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Yesterday has already left Sketch for a Unique Act Play 25.06.2017 Script layout for Giulia Crispiani’s work Risograph print 14 pages 60 pcs edition.

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ALL DEADLINES ARE POSTPONED POSTICIPATE TUTTE LE DEADLINE

My contribution/headline for Il Giornale Ideale

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This book #6 (Super Opacity)  Digital image. (2017)

This book is a collection of linguistic evidences, that witness the passage of a text from a printed and physical to a digital device. The demonstrative adjective “this” and its deictic function, related to keywords such as: “book”, “paper”, “print”, etc. create a missing correspondence between the device and text it is displaying.

"A writer, contrary to the popular opinion, does not write books. A writer writes texts.” Ulises Carrión, The new art of making books (1975).

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Color test printed during SPORTIFICATION Residency 3-4-5-6/08/2016 → Foligno (PG) ________________________________ SPORTIFICATION / project book 3 ________________________________ Artist residency / residenza progetto 3-4-5-6 agosto 2016 con Federico Antonini VIAINDUSTRIAE spazio residenza, Via delle Industrie 9, Foligno in collaborazione con COLLI independent art gallery, Roma Dal 3 al 6 agosto 2016 Colli independent art gallery in collaborazione con Viaindustriae publishing propone una residenza progetto presso lo spazio VIAINDUSTRIAE a Foligno. Viene ospitato Federico Antonini per sviluppare il Project-book 3 SPORTIFICATION. Il volume uscirà in ottobre all'interno della prossima mostra presso COLLI independent art gallery di Armin Linke, una serie fotografica dal titolo “Jeux Sans Frontières, Milano 1995”.Il libro oltre ad essere un saggio critico esteso sulla “sportificazione” è concepito anche come catalogo di 4 mostre svolte all'interno della galleria tra il 2015/2016: le project-room 1 e 2 (Palmarès di Luca Pucci e The Pitcher di Franco Ariaudo), Olympia '72 e l'ultima citata di Armin Linke.

(img credit) Project-book 3 /SPORTIFICATION dettaglio installazione spazio COLLI Independent art gallery, Roma dicembre 2015 display e foto viaindustriae

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Cloud_0001

Illustrations for Giulia Crispiani’s Cloud_0001. Read it here on Open!

Would you want to remember how it feels to be touched? If you knew that you would live forever would you still need to reproduce? Survival won’t be at stake in the land of eternity. No need to defend your skin, only your metrics.

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GUSTAV METZGER Act or Perish! – A Retrospective

ISBN: 978-88-97503-87-3 Format: 22 x 30 cm Pages: 220 Language: Eng. Edition of 1000 copies Year: 2016

Published by NERO

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(From the books) Provisional Bibliography, April 2016 Masaki Miwa and Simon Browne (Print > Imprint) asked me to write a contribution to be included in their publication From the books. I decided to collect an annotated bibliography of (artists') books that feature marks of use, loose inserts and page alteration to give a counterpart to the traces they’ve found and collected from the book of State Library of Victoria (Redmond Barry Reading Room 000-099). picture via: Masaki Miwa

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This book #5 Digital image, Kindle paper white, scanner. (2015)

This book is a collection of linguistic evidences, that witness the passage of a text from a printed and physical to a digital device. The demonstrative adjective “this” and its deictic function, related to keywords such as: “book”, “paper”, “print”, etc. create a missing correspondence between the device and text it is displaying.

"A writer, contrary to the popular opinion, does not write books. A writer writes texts.” Ulises Carrión, The new art of making books (1975).

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Cristian Chironi My House is a Le Corbusier / Broken English ISBN: 978-88-97503-89-7 Format: 16 x 22 cm pages: 192 Language: Ita./Eng. Edition of 500 copies Year: 2016 Published by NERO

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Notes on bookness¹ and bookishness² Visual research w/ Francesca Battiato http://notesonbookness.tumblr.com

“With many such gallery objects, the term altered book is useful enough, often designating an appropriated and reconceived shape—as with Dettmer’s plastic surgeries, a new form of the assisted readymade. Yet this doesn’t get at the fundamental transformation involved in bringing the book object into museum space to begin with, where it becomes a thing merely discarded if not actively tampered with, disused, or detexted—in a word, and en route to a general principle, demediated. In and beyond the work of book forms in sculptural reduction, demediation names, in short, the process by which a transmissible text or image is blocked by the obtruded fact of its own neutralized medium.” Bookwork as demediation, Garrett Stewart

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Osb fabric Submission for Ficciones Typografika  February 2016

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On the Opacity of the Book 11–12/12/2015 → Vilnius  Public talk and reading session  w/ Valerio Mannucci at CAC Reading Room.

The work of Marcel Broodthaers can be regarded as one of the first cases of post-medium practice, and Un Voyage en Mer du Nord (1973-74) in its genetic redundancy, as one clear example of a work that insists on the fundamental instability and indefiniteness of media. Indeed, it demonstrates that the space between one medium and another is never completely linear. Today, books in general seem to be increasingly less tied to the idea of being transparent media. The proliferation of technologies and new media has transformed the book into a more complex cultural object, which is often a place for remediation.  A number of cases in the history of bookmaking have worked on this very idea challenging the controversial status of the book medium mainly through what we call “state changes“. These and other questions will be tackled in the public talk by NERO agents – editor Valerio Mannucci and graphic designer Federico Antonini.

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Bookheart.gif Animated collection of one of the most overused icons of bookishness. 132 images scraped from Google images. (Code by Roberto Arista) (2015)

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This book Digital image, Digital image, Kindle paper white, scanner. (2015)

This book is a collection of linguistic evidences, that witnesses the passage of a text from a printed and physical to a digital device. The demonstrative adjective “this” and its deictic function, related to keywords such as: “book”, “paper”, “print”, etc. create a missing correspondence between the device and text it is displaying.

"A writer, contrary to the popular opinion, does not write books. A writer writes texts.” Ulises Carrión, The new art of making books (1975).

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I wrote an article for PG#28 Out now and available here.

Flip-Flops, Remediations, and State Changes in Seven Contemporary Bookworks Seven projects that involve re-publication, re-printing, or re-issuing, exploring the specifities and the symbolic or actual values intrinsic to the book as medium and the techniques of reproduction (digital, paper, offset printing, Xeroxing, printing on demand, etc.) that the individual who publishes – not necessarily a publisher – has at their disposal. ***

Progetto Grafico #28, Publishing

edited by Maria Rosaria Digregorio, Silvio Lorusso, Silvia Sfligiotti, Stefano Vittori

By devoting an issue to “Publishing,” which has always been a central theme for people dealing with communication design, Progetto grafico has decided to start by redefining and expanding upon the term, going beyond its primarily editorial connotations to explore its significance as “making public; disclosing; popularizing.”

The current scene includes a hybrid between print and digital publishing, aided by the emergence and spread of many types of tools that facilitate the publishing process, making it more accessible and sometimes even automatic and involuntary: in this light, any online activity can be considered a form of publication.

If anyone can act as publisher, it becomes essential to take into account two other crucial aspects of the process: on the one hand, the distribution and use by an audience; and, on the other, the continually evolving tools that make it all possible.

The people involved in the process (authors, editors, designers/producers, readers) no longer have clearly defined roles: in theory, anyone can be a publisher, and can find readers anywhere. But in practice, one has to wonder how much such public information is actually accessible, and reconsider publishing practices within the broader picture of such information’s accessibility.

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Here the details of the latest publication by booksfromthefuture that features an excerpt from the essay Blank Books Revisited.  Img via Booksfromthefuture

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