Publisher ‏ : ‎Faber & FaberLanguage ‏ : ‎EnglishHardcover ‏ : ‎512 pagesISBN-10 ‏ : ‎0571350011ISBN-13 ‏ : ‎978-0571350018Dimensions ‏ : ‎15.3 x 3.7 x 23.4 cmThe real story of Nico is one of determination, self-destruction and belief in one's artistic vision, at any cost.Nico was an ever-evolving myth, an enigma that escaped definition.Born Christa Päffgen, Nico grew up in war-torn Berlin before being scouted by a fashion photographer in her early teens. At age twenty-seven, she became Andy Warhol's newest Superstar, securing the position of chanteuse for the Velvet Underground. Though she is primarily remembered for contributions to their seminal debut album - and her relationships with Brian Jones, Bob Dylan and Jim Morrison - her own artistry and influence have often been overlooked.Nico spent most of her career as a solo artist on the road, enduring empty concert halls, abusive fans and the perilous reality of being a drug addict. Yet beneath the superficial denigrations and one-dimensional myths was a complicated visionary determined to make art that was truly her own.In You Are Beautiful and You Are Alone, defying the sexist casting of her life as the tragedy of a beautiful woman losing her looks, youth and fame, Jennifer Otter Bickerdike cements Nico's legacy as one of the most vital artists of her time, inspiring a generation of luminaries including Björk, Morrissey and Iggy Pop.Containing over a hundred new interviews and rare archival material, this is an empowering reappraisal of an underappreciated icon. --- 'Here is the Odyssey of Nico . . . a scholarly and detailed chronicle of this brilliant artist, who was spurned and tortured for her trouble.'IGGY POP'At last, a comprehensive and compelling book about Nico.'VIV ALBERTINE'[A] fantastic book.'COSEY FANNI TUTT --- Faber & Faber, 2021

Published by Fence Books 165x215mm, 96 pages, full colour printing, perfect bound, 2017Holiday curates poems-as-text and image-as-impression, lyricism and activism. The "legacies" of Miles Davis and MLK and Billie Holiday and other icons collide, harnessing taboos they upheld triumphantly. Layers of a story coalesce in restricted space producing ghettos, or a mythological advertising omniverse wherein shadow and light integrate, complicating our fantasies

Publisher ‏ : ‎Penguin (8 Sept. 2020)Language ‏ : ‎EnglishPaperback ‏ : ‎320 pagesISBN-10 ‏ : ‎0141990856ISBN-13 ‏ : ‎978-0141990859Dimensions ‏ : ‎12.9 x 1.8 x 19.8 cmA week after her 41st birthday, Anne Boyer was diagnosed with highly aggressive triple-negative breast cancer. For a single mother living payslip to payslip, the condition was both a crisis and an initiation into new ideas about mortality and the gendered politics of illness.In The Undying - at once her harrowing memoir of survival, and a 21st-century Illness as Metaphor - Boyer draws on sources from ancient Roman dream diarists to cancer vloggers to explore the experience of illness. She investigates the quackeries, casualties and ecological costs of cancer under capitalism, and dives into the long line of women writing about their own illnesses and deaths, among them Audre Lorde, Kathy Acker and Susan Sontag.Genre-bending, devastating and profoundly humane, The Undying is an unmissably insightful meditation on cancer, the cancer industry and the sicknesses and glories of contemporary life. --- 'Profound and unforgettable' Sally Rooney'A classic . . . I have long thought of Boyer as a genius' Patricia Lockwood'An outraged, beautiful, and brilliant work of embodied critique' Ben Lerner'Some of the most perceptive and beautiful writing about illness and pain that I have ever read' Hari KunzruBlending memoir with critique, an award-winning poet and essayist's devastating exploration of sickness and health, cancer and the cancer industry, in the modern world --- Penguin, 2020

