{"title":"Books","description":"","products":[{"product_id":"blank-forms-magazine-1","title":"Blank Forms 01: MAGAZINE","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eEdited by\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s3\"\u003eLawrence Kumpf and Joe Bucciero with contributions by Greg Bear, François Bonnet, Bill Dietz, Dennis Hermanson, Shelley Hirsch,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s4\"\u003eBranden W. Joseph,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s3\"\u003eDawn Kasper, Joe McPhee, Ian Nagoski, Adrian Rew\u003c\/span\u003e\u003cspan class=\"s2\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s3\"\u003eBruce Russell, and Richard C. Skidmore.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s4\"\u003e\u003ci\u003eMAGAZINE\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis the inaugural issue of Blank Forms’ anthology, bringing together a combination of never-before published, lost, and new materials that supplement the non-profit’s 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s4\"\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\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/blankforms.org\/the-maryanne-amacher-foundation\/\"\u003eMaryanne Amacher\u003c\/a\u003e; an essay by Bill Dietz on his collaborations with Amacher and his work with her archive; an unpublished 1988 interview highlighting Amacher’s ideas around her\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLong Distance Music\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMini Sound Series\u003c\/i\u003e; 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\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePetra\u003c\/i\u003e, 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s4\"\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\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePiece For Cello And Saxophone\u003c\/i\u003e. 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003cspan class=\"s3\"\u003e\u003ci\u003eMAGAZINE\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efeatures two new French-translations: an excerpt from François Bonnet’s book of phenomenology,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Infra-World\u003c\/i\u003e, 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":40017998151745,"sku":"Journal-1","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/BlankFormsOne_Cover_withBleed_NoCropMarks_051717_1.jpg?v=1531849093"},{"product_id":"blank-forms-journal-2","title":"Blank Forms  02: Music From The World Tomorrow","description":"\u003cp\u003eEdited by Lawrence Kumpf and Joe Bucciero with contributions by Alan Licht, Klaus Lang, Tashi Wada, Larry J. Nai, David Hopkins, Dafne Vicente-Sandoval, Akio Suzuki, Marcus Boon, Limpe Fuchs, Amy Cimini, Annea Lockwood, Crys Cole, John Corbett, Joan Brigham, Olaf Stapledon, Andrew Lampert, and Matana Roberts.\u003c\/p\u003e\n\u003cp\u003eThis second issue of Blank Forms’ journal brings together a combination of never-before published, lost, and newly translated materials that supplement the non-profit’s 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.\u003c\/p\u003e\n\u003cp\u003eComplementing Marshall Allen and the Sun Ra Arkestra’s appearance on the cover, this issue features John Corbett’s writing on the enigmatic annotations found on Sun Ra’s reel-to-reel tape archives, accompanied by full-color photos of the near-hieroglyphic tapes themselves. Visionary avant-garde jazz vocalist Patty Waters speaks with Larry J. Nai about what moved her from childhood to the then-now, touching upon her mysterious ‘70s and ‘80s period of musical inactivity in a rare 1997\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHalana\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003einterview reprinted here. “I struggle”, a prose poem by alto saxophonist and sound experimentalist Matana Roberts, explores the creative conundrum of making American music in a state of national crisis under POTUS #45.\u003c\/p\u003e\n\u003cp\u003eMaryanne Amacher remains a focal point of this second issue, with three pieces related to Blank Forms’ work with the pioneering sound artist’s archive: scholar Amy Cimini contributes a text detailing the genesis, score, and theoretical underpinnings of Amacher’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAdjacencies\u003c\/em\u003e; Joan Brigham presents Scott Fisher’s account of his career working with virtual reality and 3D stereoscopic imaging (photo examples included) and its intersections with Amacher, most notably at MIT’s legendary Center for Advanced Visual Studies; and an excerpt from science fiction writer Olaf Stapledon’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLast and First Men\u003c\/em\u003e—a favorite of Amacher’s—is reproduced, telling of a speculative race of sadistic humans with highly developed ears who, forty million years in the future, grapple with an all-too-familiar narrative of music’s divine nature reduced to profanity by power.\u003c\/p\u003e\n\u003cp\u003eThe late polymath avant-garde artist Tony Conrad is represented twice.Filmmaker Andy Lampert introduces a selection of Conrad’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOLD IDEAS—\u003c\/em\u003ehandwritten notes from the mid-1960s through the mid-1970s that illustrate the operation of Conrad’s brainiac intellect at play, many written as near Fluxus word scores—presented here in full color. A new transcription of a 1989 phone interview by Alan Licht details Conrad’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEarly Minimalism\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eproject, a postmodern streak in his compositions, the Theater of Eternal Music’s involvement with the overtone series, and his disparaging outlook on La Monte Young’s “Indian swami racket”. Conversely, in her rediscovered 2001 interview with Marcus Boon, Swedish minimalist Catherine Christer Hennix praises La Monte’s revival of just intonation, recounting her discipleship with Hindustani classical vocalist Pandit Pran Nath and the limitless universe of his tuned tamburas.\u003c\/p\u003e\n\u003cp\u003eThis issue features a transcription of a 2017 Annea Lockwood talk and conversation with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003esend + receive\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efestival director Crys Cole, discussing Lockwood’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTiger Balm\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1970) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEar-Walking Man\/Woman\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1996). Bassoonist Dafne Vicente-Sandoval contributes a text that sheds light on the complex processes at work behind the performance of Jakob Ullmann’s threshold compositions\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMuntzer’s stern\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSolo II\u003c\/em\u003e, slated for a forthcoming CD on Editions RZ. And Klaus Lang, another artist on the label, provides both an aphorism about cow behavior and a manifesto for compositional strategies that respond to freedom, time, and politics under late capitalism.\u003c\/p\u003e\n\u003cp\u003eKrautrock group Anima’s 1981 US tour diary has been newly translated from the German by Larissa Mellor for inclusion here. Written in an ebullient, precocious prose by Paul and Limpe Fuchs’ 13-year-old son Zoro Babel, the text chronicles the Fuchs family’s leisurely exploration of America by freighter ship and car, featuring encounters with Karl Berger and plenty of organic farm food, accompanied by David Fuchs’ photo documentation. A chapter from David Hopkins’ recent translation of legendary Japanese folk singer and PSF recording artist Kan Mikami’s autobiography is a lyrical account of the cultural and musical violence of being 19 in 1969 Kodomari, Aomori.\u003c\/p\u003e\n\u003cp\u003eComposer Tashi Wada contributes ‘visual levitation’ in the form of a print titled “Double Vision”. And Japanese sound art pioneer Akio Suzuki’s self-published 2008\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAki-nyan, tora no maki\u003c\/em\u003e, a comic zine depicting cats playing his many instrumental inventions, finally gets its deserved circulation via a full reprint.\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":7506374131777,"sku":"Journal-2","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/magazine2.png?v=1524673853"},{"product_id":"blank-forms-journal-3-freedom-is-around-the-corner","title":"Blank Forms 03: Freedom is Around the Corner","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eEdited 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 Wassermann, Stíne Janvin Motland, Mark Harwood, Lucy Railton, Graham Lambkin, Áine O’Dwyer, Lia Mazzari, Ursula Reuter Christiansen, Francesco Conz, and Emily Harvey.