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"The Subway Sect story is one of the strangest, and therefore one of the best. Vic Godard indicated ways that pop should go. He dropped hints, left clues. It is all there." —Kevin Pearce
"This is Vic reflecting on a lifetime in the music business. It sounds like a record that he had to make and is perfect for now. When I was a kid, I used to make up my fantasy punk band with members from different bands and they almost always contained Vic Godard and Mick Jones. The songs are as good as it gets and with Mick Jones producing and playing piano, what do you need?"
— Jim Reid, Jesus & Mary Chain
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"Accumulated guts, debris, starfish, ginnies, dabs, rejectamenta..." Throughout his career, B.S. Johnson – famously described as ‘Britain’s one-man literary avant-garde of the 1960s’ – wrote to commissioning editors, TV producers, and literary agents with letters brimming full of ideas. Proposals for Frankie Howerd to star as Oscar Wilde; a Beckettian drama about the game of squash; Kamikaze Ninety, a film featuring geriatric terrorists: each document reveals a new side to Johnson’s disobedient imagination. Can I Come In and Talk About These and Other Ideas? brings together a selection of these previously unpublished proposals in a revelatory volume of creative hypnagogia that is also a visual record of Johnson's abandoned work. An unusual insight into what its editor Matthew Harle calls the "labour of the negative", the book re-presents an obscured and often funny history of productivity and play by one of Britain's great modernist authors. The book features an Afterword by Johnson's son Steve. Each copy includes a postcard reproducing the author's plan for a 'Royal Society for the Prevention of Cruelty to Johnson'. Edition of 400. Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. 7" x 9"; 64 pages. Three color silkscreened cover, full color offset text pages. Queries: ss162@nyu.edu |
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The Changes makes childhood seem both frightening and incredibly exciting, almost limitless with possibilities. The Disruption is an extended conversation between Andy Beckett (Pinochet In Piccadilly/ When The Lights Went Out) and Roger Luckhurst (The Invention of Telepathy/ The Corridor) about The Changes. Based on a Peter Dickinson trilogy, the 1975 BBC children's television series features militant sonics, lost children, wandering Sikhs, strange weather, witch trials, sentient lode-stones; it stimulates an expansive meditation on petronormativity, The Angry Brigade, radical exurbs, free festivals, and postcolonial pastoralism. Risograph publication. Ninth title in Flugschriften series. 150 copies only. All copies come with a flexi disc of 'The Changes', a newly-composed theme for the show by The God In Hackney. Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. 7.5" x 7.5"; 36 pages. PURCHASE VIA PAYPAL Queries: ss162@nyu.edu |
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The screen is black. There is no space, no place, only a black void. The tiny pale oval of a woman’s face floats in the blackness near the top of the screen like a distant moon. No body. Only a face. "Come on along and listen to the Lullaby of Broadway." Death By Dance: A Busby Berkeley Nightmare is a journey into The Lullaby of Broadway, a short film within Busby Berkeley's directorial debut Gold Diggers of 1935. In this harrowed rendering by filmmaker Julia Loktev, it is an inverted negative of a Busby Berkeley confection, a dark mirror-world Busby Berkeley dream now played as nightmare, a Busby Berkeley horror movie. Risograph publication. Seventh title in Flugschriften series. 100 copies only. A handful of silkscreened posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press 5" x 8"; 28 pages. PURCHASE VIA PAYPAL Queries: ss162@nyu.edu |
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Call imaginary world into question. Not reject
fiction—situate. Laura Mulvey and Peter Wollen: Beyond The Scorched Earth of Counter-Cinema is a collection of essays and speculative texts about a remarkable body of theory-films, montage documentaries and cinematic essays produced between 1974 and 2013. It explores and sheds light on many questions: how might new images and new formal means of representaton resist the choke-lock of consensual reality? What were the countercultural and economic structures that enabled this kind of radical moving-image work? What do Mulvey and Wollen's films, many of them unseen for decades, say to the present period? Contributors include Laura Mulvey, Oliver Fuke, Esther Leslie and Volker Pantenburg. Laura Mulvey and Peter Wollen: Beyond The Scorched Earth of Counter-Cinema was produced to accompany a New York retrospective of the same name - the first to be staged in the U.S. - curated by Oliver Fuke and organised by the Colloquium for Unpopular Culture at 721 Broadway from 11-14 November 2016. Risograph publication. Eighth title in Flugschriften series. 100 copies only. 25 signed. A handful of posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. Buy Book ($10) incl. worldwide postage Queries: ss162@nyu.edu |
