130 x 190mm 36 pages Risograph printing, Saddle stitched, Card dustjacketEd. of 100, 2024Heavy footed, peeping you are shadow and stone dial both something given away reveals itself as an experiment into growth & the doughy apology of a reversal Prose poetry looking at sonic energies, technologies, emotions and the body. Attuned to atmospheres and spaces between each other as well as the nervy dissonance between everyday speech and compositions on the page. The writing was in part developed during a sound art residency at Q-02, Brussels, Belgium.Published byRebecca Wilcox

Sam Dolbear is the cofounder of the sound and radio collective MayDay Radio. He took up a fellowship at the ICI-Berlin as part of the 2020–2022 Project Reductions and continues working on a number projects, on palmist and sexologist Charlotte Wolff, a diagram of friendship constructed by Walter Benjamin, and a translation of Dora Kellner's feminist sci-fi novel Gas gegen Gas. Esther Leslie is Professor in Political Aesthetics, Birkbeck, University of London. She is frequently invited to speak in the UK, Europe, the US, and occasionally Australia, China, and India.An investigation of the cultures and technologies of early radio and how a generation of cultural operators—with Schoen at the center—addressed crisis and adversity. Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might. Dissonant Waves tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises. An exploration of the ripples of radio waves, the circuits of experimentation and friendship, and the proposals that half-found a route into the world—and might yet spark political-technical experimentation.

Fran Lock is the former Judith E, Wilson Poetry Fellow at Cambridge University (2022-2023), and the author of thirteen poetry collections, most recently 'a disgusting lie' (further adventures through the neo-liberal hell mouth), published by Pamenar Press in September 2023. She is member of the New Editorial Advisory Board for the Journal of British and Irish Innovative Poetry, and she edits the Soul Food column for Communist Review. A collection of essays exploring feral subjectivity through the lens of the medieval bestiary is forthcoming from Out-Spoken Press later this year. Fran is an Associate Editor at the arts and culture cooperative, Culture Matters. She lives with Manny, her beloved pit bull and eternal muse.  The Hyena! poems are concerned with therianthropy – the magical transformation of people into animals – as a metaphor for the embodied effects of sudden and traumatic loss. Through the figure of Hyena! Fran negotiates the multiple fraught intersections of dirty animality, femininity, grief, class and culture to produce a work of queer mourning, a furious feral lament. Hyenas in legend and lore are shape-shifters, and Fran's work has been said to shape-shift between lyric and innovative modes, fiercely concerned with the expansion of "innovative" to include the kinds of poetry and performance strategy typically accessible to and practiced by working-class and marginalised people.   Inspired by the rich web of folklore surrounding the hyena, an animal whose reputation spans from loathsome savage to magical sex-shifter, Lock finds in this creature a figure of kinship, relating its fabled shape-changing properties to the emotional and bodily fluctuations of grief— the grief of and for those rejected or refused by neoliberal society. Emerging from the polarizing isolation of our pandemic times, Lock's work of "queer mourning" cuts through the grimey sheen of performative Instagram politics and all its unbothered authenticators.

Jackqueline Frost is an emerging force in poetry and criticism. A queer-feminist author living in France and scholar of Caribbean culture and politics, Frost writes about the revolutions of the past and future. She is the author of the full-length collection, The Antidote (Compline Editions), and several chapbooks including You Have the Eyes of a Martyr (O’clock Press), The Third Event Pt. 1 & 2, (Tripped Press) and The Third Event Pt. 3 (Crater Press).    Young Americans by Jackqueline Frost is a poetry collection that conjures a present teeming with the decadent violence of the confederate South   The book is a narrative of becoming in the wartime petroleum landscape of southern Louisiana. Faulknerian in its themes and in its taste for the baroque, Frost’s lyric explores the melancholy of ‘belonging to the enormous bliss of American death’ in places where one must ‘learn what love is from what it is not.’

Dual language book. German translation by Lotta Thiessen   “I wanted to remember how to forget:   I found something I thought I knew well—   the colour of a childhood room; the path taken to school each day; a pool of water collecting in the iris,   —took something: lines of a poem or the pages of a book, placed them in these spaces I thought I knew well.   I had to train myself, I couldn’t carry all the pages—”THIS ENERGY WASTED BY FLIGHT​​— traces the trying of language: “first as fact, / then as claim; then finally as call.” Consisting of a long poem and a short essay, the book attempts to both unravel and complicate the she that speaks: gendered experience and its relationship to fragmented memory and the violence of narrative time; to sexual violence; to surveillance and grief; to solitude and collectivity; to song and dissent. "What if the hour is left incomplete?" asks the speaker, twisting and turning through the past, present and future all at once in its possession and simultaneous dispossession of the “‘I am.’ / ‘We are.’”. Oscillating between the gestures of daily experience, and the political and social conditions that shape it, both unflinchingly utopian and wildly sceptical in its outlook, THIS ENERGY WASTED BY FLIGHT— attempts to write through the continual negotiation between the desire to speak and the desire to keep your mouth shut, all the time chasing what it means to live out one's political convictions through poetry, and through life.    "THIS ENERGY WASTED BY FLIGHT— is thought turned [into] song. The singer, an ‘ambivalent woman / of non personhood’, trusts the productive energy of doubt to take her deeper into feeling and farther from naming. Lotte LS reveals the violent imperatives placed on us to speak and inhabit our pains as the limits of our personhood. In tracing the ‘tyranny of language under capitalist authoritarianism’ what emerges is the chance to become a subject always in motion, one who knows that what is not remembered is not identical to what is forgotten. " --Mira Mattar

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.