\u003c\/p\u003e\n\u003cp\u003eThe third issue of Blank Forms’ journal is released in conjunction with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFreedom is Around the Corner\u003c\/em\u003e, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist Henning Christiansen (1932–2008).\u003c\/p\u003e\n\u003cp\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—seeks to present Christiansen’s life and work in a holistic manner that befits his dynamic practice.\u003c\/p\u003e\n\u003cp\u003eLike previous issues of the Blank Forms journal,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFreedom is Around the Corner\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ecollects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christiansen 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.\u003c\/p\u003e\n\u003cp\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.\u003c\/p\u003e\n\u003cp\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 Christiansen’s work on today’s musical landscape. Lukoszevieze’s essay introduces a newly translated libretto for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDejligt vejr i dag, n’est-ce pas, Ibsen\u003c\/em\u003e, 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.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\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 towering 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 Contemporary Music Festival\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":14004204830785,"sku":"Journal-3","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/BlankFormsMagazine2_Cover_550x825_copy.jpg?v=1539283369"},{"product_id":"blank-forms-journal-4-intelligent-life","title":"Blank Forms 04: Intelligent Life","description":"\u003cp\u003eEdited 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.\u003c\/p\u003e\n\u003cp\u003eTaking its name from\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/blankforms.org\/the-maryanne-amacher-foundation\/\"\u003eMaryanne Amacher\u003c\/a\u003e’s visionary, unrealized opera, the fourth issue of Blank Forms’ journal,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIntelligent Life\u003c\/i\u003e, 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\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAtalanta\u003c\/i\u003e, was translated for the first time into English for this publication.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eIntelligent Life\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003econtinues 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,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePoësy Matters and Other Matters\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eThe issue continues with a sort of titular essay, a rich analysis of Amacher’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIntelligent Life\u003c\/i\u003e—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,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIntelligent Life\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003etells 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.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIntelligent Life\u003c\/i\u003e—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.\u003c\/p\u003e\n\u003cp\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.\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":29029404639297,"sku":"Journal-4","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/BlankFormsJournal4_cover_0530_web.jpg?v=1560269089"},{"product_id":"catherine-christer-hennix-poesy-matters-and-other-matters-pre-order","title":"Catherine Christer Hennix: Poësy Matters and Other Matters","description":"\u003cp\u003e6.75 x 9.5 inches, 2 individual paperback books packaged together, 311 pages and 448 pages.\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eThis two-volume set,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003c\/em\u003e, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoësy Matters\u003c\/em\u003e, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOther Matters\u003c\/em\u003e, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix’s 1989 work\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Yellow Book\u003c\/em\u003e. The first comprehensive publication of Hennix’s written work,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eillustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics.\u003c\/p\u003e\n\u003cp\u003eBest known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuitionist mathematics, poetry, and prose as well. Born in Stockholm in 1948, Hennix became involved with the local jazz and electronic music communities while in her teens, meeting visiting musicians such as Eric Dolphy and Albert Ayler, studying with trumpeter Idrees Sulieman, and becoming a member of the Elektronmusikstudio. In the late 1960s Hennix traveled to New York City, where, through Ake Hodell, she met Dick Higgins and, in turn, many other members of the New York avant-garde, including La Monte Young, who would become a formative figure for Hennix and introduce her to both Henry Flynt and her eventual guru, Pandit Pran Nath. In the ensuing decades Hennix has continued to compose and perform music in a variety of formations, including in Flynt’s Dharma Warriors, a quartet with Arthur Rhames, and more recently, with her own Chora(s)san Time-Court Mirage. Hennix’s ongoing explorations of mathematics, meanwhile—namely, the work of L.E.J. Brouwer—have led to teaching positions at SUNY-New Paltz and at MIT, and an extended collaboration with Alexander Esenin-Volpin.\u003c\/p\u003e\n\u003cp\u003eThe texts in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ereflect Hennix’s diverse training as well as her long-standing personal interests in Lacanian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde’s most implacable, not to mention overlooked, creative minds.\u003c\/p\u003e\n\u003cp\u003eEdited, with an introduction by Lawrence Kumpf.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Although it may at first confound, Hennix’s work, given the deep engagement it requires and deserves, opens up a philosophical and spiritual bounty for her readers.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoësy Matters\/Other Matters\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003econstitutes a major historiographical contribution to our understanding of experimental music post–John Cage”\u003c\/p\u003e\n\u003cp\u003e— Canada Choate, Artforum\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“This tremendous collection will allow us, finally, to study the winding paths taken by Catherine Christer Hennix in five decades of virtually peerless exploration. As a roadmap, it promises nothing like answers. Instead, committed readers will find themselves edged further into a limitless space of multiplying questions: a fitting tribute to this bright magus and her luminous worlds.”\u003c\/p\u003e\n\u003cp\u003e— Benjamin Piekut, Cornell University\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Hennix was among the first to connect constructive approaches in the foundations of mathematics to theories of tuning, minimalism, and art practices of the post-Cage avant-garde. These writings put forward a singular and highly individualistic agenda linking Brouwer’s Creative Subject, Lacanian psychoanalysis, formal linguistics, categorical logic (and more) to the existence of an inexhaustible interior world.”\u003c\/p\u003e\n\u003cp\u003e— Spencer Gerhardt, Composer and Mathematician\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":29523260145729,"sku":"Catherine Christer Hennix - Poesy Matters and Other Matters","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/Poesy_matters_cover.png?v=1589761554"},{"product_id":"joseph-jarman-black-case-volume-i-and-ii-return-from-exile-pre-order","title":"Joseph Jarman: Black Case Volume I and II: Return From Exile","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e8.25 x 6.75 inches, paperback, perfect-bound edition of 2,000, 142 pages.\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\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.\u003c\/p\u003e\n\u003cp\u003eIn 1977, Art Ensemble of Chicago Publishing Co. published Jarman’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Case Volume I and II: Return From Exile\u003c\/em\u003e, 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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Case\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ehave 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.