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"Soak up school and suck it sideways." — The Fire Engines Hysteric Esoterics is an extended conversation between Michael C. Vazquez, senior editor at Bidoun, and Michael Train, compiler of a triple-disc anthology of Scottish DIY music called Kilt By Death. Taking Grant McPhee’s documentary Big Gold Dream: Scottish Post-Punk and Infiltrating the Mainstream as a springboard, Vazquez and Train discuss punk and the postcolonial, youthful discretions and acquired tastes, hatred (self, other), obscurantism (unearned, earned), band name poetry, Joy Division damage, and the curious sequence of events that led them to programme a continuous 96-hour broadcast of underground Scottish rock music on Cambridge, Massachusetts radio station WHRB in 1994. Risograph publication. Sixth title in Flugschriften series. 100 copies only. All copies come with poster and Kilt By Death Four, a cassette compilation of 27 Scottish DIY songs released 1978–82. A handful of posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. 5" x 8"; 44 pages. SOLD OUT Queries: ss162@nyu.edu |
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The prayers of many nations are written in a language incomprehensible to those who pray cosmos breach. elder gods open yaw way south. planet swallowed doe-like, achilles star seashell leash heel to the thought. swells, dementia, hunger, urgency, seratonin blow bent tap dance little alsatian nonsense, clause thrum for bias Poet Paolo Javier and Ghost Box recording artist Listening Center collaborate on an exploratory assemblage of clangorous sounds and mysterious fragments of speech. Field recordings of a shadowy Filipino poet are the starting point for a darkened journey through an underworld of language and postcolonial haunting. Risograph publication. Fifth title in Flugschriften series. 100 copies only. All copies come with cassette and poster. A handful of posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. 5" x 8"; 30 pages. PURCHASE VIA PAYPAL Buy Book ($15 incl. worldwide postage Queries: ss162@nyu.edu |
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“I am afflicted by images, by things that are seen, pictures of things. They are extraordinary, momentary, but they stay with me.” —David Rudkin, 1964 Penda’s Fen, written by David Rudkin and directed by Alan Clarke, is one of the key films in the pantheon of what has been called The Old Weird Albion. A radical archaeology of Deep England, a work of dark pastoral, a praise-song to anarchistic transformation, it culminates with perhaps the most euphoric revelation in British cinema: “My race is mixed. My sex is mixed. I am woman and man, light with darkness, nothing pure!” This second and final edition of The Edge Is Where The Centre Is has been significantly expanded and redesigned. It contains a number of new contributions including an essay by historian Michael Wood and an interview with the BBC Radiophonic Workshop's Paddy Kingsland who constructed the sound design for Penda's Fen. All copies came with a flexi disc featuring a specially-commissioned and supremely disorientating Mordant Music 'sound smear' of a recording of David Rudkin. Initial copies of the book came with a poster for the 12 September 2015 16mm-screening of the film at London's Whitechapel Gallery, and with two prints of Rudkin shot (using a 1930s wooden box camera and expired Polaroid film) by prize-winning writer S.F. Said. |
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“I am afflicted by images, by things that are seen, pictures of things. They are extraordinary, momentary, but they stay with me.” —David Rudkin, 1964 Penda’s Fen, written by David Rudkin and directed by Alan Clarke, is one of the key films in the pantheon of what has been called The Old Weird Albion. A radical archaeology of Deep England, a work of dark pastoral, a praise-song to anarchistic transformation, it culminates with perhaps the most euphoric revelation in British cinema: “My race is mixed. My sex is mixed. I am woman and man, light with darkness, nothing pure!” Edited by Gareth Evans, William Fowler and Sukhdev Sandhu, The Edge Is Where The Centre Is is a limited-edition Risograph book (only 200 copies) – published by Texte und Töne in collaboration with the Colloquium for Unpopular Culture – to mark a rare 16mm-screening of the film at The Horse Hospital, London on 15 November 2014. It was designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. The book comes with a poster for The Horse Hospital 16mm-screening of Penda’s Fen, as well as two signed prints of Rudkin shot (using a 1930s wooden box camera and expired Polaroid film) by prize-winning writer S.F. Said. |
