After a long wait the second printed edition of Break/Flow is out. Following on from the first Break/Flow magazine, and from last years excellent 12”EP compilation (with the author’s collaborations with Adverse, Praxis and Unearthly, as well as tracks by Christoph de Babalon and a blast from the past from / homage to Eric Random.
Now re-incarnated in print form and collecting essays and texts by Howard Slater from 97-99, ( only a couple of which had been previously published in Autotoxicity), this edition is almost a book. Despite the disparate subject matter a kind of narrative unfolds tracing the “foretaste of freedom in those unexpunged communications that music and literature make tangible”, starting with Evacuate the Leftist Bunker, then collecting his pieces on Kafka and Factory Records, Marcel Proust and music, Abreaction – Notes on the Unconscious and Music, and concluded by Burnt Money Weekend.
This is Howard’s first serious collection of writings and a must for datacide readers (especially since there’s no reprints from datacide here). This is heavy reading, but always rewarding.
Send £3 to 89 Vernon Rd., Stratford, London E15 4DQ

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2 thoughts on “Break/Flow

  • September 19, 2010 at 10:40 am

    i have just read Occasional Docunents: Towards Situation — what a brilliant and insightful piece of writing and a dizzying pleasure to read. i was especially interested in what you wrote about desire and the alientaiton of labour. Do you have any thoughts on Abensour and the education of desire? What enormous potential for unthought-of change there still is if only we could reach it. Your references to Winnicott were very interesting and i liked so much your expression of ‘the space for a …unity of such subjects whose very becoming …is the poetic factor.’

  • March 5, 2016 at 3:41 am

    As I finish up a documentary on the visionary artist Paul Laffoley, I am beginning the assembling of a film on Tod Dockstader at the request of his daughter.
    I would like to know if Howard Slater is willing and available to perhaps comment on camera or even act as guide to this introduction to Dockstader’s work.
    Alvin Case
    Boston USA

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