\u003c\/p\u003e\n\u003cp\u003eWith a new preface by Thulani Davis and an introduction by Brent Hayes Edwards.\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e“Joseph Jarman, a musician of rare poetic gifts, was also a remarkable poet.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Case\u003c\/em\u003e, 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.”\u003c\/p\u003e\n\u003cp\u003e—Adam Shatz\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e“Joseph’s recitation of ‘Non-Cognitive Aspects of the City’ (from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Case\u003c\/em\u003e) 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.”\u003c\/p\u003e\n\u003cp\u003e—Roscoe Mitchell\u003c\/p\u003e\n\u003cp\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.”\u003c\/p\u003e\n\u003cp\u003e—Fred Moten\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":29523295240257,"sku":"Joseph Jarman - Black Case","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/jarman_cover.png?v=1589761650"},{"product_id":"loren-connors-autumns-sun-pre-order","title":"Loren Connors: Autumn's Sun","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e5 x 7.5 inches, paperback edition of 1,000, 82 pages.\u003c\/p\u003e\n\u003cp\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.\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAutumn’s Sun\u003c\/em\u003e, 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,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAutumn’s Sun\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis tender without being sentimental, conjuring those rare, delicate moments when time stands still.\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eThis edition includes “The Dancing Ear” and an introduction by Lawrence Kumpf.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":29523316670529,"sku":"Loren Connors - Autumn's Sun","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/Autumns_Sun_cover.png?v=1657306941"},{"product_id":"blank-forms-journal-5-aspirations-of-madness","title":"Blank Forms 05: Aspirations of Madness","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eEdited by Lawrence Kumpf with Joe Bucciero. Contributors and featured artists include Masayuki Takayanagi, Louise Landes Levi, Joseph Jarman, Catherine Christer Hennix, Charles Stein, Henry Orlov, Maryanne Amacher, Alan Cummings, Bill Dietz, Peter Kastakis, Art Lange, Leo Svirsky, Satoru Obara, and Tomoyuki Chida.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eAspirations of Madness\u003c\/em\u003e, Blank Forms’ fifth collection of archival, unpublished, or newly translated texts, takes its title from a series of interviews with Japanese free jazz pioneer Masayuki Takayangi that were published in Japanese in 1975–76 and are published here in English for the first time. The interviews provide a rare look at Takayanagi’s eccentric practice and personality, both long under-recognized by audiences outside (and often, inside) of Japan. In this respect, the interviews speak to the goals of Blank Forms’ publication enterprise, that is, to expand upon our work in performance programming, record production, and archival preservation, and to foster new dialogues on vanguard art and music from the past 50-plus years.\u003c\/p\u003e\n\u003cp\u003eThe postwar Japanese history that Takayanagi describes also surfaces in this publication’s opening piece, a poetictribute by the writer and artist Louise Landes Levi to one of Takayanagi’s contemporaries, the poet Kazuko Shiraishi.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAspirations of Madness\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eincludes a second Levi poem as well, “A Deep River,” written while at La Monte Young and Marian Zazeela’s Dream House in 2003, while Charles Curtis was rehearsing\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJust Charles and Cello in the Romantic Chord\u003c\/em\u003e, a composition by Young that Blank Forms plans to present in Spring 2020. Complementing this tradition of Japanese free improvisation and poetry is the republication of a 1977 interview with Joseph Jarman, the great composer, poet, and multi-instrumentalist. The interview took place a few months after the publication of Jarman’s book\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Case Volume I \u0026amp; II: Return from Exile\u003c\/em\u003e, a collection of writings from 1960 to 1977 that Blank Forms had the honor of publishing in a new edition in Fall 2019.\u003c\/p\u003e\n\u003cp\u003eWe also feature Charles Stein’s introduction to Being = Space x Action, a crucial supplement to another recent Blank Forms publication,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Catherine Christer Hennix. In its specificity and rarity of focus, Stein’s text offers valuable information on a vibrant artistic network of the recent past, as well as an extended look at the evolution of Hennix’s complex practice. Further along,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAspirations of Madness\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeatures an excerpt from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Tree of Music\u003c\/em\u003e, a cross-cultural treatise by the Russian musicologist Genrich “Henry” Orlov, the English translation of which has never been published before.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Tree of Music\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a sweeping philosophical study of global music and cultures with universalist and spiritualist ambitions, excerpts of which are here selected and introduced by the composer and pianist Leo Svirsky.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAspirations of Madness\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecloses with one of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/blankforms.org\/the-maryanne-amacher-foundation\/\"\u003eMaryanne Amacher\u003c\/a\u003e’s final pieces of writing, “The Agreement,” from 2009. The text takes the form of a letter between Amacher and the Open Ended Group, with whom she had planned to collaborate on her final, unfinished project,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLagrange: A Four Part Mini Series\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAspirations of Madness\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003econsiders the work of Masayuki Takayanagi, the poet Louise Landes Levi, musician and writer Joseph Jarman, polymath Catherine Christer Hennix and her one-time student the poet Charles Stein, Russian musicologist Henry Orlov, and Maryanne Amacher—brilliant and overlooked artists whose work Blank Forms will continue to champion in a variety of contexts.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAspirations of Madness\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeatures additional contributions by Alan Cummings, Bill Dietz, Peter Kastakis, Art Lange, Leo Svirsky, Satoru Obara, and Tomoyuki Chida, and is edited by Lawrence Kumpf with Joe Bucciero.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":31543162241089,"sku":"Journal-5","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/BlankFormsJournalFrontCover.jpg?v=1583249886"},{"product_id":"thulani-davis-nothing-but-the-music","title":"Thulani Davis: Nothing but the Music","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e5 x 7.5 inches, paperback, 63 pages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sounds of late ’70s and ’80s east coast avant-garde jazz, soul, and punk rock are well documented, but in \u003c\/span\u003e\u003ci\u003eNothing but the Music\u003c\/i\u003e\u003cspan\u003e 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. \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eNothing but the Music\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith a foreword by Jessica Hagedorn and an introduction by Tobi Haslett.