emmakingeek-blog

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Emma King (London)

1984 by @realdonaldtrump, CSM graduate project, 2017

Keep reading

#trump #against trump #1984 #orwell #George Orwell #1984 orwell #nineteen eighty-four #language #fake news #alternative facts #dystopian fiction #dystopia #Donald Trump

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http://www.andsobooks.com/index.php/language-to-cover-a-page/

Language to Cover a Page Kristen Mueller

Working within a lineage which encompasses Joseph Kosuth’s Purloined (in which the author assembled a single novel from individual pages of different books), Tom Phillips’s A Humument (in which the author creates a new narrative by drawing on top of existing pages) and Ronald Johnson’s Radi Os (in which the author erases words from Milton's Paradise Lost to create a stirring new poem), Mueller has done more than simply “compose the holes.” With Language to Cover a Page, Mueller has carefully aligned excerpts from disparate books—with differing typefaces intact—into two evolving pages. These pages crescendo before our very eyes, a flipbook of accumulating meaning, where with the passing of every page the narrative becomes aware of its own developing presence. —Derek Beaulieu

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The Institute for the Future of the Book

http://www.futureofthebook.org/mission.html

the mission The printed page is giving way to the networked screen. The Institute for the Future of the Book seeks to chronicle this shift, and impact its development in a positive direction. The Institute is a project of the Annenberg Center for Communication at the University of Southern California, and is based in Brooklyn, New York.

the book For the past five hundred years, humans have used print — the book and its various page-based cousins — to move ideas across time and space. Radio, cinema and television emerged in the last century and now, with the advent of computers, we are combining media to forge new forms of expression. For now, we use the word "book" broadly, even metaphorically, to talk about what has come before — and what might come next.

the work & the network One major consequence of the shift to digital is the addition of graphical, audio, and video elements to the written word. More profound, however, is the book's reinvention in a networked environment. Unlike the printed book, the networked book is not bound by time or space. It is an evolving entity within an ecology of readers, authors and texts. Unlike the printed book, the networked book is never finished: it is always a work in progress. As such, the Institute is deeply concerned with the surrounding forces that will shape the network environment and the conditions of culture: network neutrality, copyright and privacy. We believe that a free, neutral network, a progressive intellectual property system, and robust safeguards for privacy are essential conditions for an enlightened digital age.

tools For discourse to thrive in the digital age, tools are needed that allow ordinary, non-technical people to assemble complex, elegant and durable electronic documents without having to master overly complicated applications or seek the help of programmers. The Institute is dedicated to building such tools. We also conduct experiments with existing tools and technologies, exploring their potential and testing their limits.

humanism & technology Although we are excited about the potential of digital technologies and the internet to amplify human potential, we believe it is crucial to consider their social and political consequences, both today and in the long term.

new practices Academic institutes arose in the age of print, which informed the structure and rhythm of their work. The Institute for the Future of the Book was born in the digital era, and so we seek to conduct our work in ways appropriate to the emerging modes of communication and rhythms of the networked world. Freed from the traditional print publishing cycles and hierarchies of authority, the Institute values theory and practice equally, conducting its activities as much as possible in the open and in real time.

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Leah Tether

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#social reading #networked reading #collective reading #ereader

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https://venturebeat.com/2017/02/02/facebook-now-describes-action-in-automatically-generated-photo-descriptions/

Facebook now describes action in automatically generated photo descriptions

#facebook #social media #language

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Reena Spaulings, a collective novel

