Facsimile edition of the trailblazing periodical Art-Rite "Edited by Walter Robinson, Edit DeAk, and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. Through hundreds of interviews, reviews, statements, and projects for the page—as well as artist-focused and thematic issues on video, painting, performance, and artists’ books—Art-Rite’s sharp editorial vision and commitment to spotlighting the work of artists stands as a meaningful and lasting contribution to the art history of New York City and beyond. All issues of Art-Rite are collected and published here. Featured artists include Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty,Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri, and Irene von Zahn." 678 pgs, 27 × 21.5 cm, Softcover, 2019.

A conversation between Sam Amidon and David Mitchell on process, influence and music. The first publication on Lanterne Records.This first run of 200 copies is signed by both Sam and David.

“An obstinate clot of invention” is a phase coined by Rob Young to describe the London Musicians’ Collective (LMC), who were thus characterised as an impediment to the smooth flowing musical mainstream. Kick-started in 1976 by a group of young musicians, the LMC soon expanded to included artists from Europe and eventually from the world-wide pool of creative performers.  But the story of the LMC is more than that of merely a group of experimental musicians and associated artists. Its narrative flows along various currents of society, culture and politics. Over 32 years, the LMC and its many members were at the centre of a roller coaster ride, and its history is also one of a gritty avant-gardism across four decades of performative activity. From the UK’s hot summers of 1975/1976, to the world financial crisis of 2008, this is an enthralling account of a historically important project.  Trevor Barre is the author of two well received books about UK Free Improvisation - Beyond Jazz: The Golden Age of Free Music in London 1966-1972, and Convergences, Divergences & Affinities: The Second Wave of Free Improvisation in England 1973-1979.

Tom Bolton is a researcher, walker and photographer who lives and works in London. He writes regularly about the city and reviews theatre and music. Publisher ‏ : ‎ Strange Attractor Press (8 Sept. 2011) Language ‏ : ‎ English Paperback ‏ : ‎ 176 pagesLondon's Lost Rivers takes the reader on a series of walks along the routes of eight lost rivers, combining directions for walkers with richly detailed anecdotes outlining the history of each river s route, origins and decline. Tom Bolton reveals a secret network that spreads across the city, from picturesque Hampstead in the North to the hidden suburbs of South London, and runs beneath some of London s most iconic and historic sites. These London pasts are brought to vivid life, populated by characters both famous and infamous, including politicians, forgers, actors, architects, athletes, monarchs and murderers. Evocative, witty and engaging, London s Lost Rivers invites both visitors to the city and lifelong Londoners to explore another side of London and its rich history, whether on foot or in the imagination.

Publisher ‏ : ‎ Seagull Books (27 Oct. 2009)Language ‏ : ‎ EnglishPaperback ‏ : ‎ 328 pagesAlthough Theodor W. Adorno is best known for his association with the Frankfurt School of critical theory, he began his career as a composer and successful music critic. "Night Music" presents the first complete English translations of two collections of texts compiled by Adorno - "Moments musicaux", containing essays written between 1928 and 1962, and "Theory of New Music", a group of texts written between 1929 and 1955. In "Moments musicaux", Adorno echoes Schubert's eponymous cycle, with its emphasis on aphorism, and offers lyrical reflections on music of the past and his own time. The essays include extended aesthetic analyses that demonstrate Adorno's aim to apply high philosophical standards to the study of music. "Theory of New Music", as its title indicates, presents Adorno's thoughts and theories on the composition, reception, and analysis of the music that was being written around him. His extensive philosophical writing ultimately prevented him from pursuing the compositional career he had once envisaged, but his view of the modern music of the time is not simply that of a theorist, but clearly also that of a composer. Though his advocacy of the Second Viennese School, comprising composer Arnold Schoenberg and his pupils, is well known, many of his writings in this field have remained obscure. Collected in their entirety for the first time in English, the insightful texts in "Night Music" show the breadth of Adorno's musical understanding and reveal an overlooked side to this significant thinker.