Edited by Caroline Profanter, Henry Andersen, Julia Eckhardt.Contributions by Enrico Malatesta, Séverine Janssen, Tomoko Sauvage & Akio Suzuki, Lila Athanasiadou, Carolyn Chen, Justin Bennett, Brandon LaBelle, Anna Raimondo & Edyta Jarząb, Jennifer Walshe, Gary Schultz, Salomé Voegelin, Marc Matter, Franziska Windisch, David Toop, Pierre Berthet & Rie Nakajima, Mark Fell, interviews with Jonathan Frigeri, ooooo, Paulo Dantas, Melissa E. Logan, Isabelle Stragliati, Alice Pamuk, Klaas Hübner, Wederik De Backer, Benny Nemerofsky Ramsay, Lucie Vítková. Published with umland. Graphic design: Ward Heirwegh. published in November 2019English edition15 x 26,5 cm (softcover)200 pages (color & b/w ill.) --- Introduction—Caroline Profanter, Henry Andersen, and Julia EckhardtAnnotations—Enrico MalatestaSonic Harbour—Séverine JanssenMagical stones, echoes, and music for animals and atmosphere: An interview with Akio Suzuki—Tomoko SauvageFrom the Mechanism of Speech to the Mechanism of Meaning—Lila AthanasiadouPlaying Guqin—Carolyn ChenSiren Song—Justin BennettTogethering, of the open body—Brandon LaBelleTowards a Vaginal Listening—Anna Raimondo and Edyta JarząbINTERFACES RESIDENTSJonathan FrigerioooooPaulo DantasMelissa E. LoganIsabelle StragliatiAlice PamukKlaas HübnerWederik De BackerBenny Nemerofsky RamsayLucie VítkováGhosts of the Hidden Layer—Jennifer WalsheWhat is Performative Distribution?—Gary SchultzThe Sound is Breathing: An interview with Beatriz Ferreyra—Caroline ProfanterHearing is the Only Thing that Works: An interview with Annette Vande Gorne—Caroline ProfanterUnstable Contacts—Salomé Voegelin100 Questions about Sound and Language—Marc MatterPeripheries—Franziska WindischFlutter Echoes—David ToopTouching Sound—Pierre Berthet and Rie Nakajima?reversE in thinkinG — sounD — Mark FellThis reader brings together artistic and theoretical contributions on the instertitial nature of sound. This issue is addressed through a variety of prisms, such as format, language, politics, or new technologies. The Middle Matter is a reader which brings together thoughts on the nature of sound; its substance, specific qualities, and potential—with a specific curiosity to its propensity to occupy the spaces in-between, the instertitial gaps between different spaces, times, cultures, and world views, between the interior body and the exterior space. Through a number of artistic and theoretical contributions, observations are made around the notion of “audience” and the attendant questions of format, on the effects of old and new technologies, of communal working processes, and the complexity of language, the contributors reveal sound to be a material particularly apt at negotiating these zones of and between contact. It is a large field of in-betweenness, sound travels, hops borders, passes through walls, its messages for a large part being transported involuntarily and even unconsciously. In this sense sound is extensively participative, entangled in the complicated gaps between bodies, minds and objects through and against which it resonates. Published following the Oscillation festival, Brussels, from April 25 to May 5, 2019.

Published: Spector Books 96 pp. with black-white and colour illustrations, perfect bound softcover Published date: June, 2021 ISBN: 9783959054638 Edition Number: 1 Width:15 cm Length:23 cm Language(s):English  What if humanity’s primary inven­tions were not the Hero’s spear but rather a basket of wild oats, a medicine bundle, a story. Ursula K. Le Guin’s 1986 essay The Carrier Bag Theory of Fiction presents a feminist story of technology that centres on the collective sustenance of life, and reimagines the carrier bag as a tool for telling strangely realistic fictions. New writings and images respond to Le Guin’s narrative practice of world­making through gathering and holding. --- Text by: Season Butler,Federico Campagna,Dorothee Elmiger,Ursula K. Le Guin,Enis Maci,Nisha Ramayya,Sin Wai Kin fka Victoria Sin,Jenna Sutela,Anna Tsing & Himali Singh Soin Contributions: Sophia Al-Maria,Laurel Halo   Edited by   HKW - Haus der Kulturen der Welt,Sarah Shin,Mathias Zeiske   ---

