{"title":"Music and Sound","description":"","products":[{"product_id":"copy-of-pippa-garner-better-living-catalog","title":"Lawrence Abu Hamdan, Live Audio Essays","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003e\u003ci\u003eLive Audio Essays\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003epresents transcripts from performances and films by Lawrence Abu Hamdan, an artist known for his political and cultural reflections on sound and listening.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003eAbu Hamdan’s intricately crafted and heavily researched monologues are at times intimate, humorous, and entertaining, yet politically disquieting in their revelations. Using personal narratives, anecdotes, popular media, and transcripts rooted in historical and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"DA\"\u003eseen\u003c\/span\u003e. These live audio essays turn our focus to acoustic memories, voices leaking through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings, the echoes of reincarnated lives, and the sound of hunger.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003e\u003ci\u003eLive Audio Essays\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ecollects seven iconic works, which were originally presented as performances, films, or video installations from 2014 through 2022. Featured pieces include\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eContra Diction (Speech Against Itself)\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWalled Unwalled\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAfter SFX\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNatq\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eA Thousand White Plastic Chairs\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAir Pressure,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand the newly-completed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe \u003c\/em\u003e\u003ci\u003e45th Parallel\u003c\/i\u003e.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003eAll the texts were transcribed and edited with the artist and are available here in a single volume for the first time.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eLawrence Abu Hamdan is a \u003ci\u003ePrivate Ear\u003c\/i\u003e, listening to, with and on behalf of people affected by corporate, state, and environmental violence.\u003ci\u003e \u003c\/i\u003eTaking the form of forensic reports, lectures and live performances, films, and publications, his work reflects on the political and cultural context of sound and listening and has been presented at the 22nd Biennale of Sydney; the 58th Venice Biennale; the 11th Gwangju Biennale; the 13th and 14th Sharjah Biennial; Witte De With, Rotterdam; Tate Modern Tanks; Chisenhale Gallery; Hammer Museum, Los Angeles; and Portikus Frankfurt. He received his PhD in 2017 and has held fellowships and professorships at the University of Chicago; the New School, New York; and the Johannes Gutenberg University Mainz.\u003ci\u003e \u003c\/i\u003eHe is the recipient of the Toronto Biennial Audience Award, the Edvard Munch Art Award, and the Nam June Paik Award, and was the co-winner of the Turner Prize in 2019. His audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and been a key part of advocacy campaigns for organizations such as Amnesty International, Defence for Children International, and Forensic Architecture.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47407979397455,"sku":"PK0149","price":17.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230078.jpg?v=1695636139"},{"product_id":"copy-of-lawrence-abu-hamdan-live-audio-essays-2","title":"Stine Janvin and Cory Arcangel, Identity Pitches","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn \u003cem\u003eIdentity Pitches\u003c\/em\u003e, artists Stine Janvin and Cory Arcangel have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana, and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom, “deep-fried” coding script to create a series of image glitches.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eA foreword and an interview between the two artists provides context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium.\u003c\/p\u003e\n\u003cp\u003eStine Janvin is a vocalist, performer, and sound artist based in Stavanger, Norway. Janvin works with the extensive flexibility of her voice, and the ways in which it can be used to channel physicality of sound. Often drawing from electronic music, folk music, and contemporary media, she creates audio visual works for variable spaces from theaters, to clubs and galleries, and more recently websites and digital platforms. Recent presentations include Performa Telethon, New York; Munch Live and CADS, Munchmuseet, Oslo; Deutschlandradio Kultur, Daadgalerie, and CTM Festival, Berlin; Kunsthall Stavanger, Stavanger; Rokolective, Bucharest; Wiener Festwochen, Vienna; Issue Project Room, New York; and INA GRM,  Paris.