The Blind Man and rongwrong were seminal New York Dada magazines edited and published by Marcel Duchamp, Henri-Pierre Roché, and Beatrice Wood in 1917. This facsimile edition, introduced by Sophie Seita, celebrates the 100th anniversary of their publication. The box set also includes a two-color offset reproduction of Beatrice Wood’s poster for The Blind Man’s Ball (1917) and a letterpress facsimile of Man Ray’s The Ridgefield Gazook (1915). Translations of the French texts by Elizabeth Zuba accompany the facsimile reprints. The Blind Man and rongwrong were part of a network of little magazines that introduced audiences to avant-garde movements in art and literature; they featured contributions of poetry, prose, and visual art by Mina Loy, Louise Norton, Robert Carlton Brown, Erik Satie, Walter Arensberg, Francis Picabia, Alfred Stieglitz, and others. The Blind Man was the first print publication to circulate an image of Duchamp’s “Fountain” (photographed by Stieglitz) after its rejection from the first annual exhibition of the Society of Independent Artists, presenting a public challenge to the accepted definition of art during this time.

Perfect Binding is an experimental artist’s book loosely themed around vanity/inertia and celebrity/obscurity in 1960s Leicester. It covers tensions between popular and unpopular fashion, music and art of the period. ‘Mod’ culture and unspecified crises of masculinity haunt the pages. Perfect Binding is based around several psychologically illuminating interviews conducted by experimental filmmaker William English with figures ranging from Stephane Raynor (co-founder of BOY boutique), to unheralded artist and eccentric Jim Mellors aka Victoria Ashley. It is by no means a local history book. Leicester is symbolic of a wider ‘geographical centre of England’ = ‘middle-of-the-road-ness’ which the book’s interviewees seek to escape at seemingly terminal velocity, each in their unique, and sometimes counterproductive, ways. Art direction on this full-colour publication was overseen by Daniel R Wilson aka Meadow House, Radionics Radio and member of electroacoustic quartet Oscillatorial Binnage.

I left London eight years ago today. It was time to go. I was completely exhausted by the job I’d been doing — running the concert programme at Café OTO — and couldn’t really imagine finding something better to do there whilst simultaneously being pushed further out of the city by the crazy cost of living. Stockholm seemed to be the best option. We could get somewhere affordable to live. I got a grant that paid off my debts. And so we moved.I always rejected the idea that I would start some kind of OTO-equivalent here in Stockholm, but that hasn’t stopped me trying to imagine what such a place could be. There is a special confluence of things that makes OTO work in its own strange way and there is little point in trying to copy it. But one thing I keep coming back to are the windows onto the street. Everything that happens there is visible (and often audible) to the outside world. There are no secrets. The windows suggest an opening to and connection with. That it is possible to participate. I decided that my fantasy space would also need to have such windows out to the street and it would be called Fönstret (The Window). A physical space will remain fantasy, but I decided to make Fönstret real, to make space via a series of online and physical publications, and do if but a small cut of the work that a physical space might do. At the same time, I’d been reading Fred Moten and Stefano Harney’s The Undercommons, trying to think through the meaning of such spaces and the meetings and relationships they facilitate. How informal, unaccredited knowledge is made through these connections and what/how much that means for how we live in the world (as artists, as people). For the first of these missives, I made three short ‘portrait’ films where the subjects talked about someone else or some place else: Lisa Ullén about Fylkingen, Leif Elggren about Lennart Af Larsson and Raymond Strid about Roland Kejser. I also asked a whole stack of people I felt have some connection to Stockholm if they could write something along these lines. It should be someone or place they knew personally rather than a remote influence, but that otherwise they could be as loose as they liked with the brief. 29 people took me up on the ask and these contributions have finally been collected in a book — a mix of memoir, oral history, love letters, and poetry — a small window into a small part of Stockholm. Forever grateful to everyone for their honesty and for trusting me with their texts and happy to now make them available to the outside world. — John Chantler, Stockholm

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. ---

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.

