Softcover, unbound, 200 x 250mm, 44 pp, Risograph printing Edition of 150 Vibrational Semantics/ TEXST, Bergen, 2024as the non-world falls away is set of fragmented poetic compositions, created through iPhone scans of the artists notebook that have then been worked over digitally, testing the boundaries between image and text in a palimpsestic manner

18 pp, risograph printed , edition of 150Vibrational Semantics, 2022DEAR EAR is a fragmentary text, moving through subvocalization, lingual acrobatics, ingressive speaking and rhythmic reading in various experiences of the visualised voice.

staplebound pamphlet Vibrational Semantics, Bergen 2023‘A Tone or Two’ comes in the form of a text score and a melodic voice work. Noticing a shift in her voice in recent years, Thams tracks how within the last decades female voices have lowered 23hz in pitch. Tuning into the shift toward more gender equality, vocal pitch is explored in relation to authority, electability, courage and rhythmicity. With link to online sound work.

trans. Ivan Kats, revised by Lionel and Sharmini Bailly Paperback, pp. 13 b&w; illustrations Divided, July 2025 Dolto’s Dominique is the only case I’ve found that rivals Freud, and brings us up to date, replete with questions of incestuous trauma, repressed sexualities, autism and cognitive disability, and a profound sense for the contradictions of polite society and histories of colonial and racist violence. I love this child and encountering Dolto’s otherworldly voice as an analyst. Jamieson Webster While the child psychoanalyst Françoise Dolto stands alongside Jacques Lacan as a leading light of the Other French School, she has been little translated and remains curiously unknown in the English-speaking world. First published in 1971, Dominique: The Case of an Adolescent is frank and close to the clinical experience. A masterpiece of the genre, it is at once a granular psychological portrait of a troubled adolescent and his familial inheritance, and a historical case study of French society in the 1960s.Foreword by Michael Ryzner-Basiewicz.

Paperback, 120x210mm, 38 pp Veer2 Publication 006, June 2021. 'In Mudchute, the difficult structures of language are carefully treated. Infancy, attachment, ambivalence and loss are disassembled and reconfigured amidst gaunt hedgerows, fuel farm repositories, the bouncy castle and the DLR as Betteridge’s lyric voice navigates the edge of fragmentation. Deeply felt and experimental, apprehensive of and devoted to both the unbearable and the comic aspects of experience and memory, these poems perform the difficult bonds of social life even as they resist them: ‘you cannot live in the house that you are / with everyone’.'  (Helen Charman)'The poems assembled in Mudchute survive the disciplinary function of close reading in demanding and often beautiful ways. They are resistant objects, made to be held in the mouth and turned until the edges of the terms are worn. Across the collection, this Winnicottian regress to 'barest idiom' encounters a forensic vocabulary for ‘all the mute sparkplugs of accreted / emotional and physical violence’ that imprint our lived environments, developmental experiences, and the muddied recesses of generational memory. Torqued between the nuclear family, the experiential group, and the enervated provision of state institutions, the daily work of care becomes at once ‘the poverty of administered / atomized / gapping’ and the intimate horizon of a ‘grazed / lip- / stirred in the face of group kindness.’ It is a horizon we have called communism and reparative reading and family abolition. In Betteridge's work, it is the minimum.' (Fred Carter)     This is part of a series of works organised by Robert Kiely for Veer2, produced and published jointly in the University of Surrey and the CPRC, Birkbeck College.

Veer2 Publication 034, December 2023 Softcover, 13x26cm, 44 pages £1 from the sale of each copy of this book will be donated to Palestine Action's legal defence funds www.palestineaction.org‘Picture a pencil curved, implausibly, parabolically. An implement bending back on itself (core straining) so as to be drawing the surest line, even as its eraser-end is simultaneously rubbing that graphite out. What remains almost never was: mark as memorial to foreclosure. Examined from a certain angle, the un-line flickers in and out of thereness. On registration, it lives, it goes forth. Sub rosa, it knows never to clear its throat. It has learnt to calibrate its signature; it can evade infra-red. Propelling itself through the narrowest channels, it proceeds with resolve, flayingly. Mattar’s And most of all I would miss the shadows of the tree’s own leaves cast upon its trunk by the orange streetlight in the sweet blue darks of spring is taut as writing can be. The tone she makes sound is singular and desperately (gloriously) intent.'- Sarah Hayden‘Piercing and lucid in its exposition of atmospheric violence and total erasure, Mira Mattar gets to the grain of how the languages of selfhood, mediated but also inhibited by the force of the ‘un-universal’, become complicit in forming the sovereign imperative to self-determination, ‘oh arrogant ambition / to transform / you & keep myself / plumed’, through the reproduction of a ‘contested field / of meaning’, one both marked by the lure and ruse of psychic stability as the real fantasy of occupation, and immanent to concrete, unknown modes of personal resistance and collective recovery thread like a ‘rope / in a knot in a line / of knots’, an inherited ‘excess of memory / mostly portal.’ Mattar carefully gleans in its undecidability, given over to moments of precarious decision without ties or duplicity.'- James GoodwinThis is part of a series of works organised by Robert Kiely for Veer2, produced and published jointly in the University of Surrey and the CPRC, Birkbeck College.

