Social networks are dominating today‘s headlines, but they are not the only platforms that are radically changing the way we communicate. Creatives such as designers, photographers, artists, researchers, and poets are disseminating information about themselves and their favorite subjects not via predefined media such as Twitter or blogs, but through printed or other self-published projects—so-called zines. Those who publish zines are mostly interested in sole authorship, namely that all components including text, images, layout, typography, production, and distribution are firmly in the hands of one person or a small group. At their best, the results convey a compelling and consistent atmosphere and push against the established creative grain in just the right way. They provoke with surprising and non-linear food for thought. In short, zines are advancing the evolution of today‘s media.

With a cutting-edge selection of international examples, Behind the Zines introduces the broad range of zines that exists today. These include zines that function as a new kind of project-oriented portfolio to showcase a self-profile or document an exhibit. While some act as (pseudo) scientific treatises to call the reader‘s attention to a specific topic, others serve as playrooms for creatives to run riot and express themselves and communicate with each other in a space that is free from editorial restrictions.

The book examines the key factors that distinguish various zines. It introduces projects in which the printing process significantly influences aesthetics or in which limited distribution to a small, clearly defined target audience becomes part of the overall concept.

Behind the Zines not only documents outstanding work, but also shows how the self-image of those who make zines impacts the scene as a whole. Through interviews with people involved in zine production and distribution, the book sheds light on various strategies for this evolving media form.

via Manystuff.

The Duplex Planet is an ongoing work designed to portray a wide variety of real characters who are old or in decline. In our culture, exposure to people at this point in their lives is generallylimited to seeing family members age and, since that points directly to one’s own mortality, it’s hard to glean much in the way of an objective example.

In 1979 I took a job as activities director at a nursing home in Boston. I had just completed a degree in fine arts as a painter. On the day that I first met the residents of the nursing home, I abandoned painting. That is to say, I discarded the brushes and canvas, not the underlying desire to see something in the world around me and then communicate it to others. In this unexpected setting I found my medium. I wanted others to know these people as I did.

From the start I felt that oral history was unsuitable to my needs. When newcomers hear that I have regular conversations and interviews with elderly people, they assume I collect oral history. What that assumption implies is that when one grows old we become solely a repository of our past. This notion is so entrenched that we seem to willingly grow old, talking only of our past. From the start, my mission has been to offer a range of characters who are already old, so that we can get to know them as they are in the present, without celebrating or mourning who they were before. Since the elderly are already thought of by what they have in common - that they’re all old - I try to recast them as individuals. I quote and write about them in order to address the larger world. The audience/reader meets them and comes to feel the characters are familiar, people they might want to spend time with. The men and women whose individualities expose the myths of aging are not extraordinary. They are typical in their unique humanness.

http://duplexplanet.com/index.html