Artist, writer and musician Dave Tomlin was a founder-member of the seminal free-form folk group Third Ear Band. A constant presence within the London underground scene, he founded the Guild of Transcultural Studies in 1976 and contributed to the International Times. Dave Tomlin Paperback 210 x 148 ISBN: 9781907222566Communiqués From The Guild of Transcultural Studies 1976 – 1991 One night in 1976, a group of squatters entered the Cambodian Embassy in London, an opulent building that had remained empty for two years following the bloody revolution of the Khmer Rouge. For the next  fifteen years, this peculiar residence would play host to the Guild of Transcultural Studies, an open platform for creative monomaniacs, radical metaphysicians, poets, prophets and exiles. These humorous, perceptive, and deftly crafted vignettes boast a thinly disguised cast of provocateurs, including John Michell, earth mysteries sage and fortean, Nicholas Carr-Saunders, author of Alternative London, beat poets Harry Fainlight and George Andrews, playwright of The WarpNeil Oram, countercultural photographer and journalist John “Hoppy” Hopkins, and Sir Mark Palmer, aristocrat-turned-gypsy-traveller and male model impresario. Through 220 short narratives, Dave Tomlin sketches many of the wild characters and memorable incidents of these years 1976 to 1991 (with vivid flashbacks to West Africa and the London Free School in Notting Hill in the 1960s). By setting up a ‘Guild of Transcultural Studies’ Dave and his fellow squatters invented an effective aura of respectability that was an object lesson in instant tradition, and enabled them to play host to musicians from Morocco to Pakistan, poets, prophets, exiles and refugees from many countries round the world from Chile to China. The descriptions of periodic encounters with various arms of the diplomatic service, both home-grown and oriental, are often hilarious. Above all, the Embassy provided space for creative monomaniacs and radical metaphysicians to act out their visions. A vivid portrait of a more leisured age which allowed eccentricity to flourish.

Published: Spector Books 80 pp.with numerous colour illustrations perfect bound softcover Publish Date: July, 2021 ISBN:9783959054928 Edition Number: 1 Width:15 cm Length:23 cm Language(s):English The performance of computer-generated music breaks with the codes that have been established for concerts: the audience can no longer watch as music is created, and the causal relationship between action and sound has been cut. The laptop performance has evolved into a format in which the audience stares at people staring at screens. Looking at Music examines the role that visibility plays in the experience of music. How important is the live quality to the future of musical performance? Screenshots of ”algoraves“ or virtual reality stars like Hatsune Miku reinsert visual stimuli on a variety of levels, in kuduro the musical focus is on the dance expertise—meanwhile, other musicians have long since abandoned the idea of the stage-centred spectacle. --- Editor: HKW - Haus der Kulturen der Welt,Lina Brion,Detlef Diederichsen Contributor: Stefanie Alisch,Peter Kirn,Mari Matsutoya,Adam Parkinson,Terre Thaemlitz,TOPLAP Design Concept: Olaf Nicolai,Hannes Drißner,Malin Gewinner Designer: Hannes Drißner,Malin Gewinner,Markus Dreßen   ---

Publisher ‏ : ‎Strange Attractor PressLanguage ‏ : ‎EnglishPaperback ‏ : ‎336 pagesISBN-10 ‏ : ‎190722243XISBN-13 ‏ : ‎978-1907222436Reading age ‏ : ‎18 years and upNeurotransmissions presents an interdisciplinary selection of 23 essays first presented at Breaking Convention 2013, the 2nd conference on psychedelic consciousness, culture and clinical research, held at the University of Greenwich, London. It spans the sciences and humanities, from philosophy and neuroscience though to chemicals. Cross-cultural approaches explore the use of psychedelics in New Guinea, Central and South America, British free festivals, electronic music and backwards in time to the ancient civilisations of India and Rome. --- Strange Attractor, 2015

