International Art English.

International Art English
On the rise—and the space—of the art-world press release.
by Alix Rule & David Levine
Published by Triple Canopy, 2012

Wednesday 27 February 2013, 7 – 9pm at Banner Repeater.

Of this English upper-middle class speech we may note (a) that it is not localised in any one place, (b) that though the people who use this speech are not all acquainted with one another, they can easily recognise each other’s status by this index alone, (c) that this elite speech form tends to be imitated by those who are not of the elite, so that other dialect forms are gradually eliminated, (d) that the elite, recognising this imitation, is constantly creating new linguistic elaborations to mark itself off from the common herd.

—E. R. Leach, Political Systems of Highland Burma: A Study of Kachin Social Structure, 1954

“International Art English” was produced by Triple Canopy as part of its Research Work project area, supported in part by the Brown Foundation, Inc., of Houston, the National Endowment for the Arts, and the New York City Department of Cultural Affairs in partnership with the City Council.

Read the article here http://canopycanopycanopy.com/16/international_art_english

 

Post-Digital Print, The Mutation of Publishing since 1894.

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Post-Digital Print, The Mutation of Publishing since 1894 
By Alessandro Ludovico, introduction by Florian Cramer
Published by Onomatopee, 2012
Pages: 192
Size: 9.2 x 1.5 x 25.2 cm
Graphic design: Eric de Haas

Wednesday 6 February 2013, 7 – 9pm at  X Marks the Bökship

We will have read and be discussing;

Chapter 2 – A history of alternative publishing reflecting the evolution of print.
Chapter 3 – The mutation of paper: material paper in immaterial times.
Chapter 4 – The end of paper: can anything actually replace the printed page.

A link to an online PDF is here: or

The book is available to buy from http://www.onomatopee.net
Price: € 15,00

In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun.

Still, the vision of this transformation is far from new. For more than century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over?

In this book, Alessandro Ludovico re-reads the history of the avant-garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts. For more than twenty years now, he has been working at the cutting edge (and the outer fringes) of both print publishing and politically engaged digital art.

Liner Notes. Conversations about Making Books. i.e. Leipzig.

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Liner Notes. Conversations about Making Books. i.e. Leipzig.
Markus Dreßen, Lina Grumm, Anne König and Jan Wenzel
Published by Spector Books, 2010
224 pages, 11.1 x 17 cm
Designed by: Markus Dreßen, Lina Grumm
Translated by: Jan Caspers
Leipzig 2010
ISBN: 978-940064-84-4

Wednesday 9 January 2013, 7 – 9pm at X Marks the Bökship

FOOTNOTES TO ONE’S OWN PRODUCTION — In Liner Notes we introduce a number of books produced in recent years by book designers who had studied at the Leipzig Academy of Visual Arts. However we weren’t attempting to identify commonalities between these designers or the foundations of a ‘school’, but rather the very different approaches and attitudes which are evident in their work. However, the definition ‘in their work’ is rather misleading, because two of the editors, Markus Dreßen and Lina Grumm, had themselves studied book art and graphic design at the Academy of Visual Arts Leipzig while the other two, Anne König and Jan Wenzel, were involved in several of the publications as authors. Thus Liner Notes is also about our own books and the communicative networks in and around the Academy of Visual Arts in which we participate ourselves.

ALIENATING EFFECTS — How to talk about your own work? What would be an appropriate mode to rigorously avoid the obtrusive, marketing-like appearance all too prevalent in many self-presentations? Which aesthetic attitude would allow you to observe yourself from a playful distance? In Bertolt Brecht’s ‘Lehrstücken’ [Learning Plays], especially in the Messingkauf Dialogues [Buying Brass] which spell out his theory of drama, we discovered performative models which could make our own positions and those of others visible. We liked Brecht’s experimental setting which allegorised everyday speech and behaviour. We liked this gestural form of contradiction and affirmation, of exposure and concealment, of simplification and completion, because it allows the portrayal of a highly complex self-concept.

This book is published as an english text supplement to »Liner Notes. Gespräche über das Büchermachen, Leipzig z.B., Spector Books 2009.

