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A wide-ranging collection of works from Eurasian artists and thinkers exploring multispecies ecologiesEvolving from multifaceted, polyvocal, long-term research and a series of exhibitions curated by Finnish-born artist Kristiina Koskentola (born 1967), who is also the coeditor of this book, Enfleshed: Ecologies of Entities and Beings brings together 17 practitioners, thinkers and artists from across Eurasia to collectively explore multispecies ecologies. The book reflects "anthrodecentric" and embodied approaches to collaboration and knowledge production--processes that are always interwoven with a multitude of entities and actors.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?

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

Czech sculptor Nina Fránková (born 1987) maintains a fascination with basic forms, found shapes and residual materials collected throughout the making process. Her practice reflects upon the beauty of primary procedures in working with clay. This is her first major monograph.

Over the past few years, design has been learned and unlearned, done and undone, patriarchised and depatriarchised, colonized and decolonized, centralized and decentralized, and so forth. Meanwhile, (departments of) schools appear to be wandering, un-stable, not-yet, unsettling, or impermanent, making way for anything other than sturdiness. The question must then be asked, if all within design is being undone, unmade, and unlearned, what is it exactly that is being done, being made, and being learned?'Unununimimimdededesign - the hesitant state of design' wishes to delve into this question by offering divergent views from within and upon design discourse and education. It does not aim to 'fix' this hesitant state or offer solutionist approaches, but instead reflectively pause and build upon the knowledge, thoughts, hesitations and discomforts that accompany it. special thanks toThe participants and alumni of The Critical Inquiry Lab: Viktoria Kaslik, Cecilia Casabona, Lara Chapman, Maxime Benvenuto, Josh Plough, Fernand Bretillot, Ram. n Jimenez Cardenas, Janfer Chung, Tiiu Meiner and Sofia Irene Marmolejo Bijnsdorp for their contribution to Saskia & Nadine's contribution;Rana Ghavami and her students for sharing thoughts, ideas and feedback; Anja Kaiser and Rebecca Stephany for an insightful conversation; and all the other engaged individuals involved in the process of developing this publication.

Belgrade collective Škart has been operating within and around existing hierarchies of the art world and everyday life, working in collaboration with marginalized groups, NGOs, and anti-war movements. Škart 's understanding of the artwork is fluid and relationship based. No matter the medium -poetry, embroidery, graphic design, choir, or radio broadcast- its artistic explorations are characterised by self-organisation, rooted in creating an open, accessible infrastructure for being together. This approach has been incorporated into a different scale of activities ranging from the street level to participation in the Venice Biennale of Architecture. Different social experiences create different forms of relativity. Through conversations with Škart`s members, a collection of images, poems, drawings as well as newly commissioned texts by Zdenka Badovinac, Branislav Dimitrijevi? and Milica Peki?, this book captures traces of Škart`s practice from the 1990s to present.

In these circumstances: On collaboration, performativity, self-organisation and transdisciplinarity in research-based practices assembles curatorial, artistic and pedagogical practices inspired by a. pass: an inter- national artistic and educational research environment focusing on performativity and scenography. This book discloses a history of the methods of artistic research in the context of the academisation of art education, and an abrasion of the once unbridled scene of artist-run organisations in Northern Europe. There are 35 contributions, many of them collaborative, ranging from concrete projects to inter- rogative speculations about artistic research. It aims to demonstrate how artistic research operates institutionally through a complex intertwinement of practices and how a. pass, over the past 14 years, has carved out a space for artistic research to imbricate in fields of both art and education, and stir the sedimentsof disciplinary enclosures.

A delightful romp through the surprising subcultures of an obsolete formatThis volume explores the curious afterlives of the floppy disk in the 21st century through the work of 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 landscape. After all, the technology of the past is also part of our future. This volume features interviews with key players in the contemporary floppy-disk world, including not only artists and filmmakers using floppy disks in their practice but also businessmen, archivists and museum proprietors working to preserve the medium.Interviewees include: Jason Scott, the founder of archive.org; Tom Persky, founder of floppydisk.com, often dubbed the "last man standing in the floppy disk business"; Florian Cramer; Jason Curtis, founder of the Museum of Obsolete Media; Adam Frankiewicz, founder of Pionierska Records; Foone Turing; Clint Basinger, creator of a YouTube channel called Lazy Game Reviews; Nick Gentry; Joerg Droege and AJ Heller, cofounders of the popular diskmag Scene World; and Bart van den Akker, founder of the Helmond Computer Museum.

