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On the constraints of systems in designIn 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 social and political perspectives to challenge this deeply engrained tradition.

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.

In this fourth edition of Field Essays we explore the specific decolonial and tactile research approach in the work of Paris-based design-duo dach&zephir. Convinced of the symbolic act of transmission and the gestures objects convey they zoom into the historic making of identity.

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.

The Standard Book of Noun-Verb Exhibition Grammar is a partial compendium of the different modes of being that inhabit exhibitions. These different modes of being, often placed outside the realm of art objects proper, are described and activated here as crucial players in the world of contemporary art. Maximizing a poetic resourcefulness, this book proposes the exhibition as an ecology full of things that are infinitely more dimensional than their ascribed functionality would lead us to believe, and creates a space where species meet, where ontological and epistemological registers clash, overlap, and contaminate each other, where the living and inert, organic and inorganic exchange properties, qualities, and performances. Ultimately this book aims to show that what revolves around, within, and beyond any given system resolves to be just as serious and important as what that system aims to convey. The exhibition and catalog are curated by The Office for Curating, a generic name for a curatorial practice and an agency, established in 2012 by niekolaas Johannes Lekkerkerk, working in Rotterdam.

Exploring the impact of the contemporary value-ornament on today's makersAlongside the literal form of ornament a contemporary form has emerged, which shares the ascribed characteristics of the literal ornament, but has an even more pervasive effect. This ornament, that takes the shape of (commercially) constructed values and relates to branding, storytelling and the experience economy, plays a key role in the understanding of fashion today. Interwoven in design practices this value-ornament has gained a dominant position in today's consumer society. By considering the layered character, the evolution of ornament and reflections on this from various sources and contexts ranging from Adolf Loos to Michel de Certeau, this text focuses on the impact of the contemporary value-ornament on today's makers and users revealing potential for future alternatives.

Tracy Mackenna & Edwin Janssen are interested in the relationship between conflict, looking and art. In War as Ever!, through visual reflection on images of war and violence they investigated the relationship between seventeenth century visual representations and the contemporary role of the media in the representation of war and violence.War is of all times, so war is now. By making us aware of war and its consequences, and by undermining representations of war, can artists play a role in preventing and ending wars? How can artists make works that relate to war in productive ways? How can the museums and archives that conserve and interpret our memories of war develop their role to mediate for art? The Van Kittensteyn album, a collection of more than 500 prints and drawings dating from 1613 whose subject is the Eighty Years¿ Dutch-Spanish War of 1568¿1648, served as a starting point. The album, currently part in the collection of the Atlas van Stolk (Museum Rotterdam), was compiled by Willem Luytsz van Kittensteyn of Delft and portrays in bloody reportage the lengthy series of battles; sieges, executions and plundering that dominated the Dutch war of independence against the Spanish. The slide projection WAR AS EVER!: Eighty Years and One Day, also shown at Onomatopee, is made up of a selection of prints from the Van Kittensteyn album and newspaper excerpts reporting the Iraq war on April 1st 2003, the day Tracy and Edwin¿s daughter was born. The full exhibition project as shown at the Nederlands Fotomuseum consisted of a double screen slide projection, performative actions, text posters, photographs, educational activities and a conference. The posters included here and designed by the artists, show a series of quotes from Susan Sontag¿s book ¿Regarding the Pain of Others¿. The images recorded in the WAR AS EVER! publication are complemented by texts by Nederlands Fotomuseum Head of Exhibitions Frits Gierstberg and Lina van der Wolde, Director of the Atlas van Stolk.Artists: Tracy Mackenna & Edwin JanssenCurators: Frits Giertsberg (Nederlands Fotomuseum) and Freek Lomme (Onomatopee)Graphic design publication: Stout/KramerTexts: Lina van der Wolde, Frits Gierstberg and Tracy Mackenna & Edwin JanssenTraslations: Charles Welling and Don MaderMade possible thanks to the generous support of The Carnegie Trust for The Universities of Scotland, Duncan of Jordanstone College of Art and Design, University of Dundee, Municipality of Eindhoven, Mondriaan fund, Stichting Begunstigers Atlas van Stolk and Nederlands Fotomuseum.