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.

November 2019, English15×23 cm, 350 pages, 19 b/w and 29 color ill., softcoverISBN 978-3-95679-095-9 TRANSLATION Nicholas Grindell Why did Andy Warhol decide to enter the music business by producing the Velvet Underground, and what did the band expect to gain in return? What made Yoko Ono use the skills she developed in the artistic avant-garde in pop music, and what in turn drew John Lennon to visual art? Why, in 1980s West Germany, did Joseph Beuys record a pop single and artists such as Walter Dahn, Albert and Markus Oehlen, and Michaela Melián form bands? What role does utopia play in the pop music and art of Brian Eno, Laurie Anderson, and Fatima Al Qadiri? And, vice versa, did dystopias of transgressive imagery and noise lead the artist group COUM Transmissions to make music as Throbbing Gristle? In Double Lives in Art and Pop Music, Jörg Heiser argues that context shifting between art and pop music is an attempt to find solutions for contradictions faced in one field of cultural production. Ever since Duchamp’s readymade und Hugo Ball’s sound poetry, the definition of art has widened and dissolved to a point where nearly anything geared toward an art audience can be considered an artwork. Today it has become convention to praise art as a way of questioning conventions, not least in regard to conventional borders between disciplines, media, and genres. However, heroic claims of dissolving borders have become a way of kicking at doors that are already wide open—in a political and economic environment defined by neoliberal deregulation and flexibilization geared toward new markets, and permeating every social and cultural sphere. It has thus become increasingly important to discuss the relationship between different fields of cultural production. This book does just that, looking closely at the careers of artists and pop musicians who work in both fields professionally. Historically, these figures provoked cognitive dissonance, but the seeming acceptance and effortlessness today of current border crossings can be deceptive, since they might be serving vested economic or ideological interests. Exploring the intertwined histories of pop and art from the 1960s to the present, Heiser shows that those leading double lives in art and pop music may often be best able to detect these vested interests while pointing toward radical alternatives.

by Stanley Donwood & Dr. Tchock   Verso, 2015 75ppStanley Donwood and the enigmatic Dr. Tchock are the elusive duo responsible for Radioheads artwork. Featuring the apocalyptic scenes of the OK Computer album, the startling, sinister shadow of memory cast onto the present in the Kid A paintings, and the overwhelming information overload of Hail to the Thiefs landscapes of conflict, Dead Children Playing presents some of the most iconic artwork of our time, and also highlights lesser-known paintings by the talented duo.

96 pp Sternberg Press, 2023Titled after Soft Cell's version of the original 1965 Gloria Jones track, Tainted Love is the first book-length inquiry into the subject of the twisted romantic ballad, giving a sense of both its history and contemporary currency. Sometimes extreme, this twist to the conventional romantic ballad spans across gender and generational boundaries to subvert our understanding of both the genre's function and its behavior. Each chapter of Tainted Love takes a deep dive into a single twisted ballad, examining both its inner workings--lyrics, melody, and vocal approach--and its broader cultural resonance. Featuring an analysis of songs by Kendrick Lamar, Nina Simone, Roxy Music, Joni Mitchell, The Velvet Underground, Frank Sinatra, Soft Cell, Paul McCartney, Charlotte & Serge Gainsbourg, PJ Harvey & Nick Cave, and Little Simz, this book turns on the question: What compels songwriters to compose--and us to listen to--these warped songs?

written by Douglas Macintyre & Grant Mcphee with Neil Cooper  Orion Publishing, 2022464pp  Hungry Beat is a definitive oral history of these labels and the Scottish post-punk period. Covering the period 1977-1984, the book begins with the Subway Sect and the Slits performance on the White Riot tour in Edinburgh and takes us through to Bob Last shepherding the Human League from experimental electronic artists on Fast Product to their triumphant number one single in the UK and USA, Don't You Want Me. Largely built on interviews for Grant McPhee's Big Gold Dream film with Last, Hilary Morrison, Paul Morley and members of The Human League, Scars, The Mekons, Fire Engines, Josef K, Aztec Camera, The Go-Betweens and The Bluebells, Hungry Beat offers a comprehensive overview of one of the most important periods of Scottish cultural output and the two labels that changed the landscape of British music.

200 pp Backstage Books, June 2024   “Loving dissection of the band's early years... smart and thorough"In the words of singer Dave Gahan, Depeche Mode were “a new sort of band from a new sort of town”: Basildon, a radical post-war experiment in design and living; a city of the future that serves as a mirror for Depeche Mode’s stark, electronic ultra-pop. Drawing on a wealth of new interviews with friends and lovers, club runners and church elders, pluggers and producers, early bandmates and key industry executives—including fellow Basildonian Alison Moyet and industrial pioneer Genesis P. Orridge—author Simon Spence brings a fresh perspective to the lives of Dave, Martin, Vince, and Fletch, the place they grew up in, and their place in the rock’n’roll firmament.Part musical odyssey, part cultural history, Just Can’t Get Enough traces the story of Depeche Mode from front rooms and school halls to London fetish clubs and legendary Berlin studios; from the Basildon Arts Centre to Top Of The Pops ; and from their earliest recordings to Black Celebration and the cusp of transatlantic superstardom.