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThulani Davis\u003cspan\u003e (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 \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eSan Francisco Sun-Reporter\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, 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 \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eVillage Voice\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e 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 \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eX, The Life and Times of Malcolm X\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eAmistad\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, and wrote the scripts for the films \u003c\/span\u003e\u003ci\u003e\u003cspan\u003ePaid in Full\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eMaker of Saints\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, as well as several award-winning PBS documentaries. In 1993, her writing for Aretha Franklin’s \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eQueen of Soul – The Atlantic Recordings\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e made her the first woman to win a Grammy for liner notes, and her bibliography additionally includes \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eMy Confederate Kinfolk\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, novels \u003c\/span\u003e\u003ci\u003e\u003cspan\u003e1959\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eMaker of Saints\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, 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 \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Emancipation Circuit: Black Activism Forging a Culture of Freedom \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(Duke University Press) and poetry collection \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eNothing but the Music: Documentaries from Nightclubs, Lofts, Dance Halls \u0026amp; A Tailor’s Shop in Dakar\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (Blank Forms Editions).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePoet, novelist, playwright, and performer \u003c\/span\u003eJessica Hagedorn\u003cspan\u003e 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 \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eDogeaters\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCritic and essayist \u003c\/span\u003eTobi Haslett\u003cspan\u003e has written about art, film, and literature for \u003c\/span\u003e\u003ci\u003e\u003cspan\u003en+1\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, the \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eNew Yorker\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eArtforum\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, the \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eVillage Voic\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ee, and elsewhere.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":31934631313473,"sku":"Thulani Davis - Nothing but the Music","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/978-1-7337235-6-5copy.png?v=1592363092"},{"product_id":"maryanne-amacher-selected-writings-and-interviews","title":"Maryanne Amacher: Selected Writings and Interviews","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eHardcover edition sold out.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e6.5 x 9.5 inches, 398 pages.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/blankforms.org\/the-maryanne-amacher-foundation\/\"\u003eMaryanne Amacher\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(1938 – 2009)\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewas 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBill Dietz is a composer, writer and co-chair of Music\/ Sound in the Bard MFA program.\u003c\/p\u003e\n\u003cp\u003eAmy Cimini is a musicologist, violist and Assistant Professor of Music at UC San Diego. Her first book,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWild Sound: Maryanne Amacher and the Tenses of Audible Life\u003c\/em\u003e, is forthcoming in Spring 2021 with Oxford University Press.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Amacher’s electronic music work is paralyzing for its combination of extreme sound and precise architecture. The resulting propulsion is unrelenting and subterranean. This is a woman who would sleep in many of the studios in which she worked, forbidding anyone to disturb her. Supremely articulate, bold, and exacting in the demands of her work, she drew for us a picture of one of the most unusual minds in any field of art.”\u003c\/p\u003e\n\u003cp\u003e—Diamanda Galás\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“An unprecedented entree into the life and work of one of the most transgressively creative composers of our time, this never-before-available compendium of Maryanne Amacher’s scores, notes, and communications is an invaluable and inspirational resource for anyone interested in the history and practice of experimental creative practice.”\u003c\/p\u003e\n\u003cp\u003e—George E. Lewis, author of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Power Stronger Than Itself: The AACM and American Experimental Music\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Maryanne was an artist who didn’t seem interested in names and definitions. I met her when she was teaching, but she was clearly not an academic… When I saw her play, I couldn’t identify all the forces I felt, could barely catch hold of them. Her work is made of mysteries that linger in the mind, changing shape over time.”\u003c\/p\u003e\n\u003cp\u003e—Seth Price\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":32330312745025,"sku":"Maryanne Amacher-Selected Writings and Interviews-2","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/amacher.jpg?v=1657306887"},{"product_id":"blank-forms-06-organic-music-societies","title":"Blank Forms 06: Organic Music Societies","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\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;\"\u003e\u003cmeta charset=\"utf-8\"\u003e6 x 8 inches, 496 pages. \u003c\/span\u003e138 Color and 86 B\u0026amp;W images.\u003cbr\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;\"\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\/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;\"\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.” \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eOrganic Music Societies\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, 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\/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;\"\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 \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eRelativity Suite\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e 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\/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;\"\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 \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTågarp Publication\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. 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.\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;\"\u003eTaken together, the texts, artwork, and abundant photographs collected in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eOrganic Music Societies\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e shine a long overdue spotlight on Don and Moki’s prescient and collaborative experiments in the art of living.\u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Paperback","offer_id":32341037285441,"sku":"Journal-6-PB","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Hardcover","offer_id":32341037318209,"sku":"Journal-6 - Hardcover","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/BlankFormsJournal6cover072820.jpg?v=1610759363"},{"product_id":"blank-forms-07-the-cowboys-dreams-of-home","title":"Blank Forms 07: The Cowboy's Dreams of Home","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400; color: #ff2a00;\"\u003eHardcover edition limited to 250 copies.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e6 x 8 inches, 202 pages. 23 Color and 10 B\u0026amp;W images.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eEdited by Lawrence Kumpf and Joe Bucciero with contributions from Angel Bat \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDawid, Joe Bucciero, Charles Curtis, René Daumal, Thulani Davis, Anthony Elms, Ciarán Finlayson, Jessica Hagedorn, Judith Hamann, Sarah Hennies, Louise Landes Levi, Alan Licht, and Tashi Wada.