Onomatopee – förlag

Visual artist Joan van Barneveld processes deep romantic longings within popular culture. In the absence of people, artist articulates the cultural landscape through a condensed black veil, which creates the stage for a longed for, introverted grandeur. His earlier work energised the poetics of grunge culture, but in recent series it has evidenced a deeper longing for an essential horizon. In Into Longing, Vast Rock, he creates ‘blackened’ pictures of popular spheres, devoid of people, that allow for a more reality-based motive and open up for wider narration as diptychs and triptychs. His oeuvre is represented together with insightful texts by LA critic Jan Tumlir, Dutch philosopher Rene Gabriels and Onomatopee director Freek Lomme, who address aspects of landscape, rock’s intensity and romanticism in pop, leaving a sourcebook – a bible – for the identification of longing. Beautifully designed and published by official Perimeter pals Onomatopee (Eindhoven).

As ‘The Best American Book of the 20th Century’ travels through the textual materiality of an entire century of mass-produced literature, it suggests intertextual relationships between the narratives of American fiction. Since a multitude of changes in time and culture converse in the book, the project transverses the usual, formal standards of language, questioning power dynamics between reader and writer. Are Pearl S. Buck, Sinclair Lewis, Ernest Hemingway, Margaret Mitchell, Ayn Rand, John Steinbeck, Daphne du Maurier, J. D. Salinger, Stephen King, and Toni Morrison basically telling a similar story? Do they, through this project, become the collective authors of one, all-encompassing- book? Is the project an opportunity to re-assess and reflect upon modernity’s spell on our collective imagination? And, ultimately, how does its composed text resonate in our present times? Pockets brought literature to the masses by turning books into best sellers. Contrary to high-end prints the design of these pockets, cheap and mass-produced, was fit to serve the distribution system. Often effectively well–boxed, they were proportioned to maximize the box’s content and carrying-ability and were taggedto increase recognizability for the man handling the boxes rather than to make them look good. The accompanying exhibition is conceived as a stock-sale of the book, in which the mass-produced and standardized presentation materials resonate with familiar formats of 20th century modes of book distribution and display. The standard cardboard boxes utilized as distribution and display devices represent functional carriers of the circulation of mass fiction throughout the previous century, and, for a significant part, up to this day. This project is brought to exhibition as a “stockroom-booksale”, resonating the symptoms of mass-distribution as visualized both on a sculptural and a graphic, formalized level. It presents a unique opportunity to display the boxes both as singular units on bookshop counters and as miniature sculptures in exhibition contexts, hinting at the standardized logistical and economic infrastructures behind each book purchase and art display. Design agency Project Projects translated these ambitions in the publication’s graphics, in close collaboration with the editorial team. Curator Niels van Tomme served as scenographic advisor, Onomatopee director Freek lomme facilitated final editing and production: exhibition space and publisher Onomatopee provides an institutional framework for the presentation and distribution of this project, making ‘The Best American Book of the 20th Century’ its 100th project issue (OMP100).

This new issue looks into the work of Icelandic designer Brynjar Sigurðarson.Instinctively bridging the fields of design and anthropology, industrial manufacturing and craftsmanship, Sigurðarson has built an animated body of work over the past five years. His way of working can perhaps best be compared to the attitude of a hunter on a constant lookout for the unusual, becoming one with the very world he’s studying.Included in this issue are a personal foreword by Li Edelkoort, an exclusive conversation with anthropologist Tim Ingold, and a 12 inch vinyl record with stories collected, told and illustrated by Sigurðarson. A selection of previously unpublished drawings and writings will thrill amateurs of hand-made details, myths, darkness, isolation, micro-history, memory, stones, animals, and the supernatural.

One thing will always lead to another. Artist Jim Ricks’s synchronic sequence of images or objects rests on opportunities to visually connect politics and/or aesthetics and/or history and/or philosophy from one to another. As formal quest, this fundamental empirical and practice-based research within the ranges of our visual culture, conceptually triggers actual cultural migration and identification. In his ‘Synchromaterialist’ series, Ricks visually reveals the inevitability of migration and of the inherent viral state of nature, and the nature of existence – what is inherently human – through the perception and reorganization of the everyday. He takes over the book format – following on from the the exhibition methodology –to drop the unexpected organics of the Synchromaterialistic. This book reaches and branches out to be all forms a book can be. It includes a number of collaborations, and footnotes as inserts and explorations in print – sticker, newspaper, leaflet, cook book, coloring, bookmark, and a book within the book with a text by art and design critic Max Bruinsma, describing the Synchromaterialist approach. What goes around comes around.

