{"title":"Books \u0026 Zines","description":"","products":[{"product_id":"magazine","title":"Journal 1: MAGAZINE","description":"MAGAZINE is the inaugural issue of Blank Forms’ journal, bringing together a combination of never-before published, lost, and new materials that supplement our live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art.\u003cbr\u003e\u003cbr\u003eFollowing “Let Freedom Fry”—a short statement by Joe McPhee drawing out the contemporary political climate in relation to his practice as a creative improviser—the magazine is bookended by four texts surrounding the practice of pioneering sound artist Maryanne Amacher; an essay by Bill Dietz on his collaborations with Amacher and his work with her archive; an unpublished 1988 interview highlighting Amacher’s ideas around her Long Distance Music and Mini Sound Series; a conversation between Marianne Schroeder, Stefan Tcherepnin, and Lawrence Kumpf revealing the archival questions raised by Amacher’s work; and science fiction writer Greg Bear’s short story Petra, a tale of gargoyles coming to life and breeding with humans in a post-apocalyptic Notre Dame, from which Amacher’s 1991 piece got its name.\u003cbr\u003e\u003cbr\u003eThis issue also includes Branden Joseph’s interview with The Dead C’s Bruce Russell, accompanied by Russell’s essay exploring the Situationist tradition of ‘mis-competence’ in New Zealand electronic music. Charles Curtis contributed notes on the interpretive challenges posed by a posthumous performance of Terry Jennings‘ minimalist classic Piece For Cello And Saxophone. Shelley Hirsch, Richard Skidmore, and Dennis Hermanson provide a series of writings on and remembrances of the late Ralston Farina, whose scarcely documented “visual poetry” was an important precursor to what we now call “performance.” And from her own 2016 performances at the Emily Harvey Foundation, Dawn Kasper supplies her original proposal document and score notes for an improvisational interpretation.\u003cbr\u003e\u003cbr\u003eMAGAZINE features two new French-translations: an excerpt from François Bonnet’s book of phenomenology, The Infra-World, translated by Robin Mackay, and a Christophe Broqua interview with enigmatic huntress of sounds Anne Gillis, translated by Adrian Rew. Ian Nagoski’s rare 1998 conversation with Éliane Radigue, conducted and largely ignored at a time when there was little interest in her music, provides one of the clearest overviews of the visionary composer’s early work and life. Supplementing the texts are numerous archival photos and documents, plus “Dark Matters,” a poem by Joe McPhee.\u003cbr\u003e\u003cbr\u003eEdited by Lawrence Kumpf and Joe Bucciero with contributions by Greg Bear, François Bonnet, Bill Dietz, Dennis Hermanson, Shelley Hirsch, Branden W. Joseph, Dawn Kasper, Joe McPhee, Ian Nagoski, Adrian Rew, Bruce Russell, and Richard C. Skidmore\u003cbr\u003e\u003cbr\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":38340302034,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blankforms-magazine-ctrlmod.png?v=1574353241"},{"product_id":"blank-forms-music-from-the-world-tomorrow","title":"Journal 2: Music from the World Tomorrow","description":"\u003cp\u003eIn vol. 2 of Blank Forms Journal, Maryanne Amacher remains a focal point, with three pieces related to our work with the pioneering sound artist’s archive. The late polymath avant-garde artist Tony Conrad is represented twice, through a selection of handwritten notes and a new transcription of a 1989 phone interview with Alan Licht. Music from the World Tomorrow includes contributions by Marcus Boon, Catherine Christer Hennix, Patty Waters, Larry J Nai, Limpe Fuchs and Zoro Babel, Akio Suzuki, Amy Cimini, Scott Fisher, Olaf Stapledon, Andrew Lampert, Klaus Lang, Tashi Wada, Dafne Vicente-Sandoval, John Corbett, Annea Lockwood, Crys Cole, Matana Roberts, and Kan Mikami (translated by David Hopkins). Edited by Lawrence Kumpf and Joe Bucciero.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":12531766198331,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blank-forms-02-ctrlmod.png?v=1574353242"},{"product_id":"broken-music","title":"Broken Music","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\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\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","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":17417406578747,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/1---Cover.png?v=1574351804"},{"product_id":"journal-3-freedom-is-around-the-corner","title":"Journal 3: Freedom is Around the Corner","description":"Edited by Lawrence Kumpf with Joe Bucciero and Mark Harwood. Contributors include Henning Christiansen, Thomas Groetz, Diedrich Diederichsen, Dick Higgins, Lars Morell, Per Kirkeby, Bjørn Nørgaard, Helmer Nørgaard, Thorbjørn Reuter Christiansen, Anton Lukoszevieze, Hans-Jørgen Nielsen, Michael Glasmeier, Ute Wasser- mann, Stíne Janvin Motland, Mark Harwood, Lucy Railton, Graham Lambkin, Áine O’Dwyer, Lia Mazzari, Ursula Reuter Christiansen, Francesco Conz, and Emily Harvey.\u003cbr\u003e\u003cbr\u003eThe third issue of Blank Forms’ journal is released in conjunction with Freedom is Around the Corner, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist Henning Christiansen (1932–2008).\u003cbr\u003e\u003cbr\u003ePerhaps best known for his collaborations and artistic affinities with notable artists such as Joseph Beuys and Fluxus members like Nam June Paik and Dick Higgins, Christiansen, who worked primarily on the remote Danish island of Møn, moved beyond his Fluxus roots to create a vast, often ineffable body of work that spanned music, performance, film, and visual art over the course of a fifty-year career. Yet Christiansen’s work has remained under the radar, even in the ten years following his death: only a few of his recordings were available until recently, and his prolific compositional and visual outputs have rarely been performed or exhibited in the United States. Freedom is Around the Corner—the exhibition, the performance series, and the journal—seek to present Christiansen’s life and work in a holistic manner that befits his dynamic practice.\u003cbr\u003e\u003cbr\u003eLike previous issues of the Blank Forms journal, Freedom is Around the Corner collects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christian- sen Archive during the exhibition’s curatorial process. The issue begins with the first of four newly translated interviews with Christiansen himself, conducted circa 2006 by the German writer Thomas Groetz. Two others, conducted by Francesco Conz and Michael Glasmeier in the 1990s, come later in the issue; together these three interviews, which had only existed as audio recordings before, offer a well-rounded picture of the late-career Christiansen through his own, good-humored lens.