Published by Blank Forms, 288 pgs, 20 × 13.5 cm, Softcover, 2021, 9781953691040In Partners, writer, librarian, and teacher Stephen Housewright paints an intimate portrait of a lifetime spent with Jerry Hunt (1943–1993), a Texas-born artist and musician with an astonishing mind and a mystifying practice. Hunt was a singular figure in the world of new music, and one of the most radically unorthodox artists of his generation. His remarkable yet underknown work incorporated motion-and sensor-activated technologies, readymade props, eccentric choreographies, and sixteenth-century astrology into performance and composition. While he orbited avant-garde worlds in the United States and Europe, his personal life, spent largely on a ranch in rural Texas, remained elusive. In this memoir-cum-biography, Housewright narrates a life spent together, beginning in high school as a closeted couple in East Texas and ending with Hunt’s battle with cancer and his eventual suicide in 1993, the subject of one of his most harrowing works on video, How to Kill Yourself Using the Inhalation of Carbon Monoxide (1993). Including private correspondence with, and thrilling anecdotes about, Hunt’s friends, family, and art world peers, Partners is an essential introduction to Jerry Hunt, and one that only Housewright could share. Self-published online in 1995, and now printed for the first time by Blank Forms Editions with a new introduction by Hunt’s close collaborator Karen Finley, Partners is the first installment of Blank Forms’s extensive program dedicated to Jerry Hunt. This program includes the first-ever exhibition surveying the artist’s career, Jerry Hunt: Transmissions from the Pleroma, opening at Blank Forms in early 2022; a deluxe LP boxed set and reader; the first vinyl pressing of Hunt’s final record, Ground: Five Mechanic Convention Streams (1992); and the special anthology Blank Forms 08: Transmissions from the Pleroma.

Publication date: 04/12/2014 ISBN: 9781781252772 Imprint: Serpent's TailThe essential writings of the greatest music writer of the twentieth, or any, century, reissued as a Serpent's Tail Classic Until his death aged thirty-three in 1982, Lester Bangs wrote wired, rock 'n' roll pieces on Iggy Pop, The Clash, John Lennon, Kraftwerk, Lou Reed. As a rock critic, he had an eagle-eye for distinguishing the pre-packaged imitation from the real thing; written in a conversational, wisecracking, erotically charged style, his hallucinatory hagiographies and excoriating take-downs reveal an iconoclast unafraid to tell it like it is. To his journalism he brought the talent of a great a renegade Beat poet, and his essays, reviews and scattered notes convey the electric thrill of a music junky indulging the habit of a lifetime. As Greil Marcus writes in his introduction, 'What this book demands from a reader is a willingness to accept that the best writer in America could write almost nothing but record reviews.'

Peter Fryer (1927-2006) was a jazz-playing Marxist author and activist. He was expelled from the Communist Party in 1956 for rejecting Stalinism, and later fought the imperial mendacity of whitewashed British history, authoring the now-classic Staying Power: The History of Black People in Britain (Pluto, 2018) Published by Pluto Press in Mar 2000 Paperback ISBN: 9780745307312 288 pages 150mm x 230mm African rhythms are at the heart of contemporary black Brazilian music. Surveying a musical legacy that encompasses over 400 years, Rhythms of Resistance traces the development of this rich cultural heritage. Acclaimed author Peter Fryer describes how slaves, mariners and merchants brought African music from Angola and the ports of East Africa to Latin America. In particular, they brought it to Brazil – today the country with the largest black population of any outside Africa. Fryer examines how the rhythms and beats of Africa were combined with European popular music to create a unique sound and dance tradition. Fryer focuses on the political nature of this musical crossover and the role of an African heritage in the cultural identity of Brazilian blacks today.