Collected from published and unpublished sources Watercolor of Jandek Debut charts the writing of David Roeder between 2015 and 2020. Roeder has an ability to coax out familiarity in his writing whilst opening up ideas you may not have considered. It is a personal, enthusiastic and heartfelt whilst still keeping music and writing at the fore. There are glimmers of the finest time of DIY music 'journalism' where immediacy and stream-of-consciousness fold together with craft and editing to create extremely hopeful moments.The book and its subjects are broad in their approach. See a mention of the Pacific Northwest scene, the dreaminess of Grouper, a beautifully tempered consideration of David Berman. Following these are the liner notes for a previous band of David’s and mine, Mordwaffe. It opens with a sentiment close to this press; 'Not that anybody asked for these...' as we walk through this almost bootleg release. In the centre of the book is a work of fiction: a transcript of a radioplay titled Chitlin Etc. which takes on various voices and thoughts on the sonic impact and internalisation of sound. We move forth and another series of artists are worked upon; Charlie Megira, Vital Idles, and a heap of reviews and write ups for a sound orientated exhibition That's Life very much based in Glasgow. Alice Coltrane and Sophie Dickinson are the final subjects with two previously unpublished texts which show Roeder's tastes and mind closer to the present. --- David Roeder is an artist, music maker and mental health worker based in Berlin.These practices are connected by an effort to connect everyday experience with deeper psychological structures by means of contemplating, making and facilitating art of various kinds. He is a board member of Berlin's Society for Outsider Art and records music as Nein Rodere.

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019). ---Featuring contributions from Helen Marten, Sophie Collins, Don Lee Choi, Kate Briggs, Phil Baber, Joyce Dizon, Florian Roithmayr, Jen Calleja, J.R. Carpenter, Edgar Wind, Natalie Ferris, Byrony Quinn, Rebecca Collins, Naomi Pearce, Karen Di Franco, James Bulley, Saki Mafundikwa, Natalie Ferris, Matthew Stuart, James Langdon, Peter Nencini, Sophia Seita, Caroline Bergvall, Seb McLauchlan, and Maria Fusco. Editor: Natalie Ferris, Bryony Quinn, Matthew Stuart& Andrew Walsh‐Lister ---

A timely exploration of whether sound and listening can be the basis of political change. In a world dominated by the visual, could contemporary resistances be auditory? This timely and important book from Goldsmiths Press highlights sound's invisible, disruptive, and affective qualities and asks whether the unseen nature of sound can support a political transformation. In Sonic Agency,Brandon LaBelle sets out to engage contemporary social and political crises by way of sonic thought and imagination. He divides sound's functions into four figures of resistance—the invisible, the overheard, the itinerant, and the weak—and argues for their role in creating alternative “unlikely publics” in which to foster mutuality and dissent. He highlights existing sonic cultures and social initiatives that utilize or deploy sound and listening to address conflict, and points to their work as models for a wider movement. He considers issues of disappearance and hidden culture, nonviolence and noise, creole poetics, and networked life, aiming to unsettle traditional notions of the “space of appearance” as the condition for political action and survival. By examining the experience of listening and being heard, LaBelle illuminates a path from the fringes toward hope, citizenship, and vibrancy. In a current climate that has left many feeling they have lost their voices, it may be sound itself that restores it to them. --- Goldsmiths Press, 2017

Fieldnotes is a quarterly print journal publishing new writing and artworks with a focus on practices that work between disciplines and against type. The purpose of the journal is to provide a test site for ideas and research; a space for experimental modes and new prototypes. --- The second issue of Fieldnotes contains new work by: Apichatpong Weerasethakul Steve Dutton Liesl Ujvary Akio Yuguchi Evan Lavender-Smith Dodie Bellamy Paul Maheke & Giles Bailey Yan Jun Emily Charlton Ed Atkins Sam Buchan-Watts Elizabeth Price Mary Mussman Carolyn Ferrucci Hanne Lippard Charlie Godet Thomas Hannah Regel

