Pages: 336 Illustrations: 38 Published: March 2010Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.

White/ Other is a strange hybrid beast – part poetry, part polemic, part sectarian graffiti – a long lyric essay that grapples with the complexities of writing and living from the position of the absent subject: that is the white working-class “other” within neo-liberal culture. White/ Other is memoir remixed, cut up and spliced with passages of cultural analysis and moments of feral lyric riff to ask what it means to be politically reviled, socially abjected, and economically disenfranchised, alive at the sharp end of everything, language included.'One of the unique joys of being a “white, other” is that you present an opportunity for nice, white middle-class people to comfortably indulge both their racism and their classism without ever having to admit to the existence of either. They don't see your class because you do not present to them like a “typical” working-class person according to the tropes they themselves invented, or because they do not believe the class system exists. They filter class out of their world-view in ways that remove the experience of class-based oppression from black and minority ethnic people, while refusing to acknowledge the roll racism plays in the perception and treatment of white working-class others...' Fran Lock is a some-time itinerant dog whisperer, the author of seven poetry collections and of numerous chapbooks, most recently Contains Mild Peril (Out-Spoken Press, 2019). Fran has recently completed her Ph.D. at Birkbeck College, University of London, titled, "Impossible Telling and the Epistolary Form: Contemporary Poetry, Mourning and Trauma". She is an Associate Editor at Culture Matters and she currently teaches at Poetry School. Fran is currently working on 2 books for the87press

A new long poem for half a voice on the subject of despised knowledge and political invisibility, published alongside a selection of shorter poems and essays dealing variously with the merging and commingling of smartphones and human bodies, the role of elegy in the mid-2000s, the social basis of fascism in the 2010s, social class, and the symbolic dysmorphia of the British high street. All of the work collected here circles around two central relationships: between politics and knowledge, and between poetic language and speech.Danny Hayward has published books of poetry with Materials, Veer, Shit Valley and others. His writing has been translated into French and Serbian, and his critical writing has been published by Art Forum and Commune. Recently his work has been included as a part of the 'Illiberal Arts' exhibition at the Haus der Kulturen der Welt in Berlin, and a volume of his essays on poetry will be published in autumn 2021 by Punctum Press. He maintains the out-of-print poetry pdf archive Free Trials.

Homemade records, tape-hiss worship and a taste for a very peculiar kind of psychedelia have carved themselves a weird niche in the contemporary musical landscape under the name of lo-fi. This genreless genre, characterized by poor recordings and rough sounds, spanning from the most extreme heavy metal to the sweetest ear-candies pop can offer, has become a solid presence in our collective sensibility. And yet, it has largely been neglected: this staunch refusal of anything hi-fi and hi-tech has fallen under the radar of the categories we use to analyse ourselves and our times. The Great Psychic Outdoors, dedicated to the most interesting and controversial artists in this movement, will rectify this injustice and vindicate the revolutionary potential of lo-fi music, engaging with this weird genre on its own terms and facing head on the contradictions and possibilities of this multi-faceted phenomenon. Confronting the aesthetic and conceptual stakes of this sonic craft, The Great Psychic Outdoors shows what lo-fi says about us, our lives under capitalism and the strange ways we cope with pain, madness and beauty.

Publisher: Edition Patrick Frey published in February 2021 English edition 21 x 29,7 cm (softcover) 1200 pages (600 b/w ill.) ISBN : 978-3-907236-08-6This publication brings together the source material that has informed Marclay's visual practice over the past few years. It gathers nearly 600 black & white Xeroxes of found image collages compiled with the help of graphic designer Laurent Benner. “Maybe it's because I'm not a very good draftsman, collage feels like a more natural approach to sketching and developing ideas. I cut and paste and use my photocopier as a quick way to experiment and develop ideas. My work is all about finding, sampling, appropriating images and sounds, and transforming them. The found image is usually what triggers a thought process—formulating ideas or simply reaffirming latent thoughts. It's a way to instantly mediate an image and get a little distance from it. Accidents are also often revealing. Like the camera, or any video editing software, the photocopier is just another tool.” – Christian Marclay Marclay's compilation of hundreds of high-contrast black-and-white Xeroxes are like scribblings in a notebook, the first stages of experimentation towards more finished works, a glimpse into the artist's creative process. This book brings together the source material that has informed Marclay's practice over the past few years. It was designed in collaboration with Laurent Benner, a graphic designer who has worked with Marclay on various other books and record covers. Their shared sensibility informs this beautiful new book.