Each issue of Sound American is:⁣⁣⁣⁣ ⁣⁣Beautifully designed by Remake Design.⁣Printed offset by die Keure, one of the finest book printers in the world, in a unique Pantone color on Holmen paper.⁣⁣⁣⁣Bound with the highest quality thread-sewn binding, using cold glue and Otabind™. Each copy lies open and stays completely flat and will last a lifetime.⁣⁣⁣⁣ Produced in an edition of 500.⁣⁣⁣⁣The Folk Issue, the second Sound American issue of 2020, celebrates and explores the intersections of experimental and folk music. Guest edited by Sarah Hennies and Anna Roberts-Gevalt–two of America's most forward-looking practitioners in experimental and folk music, respectively–this issue takes on questions of musical community and what it means to work inside and outside of its traditions.⁣⁣⁣⁣ ⁣⁣The issue features writing by Ana Alonso-Minutti on La Llorona, Drew Daniel on Throbbing Gristle, Henry Flynt on his own violin practice, Suzanne Kite in conversation with Scott Benisiinaabandan, John McCowen interviewing Sean Meehan, Kurt Newman and Martin Arnold, Ian Nagoski on bird call impresario Charles Kellogg, and Anna Roberts-Gevalt's moving COVID diary and conversation with Meredith Monk and Peggy Seeger. This issue’s Exquisite Corpse is by vocalist and composer Amirtha Kidamb.

Published: Primary Information 280 pages 8.25 x 10.25 inches Paperback w/flexi disc 22 Color and 599 B&W; images Edition of 2500 Second Printing March 2019 ISBN: 9780991558599 — Managing Editor: James Hoff Managing Designer: Rick MyersBroken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989. It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records. Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists. Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner. Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.

Text: Daniel García Andújar, John Barker, Samuel Beckett, Natalie Boseul Shin, Hans D. Christ, Ines Doujak, Iris Dressler, Tim Etchells, Ramón Grosfoguel, Anette Hoffmann, Ranjit Hoskote, Bojana Kunst, Manuel Pelmus, Christine Peters, David Riff, Imogen Stidworthy 555 pp. with 50 black/white and 300 colour illustrations thread-sewn hardcover ISBN: 9783944669892 Width:17.4 cm Length:24.8 cm Language(s):English Edited by: Christine Peters, Hans D. Christ, Iris Dressler Designed by: Hermanos Berenguer 'Acts of Voicing' focuses on the aesthetic, performative, and political significance of the voice, »viewed« from the perspective of visual art, dance, performance, and theory. The book, which also documents the exhibition of the same title that showed at the Württembergischer Kunstverein Stuttgart and the Total Museum of Contemporary Art in Seoul in 2012, explores the diegetic and performative characteristics of the voice. This relates equally to voices that resist and to voices that are disciplined and seek to  discipline, to those that are heard and to those that go unheard. The book also examines the struggle to find one’s voice and the act of getting voices to speak or be silent.

"This highly entertaining account of the voyage zips along in an eternally breathless present tense, bristling with exclamations such as "Crazy!" and "Wow!" and driven by an infectiously child-like and wide-eyed enthusiasm that will be instantly recognisable to anyone who's ever seen The Ex ricocheting around the stage like big-booted pinballs." - Daniel Spicer, The Wire'IMPROVISING’ is the story of an incredible journey by Emma Fischer (painter, graphic designer, ceramist) and Terrie Hessels (guitar player in The Ex) through 21 countries in Africa. They travelled for a year in an old Land Rover. Not as tourists, but as travellers with an open mind and free attitude, dealing with countless unexpected, unpredictable, sometimes risky, but mainly fascinating and fantastic situations.Parking somewhere to sleep, relax and eat, only to be found by locals with whom they interacted, joked and laughed, ate together, listened to music, shared water, improvised. They socialised with Tuareg, Pygmy and Maasai people, with groups of kids, village elders and market women. They bought cassettes from Ethiopian singer Mahmoud Ahmed, participated in a Muslim wedding, struggled through the jungle with locals James, Magliore and Daniel and met many more amazing, very different people.Sometimes they ended up in impossible places and situations: the remote desert, impenetrable jungles with vanished roads, feeble bridges and rusty railways. They encountered wild elephants and hippos and dealt with corrupt customs, military with guns, the French woodcutters mafia and even bumped into the president of the Congo. They witnessed the bizarre leftovers of the colonial era, the terrible tourist industry and the unease of people from ‘outside’, at embassies, companies, even churches and aid organisations. With of course some remarkable exceptions.The journey happened exactly 25 years ago, so besides the personal dealing and wheeling, this book also gives a unique glimpse of that time. The stories come from the daily notes Emma and Terrie wrote in their diary. They didn’t take many photos, because they didn’t want to interrupt the personal interaction, but the ones in the book, as well as Emma’s drawings, are significantly striking. The polaroids had quite a social function as well: they were often shared with the person in the picture.Terrie and Emma had to improvise a lot to accomplish the trip. But the people all over Africa improvise their whole daily lives, staying positive, amazed and open-minded, despite all the problems, setbacks and uncertainties. And no doubt they’re good at it. An inspiring example.This book is all about the year-long ‘improvising’ journey, in the middle of ‘improvising’ people.