\u003c\/p\u003e\n\u003cp\u003eCory Arcangel is an artist based in Stavanger, Norway. Arcangel explores, encodes, and hacks the structural language of video games, software, and machine learning. In 2014, he established the merchandise and publishing imprint Arcangel Surfware, which opened its flagship store in Stavanger, Norway in 2018. His work has been exhibited in solo exhibitions at the Whitney Museum, New York; Carnegie Museum of Art, Pittsburgh; Barbican Art Centre, London; Reykjavik Art Museum, Iceland; Hamburger Bahnhof, Berlin; and Museum of Contemporary Art, Miami.\u003c\/p\u003e\n\u003cp\u003e84 Pages\u003cbr\u003e15 x 24 cm\u003cbr\u003ePaperback\u003cbr\u003eEdition of 2000\u003cbr\u003eSeptember 2022\u003cbr\u003e\u003cspan lang=\"NL\"\u003eISBN:\u003cspan\u003e \u003c\/span\u003e\u003cspan data-sheets-userformat='{\"2\":6721,\"3\":{\"1\":0},\"9\":2,\"12\":0,\"14\":{\"1\":2,\"2\":0},\"15\":\"\\\"Arial\\\"\"}' data-sheets-value='{\"1\":2,\"2\":\"978-1-7377979-1-3\"}'\u003e9781737797913\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408217915727,"sku":"PK0154","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230129.jpg?v=1695635399"},{"product_id":"copy-of-deforrest-brown-jr-assembling-a-black-counter-culture","title":"Various Artists, Black Phoenix: Third World Perspective on Contemporary Art and Culture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis publication is a compilation of all three issues of the journal \u003cem\u003eBlack Phoenix\u003c\/em\u003e published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, \u003cem\u003eBlack Phoenix\u003c\/em\u003e remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eMore than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eissued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003epositioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eproposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.\u003c\/p\u003e\n\u003cp\u003eContributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).\u003c\/p\u003e\n\u003cp\u003eRasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals \u003cem\u003eBlack Phoenix\u003c\/em\u003e, \u003cem\u003eThird Text\u003c\/em\u003e,\u003cem\u003e \u003c\/em\u003eand \u003cem\u003eThird Text Asia\u003c\/em\u003e, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens\/Kassel, among others.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including \u003c\/span\u003e\u003cem\u003eSugar Coated Pill\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2007), and translated the \u003c\/span\u003e\u003cem\u003eIslamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2009) and \u003c\/span\u003e\u003cem\u003eFaiz: Fifty Poems\u003c\/em\u003e\u003cspan\u003e (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including \u003c\/span\u003e\u003cem\u003eIslamic Conversations\u003c\/em\u003e\u003cspan\u003e; was a lead writer on Britain’s first Asian soap, \u003c\/span\u003e\u003cem\u003eFamily Pride\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1991–92), and wrote and produced \u003c\/span\u003e\u003cem\u003eTurning World\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1996) for Channel4 television. He died in London in December 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408542220623,"sku":"PK0158","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230159.jpg?v=1695635032"},{"product_id":"copy-of-dan-graham-theatre","title":"Norman H. Pritchard, The Matrix Poems: 1960-1970","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eThe Matrix\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eby Norman H. Pritchard (1939–1996)\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003egathers a selection of the Concrete and Black Arts poet’s work from 1960 to 1970. The seventy-one poems collected here might be regarded, as Charles Bernstein has written, as “sound” poems, being tethered not only to the literature of the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts and concrete poetry 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 Michael Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn and based in New York City, Pritchard was trained in visual arts and art history at New York University and Columbia University. As \u003c\/span\u003e\u003cspan\u003ea member of the Umbra group (1962–65)—a collective of young Black writers that included Steve Cannon, Thomas C. Dent, David Henderson, Calvin Hernton, and Lorenzo Thomas—he met with fellow members in Manhattan’s Lower East Side to read and discuss writing and politics. They channeled their sense of urgency in developing and promoting Black culture into the literary magazine \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eUmbra\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e. Following the group’s dissolution, Pritchard continued to be involved in New York’s art, music, and film worlds in the late 1960s. \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Matrix\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e was published by Doubleday in 1970, marking one of only a handful of books on concrete poetry to be published by a major American publishing house. His second and final book \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEecchhooeess \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ewas released by New York University Press in 1971. \u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf Pritchard’s work testifies to the Black poetics of “broken witnessing,” it is also deeply philosophical and spiritual. “I feel that there’s only one reality, and that reality is God,” says Pritchard in an unpublished video from 1981. “Everything else is actual—or what I call ‘transreal.’ In other words, everything is transreal except God. Trans meaning through, across, within, into within.” In a 1969 letter to fellow Umbra member Ishmael Reed, Pritchard writes: “\u003c\/span\u003e\u003cspan\u003eTransreal is a word which visited me in the fall of 1967 while making initial probes into a book which I call Origins: A Contribution to the Monophysiticy of Form. \u003c\/span\u003e\u003cspan\u003eMy ‘definition’ is: Transrealism = O.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhile leaving it open to interpretation, “transrealism” was a vector through which Pritchard organized a host of collaborations—in March 1972, for instance, the poet hosted an event in New York called “The End of Intelligent Writing: A Transreal Awakening,” which featured artists such as Vito Acconci, W. Bliem Kern, and Richard Kostelanetz. Describing Pritchard’s work in terms of “ironic materiality,” Reed has remarked: “At the limit, Pritchard’s self-undermining poems ask us whether poetry needs words at all.” Indeed,\u003c\/span\u003e\u003cspan\u003e his is a poetics of both anti-transcendence and revelation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNorman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Matrix Poems: 1960–1970 \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(1970) and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEecchhooeess \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(1971). His poetry was featured in the journals \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eUmbra\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe East Village Other\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eperformed on the jazz poetry compilation \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eNew Jazz Poets\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1967), and anthologized in \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe New Black Poetry\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1969) and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eIn a Time of Revolution: Poems from Our Third World\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408771596623,"sku":"PK0167","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230137.jpg?v=1695635224"},{"product_id":"copy-of-aram-saroyan-top-1","title":"Various Artists, Broken Music","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eBroken Music \u003c\/em\u003eis 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. \u003cem\u003eBroken Music \u003c\/em\u003efocuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eIt 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.\u003c\/p\u003e\n\u003cp\u003eWorks 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.\u003c\/p\u003e\n\u003cp\u003eArtists 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.\u003c\/p\u003e\n\u003cp\u003eUrsula 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.\u003c\/p\u003e\n\u003cp\u003eMichael 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.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409015357775,"sku":"PK0178","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230171.jpg?v=1695634935"},{"product_id":"copy-of-constance-dejong-reader-7","title":"Title TK, Title TK","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eTitle TK\u003c\/em\u003e is an eponymous collection featuring ten performance transcripts from the conceptual band, \u003cem\u003eTitle TK\u003c\/em\u003e. Band members Cory Arcangel, Howie Chen, and Alan Licht engage in unscripted conversations about music, the music industry, and popular culture, rather than perform music. Drawing inspiration from David Antin’s improvised “talk poems,” \u003cem\u003eTitle TK\u003c\/em\u003e elevates on-stage banter to an art form, creating work that exists at the intersection of performance art, improvisation, and stand-up comedy.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThis volume charts the group’s development from 2010 to 2014 as they perform at a range of venues, from small clubs like Lit Lounge in New York to music festivals such as POP Montréal and museums including the Whitney Museum of American Art. With occasional help from guest performers, including music mogul Danny Goldberg and performance artist Michael Smith, \u003cem\u003eTitle TK’\u003c\/em\u003es performances offer wry, spontaneous perspectives on a myriad of cultural and musical figures and phenomena, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmerican Idol\u003c\/em\u003e, Armand Schaubroeck, B.C. Rich Warlock guitars, CanCon, Dan Flavin, the Grateful Dead’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDick’s Picks\u003c\/em\u003e, Fugazi, Guns N’ Roses, Lil Wayne, Musician’s Friend, Seth Price, Don Rickles, Joan Rivers, Sacred Harp singers, the Situationist International, Trans-Siberian Orchestra, and much more.