The Fox. Issue 1

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The Fox. Issue 1
First published by Art and Language, 1975
Republished by The Everyday Press, 2012

Wednesday 12 December 2012, 7 – 9pm at Banner Repeater

“It is the purpose of our journal to try to establish some kind of community practice. Those who are interested, curious, or have something to add (be in pro or con) to the editorial thrust… the evaluation of ideology… of this first issue are encountered, even urged, to contribute to following issues.”

The Fox (1974–76) We will be reading A Declaration of Dependence by Sarah Charlesworth, Perimeters of Protest and other articles in the review section.

Graphic Design, History in the Writing, 1983 – 2011.

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Graphic Design, History in the Writing, 1983 – 2011.
Edited by Catherine de Smet and Sara De Bondt
Published by Occasional Papers, 2012
ISBN 978-0-9569623-0-0
£20.00

Wednesday 28 November 2012, 7 – 9pm 
Meeting at 21 Tudor Grove, E9 7QL

Continuing with our enquiry into publishing, past, present and future, we will have read and be discussing the two essays, by Teal Triggs and Johanna Drucker from: Graphic Design: History in the Writing (1983–2011)

The first anthology of its kind, Graphic Design: History in the Writing (1983–2011) comprises the most influential texts about graphic design history published in English. Edited by a graphic design theorist and a practicing graphic designer, the book chronicles the development of the emerging field of graphic design history from 1983 to today, underscoring the aesthetic, theoretical, political and social tensions that have underpinned it from the beginning. Graphic Design: History in the Writing is a long-overdue sourcebook for students, teachers, curators and anyone else interested in the past and future of a field in rapid development.

Words to be Looked At: Language in 1960s Art.

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Words to be Looked At: Language in 1960s Art.
By Liz Kotz.
Published by MIT Press, 2010
ISBN 13:
9780262514033
Binding: Paperback
Language: English
Pages: 333
Dimensions: 178 x 229

Wednesday 14 November 2012, 7 – 9pm at Banner Repeater

Wednesday 31 October 2012, 7 – 9pm at X Marks the Bokship

Language has been a primary element in visual art since the 1960s–in the form of printed texts, painted signs, words on the wall, recorded speech, and more. In Words to Be Looked At, Liz Kotz traces this practice to its beginnings, examining works of visual art, poetry, and experimental music created in and around New York City from 1958 to 1968. In many of these works, language has been reduced to an object nearly emptied of meaning. Robert Smithson described a 1967 exhibition at the Dwan Gallery as consisting of “Language to be Looked at and/or Things to be Read.” Kotz considers the paradox of artists living in a time of social upheaval who use words but chose not to make statements with them. Kotz traces the proliferation of text in 1960s art to the use of words in musical notation and short performance scores. She makes two works the “bookends” of her study: the “text score” for John Cage’s legendary 1952 work 4’33”–written instructions directing a performer to remain silent during three arbitrarily determined time brackets– and Andy Warhol’s notorious a: a novel–twenty-four hours of endless talk, taped and transcribed–published by Grove Press in 1968.

Examining works by artists and poets including Vito Acconci, Carl Andre, George Brecht, Douglas Huebler, Joseph Kosuth, Jackson Mac Low, and Lawrence Weiner, Kotz argues that the turn to language in 1960s art was a reaction to the development of new recording and transmission media: words took on a new materiality and urgency in the face of magnetic sound, videotape, and other emerging electronic technologies. Words to Be Looked At is generously illustrated, with images of many important and influential but little-known works.Liz Kotz is Assistant Professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota.

The Binder and the Server.

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The Binder and the Server
Published by Triple Canopy, March 2012
Black and white, 70pp
ISBN 978-0-9847346-1-0
Designed by Franklin Vandiver

Wednesday 17th October 2012, 7.15pm
Meet at BANNER REPEATER

The Binder and the Server is the outcome of several group discussions among Triple Canopy editors, and was written by senior editor Colby Chamberlain. The essay details the history of Triple Canopy in order to stake out our position on the ideology of Internet culture. By carefully examining the history of new-media publishing and the shift from disciplinary to control societies, the essay addresses the politics of online identity, friendship, labor, and the dream of digital democracy. In short: On the Internet, we are all contractors.

