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    Developed over the past year and a half, Cesura//Acceso Issue 2 contains new writing by Paul Abbott, Hannah Black, Nathaniel Mackey, Larne Abse Gogarty, Verity Spott, Irene Revell with Annea Lockwood, Paul Rekret, and Federica Frabetti with Mark Fell.

    We are also pleased to present a series of texts in response to our open call Corrupting Desires! Technique, Performance, and Control which deal with the problems of constraint, restraint and domination in relation to musical production, performance and reception. With contributions from Abject Subject Ensemble (Mattin, Farahnaz Hatam, Sacha Kahir, and Colin Hacklander), Naroder Bourniki, ESW, Danny Hayward, Sophie Hoyle, Sacha Kahir, Pil and Galia Kollectiv, Claire Potter, Byron Peters and Tyler Coburn, David Morris and Kim O'Neil. 

    Available from
    Anagram Books
    Cafe Oto
    Donlon Books
    Banner Repeater
    Whitechapel Gallery
    + other retailers across Europe through Anagram Distribution

    C//A X

  • Call for Issue 2. Corrupting Desires! Technique, Performance and Control


    Email to:

    We are currently accepting submissions for Issue 2 of Cesura//Acceso, to be published in June 2016.

    Our central theme will be: Corrupting Desires! Technique, Performance and Control.

    We want to think about how music is made and experienced - revealing limits, exclusions, desires, strategies, optimism and pessimism. Frustrations, constraints and manipulations of makers and listeners often condition the ways we can feel or think through our engagements with music. We want to prise these contradictions in music open, revealing some of its fractures, as well as its generative and emancipatory possibilities. Some of these might be related to:

    • What skills are we judged, rewarded or excluded by? Can any technique really make us free? What technique keeps us contained?
    • Whose identities are we expected to perform? What are the demands of an identity (gender, race, class) we did not ask for? What potential do music and poetics have to break or affirm these classifications?
    • The production of authenticity in music: how are we expected to be real?
    • Manipulations of pathos: how can music make a weapon from the excess of our emotion?
    • How does our resistance feel: aggressive pitch, joyful noise, propagandistic timbre, strange dancing, emotional cadence?
    • What conditions and histories can we hear through the voice?
    • Where does the unreachable, refused or exhausted find asylum?

    We encourage:

    • essays, in-depth reviews, historical accounts
    • un-rigorous analysis, polemic
    • sequences of images, visual work
    • poetry or lines of poetry
    • interviews
    • responses to music
    • formal experiments
    • intensive and obsessive responses to pieces of music
    • expressive rage, excessive simplicity, impassive speech acts

    We are keen not to normalise contribution formats and will accommodate unorthodox submissions. We will accept both finished material and proposals for works in progress.

    If you have an idea that prioritises sound, we encourage you to suggest a way we can represent it in print (as a link, or a transcription, for example). For image-based contributions, please submit these with a clear description and instructions for envisaged layout.

    We suggest 5000 words as a maximum limit for text-based contributions. There is no minimum requirement for submissions.

    For any further queries on submission formats please contact us directly at

    The deadline for proposals is 1/12/15.

    The deadline has been extended until the 10/12/2015.

    Image: Hannah Black, My Bodies, 2014. Still from digital video viewable at

  • Welcome to our temporary site while we rebuild

    You can find us elsewhere @Cesura_Acceso


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    Cesura//Acceso Issue 1

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