A NEW method developed by Marcus Gärde to produce gridsystems based on old books and scrolls.During his research when writing his first book, The Way of Typography, Garde found out that old bibles and scrolls where not designed in the same manner as todays books – they where actually more complex!
In fact, the baselinegrid always fitted perfectly on the page. And even the gutter was in proportion to the lead. For exampel, in Gutenbergs B36 the gutter is 1/3 of the outer margin. The inner margin is 1/2 of the outer. The upper margin is 1/2 of the lower. The typographic area contains 6 modules and each of these modules are divided 6 times. That creates the 36 lines of text. In Gutenbergs first book, B42, the 6 modules where each divided 7 times. Therefore 42 lines of text.

After Marcus had examined the books, he created a step-to-step guide howe to create a perfect gridsystem,
where all the baselines fit inside the page and the gutter is based on the proportion of the lead.
He released this method in his book The Way of Typography august 2007.

Actually really awesome tutorial (after all the history) for a nice old-fashioned layout if anyone cares.

edit: I realized that this is great if you have absolute control over the production, but if your printer doesn’t do full-bleed perfectly, you’re wasting a lot of time.

A book is a sequence of spaces.
Each of these spaces is perceived at a different moment - a book is also a sequence of moments.
A book is not a case of words, nor a bag of words, nor a bearer of words.

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A writer, contrary to the popular opinion, does not write books.
A writer writes texts.
The fact, that a text is contained in a book, comes only from the dimensions of such a text; or, in the case of a series of short texts (poems, for instance), from their number.

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A literary (prose) text contained in a book ignores the fact that the book is an autonomous space-time sequence.
A series of more or less short texts (poems or other) distributed through a book following any particular ordering reveals the sequential nature of the book.
It reveals it, perhaps uses it; but it does not incorporate it or assimilate it.

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Written language is a sequence of signs expanding within the space; the reading of which occurs in the time.
A book is a space-time sequence.

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Books existed originally as containers of (literary) texts.
But books, seen as autonomous realities, can contain any (written) language, not only literary language, or even any other system of signs.

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Among languages, literary language (prose and poetry) is not the best fitted to the nature of books.

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A book may be the accidental container of a text,. the structure of which is irrelevant to the book: these are the books of bookshops and libraries.
A book can also exist as an autonomous and self-sufficient form, including perhaps a text that emphasises that form, a text that is an organic part of that form: here begins the new art of making books.

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In the old art the writer judges himself as being not responsible for the real book. He writes the text. The rest is done by the servants, the artisans, the workers, the others.
In the new art writing a text is only the first link in the chain going from the writer to the reader. In the new art the writer assumes the responsibility for the whole process.

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In the old art the writer writes texts.
In the new art the writer makes books.
To make a book is to actualize its ideal space-time sequence by means of the creation of a parallel sequence of signs, be it linguistic or other.http://www.artpool.hu/bookwork/Carrion.html

Looking for a dystopian notion for your sci-fi novel? Look no further. Mayer-Schönberger warns about the social and political costs and risks of ever-powerful, durable forms of memory prosthetics in the form of digital technologies, and proposes solutions.

http://www.amazon.com/exec/obidos/ASIN/0691138613/designobserver-20/

Cover of Rethinking Curating: Art after New Media
Humorous and surprising, smart and provocative, Rethinking Curating: Art after New Media (MIT Press, 2010) jumps from opposing viewpoints to opposing personalities, from one arts trajectory to another. The entire book is a dialectic exercise: none of its problems or theories are solved or concluded, but are rather complicated through revelations around their origins, arguments and appropriations. Overall, the book adopts the collaborative style and hyperlinked approach of the media and practice it purports to rethink. In other words, it is not just the content of the book that asks us to rethink curating, but the reading itself; by the end, we are forced to digest and internalize the consistently problematized behaviors of the “media formerly known as new.”

Sarah Cook and Beryl Graham, co-editors of the CRUMB site and list (the Curatorial Resource for Upstart Media Bliss), have co-authored the book via email and on a Wiki, and assert outright that it is not a “theory book”; its structure instead “reflects the CRUMB approach to research, which discusses and analyzes the process of how things are done” (12). The sheer number of examples, citations, and first-person accounts in this nearly 350-page volume make it so that every time the trajectory coheres into a singular point or argument, it is then broken up again, into a constellation of ideas that make us rethink, again. We are issued challenge after challenge to our assumptions about media, our understandings of curatorial practice, and our opinions about the spaces in which we exhibit art. It is only after an exhaustive study of seemingly irreconcilable philosophies, practices and venues, the book implicitly argues, that we can begin to engage with what needs to be rethought, and how to do so.