It’s because feminism has become a fashionable commodity now, that we’re in desperate need of a more inclusive and varied reflection on contemporary girlhood, gender equality struggles, and the relationship between gender, politics and philosophy. This book documents the exhibitions and thought processes of 6 engaging artists and designers regarding the theme, and features a collection of essays by artists and academics, writers and rioteers, curators and journalists. With the participation of Mandy Roos (September 2017), Gabriel A. Maher with Roberto Pérez de Gayo and Carly Rose Bedford (October 2017), Olle Lundin (November 2017) and Janina Frye (December 2017). And contributions by Camille Auer, Barbara Bolt, Daantje Bons, Charlotte van Buylaere, Ece Canl? and Luiza Prado de O. Martins, Victoria Ledig, Alicja Melzacka, Nina Power, Barbara Smith for Nasty Women and Aynouk Tan. Edited and curated by Pernilla EllensGraphic design by Virginie GauthierMade possible thanks to the municipality of Eindhoven and the province of Noord-Brabant.

One-to-One -Part of 11'' x 17'’-refers to a working method in which items of clothing became large-sized printing tools, covered in black and blue ink. Each clothing item served as a stamp, and was simultaneously being stamped on, thus creating a chain reaction and making each clothing item an original and a copy. As such the project One-to-One offers new perspectives on reproduction – it allows us to look beyond the status conveyed by the label and see the actual, material properties of clothing. Bringing together contributions by Amelia Groom, Ruby Hoette, Joke Robaard, T’ai Smith and Hanka van der Voet this reader explores some of the project’s core questions: What does it mean to copy in fashion? What if a garment could be both a copy and an original at the same time? What if reproduction and production are one and the same? This reader documents the process and outcomes of the One-to-One project as well as exploring the implications and possibilities of this unique working method in the broader context of the fashion system.

We Are The Market! claims a liberal ALL-INCLUSIVITY to push the stretch of our cultural offer in the eye of the final commonplace; the capitalist commons of the high street. Anticipating to a hegemonic culture encroaching on the city centre, one that’s turning exclusive due an engagement towards a “publics” while narrowing the diversity of cultural production for and by the majority; We Are The Market! commissioned 18 unannounced achievements that offered an alternative. As well as this, written contributions were delivered by people able to provide informed content after tending bar in the exhibition space. These offerings to the public were gathered and presented in the relatively private sphere of the Onomatopee white cube—a space all too often mistaken for yet another shop. It was in this public space that an enormous white leather couch sat directly in front of the biggest flatscreen TV on offer; allowing everyone to flick through the documentation of the actions, flanked by the relics of the achievements scattered throughout the ‘white cube’ exhibition space. All of that is now featured in this piece of print, which is meant to distribute lasting inspiration on the span of engagement in the times of rising capitalist commons. Features achievements by Apparatus 22, BURO SNDVG (A Snodero-Group member), David Blamey, Disarming Design, Everyday Criticality, Harmen de Hoop, Ilke Gers, Jasper Griepink, Jennifer Moon & laub, Martin Krenn, MG&M Collective (Mosab Anzo, Gil & Moti), Mona Lisa’s. Nolwenn Salaün, Su Tomesen, Teun Castelein, The Temple of Tease (Izabella Finch), Toine Klaassen and Vanessa Brazeau. The theory-sparked bartenders contributing their thoughts include Berit Fischer, Dirk Vis, Fred Dewey, Koen Haegens, Lietje Bauwens & Wouter De Raeve, Michel van Dartel, Robert-Jan Gruijthuijzen and Rogier Brom. This project was initiated and led by Freek Lomme and would not have been possible without assistant curator Josh Plough and interns Lucy-Rose Nixon (film and production) and Mook Attanath (graphic design and production); all in service and dedication to Onomatopee. Evidently Bart de Baets also helped a great deal, as` he made some astonishing works of graphic design flirting with commerce to serve our ends.

