Sweden-based art designer Gustaf Lord has claimed to have created an interesting new typeface that highlights “the great demand for higher efficiency” in most all parts of the world.
Called “The Rational Alphabet”, it combines every two letters of the alphabet into one—cutting 26 letters of the alphabet into 13.
According to Lord, he said that his typeface will also save time, decrease paper usage and reduce the amount of ink and toner used—however, the downside is that his typeface is sometimes unreadable.
Invented topographies (plates left folded through digitization).
Throughout A Voyage of Discovery to the North Pacific Ocean, 1795-1798 by William Robert Broughton (1804). Original from Harvard University. (via theartofgooglebooks)
(via invisiblestories)
Source: books.google.com
Jules Guerin, xnihpS ehT (The Sphinx), from Robert Hichens’ Egypt and Its Monuments, 1912. (via: mythologyofblue.)
Marcel Duchamp and Man Ray’s The Blind Man, a periodical with a negative photostat from 1917.
Artist Sarah Crowner continues our series of public discussions Miscellaneous Uncatalogued Material at MoMA Print Studio on Monday, February 27, 2:30-4 p.m.
Source: canopycanopycanopy.com
Triple Canopy at MoMA Print Studio
This afternoon, artist David Horvitz begins our series at MoMA Print Studio, Miscellaneous Uncatalogued Material. At each talk, a different artist will choose a work from MoMA’s collection and lead participants in a discussion about how digital technologies, new forms of publication, and new modes of authorship have changed arts publishing over the years. Horvitz will examine a photoradiogram from 1926, one of the earliest images ever to be transmitted electronically with a telecommunication device.
February 15, 27 and March 7 from 2:30-4 p.m. Museum of Modern Art Print Studio, 4 West 54th St.
Source: canopycanopycanopy.com
László Moholy-Nagy, Jealousy, 1924-27. Photoplastic, gelatin silver print 30 x 24.6 cm, Victoria & Albert Museum Collection.
“It’s more than just print,” from the Chelsea College of Art & Design.
(via artywords)
Redactions, erasures, translations. Mar Arza, Rumor Aliento, 2008.
Dexter Sinister, A skeleton, a script, or a good idea in advance of its realization, 2010.
This six-layered, unpronounceable glyph is composed using the typeface Meta-the-difference-between-the-two-Font, designed by Dexter Sinister in 2010, and derived using MetaFont, the now-thirty-year-old computer typography system programmed by Donald Knuth in 1979. Download through Dexter Sinister’s Serving Library. Purchase print (edition of 100) through Triple Canopy.
An iteration of the Serving Library—”constituted as a a 1:1 model of the library space”—opens at Artists Space this Friday.
Labor of Love, or The French Theory Today Pamphlet Series
The French Theory Today pamphlet series by Alexander R. Galloway and the Public School New York is now in production. A limited edition of 150 copies is being printed on a Risograph GR 3750 and will be hand-bound by a group of volunteers. They will be made available for purchase this Fall.
The set of five pamphlets documents the weeklong seminar by Alexander R. Galloway at the Public School New York in Fall 2010. The pamphlets also include contributions from Nicola Masciandaro, Eugene Thacker, Dominic Pettman, Prudence Whittlesey, and David Horvitz.
Audio files of all five sessions of the seminar are archived here via Alexander R. Galloway’s website:
Day 1: Catherine Malabou, or The Commerce in Being
Day 2: Bernard Stiegler, or Our Thoughts are With Control
Day 3: Mehdi Belhaj Kacem, or Unworkability
Day 4: Quentin Meillassoux, or The Great Outdoors
Day 5: François Laruelle, or The Secret