photographs by Wassily Bosch,  Paperback, 50pp Monday Press, Kraków/Berlin, 2025 In March 2022, here at Monday Press, we began receiving long emails from an anonymous account belonging to someone we barely knew. These letters were sent from deep underground—so deep that we weren’t even sure if it was safe to reply. They told an insider’s story of a world in the process of being erased: the anxiety, the fear, and the longing for something that was vanishing right before the author's eyes. Over the course of a year, we received four letters and a series of photographs (taken by someone else). The author of the letters is now in a safe place but prefers to remain anonymous. The book describes the Russian noise underground in the first year of the war. It's a devastating read, raw, excessive, hyper-existential, intimate, edge of the world, anti-war, written from the inside.

Softcover book with full color obi-dustwrap. Thread sewn softcover with green thread 292pp Edition of 500 copies   A New Guinea Journey is Dr. Ragnar Johnson's 289 page manuscript concerning his ethnomusicology research in Papua New Guinea during the 1970s. Ideologic Organ has released three double LP/double CD titles of recordings from these extensive, immersive and assimilated research trips. This is the definitive writing on the topic.

with translations by Saskia Vogel Paperback; 130 x 210mm, 248pp; with black-and-white photographs throughout Prototype, London, July 2025In Diary of an Ending, internationally renowned photographer Lina Scheynius expands her artistic vision to prose, offering an unflinching and intimate exploration of heartbreak and self-recovery. Blurring the boundaries between diary and essay, Diary of an Ending explores the break-up of a relationship, combining extracts from Scheynius’s diary – written in Swedish and translated by Saskia Vogel – with reflective essays written in English five years on, exploring ideas about art and photography, sex and passion, the act of diary-making, destructive relationships, motherhood and home. Interspersed with black-and-white photographs, and written with the same unashamed and unfiltered honesty that defines Scheynius’s photography, Diary of an Ending is an intimate hybrid of memoir and autofiction, a meditation on the passage of time and the transformative power of creativity.

paper 7.25 × 9.75 in.364 pages, over 100 color and 100 bw978-1-938221-20-0Siglio press, 2018There are few art-world figures as influential—and as little known—as Dick Higgins (1938–1998), co-founder of Fluxus, “polyartist,” poet, scholar, theorist, composer, performer and, not least, the publisher of the Something Else Press. In 1965 he restored the term “intermedia” to the English language, giving it new dimension to recognize the dissolution of boundaries, the expansion of liminal spaces between traditional modes of art making, and the open field for new forms that cannot be compartmentalized. His own contributions to intermedia are many—as a participant and instigator of Happenings, as writer and composer straddling traditional and vanguard forms, among others—but it was the Something Else Press (1963–1974) that redefined how “the book” could inhabit that energized, in-between space. Something Else Press was as much a critical statement and radical experiment as it was a collection of books by some of the most luminary artists and writers of the twentieth century: Gertrude Stein, John Cage, Ray Johnson, Dieter Roth, Bern Porter, Emmett Williams, Robert Filliou, George Brecht, among many others. Along with his Great Bear pamphlet series and the Something Else Press newsletter, Higgins exploited and subverted conventional book production and marketing strategies to get unconventional and avant-garde works into the hands of new and often unsuspecting readers. Edited by Granary Books publisher Steve Clay and Fluxus artist Ken Friedman, this judiciously curated and indispensable compendium of essays, theoretical writings and narrative prose by Higgins dives deep into the ever-influential ideas that he explored in theory and practice. (It also includes a substantial, highly illustrated Something Else Press checklist including Higgins’ jacket and catalog copy about the books he published.) Clay and Friedman have chosen works that illuminate his voracious intellectual appetite, encyclopedic body of knowledge, and playful yet rigorous experimentation in a selection that includes many writings long out-of-print or difficult to find.

