occasionally subtle
Stranger Things
Lint Roller? I Barely Know Her

Love Begins
wallacepolsom
Today's Document
Acquired Stardust
2025 on Tumblr: Trends That Defined the Year
noise dept.

shark vs the universe

titsay

ellievsbear
Sade Olutola
Sweet Seals For You, Always
RMH
Alisa U Zemlji Chuda
Misplaced Lens Cap
sheepfilms
dirt enthusiast
seen from T1

seen from Türkiye

seen from United Kingdom
seen from Indonesia

seen from Ecuador

seen from Italy

seen from Brazil
seen from United States

seen from Malaysia

seen from United States

seen from United States
seen from United States
seen from Australia

seen from Malaysia
seen from Malaysia

seen from United States
seen from Canada
seen from Brazil

seen from Netherlands

seen from Vietnam
@1002bj

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https://ia.net/know-how/learning-to-see
Performance artist Penny Arcade reflects on the changes in the arts over the time she has been an artist and offers advice to the emerging generation of artists.
What designers sometime around the 1930's thought fashion in 2000 would look like.
Assessment 3 Due Date
From Clare Milledge:
Assessment task 3 is due on October 30th before 6pm. This is for all tutorials.
You will need to upload the PDF to Moodle. An assignment box will become visible by the end of this week in the “Assignments” section.
Only one student from each group needs to upload the PDF, but make sure all your names are on that document!
Maximum file size 200MB
Please use the following format for the file name: Tutorname_Groupname_Student'sLastName.pdf
eg. Watson_FutureCities_Philips.pdf
This will ensure we can locate your document quickly.
Make sure you double-check your document has uploaded correctly so you don’t lose marks for lateness.

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Situationist Books by Guy Debord and Asger Jorn. Another historical experimental publishing example that I love!
Top: Asger Jorn and Guy Debord, Fin de Copenhague, published by Bauhaus Imaginiste, 1957
According to legend, Fin de Copenhague was composed and printed in the space of just 24 hours. Or maybe it was 48 hours. Either way it was pulled off with a dizzying burst of speed and with nonchalantly scathing brilliance by the Danish artist Asger Jorn, credited as main author, and the French theorist and writer Guy Debord, who is named as “technical adviser for détournement”.
The book’s pages ripple with coarse trails of pigment and explode with wild energy. As the story goes, not long after they had arrived in Copenhagen Jorn and Debord stole a pile of newspapers and magazines from a newsstand, which they cut up to make 32 collages. At the printer next day, Jorn dribbled ink on to the zinc plates from the top of a ladder; these were then etched. The abstract shapes, like the frenetic daubings of a monkey wielding a paint brush, were printed on both sides of the sheet in gradated color, and the collage elements were printed in black on top of them. When the sheet was trimmed and bound, the formerly continuous marks and colors of Jorn’s carrying structure produced random collisions of colour and shape on the spreads. Pure chance completed the design.
http://designobserver.com/article.php?id=37720http://designobserver.com/article.php?id=37720
Bottom: Debord, Guy and Jorn, Asger. Mémoires: Structures Portantes d’Asger Jorn. Copenhagen: Internationale Situationniste, 1959. n.p. [64 p.]; ill.; 28 x 21 cm. White card wrappers with Viks no.2 sandpaper cover.
The book is most famous for its sandpaper cover. An auto-destruction feature that enabled it to damage not only the book it might be standing next to in the bookshelf, but also the person who would be reading it. An anti-book to destroy all other books.Permild writes: “Long had he [Jorn] asked me, if I couldn’t find a unconventional material for the book cover. Preferably some sticky asphalt or perhaps glass wool. Kiddingly, he wanted, that by looking at people, you should be able to tell whether or not they had had the book in their hands. He acquiesced by my [Permild’s] final suggestion: sandpaper (flint) nr. 2: ‘Fine. Can you imagine the result when the book lies on a blank polished mahogany table, or when it’s inserted or taken out of the bookshelf. It plans shavings of the neighbours desert goat [?]’.In all the literature that I have located, Debord is the person who is refered to as the inventor of the sandpaper cover. However, as it turns out Debord had nothing to do with it… Permild continues, «Asger loved – as he often expressed it, to place small time controlled bombs». This was certainly a bomb. A bomb invented by the printer, whose job is normally of a technical nature. The sandpaper cover was a really good idea, but practically it never managed to practice what it preached. It did, however, make its readers conscious about handling it or where to place it. http://architectures.danlockton.co.uk/2007/11/19/destroy-everything-you-touch/
Your PDF as an object
Creating a pdf that acts as a unified object in itself will really help you move beyond creating a pdf that reads like a uni project. Both the groups below are creating completely different pdfs that successfully engage the viewer because the viewer can believe that the pdf is something else (ie. a kit or a manual).
PDF references for groups so far:
Radicalisation kit
https://www.livingsafetogether.gov.au/informationadvice/Documents/preventing-violent-extremism-and-radicalisation-in-australia.pdf
Vacuum cleaner manual
http://www.manualslib.com/manual/255651/Fantom-Fm740.html
Check out Runway, a n experimental art publication from Sydney. It began as a printed magazine but has since become an online publication. This new format means that they are able to experiment with publishing different types of media and artist projects. Their issues are thematic and this recent one is about the idea of ‘movement’.
Here are some historical examples of experimental approaches to publications.
1. April Greiman 'does it make sense?', design quarterly #133, 1986
Greiman's piece challenged existing notions of what a magazine should be. Rather than the standard thirty-two-page sequence, she reformatted the piece as a poster that folded out to almost three by six feet. On the front is an image of Greiman's digitized, naked body amid layers of interacting images and text. On the back, colorful atmospheric spatial video images are interspersed with thoughtful comments and painstaking notations on the digital process—a virtual landscape of text and image.
2, 3. Edward Ruscha, Every building on the Sunset Strip, 1966
In the 1960s, Ed Ruscha more or less reinvented the artist’s book. By turning away from the craftsmanship and luxury status that typified the livre d’artiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. The 25-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the city’s landmark thoroughfare.- From
4, 5. La prose du Transsibérien et de la Petite Jehanne de France /Prose of the Trans-Siberian and of Little Jehanne of France – by Blaise Cendrars and Sonia Delaunay-Terk
Comprised of brightly colored arabesques, concentric circles, triangles, and rectangles, Delaunay-Terk's pochoir illustrations for Blaise Cendrars's poem and its radical format have made this a landmark in the history of the modern book. The poet and the artist conceived of this project as the first "simultaneous book." When closed, the accordion-folded volume can be slipped into a wrapper. Opened out vertically, the format facilitates the contrast of the darker themes of the poem with the vibrant dynamism of the illuminations that accompany it.Written as a stream of consciousness, Cendrars's poem alternates between his memories of a train trip across Siberia in 1904 and thoughts of his girlfriend, Jehanne. Complementing the rhythms of the poem, Delaunay-Terk interspersed patches of color with the poet's staggered text, printed in twelve different fonts. The poem and the illustration both end with references to the Eiffel Tower and the ferris wheel, two architectural marvels of Paris at that time, further symbolizing modernity and the experiences of simultaneity that urban life provided. From
Translation of the text
Artists' books are books made or conceived by artists. There are fine artists who make books and book artists who produce work exclusively in that medium, as well as illustrators, typographers, writers, poets, book binders, printers and many others who work collaboratively or alone to produce artists' books.