\u003cbr\u003e\u003cbr\u003eThe fourth interview, a more experimental text conducted by Helmer Nørgaard, was originally published in Danish in the magazine DMT, in a 1986\/87 issue devoted to Christiansen. In this issue we’ve created a translated facsimile of that DMT issue, which also featured texts on Christiansen by his prominent Danish collaborators, the writer Lars Morell and the artists Per Kirkeby and Bjørn Nørgaard. We hear from other Christiansen collaborators through correspondence—including in transcribed letters from Emily Harvey and Dick Higgins, whose messages to and from Christiansen were recently discovered in the Archive—and through interviews, including newly conducted interviews with his wife and longtime collaborator, Ursula Reuter Christiansen; Bjorn Nørgaard, who spoke with Christiansen’s son Thorbjørn Reuter Christiansen; and later musical collaborators Werner Durand and Ute Wassermann.\u003cbr\u003e\u003cbr\u003eExcept Nørgaard, these collaborators will all speak or perform as part of the Freedom is Around the Corner programming; a section of this issue features many of the other performers as well, younger artists who have grappled with Christiansen’s legacy. Represented through interviews (Lucy Railton), original artworks (Graham Lambkin, Áine O’Dwyer, Stíne Janvin), and essays (Mark Harwood, Anton Lukoszevieze of Apartment House), these artists demonstrate the lasting and diverse impact of Christian- sen’s work on today’s musical landscape. Lukoszevieze’s essay introduces a newly translated libretto for Dejligt vejr i dag, n’est-ce pas, Ibsen, a 1964 opera with music by Christiansen and libretto by Hans-Jørgen Nielsen which Apartment House, commissioned by Blank Forms, will perform twice during the run of the exhibition.\u003cbr\u003e\u003cbr\u003eTaken together—and even more, in conjunction with the exhibition and performances—the texts in this journal provide an in-depth look, previously unavailable, especially in the United States, at a tower-\u003cbr\u003eing but overlooked figure in the postwar musical as well as artistic avant-garde. Support for Freedom is Around the Corner comes from the Nordic Culture Point, the Nordic Culture Fund, Snyk, the Danish Arts Foundation, the Royal Norwegian Consulate, Goethe-Institut, the Danish Consulate General, Music Norway, and Ultima Contempo- rary Music Festival.","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":18593853014075,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blankforms-hening-1.png?v=1574353243"},{"product_id":"just-another-asshole-6-various-artist","title":"Just Another Asshole #6 Various Artist","description":"\u003cp\u003eJust Another Asshole was an influential and now-legendary mixed-media publication series edited by Barbara Ess from 1978 to 1987. The submission process was open and collaborative, and each issue was produced in a different format (e.g., limited-edition zine by Ess, tabloid-sized graphic arts magazine, 4 pages in an issue of Artforum, photography book, LP record album, paperback book). Several were edited with Jane Sherry or Glenn Branca. Issue 6 of the magazine, co-edited with Branca, was published in the form of a pulp paperback book with writings by sixty-one artists from the early-80s downtown scene. It includes short stories, performance transcripts, aphorisms, plays, monologues, screenplays, and essays that offer a window into the gritty and dynamic culture of New York City before gentrification pushed the underground out of Lower Manhattan.\u003cbr\u003e\u003cbr\u003eContributors include Kathy Acker, Lindsay Amos, Constance Ash, Josh Baer, Barbara Barg, Judith Barry, Nan Becker, Eric Bogosian, Glenn Branca, Brian Buczak, Mitch Corber, Peter Cummings, Margaret De Wys, Bradley Eros, Barbara Ess, Richard Fantina, Dorothea Franck, Matthew Geller, Michael Gira, Jack Goldstein, Dan Graham, Rudolph Grey, Sue Hanel, Jenny Holzer, Peggy Katz, Barbara Kruger, Beth Lapides, Joe Lewis, Amanda Linn, Carla Liss, Meredith Lund, Matthew Maguire, Aline Psyche Mare, Sam Marshall Harvey, Alan Moore, Richard Morrison, Cookie Mueller, Peter Nadin, Joseph Nechvatal, Richard Prince, Lee Ranaldo, David Rattray, Mike Roddy, David Rosenbloom, Ann Rower, Arleen Schloss, Jane Sherry, Kiki Smith, Michael Smith, Jim Sutcliffe, Fiona Templeton, Wharton Tiers, Lynne Tillman, Anne Turyn, Gail Vachon, S.Weisser, Sally A. White, Reese Williams, Martha Wilson, Stephan Wischerth, David Wojnarowicz, and Linda Yablonsky.\u003cbr\u003e\u003cbr\u003eBarbara Ess is an artist living and working in New York City and upstate New York. She uses photography, video, and sound to make her work, which has been shown widely in the United States and Europe. She is an Associate Professor of Photography at Bard College.\u003cbr\u003e\u003cbr\u003eGlenn Branca was a composer whose work included music for experimental rock bands, large ensemble instrumentals for electric guitars, symphonies for both electric instrumentation and acoustic orchestras, chamber ensemble pieces, an opera, a ballet, choral works, and music for film, dance, theater, and art installations. He was an early pioneer of the no wave punk scene that emerged in downtown New York in the late ’70s.\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":19065238978614,"sku":"","price":14.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/barbara-ess-just-another-asshole-ctrlmod.png?v=1574353246"},{"product_id":"spectres-composer-l-ecoute-composing-listening","title":"Spectres: Composer l’écoute \/ Composing listening","description":"\u003cp\u003eWITH TEXTS BY \/ AVEC DES TEXTES DE\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eFélicia Atkinson, François Bayle, François J. Bonnet, Drew Daniel, Brunhild Ferrari, Beatriz Ferreyra, Stephen O’Malley, Jim O’Rourke, Eliane Radigue, Régis Renouard Larivière, Espen Sommer Eide, Daniel Teruggi, Chris Watson\u003cbr\u003e\u003cbr\u003eThis book has been conceived as both a prism and a manual. Following the “traditional” arc of electroacoustic composition (listen—record—compose—deploy—feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation.\u003cbr\u003e\u003cbr\u003eAlthough the term “experimental music” may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.