‍POSITIONEN – Texte zur aktuellen Musik presents and goes into dialogue with contemporary music and cultural practices both in the German-speaking area and internationally. The journal was founded by Gisela Nauck and Armin Köhler in former East Germany in 1988 and presents thematically oriented issues with essays, portraits, interviews, and specials as well as a variety of “Positionen” (“Positions”): Comments on contemporary discourses in recordings, books, festivals, concerts, exhibitions as well as musical aspects in e.g. the visual arts, fashion, and performance. The Berlin-based cultural journal is published four times a year. In addition, articles and reviews are published online, too. POSITIONEN also has a digital archive that makes older contributions available to several academic and public libraries. The international perspective is also emphasized through the publication of international articles that are translated into German. POSITIONEN strives to strengthen critique and discourse around new music and to connect the areas of musicology and cultural journalism. Intending to encourage and foster future generations of writers, POSITIONEN regularly organizes workshops in critical writing in collaboration with universities and festivals.Since 2019 POSITIONEN has been published and edited by Andreas Engström and Bastian Zimmermann, assisted by a Berlin-based Creative Crowd as well as several international correspondents. --- Christian Grüny   Wieso jetzt auch noch wir? Genoël von Lilienstern   Yaanga — Los Angeles Andreas Karl   Wider die Einbahnstraße — Identitäten im jüngsten chinesisch geprägten Komponieren Jay Arms   »Made in the USA« — Gamelan Son of Lion und die amerikanische experimentelle Musik Nico Daleman   The shape of Cumbia to come — Neo-Macondismo oder kolumbianische Avantgarde? Jessie Cox   Das Drumset als Werkzeug Kreolisierter Welten Lara Scherrieble   Über Wut und Liebe in the Wake FASHION-SPECIAL Die exklusive Positionen-Fachbekleidungsedition von Heinz Maison Thomas Models: Yana Thönnes & Ludwig Abraham, Fotos: Robin Thomas POSITIONEN Laurie Anderson: Spending the War Without You 1–3; Alvin Lucier: I am sitting in a Room / Lucier & Bach: Sitting in a Room; Dorrit Bauerecker One Woman Band; Helmut Lachenmann – My Way; Malte Pelleter ›Futurhythmaschinen‹; Alex Paxton: Music for Bosch People; Acht Brücken; Klangwerkstatt Online Festival; Morphine Records; Halim El-Dabh / MaerzMusik Festival für Zeitfragen; Smerz: Believer; Biliana Voutchkova: Under the Veil of Consciousness; Magical Soup; Sisters with Transistors: Lisa Rovner; Foodman: Yasuragi Land; Virtuelle Kunstausübung?: Das Internet als Bühne; Klangbrücken 2021 / Musique spectrale; Ten Cities. Clubbing in Nairobi…; Konstantia Gourzi: Anájikon & Nur wer die Sehnsucht kennt; Trickster Orchestra/Ensemble Extrakte; Adam Neely & Ben Levin: How I Loved My Cat; Wir bringen die Blase zum Platzen!