A5, 32 pp Veer Publication 101, April 2024  "Astrophil and Stella was published by Bob Cobbing’s Writers Forum press in 1999. Bonney had been attending the WF workshop for some time and had been impressed by Cobbing’s various energies. His later statement that he 'loved the way he would focus on the text as material, would blow up the words till they fell apart, become simply marks on the page . . .' illuminates this collection. Here the passionate frustrations of Philip Sidney’s sonnet sequence are translated into feverishly-worked grids of improvised spattered charcoal markings. Bonney later moved to a more explicitly revolutionary rhetoric; this text—along with Baudelaire in English (Veer 012)— witnesses a strikingly original response to Cobbing’s practice."

Edited by Stephanie Loveless Paperback, 36pp Terra Nova Press, 2025365 scores for listening in celebration of the legacy of groundbreaking composer Pauline Oliveros. A Year of Deep Listening is a publication of 365 scores for listening gathered by the Center for Deep Listening in celebration of the legacy of groundbreaking composer Pauline Oliveros.  Originally begun online, in honor of what would have been Oliveros' 90th birthday (May 30, 2022), the project shared one score per day across social media for 365 days. The book version of A Year of Deep Listening brings these scores together into one beautiful and historic volume. An expression of the Deep Listening community, the scores were created by over 300 artists—ranging from prize winning composers to ear-minded grocery store clerks, from those who worked closely with Oliveros for decades to those who never met her.

Softcover, 80pp New Directions Publishing, New York, June 2025  Originally published by Angel Hair Press in 1978This landmark early book by the late great Bernadette Mayer is finally available again. Mayer was a marvelous poet in every stage of her long and prolific writing life, but many fans especially relish her restless, powerful, sexy, and erudite early work. One of her signal elements is a deadpan wit, on full display here with classic poems such as “Lookin’ Like Areas of Kansas” or “What Babies Really Do,” or the marvelous “Essay”: I guess it’s too late to live on the farm I guess it’s too late to move to a farm I guess it’s too late to start farming I guess it's too late to begin farming I guess we'll never have a farm I guess we're too old to do farming [...] I don’t want to be a farmer but my mother was right I should never have tried to rise out of the proletariat Unless I can convince myself as Satan argues with Eve That we are among a proletariat of poets of all the classes Each ill-paid and surviving on nothing Or on as little as one needs to survive Steadfast as any farmer and fixed as the stars Tenants of a vision we rent out endlessly

Softcover, 80pp Pan Macmillan, February 2022A brilliant outing from one of the finest poets currently working in the English language. This is at once a sharply political and deeply personal book which explores just that intersection. "It sometimes seems that contemporary poetry divides into two sorts - those poems that did not need to be written and those written out of necessity. Denise Riley belongs to the second category - her writing is perfectly weighted, justifies its existence. It is impossible not to want to "say something back" to each of her poems in recognition of their outstanding quality. Her voice is strong and beautiful - an imperative in itself . . . remarkable"

Sofcover, 384pp, 2nd edition, 100 copy run Aum Fidelity/ Centering, New York, 2025 6 x 9", 384 pg, perfect-bound, 2nd edition, 2nd printing of 100 copies, April 2025William Parker's Observations presents the most expansive overview of his prolific, diverse, and illuminating writings yet. Drawn from over a 50+ year span (1967-2023), it collects an array of works that include liner notes, remembrances, essays, lyrics, concert programs, book forewords, plays, & transcriptions of recitations. Nearly 400 pages & over 100,000 words, it includes many pieces not previously published or anthologized. In its pages, one can trace the evolution & refinement of core philosophies that Parker came to conceive & embrace from first immersing himself in music, film, poetry, art, & grassroots movements. Liner notes often go far beyond descriptions of the music, providing an outlet to present the broader foundations of his art, visions for a better world, & evocative tales about old friends & colleagues, many of whom are unlikely to be documented in "official" history books. Observations is published on Parker's Centering imprint. The first edition of 50 copies was sold at the 2024 Vision Festival. This second edition, first print run of 100 copies (February 2025), adds a foreword by the late Dr. E. Pelikan Chalto, aka Carl Lombard, an important early influence on WP, who has described him as "a shaman, teacher, painter, poet, & musician ... one of the heaviest spirits on the scene."   William Parker was born in the Bronx, NY, in 1952. At a young age, he realized that art & community would guide his life's path. This led him to move to the Lower East Side of New York City, where he has lived since the early 1970s. Inspirations for his work include peace, compassion, self-determination, nature, freedom, music of Indigenous peoples, and the relationships between improvisation, composition, sound, & silence. These themes & others converge in his concept of Universal Tonality, which he explores as a musician, poet, visual artist, philosopher, historian, organizer, educator, & activist.