\u003cbr\u003e\u003cbr\u003eCONTENTS \/ SOMMAIRE\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChris Watson - Recording \/ Enregister\u003c\/li\u003e\n\u003cli\u003eBrunhild Ferrari - The Microphone’s Gaze \/ Le regard du microphone\u003c\/li\u003e\n\u003cli\u003eEspen Sommer Eide - Exercises in Non-Human Listening \/ Exercices d’écoute non-humaine\u003c\/li\u003e\n\u003cli\u003eBeatriz Ferreyra - Perceive, Feel, Hear… \/ Percevoir, ressentir, écouter…\u003c\/li\u003e\n\u003cli\u003eDrew Daniel - Towards a Heterology of Sound: on Bataille and Musique Concrète \/ Vers une hétérologie de son : à propos de Bataille et de la musique concrète\u003c\/li\u003e\n\u003cli\u003eEliane Radigue - Time Is of No Importance \/ Le temps n’a pas d’importance\u003c\/li\u003e\n\u003cli\u003eStephen O’Malley - Sound Matters \/ Sons élémentaires\u003c\/li\u003e\n\u003cli\u003eFrançois J. Bonnet - Underneath Listening \/ En deçà de l’écoute\u003c\/li\u003e\n\u003cli\u003eJim O’Rourke - Chair and Table \/ Une chaise et une table\u003c\/li\u003e\n\u003cli\u003eRégis Renouard Larivière - Acousmatic Recreations \/ Récréations acousmatiques\u003c\/li\u003e\n\u003cli\u003eDaniel Teruggi - Spaces of Mind \/ Les espaces de l’esprit\u003c\/li\u003e\n\u003cli\u003eFélicia Atkinson - On the Patio: The Voice, Doubt, Perspective and Immersion \/ Dans le patio : la voix, le doute, la perspective et l’immersion\u003c\/li\u003e\n\u003cli\u003eFrançois Bayle - Space in Question \/ L’espace en question\u003c\/li\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/ol\u003e\n\u003cp\u003ePublished with the support of INA GRM.\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Default Title","offer_id":19562843177014,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/shelter-press-spectres-ctrlmod.png?v=1574354999"},{"product_id":"womens-work","title":"Womens Work","description":"Originally published in the mid-1970s, Womens Work was a magazine that sought to highlight the overlooked work of female artists working at the cusp of the visual arts, music, and performance. The magazine was edited by Alison Knowles and Annea Lockwood and featured text-based and instructional performance scores by the following 25 artists, composers, and choreographers:\u003cbr\u003e\u003cbr\u003eBeth Anderon, Ruth Anderson, Jacki Apple, Barbara Benary, Sari Dienes, Nye Ffarrabas (participating as Bici Forbes), Simone Forti, Wendy Greenberg, Heidi Von Gunden, Françoise Janicot, Alison Knowles, Christina Kubisch, Carol Law, Annea Lockwood (also included as Anna Lockwood), Mary Lucier, Lisa Mikulchik, Ann Noël (included as Ann Williams), Pauline Oliveros, Takako Saito, Carolee Schneemann, Mieko Shiomi, Elaine Summers, Carole Weber, Julie Winter, and Marilyn Wood.\u003cbr\u003e\u003cbr\u003eThe magazine was designed by Alison Knowles, who deliberately chose off-white paper and brown inks as a contrast to the sterile, white-paged publications prevalent at the time. The works contained in the magazine range in scope and take on a multitude of forms, employing both typed and written text, often with visual elements such as diagrams, drawings, and photographic images. The editors were and remain adamant that the work should be performed; that they not remain static as an artifact.\u003cbr\u003e\u003cbr\u003eWe wanted to publish work which other people could pick up and do: that aspect of it was really important…this was not anecdotal, this was not archival material, it was live material. You look at a score, you do it.\u003cbr\u003e\u003cbr\u003e – Annea Lockwood\u003cbr\u003e\u003cbr\u003eThe first issue, published in 1975, took the form of a saddle-stitched magazine and the second, published in 1978, took the form of a fold-out poster. This facsimile edition reproduces both and houses them in a custom self-folding box. Womens Work is produced in an edition of 1,500 and retails for $24.00.\u003cbr\u003e\u003cbr\u003eAlison Knowles (b. 1933) is a conceptual artist known for intermedia works in text, graphics, sound, installations, transvironments, performances, paperworks and publishing. She is a founding member of Fluxus, the experimental avant-garde group formally launched in 1962. Her most recent retrospective was at the Carnegie Museum of Art in 2016. In 2019 she debuted in Havana, Cuba.\u003cbr\u003e\u003cbr\u003eAnnea Lockwood (b. 1939) is an artist and composer whose lifelong fascination with timbre and new sound sources is reflected in her multidisciplinary work, which has incorporated chamber music, performance, electronic and environmental sound, and visual art. Recent works include commissions for the Bang on a Can All-Stars, Thomas Buckner and the S.E.M. Ensemble, and the Merce Cunningham Dance Company. She is a recipient of the 2007 Henry Cowell Award.\u003cbr\u003e\u003cbr\u003e8.5 x 9 inches\u003cbr\u003eMagazine and Poster\u003cbr\u003eEdition of 1500\u003cbr\u003eMay 2019","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":20628288176182,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/womenwork-1-ctrlmod.png?v=1571272720"},{"product_id":"journal-4-intelligent-life","title":"Journal 4: Intelligent Life","description":"Edited by Lawrence Kumpf. Contributors and featured artists include Onyx Ashanti, Amy Cimini, Marcia Douglas, Kazuo Imai, Werner Durand, Peter Gente, Heidi Paris, Robert Ashley, “Blue” Gene Tyranny, Spencer Gerhardt, Adrian Rew, Paul Cummings, and Walter De Maria.\u003cbr\u003e\u003cbr\u003eTaking its name from Maryanne Amacher’s visionary, unrealized opera, the fourth issue of Blank Forms’ journal, Intelligent Life, features a select group of unpublished, newly translated, or otherwise rare texts that augment our organization’s concerts, publications, exhibitions, and archival initiatives. The issue opens with a short literary essay by the author Marcia Douglas, in which a deep bass riddim guides a deaf narrator and a reincarnated Bob Marley through important sites in Rastafarianism’s development. Next come two interviews with crucial (though very different) figures in postwar avant-garde music: the Japanese guitarist Kazuo Imai and the American composer Robert Ashley, along with pianist and frequent collaborator “Blue” Gene Tyranny. The previously unpublished interview with Imai was conducted by Blank Forms’ Editor and Artistic Director Lawrence Kumpf during Imai’s first trip to the United States, in 2018, and finds the artist reflecting on recent work with the collective Marginal Consort as well as his foundational experiences playing with two other titans of Japanese experimentalism, Takehisa Kosugi and Masayuki Takayanagi. The interview with Ashley and “Blue” Gene, meanwhile, first published in German in 1984 on the occasion of a staging of Ashley’s opera Atalanta, was translated for the first time into English for this publication.\u003cbr\u003e\u003cbr\u003eIntelligent Life continues with a series of longer pieces showcasing a diverse set of complex practices and histories, beginning with that of Detroit-based artist Onyx Ashanti. Onyx contributes his own Octavia Butler-referencing “sonocybernetic manifesto,” first published online in 2016, which exists simultaneously as theoretical treatise, memoir, and practical guide to his idiosyncratic technology-based practice. The manifesto is bolstered in this issue by a rare and extensive interview, conducted by Blank Forms’ Curatorial Assistant Adrian Rew in 2018. Following this exploration of Onyx’s life and work, the issue dives deeper into mathematics, with a comprehensive essay on Catherine Christer Hennix’s engagement with intuitionism and other esoteric approaches to math, written by the mathematician and musician Spencer Gerhardt. Gerhardt’s lucid, previously unpublished essay serves as a necessary complement to Blank Forms Editions’ forthcoming collection of Hennix’s abstruse, mostly unpublished body of writing, Poësy Matters and Other Matters.