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Cover of CCRU writings 1997-2003

Urbanomic

CCRU writings 1997-2003

CCRU

€25.00

From before the beginning (which was also, according to them, already the end), the adepts of the Architectonic Order of the Eschaton have worked tirelessly to secure the past, present, and future against the incursions of Neolemurian time-sorcery, eliminating all polytemporal activity, stitching up the future, sealing every breach and covering every track. According to the AOE, the Ccru ‘does not, has not, and will never exist’. And yet….

The texts collected here document the Ccru’s perilous efforts to catalogue the traces of Lemurian occulture, bringing together the scattered accounts of those who had stumbled upon lagooned relics of nonhuman intelligence—a project that led ultimately to the recovery of the Numogram and the reconstruction of the principles of Lemurian time-sorcery—before disintegrating into collective schizophrenia and two decades of absolute obscurity.

Meshing together fiction, number theory, voodoo, philosophy, anthropology, palate tectonics, information science, semiotics, geotraumatics, occultism, and other nameless knowledges, in these pages the incomplete evidence gathered by explorers including Burroughs, Blavatsky, Lovecraft, Jung, Barker, J.G. Ballard, William Gibson, and Octavia Butler, but also the testimony of more obscure luminaries such as Echidna Stillwell, Oskar Sarkon, and Madame Centauri, are clarified and subjected to systematic investigation, comparison, and assessment so as to gauge the real stakes of the Time-War still raging behind the collapsing façade of reality.

One of the most compelling and unnerving collective research enterprises to have surfaced in the twentieth century, the real pertinence of the Ccru’s work is only now beginning to reveal itself to an unbelieving world. To plunge into the tangled mesh of these conspiracies, weird tales, numerical plagues, and suggestive coincidences is to test your sense of reality beyond the limits of reasonable tolerance—to enter the sphere of unbelief, where demonic currents prowl, where fictions make themselves real. Hyperstition.

Cybernetic Culture Research Unit was a name on a door in the Philosophy Department of Warwick University, UK, during the late 1990s. It was a rogue unit, blurring the borders between traditional scholarship, cyberpunk sci-fi, and music journalism. Its frenzied interdisciplinary activity, including the Virtual Futures and Virotechnology conferences and the journal Abstract Culture, disturbed Warwick's Philosophy Department, resulting in the termination of the unit.

recommendations

Cover of Fair Arts Almanac 2019

Self-Published

Fair Arts Almanac 2019

SOTA

Anthology €10.00

In 2019 SOTA finished the first Fair Arts Almanac. The content of the book was generated during a week long summer camp in 2018 with about 70 contributors. The result was a bundling of tips & tricks, statements & demands, visions & ideas, dates & data, testimonies & voices, addresses & announcements on fairness within the complex relationships between the artistic, political and economic sphere. The compilation of various contributions in this first edition was deliberately associative and open for debate, full of contradictions, loose ends and inconsistencies.

Cover of a queer anthology of wilderness

Pilot Press

a queer anthology of wilderness

Richard Porter

Poetry €15.00

Featuring Zoe Leonard, Eileen Myles, Jimmy DeSana, Princess Julia, Olivia Laing, Simon Costin, Timothy Thornton, Mary Manning and many more. Published 2020.

Cover of Writing on Raving

OR Books

Writing on Raving

McKenzie Wark, Zoë Beery and 1 more

Anthology €20.00

Writing on Raving is the definitive mix of voices from the Brooklyn underground rave scene and beyond, providing fresh language for the shared and infinitely varied experience of dancing through the night until the morning.

New York rave culture is having a moment. The music, mostly, is techno, certain flavors of which became the soundtrack to a dancefloor culture that is queer in a different way to house music centered gay nightlife. Wark, Mak and Beery want to document and annotate and celebrate, but also critique, this world in the making. Writing on Raving centers the New York scene, but isn't limited to it.

This is a book for all of those who need the rave. Who need to dance. Who have at some point needed that beat in their lives. This is a book for all those who have journeyed through the night, through sound, through movement, through chemistry, into other places, other times, other encounters.

This seeking gives us hours, years, on the dance floor to think about why we rave, to locate these reasons in our bodies and the space around us. But the rave is not the place to articulate them. It is too loud; our friends are too distracted, or too high. At the afters, tired and drained and covered in schmutz, we think some more. We look around at our raver friends, and wonder: How did we get here? What happened to us? What is this tentacular, thrashing, swelling thing that we all made together? That thing that is now slumped and aching and coming down now into our fragmentary, singular lives

Between all of us, there are many answers to such questions. Wark, Mak and Beery have gathered their favorite ones to share in this first-ever anthology of writing on raving.