Softcover, 335pp Wolke Verlag/ MusikTexte, Cologne, 2025Sven-Åke Johansson defies categorization. Oscillating between Free Music, Swing Jazz, composition, performance, music theater, vocal art, and visual experimentation, his work inhabits a space where genres dissolve and new forms emerge. This book is the most comprehensive collection of Johansson’s compositions, realized and unrealized concepts, alongside his distinctive drawings, sketches, and textual explorations. Just as his music shifts fluidly between acoustic ready-mades, bruitism, solo works, free ensembles, jazz combos, and theatrical experiments, his writing resists fixed identities. Texts explaining compositions double as poetic structures, aphorisms transform into song lyrics, and vocal declamations spill from Instant Composing into the realm of literature. Rather than imposing a historical framework, this book presents a vivid collage of materials, arranged in thematic constellations that reflect Johansson’s own artistic logic. At once an artist’s book and a curated volume, it offers deep insight into his creative practice. A series of interviews further illuminates his singular way of thinking and speaking, providing multiple entry points into the world of one of the most unclassifiable figures in contemporary music and art. Thomas Groetz and Bastian Zimmermann prepared the materials for this volume. Translated by Daniel Ryan Albertson.

Jean-Christophe Thomas (born 1959), trained at the Paris Conservatory (CNSMP) electroacoustic composition class, is research associate at the Ina-GRM with François Delalande (perceptive analysis in music), in particular in charge of studying approaches in composition. His musicological studies concern acousmatic repertoire. Maison ONA, September 2024 bilingual edition (English / French) Softcover, 184 ppJean-Christophe Thomas analyzes François Bayle's complete work in 52 recurring features (book augmented with 151 sound examples to download). Diabolus in musica offers a guided and commented listening experience through François Bayle's catalog. Augmented with 151 sound files (examples), it can be approached in a non-linear way, through the listening or the concept it illustrates. The 52 thematics are characteristic traits or recurrences in the way he creates, conceives or organizes his materials—making his art unique. One of the major contributors to acousmatic music, François Bayle (born 1932 in Tamatave, Madagascar) strives to promote the GRM and its values, as well as pursuing the development of the acousmonium, a multi-speaker apparatus designed for the performative projection of sounds. As far as his music is concerned, he is known for his vast compositional cycles whose style unites articulation and fluidity, color, and energetic creation.François Bayle studied with Stockhausen and Messiaen. He joined the ORTF Groupe de Musique Concrète in 1960. He later led the group when it became the Groupe de Recherches Musicales in 1966. Most of his compositions are electronic, and his first important work, "Espaces inhabitables" (1967) is suggestive of an imaginary world in which nature is distorted in a dream-like fashion. He later utilized natural and synthetic sounds in his compositions, such as the recorded sounds made in a Lebanese cave. He has stated that his purpose as a composer is to enable the listener to feel the motion and vibration of energy in the universe.

Edited by Stephen Barber.Introduction by Ros Murray.Translated from the French by Clayton Eshleman.   Diaphenes, November 2021 bilingual edition (English / French) softcover, 128ppThe translated transcripts of two radio broadcasts by Artaud: To have done with the judgement of god (1947-48) and Madness and Black Magic (1946). Correspondences from that period are also included. In the last two years of his life, following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To have done with the judgement of god, 1947-48, in which he attempted to create a new language of texts, screams, and cacophonies: a language designed to be heard by millions, aimed, as Artaud said, for “road-menders”. In the broadcast, he interrogated corporeality and introduced the idea of the “body without organs”, crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, to Artaud's fury.This volume collects all of the texts for To have done with the judgement of god, together with several of the letters Artaud wrote to friends and enemies in the short period between his work's censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic, written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman's extraordinary translations of the broadcasts activate these works in their extreme provocation.