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
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 Anjalika 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, Anselm 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.
Zawawa began on April 21st, 2011 when acoustic scientist Kozo Hiramatsu, anthropologist Rupert Cox and artist Angus Carlyle met in Okinawa. A previous collaboration – Air Pressure – had explored the environmental stresses on a family of organic farmers living in the midst of Narita airport. This new project centred on the Pacific island which was devastated by the last battle of World War II, was subsequently occupied by the United States for 27 years and is where a considerable presence of military personnel, infrastructure and overflying aircraft persist today. Over the next seven years, Hiramatsu, Cox and Carlyle’s fieldwork was devoted to learning from the islanders’ listening experiences and using these to direct their sound recording, filming and subsequent interviews, taking them to the edges of airbases and jungle warfare training camps, to bars and music venues, markets and lagoons, to sacred groves and ceremonies with priestesses and villagers at the edge of the sea. The film was premiered in ten civic centres on Okinawa before touring festivals worldwide and being short-listed for the Jean Rouch Award in 2019.
This illustrated, bi-lingual book begins with extended interviews with two survivors of World War II’s Typhoon of Steel. These are followed by ten further testimonies of auditory life on the islands and by verbatim audience reactions recorded during discussions at the film’s premieres. The book includes essays by Hiramatsu, Cox and Carlyle recounting their own sound-orientated perspectives which are in turn contextualized by Okinawa-based responses from musicologist Junko Konichi and biodiversity researcher Nicholas Friedman.
Available for pre-order ↓
Flowing, seeping, leaking, cascading, shaping, Electric Brine is a volume of poetry and critical essays by women voices from diverse fields such as literature, geography, media studies, history of life sciences, sociology, and poetics of science and fiction, each of them central to the independent curatorial research entity The World in Which We Occur (TWWWO, 2014-ongoing) and its associated online study group Matter in Flux. Conceived as an anthology and a register, it serves as a testimony to the initiative’s long-standing work of creative adaptation and ecological inquiry through 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 found in these pages speak of the conjunction of lived embodiment, the materialized quality of language, and the ability to trigger political imagination through reading, writing and witnessing. Each of these strands polyperform under TWWWO, for they can be traced, retroactively, to the themes present in the live event series, to Matter in Flux’s private study sessions, to the initiative’s collective writing work presented in public venues and publications. Also included in this volume is an appendix documenting the years of invitation and study, intricately linked to the ideological praxis of these overlaps.
Co-edited by Elise Hunchuck and Margarida Mendes
With contributions by Dionne Brand, Barbara Orland, Sophie Lewis, Esther Leslie, Hannah Landecker and Lisa Robertson.
Introduced by Jennifer Teets and Margarida Mendes
Pre order this book to receive it by mid April.
Co-founded in 2014 by Jennifer Teets and Margarida Mendes,* The World in Which We Occur (TWWWO) is an independent curatorial research-based entity that collaborates with artists, scientists, science historians, philosophers, anthropologists, activists and more as it explores themes concerned with artistic inquiry, philosophy of science, and ecology. TWWWO began as a live talk-event series over the telephone and has thus expanded to other formats involving experiments with educational actions, discursive talks, and events via diverse methodologies. Read an interview with Post Brothers on TANK magazine here.
* Since 2019, Mendes is an honorary member, and Jennifer Teets is the director and convener.
Electric Brine by Jennifer Teets
Metabolic Thinking by Margarida Mendes
ossuary I by Dionne Brand
Matter in Flux: How to Study the Dynamic States of the Material World by Barbara Orland
Amniotechnics by Sophie Lewis
Fog, Froth and Foam: Insubstantial Matters in Substantive Atmospheres by Esther Leslie
On the Odor of Rancid Butter, A Twenty-First Century Update by Hannah Landecker
On Form (for Jane Ellison) by Lisa Robertson
Read and excerpt from Fog, Froth and Foam: Insubstantial Matters in Substantive Atmospheres by Esther Leslie here
Contributors (in order of appearance):
Jennifer Teets and Margarida Mendes / Co-founders of TWWWO
Dionne Brand / Poet, novelist, essayist and documentarian, Professor of English at the School of English and Theatre Studies at the University of Guelph
Barbara Orland / Senior lecturer of the history of the life sciences at the University of Basel
Sophie Lewis / Theorist, translator and utopian living in Philadelphia
Esther Leslie / Lecturer in English and Humanities and Co-Director of the Birkbeck Institute for the Humanities
Hannah Landecker / Director of the Institute for Society and Genetics, and the Sociology Department, UCLA
Lisa Robertson / Poet