European Tour for Yes, But Is It Edible? 6-15.03.2015

Posted in events on March 4th, 2015
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European Tour for Yes, But Is It Edible?
The music of Robert Ashley, for two or more voices

New Documents is pleased to announce a series of seven launch events in conjunction with the recent release of Yes, But Is It Edible? The music of Robert Ashley, for two or more voices, edited by Will Holder and Alex Waterman.

For the launches, Holder and Waterman will read duets from Dust and Celestial Excursions, two of Ashley’s later operas. Please join us as we celebrate what has been a book seven years in the making!

March 6: Glasgow
Friday, 7 pm
Tramway (w/ LUX Scotland)
25 Albert Drive, G41 2PE

March 7: Leeds
Saturday, 2 pm
Leeds Library (w/ Pavilion)
18 Commercial St

March 8: London
Sunday, 3.30 pm
Café Oto
18-22 Ashwin St
£5 / £4 Advance

March 10: Paris
Tuesday, 7 pm
Fondation Lafayette
46 rue Sainte-Croix-de-la-Bretonnerie

March 11: Brussels
Wednesday, 7 pm
La Loge
Kluisstraat / Rue de l’Ermitage 86

March 13: Amsterdam
Friday, 7 pm
De Rode Bioscoop (w/ Kunstverein Amsterdam)
Haarlemmerpln 7

March 15: Berlin
Sunday, 7 pm
Motto Books
Skalitzer Straße 68

Yes, But Is It Edible? Will Holder, Alex Waterman (Eds.). New Documents.

Posted in books, distribution, music, typography, writing on November 29th, 2014
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Yes, But Is It Edible? Will Holder, Alex Waterman (Eds.). New Documents.

Some years ago, Will Holder and Alex Waterman proposed to Robert Ashley that musicians and non-musicians might produce new versions of his operas, by way of typographical scores. The bulk of Yes, But Is It Edible? is a result of that proposal: scores for Dust (1998) and Celestial Excursions (2003). These operas’ characters have, until now, been solely produced by and are the stories exchanged between Ashley and his “band” (singers Sam Ashley, Joan La Barbara, Thomas Buckner, and Jacqueline Humbert); and in landscapes produced by “Blue” Gene Tyranny, Tom Hamilton, David Moodey, Cas Boumans, and Mimi Johnson—the result of a thirty-year relationship.

The scores for Dust and Celestial Excursions are preceded by a selection of Ashley’s work, from 1963 to 2008, drawing attention to the varying relations between instruction and score, and the tones of instructional address. Working with these scores gave us a better sense of how each one produces a specific mode of decision-making, telling us what to put on the pages of the scores, for any reader who follows.

Yes, But Is It Edible? is the fourth in a series of publications produced with or by Will Holder and Alex Waterman that a musicological perspective on scoring speech, and the role of printed matter in collective forms of reading and writing: Agape (Miguel Abreu Gallery, 2007); Between Thought and Sound (The Kitchen, 2008); and The Tiger’s Mind (with Beatrice Gibson; Sternberg Press, 2012).

Language: English
Pages: 784
Size: 23.5 x 29.3 cm
Binding: Softcover
ISBN: 978-1-927354-09-4

buy it

A Circular #1

Posted in art, design, Motto Berlin store, writing on July 27th, 2011
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A Circular #1

A Circular #1 – Summer 2011 was edited and designed by Pedro Cid Proença and Alfonso Martins.

It includes the following:

– The Chair of Decency by Stefan Themerson

– Never Odd or Even by Fay Nicolson

– Under the Counter-Culture by Robin Fior

– The Impostor by Nathanael West

– Open Letter to Monotype by Open Source Publishing

– A Knight in the White House, A Quarrel with a Post

Marxist by Mathew Whittington

– Middle of Nowhere (continued) by Will Holder

– Notes of intention for a letter to the film by Maël

Fournier- Comte

– Throwing A Rubber Band in the Air by Xavier Antin

English / 112 pages

D 9€


F.R.David: The ‘With Love’ Issue. Will Holder. Corner College (Zürich). 22.07.2010

Posted in Uncategorized on July 17th, 2010
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Corner College lädt Dich herzlich zur folgenden Veranstaltung am nächsten Mittwoch ein:

– – –

When Europe Speaks with One Voice
Will Holder
Wednesday, 22.7.2010, 8 pm
Vortrag in englischer Sprache

During this evening, designer, editor and writer Will Holder presents the seventh issue of de Appel’s “F.R.David”, dealing with “the compression of letter-writing as cybernetic translation – vs. redundant delivery of intention – from one form to another, ‘With Love,”. Including contributions from Alison Knowles, Tine Melzer, Esperanza Rosales and others…

“An Attempt to Evolve, XXIV: Berkeley the circling dog”

Two dogs sit in a room, furnished by a nurturing hand (cut flowers, floral curtains, labelled storage pots). Actually, one of them doesn’t sit, nor lie on the plainly up holstered chaise-longue. His ears hang down, as do the corners of his mouth and the brow above the eyes that
stare desperately into an unseen space. His head is propped up by the wide back of the chaise-longue, which also ensures that he won’t see – only hear the questions from behind his right shoulder, of – the other dog with the pointed ears, sitting: wide-eyed, upright and smiling in
a straight-backed chair; he supports a pad on his right leg (crossed over left), and pen, in hand, to take down the response to

“And if you ever did catch your tail, are you sure it would make you happy?”

– – –

Die Veranstaltungsreihe untersucht die strategische Verwendung von historischem Material im Rahmen künstlerischer Praxen. Anhand von Vorträgen soll thematisiert werden, wie bildende Künstler gegenwärtig historisches Material benutzen um aktuelle Diskurse zu befragen oder
zu unterminieren, und welche narrativen Modelle von (Kunst-)Geschichte dieser Beschäftigung zugrunde liegen.

“When Europe Speaks with One Voice” wird veranstaltet vom Master of Fine Arts (ZHdK), unter der Leitung von Lucie Kolb und Romy Rüegger.

– – –

Langstrasse 84 / Brauerstrasse 37
CH-8004 Zürich

Corner College

F.R. DAVID – The “Iditorial” issue. Dieter Roelstraete.

Posted in art, Motto Berlin store, writing on December 13th, 2009
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F.R. DAVID – The “Iditorial” issue
Dieter Roelstraete

“The bizarre order in which the seven days of the week appear in the current issue of F.R.DAVID is modelled after the sequence of KarlHeinz Stockhausen’s opera cycle ‘Licht’, starting with “Donnerstag am Licht” (work on which began in 1977) and ending with “Sonntag am Licht”, the part with which the composer finally concluded the series in 2003. In Stockhausen’s cycle, the subject matter of each opera mirrors (however opaquely at times) the traditional mythological attributes ascribed to the various days of the week—not a concern that exerted any influence on F.R.DAVID’s appropriation of this structure, which is no more than a homage in passing. Each editorial was conceived and written, however, within the space of a day, with various elements recurring, echo-like, throughout the week that was. So far, ‘Licht’ has never been staged in its entirety, and it is not known whether Stockhausen ever meant it to be.”

Publisher(s): de Appel arts centre
Editor(s): Will Holder, Ann Demeester, Dieter Roelstraete, Edna van Duyn
ISBN: 1874-026X
Year: 2009
Design: Will Holder
Language: English

D 10€

Buy: orders@mottodistribution