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Cowboy's Dreams of Home\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, the seventh Blank Forms anthology, takes its name from a psychedelic Wild West reverie of Texan singer-songwriter and visual artist Terry Allen. This volume privileges new texts including a retrospective interview with Allen conducted by ICA Philadelphia chief curator Anthony Elms\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e; a conversation between multidisciplinary writers—and longtime friends—Thulani Davis and Jessica Hagedorn on the occasion of Davis’s latest poetry collection, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eNothing But The Music\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, recently published by Blank Forms Editions; a recent discussion between composer Sarah Hennies and cellist Judith Hamann about their recent collaboration, which is included on Hamann’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eMusic for Cello and Humming\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, released by Blank Forms Editions last fall; and a conversation with composer-performers Tashi Wada and Charles Curtis on the heels of a recent compilation of Curtis’s work, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePerformances \u0026amp; Recordings 1998–2018\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, produced by Wada. Each of these interviews sheds light on the particularities of the artists’ careers and methods in terms both formal and casual, practical and theoretical. \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;\"\u003eIn addition to these dialogues, this book features new critical reflections on three artists whose work Blank Forms has presented: the legendary jazz percussionist and healer Milford Graves, by Ciarán Finlayson; English multimedia artist Graham Lambkin and his beguiling 2011 album \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAmateur Doubles\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, by Alan Licht; and the UK-based experimental music trio Still House Plants, by Joe Bucciero. These articles mine historical, social, and theoretical contexts, filling gaps in the existing literature on the given artist-subjects. New and archival poems and writing about poetry complement these interviews and essays, including rare texts by Davis, Hagedorn, and René Daumal—the latter translated by Louise Landes Levi—and a suite of Auto-Mythological writings commissioned from Chicago-based composer and musician Angel Bat Dawid. \u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Hardcover","offer_id":39267424075841,"sku":"Journal-7-H","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Softcover","offer_id":39267424108609,"sku":"Journal-7-P","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/unnamed.jpg?v=1615998863"},{"product_id":"alan-licht-common-tones-selected-interviews-with-artists-and-musicians-2000-2020","title":"Alan Licht: Common Tones: Selected interviews with artists and musicians 1995–2020","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e4.75 x 7 inches, 592 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;\"\u003eInterviews 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.\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;\"\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 \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWire\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eCommon Tones \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003egathers 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.\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;\"\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 \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBOMB\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e magazine and his essays and reviews have appeared in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eArtforum\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eParkett\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, the\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e Wire,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e the\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e Believer,\u003c\/span\u003e\u003c\/i\u003e \u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSight \u0026amp; Sound\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, and many other publications. He is the author of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAn Emotional Memoir of Martha Quinn\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, an extended personal essay about coming of age as a rock fan and musician; \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSound Art: Beyond Music, Between Categories\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, the first full-length study of sound installations and sound sculpture to appear in English; and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSound Art Revisited\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ean updated version of the latter, published last year; and he is a co-author of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWill Oldham on Bonnie ‘Prince’ Billy\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, a collection of interviews with Will Oldham,\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTitle TK 2010–2014\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, a compilation of concert transcriptions, with Cory Arcangel and Howie Chen.\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;\"\u003eJay Sanders is executive director and chief curator of Artists Space, New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\n\u003cspan style=\"font-weight: 400;\"\u003e__________\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDistributed by Les presses du réel in French-speaking Europe, Antenne Books in the rest of Europe, and DAP in the rest of the world. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eContact Lawrence Kumpf at lawrence@blankforms.org with press inquiries.\u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Hardcover","offer_id":39267541188673,"sku":"Alan Licht - Common Tones-H","price":50.0,"currency_code":"USD","in_stock":true},{"title":"Softcover","offer_id":39267541221441,"sku":"Alan Licht - Common Tones-P","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/alanlichtcommontonescover040121_802ceb3f-92c6-47c3-ba56-8af9794ae07f.png?v=1617635273"},{"product_id":"kazuki-tomokawa-try-saying-you-re-alive-kazuki-tomokawa-in-his-own-words","title":"Kazuki Tomokawa: Try Saying You’re Alive!: Kazuki Tomokawa in His Own Words","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eRelease Date: November 16, 2021\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eKazuki Tomokawa has lived many lives: poet, self-taught guitarist, actor, day laborer, basketball coach, painter, bicycle race tipster, and incomparable drinker among them. Above all, he is a legend of Japan’s avant-folk music scene and his searing lyrics and raw, unvarnished vocals have influenced generations of musicians since his mid-1970s debut, when his unique sound brought him to prominence in the turbulent worlds of Tokyo’s underground film and music. Here, in his contemplative and utterly original style, the “screaming philosoepher” charts the last six decades of his life, reflecting on everything from \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003ekeirin \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eto nuclear disaster to his own itinerancy, all the while providing an unfiltered view into the explosive cultural zeitgeist of postwar Tokyo. Originally printed in 2015, this translation is the first of Tomokawa’s writings to ever be published in English, and is accompanied by Blank Forms Editions’ reissue of Tomokawa’s first three solo records from 1975–77: \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eFinally, His First Album\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eStraight from the Throat\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eA String of Paper Cranes Clenched between My Teeth\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eTry Saying You’re Alive! \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eis a memoir like no other, delivered with the incisive tongue and stubborn charm of one of Japan’s most singular living musicians. \u003c\/span\u003e\u003cbr\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;\"\u003eKazuki Tomokawa (b. 1950) is a prolific singer-songwriter from Hachiryū Village (now the town of Mitane) in the Akita Prefecture area of northern Japan. Since his first release in 1975, he has recorded more than thirty albums. The 2010 documentary about his life, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLa Faute des Fleurs\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, won the Sound \u0026amp; Vision award at the Copenhagen International Documentary Film Festival, and that same year saw the Japanese release of the book \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDreams Die Vigorously Day by Day\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, a collection of his lyrics spanning forty years. His most recent albums are \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eVengeance Bourbon \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e(2014) and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGleaming Crayon \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e(2016), both on the Modest Launch label. \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;\"\u003eDamon Krukowski is a musician and writer based in Cambridge, MA. His most recent book is \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWays of Hearing \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e(MIT Press, 2019) and his latest album is Damon \u0026amp; Naomi’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA Sky Record \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e(20|20|20, 2021). \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;\"\u003eDaniel Joseph is a translator, editor, and musician. He holds a master’s degree from Harvard University in medieval Japanese literature, and recently contributed translations to \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTerminal Boredom \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e(Verso, 2021), a collection of stories by science fiction pioneer Izumi Suzuki.