{"title":"Best sellers","description":"","products":[{"product_id":"copy-of-jason-lipeles-letters-to-m","title":"Nate Lippens, My Dead Book: A Novel","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eShortlisted for the Republic of Consciousness Prize 2023\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eMy Dead Book\u003c\/em\u003e is a novel composed of nonlinear vignettes and fragments about a queer man approaching his fiftieth birthday who is haunted by insomnia and his past. In the dead of night, he remembers his friends who died in the late 1980s and 1990s, his years as a teenage throwaway and sex worker, and ruminates on working class survival, queer aging, AIDS, and whether he has outlived his place in the world.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“What a blistering book—with \u003cem\u003eMy Dead Book\u003c\/em\u003e, Nate Lippens has created something truly fucking great. It's as if the storied stars of Lou Reed's 'Walk on the Wild Side' overshot Manhattan and wound up in Wisconsin, broke and blue with cold and depressed beyond belief by the thought that this nowhere is now home. It's a bitter pill, but I love bitterness, and who doesn't love pills?”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Derek McCormack, author of \u003cem\u003eCastle Faggot\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“There’s no doubt to this book. You’d think that was a flaw but it’s been burned away. \u003cem\u003eMy Dead Book\u003c\/em\u003e is not short though it is brief. It’s loving, bittersweet, and actually courageous because it tells a story that is slightly unbearable because it’s all secret, awful hard bad secrets and funny as hell. Nate’s balancing act works because the heart of it (this novel) is true even though it’s often heartless. It’s simple. He knows what things are worth. When you need the sea or a bird they’re there like they never were before.”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Eileen Myles, author of \u003cem\u003eAfterglow\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“This book by Nate Lippens is really moving and beautifully written. Not one superfluous sentence. It’s razor tight. The phantom limbs of what has been excised remains. But still there is so much love and sadness and all the randomness of what makes a life, and who you meet along the way. My ghosts are summoned by his ghosts.” \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Hedi El Kholti, editor at Semiotext(e)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“\u003cem\u003eMy Dead Book\u003c\/em\u003e by Nate Lippens is the most electrifying thing I’ve read in a long time, a poetic, compressed novella about queer loss and addiction that reminded me of Gary Indiana and William Burroughs.”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e — Olivia Laing, author of \u003cem\u003eCrudo \u003c\/em\u003eand \u003cem\u003eThe Lonely City\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eCover image by Jimmy DeSana, courtesy Jimmy DeSana Trust\u003c\/span\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421943808335,"sku":"PK0063","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230648.jpg?v=1695888145"},{"product_id":"copy-of-pei-ying-lin-virophilia-the-2070-revised-edition-of-the-postnatural-cookbook","title":"Oliver Vodeb and Jason Grant, What is post-branding? How to Counter Fundamentalist Marketplace Semiotics","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePost-Branding empowers better design of public communication for civic and activist groups by replacing corporate branding’s predatory principles with a new set of strategies embedded in a new culture of craft. A new way of being and knowing, for a new way of relating with the world.\u003c\/p\u003e\n\u003cp\u003eBrands aren’t just intruding on culture, they are our culture. They are the sponsored mechanisms for constructing and manipulating meaning and human identity. But should we cede such a fundamental human need to the market? If not, why not, and is there an alternative?\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat is Post Branding?\u003c\/em\u003e is a work of ‘practical theory’. It is a compact ‘pocket-book’ format publication composed of four main sections. The first, \u003cem\u003e‘DIS-BRANDED’,\u003c\/em\u003e is a text of 20 short page-long chapters exposing the ideological underbelly and real-world impact of branding. The second, \u003cem\u003e‘MIXED MESSAGES’,\u003c\/em\u003e is a provocative visual essay illuminating the texts’ main themes. The third, \u003cem\u003e‘MANUAL’,\u003c\/em\u003e presents a framework for a critical alternative to corporate branding, humorously appropriating found instructional diagrams as a brand manual satire. This section also includes examples of completed contemporary projects that have implemented post-branding principles. The book concludes with \u003cem\u003e‘CONTEXT’,\u003c\/em\u003e featuring a conversation with cultural theorist Brian Holmes and an argument with design historian Steven Heller.\u003c\/p\u003e\n\u003cp\u003ePart design experiment, part critical theory, and part how-to-manual, \u003cem\u003eWhat is Post-Branding?\u003c\/em\u003e introduces a creative counter to branding’s neoliberal orthodoxy.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘The book is reminiscent of Marshall McLuhan and Quentin Fiore’s \u003c\/em\u003eThe Medium is the Massage\u003cem\u003e, cautioning against a kind of mind (and soul) control… and brings some of those pre-branding, pre-digital ideas to the 21st century.’ \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e– Steven Heller\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘As we grapple with the concepts and tools of 21st century communications, What is Post-Branding? arrives as a key to the crisis of imagination in which it seems easier to imagine the end of nature than the fundamental system and technological changes needed to shift onto a path of real sustainability. It invites a bright future of infinite potential built on collaborative communcations as an antidote to corporate competition’s bleak zero sum branding game.’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e – Mike Townsley\u003cbr\u003eCommunications Director, Greenpeace International\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘Rarely do designers fully understand the proper social, cultural and political significance of branding. This book is the exception – it is a critical, extremely witty and creatively produced antidote to branding’s hype. It is a guide through the minefield of mass communication and identity design. In a time that is truly disorientating for both creatives and the general public, “What is Post-Branding” should be read, not just by anyone interested in the subject, but everyone who is concerned about where we are heading as a society, and about how we can stay human.’