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTitle TK\u003c\/em\u003e is a guitar trio formed in 2010 by Cory Arcangel, Howie Chen, and Alan Licht. Cory Arcangel is an artist based in New York and Stavanger, Norway. Howie Chen is a curator and co-founder of New Humans, a collaborative performance group, with Mika Tajima. Alan Licht is a composer, experimental guitarist, and writer who has performed with many bands including The Blue Humans, Love Child, Run On, and Text of Light. 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All articles presented IN ENGLISH. 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He is the founding editor of The Grass is Green in the Fields for You.\u003c\/span\u003e\u003c\/p\u003e","brand":"TGIGIFFY","offers":[{"title":"Default Title","offer_id":48461500350799,"sku":"PK0678","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231800.jpg?v=1710345865"},{"product_id":"copy-of-kfax5-rudeboys-mascots-from-the-early-hardcore-jungle-rave-scene","title":"KFAX5- RUDEBOYS: MASCOTS FROM THE EARLY HARDCORE JUNGLE RAVE SCENE","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eKFAX5 Rudeboys: Mascots from the Early Hardcore Jungle Rave Scene.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDuring the early to mid-90s the Jungle mascot became almost as ubiquitous as the breakbeats themselves, a stamp of respected credibility and authenticity of the music's street value. Championed by labels such as \u003cem\u003eSuburban Base\u003c\/em\u003e, \u003cem\u003eBoogie Times\u003c\/em\u003e and\u003cem\u003e Ruff Kut\u003c\/em\u003e the low slung, baggy trousered and baseball capped characters embodied and encapsulated the tough outsider attitude of the scene at the time. For the fifth edition of Klasse Wrecks' KFAX series record-trainspotter Resampled aka Joe Reilly provides an army of the both well and lesser known figures that appeared on the record's center labels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e70 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e14 x 10 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"Klasse Wrecks","offers":[{"title":"Default Title","offer_id":48462583267663,"sku":"PK0573","price":16.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231817.jpg?v=1710346093"},{"product_id":"copy-of-kfax13-rudeboys-unlimited","title":"KFAX13: RUDEBOYS UNLIMITED","description":"\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003eKFAX13: \u003cspan data-mce-fragment=\"1\" style=\"white-space: normal;\" data-mce-style=\"white-space: normal;\"\u003eRUDEBOYS UNLIMITED \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"white-space: normal;\" data-mce-style=\"white-space: normal;\"\u003eThe follow up to our best selling KFAX5 zine is finally here, curated and compiled by Joe Reilly aka Resampled.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eRudeboys Unlimited expands on the previous title, including mascots and characters from various genres such as Reggae, Grime, Rap and more. 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Jessica is an artist and writer based in Glasgow who is intrinsically linked to TGIFITIFFY in a number of ways: contributor, occasional editor, stoker of some excited cinders. However, here she brings her “solo voice” writing a fan’s essay-on-music over 24 pages.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eTHEY SAID!\u003c\/i\u003e\u003cspan\u003e simmers, boils and simmers again on the 1981 solo vocal composition \u003c\/span\u003e\u003ci\u003ePrelude to the Holy Presence of Joan d’Arc\u003c\/i\u003e\u003cspan\u003e. Language, listening and voice are at the core of the essay. As is the relationship between Julius Eastman and Joan d’Arc which, as readers, we’re invited not to divide into two individual histories but encouraged to consider a singular position which both figures may have inhabited across distances. The essay opens with an exclamation mark which weaves through the text, alive with an open sense of speculation and inquiry as we explore the many facets of \u003c\/span\u003e\u003ci\u003ePrelude.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLetter (writing) is a central reference — given Eastman’s penchant to put pen to paper, bringing the personal into the open — and the text itself reads like a letter being written or a conversation unfolding. It is swift and agile, carrying us along as it joins the dots, while breaking at times for a moment of improvisation, silence, or a prompt to speak. Formally, we hear the voices not just of Jessica, but of Eastman (of course!), Joan of Arc, Gertrude Stein and scholars of Eastman’s life, which offer a gentle introduction for those who may not be familiar with his life and work. An engagement with letters — as in correspondence as well as units of language — are at the core of our reading of the \u003c\/span\u003esong. Complexity and simplicity were central to Eastman’s practice and character in the same way a letter can “tell all”, an exclamation mark can give a little more.