\u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Hardcover","offer_id":39445987655745,"sku":"Tomokawa-Book-HB","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Paperback","offer_id":39445990572097,"sku":"Tomokawa-Book-PB","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/tomokawakazuki-trysayingyou_realivecover.png?v=1632759838"},{"product_id":"stephen-housewright-partners","title":"Stephen Housewright: Partners","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJerry Hunt (1943–93) was among the most eccentric figures in the world of new music. A frenetic orator, occultist, and engineering consultant, his works from the 1970s through the early ’90s made use of readymade sculptures, medical technology, arcane talismans and all manner of homemade electronic implements to form confrontational recordings and enigmatic, powerful performances.\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;\"\u003eTracing Hunt’s life across his home state’s major cities to a self-built house in rural Van Zandt County, this memoir-cum-biography by Stephen Housewright, Hunt’s partner of thirty-five years, offers illuminating depictions of Hunt’s important installations and performances across North America and Europe. Housewright narrates a lifetime spent together, beginning in high school as a closeted couple in East Texas and ending with Hunt’s battle with cancer and his eventual suicide, the subject of one of his most harrowing works of video art. This highly readable narrative contains many private correspondences with, and thrilling anecdotes about, Hunt’s friends, family and collaborators, including Joseph Celli, Arnold Dreyblatt, Michael Galbreth, Karen Finley, James and Mary Fulkerson, Guy Klucevsek, Pauline Oliveros, Paul Panhuysen, Annea Lockwood and the S.E.M. Ensemble. This publication accompanies reissues of seven albums from Hunt’s record label, Irida.\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;\"\u003eCover by Alec Mapes-Frances. \u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Paperback","offer_id":39447563010113,"sku":"Housewright-Book-PB","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Hardcover","offer_id":39447563042881,"sku":"Housewright-Book-HB","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/Partnerscover.jpg?v=1634057580"},{"product_id":"blank-forms-08-transmissons","title":"Blank Forms 08: Transmissions from the Pleroma","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJerry Hunt (1943–1993) has been described as a shamanic figure with the look of a Central Texas meat inspector. One of the most compelling composers in the world of late twentieth-century new music, he made work that combined video synthesis, installation art, and early computers with rough-hewn sculptures, scores drawn from celestial alphabets, and homemade electronics activated by his signature wands and impassioned gestures. Hunt lived his entire life in Texas, eventually settling in a house (“an interactive environment”) he built with his partner, Stephen Housewright, in a rural area outside Canton, but his pataphysical, abrasive, and humorous performances took him across North America and Europe, where he amassed a small but dedicated following.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis volume, accompanying an exhibition of the same title, represents the first ever book-length collection devoted to the underknown composer’s work, and includes a biographical essay by Tyler Maxin and Lawrence Kumpf, interviews with and essays by Hunt, and detailed analyses of his visual art, and reflections from his friends and collaborators. Contributors include art historian Kris Paulsen, composers \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eGuy De Bièvre, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eGeorge Lewis, David Rosenboom, Gordon Monahan,  and artist Karen Finley.\u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Paperback","offer_id":39695726739521,"sku":"Journal-8-P","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Hardcover","offer_id":39695726772289,"sku":"Journal-8-H","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/BlankForms08cover.jpg?v=1642542837"},{"product_id":"the-cricket-black-music-in-evolution-1968-69-preorder","title":"The Cricket: Black Music in Evolution, 1968–69","description":"\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eA rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor, and many more, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Cricket \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003efostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman, and Larry Neal between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Cricket\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and a range of musicians, from Mtume to Black Unity Trio, to devise new styles of music writing. The publication emerged from the heart of a political movement—“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface—and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy, who argues that \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Cricket\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e “attempted something that was in many ways entirely new: creating a form of music writing which united politics, poetry, and aesthetics as part of a broader movement for change; resisting the entire apparatus through which music is produced, received, appreciated, distributed, and written about in the Western world; going well beyond the tried-and-tested journalistic route of description, evaluation, and narration.”\u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":40018090852417,"sku":"Cricket-Book-PB","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/thecricket042722highres-cover.jpg?v=1657060598"},{"product_id":"tori-kudo-ceramics","title":"Tori Kudo: Ceramics","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eFollowing last year’s presentation of Tori Kudo’s ceramics at our Brooklyn gallery space, Blank Forms publishes the exhibition’s accompanying limited-edition catalog. With images captured on film by musician and photographer Lary 7, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTori Kudo: Ceramics \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003edocuments the work displayed in the artist’s first exhibition in the United States. Designed by Alec Mapes-Frances and available exclusively at Blank Forms, this hardcover art book features thirty color photographs of the vessels with Kudo’s commentary on their forms and functions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eCeramics, Tori Kudo says, is a “half-guaranteed chance operation.” Kudo, who once described himself as the “king of error,” regards relinquishing all expectations for his work as the foundation of his artistic output. For the past five decades, he has eschewed any pretense of control in his highly-improvisational music—assembling ragtag groups of untrained musicians to perform as his Maher Shalal Hash Baz ensemble, playing in a series of blink-and-you-miss-them psych-punk and noise bands in the ’70s and ’80s, and, he says, borrowing instruments for gigs from anyone who happens to be near the venue. In many ways, Kudo’s improvisations are controlled chaos, and this modus operandi stems, certainly, from his radical anarchist roots. But it is from this chaos that Kudo finds form, in both his sound and ceramics. \u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eKudo came of age in the ceramics workshop of his father, an art informel painter-turned-working-craftsman who practiced in the Tobe ware manner. Tobe ware, also known as \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTobe-yaki\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, has been produced in Kudo’s native Ehime prefecture since the end of the eighteenth century and is known for its distinctive indigo designs set against brilliant white porcelain. In Kudo’s hand, this tradition is honored, warped, and expanded. His loose and playful forms are decorated with gestural brushstrokes and swirling, organic designs. When asked if, in his experimental style, he still regards his practice as part of the Tobe ware tradition, Kudo responded: “I dare say I am Tobe ware.