https://monoskop.org/images/4/46/Bernadette_Corporation_Reena_Spaulings.pdf

“Reena Spaulings is a collectively-authored novel set in present-day New York. What is today? What is a city? These are two of the many questions this book sets out to ask. Like most novels, Reena Spaulings is a story about a twenty-something woman who works as a museum guard, is “discovered” and hired to model in an international advertising campaign, after which she gets fame and money, things change, the city experiences some very bad weather and strange new forms of social disobedience, and an idea is hatched to make a musical called “Battle Over Broadway,” a live song-and-dance-riot. It’s a story about a nobody who could be anybody becoming a somebody for everybody. It is a novel that tries to live the metropolitan life. Like Reena, the authors of this book are trying to live inside Reena Spaulings. Whatever is personal about their voices goes joyfully into the meticulous noise that is the collective music of this book. Like the book, whose authors are many and who abandon their identities to a common process, the New York City depicted herein tries to rethink itself as a collective experiment. Our lack of uniqueness, it seems to say, is the only thing we share today, besides our extreme separation. Reena Spaulings isn't the On The Road or The Great Gatsby of these times, which is to say that these times do not need or want those kinds of books. It is generic and perfect. It took less than three years to write. It is writing for everybody, by nobody, an overcrowded literary graveyard whose zombie author is called Bernadette Corporation.” http://www.bernadettecorporation.com/novel.htm

#collective writing #experimental writing #writing #publishing #collective #reena spaulings

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https://shop.visual-editions.com/products/kitten-clone

Kitten Clone by Douglas Coupland

“Kitten Clone, by Canadian cultural literary giant Douglas Coupland, is the third book to be released as part of the Writers in Residence set. Coupland takes readers on a web surfing-inspired ride through Alcatel-Lucent: one of the largest global telecommunications companies in the world.

Coupland, with Magnum photographer Olivia Arthur, reports from inside Alcatel’s faceless corporate offices and wire-laden science labs, writing in his inimitably playful and insightful way about the wider cultural implications of the Internet and the affect Alcatel’s information technology has on each of our lives and the way we live.”

#douglas coupland #internet #publishing #book #non fiction

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https://fathom.info/frankenfont/

“An edition of Mary Shelley’s Frankenstein laid out using characters and glyphs from PDF documents obtained through internet searches. The incomplete fonts found in the PDFs were reassembled into the text of Frankenstein based on their frequency of use. The most common characters are employed at the beginning of the book, and the text devolves into less common, more grotesque shapes and forms toward the end.The beginning of the book is comprised largely of Arial, Helvetica, and the occasional Times New Roman. As you might expect, these are by far the most common fonts used in documents. By page 46 and 47, things have progressed to a lot of Arial Bold and Times Italic. In the 200s, commonly used script fonts, as well as much more obscure faces are beginning to appear. As we reach the end, the book has devolved significantly: non-Roman fonts, highly specialized typefaces, and even pictogram fonts abound.

This project started because of a fascination with the way that PDF files contain incomplete versions of fonts. The shape data is high enough quality to reproduce the original document, however only the necessary characters (and little of the font’s “metrics” that are used for proper typographic layout) are included in the PDF. This prevents others from extracting the fonts to be used for practical purposes, but creates an opportunity for a curious Victor Frankenstein who wants to use these incomplete pieces to create something entirely different.”

#pdf #frankenstein #fonts #publishing

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https://www.creativereview.co.uk/visual-editions-tristram-shandy/

http://apracticeforeverydaylife.com/projects/the-life-and-opinions-of-tristram-shandy-gentleman

Visual Editions, designed by A Practise for Everyday Life

#book #visual language #novel #publishing

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“Digressions, incontestably, are the sunshine: — they are the life, the soul of reading; — take them out of this book for instance, — you might as well take the book along with them; — one cold eternal winter would reign on every page of it.“ The Life and Opinions of Tristram Shandy, Gentleman, Laurence Sterne.

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http://www.ajbocchino.com/2007/A13.html

“Washington Post Headlines (1972), 2007 Marker on paper, L.28” x W.40”

In, Washington Post Headlines (1972), I excised the main headline from the front page of the Washington Post every day for one year. The headlines are listed in chronological order and color-coded according to subject.”

#recontextualise #language #headlines

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fourcornersbooks‘ Familiars series invites contemporary artists to produce a new edition of a classic novel. Gareth Jones’ re-imagination of The Picture Of Dorian Gray pays reference to the novel’s original publication, designed as a large format paperback and printed black and white on thin newsprint paper.

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https://fontsinuse.com/uses/5809/valiz-s-antennae-series-book-covers