Triple Canopy

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PublisherTriple Canopy2020
“A Cinder Block Falling on Concrete” consists of sounds and stories from Lawrence Abu Hamdan’s Earwitness Inventory, a personal library of sound effects related to the testimony of earwitnesses in criminal investigations. The objects in Earwitness Inventory are derived from interviews that Abu Hamdan has conducted with earwitnesses, as part of his work as a “private ear,” as well as transcripts from trials across the globe. (Multiple entries concern the reconstruction of Syria’s Saydnaya prison and the experiences of detainees, which Abu Hamdan undertook with the London-based research agency Forensic Architecture and Amnesty International from 2015 to 2017.) The library ...
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PublisherTriple Canopy2019
“How could my grandmother have made millions from the antiquated traditions and ridiculous superstitions that I’d been so desperate to abandon?” An essay on the monetization of traditional Chinese medicine and failed promises of diaspora. “Aconite, My Roots,” by Henry Zhang is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.
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PublisherTriple Canopy2017
The Amme Talks is a conversation between poet and machine. In 2003, poet Ulf Stolterfoht and a chatbot named Amme (which means “wet nurse” in German) met in Berlin. For one week, Stolterfoht interrogated Amme: not just a chatbot, actually, but a steel-and-glass construction with a computer interface, which is connected to a glass of milk, a robotic arm that tips over the glass, and a tube that releases water, as if urinating. Stolterfoht asked Amme—the creation of artist Peter Dittmer—about the nature of authorship and the agency of language; he intended to turn the answers into an essay on poetics. ...
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PublisherTriple Canopy2021
Nikita Gale and Alexander Provan are joined by Derica Shields, a writer, researcher, and cultural worker living in London. She speaks about her book-length oral history of Black experiences of the welfare state, “A Heavy Nonpresence,” and the value of listening to Black peoples’ accounts and analyses of their own lives. Shields reflects on her effort to share the stories of Black people who are mistreated and monitored by the state, while also being made to feel that they should be grateful for receiving the assistance to which they’re entitled. Her work shows how, in Britain, liberal nostalgia for the ...
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PublisherTriple Canopy2020
“Now we have to learn to listen to the speechless ruins.” A meditation on Black silence.
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PublisherTriple Canopy2021
Nikita Gale and Alexander Provan are joined by Tashi Wada, a Los Angeles-based composer and performer. Wada presents Table of Visions, a composition for a “high-resolution player piano” commissioned by Triple Canopy, and asks how we discern between human expression and technical perfection, how we listen to virtuosos and machines. With Gale and Provan, Wada discusses the pandemic-era vogue for liveness at home, technologies that claim to capture the souls of performers, and music that prompts listeners to discern between the sounds of machines and humans. They listen to Conlon Nancarrow, Glenn Gould, Perry Como, advertisements for hi-fi systems, the ...
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PublisherTriple Canopy2019
“The Does leveled a challenge: if you can’t afford Avon, move.” A contemporary witch hunt in a picturesque New England town, amid faux colonials and foreclosures. “The Devil in Connecticut” by Jacqueline Feldman is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.
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PublisherTriple Canopy2019
“A fence’s integrity rests on its ability to enclose what one is unwilling or unable to offer.” Views from a performance of black fatherhood. “Fences” by Saretta Morgan is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.
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PublisherTriple Canopy2021
Nikita Gale and Alexander Provan are joined by Jeremy Toussaint-Baptiste, an artist, composer, and performer living in New York City. He speaks about bass as a way to repulse people or bring them together, cause aggravation or collective pleasure. He recounts moments in his life when bass, emanating from a parked car or carnival, has shaken his walls, tested his nerves, and made him feel connected to other people, whether or not he appreciates the music blasting from their subwoofers. Ranging from the soundtrack of his childhood in Baton Rouge to the sonic maelstrom of J’ouvert in Brooklyn, Toussaint-Baptiste describes ...
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PublisherTriple Canopy2020
“The more lonesome the isolation, the easier the pitch.” An essay on the exchange of faces for interfaces, suits for sweats, presence for liveness, and freedom for safety; a note on Two Ears and One Mouth. With artworks by Graham Anderson. (This essay is also available as an audio recording.)
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Headless, an exhilarating murder-mystery by the elusive K. D., probes the sordid secrets and sinister deeds of powerful financiers who use Caribbean firms to conceal their fortunes. The novel begins with workaday author John Barlow agreeing to ghostwrite a novel about secretive tax havens. Barlow assumes the job will be a no-brainer. But then his eccentric employers, Swedish conceptualist artist duo Goldin+Senneby, ask him to investigate Headless Ltd., a shadowy company with possible links to the French philosopher Georges Bataille, known for his obsession with human sacrifice. Barlow travels to Nassau, Bahamas, the glitzy mecca of offshore finance, and begins ...
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PublisherTriple Canopy2021
Nikita Gale and Alexander Provan are joined by Harmony Holiday, a writer, archivist, and dancer who lives in Los Angeles. Holiday, whose essay “The Black Catatonic Scream” was published by Triple Canopy last year, speaks about Black performers whose songs and struggles reflect the ongoing trauma of the “African holocaust.” She links the history of Black music—and instances of performers becoming silent or speechless—to the legacy of enslavement and segregation, when Black people “were smiling and dancing to not get killed.” With Gale and Provan, she discusses the pressure to pander to white audiences as well as the impulse to ...

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