Translated by Polly Barton, Sam Bett, David Boyd, Daniel Joseph, Aiko Masubuchi and Helen O'Horan   218 pages, Paperback Verso, April, 2021The first English language publication of the work of Izumi Suzuki, a legend of Japanese science fiction and a countercultural icon. On a planet where men are contained in ghettoised isolation, women enjoy the fruits of a queer matriarchal utopia -- until a boy escapes and a young woman's perception of the world is violently interupted. Two old friends enjoy cocktails on a holiday resort planet where all is not as it seems. A bickering couple emigrate to a world that has worked out an innovative way to side-step the need for war, only to bring their quarrels (and something far more destructive) with them.And in the title story, Suzuki offers readers a tragic and warped mirroring of her own final days as the tyranny of enforced screen-time and the mechanistion of labour bring about a shattering psychic collapse.At turns nonchalantly hip and charmingly deranged, Suzuki's singular slant on speculative fiction would be echoed in countless later works, from Margaret Atwood and Harumi Murakami, to Black Mirror and Ex Machina. In these darkly playful and punky stories, the fantastical elements are always earthed by the universal pettiness of strife between the sexes, and the gritty reality of life on the lower rungs, whatever planet that ladder might be on.

288 pages, Paperback First published April 11, 2023, Verso Fiction This collection showcases [Suzuki's] unique sensibility, which combined a punk aesthetic with a taste for the absurd. Her work-populated by misfits, loners, and femmes fatales alongside extraterrestrial boyfriends, intergalactic animal traffickers, and murderous teen-agers with E.S.P.-wryly blurs the boundary between earthly delinquency and otherworldly phenomena.-- The New YorkerA new collection of stories from the cult author of Terminal Boredom. In this new collection, her skewed imagination distorts and enhances some of the classic concepts of science fiction and fantasy.A philandering husband receives a bestial punishment from a wife with her own secrets to keep; a music lover finds herself in a timeline both familiar and as wrong as can be; a misfit band of space pirates discover a mysterious baby among the stars; Emma, the Bovary-like character from one of Suzuki’s stories in Terminal Boredom, lands herself in a bizarre romantic pickle.

Volume 34, Issue 6, Sight and Sound is a monthly film magazine published by the British Film Institute. Since 1952,In this 21st-century cinema special: 25 critics choose an era-defining film from each year of the century, and J. Hoberman asks: what is a 21st-century film? Plus: ten talking points from Cannes – George Miller on Furiosa: A Mad Max Saga – remembering Roger Corman with a never-before-seen interview.

a5, staplebound, published May, 2024 ByAnna SchüttenAntonia Alessia Virginia BeeskowAura Danielle Muñoz BarragánElisa KühnlElisa MetzFriederike KempterHelene HeuserInes GlowaniaJasmina Al-QaisiLaila GrümpelLennart MelzerMirjam BergSimon WaskowNathalie BrumTheresa NinkTim DanaherVanessa Romotzky5 years grapefruits fanzine & release issue #08 VoiceGrapefruits is a feminist fanzine about composers and sound artists that was founded in 2019 at the institute for music and media at the Robert Schumann University of Music, Cologne

Edition: 1,000 copies | Dimensions: 138 x 200mm | Publisher: Book Works June, 2024 The Medium is published as part of Arrhythmia, a series curated for Book Works by Katrina Palmer. Alice Walter is an artist, writer and medium – living and working in the UK. She has a BA in Fine Art, Film and Video from Central Saint Martins, UAL and a MFA from The Ruskin School of Art, Oxford University. Her practice combines collage, psychosexual sculpture, VHS and shamanism. Through these disciplines, Alice creates surreal and sensory spaces that open channels for the unseen. ‘This is a story of our life, it’s about how we died and learnt to survive, by taking messages for the dead. What do they call us? Medium. The Medium.’  To read The Medium is to be submerged in a stream of consciousness populated by uninvited voices from the underworld. Animated, urgent, and brutally propulsive, this cacophony of competing narratives begins to upset the boundary between the living and the dead. The Medium is an alchemical novel, shimmering with insight from the depths of a black lake.

Edition: 1,000 copies | Dimensions: 138mm x 200mm  published, Book Works, June 2024 The Wastes is published as part of Arrhythmia, a series curated for Book Works by Katrina Palmer. Roy Claire Potter works between performance and experimental art writing with recent work commissioned by Tate Britain and Tate Publishing, Reduced Listening for BBC Radio 3, Cafe OTO and Counterflows, and Primary. They are Senior Lecturer in Fine Art at Liverpool John Moores University. After the death of her mother a woman decides to visit a familiar strip of rural upland, darkly identified on the South Pennines Ordnance Survey map as: The Waste. As she moves between trains, shunted by public encounters and haunted by past bar jobs, damp bedsits and a press shot of Vanessa Redgrave smoking in the bath, found slipped between the pages of her mother’s diary, the threshold between her past, present and future self dissolves. Fringe images she has neither designed nor authored begin to steer her toward grid reference 3499, where underfoot the semi-solid mud turns with worms and ants.