\u003cbr\u003e\u003cbr\u003e\n\u003cdiv grid-gutter=\"5\" grid-pad=\"2.5\" grid-row=\"\"\u003e\n\u003cdiv grid-pad=\"2.5\" grid-col=\"x11\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eJessica Higgins is an artist and writer based in Glasgow. 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All five foot four and one hundred twenty pounds of me armed with a Nikon F3 in one hand and a Vivitar 283 in the other.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLisa was the same age as the students she now teaches when taking these photographs, embodying a free, imaginative and yet-to-be-tainted-by-the-professional approach we seem to leave behind through age. The concept of bounding around a show with camera in hand, free and open to what comes—an amateurism!—is something I try so hard to catch day to day, only to fail and miss the mark. These images celebrate the wild energy of being young, the diversity and spirit of punk. Add each snapshot together and it’ll barely be a minute captured.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe images in \u003cem\u003ePIT\u003c\/em\u003e aren't necessarily difficult to imagine, lightning fast, all sweaty forms clambering together, claustrophobic and in a frenzy—the mosh pit exactly as we know it. Through Lisa’s approach of pile-in-and-shoot, we’re left with what settles between the leaps and the blows. You feel the breathless gasp, a two second smile and a glimpse into the eyes of another.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eYour heart stops and there is a rush of blood to the head as the familiarity of a hook lands and you’re thrown into a swell of people, I imagine the moment you bounce backward and notice Lisa. You smile. Others strike their poses; some remain expressionless, held like statues; some don’t notice her camera in that heartbeat, their body contorts and flails. What is held between these pages are not just these \u003c\/span\u003eexpressions but a representation of youth, fashion, enthusiasm and spirit that only a simple idea could capture.\u003cbr\u003e\n\u003cp\u003e\u003cem\u003ePIT\u003c\/em\u003e by Lisa Anne Auerbach collects photographs taken at Cabaret Metro and Cubby Bear in Chicago, Illinois between March and June 1985. The publication begins with an introduction by Lisa Anne Auerbach and ends with a conversation between Lisa and Ethan Swan. Eternal and ongoing thanks to Ethan for introducing me to these images when assembling Fix The Mirrors, and to Lisa for continuing to have courage and the faith in the amateur idea.\u003c\/p\u003e\n\u003cdiv grid-gutter=\"5\" grid-pad=\"2.5\" grid-row=\"\"\u003e\n\u003cp grid-pad=\"2.5\" grid-col=\"x11\"\u003eLisa Anne Auerbach is an artist, student and teacher asking questions about agency and voice in a cacophonous world. Her knitted work, publications, and photographs have been exhibited at museums, galleries, bicycle shops and malls in America and beyond.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TGIGIFFY","offers":[{"title":"Default Title","offer_id":48475222475087,"sku":"PK0674","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231845.jpg?v=1710514308"},{"product_id":"jamie-johns-punk-is-dad","title":"Jamie Johns, Punk is Dad","description":"\u003cp\u003eTGIGITFFY is proud to present \u003cem\u003ePunk is Dad\u003c\/em\u003e by Jamie Johns; an engaging, powerful and important text now released in an open edition. Originally released in 2011 as a beautifully produced edition of 35 by Oso Press of Los Angeles, USA we're now able to deliver a near-facsimile edition with a wider distribution.\u003c\/p\u003e\n\u003cp\u003eOriginal and appropriated images and texts that convey gendered dialogues in punk and noise-related media. Fold-out of Dorothy single cover.\u003c\/p\u003e\n\u003cp\u003eTo quote a dear friend and collaborator:\u003c\/p\u003e\n\u003cp\u003e\"It is embarrassing to talk about \u003cem\u003ePUNK IS DAD\u003c\/em\u003e because Jamie's presentation is so succinct you end up using twice as many words as her only to clomp and lurch around its perfection. I will just say that this zine is sharply vindicating for people who love punk but also think about its contradictions, its recuperation, and its deep possibility so undermined by the alienating force of male punk attitude. And if you haven't really thought about these things so much, but you love punk, it will turn your body to a skeleton.”\u003c\/p\u003e\n\u003cdiv grid-gutter=\"5\" grid-pad=\"2.5\" grid-row=\"\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eJamie Johns is a consultant and writer based in Brooklyn, NY. Previously she wrote the \u003cem\u003e\"Freak Scene\"\u003c\/em\u003e column for The Fader, has been published in other places like Vogue and Interview, and wrote another zine for Oso Press called \u003cem\u003e\"Tour of China\"\u003c\/em\u003e about Chinese history. She is currently the co-DJ of the monthly radio show \u003cem\u003ePart Time Punk\u003c\/em\u003e on The Lot Radio and has a lot of opinions on just about everything, but especially music.