Paperback 210mm x 148mm 336pp, 20 bw images ISBN: 9781907222559Presenting an interdisciplinary selection of twenty-five essays first delivered at Breaking Convention 2015, the third conference on psychedelic consciousness, culture, and clinical research, held at the University of Greenwich, London. Breaking Convention is the largest symposium of its kind, featuring more than 120 academic presentations biennially. Widely regarded as one of the foremost global platforms for serious research into psychedelic pharmacology, the conference has been instrumental in altering popular attitudes towards policy reform, with research focusing on the potential benefits that psychedelic therapies might hold in the treatment of depression, post-traumatic stress disorder, and in harm reduction among habitual substance abusers. Psychedelic Pharmacology for the 21st Century spans the sciences and humanities, from philosophy and neuroscience through chemical models of action to clinical use. This latest volume includes cross-cultural approaches exploring the global drug economy, clinical MDMA trials, histories of psychedelic literature, the enigma of the pineal gland, acid mediumship and psychedelic landscaping. --- Contributors include: Sam Gandy, Allan Badiner, Friedericke Meckel Fischer, Tharcila Chaves, John Constable, Lorna Olivia O’Dowd, Rick Doblin, Amanda Fielding, Mike, Crowley, Robert Dickins, Luke Goaman-Dodson, Ido Hartogsohn, Scott J. Hill, Will Rowlandson, David E. Nichols, Jennifer Lyke and Julia Kuti, Michael Montagne, Jonathan Newman, Carl A.P. Ruck, Dale Pendell, Alan Piper, Graham St. John, Bruce Rimmel, Iker Puente, Tim Read   Eds. Ben Sessa David Luke, Cameron Adams, David King, Amiee Tollan, Nikki Wyrd ---   Strange Attractor Press, 2017

Published: Random House Published: 30/03/2021 ISBN: 9780241503577 Length: 320 Pages Type: Paperback Dimensions: 222mm x 31mm x 144mmAn electrifying celebration of Black performances, cultures and communities in the United States, from the New York Times bestselling poet and critic Hanif Abdurraqib At the March on Washington, Josephine Baker reflected on her life and her legacy. She had spent decades as one of the most successful entertainers in the world, but, she told the crowd, "I was a devil in other countries, and I was a little devil in America, too". Inspired by these words, Hanif Abdurraqib has written a stirring meditation on Black performance in the modern age, in which culture, history and his own lived experience collide.With sharp insight, humour and heart, Abdurraqib explores a sequence of iconic and intimate performances that take him from mid-century Paris to the moon -- and back down again, to a cramped living room in Columbus, Ohio. Each one, he shows, has layers of resonance across Black and white cultures, the politics of American empire, and his own personal history of love and grief -- whether it's the twenty-seven seconds of 'Gimme Shelter' in which Merry Clayton sings, or the magnificent hours of Aretha Franklin's homegoing; Beyoncé's Super Bowl show or a schoolyard fistfight; Dave Chapelle's skits or a game of spades among friends.

Kristen Gallerneaux is an artist, curator, and sonic researcher holding a Ph.D. in Art Practice & Media History from UC San Diego, an MA in Folklore, and an MFA in Art. She is also the Curator of Communication and Information Technology at The Henry Ford Museum in Detroit, Michigan, where she continues to build upon one of the largest historical technology collections in North America. She has written for the Barbican Center, ARTnews, and the Quietus. She has published on wide-ranging topics like mathematics in midcentury design, the visual history of telepathy research, the world’s first computer mousepad, and car audio bass battles in Miami. Her forthcoming book, "High Static, Dead Lines: Sonic Spectres and the Object Hereafter," will be released in Summer 2018 via Strange Attractor Press and distributed by MIT Press in the US. In 2018, she appeared as a Future Thought speaker and premiered a short film about the mysterious sonic phenomena "The Hum," at Moogfest: A Synthesis of Art & Technology. In 2017, she spoke about the history of the Votrax text-to-speech synthesizer and taught a Muzak-remixing workshop at Pop Kultur Berlin. In 2016, she spoke at Moogfest and at Unsound Krakow: Dislocation. Forewordby Dave Tompkins Paperback 130mm x 205mm 320pp, fully illustrated in black and white ISBN: 9781907222665A literary mix tape that explores the entwined boundaries between sound, material culture, landscape and esoteric belief. Trees rigged up to the wireless radio heavens. A fax machine used to decode the language of hurricanes. A broadcast ghost that hijacked a television station to terrorize a city. A failed computer factory in the desert with a slap-back echo resounding into ruin. In High Static, Dead Lines, media historian and artist Kristen Gallerneaux weaves a literary mix tape that explores the entwined boundaries between sound, material culture, landscape, and esoteric belief. Essays and fictocritical interludes are arranged to evoke a network of ley lines for the “sonic spectre” to travel through—a hypothetical presence that manifests itself as an invisible layer of noise alongside the conventional histories of technological artifacts. The objects and stories within span from the mid-nineteenth century to the present day, touching upon military, communications, and cultural history. A connective thread is the recurring presence of sound—audible, self-generative, and remembered—charting the contentious sonic histories of paranormal culture. --- Kristen Gallerneaux is a writer, folklorist, and artist. She has published on topics as diverse as mathematics in midcentury design, the visual history of telepathy research, the world’s first mouse pad, and car audio bass battles in Miami. She is also Curator of Communications and Information Technology at the Henry Ford Museum in Dearborn, Michigan, where she continues to build upon one of the largest historic technology collections in North America. --- Strange Attractor Press, 2018

