Cesura//Acesso

Cesura//Acceso

Cesura//Acceso Issue 2

Cesura//Acceso Issue 1

Issue 1

This is the first issue of a new journal called Cesura//Acceso. The journal positions itself at the intersections of music, experimental politics and poetics. We want to ask what it could mean to practice politics through music or to think music through politics. A pause in the line, ignited. The pause that ignites. The break, in fire. Acting together, cesura and acceso 2 offer a way of thinking towards a politics or anti-politics that is moving towards the break, moving within its imaginings, and confronting the limits of those imaginations.

The process of the project itself started in 2013, but has emerged from years spent in conversations, protests, performances, groups, gigs, work, workshops, frustrations, trips, records, books and questions that we have shared and explored as friends. From our experiences of musical and political communities in London, we felt that a space was needed to produce and reveal connections across genres, mediums and attentions. We’ve seen music acting both as a spark for ludic collectivity and a distraction from encroaching police lines. It is in the entanglement of these seemingly oppositional functions that we find our line of enquiry.

Issue 2

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.

Issue 2, in response to the open call Corrupting Desires! Technique, Performance, and Control Cesura present a series of texts 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.