Publisher Pilot Press Pages   Dimensions 150 x 200 mm Format Softcover Year 2022 Responses to Love's Work by Gillian Rose is the fourth publication in a series of anthologies from Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.In this fourth iteration, responses were sought to the 1995 philosophical memoir Love's Work by Gillian Rose.Contributors:Cookie MuellerIan PattersonDodie BellamyKatherine FrancoJames McDermottLotte CrawfordMoss PepeJames MainNick BlackburnThea PetrouJosiah MoktarRoelof BakkerChristopher MaddenKashif Sharma-PatelMadeleine Pulman-JonesLucy SwanLou CollinsTed SimondsMolly GoughEdward ThomassonRichard PorterAlexandra Symons SutcliffeCecilia PavónKate MorganOlivia LaingAshleigh A. AllenReverend Joyce McDonald

116 x 182mm, 347 pages, Black & white printing, Perfect bound, Softcover, Pilot press, 2024 Timothy Thornton is a writer and musician. His work was in Volume 2 of the new Penguin Modern Poets series, and he has published eleven books of poetry with small presses. He organised two series of reading and performance nights in Brighton: ‘evenly and perversely’ and ‘WHAT YOU NEED’. He has composed and performed scores for productions at Battersea Arts Centre and The Yard Theatre.   ‘Candles and Water risks everything, daring to explore powerful vulnerabilities, yearning, and unabashed hope. Elusiveness and the whisperings of shadows inhabit these pages, always illuminated and burnished by the voice of a poet’.   — Thomas Glave, author of Among The Bloodpeople   ‘Timothy Thornton’s Candles and Water is a rare and transformational book, haunting, beautiful and watchful. Writing that follows its brush like Sei Shōnagon.’   — David Hayden, author of Darker with the Lights On   ‘These radical, scattered shards of life and sensation. . . come to a whole, coalescing like bioluminescence. . . witty, dark, profound, devastating. One long séance with a fellow human soul.’    — Philip Hoare, author of RISINGTIDEFALLINGSTAR  This collection is made of fictions and diaries, dreams and lists, lies and ghost stories. Its fragments and filaments are lonely, joyous, enraged, sickly, and lost; and when they crystallize around a single voice, it is by way of healing from grief and recovery from addiction.

Introduction and translation by Sibyl University of California press, 1971 275pp"Substantially the book that devotees of the director have been waiting for: a full-length critical work about Ozu's life, career and working methods, buttressed with reproductions of pages from his notebooks and shooting scripts, numerous quotes from co-workers and Japanese critics, a great many stills and an unusually detailed filmography."—Sight and SoundYasujiro Ozu, the man whom his kinsmen consider the most Japanese for all film directors, had but one major subject, the Japanese family, and but one major theme, its dissolution. The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society, and the ends of the earth seem no more distant than the outside of the house.

Ma Bibiliotheque, 2024 108 pages120 mm x 190 mm60 mm French flaps (cover)PaperbackSometimes I pretended not to notice it (the black hole), but I knew it was always there. To tell the truth, I started to like having it around. I stuck quite close to it. Not too close, mind you. But it was useful, above all, to have somewhere to put things. Unwanted things. I am attracted to your attraction, he said. (I put it in the hole.) Night by night it got a little bigger.Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists’ (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative.

2nd printing with updated cover Paperback with French flaps; 210 x 140mm, 112pp; black-and-white images throughout Prototype, 2024Emblem is the debut collection from Lucy Mercer, winner of the inaugural White Review Poet’s Prize. Emblem revitalises this forgotten hybrid form in the present as a frame to contemplate the obscurities of motherhood, faith and the interior. In ghostly conversation with the sixteenth-century emblematist Andrea Alciato – a witness to a lonely time – the poems are carried forward by a non-linear dream logic of metaphor and similitude, speaking pictures who remain silent and a focus on an adjacent imaginal world. As well as reusing images from Alciato’s emblem book, the poems fixate on alternating relations between text and image that blur into relations between mind and body, child and mother, red and green, past and present, public and private, the living and the dead.