Publisher ‏ : ‎Pm Press; Illustrated edition (5 Sept. 2019)Language ‏ : ‎EnglishPaperback ‏ : ‎256 pagesISBN-10 ‏ : ‎1629637033ISBN-13 ‏ : ‎978-1629637037Dimensions ‏ : ‎15.24 x 2.03 x 22.86 cmPopular culture has woven itself into the social fabric of our lives, penetrating peoples homes and haunting their psyches through images and earworm hooks. Justice, at most levels, is something the average citizen may have little influence upon, leaving us feeling helpless and complacent. But pop music is a neglected arena where concrete change can occur - by exercising active and thoughtful choices to reject the low-hanging, omnipresent corporate fruit, we begin to rebalance the world, one engaged listener at a time. Silenced by Sound: The Music Meritocracy Myth is a powerful exploration of the challenges facing art, music, and media in the digital era. With his fifth book, producer, activist, and author Ian Brennan delves deep into his personal story to address the inequity of distribution in the arts globally. Brennan challenges music industry tycoons by skillfully demonstrating that there are millions of talented people around the world far more gifted than the superstars for whom billions of dollars are spent to promote the delusion that they have been blessed with unique genius. We are invited to accompany the author on his travels, finding and recording music from some of the worlds most marginalised peoples. In the breathtaking range of this book, our preconceived notions of art are challenged by musicians from South Sudan to Kosovo, as Brennan lucidly details his experiences recording music by the Tanzania Albinism Collective, the Zomba Prison Project, a witch camp in Ghana, the Vietnamese war veterans of Hanoi Masters, the Malawi Mouse Boys, the Canary Island whistlers, genocide survivors in both Cambodia and Rwanda, and more. Silenced by Sound is defined by muscular, terse, and poetic verse, and a nonlinear format rife with how-to tips and anecdotes. The narrative is driven and made corporeal via the authors ongoing field-recording chronicles, his memoir-like reveries, and the striking photographs that accompany these projects. Once read, youll never hear quite the same again. --- PM Press, 2019

With an Introduction by Sheila Heti and an Afterword by Marina WarnerA 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.

With an introduction by Ali Smith and a new Afterword by Nell DunnIn 1964, Nell Dunn spoke to nine of her friends over a bottle of wine about sex, work, money, babies, freedom and love. The novelist Ann Quin says she appears to be a 'singular girl, singular and single’ but questions the use she makes of her freedom. The Pop artist Pauline Boty reveals she married 'the first man I could talk very freely to’ ten days after meeting him. Kathy Collier, who worked with Dunn in a Battersea sweet factory, talks about what it takes to 'get out’ of a life that isn’t fulfilling. Edna O’Brien tells us about the time she inadvertently stole a brown georgette scarf and the lesson she took from it: 'Morality is not the same thing as abstinence.’ After more than fifty years out of print, Talking to Women is still as sparkling, honest, profound, funny and wise as when it was first published.

