Once the exclusive domain of programmers, code is now being used by a new generation of designers, artists, and architects eager to explore how software can enable innovative ways of generating form and translating ideas. Form+Code in Design, Art, and Architecture offers an in-depth look at the use of software in a wide range of creative disciplines. This visually stimulating survey introduces readers to over 250 significant works and undertakings of the past 60 years in the fields of fine and applied art, architecture, industrial design, digital fabrication, visual cinema, photography, typography, interactive media, gaming, artificial intelligence (AI), artificial life (a-life), and graphic design, including data mapping and visualizations, and all forms of new media and expression.

Princeton Architectural Press
ISBN 9781568989372
7 x 8.5 inches (17.8 x 21.6 cm)
Paperback, 176 pages

BUY IT HERE

Kilimanjaro Issue 10 – About Now (Box edition)
Ethos Art Love and Everyday Life.
Printed on posters size 68cm x 48cm.

Every newsstand magazine promises the now and the new. This issue of Kilimanjaro is about now, but remixed and refracted. Our tenth issue is the beginning of a new manifesto, a looser approach. It’s like we called you and asked, “What’s happening now?”

We’ve taken an old-school tabloid sensibility – disposable, sensationalist, even bigoted – and transformed it into something new and beautiful.

We hear from super-curators Achim Borchardt-Hume, Hans Ulrich Obrist and Beatrix Ruf about the artistic futuristic. Cyber-punk originator Bruce Sterling discusses atemporality. And we speak to Tatiana Trouvé, Isaac Julien and Polly Morgan about what they’re doing now. Plus work from Sarah Lucas and Keren Cytter, a collaboration with Cyprien Gaillard, and writing about film, fashion and contemporary culture.

“White” is not a book about colors. It is rather Kenya Haras attempt to explore the essence of “White”, which he sees as being closely related to the origin of Japanese aesthetics – symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one’s opinion onto the opponent. Kenya Hara compares this form of communication with an “empty container”. In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an “empty container” – permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.

13.5 x 19,5 cm, 5¼ x 7¾ in, 64 pages, 4 illustrations, hardcover (2010)
English/German, EUR 19.90 / USD 29.00 / GBP 15.99

Buy it here

I discovered this new magazine a couple of month ago. I am glad to see this second issue out.

Who is Monika?

The space we’re in

We are surrounded by brands, celebrities, products and patented packaging. We read our world fast. We know the names we like and the ones we don’t. We don’t have time. Creators strive to get known. Get the work rolling in. Be accepted. It’s good sense: a need to survive. But what if we could slow it right down for a little while, find ourselves time to ponder, space for suspense? Isn’t there something wonderful in the not immediately recognisable?

An unknown quantity

Monika is an arts journal that does away with bylines. As respite from the exhaustive branding of conventional media, contributors adopt a disguise that enables them to experiment with new material or style, to bypass expectation and to play. By placing the quality of her content over the marketability of her contributors, Monika invites readers to decode identities, unravel mysteries and embrace the unfamiliar.

Telling tales

Through visual arts and the written word, Monika shares engaging ideas and observations. Each themed issue is designed to entertain readers with originality, wit, and sensitivity to the everyday. Combining imagination and experience, criticism and curios, Monika’s content is handpicked for its ability to render the unknown, unputdownable.

Buy it here.

In May 2010 the German non-profit art space D21 Kunstraum will host an exhibition of ArtZines – small artist publications that circulate in astounding varieties of forms and shapes, in print and online versions, at more or less regular intervals. These periodicals often refer to the DIY-approach of their predecessors, classic fanzines, which emerged from the ‘70s punk and underground music scene, mostly in the UK and the US.

The ArtZines show will shed light on an artistic medium that not only seems to have continuously gained visibility, popularity and presence in contemporary art institutions. It also addresses the ways in which its producers have adopted new channels of distribution, made possible by the Internet, that support interconnectedness and global coalescence.

In order to present a cross-section of publications that meet the outlined criteria, we have started a far-reaching and extensively communicated open call for zines, of which a selection will be shown in the D21 Kunstraum galleries. Focusing on issues of display and seminal exhibition design, students of the Hochschule für Grafik und Buchkunst, class of Systemdesign (Prof. Oliver Klimpel), will develop a design concept for the exhibition. Furthermore, we are working closely together with mzin, a Leipzig-based gallery and bookshop for graphics, art and pop.

A symposium within the framework of the show will bring a number of zine producers, distributers, collectors, curators and readers together. These participants will connect and discuss different facets of their work, outline historical dimensions as well as influential precursors, and the impact of technological advance and digital culture for a traditionally paper-based medium. In addition to that, two workshops will be held, one by the Leipzig-based publishers of spector cut+paste magazine, the second as part of a school project. Both workshops will each explore different practical approaches and techniques in the production of ArtZines.

Contact: Regine Ehleiter | ehleiter@d21-leipzig.de

(via Manystuff)

The new issue of London-based Kilimanjaro is out. This time, the poster-size publication is featuring works from beloved William Burroughs & Gregor Muir – among others.

First published in 2003, Kilimanjaro Magazine is an art and photography magazine produced independently from London. With its signature semiotic covers and innovative format, Kilimanjaro speaks to a global creative community; an ‘art thirsty’ target audience seemingly tired of beautiful but empty publications. With back-to-back creative talent, an evolving broadsheet format and cutting edge design Kilimanjaro has established itself as an art magazine offering a point of creative difference.

