Organic Music Theatre – Festival de jazz de Chateauvallon 1972 (2 vinyl LP)

A new collection of writings by the composer and mathematician Spencer Gerhardt, considering among other topics the rich points of contact between minimalist musical aesthetics and intuitionistic mathematics.

Noted composer and mathematician Spencer Gerhardt presents Ticking Stripe, 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.

Ticking Stripe 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.

Spencer Gerhardt is a composer and mathematician. His music engages constructive, introspective and romantic traditions. Gerhardt has written solo piano music, piano based songs, and works of minimalism. He studied raga with La Monte Young and Marian Zazeela, piano performance with Sung-Hwa Park, and has collaborated with artists such as Thomas Ankersmit and Charles Curtis.

Though his years in the New York free-jazz scene of the sixties cemented his reputation as "one of the most forceful and convincing composers and soloists in his field," saxophonist Sonny Simmons (1933–2021) was nearly forgotten by the '80s, which found him broke, heavily dependent on drugs and alcohol, and separated from his wife and kids. "I played on the streets from 1980 to 1994, 365 days a year," Simmons tells jazz historian and biographer Marc Chaloin. "I would go to North Beach, and I'd sleep in the park. The word got around town that Sonny is a junkie, really strung out."

The resurrection of Simmons' career―upon the release of his critically acclaimed Ancient Ritual (Qwest Records) in 1994―has become a modern legend of the genre. In the last two decades of his musical career, Simmons broke through to a new echelon of recognition, joining the pantheon of great innovators and masters of the music. But to this day he remains an undersung figure. Here, in the first ever book dedicated to his life, Simmons recounts his childhood in the backwoods of Louisiana, his adolescence in the burgeoning Bay Area jazz scene and his star-studded life in New York playing alongside the greats.

The republication in print form of the poems of Art Ensemble of Chicago's founding member breathes new life into a forgotten document of the Black Arts Movement.

In 1977, Art Ensemble of Chicago Publishing Co. published Jarman's Black Case Volume I and II: Return From Exile, a collection of writing conceived across America and Europe between 1960 and 1975. Comprised largely of Jarman's flowing, fiery free verse—influenced by Amus Mor, Henry Dumas, Thulani Davis, and Amiri Baraka—the book also features a manifesto for “GREAT BLACK MUSIC,” notated songs, concert program notes, Jarman's photos, and impressions of a play by Muhal Richard Abrams, the founder of the Association for the Advancement of Creative Musicians of which Jarman was also an original member.

Jarman writes poetry of personal revolutionary intent, aimed at routing his audience's consciousness towards growth and communication. He speaks with compassionate urgency of the struggles of growing up on Chicago's South Side, of racist police brutality and profound urban alienation, and of the responsibility he feels as a creative artist to nurture beauty and community through the heliocentric music that he considers the healing force of the universe. A practicing Buddhist and proponent of Aikido since a 1958 awakening saved him from the traumatic mental isolation of his time dropped by the US army into southeast Asia, Jarman sings praise for the self-awareness realization possible through the martial arts.

With cosmic breath as its leitmotif, his poetry both encourages and embodies a complete relinquishing of ego. While some of the poems contained within Black Case have already been immortalized via performances on classic records by Jarman and Art Ensemble of Chicago, its republication in print form breathes new life into a forgotten document of the Black Arts Movement.

The seventh entry in an ongoing series of anthologies, this book features rare poems alongside new essays and interviews that engage the artists and themes explored elsewhere in Blank Forms' public programming.

Where most of prior entries, including Aspirations of Madness (2020), Intelligent Life (2019), and Music From The World Tomorrow (2018), have foregrounded little-seen or newly translated archival materials, this iteration privileges new texts produced specifically for the publication. These include an in-depth retrospective interview with the idiosyncratic Texan singer-songwriter and visual artist Terry Allen conducted by ICA Philadelphia chief curator Anthony Elms; a conversation between multidisciplinary writers—and longtime friends—Thulani Davis and Jessica Hagedorn on the occasion of Davis's latest poetry collection, Nothing but the Music, 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 Music for Cello and Humming; and a conversation with composer-performers Tashi Wada and Charles Curtis, on the heels of a recent compilation of Curtis's work, Performances & Recordings 1998– 2018, produced by Wada. Each of these interviews shed light on the particularities of the artists' careers and methods in terms both formal and casual, practical and theoretical. 

In 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 Amateur Doubles, 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.

A Congregation of Clouds assembles eight artistic voices in the form of printed matter. These publications do not speak in unison; instead, they drift, accumulate, and resist.

To congregate is to gather—sometimes in quiet reflection, sometimes in protest, sometimes in ritual. Clouds do not ask permission to form. They appear when conditions allow, under a shared sky, without needing to resolve into one.

Edited and designed by Tony Cederteg

A punk rock anti-memoir told through the eyes of a biracial Afrolatino punk academic. 

¡PÓNK! follows Moose, an alienated academic and lead guitarist for Pipebomb!, as he navigates through spaces in and out of South East Los Angeles: punk clubs, college classrooms, family gatherings, street protests, and euphoric backyard shows.Oscillating between autofiction, memoir, and lyric, Clayton blurs genres while articulating the layered effects of racism, trauma, immigration, policing, Black hair, performance, and toxic academic language to uncover how one truly becomes an "ally." Borrowing from the spatial lyricism of Claudia Rankine, the genre-bending storytelling of Alexander Chee, and the racial musings of James Baldwin, ¡PÓNK!'s narrative takes back punk rock and finds safe space in the mosh pit.

Handmade artist's book combining drawings, photographs, and archival materials. This publication reflects on the YouYou Group's ten-year journey and its evolving relationship with space. It marks a transitional moment from the group's long-term engagement with public space toward a growing understanding of spatiality and collective presence.

YouYou Group is a Belgian choir that specializes in what is known in Arabic as zaghareed. This trilling cry is used by women at weddings and festive occasions, but also at funerals. Youyou is the French name for zaghareed. Depending on the regional origin, it is also called kululu, tsahalulim, or irrintzi. It is a long, shrill tone that is modulated (by the throat, glottis, or rapid tongue movements) and can be heard from far away. Brussels artist Myriam Van Imschoot was one of the founders of this singing group.

The fourth issue of the annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales, around the topic of voice.

The voice is everywhere, infiltrating everything, making civilisation, marking out territories with infinite borders, spreading from the farthest reaches to the most intimate spaces. It can be neither reduced nor summarised. And accordingly, when taken as a theme, the voice is inexhaustible, even when seen in the light of its very particular relation with the sonic or the musical, as is the case in most of the texts collected in this volume. There is no point therefore in trying to circumscribe or amalgamate the multiple avatars of the voice. We must rather try to apprehend what the voice can do, to envisage its landscape, its potential effects.
 
Spectres is an annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales.

Edited by François J. Bonnet and Bartolomé Sanson.

Contributions by Joan La Barbara, Sarah Hennies, Peter Szendy, Youmna Saba, Lee Gamble, Ghédalia Tazartès, David Grubbs, Stine Janvin, Pierre Schaeffer, Akira Sakata, Haela Ravenna Hunt-Hendrix, Yannick Guédon, François J. Bonnet, John Giorno.