Rethinking Curating makes three basic arguments. First, that one must approach a broad set of histories in trying to understand any given artwork, and “for new media art this set includes technological histories, which are essentially interdisciplinary and patchily documented” (283). Second, that such broad histories have led to the unique development of “critical vocabularies for the fluid and overlapping characteristics of new media art” (283). Cook and Graham reason that new media are best understood not as materials but as “behaviors” – participatory, performative or generative, for example. And third, that these behaviors demand a rethinking of curating, new modes of “looking at the production, exhibition, interpretation, and wider dissemination (including collection and conservation) of new media art” (1).

http://rhizome.org/editorial/3617#more

www.maxwellanderson.co.uk

We celebrate and promote self published books with exhibitions, workshops and events.

 

This website is an archive and point of distribution for publishing-related projects initiated by Gary Fogelson, Phil Lubliner and Soner Ön.

by Matt Kay

Art Space Tokyo acts as your 272 page personal guide and interpreter, connecting you with the neighborhoods and figures behind some of the most inspiring art spaces in this colossal city.

http://artspacetokyo.com
http://craigmod.com/print/artspacetokyo/

“The Session manufactures theme-zines in the finest DIY spirit, serving serious readers through a distribution network consisting of dealers. (…) The Session will favourize, focus and execute. It will continue to be committed and maintain a strong balance sheet with an anarchistic yet anal leadership.”

The Session takes place for one day every second month, during which works around a specific theme are being made. The group uses different methods and media, from drawing to research to songwriting. There are as few rules as possible in order to keep things open and uncomplicated. Setting borders creates a frame, The Session chose to remain frame-less and as diverse as the group it consists of. The members of the group are taking turns in deciding the theme to work with, members can invite other people to join a session. The one deciding for the theme is the publisher of the issue and responsible for editing, design and (re-)production. This means that every issue will look different, that every issue will be compiled with a different approach and produced in a different way, testing out formats and techniques. The Session is a flexible container for any kind of content, trusting in the spontaneous quality of its Sunday-afternoon outburst. The Session works proto-democratic which means that who comes late still gets a coffee. The Session is nervous because it just quit smoking.

Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these “cruder,” more mundane aspects of a painter’s daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art’s most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made “Artist’s Questionnaire,” Fig began a journey through the workspaces of some of today’s most exciting contemporary artists.

Inside the Painter’s Studio collects twenty-four remarkable artist interviews, as well as exclusive visual documentation of their studios. Featured artists were asked a wide range of questions about their day-to-day creative life, covering everything from how they organize their studios to what painting tools they prefer. Artists open up about how they set a creative mood, how they choose titles, and even whether they sit or stand to contemplate their work. Also included are a selection of Fig’s meticulously detailed miniatures. In this context Fig’s diminutive sculptures—reproducing minutiae of the studio, from paint-tube labels and paint splatters on the floor to the surface texture of canvases—become part of a fascinating new form of portraiture as diorama. Inside the Painter’s Studio offers a rare look into the self-made universe of the artist’s studio. Inside the Painter’s Studio features interviews with Gregory Amenoff, Ross Bleckner, Chuck Close, Will Cotton, Inka Essenhigh, Eric Fischl, Barnaby Furnas, April Gornik, Jane Hammond, Mary Heilmann, Bill Jensen, Ryan McGinness, Julie Mehretu, Malcolm Morley, Steve Mumford, Philip Pearlstein, Matthew Ritchie, Alexis Rockman, Dana Schutz, James Siena, Amy Sillman, Joan Snyder, Billy Sullivan, and Fred Tomaselli.

Joe Fig is an artist born and raised in Long Island, New York.ÊFig’s work has been exhibited extensively throughout the United States. He lives in Connecticut with his wife and two children. 

http://www.papress.com/html/book.details.page.tpl?cart=12540443109595&isbn=9781568988528

via http://linedandunlined.com/2008/12/29/10-to-20/#more-746