This book is an artist’s guide to copyright, written for makers. Both practical and critical, this book will guide you through the concepts underlying copyright and how they apply in your practice. How do you get copyright? For what work? And for how long? How does copyright move across mediums, and how can you go about integrating the work of others? Because they get copyright too!Copy this Book will detail the concepts of authorship and original creation that underlie our legal system. This way, it will equip you with the conceptual keys to participate in the debate on intellectual property today. This sharp and useful book shines a light on the rights of all artists to protect—and share—their work. Eric Schrijver has produced an essential guide for navigating the new Commons and the old laws of copyright control. — Ellen Lupton, curator and critic

Today it has become increasingly difficult to find a person or an object without some kind of connection to the internet. No Internet, No Art is dedicated to exploring what this situation entails with respect to one cultural field in particular: art. This anthology forms both the culmination and a continuation of a series of public events titled Lunch Bytes – Thinking about Art and Digital Culture, held in Washington, D. C. , which invited artists and experts from different fields to discuss their work in relation to this overarching theme. By opening up the often narrowly-defined discursive field of “post-internet,” artistic practices are examined thematically within the larger context of digital culture. As such, this anthology offers valuable new contributions to the fields of art history, media studies, philosophy, curatorial studies, and design. With contributions by: Philipp Albers, Kari Altmann, Karen Archey, Aram Bartholl, Michael Bell-Smith, David M. Berry, Natalie Bookchin, Andreas Broeckmann, Melanie Bühler, Harry Burke, Adam Cruces, Michel van Dartel, Annet Dekker, Niels van Doorn, Raffael Dörig, Claire L. Evans, Kenneth Goldsmith, Joel Holmberg, Paul Kneale, Katja Kwastek, Monica Lam, Geert Lovink, Pierre Lumineau, m-a-u-s-e-r, Greg Niemeyer, Nicolas Nova, Jaakko Pallasvuo, Christiane Paul, Daniel Pinkas, Domenico Quaranta, Jon Rafman, Rafaël Rozendaal, Cornelia Sollfrank, Jenna Sutela, Douglas Thomas, Mark Tribe, Brad Troemel, UBERMORGEN, Ben Vickers, Bernadette Wegenstein, Peter Weibel, Elvia Wilk.

‘We are fascinated by systems of manufacture for art and culture as opposed to the romantic notion of the artist labouring in solitude within their studio. By emphasising values placed on the production and handling of artistic goods, we are presenting this work as a visual tribute to the creative process. ’ This publication sees Katrin Korfmann and Jens Pfeifer place the composition and materialisation of cultural identity in focus. This feat is achieved by capturing the production sites of artisans from across the globe. By taking a bird’s-eye perspective, joined with anthropological interests, this series of photographs foretell the creativity that comes with human effort in the making, collecting and preserving of culture. Whether they are glassblowers, archaeologists, stonemasons or artists they’re all members of the same guild. This is Back Stages: a series of twelve photographic works dedicated to the dynamic processes within the production of art and culture. Katrin Korfmann and Jens Pfeifer are both artists based in Amsterdam. Back Stages, their biggest collaborative work so far, was finished in early 2019 and has been displayed in museums, galleries and independent art spaces in, amongst others, the Netherlands, the United States and China.

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the Porto Design Biennale, this volume proposes a variety of perspectives - social, cultural, political - to challenge this deeply engrained tradition. Contents:1. Graphic Design Systems, and the Systems of Graphic DesignFrancisco Laranjo2. Design Systems, Porto Design Biennale Research ResidenciesLuiza Prado & Pedro Oliveira, ACED, Ruben Pater, Demystification Committee3. One Size Fits AllRuben Pater 4. Fluttering Code: A Cultural and Aesthetic History of the Split-flap DisplayShannon Mattern5. Anything with a Shape Cannot Be BrokenIan Lynam6. Co-Creating Empowering Economic Systems – Strategies for Action Brave New Alps7. Lining OutGeorgina Voss

“What has left since we left” articulates the fictional end of Europe with the language of love and separation. Likening the political bonds that tie together European countries to the fluctuations of romance and desire, the book unpacks the complexities of the European relationship by touching on ideas of identity, collapse, migration, conflict and hope. The book features contributions by Ay?e Zarakol, Marwan Moujaes, Federico Lodoli, Marina Lalovic and Erica Petrillo. Together, these texts complement and expand on the script for the film “What has left since we left” - directed by Giulio Squillacciotti and written with Daan Milius and Huib Haye van der Werf - which fictionalises the current European dystopia by re-enacting and problematizing the rituals of kinship and relational struggles. Backstage images and film stills from this production, along with a European timeline from World War II up until Brexit compiled by Enrico De Gasperis, provide a specific overview to the entire project.

