In this section of our website you can explore and pre-order our upcoming titles. As an independent publishing house with limited resources, pre-ordered titles show and offer fundamental support — for us and our authors. 

 

Undercommons. Pianificazione fuggitiva e studio nero will be released as the first book of the series and the first Italian edition of the essential writings by Stefano Harney & Fred Moten. In this series of essays, Moten and Harney draw on the theory and practice of the black radical tradition as it supports, inspires, and extends contemporary social and political thought and aesthetic critique. Today the general wealth of social life finds itself confronted by mutations in the mechanisms of control: the proliferation of capitalist logistics, governance by credit, and the management of peda-gogy. Working from and within the social poesis of life in The Undercommons, Moten and Harney develop and expand an array of concepts: study, debt, surround, planning, and the shipped. On the fugitive path of an historical and global blackness, the essays in this volume unsettle and invite the reader to the self-organised ensembles of social life that are launched every day and every night amid the general antagonism of The Undercommons.

To be co-published with Tamu on February 22, 2021

 

A book that transmits the multiple voices and the shift of perspective involved in the Afro-Sonic cartographies; the book as a format is going to continue to unsettle and de-colonize archives. How to do a book as a mapping and counter-journey? Research, performative and political aspects are compiled in samplings, layers, conversing, un-muting, liberating, restituing.

The authors are the contributors to the program at HKW, a selection of interviews from the Afro-Sonic Mapping blog as well as new short texts and interviews, including contibutions by Fred Moten, Greg Tate, Jihan El–Tahri, Kiluanji Kia Henda, ÀRÀKÁ collective, Louis Chude Sokein, Tsitsi Ella Jaji, Kodwo Eshun, and others.

To be co-published with Haus der Kulturen der Welt in early 2021

 

An Archaeology of Listening:
A Slightly Curving Place
with Umashankar Manthravadi

Edited by Nida Ghouse
in association with Jenifer Evans

With contributions by Vinit Agarwal, Moushumi Bhowmik, Padmini Chettur,
Nida Ghouse, Alexander Keefe, Sukanta Majumdar, Umashankar Manthravadi, Maarten Visser and others.

To be published in early 2021 with
Haus der Kulturen der Welt

ca. 200 pages, English
ISBN 978-3-948212-41-4

 

 

 

The life and work of Umashankar Manthravadi is a history of sound and technology through the second half of the 20th century. As a self-taught acoustic archaeologist, he has been building ambisonic microphones since the 1990s to measure the acoustic properties of premodern performance spaces. The publication An Archaeology of Listening accompanies the exhibition A Slightly Curving Place, and together they respond to the proposition in Umashankar’s practice that we can’t just look for theaters in landscapes of the past – we must listen for them. Including scripts, scores, conversations, and essays, the publication considers its own format in relation to the notion of writing as the first sound-recording device.

 

The publishing of the first catalogue raisonné on the work of the Otolith Group is timely andcomes at a pivotal point in their practice. The work of this London-based artist’s collective comprised of An-jalika Sagar and Kodwo Eshun covers politics of race and diversity and incorporates film making and post-lens-based essayistic aesthetics that explore the temporal anomalies, anthropic inversions, and synthetic alienation of the posthuman, the inhuman, the non-human, and the complexity of the envi-ronmental conditions of life we all face. As they explain, the collective “is something like a concept or fiction they choose to inhabit to elaborate their work through an act of fabulation”.

The publication is an extensive and comprehensive fully-illustrated catalogue that will be accompanied by a number of newly commissioned and some existing texts by authors such as Mark Fisher, An-selm Franke, Fred Moten, Rizvana Bradley, Grant Watson, Kodwo Eshun, Avery Gordon, Geelia Ronkina, Mahan Moalemi, George Lewis, Kobena Mercer, Emily Pethick and Annie Fletcher. It is going to accompany the touring exhibition of the same name throughout.

Electric Brine is a volume of poetry and critical essays by female voices from diverse fields such as literature, geography, media studies, history of life sciences, sociology, and poetics of science and fiction, central to the curatorial research entity The World in Which We Occur (TWWWO) and its associated online study group Matter in Flux (2014-ongoing). Conceived as an anthology and a register, it serves as both a testimony to the initiative’s long standing work of creative adaptation and ecological inquiry, and a quest to situate a vision of material politics through the lens of six punctuated pieces on flow and fluids. The literary and scientific “fabulations” layed out in the pages that follow, speak of the conjunction of lived embodiment, the embodied quality of language, and the ability to trigger political imagination through writing and witnessing. Each of these strands polyperform under TWWWO: they can be traced retroactively to the themes present in the live event series, Matter in Flux’s private study sessions, and the initiative’s collective writing work presented in public venues and publications. In the rear of this volume, a index exists documenting the years of study and invitation.

This title is available for pre-order below.

 

The autobiography of Harun Farocki (1944 – 2014) has been published posthumously in German on the occasion of Farocki’s retrospective in Berlin (2017) and Archive is honored to soon release the English translation for international review.To Harun Farocki writing was inextricably linked with his cinematic works; his work on the concept of the image always involved a translation from the image to the text and vice versa. The autobiography from his estate, which has now been translated into English, constitutes a great exception in his oeuvre: Farocki was not able to complete it; he died in July 2014. We here have a work, which has remained unfinished in itself – but precisely this makes this autobiography so fascinating. It portrays his tragic childhood, Farocki’s escape to West Berlin, the fortune of having discovered film, although he wanted to become a writer, his turning to outsiderism, his radicalism of thought, his vision, his power of observation, the growing ability to analyze social structures, the politicization of life. In his autobiography, Farocki adopts the attitude of the filmmaker, he is not only a critical reader of his own life, but also of the current events, which form the backdrop of the entire narrative.