Scores for Meeting Otherwise traces a speculative feminist history of the performance score, beginning with Pauline Oliveros’s text instructions from the early 1970s and Womens Work, the score magazine edited by Alison Knowles and Annea Lockwood. From these foundational experiments, the book looks toward the future of the score as a diverse, relational and multidimensional form.

Bringing together newly commissioned works by artists, writers and composers, Scores for Meeting Otherwise offers the text score as a proposal for gathering, collective attention and social imagination. Rooted in queer-feminist, anti-colonial and disability justice practices, the scores invite reading, discussion, negotiation and performance by anyone. Scores for Meeting Otherwise holds multiple voices, temporalities and possible futures within the score as a space of encounter.

Scores for Meeting Otherwise brings together fourteen new scores by: sound artist, researcher and Deep Listening tutor Ximena Alarcón-Diaz; composer and percussionist Sarah Hennies; artist and performer Tomoko Hojo; Kunci’s School for Improper Education, a collective interested in long-term learning processes exploring the historical remnants of various practices of study and pedagogy; artist and writer Cannach MacBride; sound artist Bint Mbareh; vocalist, movement artist and composer Elaine Mitchener; composer, performer, saxophonist and mixed-media practitioner Matana Roberts; artist and writer Romy Rüegger; transdisciplinary artist, educator and performer Ginger Brooks Takahashi; Artists of the In Minor Keys Drone Choir, a protest group formed at the venice biennial 2026; sound artist and researcher Vicky Karlsson; artist, composer and academic Cathy Lane; and performance artist and researcher Rajni Shah.

The book also includes an essay by Irene Revell and an Introduction Text by Aio Frei & Franziska Koch.

Released in November 2026.

Pre-order here