Published: Atlas Press 2013 ISBN: 1 900565 46 3, Pages: 184 Type: hardback with decorated endpapers.In a novel of extremes, whose disgust with “things as they are” includes the whole idea of “novels”, Michel Leiris pursues his heroine, Aurora, through a visionary landscape shot through with catastrophes — and his lucid yet baroque language, with its incredible descriptions and ever more extravagant metaphors, is only just able to keep pace. Leiris himself, looking back on this novel from his youth, exactly described its tone: … despite the “black” or “frenetic” style of its blustering prose, what I like about this work is the appetite it expresses for an unattainable purity, the faith it places in the untamed imagination, the horror it manifests with regard to any kind of fixity — in fact, the way almost every page of it refuses to accept that human condition against which some will never cease to rebel, however reasonably society may be ordered. Aurorais one of the high-points of literary Surrealism, and Leiris was an early member of the group. Close to Georges Bataille, Picasso and Jean-Paul Sartre, he was a pivotal figure in post-war Paris. A director of the Musée de l’Homme, Leiris wrote important studies in the fields of ethnology and anthropology, as well as a sequence of autobiographical works regarded as classics of modern French literature. --- Aurora translated and introduced by Anna Warby, Cardinal Point translated by Terry Hale. --- Atlast Press, 2013 Atlas Anti-classic17, a reprint of the edition of 1990, with Cardinal Point from Anti-Classic 1, The Automatic Muse, 1994.

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 pages printed in England staple bound 14cm x 20cm

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British-born photographer Janette Beckman began her career at the dawn of punk rock working for music magazines The Face and Melody Maker. She shot bands including the Clash, the Specials, Boy George and the Jam as well as three Police album covers. Drawn to the underground hip-hop scene, she moved to NYC in 1983 and photographed pioneers such as Run DMC, Slick Rick, Salt-N-Pepa, Grand Master Flash, LL Cool J and more.

36 pagesprinted in Englandstaple bound14cm x 20cm As a freelance photographer working in London in the 1980s I needed a base. I bought a semi derelict house in Stoke Newington, then a socially mixed and wonderfully evolving area and part of the larger borough of Hackney. In between professional assignments and amateur house renovation I continually walked the local streets and made many photographs. This is a selection. Rod Shone studied graphic design and illustration at Colchester and St. Martins Schools of Art. In the early 1970s Rod worked as an assistant to an advertising photographer. He became a freelance photographer in 1972. In the mid 1970s he moved to and worked in Italy for two years. On his return to London he resumed his freelance work; editorial, advertising, travel and music.

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British-born photographer Janette Beckman began her career at the dawn of punk rock working for music magazines The Face and Melody Maker. She shot bands including the Clash, the Specials, Boy George and the Jam as well as three Police album covers. Drawn to the underground hip-hop scene, she moved to NYC in 1983 and photographed pioneers such as Run DMC, Slick Rick, Salt-N-Pepa, Grand Master Flash, LL Cool J and more. Beckman has published four books : ‘Made in the UK, Music of Attitude 1977-1982’, ‘The Breaks Stylin’ and Profilin’1982-1990’ ‘El Hoyo Maravilla’ and in 2018 ‘The MashUp’ a collection of her Hip Hop photographs reinterpreted by legendary graffiti artists. Her work has been exhibited in galleries worldwide and is in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York, Marseille Musée des Civilisations de l'Europe, and the Tokyo Nakamura Keith Haring Collection She lives and works in New York for clients including Levi’s and Dior.

