it models the daily search for joy, and the deep shine that can arise from the darkest times.

James Baldwin is an icon of liberation who created some of the most important literary works of his time, including the novels Go Tell It on the Mountain and If Beale Street Could Talk. Here, Bill V. Mullen celebrates the life of the great African-American writer and activist. As a lifelong anti-imperialist, black queer advocate, and feminist, James Baldwin was a passionate chronicler of the rise of the Civil Rights Movement, the US war against Vietnam, the Palestinian liberation struggle, and the rise of LGBTQ+ rights. Mullen pays homage to Baldwin's truly radical approach to his life, writing and activism. Constantly in struggle for an anti-racist, emancipated world, Baldwin's philosophy and politics were ahead of their time, predicting many of today's movements such as Black Lives Matter.

A groundbreaking study of the trailblazing music of Chicago's AACM, a leader in the world of jazz and experimental music. Founded on Chicago's South Side in 1965 and still thriving today, the Association for the Advancement of Creative Musicians (AACM) is the most influential collective organization in jazz and experimental music. In Sound Experiments, Paul Steinbeck offers an in-depth historical and musical investigation of the collective, analyzing individual performances and formal innovations in captivating detail. He pays particular attention to compositions by Muhal Richard Abrams and Roscoe Mitchell, the Association's leading figures, as well as Anthony Braxton, George Lewis (and his famous computer-music experiment, Voyager), Wadada Leo Smith, and Henry Threadgill, along with younger AACM members such as Mike Reed, Tomeka Reid, and Nicole Mitchell. Sound Experiments represents a sonic history, spanning six decades, that affords insight not only into the individuals who created this music but also into an astonishing collective aesthetic. This aesthetic was uniquely grounded in nurturing communal ties across generations, as well as a commitment to experimentalism. The AACM's compositions broke down the barriers between jazz and experimental music and made essential contributions to African American expression more broadly. Steinbeck shows how the creators of these extraordinary pieces pioneered novel approaches to instrumentation, notation, conducting, musical form, and technology, creating new soundscapes in contemporary music.

PRESENT CONTINUOUS is a collection of hybrid essays, written during the recent covid pandemic, moving between criticism and poetic prose, between visual and textual expressions of the present moment and a future that still has a past to resolve. From the initial announcement of the lockdown to Black Lives Matter protests to a “second wave” of restrictions and the issue of police violence, Grundy’s writing offers, in the words of Richard Owens, “a quality, a shade of incredible intelligence and intuitive imagining that cannot be reproduced”. "The world in art and poetry will begin with a world anew", commented the late musician and poet Henry Grimes. In these "expositions of harmony and theory", David Grundy strives to imagine that new world.

Experimentations provides a detailed historical and theoretical analysis of the first three decades of experimental composer John Cage's aesthetic production (ca. 1940-1972). Paying particular attention to Cage's inter- and cross-disciplinary engagements with the visual arts and architecture during this period, the book sheds new light on some of Cage's most controversial and influential innovations, such as the use of noise, chance techniques, indeterminacy, electronic technologies, and computerization, as well as upon lesser known but important ideas and strategies such as transparency, multiplicity, virtuality, and actualization. Ultimately, it traces the development of Cage's avant-garde aesthetic and political project as it transformed from the emulation of historical avant-garde precedents such as futurism and the Bauhaus, to the development of important precedents for the post-World War II movements of happenings and Fluxus, to its ultimate abandonment in the aftermath of problems encountered in the vast, multimedia composition HPSCHD (1967-69).

For the first time this book in detail reconstructs the often blurred traces of the life of the Afro American piano virtuoso from Toledo, Ohio. Based on the stories of many contemporaries and fellow musicians and on countless reports in the daily press and jazz journals, a fascinating portrait emerges of a unique artist and the pulsating world of jazz of his time. Ever since his first appearance in New York City in 1932, Art Tatum has been regarded as the most important pianist in the history of jazz. His technique took the breath away even from concert pianists of the calibre of Horowitz, his touch was of unparalleled lightness and elegance, and his improvisations across the entire harmonic spectrum put him decades ahead of his time. 

sinusoidal run rhythm is generated by adding up in-phase cosine functions in whole number ratios. They are temporally and dynamically shifted in their maxima compared to corresponding notated rhythms and feature a physicality that is not present in discretely controlled rhythms. sinusoidal run rhythm thus conceives of rhythm as a wave and clearly stands out from the conventional rhythm theory of a European musical tradition. It opens up an inexhaustible variety of beguiling physical music. The volume depicts this aesthetic diversity in numerous illustrations of the sinusoidal run rhythms. On the one hand, it offers an opportunity to lose oneself in the formations of an extended concept of rhythm and to immerse oneself in the beauty of individual specimens – following the example of books for the identification of beetles or butterflies. On the other hand, the theory encourages us to unbound the borders between imagination and performance, score and interpretation, man and machine and search for applications in music-making, music analysis, psychoacoustics or philosophy. // Steffen Krebber is composer, sound artist and researcher. His work moves between computer music, instrumental and electroacoustic composition, sound art, research, language, epistemology, sociology and media art.

In 1986, guitarist Marlene Marder published a German-language diary documenting her time in Kleenex/LiLiPUT, Zurich’s first all-female punk band. Thrilling Living is proud to offer a lavishly illustrated English-language edition, featuring over 200 images, including fanzines, interviews, flyers, and photographs, and updated with a new introduction and afterword by editor Grace Ambrose and translator Jen Calleja in addition to the original foreword by Greil Marcus. This is the most extensive document of this influential group, unparalleled in its depth and candor. The book recounts touring, recording, and music business dealings, all from the perspective of Marder, the band’s guitarist. It is an important document of what it was like to participate in the burgeoning music industry, just as punk was taking off. Neither memoir nor scrapbook, but something defiantly in the middle, Kleenex/LiLiPUT is a compelling example of what it looks like to document one’s own life, and all the insights and messiness that entails. T This project is an interpretation, a translation, a republication, an attempt to expand and enhance Marlene’s unruly original. First released by Nachbar der Welt Verlag, the publishing imprint that preceded Edition Patrick Frey, Thrilling Living is proud to make this important story accessible in English for the first time. Published by Thrilling Living. 

20 Seconds Magazine is a biannual print magazine for experimental music and art. For its sixth issue, 20 Seconds collaborated with PARA – the non-entity organisation for sound. Shifting this specific organism for its sixth issue, PARA present a dynamic approach toward publishing as a passage of transgressions. With “Non-Present Tense”, the collaboration offers a detachment from linearity and progress, declaring this issue a vast disruption.

The dry, wrinkled skin, crow’s feet and rheumy eyes of old women can be seen universally; yet the actual images and their meaning differ widely, and the very absence of these old women in certain settings also reveals both a discomfort with the aged and an ease in their invisibility. This is true in writing about art and often in the art itself. The physical markers of aging, even implications of death or the nearness of death, make many of these images of old women, haunting; in the 16th and 17th centuries, they become emblems of anger and avarice, though portraits of known elderly women are often created with a sense of awe, and in some cases, authority. This book provides a frank examination of old women, from medieval “old wives” to contemporary reimaginations of shamans and witches and empowering self-portraits. Works from medieval Europe to colonial-time Polynesia, present West Africa, Japan, and the Americas, in a multiplicity of media are explored. These studies of varied representations of “old women” offer fresh perspectives and a dialogue about society’s values and preconceptions regarding the “golden years” in different times and cultures. Images of old women may be the very opposite of what one considers the ideal, but this discussion makes these often overlooked images seem fresh and highlights their many positive associations.