published by Tenement Press & Prototype, 2023 Paperback; 140 x 216mm; 444pp; black-and-white images throughout Mario Dondero, Erica Baum, Jess Cotton, Rebecca Tamás, Raúl Guerrero, Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer, Olivier Castel, Lucy Sante, Ryūnosuke Akutagawa, Ryan Choi, John Yau, Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco, Mark Lanegan, Georgia May Jaeckle, Vala Thorodds, Richard Scott, Jonathan Chandler, Joshua Cohen, Sandro Miller, Hannah Regel, Nick Cave, Matthew Shaw, Daisy Lafarge, Jeffrey Vallance, Holly Pester, Matthew Gregory, Emmanuel Iduma, Joan Brossa, Cameron Griffiths, Levina van Winden, Imogen Cassels, Hisham Bustani, maia tabet, Aram Saroyan, Velimir Khlebnikov, Natasha Randall, Edwina Attlee, Jason Shulman, Aidan Moffat, Lesley Harrison, Oliver Bancroft, Lauren de Sá Naylor, Yasmine Seale, Will Eaves, James Hugunin, Glykeria Patramani, Cass McCombs, Will Oldham, Antonio Tabucchi, Elizabeth Harris, Nina Mingya Powles, Isabel Galleymore, Preti Taneja, Stanley Schtinter, Sophie Seita, Ralf Webb, Wayne Koestenbaum, Iain Sinclair, SJ Fowler, David Grubbs, Agustín Fernández Mallo, Pere Joan, Thomas Bunstead, John Divola, Adrian BridgetSeven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature’s status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

written by Justin Patrick moore   Velocity Press, 2024 paperback, 280ppThe Radio Phonics Laboratory explores the intersection of technology and creativity that shaped the sonic landscape of the 20th century. This fascinating story unravels the intricate threads of telecommunications, from the invention of the telephone to the advent of global communication networks. At the heart of the narrative is the evolution of speech synthesis, a groundbreaking innovation that not only revolutionised telecommunications but also birthed a new era in electronic music. Tracing the origins of synthetic speech and its applications in various fields, the book unveils the pivotal role it played in shaping the artistic vision of musicians and sound pioneers.

A5 staplebound, comes with sticker www.listencorp.orgWe explore the production and sustained interest in one of the most incredible racing game franchises of all time: WipEout. Speaking to the lead writer, developer and composer, our lead article delves into the evolution of the game, the story behind its music and the movements that it helped to inspire. 🪡 Unravelling a beautiful thread… 🪡We’re proud to present a farewell interview with the creators of the innovative experimental electronic label Noumenal Loom. Responsible for masterpieces by the likes of Giant Claw, Holly Waxwing and Broken Spear, Isa and Holly guide us on a trip down memory lane and offer words of wisdom for aspiring labels.🪐 Music of the spheres… 🪐Insight into a project that has brought the sounds of the cosmos down to earth for us to enjoy, we find out more about the Messier collection.AUX: christtt A special magazine-exclusive edition of AUX, where Business Casual owner and purveyor of incisive plunderphonic odysseys gives us his picks. This edition also features reviews of Nondi_, Lauren Bousfield, Simple Syrup, MANAPOOL and Null Object!

Silver Press, 2023 Paperback, 256 ppFifteenth anniversary edition, with a new preface by the author and contributions by Saidiya Hartman and Katherine McKittrick. A haunting lifeline between archive and memory, law and poetry. In November 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship’s owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert – the only extant public document related to the massacre of those African slaves – Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.

wolke, 2020 136 pp., paperbackAdorno and the Aesthetics of Postwar Serial Music is the first book-length study of the relation between Theodor W. Adorno’s aesthetics and postwar serial music. Adorno’s extensive writings and lectures about serialism, his first-hand knowledge of the technique, and his personal acquaintance with leading serial composers did much to shape his philosophical work. That work, in turn, influenced postwar composers, and the signs of this influence are clearly visible in the compositional theory and aesthetic ideas of the period. This book presents a detailed examination of these ideas, and places them in their historical, philosophical, and cultural contexts. It will enable a better understanding not only of serial music and aesthetics, but also of Adorno and his aesthetic theory. As such, it will appeal to composers, music historians, philosophers, critics, and anyone interested in the aesthetics of modernism.

edited by Lynn Matheson and Ann Schnabel Mottier  wolke,2021 144pp hardback This unique book, also containing never before published the 1949 Harvard Lectures, is Schnabel's last foray into public discourse and represents his most mature view of music and its function in society at large. It highlights the importance of understanding tradition and highlights the profound impact Artur Schnabel had, both as a performer and teacher upon future.  "Values in art are always fluctuant, and no decrees or measures will ever arrest their motion. Within the boundary of our civilization, only a few, perhaps only one, of the several departments we have referred to under the collective term "Music" are commissioned with the supply of such artistic values. By this I mean that not all music belongs to those values although all of it goes by that one term "Music." It is different in literature, or the pictorial arts, or architecture. A clown's gabbling is not spoken of as literature, a billboard is not called a still life, a portrait, or landscape, and a filling station or hot dog stand not architecture. We have, I repeat, unfortunately, no such differentiation in regard to music. It is all called "Music,"from the cheapest to the most sublime. If someone tells you that he loves music, you do not know whether he refers to trash or to treasures. If he tells you that he loves books or paintings, it is fairly clear that he speaks of a category addressed to some sort of discrimination."

