"It is shortsighted to suppose that machines, i.e. the displacement of manual by mechanical processes, are basic to the development of the form and figure of an artefact. In the first place, the consumer’s demand determines the development, i.e. the demand of the social strata that provide the ‘commissions’." — from El Lissitzky, "Our Book" (1926), also published as "The Future of the Book" in New Left Review #41 (1967) (Project: Our Form of Book)
"The growing esteem in which book design is held is indicated by the practice of listing on a special page the names of all the compositors and finishers concerned with the book. This means that there has grown up in the print-shops a stratum of workers who have developed a conscious relation to their craft." — from El Lissitzky, "Our Book" (1926), also published as "The Future of the Book" in New Left Review #41 (1967) (Project: Our Form of Book)
"We ripped up the traditional book into single pages, magnified these a hundred times, printed them in colour and stuck them up as posters in the streets. If a series of these posters were today to be set in the size of a manageable book, in an order corresponding to some theme, the result would be most curious." — from El Lissitzky, "Our Book" (1926), also published as "The Future of the Book" in New Left Review #41 (1967) (Project: Our Form of Book)
"Our children’s reading teaches them a new plastic language, they grow up with a different relation to the world and space, to image and colour, so they are preparing for a new kind of book." — from El Lissitzky, "Our Book" (1926), also published as "The Future of the Book" in New Left Review #41 (1967) (Project: Our Form of Book)
guiding through these nights.
— Television (Project: Guiding Light)
“On Main Street, shop-window displays for pedestrians along the sidewalks and exterior signs, perpendicular to the street for motorists, dominate the scene … It is the highway signs, through their cultural forms or pictorial silhouettes, their particular positions in space, their inﬂected shapes and their graphic meanings, that identify and unify the megatexture. They make verbal and symbolic connections through space, communicating a complexity of meanings through hundreds of associations in a few seconds from far away. Symbol dominates space. Architecture is not enough. Because the spatial relationships are made by symbols more than by forms, architecture deﬁnes very little … The sign is more important than the architecture … Sometimes the building is the sign.” — Robert Venturi, Denise Scott Brown, Steven Izenour, Learning from Las Vegas, MIT Press, 1972 (Project: Vaguely Specified Objects)
The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. (Project: Bauhaus Dessau)
“This goes to the heart of the modern predicament: on the one hand, we desire and encourage originality and authenticity; at the same time, we are all too aware of the impossibility of escaping our surroundings, all too aware that whatever we say and think has been said and thought in the past, somewhere, by someone. Still, we can’t help but pretending otherwise, especially in fashion – either by dressing outlandishly, as we are wont to do in our teens, or by claiming our designs as new, special, ours.” — from 'The Banality and Shock of Cut and Paste' by Lynn Berger (Project: 11"x17" Reader)
Wouldn't you like that?
Promise to settle up
and stay in love
forever from now
— Naive Set (Project: Naive Set)
“Art should receive nothing from nature’s formal properties or from sensuality or sentimentality. We want to exclude lyricism, dramaticism, symbolism, etc /…/ The picture should be constructed entirely from purely plastic elements, that is to say planes and colours. A pictorial element has no other significance than ‘itself’ and therefore the picture has no other significance than ‘itself’/…/ Technique should be mechanical, that is to say, anti-impressionistic.” — Theo Van Doesburg ‘Manifesto of Concrete Art’ 1930 (Project: Gongred)
In 1986 Karl Gerstner outlines his own examination of the colour-form relationship in his book, ‘The Forms of Colour’. Amongst other things he examines Kandinsky’s well known metaphysical ideas on the correspondence between colour and form: square = red, triangle = yellow, circle = blue. He reevaluates these findings and introduces a system of ‘Colour Signs’. Next, with the help of computer programming, Gerstner further develops the system yielding new primary forms: astroid, diagon and sinuon and establishes what he calls ‘The Colour Form Model’. (Project: PTTRNS 12 inch series)
“There is a history of the practice of reading, of writing, of making and shaping text, of designing and publishing books. This is not just a cultural or social history, but also a material history of objects and devices. A catalogue of an exposition where the practice of reading and writing and the materiality of the book and the text is at stake, faces the present as an occasion for experimenting as well. That catalogue is part of the university, its practice of publishing, and seeks to address the present in between past and future. The catalogue dismantles the book object, seeks to disentangle the book as reading and writing device and lays down its essential components. As a container the catalogue is filled with words and images looking for a place and making space; it is closed, it can be opened but never be closed in the same way; it works, it changes and makes time; the catalogue creates layers, constructs authors, produces new references, constitutes a scene of names; it invents readers. And similar to all experiments, the time of writing and reading is irreversible.” — ‘On Experiments, Roundtables and Containers’ by Maarten Simons, Joris Vlieghe, Mathias Decuypere, Jan Masschelein (Project: Curating the European University)
Representation describes the signs that stand in for and take the place of something else. (…) In literary theory representation is commonly defined in three ways:
– To look like or resemble
– To stand in for something or someone
– To present a second time to re-present
(…) To represent is “to bring to mind by description,” also “to symbolize, to be the embodiment of;” from O.Fr. representer, from L. repraesentare “to present,” lit. “to place before”.