Catalog for an exhibition held at Corbett vs. DempseyJuly 27 – August 17, 2013Includes an essay by Jim DempseyDesign by Sonnenzimmer cvsd0068 softcover, 48 pages, 9 x 7 inchesISBN: 978-0-9884492-7-5

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

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.

"Insightful, passionate, flowing and jarring. Stage of Recovery is a creative journey that invites the reader to reflect on and reimagine society." - Marina Sitrin "This book proposes a singular bio-aesthetic, an original way of living with each other, against the ever more delirious diktats of planetary techno-capitalism. Sagri’s is an extraordinary example of a practice where, as with the Situationists, art becomes indiscernible from politics." - Mehdi Belhaj Kacem "I am convinced that Sagri's thinking in action is ultimately dedicated to the empowerment of the mass corporeality of the nameless, and to self-recovery from psychosomatic pains suffered in this world of hell." - Sabu Kohso Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action. Georgia Sagri (born Athens, 1979) lives and works in Athens and New York. Her practice is influenced by her ongoing engagement in political movements and struggles on issues of autonomy, empowerment and self-organisation. From 1997 to 2001 she was a member of Void Network, a cultural, political and philosophical collective operating in Athens. In 2011 she was one of the main organisers of the Occupy Wall Street movement in New York. Since 2013 she has been a member of the assembly of the Embros Theatre Occupation, and in 2014 she initiated Ύλη[matter]HYLE, a semi-public cultural space in the heart of Athens. She is professor of performance at the Athens School of Fine Arts.

"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.

Pages:100Binding: PaperbackInterior Color: Black & WhiteDimensions: Executive (7 x 10 in / 178 x 254 mm)Most books of poetry either greet us with the expected lineaments or else ask that we modestly reorient ourselves towards the slightly unfamiliar. Emily Martin's "Marking a Salt Ridge" is that rare book that seems actually to reconfigure sites of poetic writing and reading—to find new nodes and wormholes in the graphic text. More impressively still, it locates the points at which its medium appears to buckle into the refulgence of the plastic arts, turning recursive cadence and motif into a paint-like material through which all of the richly textured pentimenti are visible. A spectacularly conceived and executed book, as well as a beguilingly moving one.

36 pagesprinted in Englandstaple bound14cm x 20cm Between 1976 and 1981 Rock Against Racism and the youth of Britain unleashed the explosive rebel chemistry of Punk and Reggae bands in a five year festival of multi culturalism. Under the slogan ‘Love Music, Hate Racism’, Rock Against Racism took on the orthodoxy through 5 Carnivals, and over 500 gigs throughout the UK. In those five years the National Front went from a serious electoral threat into political oblivion.

36 pages printed in Englandstaple bound14cm x 20cm

36 pagesprinted and manufactured in Englandstaple bound14cm x 20cm I often think back and thank my lucky stars that I just happened to arrive in Manchester in 1988. I’d enrolled on a Photography Course at Manchester Polytechnic and while still only 22, I was ready for a new chapter in my life after leaving behind my past in Birmingham. I had no idea that I was about to walk into the global phenomenon that the media called “MADCHESTER”. The Years of 1989–91 in Manchester saw an incredible explosion of creativity across many art forms and it certainly wasn’t just the music scene that benefitted. If you’re thinking Madchester only meant Happy Mondays & the Stone Roses then think again. There was also the poets, comedians, designers, entrepreneurs, journalists, DJs, photographers, — artists of all descriptions, as well as all round chancers that helped give the city an incredible buzz and ensuring the rest of the world was looking on with envy. As a Photographer I was perfectly set up to cover what was developing. I’d set up my Photo studio and darkroom where I was living, which at the time was a squat in one of the four big crescents which dominated the district of Hulme. Squatting in Hulme was really convenient, not only did it mean all my money could go on photography but also meant I was walking distance to the centre of Manchester, where all the fun was. I couldn’t help but get caught up in all the general mayhem, momentum and energy that these years provided. I became determined as much as possible to document what was going on around me.

Including images of The Roxy, Sunsplash, the Marquee, The Tunnel NYC, Rock Against Racism, Notting Hill Carnival, Exploited, Empire Ballroom, Wetlands, Gossips, Glastonbury. David Corio began his freelance photography career in 1978 after leaving art school at the age of 18. Moving to London he began taking portraits and going to concerts and clubs across the capital for personal projects and as assignments for New Musical Express, Time Out, The Face and Black Echoes. He worked at London listings magazine City Limits in the early 1980’s helping to write the music listings and editing their Nightclub section. He moved to New York in 1992 for 16 years continuing to shoot musicians, nightlife and the arts for the New York Times, The Times and various reggae and hip hop record labels and magazines. From daytime bhangra shows at Leicester Square’s Empire Ballroom to the first hip hop club in Soho’s ‘Gossips’ and the first Jungle Club in NYC, this collection of Fans and Clubbers, taken over an 18 year period shows many different musical genres in their infancy - their energy and excitement still fresh and raw. David Corio’s photographs are held by the National Portrait Gallery, The Victoria & Albert Museum, The ICA and The Photographer’s Gallery, London and the National Museum of African American History and Culture, Washington DC and the Institute of Contemporary Photography, NYC.

36 pagesprinted and manufactured in Englandstaple bound14cm x 20cm

36 pagesprinted in Englandstaple bound14cm x 20cm