SPBH Editions, May 2022   Featuring artwork by Laia Abril, Lucas Blalock, Adam Broomberg and Oliver Chanarin, Tony Cokes, Gustave Courbet, Sara Cwynar, Robert Frank, Nan Goldin, Francisco Goya, Theresa Hak Kyung Cha, Whitney Hubbs, Justine Kurland, Édouard Manet, Pietro Monaco, Nicholas Muellner, Ahndraya Parlato, Adrian Piper, Man Ray, Martha Rosler, and Wolfgang TillmansImage Text Music by writer and editor Catherine Taylor is a series of textual and photographic essays that explore our encounters with the place where the visual meets the verbal. Taylor riffs on and subverts Roland Barthes’ classic 1977 essay collection, Image Music Text, using his title as playful points of departure for her thinking about the nature of image-text works and the music that might be made at their intersection. These meditative and analytical essays pose vital questions about the psychological and political possibilities for image-text works. Taylor rejects overarching statements about medium or genre in favour of observations of the particular to reveal broader ways of reading that are at once familiar and disorientating. The reflections in Image Text Music are at once critical and celebratory, dystopian and utopian, investigative and contemplative, didactic and dreamlike. They are visions of visions of the world that ultimately ask: as we shuttle between linguistic and visual modes of meaning-making, what is the purpose of reinventing forms if not to reinvent ways of living?

Sternberg Press, September 2021, 152 pages, 6 b/w ill., softcover Contributions by PENNY CHISHOLM, ROBERT DANOVANO, CINDY VAN DOVER, SABINE HÖHLER, JESSICA LEHMAN, NAOMI ORESKES, HELEN ROZWADOSKI, PHILIP STEINBERG   In recent years, new techniques in molecular biology, gene sequencing, bioinformatics, and remote sensing have transformed scientific understandings of Earth’s oceans, offering new models and maps of their surfaces and depths. At the same time, fresh political, cultural and philosophical approaches to the seas have increasingly turned to detailing how human history and impacts are legible in our world’s waters. This volume features contributions from a range of scholars concerned—scientifically, socially, and ethically—with Earth’s oceans today.

anomie, 2016, 160pp, hardback Daphne Oram (1925–2003) was one of the central figures in the development of British experimental electronic music. Having declined a place at the Royal College of Music to become a music balancer at the BBC, she went on to become the co-founder and first director of the BBC Radiophonic Workshop. Oram left the BBC in 1959 to pursue commercial work in television, advertising, film and theatre, to make her own music for recording and performance, and to continue her personal research into sound technology – a passion she had had since her childhood in rural Wiltshire. Her home, a former oasthouse in Kent, became an unorthodox studio and workshop in which, mostly on a shoestring budget, she developed her pioneering equipment, sounds and ideas. A significant part of her personal research was the invention of a machine that offered a new form of sound synthesis – the Oramics machine.Oram’s contribution to electronic music is receiving considerable attention from new generations of composers, sound engineers, musicians, musicologists and music lovers around the world. Following her death, the Daphne Oram Trust was established to preserve and promote her work, life and legacy, and an archive created in the Special Collections Library at Goldsmiths, University of London. One of the Trust’s ambitions has been to publish a new edition of Oram’s one and only book, An Individual Note of Music, Sound and Electronics, which was originally published in 1972. With support from the Daphne Oram Archive, the Trust has now been able to realize this ambition.An Individual Note is both curious and remarkable. When commissioned to write a book, she was keen to avoid it becoming a manual or how-to guide, preferring instead to use the opportunity to muse on the subjects of music, sound and electronics, and the relationships between them. At a time when the world was just starting to engage with electronic music and the technology was still primarily in the hands of music studios, universities, and corporations, her approach was both innovative and inspiring, encouraging anyone with an interest in music to think about the nature, capabilities and possibilities that the new sounds could bring. And her thinking was not limited to just the future of the orchestra, synthesizer, computer and home studio, but ventured, with great spirit and wit, into other realms of science, technology, culture and thought. An Individual Note is a playful yet compelling manifesto for the dawn of electronic music and for our individual capacity to use, experience and enjoy it.This new edition of An Individual Note features a specially commissioned introduction from the British composer, performer, roboticist and sound historian Sarah Angliss.