What is artistic research? What is a research document? How do these relate to the making process, invention, and creativity? What exactly is expected of me? If you have ever asked yourself any of these questions, then this book is for you. Research For People Who (Think They) Would Rather Create addresses all relevant aspects that need to be considered during a research and documentation process, such as: finding the right topic and approach; formulating your research question; working out your methods; choosing one or more suitable writing styles; and considering the possible roles of visual, virtual, auditory, embodied, and spatial materials.Research For People Who (Think They) Would Rather Create shows a multitude of examples from the field of art and design – each of which illustrates one specific aspect of developing a thesis, essay, paper, research document, or however else it may be referred to in your own setting. You can read this book from cover to cover, or you can immediately flip to those subjects which you find most relevant at any given moment. Ultimately, Research For People Who (Think They) Would Rather Create is an invitation to contribute – quite literally, with your own projects, examples, and questions – since the ultimate goal is to help you develop your own research.BioDirk Vis (1981) writes fiction, columns, scripts and essays on art and technology, mostly in Dutch. Vis lives and works in Amsterdam. He studied Image & Language at the Rietveld Academy, Amsterdam and Graphic Design at the Sandberg Institute, Amsterdam. His works of non-fiction and fiction have been published in Dutch: a limited edition of Bestseller (2009), the ebook The reality-essay (2017) and a series of texts in different forms and media e.g. chapbooks, performances, websites, etcetera. He's directed several video works based on his texts. Vis is contributing editor of Dutch literary magazine De Gids (The Guide) and founder of De Internet Gids. He is lecturer-researcher at the Willem de Kooning Academy in Rotterdam and theory lecturer at the Royal Academy of Art in The Hague, besides having guest lectured at several other European art universities. Vis is currently compiling the Indexicalist Manifesto.

A sandwich can be so much more than an item of food consisting of bread with a filling. The making of a sandwich is a tasteful and relational creation, sprinkling community, criticality and cultural economy. Ranging from sculpture, found imagery, drawing and much more, Breadcrumb compiles and reflects upon forty-one sandwich recipes by artists from different places across the globe, presenting the sandwich as a fuzzy, expanding object, lacking strict definition. The Breadcrumb cookbook brings artistic value to everyday life and instigates thought as well as food for digestion. Buen provecho.

Preconditions and tools to facilitate a successful and enduring collaboration between designers and local communities. Embedded design gives fresh impetus to an area by exploring the unique character and life of a place through the eyes of designers on the ground. This book documents the work of designers who embedded themselves in and around the former penal colony in Veenhuizen, soon to become a UNESCO World Heritage Site. It reveals the experience gained and lessons learned, illustrating them with countless design projects and events. This initiative, a blueprint for creative research focused on a particular area, is intended to spur similar projects. Young designers, prisoners, policy-makers and others joined forces in Veenhuizen, inspired by the unique cultural, historical, landscape and architectural reality. This lengthy design collaboration was instigated by embedded designpioneer KETTER&Co, and was guided by Design Academy Eindhoven. With local authorities and prison management in Veenhuizen, they drew up an ambitious ‘Design Deal’. Together they examined the challenges of local development in a long-term process that explored the many perspectives on the past and present. Their efforts helped to define a revised vision for Veenhuizen, one that is local and social, that can be experienced, that is shaped in conjunction with stakeholders, and that has an impact on visibility and policy, with energy flowing in many directions. The work resulted in proposals aimed at boosting commercial opportunities and enhancing the sense of community, while also promoting sustainable heritage management and a dynamic awareness of history. In other words: a magnificent challenge to give renewed vitality to this remarkable cultural landscape. Through numerous interviews and conversations on projects, design researcher Shay Raviv analyses the preconditions and tools that are needed to facilitate a successful and enduring collaboration between designers and local communities. She also looks ahead and asks: How can embedded design continue to be relevant, not only for the World Heritage Site of Veenhuizen but also for other places?Written by Shay Raviv with a preface of David Hamers and contributions by Guus Kusters and Gert Staal.