\u003c\/span\u003e\u003c\/div\u003e","brand":"TGIGIFFY","offers":[{"title":"Default Title","offer_id":48475246133583,"sku":"PK0680","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231880.jpg?v=1710519440"},{"product_id":"graham-holliday-a-side-are-your-dreams-at-night-1985-sizes-too-big","title":"Graham Holliday, A-side: Are Your Dreams At Night 1985 Sizes Too Big?","description":"\u003cp\u003eIn the early 1980's, in the small town of Rugby in the centre of England, three teenagers began melding early blues with feedback, one-chord drones, booming drums, smashing cymbals, gospel, Turkish Saz and two-note melodies. Natty Brooker, Pete Kember and Jason Pierce were Spacemen 3. On 3 August, 1985, they played a gig in the backroom of the Black Lion pub on St. Giles Street in the nearby town of Northampton. All these years laters, it is still the best gig I’ve ever seen. It is also the gig that led directly to the band’s first-ever recording deal.\u003cbr\u003e\u003cbr\u003eAs a teenager growing up in Rugby in the '80s I saw Spacemen 3 play in many pub backrooms. They were, and remain, an incredible band and over the years, their reputation has spread far beyond those sticky floored, fag ash filled, grubby backrooms. Sometime in the early part of the 21st century, in a house in the south of France, I rediscovered a shoebox filled with photos, posters, tickets, flyers and cassettes from the mid-'80s and I tipped the lot out onto the floor. In among the ephemera were the photographs and cassette recording from that gig on 3 August 1985, the earliest Spacemen 3 gig for which there was a recording and photographs. And I wondered: where were all the people who were at the gig that night? And did they remember it too?\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv grid-gutter=\"5\" grid-pad=\"2.5\" grid-row=\"\"\u003e\n\u003cp grid-pad=\"2.5\" grid-col=\"x11\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eGraham Holliday formed The Shift with Gavin Wissens, of The Cogs of Tyme and the Guaranteed Ugly, and Tim Lloyd from The Revolving Unseen. He wrote and recorded songs with Gavin and former Spacemen 3 members Will, Natty and Rosco. Graham left Rugby in 1996 and has since lived and worked in South Korea, Vietnam, France, Rwanda and Senegal. He is a journalism trainer\/consultant and editor with the BBC and others. He has written two books - both for the late, great Anthony Bourdain's Ecco Books imprint - and he recently completed his first novel.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TGIGIFFY","offers":[{"title":"Default Title","offer_id":48475263697231,"sku":"PK0681","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231851.jpg?v=1710515363"},{"product_id":"fix-the-mirrors","title":"Ethan Swan, Fix The Mirrors","description":"\u003cp\u003e\u003cem\u003e‘Dude, you wrote an essay!’ he told me, ‘how do you expect us to sell it in one sentence if you can’t even describe it in one page?’ I was horrified, embarrassed, immediately offered to write a new one and send it. ‘No,’ he explained, ‘you’re being taught a lesson. Do better with the next release.’ I was too surprised to be angry. I also didn’t learn my lesson, and they didn’t carry the next record we put out either. The lesson I did learn, maybe not for a long time, is that I only really care about the records that take pages to describe.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe Grass is Green in the Fields for You is overjoyed to present a project which has been in the making—and mind—for some time:\u003cem\u003e Fix The Mirrors\u003c\/em\u003e by Ethan Swan. This collection, which starts itself in the year of 2000, collects writings on music and DIY activity from Swan’s back-catalogue. Musically it is broad, we begin with Meltdown moving to Shudder To Think; singular considerations on tracks by Tracey Thorn, Unrest and Jane’s Addiction. Further focuses on Saturday Looks Good to Me, Roy Harper, Panax, Slick Rick. There are documentary works and interviews covering Felix Kubin, The Homosexuals, Graham Lambkin \u0026amp; Spencer C. Yeah, Cass McCombs, and Bridget Cross. An expansive amount of ground is covered in this single collection, and this isn't the start of the wealth Swan has created. The writing is immediate, thoughtful, touching and honest—just like Ethan. Meticulously crafted, the painstaking layout is accompanied by photographs by Lisa Anne Auerbach documenting 1980’s Chicago punk shows—it seemed perfectly fitting to include them. It would not be an exaggeration to state that The Grass is Green in the Fields for You was born out of a love for projects like this and this publication is our proudest moment yet.\u003cbr\u003e\u003cbr\u003e“I think the article about 222 Bowery, or the Morrissey zine, or even my parts in Silk Flowers songs are really just a way of sharing things that I feel happy to have learned.”\u003cbr\u003e— from a gmail ‘interview’ July 2010\u003cbr\u003e\u003cbr\u003eEthan Swan is, to paraphrase from his own introduction to this book, a person that would take pages to describe and while this is no way an attempt to do so I wanted to present a snapshot of some of our experiences with him.