Books and Magazines


edited by Kate Briggs Sternberg Press, 2023 128ppA long-distance correspondence reflecting on the infravoice of a blue whale and other so-called "silent" subjects. An experiment in listening to frequencies beyond human sensorial range, Silent Whale Letters is a long-distance correspondence intimately attuned to the infravoice of a blue whale, a document held silent in the sound archive, and other so-called "silent" subjects. As part of an ongoing collaboration between Ella Finer and Vibeke Mascini the letters consider how the silent document shifts the logic of the archive, figuring listening as a practice of preservation. As the letters attune to the ocean loud with communications across time and space, the authors write about the movement of matter, of energies, wavelengths, currents and how the ocean preserves as it disperses what it carries. How does working with what we cannot see, or even hear within range, shift the parameters of attention? How does the energetic archival space of the ocean agitate and disrupt claims to knowledge, history, and power? Moving through three years of call and response the book unfolds through "a joint meditation on the transformative potential of a note, a voice, carried from saltwater into the archive" (Rebecca Giggs). They chart a process that is equally conceptual and intimate, theoretical and deeply personal, moving through discussions of (amniotic) undercurrents, call-and-response mechanisms, energetic wavelengths, oceanic and archival memory, mysterious scales, and the watery acoustic commons.

Ella Finer & Vibeke Mascini – Silent Whale Letters

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This comprehensive edition of Russia's greatest modern poet, Anna Akhmatova (1899-1966), includes the complete texts of her major works Requiem, commemorating all of Stalin's victims, and Poem Without a Hero. Akhmatova published her first book of poems in 1912, and in the same year founded the Acmeist movement with her husband, the poet Gumilev. Her intense, highly personal love lyrics were later attacked as anti-revolutionary, and in 1925 her poetry was banned. Gumilev was shot in 1921 for alleged involvement in an anti-Bolshevik plot, and in the years of terror which followed under Stalin, Akhmatova was persecuted for her work along with fellow poets Mandelstam, who died in a camp, and Tsvetaeva, who committed suicide. She was able to publish some work during the war, but in 1946 she again came under attack, this time from Zhdanov, who denounced her with Pasternak and others for trying to ‘poison the minds’ of Soviet youth. These were attacks on her published work. What she was writing – but could not publish – was far more dangerous. For she had entered her years of silence. As she fought for her son’s release from prison, she was writing her greatest poetry: the cycle Requiem, which commemorated all of Stalin’s victims, and Poem without a hero, which she began in 1940 and worked on for over 20 years. All she wrote she committed to memory. Several trusted friends also memorised her poems, among them Mandelstam’s widow Nadezhda. She wrote nothing down, and so survived, the people’s conscience, the one who kept 'the great Russian word' alive.Translated by Richard McKane Softcover, 336pp Bloodaxe Books, 1989, 1992, 2006

Anna Akhmatova – Selected Poems

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With contributions by Lasse Marhaug, John Corbett, Gérard Rouy, David Keenan, Karl Lippegaus, and Jost Gebers Brötzmann has always created and still creates the covers of his recordings himself – sometimes also for other musician colleagues – and in the past also often the posters for various FMP projects (Workshop Freie Musik in the Academy of Arts or Total Music Meeting in the Quartier Latin, later in Podewil). Looking at his early posters and record covers it“s striking how fully formed his visual sense was from the very beginning. He had a background from both advertising and Fluxus art and built upon that. Just like his playing, he knew what he wanted to say with his graphic design. The music and visuals were coming from the same place. And there“s no question who it“s coming from. When you see a design by Peter there is little doubt who made it. His work has such a strong character that when we try to copy the style (and many have) it“s obvious who we“re stealing from – so we fail. (Lasse Marhaug) In his graphic endeavors, Brötzmann has in fact made a body of work consistent with his music and his art, an oeuvre that undermines the presumption that design is inherently rigid. More than just the decoration of information, Brötzmann“s five decades of design bear witness to a sophisticated, delicate, and earthy sensibility, along with a dogged sense of internal logic. His record covers and posters are passionate and thoughtful, playful and brutal, basic and human. (John Corbett) This catalog with about 260 works is published to the exhibition at the Bimhuis, Amsterdam, Sept. 2016

Brötzmann – Graphic Works 1959-2016

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