Essays on print-media culture from Paul Rand to Barney Bubbles by a leading American design thinkerIn Process Music, Virginia-based author Kenneth FitzGerald provides deep readings of print-media artifacts and activities, often through the lens of music. Employing a range of narrative voices, the works combine academic rigor with the accessibility of popular forms such as music journalism. FitzGerald's new book compiles over 40 of his pieces from the last decade--many of which are now inaccessible or behind a paywall--with reprinted works first appearing in outlets such as Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up and Voice: AIGA Journal of Graphic Design. Divided into four thematic sections and a coda, Process Music considers a variety of influential figures working in design and music, including Barney Bubbles, Paul Rand, William Addison Dwiggins and Jacqueline Casey. A prelude composed by AIGA Design medalist and Design Matters host Debbie Millman also features.

Celebrating 15 years of a unique artist-run gallery in GalwayUsing 126, an artist-run gallery in Galway, Ireland, as an exemplar of an artist-run democracy, this book celebrates 15 years of 126 and explores the grounds for its unique mode of organization.

On physical access and the pursuit of political freedomsExploring the politics of access in public space, Right of Way features key voices in the fields of activism and politics, architecture, urban planning, poetry, art and design, and underscores the dynamic relationship between the body and space.

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.

On ecological and social metabolisms, cohabitation, engineering and economy in urbanised shallow water territories. This magazine explores two extreme cases of urbanized shallow water territories - Markermeer/IJsselmeer in the heart of the Netherlands and the Venetian Lagoon. One is probably the most technologically controlled water on Earth, while the other negotiates a balance of natural water cycles, extreme weather, and a robust tourist economy. Providing points of reflection for similar territories where prospective sea level rise in the near future poses urgent questions about human and more-than human cohabitation, engineering, economy, and both ecological and social metabolisms. BIOBureau LADA (Landscape, Architecture, Design, Action) is a cross-disciplinary Amsterdam based studio with a focus on architecture. Currently active between Amsterdam, Venice and Cairo, the practice specialises in design strategy, social ecology, and the future of education. Established in 2010 by Croatian-Dutch architect and urbanist Lada Hršak, the studio collaborates with practitioners from the fields of ecology, science, art, heritage, and sociology. The studio's research initiative Shallow Waters was selected for the Parallel Program of the Dutch pavilion at the 2021 Venice Architecture Biennial. The bureau's team members engaged in the Shallow Waters project are Ludovica Beltrami, Juliette Gilson, Lada Hršak, Zoe Panayi, Simone Spiga, and Zhao Zhou.

A chunky artist's-book homage to the Russian Constructivist style that also probes the fluidity of screen and printThis dynamic and superbly designed book is Berlin-based graphic designer Polina Joffe's investigation into Russian Suprematism and Constructivism, demonstrating the fluidity of design in the digital age.

Two New York Times fact-checkers spark a multidisciplinary meditation on truth and fictionThis volume connects two seemingly contradictory paradigms of knowledge-seeking: speculation, which attempts to think and act beyond existing knowledge and structures, and fact, which seeks a robust consensus on which reality can be built. The backbone of the book is an email exchange between Alex Carp and Jamie Fisher, two fact-checkers from the New York Times Magazine, to which artists and writers respond, via an initiative at the Jan van Eyck Academy in Maastricht. The publication includes the original letters and workshop scripts, as well as additional texts by philosophers, journalists, writers and artists, addressing the question: when expanding knowledge and speculating with fiction, what sense of responsibility is needed in times of democratized opinion and fake news?

Pedagogical and participatory art from the coauthor of Making and BeingIn Art, Engagement, Economy: the Working Practice of Caroline Woolard, this acclaimed New York-based artist and educator (born 1984) proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations. Readers follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the Covid pandemic of 2020, this book suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.

Digital art scholars reflect on the cultural impact of digital exhibitionsThis publication investigates the idea of digital exhibitions, gathering artistic and theoretical reflections on post-digital culture. Contributors consider the transformative potential of exhibitions experienced individually behind screens, focusing on questions of subjectivity, technical elements, circulation and cultural impact.