McKenzie Wark is a writer and scholar based in New York City. She is the author, among other things, of Raving (2023) and Life Story (2024).

Geoffrey Mak is the author of Mean Boys: A Personal History (Bloomsbury, 2024).

Zoë Beery is a freelance journalist based in Brooklyn, and a nightlife harm reduction organizer at parties and festivals in the U.S. and Europe.

Cover of KILOBASE BUCHAREST A-Z

P-U-N-C-H

KILOBASE BUCHAREST A-Z

Sandra Demetrescu, Dragoș Olea

KILOBASE BUCHAREST A-Z is a publication which is describing Bucharest through a sort of experimental alphabet book: for each letter of the English alphabet, artists, writers, architects and researchers were invited to choose a key term and develop a contribution representing a sliver of the Romanian capital city, capturing a polyphonic set of perspectives on the infinite facets of a city whose identity is notoriously difficult to define.

Contributions by: Irina Bujor, Serioja Bocsok, studioBASAR, Iuliana Dumitru, Ștefan Ghenciulescu, Kilobase Bucharest, Apparatus 22, Mihnea Mihalache-Fiastru, Ștefan Constantinescu, Sabine Bitter & Helmut Weber, Gruia Bădescu, Ioana Ulmeanu, Decebal Scriba, Sillyconductor, Prosper Center, Geir Haraldseth, Jimmy Robert, Karol Radziszewski, Lea Rasovszky, Ștefan Botez, Simina Neagu, Bogdan Iancu, Andrei Mihail, Mihai Lukács, Mihai Mihalcea, Cosima Opârtan, Juergen Teller, Hans Leonard Krupp.

The publication also includes a republished insert by late artist Ioana Nemeș, and three reprinted contributions previously published in Kilobase Bucharest A-H (Mousse Publishing, 2011) produced on the occasion of "Image to be projected until it vanishes" exhibition at Museion Bolzano.

Cover of Weaving Language I

Essay Press

Weaving Language I

Francesca Capone

Essays €18.00

Weaving Language I: Lexicon is the first book in the Weaving Language series, which examines the poetics of weaving traditions through historical research as well as contemporary practices. Attempting to dismantle and rebuild commonplace understandings of the history of writing, Weaving Language focuses on fiber-based forms as a longstanding but often overlooked medium for record-keeping, storytelling, and poetry.

In Weaving Language I: Lexicon, weaving processes are mapped onto English grammar to suggest a method for reading woven works. Offering visual vocabularies as both discrete concrete poems as well as a collection of translatable terms, this book invites readers, writers, and weavers to participate by considering weaving as a system that can be decoded. Textile forms are broken into the basic building blocks of language, presented as a visual/textual lexicon.

Weaving Language I: Lexicon was initially self-published by Capone in 2012 and in 2015 re-issued in an edition of five as an artists’ book, which was awarded the Frances Mason Harris ’26 Prize from Brown University.

Essay Press’s edition makes this important work available for the first time in a trade edition. The edition has also been newly edited and significantly expanded into a multivocal work that represents the contributions of a small collective of artists including Martha Tuttle, Allison Parrish, Sarah Zapata, Adjua Gargi Nzinga Greaves, Amaranth Borsuk, and Imani Elizabeth Jackson, thanks to funding from the Oregon Arts Commission and the Ford Family Foundation. The book also includes an afterword by Kit Schluter and diagrams by Anni Albers (with permissions from the Josef and Anni Albers Foundation).

Plans are underway to similarly expand and reissue the two additional books in the series both previously published in limited editions currently out of print: Weaving Language II: Language is Image, Paper, Code, & Cloth (information as material, York, UK, 2018) and Weaving Language III: Writing in Threads (Center of Craft, Asheville, NC, 2017). The Weaving Language project has been accompanied by numerous gallery shows, including “Material Memory,” a show running from October 7 through November 9, 2022, at Nationale in Portland, Oregon, to accompany the release of the Essay Press edition of Weaving Language I.

Artists’ books from the Weaving Language series are held by the collections of the Museum of Modern Art Library in New York, NY; the Thomas J. Watson Library at the Metropolitan Museum of Art in New York, NY; the Harris Collection of American Poetry and Plays at the John Hay Library at Brown University in Providence, RI; and at the Joan Flasch Artists’ Book Collection at the School of the Art Institute of Chicago in Chicago, IL.