Published by Faber, 2024  West Germany, 1968. Like everywhere else in the Western world, the young generation is pushing for radical change, still suffering the after-effects of the Second World War. Many stream out of the lecture halls and onto the streets. Some into the underground. And some into the practice basements, in search of the soundtrack of the movement. The unique and adventurous sounds that German bands like Can, Neu!, Amon Düül, Popul Vuh, Tangerine Dream, Faust, Cluster or Kraftwerk produced back then, now known as Krautrock, are considered a blueprint for modern rock music. And the stream of their creative admirers and continuators has been constantly widening since the first fans like David Bowie and Iggy Pop: whether Blur, Aphex Twin, Sonic Youth, Radiohead or the Red Hot Chilli Peppers. In Neu Klang, Christoph Dallach interviewed its pioneers, including Irmin Schmidt, Jaki Liebezeit and Holger Czukay of CAN; Neu!’s Michael Rother; Dieter Moebius of Cluster; Klaus Schulze of Tangerine Dream; Karl Bartos of Kraftwerk, Brian Eno and many others. Their answers combine to form an oral history that points far beyond the individual band histories: on the one hand, into the past, to Nazi teachers, post-war parental homes, free jazz, terrorism, LSD and extremely long hair; but just as much into the future, to global recognition, myth-making, techno or post-rock.

Published by Semiotext(e), 2022First published by Semiotexte in 2001, Indivisible concludes a radically philosophical and personal series of Fanny Howe novels animated by questions of race, spirituality, childhood, transience, wonder, resistance, and poverty. Depicting the tempestuous multiracial world of artists and activists who lived in working-class Boston during the 1960s, Indivisible begins when its narrator, Henny, locks her husband in a closet so that she might better discuss things with God. On the verge of a religious conversion, Henny attempts to make peace with the dead by telling their stories. “In hate with her husband and in love with God, Henny decides to have a life that really matters. Fanny Howe likes Catholicism for its contradictions. Like Susan Sontag, each line she writes is the product of a lifetime of thinking that occurs off the page.”—Sarah Schulman

University of California Press Published 2004First published in 1983, Shiguéhiko Hasumi's Directed by Yasujirō Ozu has become one of the most influential books on cinema written in Japanese. This pioneering translation brings Hasumi's landmark work to an English-speaking public for the first time, inviting a new readership to engage with this astutely observed, deeply moving meditation on the oeuvre of one of the giants of world cinema. Complemented by a critical introduction from acclaimed film scholar Aaron Gerow and rendered fluidly in Ryan Cook's agile translation, this volume will grace the shelves of cinephiles for many years to come. ""For those of us who don't read kanji, or who struggle to make their way through Hasumi 's sentences, whose length rivals Proust or Henry James, this meticulous and precise version, in direct contact with the text, with a side, a maverick supplement, will be a landmark." —East Asia "Hasumi’s Directed by Yasujiro Ozu is a distinctive view of a much- discussed director, making this an overdue but very timely and welcome publication."—Cineaste "Shiguéhiko Hasumi is, quite simply, the greatest film critic in the world. We are finally able to savor his magisterial classic on Ozu, in a superb English translation. Subtle, provocative, forensic, philosophical: this is a film book for all time."—Adrian Martin, author of Mysteries of Cinema: Reflections on Film Theory, History and Culture 1982–2016

Publisher: Verso Publication Date: 2023 Binding: Soft coverFirst collection on filmmaker and poet Pasolini's passion for painting One of Europe's most mythologized Marxist intellectuals of the 20th century, Pier Paolo Pasolini was not only a poet, filmmaker, novelist, and political martyr. He was also a keen critic of painting. An intermittently practicing artist in his own right, Pasolini studied under the distinguished art historian Roberto Longhi, whose lessons marked a life-long affinity for figurative painting and its centrality to a particular cinematic sensibility. Pasolini set out wilfully to "contaminate" art criticism with semiotics, dialectology, and film theory, penning catalogue essays and exhibition reviews alongside poems, autobiographical meditations, and public lectures on painting. His fiercely idiosyncratic blend of Communism and classicism, localism and civic universalism, iconophilia and aesthetic "heresy," animated and antagonized Cold War culture like few European contemporaries. This book offers numerous texts previously available only in Italian, each accompanied by an editorial note elucidating its place in the tumultuous context of post-war Italian culture. Prefaced by the renowned art historian T.J. Clark, a historical essay on Pasolini's radical aesthetics anchors the anthology. One hundred years after his birth, Heretical Aesthetics sheds light on one of the most consequential aspects of Pasolini's intellectual life, further illuminating a vast cinematic and poetic corpus along the way.