With a Preface by Reni Eddo-Lodge and an Introduction by Sara AhmedAudre 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.

Publisher :University of Chicago Press (13 Mar. 2016)Language :EnglishPaperback :190 pagesISBN-10 :022635380XISBN-13 :978-0226353807Dimensions :10.8 x 2.29 x 15.88 cmImprovisation rattles some listeners. Maybe they’re even suspicious of it. John Coltrane’s saxophonic flights of fancy, Jimi Hendrix’s feedback drenched guitar solos, Ravi Shankar’s sitar extrapolations—all these sounds seem like so much noodling or jamming, indulgent self-expression. “Just” improvising, as is sometimes said. For these music fans, it seems natural that music is meant to be composed. In the first book of its kind, John Corbett’s A Listener’s Guide to Free Improvisation provides a how-to manual for the most extreme example of spontaneous improvising: music with no pre-planned material at all. Drawing on over three decades of writing about, presenting, playing, teaching, and studying freely improvised music, Corbett offers an enriching set of tools that show any curious listener how to really listen, and he encourages them to enjoy the human impulse— found all around the world— to make up music on the spot.           Corbett equips his reader for a journey into a difficult musical landscape, where there is no steady beat, no pre-ordained format, no overarching melodic or harmonic framework, and where tones can ring with the sharpest of burrs. In “Fundamentals,” he explores key areas of interest, such as how the musicians interact, the malleability of time, overcoming impatience, and watching out for changes and transitions; he grounds these observations in concrete listening exercises, a veritable training regime for musical attentiveness. Then he takes readers deeper in “Advanced Techniques,” plumbing the philosophical conundrums at the heart of free improvisation, including topics such as the influence of the audience and the counterintuitive challenge of listening while asleep. Scattered throughout are helpful and accessible lists of essential resources—recordings, books, videos— and a registry of major practicing free improvisors from Noël Akchoté to John Zorn, particularly essential because this music is best experienced live.           The result is a concise, humorous, and inspiring guide, a unique book that will help transform one of the world’s most notoriously unapproachable artforms into a rewarding and enjoyable experience

Publisher ‏ : ‎Pm Press (28 Jan. 2021)Language ‏ : ‎EnglishPaperback ‏ : ‎224 pagesISBN-10 ‏ : ‎1629637963ISBN-13 ‏ : ‎978-1629637969Dimensions ‏ : ‎15.24 x 2.03 x 22.61 cmQueercore: How to Punk a Revolution: An Oral History is the very first comprehensive overview of the movement that defied both the music underground and the LGBT mainstream community - queercore. Through exclusive interviews with protagonists like Bruce LaBruce, G.B. Jones, Jayne County, Kathleen Hanna of Bikini Kill and Le Tigre, film director and author John Waters, Lynn Breedlove of Tribe 8, Jon Ginoli of Pansy Division, and many more, alongside a treasure trove of never-before-seen photographs and reprinted zines from the time, Queercore traces the history of a scene originally 'fabricated' in the bedrooms and coffee shops of Toronto and San Francisco by a few young, queer punks to its emergence as a relevant and real revolution. Queercore gets a down-to-details firsthand account of the movement explored through the people that lived it - from punk's early queer elements, to the moments Toronto kids decided they needed to create a scene that didn't exist, to the infiltration of the mainstream by Pansy Division, and the emergence of riot grrrl as a sister movement - as well as the clothes, zines, art, film, and music that made this movement an exciting in-your-face middle finger to complacent gay and straight society. Queercore will stand as both a testament to radically gay politics and culture and an important reference for those who wish to better understand this explosive movement. --- Editors: Liam Warfield, Walter Crasshole, and Yony Leyser --- PM Press, 2021