(…) A representation is a type of recording in which the sensory information about a physical object is described in a medium. (…) Aristotle discusses representation in three ways:
– The object: The symbol being represented.
– Manner: The way the symbol is represented.
– Means: The material that is used to represent it.
(Project: Some Things Better Change)
“According to Walter Benjamin in the ‘Task of the Translator’, the afterlife of a piece of art can be formulated as its ability to survive. He also called it the ‘translatability’ of an artwork, an essential quality of certain works that enables their renewal. This is what translation is about: it doesn’t copy an original but rather gives it a new birth. It is from this position of observing the practice of graphic design – as the ability to transform and renew the given content by way of aesthetic practices – that we would like to see this project develop itself visually. We would like to see the works and topics taken out of their cinematic frame and begin a new life in a new form, media and context.” (Project: Surfing the Black)
Randomness is closely connected with the concepts of chance, probability, and information entropy, randomness implies a lack of predictability. Randomness, as opposed to unpredictability, is held to be an objective property – determinists believe it is an objective fact that randomness does not in fact exist. Also, what appears random to one observer may not appear random to another. One of the intriguing aspects of random processes is that it is hard to know whether a process is truly random. An observer may suspect that there is some ‘key’ that unlocks the message. This is one of the foundations of superstition, and is also a motivation for discovery in science and mathematics. Popular perceptions of randomness are frequently wrong, based on logical fallacies. (Project: Antonis Pittas website)
Other quotes and quotations:
– Some books are undeservedly forgotten; none are undeservedly remembered. W. H. Auden
– Nothing is as new as something which has been long forgotten. German Proverb
– A check or credit card, a Gucci bag strap, anything of value will do. Give as you live. Jesse Jackson
– It’s not how long life is but the quality of our life that is important. Roger Dawson
– The quality of your life is the quality of your relationships. Anthony Robbins
– The quality of an organization can never exceed the quality of the minds that make it up. Harold R. McAlindon
– The quality of expectations determines the quality of our action. Andre Godin
– Precious beyond price are good resolutions. Valuable beyond price are good feelings. H. R. Haweis
– My country, always wrong. Student Slogan
(Project: Quality Remains poster)
An end of an object is a point where it terminates, or stops. When the object is thought of as running in a certain direction, the end is whichever end occurs last, or is furthest from the beginning.
End may also refer to:
– End (philosophy)
– End (category theory)
– End (topology)
– End can also denote a monoid (or a ring) of endomorphisms
– End (American football)
– Ending (linguistics)
– End key on a modern computer keyboard
– End Records, a record label
– “End”, a name of a song by the band named The Cure from their 1992, compilation named Wish (album)
END may refer to:
– European Nuclear Disarmament
– Endoglin, a glycoprotein
– Exotic Newcastle Disease
Ending may refer to:
– Alternate ending
– False ending
– Happy ending
– Multiple endings
– Twist ending
(Project: The Last Session)
THE ENDLESS REALM
I have nothing
How really is I am …
Nothing is mine.
How treasured rich am I
I have the treasure of nothing …
Vast endless nothing
That branches out into realm beyond realm.
This and these are mine
Together they are nothing.
The idea of nothing
The notion of nations
Nation … notion
I have the treasure of nothing
All of it is mine.
He who would build a magic world
Must seek my exchange bar
In order to partake of my endless
Treasure from my endless realm of nothing.
— Sun Ra
(Project: At first there was nothing...)
The OCCII (Onafhankelijk Cultureel Centrum In It) is a venue for alternative and independent music in Amsterdam, the Netherlands. The organization is mostly run by volunteers and has its roots in the squatting movement; the building was squatted in 1984 and “legalized” in 1989. Next to the concert hall, there’s also a café (called the Kasbah), a restaurant (called MKZ), a library (Bollox), a theatre for children (Kinderpret), a bike workshop (Farafina), a sauna (Fenomeen), rehearsal studios, and a big courtyard. The building the OCCII resides in was built as a horse tram garage with stables in 1883/84 by architect Abraham Salm (1857-1915), who also designed (together with his father G. B. Salm) the buildings where popular commercial venues Melkweg and Paradiso now operate. The OCCII has no central programming, instead there are several programming groups that set the agenda. Some of these groups are Le Club Suburbia (mostly indie and post-punk), Hex (new wave and gothic), Muziek Kapot Moet (experimental music, electronic, noise, weird pop), Spellbound (electronic, dance), The Real Amsterdam Underground (punk, hardcore, crust) and Cool Schmool (dance, indie, riot grrrl, mostly female fronted). (Project: OCCII)
“A business card makes up one of the most important pieces in your consultant marketing kit. You typically hand over a card just moments after making an important connection. If that important contact receives a card with perforated edges, a bit of an inkjet smudge, slightly off-center wording, and a run-of-the-mill design, how do you think you’ll look to them? Will they take you seriously? Will they believe you’re really a consultant or will they wonder if you just whipped up these cards to hand out in emergencies? (...) So, if you want to look professional, don’t create your own business cards. Invest in them and improve your return on investment.” — consultantjournal.com(Project: OPS cards and letterheads)
“We don’t see our work as art; we don’t see our work as making beautiful things. It is the result of social movement. It is not fashion or a special view of art. We try to establish our connection with the social situation in our work … The answers to our problems must be the questions: Why, how, when where, what?”