\u003cbr\u003e\u003cbr\u003eThe issue continues with a sort of titular essay, a rich analysis of Amacher’s Intelligent Life—the first such piece on this work—by Amacher scholar Amy Cimini. An incredibly prescient work that sought to upend any remaining vestiges of traditional operatic form and staging, Intelligent Life tells the story, set in 2021, of employees at Supreme Connections LLC, a futurist sonic entertainment corporation that formed following the collapse of a failed algorithmic music recommendation service. Cimini traces the technical and theoretical innovations with which Amacher imbued the work, situating it amid a detailed explication of Amacher’s still-overlooked practice. Intelligent Life—the journal issue—then concludes with a lengthy interview with the artist Walter De Maria. One of the few interviews De Maria gave in his lifetime, this one, created for the Archives of American Art in 1972, sheds significant light on De Maria’s early intellectual and artistic development as well as his work as a musician. Although he largely stopped playing music by 1970, and although few recordings of his efforts exist, De Maria played alongside musicians ranging from Lou Reed to Don Cherry to Henry Flynt, establishing himself early on as a force in jazz and avant-garde circles in both the Bay Area and New York City.\u003cbr\u003e\u003cbr\u003eTaken together, the texts compiled here present a kaleidoscopic view of the last fifty years of experimental art and music in the United States and beyond, mining the conceptual, technical, historical, or otherwise marginal details undergirding artists’ lives, ideas, and approaches that may otherwise remain buried.","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":20906632544310,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blankforms-number4-1.png?v=1574353244"},{"product_id":"joseph-jarman-black-case-volume-i-and-ii-return-from-exile","title":"Joseph Jarman: Black Case Volume I and II: Return From Exile","description":"With a new preface by Thulani Davis and an introduction by Brent Hayes Edwards \u003cbr\u003e\u003cbr\u003e142 pages\u003cbr\u003e\u003cbr\u003e8.25 x 6.75 inches\u003cbr\u003e\u003cbr\u003ePaperback, perfect bound edition of 2,000\u003cbr\u003e\u003cbr\u003eJoseph Jarman (1937 - 2019) was a saxophonist and multi-instrumentalist best known as a founding member of trailblazing avant-garde jazz group Art Ensemble of Chicago. Jarman was responsible for the Art Ensemble’s signature face paint and elaborate costumes as well as the pioneering theatrical and multimedia elements of their shamanistic performances, which could include dance, comedy, performance art, surreal pranks, and—notably—the recitation of Jarman’s poetry.\u003cbr\u003e\u003cbr\u003eIn 1977, Art Ensemble of Chicago Publishing Co. published Jarman’s Black Case Volume I and II: Return From Exile, a collection of writing conceived across America and Europe between 1960 and 1975. Comprised largely of Jarman’s flowing, fiery free verse—influenced by Amus Mor, Henry Dumas, Thulani Davis, and Amiri Baraka—the book also features a manifesto for “GREAT BLACK MUSIC,” notated songs, concert program notes, Jarman’s photos, and impressions of a play by Muhal Richard Abrams, the founder of the Association for the Advancement of Creative Musicians of which Jarman was also an original member. Jarman writes poetry of personal revolutionary intent, aimed at routing his audience’s consciousness towards growth and communication. He speaks with compassionate urgency of the struggles of growing up on Chicago’s South Side, of racist police brutality and profound urban alienation, and of the responsibility he feels as a creative artist to nurture beauty and community through the heliocentric music that he considers the healing force of the universe. A practicing Buddhist and proponent of Aikido since a 1958 awakening saved him from the traumatic mental isolation of his time dropped by the US army into southeast Asia, Jarman sings praise for the self-awareness realization possible through the martial arts. With cosmic breath as its leitmotif, his poetry both encourages and embodies a complete relinquishing of ego. While some of the poems contained within Black Case have already been immortalized via performances on classic records by Jarman and Art Ensemble of Chicago, its republication in print form breathes new life into a forgotten document of the Black Arts Movement.\u003cbr\u003e\u003cbr\u003e“Joseph Jarman, a musician of rare poetic gifts, was also a remarkable poet. Black Case, a lost treasure of the Black Arts Movement, combines protest against injustice with heart-breaking introspection and fierce commitment to the Great Black Music tradition to which Jarman contributed with gentle yet mighty force.”\u003cbr\u003e\u003cbr\u003e—Adam Shatz\u003cbr\u003e\u003cbr\u003e“Joseph’s recitation of ‘Non-Cognitive Aspects of the City’ (from Black Case) moved me to set the words of this poem for Baritone Voice and Orchestra and became part of the Art Ensemble of Chicago’s standard repertoire. Joseph had a bold and passionate creative spirit. I feel privileged to have shared the stage with him.”\u003cbr\u003e\u003cbr\u003e—Roscoe Mitchell\u003cbr\u003e\u003cbr\u003e\"'Though in reality all the words are music themselves' is the reality to which all poetry aspires, whether in verse or prose, theory or story, criticism or craft. Joseph Jarman always knew that for black musicians, which is to say black speakers, exile is our public holiday. We live through that. We live through that. Black Case is all and everything in this regard. 'Whats to say,' he says, is that 'we sing because\/we love you\/because we\/love you\/because\/we love\/you.' We are loved beyond judgment by the music, he says, and we say thanks.\"\u003cbr\u003e\u003cbr\u003e—Fred Moten","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":31426540830774,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/jeffjarman-1-ctrlmod.png?v=1575929437"},{"product_id":"loren-connors-autumns-sun","title":"Loren Connors: Autumn's Sun","description":"With an introduction by Lawrence Kumpf\u003cbr\u003e\u003cbr\u003e82 pages\u003cbr\u003e\u003cbr\u003e5 x 7.5 inches\u003cbr\u003e\u003cbr\u003ePaperback Edition of 1,000\u003cbr\u003e\u003cbr\u003eOne of the world’s most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, and Kim Gordon.\u003cbr\u003e\u003cbr\u003eIn the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, “The Dancing Ear,” published in the Haiku Society of America’s journal. It was during this period that Connors penned the material that appears in Autumn’s Sun, a chapbook first published by Thurston Moore and Byron Coley’s Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his ‘Mazzacane’ moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son’s. Like his music, Autumn’s Sun is tender without being sentimental, conjuring those rare, delicate moments when time stands still.