Publisher ‏ : ‎Yale University PressLanguage ‏ : ‎EnglishHardcover ‏ : ‎112 pagesISBN-10 ‏ : ‎0300218621ISBN-13 ‏ : ‎978-0300218626Dimensions ‏ : ‎18.03 x 12.45 x 1.78 cmA work of creative brilliance may seem like magic—its source a mystery, its impact unexpectedly stirring. How does an artist accomplish such an achievement, connecting deeply with an audience never met? In this groundbreaking book, one of our culture’s beloved artists offers a detailed account of her own creative process, inspirations, and unexpected connections. Patti Smith, a National Book Award-winning author, first presents an original and beautifully crafted tale of obsession—a young skater who lives for her art, a possessive collector who ruthlessly seeks his prize, a relationship forged of need both craven and exalted. She then takes us on a second journey, exploring the sources of her story. We travel through the South of France to Camus’s house, and visit the garden of the great publisher Gallimard where the ghosts of Mishima, Nabokov, and Genet mingle. Smith tracks down Simone Weil’s grave in a lonely cemetery, hours from London, and winds through the nameless Paris streets of Patrick Modiano’s novels. Whether writing in a café or a train, Smith generously opens her notebooks and lets us glimpse the alchemy of her art and craft in this arresting and original book on writing.The Why I Write series is based on the Windham-Campbell Lectures, delivered annually to commemorate the awarding of the Donald Windham-Sandy M. Campbell Literature Prizes at Yale University --- Yale University Press, 2017

Publisher ‏ : ‎Faber & FaberLanguage ‏ : ‎EnglishPaperback ‏ : ‎272 pagesISBN-10 ‏ : ‎0571359817ISBN-13 ‏ : ‎978-0571359813Dimensions ‏ : ‎12.9 x 1.6 x 19.8 cmNo other jazz musician has proved so inspirational and so fascinating as John Coltrane. Ben Ratliff, jazz critic for the New York Times, has written the first book to do justice to this great and controversial music pioneer. As well as an elegant narrative of Coltrane's life Ratliff does something incredibly valuable - he writes about the saxophonist's unique sound. --- Faber & Faber, 2020

Edited By: John Kilpatrick Publisher: Marion Boyars Publishers Ltd, 1973 ISBN 10: 0714509531Pages:  Here are most of the previously unpublished writings of Charles E. Ives: a primary source book on this unique American composer. These "Memos," as Ives called them, were on separate leaves and dealt with his music, composition, criticism, autobiography, biography, and many other topics. During his lifetime Ives rearranged them, lent them out, mislaid and tucked them away in books so that, in the late 1940s, only about three-fifths of them were available to his biographer. After his death in 1954, Ives's papers were gradually put in order, and in time most of the remaining leaves came to light. These two “batches” are here dovetailed into a three-part form by John Kirkpatrick, who has devotedly arranged, edited, and annotated them. Part One, “Pretext,” sets forth Ives's aims, his views on music, critics and criticism. In part Two, "Scrapbook," Ives discusses his music. Part Three, "Memories," is devoted to biographical and autobiographical remembrances. John Kirkpatrick (b. 1905 - d. 1991) was an American classical pianist and music scholar. He was professor emeritus of music and former curator of the Ives collection at Yale University. Previously he taught at Cornell University for twenty-two years. As a concert pianist, he performed and recorded the Concord Sonata and other works of Charles Ives.

Publisher Ugly Duckling Press & Primary Information SBN: 978-1-734489-79-8 Trade Paperback 232 pp, 5.375 x 8.125 in Publication Date: March 02 2021Long out of print, Norman H. Pritchard’s masterworkpresents a decade of poetic experimentation from 1960 to 1970. Inflected with—and perhaps an influence on—Black Arts, the precise architecture of Pritchard’s book (the poems and their design) stage an unexpected meeting of Concrete Poetry with Olson’s “open field” poetics and Cage’s chance operations. The seventy-one poems of Pritchard’s debut might be regarded, as Charles Bernstein has written, as “sound” poems tethered not only to the literature of the early Umbra group and the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts as from sound-based experimentation and music, Pritchard utilized the simple tools of spacing and typography to create syncopations, vibrations, and musical rhythms. What emerges is nothing less than a self-contained system of mimetic codes that challenge modernist modes of perception and representation. Formally innovative and anticipating what Michel Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure. --- Welcome to this 'huge/entering' of concrete breath—unprecedented, unsurpassed. Fred Moten --- This book is co-published by Primary Information, and Ugly Duckling Press, 2021