\u003cbr\u003e\u003cbr\u003eThe first time we met Ethan Swan was in November 2009, when his band Silk Flowers came to play in Manchester. The show almost didn’t happen; we were tired of setting up shows, kind of jaded and stressed out in general and thinking about doing something different with our spare time \/energy\/ money. It’s not hyperbole to say that the fact we’re still doing the same things now (ten years later and the case against withstanding) is in no small part due to that night and that meeting.\u003cbr\u003e\u003cbr\u003eEthan had asked us to arrange a birthday cake for Peter (Schuette, Silk Flowers)’s birthday and ended the evening meticulously washing dishes which apparently his technique had been refined while ‘ageing’ some china for a Nikhil Chopra show at the New Museum.\u003cbr\u003e\u003cbr\u003eEnthusiasm is contagious, true community emboldens its members, music heals, someone believing in or understanding what you do validates your attempts. These are just a few of the thoughts from that meeting and they are sustenance. We loved their music and were inspired by meeting them.\u003cbr\u003e\u003cbr\u003eHis ideas are presented with generosity and almost complete absence of ego (to the extent that his most-recent project, a series of oral histories and collected ephemera on Black Dice, Brontez Purnell and David Wojnarowicz and Ben Neill’s ITSOFOMO, does away with the authorial voice altogether) and it is a pleasure to spend time with them.\u003cbr\u003e\u003cbr\u003eEthan’s belief in (and commitment to) people and his  generosity in sharing information (which is STILL wielded as capital, as power even in radical or DIY communities) is remarkable and impressive and if this book presents a notion of the ‘fan’ it reveals its author to be a fan of people and their potential in a deep and true way.\u003cbr\u003e\u003cbr\u003e— RL Perry\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv grid-gutter=\"5\" grid-pad=\"2.5\" grid-row=\"\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eEthan Swan shares responsibility for the following projects: the record label Jabs, the bands Corpsekisser and Car Clutch, the blogs NBA Tattoos and ethanswan.blogspot.com, oral histories at Know-Wave.com, and the radio show Sign My Name In the Book. All of these projects are reliant on DIY networks and hopefully show their seams enough that they might act as rough blueprints for anyone interested in sharing similar ideas. He lives in San Pedro, California with his family.\u003c\/span\u003e\u003c\/div\u003e","brand":"TGIGIFFY","offers":[{"title":"Default Title","offer_id":48475293745487,"sku":"PK0679","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231866.jpg?v=1710517405"},{"product_id":"copy-of-ethan-swan-fix-the-mirrors","title":"Craig Pollard, Inside A Gleaming Feeling","description":"\u003cp\u003e\u003cspan\u003eA collection of conference papers, lectures and excerpts on music, art making and the internet by Newcastle based practitioner Craig Pollard.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eInside a Gleaming Feeling\u003c\/i\u003e\u003cspan\u003e is a slender collection of texts commodious in scope, constantly inhabiting the paradoxes and contradictions at which it points its compass, or - in the case of the metamodernist metaphor cited in the chapter \u003c\/span\u003e\u003ci\u003efor a while now, I’ve at least had a sense that whatever it is I am living is not something that is entirely resolved by the usual categories I have inherited -\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ethe pendulum oscillating between “innumerable poles”. Not with an exhausted drag from one portal, gate, debate, stage, screen or field to the next, but a delicate gathering force in dialogue with the present and its permutations. The texts gathered here enact an intersectional feminist praxis, a commitment to show all sides of this potent dodecahedron called ~culture. Craig’s is a goal not of placing this apart from that in binaried opposition, but tracing the threads and their interlopers, the ways in which they fold, crack and foreground “fissures of possibility”. Read its title \u003c\/span\u003e\u003ci\u003eInside a Gleaming Feeling\u003c\/i\u003e\u003cspan\u003e as its “feeling structure”, a phrase which by the author’s own confession made its first attempt at utterance as a line which never made it into a song, could not be smoothly patterned in, but poses a fitting fly poster to read this book with. To gleam is to “shine brightly, especially with reflected light” and so the question leans: how is it even possible to be \u003c\/span\u003e\u003ci\u003einside\u003c\/i\u003e\u003cspan\u003e a reflection, fleeting brief and shiny? This contradictive something at the tip of the tongue is the positive inarticulation of the hook or the hashtag, bobbing its head to the rhythm of “paradox as constitutive to contemporary experience.” \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e            — Jessica Higgins\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCraig Pollard is a music maker and artist based in Newcastle, UK. He is also an academic and part time lecturer, having completed a practice-led PhD about the politics of contemporary music making and creative practice in 2018. 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