— Modified excerpt from a quote by Paul Schuitema from the book ‘What is a designer’ by Norman Potter (Project: Why, how, when, where, what?)
“(...) Could honoured wellborn not tell me, where the forms of our paper makers are produced, or whether they, which I doubt, make their own? I once gave an exercise to a young Englishman, whom I taught in algebra, to find a sheet of paper for which all formats (forma patens, folio, 4, 8 and 16) are similar to each other. Having found that ratio, I wanted to apply it to an available sheet of ordinary writing paper with scissors, but found with pleasure, that it already had it. It is the paper on which I write this letter. The short side of the rectangle must relate to the large one like the side of a square to its diagonal. This form has something pleasant and distinguished before the ordinary. Are these rules given to the paper makers or has this form spread through tradition? (...)” — Excerpt from G. Lichtenberg’s letter to J. Beckmann, Göttingen, 25. Oct. 1786 (Project: The A-Team)
The first step in the record pressing process is the creation of the master disk, or acetate. The plater coats each acetate with a thin layer of silver which is then electro-plated with nickel. When this plate is separated from the acetate, the metal that was facing the disk now has ridges where the grooves were. This plate is called the father. The father plate is oxidized, and plated again. The resulting plate, when separated from the father, becomes a metal duplicate of the acetate, with grooves again. This plate is called the mother plate and is shelved for future use. One father can produce 10 mothers, and one mother can produce 10 stampers. One stamper can produce about 1000 vinyl records. Therefore, this three step process can produce up to about 100,000 vinyl records before remastering. (Project: The Je Ne Sais Quoi)
“The Session manufactures theme-zines in the finest DIY spirit, serving serious readers through a distribution network consisting of dealers. (...) The Session will favourize, focus and execute. It will continue to be committed and maintain a strong balance sheet with an anarchistic yet anal leadership.” (Project: The Session)
Year 2007 (MMVII) was a common year starting on Monday of the Gregorian calendar in the 21st century. The year 2007 was designated Year of Rumi, International Polar Year, International Heliophysical Year, European Year of Equal Opportunities for All, Year of the Dolphin and Scotland’s Year of Highland Culture. (Project: Jan van Eyck Yearbook)
“(...) And the public gets what the public wants. But I want nothing this society’s got – I’m going underground, (going underground). Well the brass bands play and feet start to pound. Going underground, (going underground). Well let the boys all sing and the boys all shout for tomorrow. (...)” — The Jam, ‘Going Underground’, Polydor Records, 1980 (Project: We Are Going Underground)
The vinyl LP jacket and the 7"/12" sleeve are the areas to receive considerable attention to graphic design, and will contain the most important and pertininent information about the recording, assuming there is no visible record label with such information. (Project: PTTRNS)
Print on demand (POD), sometimes called publish on demand, is a printing technology in which new copies of a book are not printed until an order has been received. “Print on Demand” developed only after digital printing began, because it was not economical to print single copies using traditional printing technology such as letterpress and offset printing. Print on demand with digital technology is used as a way of printing items for a fixed cost per copy, regardless of the size of the order. Print on demand is often used to print and reprint “niche” books that may have a high retail price but limited sales opportunities, such as specialist academic works. An academic publisher may be expected to keep these specialist titles in print even though the target market is almost saturated, making further conventional print runs uneconomic. Many of the smallest small presses, often called micro-presses because they have inconsequential profits, have become heavily reliant on POD technology. This is either because they serve such a small market that print runs would be unprofitable or because they are too small to absorb much financial risk. (Project: Think Tank)
“The ancients built Valdrada on the shores of a lake, with houses all verandas above the other, and high streets whose railed parapets look out over the water. Thus the traveler, arriving, sees two cities: one erect above the lake, and the other reflected, upside down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be reflected in its mirror, and the Valdrada down in the water contains not only all the flutings and juttings of the facades that rise above the lake, but also the rooms’ interiors with ceilings and floors, the perspective of the halls, the mirrors of the wardrobes. (…)” — Excerpt from Italo Calvino, ‘Invisible Cities’ (Project: NDSM Magazine)