Figure 1. still image from Shivery Shakes video, “Stay Young”
by EILEEN JOY
We are thrilled to announce today the launching of punctum records: a sound-impress of punctum books, with an initial 7″-single release by Austin, Texas band Shivery Shakes — “Sidewalk Talk” — later this summer. punctum records aims to build a label that will house a rowdy assemblage of muscians, sound/noise artists, acoustic technologists, musicologists, and sound theorists. Although we are still somewhat “under construction,” we share with you below our vision statement and Advisory Board, and you can also check out the label’s website HERE, plus follow us on Facebook, Twitter (@punctumrecords), Soundcloud, and Tumblr.
punctum records: vision statement
Learning to listen is the intentional task of solidarity; listening in tension.
What happens when you begin to realize another world is possible — that’s art.
~ DJ Spooky
punctum records: a sound-impress of punctum books, is an open-access & vinyl publisher of music and other sonic forms that take creative, slantwise-flying leaps, tarry in the archive of sensible forms, build pleasurably noisy pandemoniums, and seek to make sound an interventionist medium of both disruption and connection. Discography as fever dream, house party, rhythmic riot. Sound as connective tissue, tactical media, ambient rain.
punctum records is an experiment in bringing together cultural theorists, musciologists, sound artists, and musicians as lovers and fighters in the ruins of the arts and humanities at a moment when information-noise overload meets a flattening out of channels and platforms for the sustainable dissemination of music, sonic art, and theory. punctum records is placing a wager on the label, or publishing house, as an important domain for a collective-activist experiment in the construction of what Ivan Illich called “tools for conviviality,” and for developing sound-styles that would “give priority to the protection, the maximum use, and the enjoyment of … personal energy under personal control.” In affinity with punctum books’s commitment to fostering para-academic shelters for the cultivation of open, vagabond publics, punctum records is bent on “pressing” an unruly crowd of sounds into the ventilating system called the cultural commons, and on playing the shadow-demon-parasite-prod-supplement to the so-called “music industry.” Sound label as field of play, wandering group house, rogue frequency.
punctum records invites theorists, musicians, and sound artists (or any combination thereof) to propose singles, mixtapes, EPs, LPs, audiocasts, soundscapes, operas, discographies, acoustical memes, noise art, sound waves, librettos, samplers, wave emissions, soundscapes, audio channels, sonic fictions, field recordings, fugues, listening devices, radio broadcasts, digital sound exhibits, sonic archaeologies, audio-loops, acoustic manuals, ambient backgrounds, echo chambers, musical algorithms, choral reefs, mashups, soundtracks, live recordings, sound/spoken word poetry, sound-walls, earworms, interstellar messages, improvisational sessions, digital concerts, transcriptions, busking performances, and sonic-theory compositions of any kind.
Dan Rudmann, University of Texas at Austin
David Arditi, University of Texas at Arlington
Jamie Skye Bianco, New York University
Drew Daniel, Johns Hopkins University + Matmos
Adam Harper, London, UK
Marcus Haddon, Shivery Shakes, Austin, TX
Amelia Ishmael, Chicago, IL + Helvete
Isaac Linder, European Graduate School + continent.
Timothy Morton, Rice University
Joseph Nechvatal, Paris, France
Tara Rodgers, Analog Tara, Washington, DC
Will Schrimshaw, Liverpool, UK
Karl Steel, Brooklyn College, CUNY
Jennifer Sukis, Seattle, WA
Andy Weir, Goldsmiths College, University of London
Scott Wilson, London Graduate School
 Ivan Illich, Tools for Conviviality (New York: Harper & Row, 1973).