\u003cbr\u003e\u003cbr\u003eThis edition includes “The Dancing Ear” and an introduction by Lawrence Kumpf.\u003cbr\u003e\u003cbr\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":31426546237494,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/loren-1-ctrlmod.png?v=1575929554"},{"product_id":"stockhausen-serves-imperialism","title":"Stockhausen Serves Imperialism","description":"The American composer and writer John Cage, born 1912, and the German composer Karlheinz Stockhausen, born 1928, have emerged as the leading figures of the bourgeois musical avant-garde. They are ripe for criticism. The grounds for launching an attack against them are twofold: first to isolate them from their respective schools and thus release a number of younger composers from their domination and encourage these to turn their attention to the problems of serving the working people, and second, to puncture the illusion that the bourgeoisie is still capable of producing “geniuses.” —Cornelius Cardew\u003cbr\u003e\u003cbr\u003eOriginally published in 1974, Stockhausen Serves Imperialism is a collection of essays by the English composer Cornelius Cardew that provides a Marxist critique of two of the more revered avant-garde composers of the post-war era: Karlheinz Stockhausen and John Cage. A former assistant to Stockhausen and a champion of Cage in England, Cardew provides a cutting rebuke of the composers’ works and ideological positions, which he saw as reinforcing an imperialist order rather than spotlighting and serving the struggles of the working class.\u003cbr\u003e\u003cbr\u003eThe author also provides constructive criticism of his contemporaries Christian Wolff and Frederic Rzewski for utilizing politically progressive content, yet failing to work in a musical form that would appeal to the proletariat. Cardew’s music does not escape his own scrutiny: the book contains critiques and repudiations of his canonical compositions from the 1960s and early 1970s, Treatise and The Great Learning. Complimenting Cardew’s essays are writings by Rod Eley, who contributes “A History of the Scratch Orchestra,” and John Tilbury, who contributes an “Introduction to Cage’s Music of Changes.”\u003cbr\u003e\u003cbr\u003eStockhausen Serves Imperialism was initially published in a single edition by Latimer New Dimensions in 1974 and this edition is the first time the book has been published in its original form since.\u003cbr\u003e\u003cbr\u003eCornelius Cardew was an English composer and musician. He became well known in the 1960s for his experimental music and as a proponent in the United Kingdom of avant-garde composers such as John Cage, Morton Feldman, and La Monte Young. He was one of the founders of the Scratch Orchestra and an early member of the free improvisational group AMM. Several of his works from this period are considered hallmarks of post-war experimental music. In the early 1970s, Cardew abandoned avant-garde music and devoted his work to the people’s struggle, becoming more directly involved in left-wing activism. His music from this period took the form of class-conscious folksongs that prioritized drawing attention to social issues over formal innovation. Cardew maintained a critical cultural stance throughout his life, later going on to denounce David Bowie and punk rock as fascist. He took an active role in progressive politics as a co-founder of the Central Committee of the Revolutionary Communist Part of Britain. He was killed in a hit-and-run accident in 1981 under circumstances that many consider mysterious.","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":31825859018806,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/stockhausen.png?v=1584042505"},{"product_id":"waveform-magazine-issue-3","title":"Waveform Magazine Issue #3","description":"\u003cp\u003eWaveform Magazine Issue #3. Interviews with Animal Factory, KOMA Elektronik, Michael Lehman Boddicker, and Żłób Modular. Gear reviews, music reviews, DIY projects, more.\u003c\/p\u003e\n\u003cp\u003e68 pages full color. WHILE SUPPLIES LAST.\u003c\/p\u003e","brand":"Waveform Magazine","offers":[{"title":"Default Title","offer_id":31843919200310,"sku":"","price":9.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/Waveform-Issue-3.png?v=1584471082"},{"product_id":"spectres-2-resonances","title":"Spectres 2: Resonances","description":"\u003cp\u003eSpectres 2: Resonances, with text by authors:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMaryanne Amacher, \u003c\/span\u003e\u003cspan\u003eChris Corsano, \u003c\/span\u003e\u003cspan\u003eEllen Fullman, \u003c\/span\u003e\u003cspan\u003eChristina Kubisch, \u003c\/span\u003e\u003cspan\u003eOkkyung Lee\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePali Meursault, \u003c\/span\u003e\u003cspan\u003eJean-Luc Nancy, \u003c\/span\u003e\u003cspan\u003eDavid Rosenboom, \u003c\/span\u003e\u003cspan\u003eTomoko Sauvage,\u003c\/span\u003e\u003cspan\u003eThe Caretaker, \u003c\/span\u003e\u003cspan\u003eDavid Toop, \u003c\/span\u003e\u003cspan\u003eChristian Zanési\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eTo resonate: re-sonare. To sound again—with the immediate implication of a doubling. Sound and its double: sent back to us, reflected by surfaces, diffracted by edges and corners. Sound amplified, swathed in an acoustics that transforms it. Sound enhanced by its passing through a certain site, a certain milieu. Sound propagated, reaching out into the distance. But to resonate is also to vibrate with sound, in unison, in synchronous oscillation. To marry with its shape, amplifying a common destiny. To join forces with it. And then again, to resonate is to remember, to evoke the past and to bring it back. Or to plunge into the spectrum of sound, to shape it around a certain frequency, to bring out sonic or electric peaks from the becoming of signals.\u003cbr\u003e\u003cbr\u003eResonance embraces a multitude of different meanings. Or rather, remaining always identical, it is actualised in a wide range of different phenomena and circumstances. Such is the multitude of resonances evoked in the pages below: a multitude of occurrences, events, sensations, and feelings that intertwine and welcome one other. Everyone may have their own history, everyone may resonate in their own way, and yet we must all, in order to experience resonance at a given moment, be ready to welcome it. The welcoming of what is other, whether an abstract outside or on the contrary an incarnate otherness ready to resonate in turn, is a condition of resonance. This idea of the welcome is found throughout the texts that follow, opening up the human dimension of resonance, a dimension essential to all creativity and to any exchange, any community of mind. Which means that resonance here is also understood as being, already, an act of paying attention, i.e. a listening, an exchange.