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTori Kudo is a ceramicist, filmmaker, anarchist, and cult icon of Japanese underground music. A skilled pianist and self-taught guitarist, Kudo first trained on a Yamaha pump organ at the age of two-and-a-half before studying jazz piano in his later years. In the 1970s and ’80s, Kudo played with a slew of noise, drone, and psych-punk units, including Guys \u0026amp; Dolls, Noise, Snickers, Sweet Inspirations, and Tokyo Suicide. He is the ringleader of the loosely formed collective Maher Shalal Hash Baz, which he began in 1984 with his wife and longtime collaborator Reiku Kudo and the euphonium player Hiro Nakazaki. With a freeform sound and a fluid ensemble of primarily untrained musicians, the collective has produced more than two dozen records. Kudo studied design and pottery in London in the late ’90s and has produced ceramics for the past two decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAvailable exclusively at Blank Forms. Contact Canada Choate at \u003c\/span\u003e\u003ca href=\"mailto:canada@blankforms.org\" data-mce-fragment=\"1\" data-mce-href=\"mailto:canada@blankforms.org\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ecanada@blankforms.org\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e with press inquiries.\u003c\/span\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":40019717849153,"sku":"Kudo-Book","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/torikudocover.jpg?v=1657130718"},{"product_id":"wesley-brown-blue-in-green","title":"Wesley Brown: Blue in Green","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe latest work from the veteran novelist called “one hell of a writer” by James Baldwin, “wonderfully wry” by Donald Barthelme, and a “writer’s writer” by Ishmael Reed, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBlue in Green\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e narrates one evening in August 1959, when, only eight days after the release of his landmark album \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eKind of Blue\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, Miles Davis is assaulted by a member of New York City Police Department outside of Birdland. In the aftermath of Davis’s brief stint in custody, we enter the strained relationship between Davis and the woman he will soon marry, Frances Taylor, whom he has recently pressured into ending her run as a performer on Broadway and retiring from modern dance and ballet altogether. Frances, who is increasingly subject to Davis’s temper—fueled by both his professional envy and substance abuse—reckons with her strict upbringing, and, through a fateful meeting with Lena Horne, the conflicting demands of motherhood and artistic vocation. Meanwhile, blowing off steam from his beating, Miles speeds across Manhattan in his Ferrari. Racing alongside him are recollections of a stony, young John Coltrane, a combative Charlie Parker, and the stilted world of the Black middle class he’s left behind.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBlank Forms’s release of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBlue in Green \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003econtinues the contemporary reenagement with Brown’s work which began with last year’s new McSweeny’s reprint of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTragic Magic\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, the author’s first novel. Published in 1978 and edited by Toni Morrison, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTragic Magic \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003econcerns Melvin Ellington, a man jailed for protesting the Vietnam War; Brown began work on the novel while himself incarcerated on the same charges. In 1992, the author wrote \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLife During Wartime\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, a play about the death of street artist Michael Stewart, a victim of police brutality who died in custody. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBlue in Green\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e again interrogates detention’s personal, political, and cultural consequences. \u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA historical novel much like his 1994 volume \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDarktown Strutters\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, the story of a minstrel performer, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBlue in Green \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003etakes up the voices of a multitude of twentieth-century  entertainers at a pivotal moment in American culture and race relations. Staging the conversations of not only Davis, Taylor, Horne, Parker, and Coltrane but also Eartha Kitt, Billie Holiday, and Bill Evans, Brown engages facts to explore relationships between artists of different generations, races, and genders, all of whom must negotiate their positions in what Davis irreverently calls “the business’ known as show.”\u003c\/span\u003e","brand":"blank-forms","offers":[{"title":"Hardcover","offer_id":41804346359873,"sku":"Wesley Brown - Blue in Green-H","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Paperback","offer_id":41804346392641,"sku":"WesleyBrown-BlueInGreen-P","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/blueingreencoverweb.jpg?v=1663775053"},{"product_id":"ahmed-abdullah-a-strange-celestial-road","title":"Ahmed Abdullah: A Strange Celestial Road","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eIn this captivating memoir, the first full-length account of life in the Arkestra by any of its members, Harlem-born trumpeter Ahmed Abdullah recounts two decades of traveling the spaceways with the inimitable composer, pianist, and big-band leader Sun Ra. Gigging everywhere from the legendary Bed-Stuy venue the East to the National Stadium in Lagos, Abdullah paints a vivid picture of the rise of loft jazz and the influence of Pan-Africanism on creative music, while capturing radical artistic and political developments across Brooklyn and Lower Manhattan in the 1970s and ’80s. Richly illustrated with seventy-two pages of photographs and posters from Adger Cowans, Marilyn Nance, Val Wilmer, and others, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA Strange Celestial Road\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e interweaves the author’s own moving story—his battles with addiction, spiritual development, and life as a working class performer—with enthralling tales of tutelage under Cal Massey, collaborations with the likes of Ed Blackwell, Marion Brown, and Andrew Cyrille, and profound, occasionally confounding, mentorship by Sun Ra. Originally written in the 1990s with the help of Nuyorican poet Louis Reyes Rivera and published now for the first time, with a foreword by Salim Washington, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA Strange Celestial Road \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eis\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003enot only an autobiography, but a history of a remarkable and under-documented movement in music. \u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Hardcover","offer_id":40367220064321,"sku":"Abdullah-ASCR-HB","price":50.0,"currency_code":"USD","in_stock":true},{"title":"Paperback","offer_id":40367220097089,"sku":"Abdullah-ASCR-PB","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/products\/astrangecelestialroadcover.jpg?v=1675296294"},{"product_id":"blank-forms-09-sound-signatures","title":"Blank Forms 09: Sound Signatures","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe penultimate Blank Forms anthology presents new interviews with musicians Theo Parrish, Amelia Cuni, Akio Suzuki and more.