They analyze the typography in the movie “Blade Runner” by Ridley Scott

https://typesetinthefuture.com/2016/06/19/bladerunner/

“After studying Alien in intimate detail, it’s time to look at the typography and design of Ridley Scott’s other classic sci-fi movie,Blade Runner. Based on Philip K. Dick’s novel Do Androids Dream of Electric Sheep?Blade Runnercements Scott’s reputation for beautiful, gritty, tech noir science fiction.”

Asger Jorn: Pour la forme. Ébauche d’une méthodologie des arts (1957/2001)

[French, English] — Monoskop Log

https://monoskop.org/log/?p=16957

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Pour la forme was one of the first projects of the newly formed Situationist International. The publication collected texts of Asger Jorn from the immediately preceding period. As Jorn explained in his introductory “Notice,” the texts collected in that book reflected the evolution of his experiments and encounters among radical avant-garde currents following the dissolution of the Cobra group (1948-1951) and leading up to the formation of the SI in 1957.

One 258,226 word sentence begins on p.11, continues on p.205, and ends on p.592

 

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One 258, 226 word sentence passes through three novels. A trilogy (from Greek τρι- tri-, “three” and -λογία -logia, “discourse”) is a set of three works of art that are connected, and that can be seen either as a single work or as three individual works. They are commonly found in literature, film, or video games. Three-part works that are considered components of a larger work also exist, such as the triptych or the three-movement sonata, but they are not commonly referred to with the term “trilogy.”

Van Buskirk was attracted to the ‘three novel’ book format through Samuel Beckett’s The Trilogy, consisting of three novels, Molloy, Malone Dies, and The Unnamable. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature.

 

a Fake Vincent Van Gogh (1853-90) landscape is located on p.168 and 169 as a double-page spread. The Margin of the gutter divides the Image in two. The dimensions of the image on p.168 are 1042 X 1024 pixels and the image on p.169 is 1005 X 1024 pixels.

 

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Debates have arisen as to whether all biographies are fiction, especially when authors are writing about figures from the past. All history is seen through a perspective that is the product of our contemporary society and as a result biographical truths are constantly shifting. So the history biographers write about will not be the way that it happened. It will be the way they remembered it. Debates have also arisen concerning the importance of space in life writing.

On the other hand,  some years ago the Art Newspaper named eighteen “Van Goghs” in public collections that had been downgraded as fakes or are works of questionable authenticity. Most of them were taken off display, including pictures in the Van Gogh Museum, the Kröller-Müller Museum, the Detroit Institute of Arts and the Nationalmuseum in Stockholm.

Well recorded is the controversy reigning for many years regarding the authenticity of some forty oil paintings previously attributed to the Dutch master artist Vincent van Gogh. Believed by some commentators and van Gogh art experts, these works of art may in fact actually have been executed by one of Vincent van Gogh’s pupils, perhaps someone within van Gogh’s circle or even may be deliberately faked variations of Vincent van Gogh’s art works. But this is controversial and if so, a fraud effected right back at the turn of the last century. Art scholars and expert historians alike constantly challenge and raise issues about van Gogh’s oeuvre and presumably will continue to do so.

The margin space on the page between the binding and the inside edge illustration or any printed element is called the gutter. At some time you unquestionably experienced an insufficient gutter. You open a book to find that the text’s inside edge is partially obscured by the tight binding. You force the book to open wider and ultimately break its binding. Printing and binding technology has become highly precise, but some variance is inevitable. This book shows the image of the painting divided in two by means of a generous gutter.

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Examples of 2 Sentence paragraphs… (a play)

Examples of 2 sentence paragraphs are located on pages 33, 53, 56, 79 and 80, and collected into a monologue on p.340

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The title of this drama provides the stage directions. Based on the title, the Dramatis Personae is also as follows:

Page 33
Page 53
Page 56
Page 79
Page 80
Page 340

The Sapir–Whorf hypothesis in linguistics states that the grammatical structure of a mother language influences the way we perceive the world. The hypothesis has been largely abandoned by linguists as it has found very limited experimental support, at least in its strong form. “We cut nature up, organize it into concepts, and ascribe significances as we do, largely because we are parties to an agreement to organize it in this way – an agreement that holds throughout our speech community and is codified in the patterns of our language. The agreement is, of course, an implicit and unstated one, but its terms are absolutely obligatory; we cannot talk at all except by subscribing to the organization and classification of data which the agreement decrees.” – Whorf

Starting on p.23 a 72 word sentence is split…(a novel)

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Starting on p.23 a 72 word sentence is split into 36 pages, dispersed at 2 words a page contained by 6 sets of 6 pages, with capital letters altered to lower case

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PDF available for download

Publisher: Liver Pizza Press
Published: April 27, 2014
Language: English
Pages: 534
Binding: Perfect-bound Paperback
Interior Ink: Black & white
Weight: 1.92 lbs.
Dimensions (inches): 6 wide x 9 tall

A 72 word sentence is re-formatted by re-organizing the words of the sentence into a different system, but not into a different order. All the original capital letters have been changed to lower case. The novel also includes a table of contents for quick reference. Take a look at the preview provided on the Lulu page.

A single sentence question is placed five lines below…(a novel)

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A single sentence question is placed five lines below the last sentence of “Fragment of a Novel” on p.114

(a novel)

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Is the title a proposal that two texts are differentiated by space? One clue is the fact that there is no attribution of author for either the last sentence of “Fragment for a Novel” or the single sentence question. The title of the novel explains the reason for the existence of the novel, but upon looking (inside the book) at p.114 other curiosities emerge. Text is also seen on p.111, 112, and 113. The font used for the text used in the last line of “Fragment of a Novel” is a different size than the text used for the single sentence question.

The title “Fragment of a Novel” appears in the title on the cover, referencing the last line of “Fragment of a Novel” on p.114. Because the font size of “Fragment of a Novel” is the same size as the text which begins on p.111, it can be concluded that the text from pages 111-114 is also a part of “Fragment of a Novel.” The fact that the question text is set with a larger font confirms this idea. It’s also not clear why the question is placed FIVE lines under the last line of “Fragment of a Novel.” If the question itself is not part of the text of “Fragment of a Novel” it makes sense it would be separated by five lines.

Contents

Single Sentence Question……………………………p.114:

“Fragment of a Novel” (by Lord Byron)………………………………..p.111

The Conceptual Literature of Todd Van Buskirk

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