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G L I T C H
Inspired by Stephen Shanabrook’s, Paper Surgery.
Object alchemy
Nina Canell
Left: Remembrance (Colourless), Chewing-gum, conrete
Right: Mender, 2012
Artist Denis Beaubois explains the true value of his provocative artwork titled Currency.
Denis Beaubois
Documentation of Australia council New Work grant.$20,000 2011
The Currency project is the first work in a series that looks at money as an architecture of possibility. Twenty thousand dollars, consisting of one hundred dollar bills, will be presented as a simple sculptural object to be auctioned through a fine art auction house. The material/money for the work has been sourced from a “New Work Established grant“ from the Visual Arts and Craft section of the Australia council for the Arts. All currency used in the creation of the work will not be altered or modified and will retain its potential function and value as currency. However each hundred dollar bill will have its serial number recorded to validate it as an authentic part of the work, thereby instilling a cultural value on top of the financial value. The tension between the economic value of the material against the cultural value of the art object will be explored through the process of the financial transaction. FROM

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COFA1002 lecturer Andrew Hurle’s work explores the aesthetics of value. He has been exploring the way that value is signified in paper money. His work questions how value is added to otherwise worthless pieces of paper through graphics.
‘This subject is not simply about the depiction of banknotes, but rather how printed reproduction serves to certify value in reproduction. My specialist interest within this topic concerns the sorts of ornament that have historically been developed to secure printed money against counterfeit. These have themselves been imitated to produce value on other forms of printed securities and debased for use in vernacular promotion such as advertising.’ FROM
1. Extrapolation (sepia), 2011
inkjet print, (un-editioned), 30 x 50 cm
2. Extrapolations (2012) Archival inkjet prints on cotton rag paper. Each 60 x 40cm.
3. Prototype (2006) Etched copper, wood. Series of 7 pieces, each 18 x 10 x 2 cm.
Pretty much the best book about the creative process I’ve ever read. I’d love to write something like this one day.