Creative takes on domesticity and cooking from the constraints of lockdownAs the coronavirus forced the world to close down, nearly everyone found themselves spending a lot more time at home than they had initially anticipated. With most 2020 plans foiled and travel restrictions on the rise, many artists turned to kitchen experiments as a new creative outlet. In Recipes for the Future, 16 culture-makers share the culinary concoctions they made in reaction to their newly disrupted lifestyles, revealing a vision for the future based around the ambition to change and to widen the limits of human imagination. The visions and recipes of these writers, academics, philosophers, singers, visual artists, theater-makers and designers working in the Netherlands and Germany paint a unique portrait of our current moment. Themes of sustainability, domesticity, utopian realities and the role of cultural institutions arise in between recipes for "corona ice cream" and "mushrooms at the end of the world."

A pioneering appraisal of female typographers, with historical research and interviews with contemporary practitionersThis important new book surveys the past and present of women working in typography. The first section looks at the statistics, data and an overview of the field apropos of gender, supplemented with biographies of female type designers that worked in the 19th and early 20th centuries. These women contributed to the industry significantly, but are rarely mentioned in histories of the subject. The second portion of the volume comprises a series of interviews with 14 women that are either currently working as type designers or are in other ways involved in the field of type design: Gayaneh Bagdasaryan, Veronika Burian, Maria Doreuli, Louise Fili, Martina Flor, Loraine Furter, Jenna Gesse, Golnar Kat Rahmani, Indra Kupferschmid, Briar Levit, Zuzana Licko, Ana Regidor, Fiona Ross and Carol Wahler. The final part of the book presents a showcase of typefaces designed by women.

Exploring how design educators deploy the idea of the "radical"This book argues that, over the past 15 years, there has been a consistent deterioration of democracy in tandem with the establishment of the marketization and monetization of design education. Navigating difficult external political contexts in the middle of internal power struggles, college design courses seem to be incapable of challenging political, social, cultural and environmental phenomena with the urgency that all of these demand. Swallowed by an ever-rolling snowball of neoliberal educational models, small gestures do not produce the kind of radical change that design education and our catastrophic climate crisis needs for our survival. The fourth issue of Onomatopee's annual design criticism journal investigates the use of the word "radical" in design discourse and practice, exploring the challenges design universities face in responding with urgency to political, social, cultural and environmental struggles.This issue features essays by Danah Abdulla, Anne-Marie Willis, Tanveer Ahmed, Kenneth Fitzgerald, Anja Groten, Hannah Ellis and the research-led platform Depatriarchise Design.

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.

The center of the city is the place for meeting and consumption. It is where everyone goes, it's where our culture is consumed and lived. However, the offering there is limited, and not a lot is allowed. It's not everybody's space, but the space of the majority. Yet even for that majority, there is no free choice, so it is also place for the silent majority. Meanwhile, every human being wants an inclusive culture, with free offering and free access. Although our culture turns out not to be free, but forced. With this project we ask what could be on offer, and what perhaps ought to be? Many free-thinkers such as designers, philosophers, journalists, artists and others take space to explore this. In short: WE ARE THE MARKET! calls out to freedom in the capitalist commons, within the cultural production of the high street.

In this paperback, questions regarding how to navigate in the present are not raised to generate an answer, a method, or a map, but rather as framing principles analogous to those of a logbook. On a voyage, a ship's crew registers surroundings and important events in a manner such as this. The cargo contained within this edition is an assemblage of materials provided by over 60 practitioners from a variety of professions and personal backgrounds, and is therefore heterogeneous in terms of language, form, and content. The resulting narratives emerge across the pages in the trails left by individuals and collectives of human beings as they move, teach, learn and unlearn, traversing the various apparatuses that determine their agency. In this way, the term "navigation" is activated, implicitly and explicitly on myriad levels such as the biographical, historical, epistemological, technological, and the aesthetical.

Evil and care, feminism and mothernism, anti-culture and the underground, misanthropy and life all are seemingly opposite yet are continuously recurring as themes in the life and work of Norwegian artist Grete Neseblod. As well as being a visual artist and a mother of three, Grete is the owner of legendary metal record shop Neseblod Records. This book features texts and images of Grete's solo show at Onomatopee, documentation of early works, an interview with Grete by Vincent Koreman, and a text about art and motherhood by Lise Haller Baggesen.So much hate, I'm shaking my head, but please, it's only nosebleed.