\u003cbr\u003e\u003cbr\u003eAddressing one or other of the forms that this idea of resonating can take on (extending—evoking—reverberating—revealing—transmitting), each of the contributions brought together in this volume reveals to us a personal aspect, a fragment of the enthralling territory of sonic and musical experimentation, a territory upon which resonance may unfold.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe book has been designed as a prism and as a manual. May it in turn find a unique and profound resonance in each and every reader.\u003cbr\u003e \u003cbr\u003e— The Editors\u003c\/p\u003e","brand":"Shelter Press","offers":[{"title":"Default Title","offer_id":32685070680118,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/shelterpress-spectres-1-ctrlmod.png?v=1598369497"},{"product_id":"blankforms-maryanne-amacher-selected-writings-interviews-hardcover","title":"Maryanne Amacher: Selected Writings \u0026 Interviews (Hardcover)","description":"The life and work of Maryanne Amacher are as vast as they are little known. In this volume, Amy Cimini and Bill Dietz offer a heterodox and idiosyncratic selection of largely unpublished documents spanning the breadth of the papers included in the Amacher Collection. The chronologically grouped documents, ranging from private writings and letters to program notes, manifestos, and proposals for unrealized projects, are framed by interviews in which Amacher discusses corresponding periods of her life. This structure leads readers carefully into the composer’s musical thought as it develops and transforms over time, while working strenuously against the definitiveness associated with “collected” writings. This study of a still-unfolding body of work approaches its materials as provisional, promissory and open-ended. Here, Cimini and Dietz have compiled a volume full of staggeringly rich primary documents, while probing the issue of what it means to assemble these materials while the question “who was Maryanne Amacher?” remains so open. This collection invites the reader to answer.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBecause Amacher worked across nearly every imaginable media format, this book will be be of interest to theorists and practitioners of urban design, contemporary art history, media and communications, music and sound studies, film, radio, art criticism, and performance studies—in short, a configuration of disciplines that we might call an Intermedial Humanities. At the same time, this collection challenges any area of music, sound, or media studies that might be remade through the recovery of understudied figures. This volume is about doing things a different way. It is organized to foreground Amacher’s voices and soundworlds so that—whatever future musical and social constellations might join the ongoing excavation of this practice—readers can experience her work in, and through, her own words.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt the time of this writing, the Maryanne Amacher Collection is currently being processed at the New York Public Library, stewarded by Blank Forms and the Maryanne Amacher Foundation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMaryanne Amacher (1938 – 2009) was a composer of large-scale, fixed-duration sound installations, and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is regarded as a pioneer of what has come to be called “sound art,” although her thought and creative practice consistently challenged key assumptions about the capacities and limitations of that genre. Often considered in light of post-Cagean art practices, her work anticipated some of the most important developments in network culture, media arts, acoustic ecology, and sound studies.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBill Dietz is a composer, writer and co-chair of Music\/ Sound in the Bard MFA program.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAmy Cimini is a musicologist, violist and Assistant Professor of Music at UC San Diego. Her first book, Wild Sound: Maryanne Amacher and the Tenses of Audible Life, is forthcoming in Spring 2021 with Oxford University Press.","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":33057722728502,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blank-forms-amacher-1-ctrlmod.png?v=1611089381"},{"product_id":"blankforms-thulani-davis-nothing-but-the-music","title":"Thulani Davis: Nothing But The Music","description":"5 x 7.5 inches, paperback, 63 pages.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe sounds of late ’70s and ’80s east coast avant-garde jazz, soul, and punk rock are well documented, but in Nothing but the Music Thulani Davis gives us something beyond, delivering a collection of synesthetic, transportive documentary poems that breathe anecdotal and impressionistic life into a sonic-social history about which most can only speculate. Davis’ verse takes free flight with its muses, scatting and leaping off the page and the shoulders of the musicians, nightclubs, and choreographers she chronicles in these poems. Her odes both to recorded music and its sacred spaces of spirited encounter are at once a paean to ephemeral flashes of embodied experience and a work of preservation. Davis remembers to remember the raw feelings, smoke, dawn drunks, and impulsive energy of her moment, without forgetting its inscription into a broader political urgency. Written between 1974 and 1992, these poems are the most anthologized pieces of Davis’ work, having appeared in numerous collections of writing on black music, here finally assembled for the first time. Nothing but the Music is further proof of Davis’ place as a crucial figure, alongside poets Jayne Cortez, Sonia Sanchez, and Ntozake Shange, in the cultural landscape surrounding the Black Arts Movement.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFeatured musicians and dancers include Cecil Taylor, the Art Ensemble of Chicago, Bad Brains, Henry Threadgill, Thelonious Monk, The Revolutionary Ensemble, The Commodores, MFSB, Dianne McIntyre, Ishmael Houston-Jones, and many more in performances at historic venues such as The Five Spot, The Village Vanguard, The Apollo, Storyville, and Club Harlem.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith a foreword by Jessica Hagedorn and an introduction by Tobi Haslett.