A musical notation can either describe an event that has already happened or prescribe an event to be performed by the reader. No Collective's (You Nakai. et al.) Concertos, the second book in the Emergency Playscript Series, uses both description and prescription to notate a musical performance. The original Concertos premiered in 2008 in Tokyo, performed by four musicians, a dog, a bird, and several guests. The playscript evokes the original piece while embedding the experience of reading the playscript into any subsequent performances of the piece. No Collective (You Nakai, et al.) makes music performances which explore and problematize both the conceptual and material infrastructures of music and performance. Central to their endeavor is the generally unquestioned notion of people sharing "one" space and time at a music performance. In an attempt to dismantle this pseudo-truism, No Collective employ various strategies which extend from the tweaking of concert flyers (giving different starting time for each flyer, making three different flyers with different titles and designs but with the same date and place, etc), contrivances to make each person a “solo” audience (dragging each audience’s seat to different parts of the venue, controlling the sound volume in relation to the distance to a specific person, etc), to the pluralization of the framing of performance (packing all equipments during performance leaving only portable equipments carried by performers which continues to play as they head home with friends, etc). The basic objective of these temporal constructs is theoretical–ontological in that it examines what time is and the different ways it may be systematized, and practical-political in that it criticizes a singular ground to which all differences can be reduced, by foregrounding several incommensurate grounds.

Third in the Emergency Playscripts series, NOT KNOWING bounces between video and live actors to deduce how history is made, how therapy rewrites personal history, the role of jokes in collective memory and the vast unacknowledged reams of material The Wild One and "The Wild Duck" have in common. Vaudeville Ibsen, Marlon Brando stuck in an attic in Norway, a psychiatrist who can't decide between healing and fetishizing his patient, and live video footage that clearly supports whatever reality is currently in session. If you can't fix it feature it.

In Identity Pitches, artists Stine Janvin and Cory Arcangel have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana, and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom, “deep-fried” coding script to create a series of image glitches. A foreword and an interview between the two artists provides context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium. Stine Janvin is a vocalist, performer, and sound artist based in Stavanger, Norway. Janvin works with the extensive flexibility of her voice, and the ways in which it can be used to channel physicality of sound. Often drawing from electronic music, folk music, and contemporary media, she creates audio visual works for variable spaces from theaters, to clubs and galleries, and more recently websites and digital platforms. Recent presentations include Performa Telethon, New York; Munch Live and CADS, Munchmuseet, Oslo; Deutschlandradio Kultur, Daadgalerie, and CTM Festival, Berlin; Kunsthall Stavanger, Stavanger; Rokolective, Bucharest; Wiener Festwochen, Vienna; Issue Project Room, New York; and INA GRM,  Paris. Cory Arcangel is an artist based in Stavanger, Norway. Arcangel explores, encodes, and hacks the structural language of video games, software, and machine learning. In 2014, he established the merchandise and publishing imprint Arcangel Surfware, which opened its flagship store in Stavanger, Norway in 2018. His work has been exhibited in solo exhibitions at the Whitney Museum, New York; Carnegie Museum of Art, Pittsburgh; Barbican Art Centre, London; Reykjavik Art Museum, Iceland; Hamburger Bahnhof, Berlin; and Museum of Contemporary Art, Miami.

