Forthcoming: A text in collaboration with the curator of SoundFjord, Helen Frosi.
Listening and its not. Please visit Compost and Height to purchase.
Listening and its not brings together nineteen text realisations of a score by Patrick Farmer. The score invites performers to travel exactly 10 miles north of their home and write about the experience of listening”without pointing directly to it, or at it”.
With contributions from some of the most original voices to emerge in the field of writing in sound art practice over the last 10 years, including Daniela Cascella, Lawrence English, Sarah Hughes, Amelia Ishmael, Richard Pinnell, Salomé Voegelin and Mark Peter Wright. Listening and its not invites readers to rethink the act of listening as an internal, imaginative, discursive, dialogic and political terrain. The resultant texts range from the personal, scientific, informative and polemical. They provoke questions around the nature of location and our experience of place and, by refusing description, the act of listening is presented as a form of correspondence that reaches far further than the nineteen encounters that form the basis of this book.
Listening and its not (62 pages, digital print, paperback) Numbered edition of 500.
Published by Compost and Height and the Sonic Art Research Unit
Yew Grotesque. Please visit Compost and Height to purchase.
Compost and Height is pleased to announce the publication of Patrick Farmer’s new book, Yew Grotesque.
Farmer has been working on this book for the last year as part of a joint commission from Sound and Music and Forestry Commission England. It was developed during a series of week-long residential trips to Grizedale Forest, Cumbria, where Farmer resided in a log cabin and spent time walking the forested area between Coniston Water and Lake Windermere. This direct relationship between the forest and the book is veiled, though the underlying presence is integral to its makeup.
Yew Grotesque completes a series of works, comprising Farmer’s previous books try i bark and wild horses think of nothing else the sea. Together the three books offer both a direct and indirect textual engagement with listening. The relationship between these publications is typified by the words of Jack Spicer, a poet who felt that his own works “echo and re-echo against each other”, “create resonances” and can’t “live alone anymore than we can”.