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThulani Davis (b. 1949) is an interdisciplinary artist and scholar whose work includes works of poetry, theater, journalism, history, and film. Her engagement with African American life, culture, and history is distinguished by poetic economy, passionate musicality, and an investigative concern for justice. While a student at Barnard College, the Virginia native was “schooled” for her first spoken word performance by Gylan Kain and Felipe Luciano of the Original Last Poets, jumpstarting a life of performance that would have her put words to music by Cecil Taylor, Joseph Jarman, Juju, Arthur Blythe, Miya Masaoka, David Murray, Henry Threadgill, Tania León, and others. Living in San Francisco in the ‘70s, she joined the Third World Artists Collective, collaborated with Ntozake Shange, and worked for the San Francisco Sun-Reporter, reporting on stories such as the Soledad Brothers trial and the Angela Davis case before returning to New York and continuing to incite radical political thought as a reporter and critic for the Village Voice for over a decade. This experience as a journalist blazes through her historical fiction and her other writing, breathing anecdotal life into the experiences of actors of American history who have remained unnamed as a result of bondage and other unjust erasures. Davis has collaborated with her cousin, composer Anthony Davis, writing the libretti for the operas X, The Life and Times of Malcolm X and Amistad, and wrote the scripts for the films Paid in Full and Maker of Saints, as well as several award-winning PBS documentaries. In 1993, her writing for Aretha Franklin’s Queen of Soul – The Atlantic Recordings made her the first woman to win a Grammy for liner notes, and her bibliography additionally includes My Confederate Kinfolk, novels 1959 and Maker of Saints, and several works of poetry. She is an ordained Buddhist priest in the Jodo Shinshu sect, founded the Brooklyn Buddhist Association with her husband Joseph Jarman, and is currently an Assistant Professor in the Department of Afro-American Studies and a Nellie Y. McKay Fellow at the University of Wisconsin. Davis continues to explore the relationship between music and language as well as the ways we define being American and deal with race with her forthcoming book The Emancipation Circuit: Black Activism Forging a Culture of Freedom (Duke University Press) and poetry collection Nothing but the Music: Documentaries from Nightclubs, Lofts, Dance Halls \u0026amp; A Tailor’s Shop in Dakar (Blank Forms Editions).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePoet, novelist, playwright, and performer Jessica Hagedorn was born and raised in the Philippines and came to the United States in her early teens. She is the editor of numerous anthologies and author of several books including Dogeaters, winner of the American Book Award and a finalist for the National Book Award. In the seventies and early eighties, she collaborated with Thulani Davis on multimedia performance pieces presented at downtown venues such as The Public Theater and The Kitchen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCritic and essayist Tobi Haslett has written about art, film, and literature for n+1, the New Yorker, Artforum, the Village Voice, and elsewhere.","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":33057731575862,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blank-forms-davis-1-ctrlmod.png?v=1611089681"},{"product_id":"blank-forms-journal-6-organic-music-societies","title":"Journal 6: Organic Music Societies (Paperback)","description":"\u003cp\u003eEdited by Lawrence Kumpf with Naima Karlsson and Magnus Nygren. Introduction by Lawrence Kumpf and Magnus Nygren. Text by Keith Knox, Rita Knox, Bengt af Klintberg, Iris R. Orton, Åke Holmquist, Pandit Pran Nath, John Esam, Michael Lindfield, Sidsel Paaske, George Trolin, Alan Halkyard, Moki Cherry, Don Cherry, Ben Young, Christer Bothén, Ruba Katrib, and Fumi Okiji. Interviews by Keith Knox and Rita Knox with Don Cherry, Terry Riley, and Steve Roney.\u003c\/p\u003e\n\u003cp\u003eAvant-garde jazz trumpeter Don Cherry and textile artist Moki Cherry (née Karlsson) met in Sweden in the late sixties. They began to live and perform together, dubbing their mix of communal art, social and environmentalist activism, children’s education, and pan-ethnic expression “Organic Music.” Organic Music Societies, Blank Forms’ sixth anthology, is a special issue released in conjunction with an exhibition of the same name devoted to the couple’s multimedia collaborations. The first English-language publication on either figure, the book highlights models for collectivism and pedagogy deployed in the Cherrys’ interpersonal and artistic work through the presentation of archival documents alongside newly translated and commissioned writings by musicians, scholars, and artists alike.\u003c\/p\u003e\n\u003cp\u003eBeginning with an overview by Blank Forms Artistic Director Lawrence Kumpf and Don Cherry biographer Magnus Nygren, this volume further explores Don’s work of the period through a piece on his Relativity Suite by Ben Young and an essay on the diasporic quality of his music by Fumi Okiji. Ruba Katrib emphasizes the domestic element of Moki’s practice in a biographical survey accompanied by full-color reproductions of Moki’s vivid tapestries, paintings, and sculptures, which were used as performance environments by Don’s ensembles during the Sweden years and beyond. Two selections of Moki’s unpublished writings—consisting of autobiography, observations, illustrations, and diary entries, as well as poetry and aphorisms—are framed by tributes from her daughter Neneh Cherry and granddaughter Naima Karlsson. Swedish Cherry collaborator Christer Bothén contributes period travelogues from Morocco, Mali, and New York, providing insight into the cross-cultural communication that would soon come to be called “world music.”\u003c\/p\u003e\n\u003cp\u003eThe collection also features several previously unpublished interviews with Don, conducted by Christopher R. Brewster and Keith Knox. A regular visitor to the Cherry schoolhouse in rural Sweden, Knox documented the family’s magnetic milieu in his until-now unpublished Tågarp Publication. Reproduced here in its entirety, the journal includes an interview with Terry Riley, an essay on Pandit Pran Nath, and reports on counter-cultural education programs in Stockholm, including the Bombay Free School and the esoteric Forest University.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTaken together, the texts, artwork, and abundant photographs collected in Organic Music Societies shine a long overdue spotlight on Don and Moki’s prescient and collaborative experiments in the art of living.