When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe follows the bound to fail investigation on the fire that burned a public art collection in southern Tel Aviv. The dodgy officer in charge uses all imaginable tricks and trades of whodunit novels to unfold a police investigation that casts a gloomy yet lucid look over the Israeli culture and its visual art scene. Framed in between fact and fiction by the tendentious writing of Jonathan Touitou, this book is a layered investigation of the art world and its deeds. Against the backdrop of the second Intifada and today's recurrent undermining of Palestinian rights, this controversial book will provide its readers with a perspective of an infiltrated outsider on the Israeli society, possibly supply the welding torch for the cynical ones, a bonfire for the freaks and fireworks for the wholehearted.

Process Music refers to print media and the intentions behind design activity. It is interested in visual culture, providing deeper readings and close viewings of graphic design artifacts and activity, frequently examined through the lens of music. Employing a range of narrative voices, the works combine academic rigor with the accessibility of popular forms like music journalism. FitzGerald regards himself as a critical enthusiast: knowledgeable, appreciative and irreverent. Process Music: songs, stories, and studies of graphic culture is the second book collection of writings by Kenneth FitzGerald. The new book gathers over 40 pieces primarily from the past decade, with reprinted works first appearing in forums like Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up, and Voice: AIGA Journal of Graphic Design. Others are texts of lectures and presentations, have appeared on my blog or elsewhere online, or are original to this collection. Many are unavailable or hard (and expensive) to find. The book will also feature a prelude composed by AIGA Design Medalist and Design Matters host Debbie Millman. The book is organized in four sections and a coda: “Blues in CMYK” contains short essays that focus on concepts and topics in graphic design, such as the practice, limits, and potential of design criticism; different aspects of design education; the importance of metaphor and cross-disciplinary inspiration; inclusivity and responsibility in design; the proper context of digital technology; authenticity; the influence of religious faith on design activity, and more. “Interlude with Designers” presents appreciations of famed and upstart individuals in the discipline, including Barney Bubbles, Paul Rand, William Addison Dwiggins, Jacqueline Casey, Paula Scher, Vaughan Oliver, Martin Venezky, illustrator Mark Andresen, and design activist Andrew Breitenberg. “Omnigraphy” has expanded reviews and studies on graphic design and music works, performers and practitioners. Figures covered include Josef-Müller Brockmann, Rudy VanderLans and Zuzana Licko/Emigre, Elliott Earls, Stefan Sagmeister, Hipgnosis, Fuel, and the musicians Van Dyke Parks, and British band Cornershop. Artifacts examined include books, interactive projects, typefaces, independent and mass market magazines, posters, and record albums. “My Back Pages” offers short memoirs and stories that take a personal perspective on creativity, visual culture and communication. Lastly, “(extended play)” offers a short fiction.

What does it mean to acknowledge one’s closeness to, enmeshment in or even kinship with the material world? And what does it mean to question family structures – the way they organise, coerce and make deviant certain lifeforms – and dwell in other possibilities of kin-making?Not just a jolly rethinking of objects or a polyamorous romp through relationships, The Material Kinship Reader reckons with the extractavist histories of materials and the social relations that frame much of contemporary life. Spanning fiction and theory, the collection of texts expand the idea of an artist’s book by bringing words into conversation with an aesthetic proposition. Clementine Edwards’ artwork is the visual weft to the book’s written net. From colonial conquest to climate collapse, The Material Kinship Reader tells toxic and tender stories of interdependence among all things sentient and insentient. Including contributions by Sara Ahmed, Hana Pera Aoake, Roland Barthes, Joannie Baumgärtner, Heather Davis, Kris Dittel, Clementine Edwards, Ama Josephine B. Johnstone, Robin Wall Kimmerer, Ursula K. Le Guin, Sophie Lewis, Steven Millhauser, Jena Myung, Aileen Moreton-Robinson, Michelle Murphy, Ada M. Patterson, Kim TallBear and Michelle Tea ‘The Material Kinship Reader is a beguiling orrery of ways of thinking, making and relating far from the shores of alienation. As varied as it is visionary, it tugs at and thinks kinship beyond “recognition”, a humming spectrum of becoming all kinds. ’Marina Vishmidt ‘A wonderful addition to the conversation about materialism and how we might live on after capitalism. Bringing together a sharp selection of core texts that have made key offerings to this dialogue with brilliant new theoretical and artistic interventions, the book is stitched together with Clementine Edwards’ searching material work and reflections. A generous and generative project. ’Alexis Shotwell‘This book is a constellation of crumbs, treasure together in a vibrating field. It’s about what it means to locate family in provisional formats, textures and arrangements, and the focused and felt reciprocity with the small stuffs that touch us, tumbling through around and before us, forming our very being. An errant riff, The Material Kinship Reader thoughtfully darns a loose and loved garment, pulling strands together to reconfigure ideas of family, care, property and memory. ’Geo ‘Gbutt1984’ WyethAbout the artist/editor:Clementine Edwards is a Rotterdam-based artist from Naarm/Melbourne working across sculpture, film, performance, writing and jewellery. Her practice is guided by the ongoing research line material kinship, which thinks material beyond extraction and kinship beyond the nuclear family.