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Throughout history, you see ruptures in the language and texts of writers such as Marx, Benjamin or Fanon. Not history as numbers and dates, but history as force and nature; the Strike was less about economic and more about emotions... The Stink Still Here is an extended conversation between novelist David Peace and London Review of Books Senior Editor Paul Myerscough about the Miners' Strike—as open wound, as historiographical and aesthetic challenge, as matrix of occult memories. It was produced to mark a day-long series of films and talks, staged in New York on 19 April 2014, devoted to the 30th anniversary of the Strike. Risograph publication. Fourth title in Flugschriften series. 100 copies only. A handful of posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. |
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I was born near Delhi, India, on June, 1852. I have been shot at by Indians. I am a marsh mongoose. Unvanished, is a publication about Gef, a talking mongoose on the Isle of Man, who became famous for a short but intense period in the 1930s. Some claimed he was a cryptid, while others posited he was a poltergeist or even a hoax. In recent years, Gef's story has been revived and even the subject of an academic conference. Now sculptor, poet and performance artist Brian Catling, who collaborated with Tony Grisoni on a 1999 film about Gef, has written a meditation on this "unique, disturbing and comic enigma... one of the eeriest ghost stories that I have ever read." The publication includes two singular fictions by Catling — Outrage and Fishykins — that deep-probe the psychological landscapes from and into which Gef emerged. |
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There’s a roar and hiss on the soundtrack, and the imagery seems scratched and pixelated. The film seems so amateur, but that’s no bad thing. Amateur means lover and Kiarostami’s films are lovers… First Life, Second Life is a letter from award-winning film maker, writer and curator Mark Cousins to fourteen-year-old Mark Cousins, growing up in late-1970s Belfast, bullied and unsporty and in love with cinema. An epistolary response to First Case, Second Case, Iranian director Abbas Kiarostami’s long-banned 1979 film, it is a meditation on childhood, revolutionary idealism, and the poetics of pedagogy. It was produced to mark the North America premiere of the film staged by Hadi Gharabaghi in New York on 29 January 2014. Risograph publication. Second title in Flugschriften series. 100 copies only. A handful of posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. A handful of posters are also available separately for purchase. (Please inquire.) Queries: ss162@nyu.edu |
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I write these lines a little less than a month before September 11, 2013. I began to write them in Santiago, a few blocks away from Escuelo Militar, where young men and women are trained to become part of the army - the same army that forty years ago bombarded the presidential palace and attacked its own people.... 9/11/1973: The Public Life of an Endless Day, by José Miguel Palacios, is a beautifully written meditation on Chilean history, the militant image, and the politics of memory. It was produced to accompany a special screening event held in New York on 11 September 2013. Risograph publication. First title in Flugschriften series. 100 copies only. A handful of posters are also available separately for purchase. (Please inquire.) Designed by Rob Carmichael, SEEN, and printed by Keegan Cooke at Circadian Press. |
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Edited by S.S. Sandhu, Nothing’s Too Good For The Common People: The Films of Paul Kelly is a very limited-edition Risograph book – published by Texte und Töne in collaboration with the Colloquium for Unpopular Culture – to mark the first ever retrospective of Kelly’s work, held in association with chickfactor magazine, in New York, June 2013. The book was designed by Rob Carmichael, SEEN and was printed by Keegan Cooke at Circadian Press. Contributors include: Jon Dale, Travis Elborough, Alistair Fitchett, Dan Fox, Joe Kerr, Stephin Merritt, Jude Rogers, Sukhdev Sandhu, Peter Terzian. The book comes with a free poster and a postcard-pack of all five of Paul Kelly’s films. Ten random copies of the book will also come with signed (by Kelly and Debsey Wykes) copies of Birdie’s out-of-print Folk Singer 7-inch single. 9 " x 7"; 78 pages. SOLD OUT Queries: ss162@nyu.edu |
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Edited by S.S. Sandhu, THE TWILIGHT LANGUAGE OF NIGEL KNEALE is a limited-edition Risograph book -- published by Texte und Töne in collaboration with the Colloquium for Unpopular Culture — to mark A CATHODE RAY SÉANCE: THE HAUNTED WORLDS OF NIGEL KNEALE, a day-long event held in November 2012. The book was designed by Rob Carmichael, SEEN and was printed by Keegan Cooke at Circadian Press. Contributors include: Sophia Al-Maria, Bilge Ebiri, Mark Fisher, William Fowler, Ken Hollings, Paolo Javier, Roger Luckhurst, China Miéville, Drew Mulholland, David Pike, Mark Pilkington, Joanna Ruocco, Sukhdev Sandhu, Dave Tompkins, Michael Vazquez, and Evan Calder Williams. Queries: ss162@nyu.edu |
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