This  70 page pocket-sized edition of The Binder and the Server, designed by Franklin Vandiver, draws on experimental paperbacks of the 1960s, chief among them the collaborations of Marshall McLuhan and graphic designer Quentin Fiore. The book is characterized by cinematic layouts that merge text, typography, illustration, photography, and original artwork by Josh Kline and Dan Torop.

Available from Lulu, price £3.95
http://canopycanopycanopy.com/Support

3.1

 

The Electric Information Age Book. McLuhan / Agel / Fiore and the Experimental Paperback.

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The Electric Information Age Book. McLuhan / Agel / Fiore and the Experimental Paperback.
By Jeffrey T. Schnapp, Adam Michaels.
Published by Inventory Books, Princeton Architectural Press,

Wednesday 3rd October 2012, 7.15pm at X Marks the Bökship

The Electric Information Age Book explores the nine-year window of mass-market publishing in the sixties and seventies when formerly backstage players—designers, graphic artists, editors—stepped into the spotlight to produce a series of exceptional books. Aimed squarely at the young media-savvy consumers of the “Electronic Information Age,” these small, inexpensive paperbacks aimed to bring the ideas of contemporary thinkers like Marshall McLuhan, R. Buckminster Fuller, Herman Kahn, and Carl Sagan to the masses. Graphic designers such as Quentin Fiore (The Medium is the Massage, 1967) employed a variety of radical techniques—verbal visual collages and other typographic pyrotechnics—that were as important to the content as the text. The Electric Information Age Book is the first book-length history of this brief yet highly influential publishing phenomenon.

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Wednesday 19 September 2012, 7.15pm
at Banner Repeater

The Electric Information Age Book. McLuhan / Agel / Fiore and the Experimental Paperback
By Jeffrey T. Schnapp, Adam Michaels.
Inventory Books, Princeton Architectural Press

New joint reading group with X Marks the Bökship, and Arnaud Desjardin from Everday Press, with a specific focus on publishing. Continuing with our enquiry into publishing, past, present and future, the next reading group meeting will be held at Banner Repeater and all are welcome to join us – we are reading up to page 99 of: The Electric Information Age Book.

 

The Case for Books: Past, Present and Future.

The Case for Books: Past, Present and Future. 
By Robert Darnton.
Published by PublicAffairs 2010

Wednesday 20th June 7.30-9pm

New joint reading group with Banner Repeater, X Marks the Bökship  and Arnaud Desjardin from Everday Press, with a specific focus on publishing.  The first meeting will be held at Banner Repeater and all are welcome to join us – we are reading:

The Case for Books: Past, Present and Future
by Robert Darnton

A renowned historian and pioneering scholar in the history of the book—a lead voice in the debate about the digital future of books and knowledge—distills his experience and insight in The Case for Books

The era of the printed book is at a crossroad. E-readers are flooding the market, books are available to read on cell phones, and companies such as Google, Amazon, and Apple are competing to command near monopolistic positions as sellers and dispensers of digital information. Already, more books have been scanned and digitized than were housed in the great library in Alexandria. Is the printed book resilient enough to survive the digital revolution, or will it become obsolete? In this lasting collection of essays, Robert Darnton an intellectual pioneer in the field of this history of the book lends unique authority to the life, role, and legacy of the book in society.

A former professor of European History at Princeton University, Robert Darnton is Carl H. Pforzheimer University Professor and director of the Harvard University Library. The founder of the Gutenberg-e program, he is the author of many books. He lives in Cambridge, Massachusetts.

ISBN-10: 158648902X
ISBN-13: 978-1586489021

This book is split into 3 parts ‘Future; (Chapter 1 – 4), ‘Present’ (Chapter 5 -7), ‘Past’ (Chapter 8 – 11).

We are going to start by reading ‘Future’.