Floppy Disk Fever explores the curious afterlives of the floppy disk in the twenty-first century by interviewing those involved with the medium today. The book reflects on notions of obsolescence, media preservation and nostalgia, and challenges these by showing the endurance and versatility of this familiar piece of technology. From floppy filmmakers to floppy painters and beyond; what drives people to continue working with the medium that is typically deemed obsolete? What challenges and affordances does it provide? And what does the future hold in store for the familiar black square? By looking at the current presence of past technology we can assess our present-day situation and speculate on the future developments of our media minded landscape. After all, the technology of the past is also part of our future!Includes a preface by Lori Emerson (Media Archeology Lab) and interviews with Jason Scott (archive. org), Tom Persky (floppydisk. com), Florian Cramer, Jason Curtis (Museum of Obsolete Media), Adam Frankiewicz (Pionierska Records), Foone Turing, Clint Basinger (Lazy Game Reviews), Nick Gentry, Joerg Droege and AJ Heller (Scene World) and Bart van den Akker (HelmondComputerMuseum). EditorsNiek Hilkmann (NL) is a Rotterdam based artist, musician, and researcher with a background in Art History, Media Design and Visual Culture. He has a particular interest in the abstruse technological condition we are currently living in and the insufficient intellectual methodologies that seek to justify, or explain it. Besides being resposible for various floppy-centered events under the moniker of Floppy Totaal, he is also a member of Varia, the center of everyday technology. Thomas Walskaar (NO) is a graphic designer and researcher. He has a Masters in Media Design and Communication from The PietZwart Institute in Rotterdam and a BA (Hons) in Graphic Design from Ravensbourne in London. His personal interests revolve around frailty of storage technology and the importance of the individual to store with caution. One of his better known projects is “My Hard-Drive Died Along With My Heart”. Contributors Lori Emerson (CA/US) is an Associate Professor in the Department of English and the Intermedia Arts, Writing and Performance Program at the University of Colorado, Boulder. She is also the Founding Director of the Media Archaeology Lab. Emerson writes about media poetics and the history of computing, media archaeology, media theory, and digital humanities. Jason Scott (US) is a free-spirited archivist, filmmaker, performer, and historian of technology. He is known under the online pseudonyms Sketch, SketchCow, and the Slipped Disk, and has been called a ‘figurehead of the digital archiving world’. He works for Internet Archive and has given numerous presentations at technology related conferences on the topics of digital history, software, and website preservation. Tom Persky (US) is the ‘last man standing in the floppy disk business’. He is the founder of floppydisk. com, a US-based company, dedicated to the selling and recycling of floppy disks. Other services the company provides include disk transfers, a recycling program, and selling used and/or broken floppy disks to artists worldwide. All this makes floppydisk. com a key player in the contemporary floppy scene. Florian Cramer (NL) is a practice-oriented research professor in 21st Century Visual Culture at the Willem de Kooning Academy in Rotterdam, the Netherlands. Since 2009, he has developed a habit for creating and distributing films using floppy disks and has conducted multiple workshops on the subject. By employing extreme measures of compression he is able to squeeze entire movies onto the 1. 44 MB provided by the medium. The floppy disk also stood at the center of several of his collaborative film projects as a vehicle for collective constraint. Jason Curtis (UK) is a writer, librarian, and collector from Shropshire, England. In 2006 he founded the Museum of Obsolete Media, a formidable collection of media formats consisting of over 700 audio, video, data, and film objects. The collection includes many examples of unconventional and obsolete formats, which are carefully investigated and then documented on the museum’s website. Among these, several unusual versions of the floppy disk can be found, providing insight into the alternative history of the medium. Adam Frankiewicz (PL) is an eclectic theatre director and a contemporary electronic composer. These activities led to the founding of his independent record label Pionierska Records in 2014, which has been publishing music exclusively on floppy disk since 2018. At the time of writing, the Pionierska Records library consists of over 35 releases by almost as many artists. Adam also spreads his enthusiasm for floppy disk culture through his online floppy disk news channel Floppy (Not) News and by conducting floppy based workshops throughout Europe. Foone Turing (US) is a media collector, hardware hacker, and Twitter personality. They curated an award-winning exhibit on floppy disks at the Computer History Museum in Mountain View, built a series of impractical keyboards, and crafted the (formerly Sierra) Death Generator, a tool for making fake video game dialogue screenshots. Clint Basinger (US) is the driving force behind the Lazy Game Reviews (LGR) YouTube channel, providing weekly coverage of retro tech, classic computer gaming, oddware, thrifting tech tales, and more. Besides regularly creating videos on obscure and redundant forms of disk-based media, Basinger is also a collector of big box floppy disk games. Nick Gentry (UK) is a London based artist who repurposes obsolete media as the raw material for his artwork. Besides computer punch cards and VHS tapes, he makes use of floppy diskettes, donated to him by people from all over the world. The disks function as the canvas for his oil paintings, which are influenced by the development of consumerism, technology, identity, and cyberculture in society. Joerg Droege (DE) and A J Heller (US) are part of Scene World, an eclectic NTSC & PAL diskmag that started out in 2001 and is still running today. It is kept active by an international group of enthusiasts, hailing from Peru, Germany, China, the USA, and the UK. New issues of the magazine are published regularly through their website, as executable files for Commodore 64 (C64) and Amiga. Bart Van Den Akker (NL) is the founder of the Helmond based Home Computer Museum, a 1 000+ square meter interactive experience that covers the history of the home computer, from the very first to modern variants in the late 90s and beyond. Besides being part of the digital heritage network of the Netherlands, where old media such as floppy disks can be read and their data converted to a modern format, the Museum has acquired a following within the online retro computer scene and assembled a loyal community that works in the Museum on a daily basis.