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAt the centerpiece of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBlank Forms 09: Sound Signatures \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eis a career-spanning, twenty-hour conversation conducted over four days between producer, remixer, and Detroit house music legend Theo Parrish and veteran music journalist Mike Rubin. They go deep on Parrish’s childhood in Chicago’s South Side, sculptural training, and collaborations with Moodymann, Rick Wilhite, and Omar S, and explore how the social movements of 2020 have reshaped his practice and dance music at large. This volume also includes an illustrated discussion between Dhrupad singer Amelia Cuni and sound artist\/tuning theorist Marcus Pal, covering Cuni’s years studying voice and dance in India, her interpretations of John Cage, and collaborations with the likes of La Monte Young and Catherine Christer Hennix—accompanied by deeply researched essays from Cuni on Hindustani classical music and avant-garde performance. Finally, the collection features reminiscences from composer and performer Akio Suzuki and musician Aki Onda on Fluxus pioneer and Taj Mahal Travellers founder Takehisa Kosugi, with newly translated criticism from Kosugi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":40459899961409,"sku":"Journal-9","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/files\/978-1-953691-17-0.jpg?v=1689172798"},{"product_id":"spencer-gerhardt-ticking-stripe","title":"Spencer Gerhardt: Ticking Stripe","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNoted composer and mathematician Spencer Gerhardt presents \u003c\/span\u003e\u003cem\u003eTicking Stripe\u003c\/em\u003e\u003cspan\u003e, a groundbreaking collection of essays linking notions of continuity and construction across the boundaries of math, art, music and philosophy. Gerhardt offers new, and deeply informed interpretations of the 1960s New York avant-garde, viewed through the lens of trailblazing artists such as La Monte Young, Marian Zazeela, Catherine Christer Hennix, Henry Flynt and Tony Conrad.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb id=\"docs-internal-guid-eb5fabb1-7fff-61d9-bf26-734e3864cefb\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003cem\u003eTicking Stripe\u003c\/em\u003e pairs the spirit of L. E. J. Brouwer—a mathematician who brilliantly, and controversially, sought to reconstruct the continuum in his own philosophical terms called intuitionism—with the ambitions of pioneering minimalists who combined continued constructions, idealized processes of introspection, and conceptual world-building with a host of philosophical, scientific, and spiritual concerns. Informed by his own work as a professional mathematician and composer, Gerhardt explores the depths of these disparate traditions, finding unlikely areas of commonality. Spanning over two decades, these essays feature rich historical explorations of minimalist music, writing on contemporary art, and work in logic and algebraic groups, all approached with rare clarity and technical aplomb.\u003c\/p\u003e\n\u003c!----\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":41592127881281,"sku":"Gerhardt-Book","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/files\/spencergerhardtcover0729final.jpg?v=1722369289"},{"product_id":"blank-forms-10-alien-roots-eliane-radigue","title":"Blank Forms 10: Alien Roots: Éliane Radigue","description":"\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe tenth and final anthology from Blank Forms explores the early electronic work of French composer \u003c\/span\u003eÉliane Radigue\u003cspan\u003e, whose radical approach to feedback, analog synthesis, and composition on tape has long evaded historical and technical interpretation. Combining key texts, newly translated primary documents, in-depth interviews, and commissioned essays, this compendium interrogates the composer’s idiosyncratic compositional \u003c\/span\u003e\u003cspan\u003epractice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification, \u003c\/span\u003e\u003cspan\u003eand the very experience of listening. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong these entries is an in-depth overview by cellist Charles Curtis, a close collaborator of Radigue’s, examining the composer’s earliest experiments with feedback techniques and analog synthesis, her eventual shift to composing \u003c\/span\u003e\u003cspan\u003efor unamplified instruments and live performers, and her unique aesthetic configurations of time and presence. \u003c\/span\u003e\u003cspan\u003eA number of detailed conversations between the composer and researchers Georges Haessig, Patrick de Haas, Ian \u003c\/span\u003e\u003cspan\u003eNagoski, and Bernard Girard provide crucial insights into her working methods at different points throughout her career. Religious studies scholar Dagmar Schwerk reflects upon Radigue’s profound synthesizer work \u003c\/span\u003e\u003cem\u003eTrilogie de la Mort\u003c\/em\u003e \u003cspan\u003e(1985–93) in the context of Tibetan Buddhist thought and its history, while texts by musicians Daniel Silli\u003c\/span\u003e\u003cspan\u003eman and Madison Greenstone examine, in notably different ways, the technical characteristics of Radigue’s sound \u003c\/span\u003e\u003cspan\u003epractice. Sketches for unrealized work, contemporary reviews, concert programs, and other ephemera mapping the \u003c\/span\u003e\u003cspan\u003eperformance history of Radigue’s early work are presented together for the first time. The anthology concludes \u003c\/span\u003e\u003cspan\u003ewith a roundtable discussion between Curtis, Greenstone and Anthony Vine, untangling the knot of paradoxes at the center of Radigue’s artistic practice to trace the thread of her continued “ethos of resistance.” \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":42005981265985,"sku":"Journal-10","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/files\/Alien_Roots-_Eliane_Radigue_cover.jpg?v=1739816837"},{"product_id":"sonny-simmons-better-do-it-now-before-you-die-later","title":"Sonny Simmons: Better Do It Now Before You Die Later","description":"","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":42314027991105,"sku":"Simmons-Book","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/files\/sonnysimmonscover.jpg?v=1762466239"},{"product_id":"maryanne-amacher-intelligent-life","title":"Maryanne Amacher: Intelligent Life","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHad it been produced, Maryanne Amacher’s media opera \u003c\/span\u003e\u003cspan\u003eIntelligent Life\u003c\/span\u003e\u003cspan\u003e would have represented the summation of the composer’s concept to date. As she wrote to John Cage in the autumn of 1983, following the untimely deaths of the opera’s patrons—Wies Smals, founder of De Appel, and curator Josine van Droffelaar, in a plane crash in the Swiss Alps—she would have at last had the support to “communicate the finest of my thought to others.” Amacher’s serial, intended for broadcast, sought to transmit her evolving ideas about perception, listening, and composition to a broader public—shifting music away from “nod and tap recognition” toward a transformative practice that could awaken intelligence to “unrecognized and new perceptual modes.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSet in the year 2021, \u003c\/span\u003e\u003cspan\u003eIntelligent Life\u003c\/span\u003e\u003cspan\u003e follows the employees of Supreme Connections LLC, a music entertainment corporation navigating a future in which artificial intelligence generates music faster than composers can. Anticipating an industry-wide downturn, Supreme Connections president Aplisa Kandel seeks advanced technologies that will revolutionize the act of listening and the future of music, including a bio-music script that lets the user hear Bach from the aural perspective of a reindeer and a wearable device that goes beyond replicating the mechanical tympanic resonances of the listening subject to produce the “listening mind” or the “sophisticated perceiver”—capturing and reproducing all the emotional and psychological associations unique to each \u003c\/span\u003e\u003cspan\u003eindividual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThough Amacher could not realize \u003c\/span\u003e\u003cspan\u003eIntelligent Life \u003c\/span\u003e\u003cspan\u003ein any of its intended forms—she theorized its publication as a serialized radio broadcast and television simulcast, among other configurations—she continued designing “treatments” for the opera for much of her career. This volume makes the most complete of these working documents—including episodic scripts, notes on the use of LaserDisc, and an illustrated storyboard for the pilot—available to the public for the first time.\u003c\/span\u003e\u003c\/p\u003e","brand":"blank-forms","offers":[{"title":"Default Title","offer_id":43705955647553,"sku":"AMACHER-IL","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0011\/0588\/7297\/files\/9781953691231.jpg?v=1774374036"}],"url":"https:\/\/blank-forms.myshopify.com\/collections\/books.oembed?page=2","provider":"blank-forms","version":"1.0","type":"link"}