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":39408667197494,"sku":"","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0997\/1246\/products\/blank-forms-organic-music-societies.png?v=1620409356"},{"product_id":"blank-forms-common-tones-selected-interviews-with-artists-and-musicians-1995-2020","title":"Common Tones: Selected Interviews with Artists and Musicians 1995-2020","description":"Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate’s Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, and Yo La Tengo’s Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlan Licht is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Love Child and in the experimental groups the Blue Humans and Text of Light. He has released eight solo guitar albums and more than a dozen duo and trio records of improvised music. Licht is a contributing music editor at BOMB magazine and his essays and reviews have appeared in Artforum, Parkett, the Wire, the Believer, Sight \u0026amp; Sound, and many other publications. 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In 400 photo-packed pages, this book tells the story of how they got there, and how they brought the music world along for the ride.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e60+ feature articles covering 50 years of music tech history\u003c\/li\u003e\n\u003cli\u003e90+ interviews and stories with artists and engineers\u003c\/li\u003e\n\u003cli\u003eHundreds of instruments with detailed insights\u003c\/li\u003e\n\u003cli\u003eForeword by legendary hitmakers Jimmy Jam and Terry Lewis\u003c\/li\u003e\n\u003cli\u003e400 colorful pages printed on high-quality certified-ecofriendly paper\u003c\/li\u003e\n\u003cli\u003eHardcover format (9.8\" x 9.8\" \/ 25 x 25 cm)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eInsights\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003eFew music companies have had Roland’s sheer technological impact. 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Through research and interviews with Roland’s designers, we’ll tell the amazing true stories behind gear like the JUPITER-8 and other iconic synthesizers, the Space Echo and its role in the roots of Jamaican dub culture, the Octapad’s conquest of Indian music, the Loop Stations’ reinvention of composition and performance, the inspiration and promise of MIDI, how sampling married synthesis, beatboxes and stompboxes and grooveboxes – including the genre-defining TR-808, TR-909, TB-303 – and much more!\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eInnovators\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003eINSPIRE THE MUSIC also celebrates the community that Roland built, bringing you 90+ interviews and stories covering the work of world-famous recording artists, session and touring musicians, beatmakers and producers, award-winning recording engineers, educators, songwriters, and soundtrack composers – and those who designed and built these machines, and the creative impulses that drove them.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn this book, introduced by legendary hitmakers Jimmy Jam and Terry Lewis (Janet Jackson, Mariah Carey, Usher, and more), you’ll enter a world of Roland stories. 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Get inspired by Billy Duffy (The Cult), Bonnie McIntosh (Selena Gomez), Buffy Sainte-Marie, Clint Black, Clive Deamer (Radiohead), DJ Jazzy Jeff, DJ Pierre (Phuture), Don Lewis (the man who inspired MIDI), The Egyptian Lover, Howard Jones, Jean-Michel Jarre, Johnny Marr (The Smiths), Guy Fletcher (Dire Straits), Nick Rhodes (Duran Duran), Nita Strauss, Omar Hakim (Weather Report, David Bowie, Madonna), Orbital, Peaches, Rachel Z (Peter Gabriel), Richie Hawtin, Roger Taylor (Duran Duran), Sister Bliss (Faithless), Culture Club producer Steve Levine, Steve Stevens (Billy Idol), Swizz Beatz, Tadao Kikumoto (inventor of the TR-808), Thomas Dolby, and many others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eFifty years of favorites, fashions, frontiers – and the occasional flop\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003eRoland gear has helped define genres and build trends from rock to hip-hop to gospel to world music. 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His written work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music, and has appeared in Artforum, Triple Canopy, NPR, CTM Festival, Mixmag, among many others. He has performed or presented work at Haus der Kulturen der Welt, Berlin; Camden Arts Centre, UK; Unsound Festival, Krakow; Sónar, Barcelona; Issue Project Room, New York; and elsewhere. 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An annotated checklist assembled by Hugh Fox and Higgins’s unpublished introduction are also included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePerhaps no other publisher in the 60s influenced artists’ books more than Something Else Press. Higgins had a firm vision that radical art could be housed in book form and distributed throughout the world and he worked endlessly to cultivate new works that challenged conventional notions of both contemporary art and books. While other presses created extraordinary publications, none were able to achieve the breadth of titles and artists like Higgins, who successfully ran Something Else Press until 1974 in a manner that resembled a more traditional paperback publisher.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOddly, Higgins hadn’t intended to publish\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eA Something Else Reader \u003c\/em\u003ehimself. Instead, in 1972, he assembled the table of contents and an introduction into a proposal that he then pitched to Random House. They eventually rejected the title and encouraged Higgins to publish it, but before he could do that, Something Else Press went out of business, and the dreams of the anthology evaporated. From there, the proposal went into Higgins’s archive, where it was found by scholar and curator Alice Centamore, who compiled the works and assembled\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eA Something Else Reader\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEleanor Antin, George Brecht, Pol Bury, Augusto de Campos, Clark Coolidge, Philip Corner, William Brisbane Dick, Robert Filliou, Albert M. Fine, Ian Hamilton Finlay, Hugh Fox, Buckminster Fuller, Eugen Gomringer, Brion Gysin, Richard Hamilton, Al Hansen, Jan J. Herman, Dick Higgins, Åke Hodell, Ray Johnson, Allan Kaprow, Kitasono Katue, Bengt af Klintberg, Alison Knowles, Richard Kostelanetz, Ruth Krauss, Jackson Mac Low, Robert K. Macadam, Toby MacLennan, Hansjörg Mayer, Charles McIlvaine, Richard Meltzer, Manfred Mohr, Claes Oldenburg, Pauline Oliveros, Nam June Paik, Benjamin Patterson, Charles Platt, Bern Porter, Dieter Roth, Aram Saroyan, Tomas Schmit, Carolee Schneemann, Mary Ellen Solt, Daniel Spoerri, Gertrude Stein, André Thomkins, Wolf Vostell, and Emmett Williams are all included in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eA Something Else Reader\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDick Higgins was an American artist, composer, theorist, poet, and publisher, as well as a co-founder of Fluxus. After attending Yale and Columbia Universities and receiving a BA in English, he graduated from the Manhattan School of Printing. 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