Durable Discussions brings together seventeen essays written by designers and artists from the Disarming Design Department of Sandberg Instituut in Amsterdam. Engaged in social, material, and political struggles, they generously retell their personal histories, writing across objects, events, places, and habits. In research through writing, they sense and transform the poetics and politics of the everyday. This publication presents life-making practices through language, typography, weaving, aesthetics, cooking, land, speculation, and pedagogies. Offering perspectives in thinking about art and design as emancipatory politics, and as a practice of hope, the essays speak of making what is deemed impossible possible. The authors of this book are:Lama Aloul, Saja Amro, Julina Vanille Bezold, Rasha Dakkak, Farah Fayyad, Mohamed Gaber, Anna Garcia Gómez, Ayman Hassan, Siwar Kraitem, Ott Metusala, Naira Nigrelli, Karmel Sabri, Qusai Al Saify, Sarah Saleh, Mohammed Tatour, Jara van Teeffelen, Samira VogelEssay tutors: Rana Ghavami, Sherida Kuffour

Like neighbors behind walls, who are not seen but whose actions are well heard, artists Raffaella Crispino and Hans Demeulenaere initiated a dialogue with musicians. The interaction between them took on different forms, which led to the creation of the featured works in the publication ‘Incomplete Neighbor’. When Raffaella Crispino moved to Brussels in 2011, she experienced difficulties creating visual works, and instead taught herself to play the Omnichord. She adopted a daily practice of composing songs, which were named after the date of their creation. The result was a vinyl album, Ogni Giorno (It. every day), which is a musical diary. Listening to music is an experience that involves a person’s entirety: body, mind, and emotions, placing the listener and the performer in a shared time and space; an act of being in the world. In classical music, the term “incomplete neighbor tone” denotes a tone that is not explicitly written, but its presence exists in our imagination, and is understood and felt through the context of the entire musical phrase. This gap between the absent and the present, the visual and the auditory, activates our imagination and senses and it is at the core of the exhibition. Bridging the gap calls for multiple interpretations, points of convergence, and anchors. Demeulenaere's point of departure for deciphering the relationship between the visual medium and the musical medium is a study of the playing environment and of the patterns that accompany the musicians, such as the chairs they find comfortable, the endpin stoppers used to keep the musical instrument (cello) in place, the points in the museum space where the music is heard best. One of the works featured in ’Incomplete Neighbor’ is Prototypes where Demeulenaere explored the chairs preferred by the musicians, and the created chairs in collaboration with art students inspired by iconic designers, such as Le Corbusier, Enzo Mari, Gerrit Rietveld, and Donald Judd. The artist deconstructs and reconstructs all the elements into a visual expression that leaves signs and traces of the dialogue with the musicians in the space. Incomplete Neighbor explores how our mind complements the reality around us, how visual art and music activate our mind and trigger it to create ideas, thoughts, and feelings. Artist's BiosRaffaella Crispino’s work emerges from a direct approach to things, stories and situations. She is inspired by the research of the sense of these and of their human aspects. Her work creates subtle links with the places and landscapes from which it emerges. Even if based on a sharp and critical point of view, through various medias, her work explores contemporary cultures in their very characteristics, offering a social and political portrayal. Crispino’s work seeks a certain “displacement” of sense. Documentation