Reader is the first anthology to gather Constance DeJong’s diverse body of writing. Spanning from the 1980s to the present, the publication features eighteen works by DeJong, including out-of-print and previously unpublished fiction, as well as texts emanating from her new media sculptures, sound works, video works, and public art commissions. An influential figure of the 1970s and ’80s downtown New York writing and performance scene, Constance DeJong has channeled time and language as mediums in her work for the last four decades, expanding the possibilities of narrative form and literary genre. From the earliest work collected here—a manuscript of DeJong’s 1982 prose text I.T.I.L.O.E.—to the digital project Nightwriters (2017-18), Reader assembles a range of experimental texts by the artist. The volume includes such works as the 2013 publication and performance, SpeakChamber and the script for Relatives (1988), a duet between a television and a performer made in collaboration with artist Tony Oursler. Never-before-published works including texts created for re-engineered vintage radios, aphorisms commissioned for a Times Square digital billboard, and transcripts for sound works originally installed along the Thames and Hudson rivers are also featured in the book. Taken together, these works showcase how DeJong has helped define and push the boundaries of language in the visual and performing arts. The artist’s sustained exploration of language blurs the lines between many fields, and DeJong’s work has also had a long life in the literary world. In the late 1970s, she self-published the critically acclaimed novel Modern Love on her short-lived Standard Editions imprint. On the 40th anniversary of the novel’s original publication, the book was published in facsimile form by Primary Information and Ugly Duckling Presse, and has gone on to sell over 10,000 copies since its release in 2017. Constance DeJong is a New York-based artist who has exhibited and performed internationally. Her work has been presented at the Renaissance Society, Chicago; the Walker Art Center, Minneapolis; the Wexner Center for the Arts, Columbus; the Philadelphia Museum of Art; and in New York at the Dia Art Foundation; The Kitchen, Thread Waxing Space, and the Whitney Museum of American Art. In 1983 she composed the libretto for Satyagraha, the Philip Glass opera, which has been staged at opera houses worldwide, including the Metropolitan Opera, New York; the Netherlands National Opera, Rotterdam; and the Brooklyn Academy of Music, New York. She has permanent audio-text installations in Beacon, New York; London; and Seattle. DeJong has published several books of fiction, including her celebrated Modern Love (Standard Editions, 1977; Primary Information/Ugly Duckling Presse, 2017), I.T.I.L.O.E. (Top Stories, 1983), and SpeakChamber (Bureau, 2013), and her work is included in the anthologies Up is Up, But So is Down: New York’s Downtown Literary Science, 1974-1991 (NYU Press, 2006); Blasted Allegories (New Museum/MIT, 1987), and Wild History (Tanam Press, 1985).  

What are the musical sounds that people remember in the diaspora? What are the sounds they create? Recognising the importance that people attach to musical performances, this book explores the significance of widespread Caribbean genres in diaspora politics. Tina K. Ramnarine uses ethnographic approaches to unravel creative processes of memory, innovation and production and to interrogate geographies of musical canons, hybridity discourses and culture theory. She challenges us to rethink diaspora as only being about displacement, to move beyond the limits of marginalisation and otherness, and to imagine the possibilities of 'beautiful cosmos'. Asking 'where is home in the diaspora?' this book presents radical perspectives in the study of diaspora

A debutante frees a hyena from the zoo so that it might take her place at her coming-out ball; an artist paints a portrait of a man’s dead wife, but finds she has painted herself instead; a psychoanalyst must decide what to do with the gift of a team of Russian rats trained to operate on humans. In this first complete edition of Leonora Carrington’s short stories, written throughout her life from her early years in Surrealist Paris to her late period in Dirty War-era Mexico City, the world is by turns subversive, funny, sly, wise and disarming.

Audre Lorde (1934-92) described herself as ‘Black, lesbian, mother, warrior, poet’. Her extraordinary belief in the power of language – of speaking – to articulate selfhood, confront injustice and bring about change in the world remains as transformative today as it was then, and no less urgent. Your Silence Will Not Protect You brings Lorde's poetry and prose together for the first time. 

Positive Vibrations tells of how reggae was shaped by, and in turn helped to shape, the politics of Jamaica and beyond, from the rudies of Kingston to the sexual politics and narcotic allegiances of the dancehall. Insightful and full of incident, it explores how the music of a tiny Caribbean island has worked its way into the heart of global pop.From Marcus Garvey’s dreams of Zion, through ska and rocksteady, roots, riddims and dub, the story closes with the Reggae Revival, a new generation of Rastas as comfortable riding rhythms in a dancehall style as they are singing sweet melodies from times gone by. Impeccably informed, vibrant and heartfelt, Positive Vibrations is a passionate account of the politics in reggae, and the reggae in politics.

Stones of Aran: Pilgrimage is, as Robert Macfarlane says in his introduction, ‘one of the most sustained, intensive and imaginative studies of a place that has ever been carried out’. That place is one of the most mysterious and oldest inhabited landscapes in the world, the islands of Aran off the west coast of Ireland. Tim Robinson’s epic exploration of the desolate, storm-lashed, limestone rocks, which have already haunted generations of Irish writers, takes the form of a clockwise journey around the coast. Every cliff, inlet and headland reveals layers of myth and historical memory, and Robinson makes beautifully crafted observations about the habits of birds, plants and the humans who lived there and endured, leaving records in stone – on the walls, cairns and ancient forts – in story and in oral tradition.