POSITIONEN – Texte zur aktuellen Musik presents and goes into dialogue with contemporary music and cultural practices both in the German-speaking area and internationally. The journal was founded by Gisela Nauck and Armin Köhler in former East Germany in 1988 and presents thematically oriented issues with essays, portraits, interviews, and specials as well as a variety of “Positionen” (“Positions”): Comments on contemporary discourses in recordings, books, festivals, concerts, exhibitions as well as musical aspects in e.g. the visual arts, fashion, and performance. The Berlin-based cultural journal is published four times a year. In addition, articles and reviews are published online, too. POSITIONEN also has a digital archive that makes older contributions available to several academic and public libraries. The international perspective is also emphasized through the publication of international articles that are translated into German. POSITIONEN strives to strengthen critique and discourse around new music and to connect the areas of musicology and cultural journalism. Intending to encourage and foster future generations of writers, POSITIONEN regularly organizes workshops in critical writing in collaboration with universities and festivals.Since 2019 POSITIONEN has been published and edited by Andreas Engström and Bastian Zimmermann, assisted by a Berlin-based Creative Crowd as well as several international correspondents. --- Margarethe Maierhofer-Lischka   ## Quo Vadis Netzmusik? Made in the DDR – Beobachtungen und Reflektionen: Jakob Ullmann, Michael von Hintzenstern, Frank Kämpfer, Susanne Stelzenbach, Ralf Hoyer, Ellen Hünigen, Ekkehard Klemm, Burkhard Glaetzner Raphael Jacobs   Wir beginnen spielerisch mitzuschreiben – Ein Online-Tagebuch zu den Lockdown-Jams der Bastard Assignments Susanne Westenfelder   Tonal ist, was du draus machst – Wie man in atonaler Musik die Subdominante findet Juliane Schwarz-Bierschenk   Einfach BOOM gemacht – Musikalische Zeitgenoss*innen in Chemnitz Anna Schürmer   Was archiviert wird – ist vergangen? Die Musik(geschichte) der DDR in Dokumenten, Aufzeichnungen und Nachlässen SPECIAL Anna Schürmer   ABC-DDR – Ein enzyklopädisches Glossar POSITIONEN --- 1988 wurde dieses Heft von Gisela Nauck und Armin Köhler in Leipzig gegründet. Es wird erzählt, dass – beide im Edition Peters-Verlag arbeitend – noch etwas Papier einer anderen Produktion übrig war. Die Wende kam schon bald und das Heft ging mit Gisela Nauck in die Wiedervereinigungsjahre nach Berlin. Die Positionen standen seither auch immer für ein Insistieren auf die Werke von Komponierenden aus der ehemaligen DDR. Zusammen mit Anna Schürmer – jüngst an die Uni Halle als wissenschaftliche Mitarbeiterin an die Brückenprofessur ›Musik und Medien‹ berufen – haben wir einen Schwerpunkt konzipiert, in dem wir explizit das reiche Erbe der Positionen aufgreifen. Schürmer selbst hat das diesmalige Special verfasst: Ein etwas augenzwinkerndes Glossar ABC-DDR zu den gesellschaftlichen wie musikalischen Begrifflichkeiten jener Zeit. War es zu Beginn die Idee der Ausgabe, der Herkunft der Positionen zu huldigen und ein Gefühl für die Zeit und die Ästhetiken an die jüngere Leser*innengeneration weiterzugeben, haben sich neben einer kulturpolitischen Perspektive nach und nach auch Fragestellungen herauskristallisiert, die allgemeiner das Erinnern befragen – die »DDR« als ein bezeichnendes Beispiel, als ein Sprungbrett zu Fragestellungen der zeitgenössischen Kulturgeschichte. Was wir wollen ist weder Ostalgie noch ein naives Wiederentdecken – sondern ein Wiedererkennen. Wenige Musikszenen werden so übersehen, wie die im Osten Deutschlands. Kulturpolitisch ist das katastrophal, kunstgeschichtlich problematisch. Ersteres wird durch die im Heft verstreuten Beobachtungen von Ereignissen und Reflektionen zu Ästhetiken einiger Protagonist*innen der »mittleren Generation« bestätigt. Ellen Hünigen formuliert hier, dass »nach der Wende […] ein seltsames Loch in Wahrnehmung und Interesse bei Veranstaltern, Festivals, Radiosendern, Redakteuren, Ensembles, Dirigenten etc. [entstand]«. Auch historisch bestätigt sich dies in Schürmers Interview mit Barbara Wiermann und Kathrin Bircher von der Musikabteilung der Sächsischen Landesbibliothek in Dresden. Sie sagen, dass »mit der Generation geht das Wissen um eine andere deutsche Musikkultur unter; es fehlen dann Menschen mit eigenen Erfahrungen in diesem anders organisierten und gestalteten Musikleben.« Was war, lebt aber doch weiter – die Vergangenheit greift immer in die Gegenwart ein. Beispiel dafür ist das Stadtporträt: Die Ethnologin Juliane Schwarz-Bierschenk schaut auf die Entwicklungen in Karl-Marx- Stadt, heute Chemnitz, die schon lange als Subkulturmusikstadt bekannt ist und nun als Kulturhauptstadt 2025 ausgerufen wurde. Flankiert wird dieses Porträt von den Karl-Marx-Selfies des Chemnitzer Künstlers Andrzej Steinbach. Dank geht auch an die Künstlerin Henrike Naumann, die uns einige Ansichten ihrer idiomatischen Installationen, auch fürs Cover, zur Verfügung stellt! Wir wünschen also viel Spaß und Anregung bei der Lektüre und Sichtung des Hefts 127! Bastian Zimmermann, Anna Schürmer & Andreas Engström