and direct involvement play a crucial role and form primary materials to model, elaborate, in order to reveal these “displacements” and their ambiguities. Hans Demeulenaere (Ostend (B), 1974) draws his inspiration from architecture, space and design. Rather than create something entirely new, he takes existing objects and reinterprets them in surprising ways. By deconstructing these objects and stripping them of their context, he focuses the attention on the viewing experience and calls into question our perception as visitors. His love of everyday aesthetics and the interplay between figuration and abstraction produces spirited forms, interventions and installations. Demeulenaere’s work thrives on intensive collaborations with other artists, designers and architects.

Internal alchemy; Siberian perspectivism; Anti-Cartesianism; Shamanisms; Quantum Theory; Ecofeminism; Electromagnetism; Cosmologies; Environmentalism; Mumming; Decoloniality; Feminist Sci-Fi; Poetry-as-Theory; Mythologies; and more.Enfleshed: Ecologies of Entities and Beings brings together practitioners, thinkers, and artists from across Eurasia to collectively explore multispecies ecologies. The volume reflects anthrodecentric and embodied approaches to collaboration and knowledge production––processes that are always interwoven with a multitude of entities and actors.In this book, the contributions flow like a river across the Eurasian continent, branching out into all directions. The contributors engage in an exploration of experimental epistemic alliances, which operate as a way to learn and make new dialogic relations. The conflicts generated by ecological disaster, war, the global economy, identity politics, and the power structures of knowledge production and science here intertwine with shamanisms, rituals, magic, speculation, politics, and poetics. How do we imagine an active and implicated role of the human as one being among other beings? What might this entail, and what might this generate?With contributions from Zoénie Deng, Rick Dolphijn, Stephan Dudeck & Christian Vagt & Yuri Vella, Taru Elfving, Giovanna Esposito Yussif & David Muñoz Alcántara (NÆS-Nomad Agency/Archive of Emergent Studies), Fu Xiaodong, Han Xiaohan, Kristiina Koskentola, Marjolein van der Loo, Mi You, German Popov, Nikolay Smirnov, Bo Wang, and Müge Yilmaz.Edited by Kristiina Koskentola and Marjolein van der Loo

Critical science fiction, on its most basic level, is an opportunity to experiment with new ways of existing in the world; imaging different, economic, political and social structures. Within its pages, science fiction holds the space to test ambitious projects without the fear of failure. Reading and writing science fiction is, in all its imaginative and disruptive potential, something which I believe is valuable to anyone living under conditions which they wish to change.‘Reworlding’ is the name given to a concerted effort to reimagine the places and spaces we inhabit, by generating a multiplicity of futures with which to affect the present positively. Reworlding takes the notion of worldbuilding beyond any ostensible purpose as art or entertainment and deploys aspects of it as a radical tool to instigate change in the world.The stories compiled in this book were the outcome of a writing workshop series led by Callum Copley in a town called Birzeit, a few miles north of Ramallah, Palestine. From alien experiments, to fortune-tellers and telepathic conspiracies; the stories compiled here represent visions of the West Bank and beyond, reworlding both the local and the interplanetary. Although the contributions in the collection vary in form, length and style, all join a rapidly growing but comparatively small niche of Palestinian science fiction.

A Task for Poetry questions both the parameters of the poetic and the institutional frame that represents it.