Different Voices: Irish Music and Music in Ireland provides new insight into contemporary music in Ireland. Through twelve interviews with Irish or Ireland-based composers ranging in age from 26 to 80, Different Voices delves into the compositional and stylistic eclecticism of Irish music. In the Introduction, Benjamin Dwyer overviews music in Ireland from 1700 to the present, exploring how significant historical and socio-political factors such as English colonialism, Irish nationalism, religious and state censorship and globalization have shaped the trajectory of Irish music. The interviews raise themes central to the study of Irish music such as the relationship between European and ethnic music traditions, music styles and practices, the notion of „Irish“ identity, music“s role in society, the role of politics, particularly feminism, and the reception of contemporary music in current Irish and international media. Different Voices: Irish Music and Music in Ireland breaks new ground in the study of contemporary music from Ireland, an important aspect of European culture still largely unexplored.

“During her creative career, Lauren Newton has explored multiple musical dimensions with a strong focus on improvisation, concomitantly searching out and developing myriad vocal techniques. In Vocal Adventures she takes the reader on a journey into her experience that is at once an introduction to deep listening, a series of master classes on voice (from consciousness of breath to the mysteries of multiphonics), and an account of both the social and spiritual dimensions that are engaged in a complete artistic practice. Remarkably, she also does this in a way that is inviting, lucid and eminently practical.” Stuart Broomer, author of Time and Anthony Braxton “Vocal Adventures by the grand master of improvising with the voice is finally here! The significance of Lauren Newton’s work as an artist, educator and author cannot be overstated: She is one of the creators and trailblazers of the art that moves in sound, space, spirit and song. Well worth the wait, this book offers everything and more to all those interested in vocal experimenting and exploring could wish for.” Susanne Abbuehl, singer, composer, educator “These Vocal Adventures chart a decades-long exploration of soundscapes – ones produced by the outside world but most prominently those created through free improvisation in music. The expedition into this realm of musical experience and expression has taken the author across oceans and continents, with diverse musical encounters providing invaluable sources of inspiration and a wealth of learning and teaching opportunities while enriching her own ideas and approaches along the way. This book aspires to guide others (not only singers) interested in exploring the many facets of free musical improvisation in terms of technique, practice and (solo and group) performance as well as to offer up her own reflections on its essence, its affinity to the human imagination and the multitude of soundscapes it is capable of evoking.” Susan Nurmi, literary scholar, educator, translator Lauren Newton, born in Oregon, USA, completed classical voice studies at the University of Oregon and the State University of Music in Stuttgart, Germany, where she has lived since 1974. She began expanding her range of voice techniques without using words, focusing primarily on vocal expression, and gained recognition in both the jazz and avant-garde music scenes. She performed solo and toured with various ensembles in the USA, South Korea, India, Japan and throughout Europe. In 1983, she received the annual German Critiques Award for Timbre, her first recording as bandleader. Concerts and recordings with: Vienna Art Orchestra (1979-90), Vocal Summit (1982-83), vocal quartet Timbre (1990-2007), Anthony Braxton, Fritz Hauser, Joëlle Léandre, Koichi Makigami, Phil Minton, Barre Phillips, Aki Takase, Vladimir Tarasov and the Austrian poet Ernst Jandl (among others). Her own projects have included compositions for music and theater productions, small and large ensembles, choirs and radio plays. She taught jazz vocals and free improvisation at universities in Graz (Austria), Essen (Germany) and Lucerne (Switzerland). She continues to perform and give Vocal Adventures workshops. Her discography to date encompasses over 85 recordings. In 2020 she received the Lifetime Achievement Jazz Award from the state of Baden-Württemberg, Germany.