Published:Mille Plateaux published in March 2020 English edition 19 x 27 cm (softcover) 268 pages (b/w ill.)   ISBN : 978-3-00-064816-8 EAN : 9783000648168The ultra-blackness manifesto: a Deleuzian reading of the philosophical and socio-political stakes of the current electronic music scene (publication marking the reactivation of the influential label Mille Plateaux, with texts by an ensemble of international musicians, artists and theorists: Frédéric Neyrat, Achim Szepanski, Holger Schulze, Gerriet K. Sharma, Bernd Herzogenrath, Corry Shores, Marcus Schmickler, Thomas Brinkmann, Thomas Köner...).   Ultrablack of Music speculates on the manifold ways in which the objective, inhuman soundworlds, which roar underneath humans' sensological apparatus, pervade and smoothly colonize our humanoid-alien, affective and cognitive capacities—and how to construct ways out of the mess of the Master Rhythms of Sonic Thanaticist Capital and its stratagems of annihilation and pulpification. Speculative rhythm productions drive the mathematical ope-rationality and its decisional self-amputations to the edge and create the missing corporeality that rewires our affective capacities and inhibitions by un-mooring, alienating/de-realizing our relations to the killing abstractions (reductive Binarism, identitism/autism), the techgnostical mindset and its mystifications. Ultrablackened music confronts and pushes us also into the experimentation with this nameless in-between, in which new temporalities can emerge whose winding paths and outcomes can neither be predicted nor guaranteed. Its cruel love vigorously informed and fueled by the hate in ending this world, as we know and sonically experience it.   ---   Edited by Achim Szepanski. Texts by Jan Heintz, Frédéric Neyrat, Achim Szepanski, Holger Schulze, Zafer Aracagök, Shintaro Miyazaki, Gerriet K. Sharma, Txgen Meyer, Taylor Adkins & Joseph Weissman, Bernd Herzogenrath, Corry Shores & Melike Başak Yalçin, Algorithmic Committee, Jose Rosales, Stefan Paulus, Marcus Schmickler & Julian Rohrhuber, Thomas Brinkmann, Thomas Köner, Alessio Kolioulis, Benjamin Noys, Bill B. Wintermute.   Graphic design: Kerstin Davies.   ---   Mille Plateaux, 2020