Buy it here

Integrated2009 is a biannual international design conference that will take place in deSingel Antwerp on Thursday 22 & Friday 23 October 2009.

Integrated2009 will focus on the crossover between contemporary graphic design, illustration, typo- graphy, new media, technology & art.

Can we talk about a new research attitude, or not?
And what does ‘design’ actually mean these days?

Up to 24 speakers from different countries are expected (award-winners and young participants side-by-side); the intention is to get some answers and to create a unique interaction of ideas, thoughts and expectations related to the immediate future. Integrated2009 welcomes students, teachers, designers, artists, clients, opinion-makers, and other cross-media addicts. Only 900 participants will be admitted!

(via Etapes)

French design studio M/M were in charge of designing this massive book on Kubrick’s unfilmed masterpiece Napoleon.

Tucked inside of a carved-out book, all the elements from Stanley Kubrick’s archives that readers need to imagine what his unmade film about the emperor might have been like, including a facsimile of the script. This collector’s edition is limited to 1,000 numbered copies.

For 40 years, Kubrick fans and film buffs have wondered about the director’s mysterious unmade film on Napoleon Bonaparte. Slated for production immediately following the release of 2001: A Space Odyssey, Kubrick’s “Napoleon” was to be at once a character study and a sweeping epic, replete with grandiose battle scenes featuring thousands of extras. To write his original screenplay, Kubrick embarked on two years of intensive research; with the help of dozens of assistants and an Oxford Napoleon specialist, he amassed an unparalleled trove of research and preproduction material, including approximately 15,000 location scouting photographs and 17,000 slides of Napoleonic imagery. No stone was left unturned in Kubrick’s nearly-obsessive quest to uncover every piece of information history had to offer about Napoleon. But alas, Kubrick’s movie was not destined to be: the film studios, first M.G.M. and then United Artists, decided such an undertaking was too risky at a time when historical epics were out of fashion.

TASCHEN’s sumptuous, limited-edition tribute to this unmade masterpiece makes Kubrick’s valiant work on “Napoleon” available to fans for the first time. Herein, readers can peruse a selection of Kubrick’s correspondence, various costume studies, location scouting photographs, research material, script drafts, and more, each category of material in its own book. Kubrick’s final draft is reproduced in facsimile while the other texts are tidily kenneled into one volume where they dare not interfere with the visual material. All of these books are tucked inside of—or shall we say hiding in?—a carved-out reproduction of a Napoleon history book.

The text book features the complete original treatment, essays examining the screenplay in historical and dramatic contexts, an essay by Jean Tulard on Napoleon in cinema, and a transcript of interviews Kubrick conducted with Oxford professor Felix Markham. The culmination of years of research and preparation, this unique publication offers readers a chance to experience the creative process of one of cinema’s greatest talents as well as a fascinating exploration of the enigmatic figure that was Napoleon Bonaparte.

*Includes exclusive access to searchable/downloadable online research database: Kubrick’s complete picture file of nearly 17,000 Napoleonic images*

Hardcover with 10 smaller books inserted, includes image database, 29.5 x 37.3 cm (11.6 x 14.7 in.), 2874 pages $ 700.00

Buy it here

Black dog publishing have kindly offered Swiss Legacy readers 40% off all orders of Art & Text book until December 31st 2009!

Just email jess@blackdogonline.com quoting “Swiss Legacy offer” in the subject line.

About the book:

The use of written language has been one of the most defining developments in twentieth century visual art. Art and Text is a unique and timely survey of this most contemporary and relevant artistic tool.
The use of text can be seen in some of the most seminal, avantgarde artwork of the twentieth century: René Magritte used text as an instrument for Surrealist subversion when he inscribed his painting with the statement “Ceci n’est pas une pipe”, and Dadaist artists used it to describe anti-art and anti-aesthetic sentiments.
Some of the most famous Conceptual artists of the 1960s and 1970s began to use written language as an artwork in itself, abandoning the juxtaposition of images for the first time. Artists such as John Baldessari, Ed Ruscha, Martha Rosler and Joseph Kosuth—still some of the world’s most respected practitioners—helped codify the completely new boundaries of what constitutes art.
The expansive Art & Language group of artists and theorists also reconsidered the possibilities of linguistic art, and Art and Text features a new essay by esteemed member, Charles Harrison, alongside essays from Dave Beech and Will Hill.
Art and Text is a beautifully illustrated survey, documenting and contextualising the fascinating relationship between word and image for the first time, and showcasing the many artists who continue to use text and expand its possibilities, including Richard Prince, Raymond Pettibon, Mark Titchner, Roni Horn and Glenn Ligon.

It’s Nice That Issue #2

Following the success of our first sold-out printed publication, we are pleased to announce Issue #2 will be released on Thursday 1 October. Inside the publication you’ll find 128 pages of advertising-free content, documenting the best of the work we’ve featured on the site in the past six months in more depth, alongside a series of interviews and features written by current practitioners that have never been seen before. If you didn’t get the chance to see Issue #1, all the details and images can be found here.

*Free Rob Ryan screen print with every pre-order*
If you pre-order a copy before midnight on 30 September, you will not only guarantee yourself a copy sooner than anyone else (dispatched the week of 28 September), but will also receive an exclusive, free screen print (260mm x 195mm) by master illustrator Rob Ryan, pictured above. Rob’s reputation precedes him, not only as a stunning image maker, but also heartfelt writer, combining his iconic paper-cut aesthetic with a sincerety and honesty that has made him of of the most sought after creatives in the business.