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e– Jonathan Barnbrook\u003cbr\u003eBarnbrook Design \/ VirusFonts\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422583537999,"sku":"PK0078","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230877.jpg?v=1696168720"},{"product_id":"copy-of-gavin-murphy-remaking-the-crust-of-the-earth","title":"Afonso Matos, Who can Afford to be Critical?","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Critical Designers’ produced by an increasing number of design schools are prompted to address social, political and environmental issues through their practices. Yet, who can afford to continue such effort after graduation?\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn a dynamic style holding multiple voices,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWho can Afford to be Critical?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ediscusses the limits that affordability, class and labour impose upon the educational promise of holding a ‘critical’ practice. Why do we tend to ignore the material and socioeconomic constraints that bind us as designers, claiming instead that we can be powerful agents of change? In fact, where does our agency lie?\u003c\/p\u003e\n\u003cp\u003eInstead of focusing on the dream of ethical work under capitalism, could we, instead, focus first on designers’ own working conditions, targeting them as one immediate site for collective action? And can we engage politically with the world not necessarily as designers, but as workers, as activists, as citizens?\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422771102031,"sku":"PK0084","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202300871.jpg?v=1700234647"},{"product_id":"orfeo-tagiuri-little-passing-thoughts","title":"Orfeo Tagiuri, Little Passing Thoughts","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOrfeo Tagiuri scribbles day and night on a small notebook. He tears away some of the drawings, to throw in the bin because they’re not good enough, to give away to friends — to have a laugh or to remember a moment — or to sell to a stranger who shared the exact same feeling or thought, for what Orfeo draws with a black pen are universal emotions. This pocket-sized book, compiling over 350 drawings, is meant to be carried everywhere and opened just when one needs to take a break, get inspired, and breathe.\u003c\/p\u003e\n\u003cp\u003e“Each of these drawings is fished out from the river of little passing thoughts. I don’t know where they come from but sometimes I take the time to gently scoop them up and set them down. They are a great joy, relief and meditation to make. I hope you can feel that” — Orfeo Tagiuri\u003c\/p\u003e\n\u003cp\u003eOrfeo Tagiuri (b. 1991, Brookline, MA, USA) lives and works in London. Orfeo’s practice spans from painting and drawing to performance, film, woodcarving, animation, and music. The artist has exhibited and performed internationally, including at Sapling Gallery, London (2021), MACRO, Rome (2021), Palais de Tokyo, Paris (2018) and at Fiorucci Art Trust’s Volcano Extravaganza (2016). In 2020 Orfeo was nominated for Bloomberg New Contemporaries award.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Chose Commune","offers":[{"title":"Default Title","offer_id":47423005917519,"sku":"PK0189","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230712.jpg?v=1695888863"},{"product_id":"cleo-henry-the-last-lesbian-bar-in-the-midlands","title":"Cleo Henry, The Last Lesbian Bar in the Midlands","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAn arresting cinema of a book. Vivid, playful and adventurous, The Last Lesbian Bar in the Midlands is a moment, an idea, a sense of future that binds us to the best of each other. Brilliant.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eJoelle Taylor, author of \u003cem\u003eC+nto\u003c\/em\u003e \u0026amp; \u003cem\u003eOthered Poems\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003eCleo Henry’s The Last Lesbian Bar in the Midlands opens the door between the body and the landscape of myth: they locate the worlds of ancestry in pissing on Hampstead Health, in Helen of Troy and Cynthia Nixon, in “your hard dyke hands blurring inside a ribcage”, and in the “pit with all of New York”. Cleo has written a remarkable pamphlet.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eTom Bland, author of \u003cem\u003eThe Death of a Clown\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cem\u003eIntelligent and academic without showing off, discover Cleo Henry and watch them burn a litany of visual-invocations of being sexy without falling on lazy tropes.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003eBite into this collection immediately - and taste it burst.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eKirsty Allison, editor of Ambit\u003c\/p\u003e\n\u003cp class=\"\"\u003eWe’re launching our 2022 pamphlet season with the thrilling debut pamphlet from Cleo Henry. \u003cem\u003eThe Last Lesbian Bar in the Midlands\u003c\/em\u003e fuses the classics with lesbian culture, fizzing with excitement and wordplay.\u003c\/p\u003e\n\u003cp class=\"\"\u003eWith references to Achilles, Lea De Laria, Carson McCullers, Helen of Troy and Cynthia Nixon, the poems in this pamphlet mesh pop cultural references with mythology while delving into love, sex and modern queer communities.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Fourteen Poems","offers":[{"title":"Default Title","offer_id":47450376110415,"sku":"PK0257","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230600.jpg?v=1695728310"},{"product_id":"copy-of-nigel-cottier-letterform-variations-1","title":"Dr. Martin Lorenz, Flexible Visual Systems","description":"\u003cp data-mce-fragment=\"1\"\u003eFlexible Visual Systems sums up 10 years of research at the University of Barcelona, 20 years of developing systems at TwoPoints.Net and 18 years of teaching systems at over 10 design universities throughout Europe on 320 pages.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eFlexible Visual Systems is the design manual for contemporary visual identities. It teaches you a variety of approaches on how to design flexible systems, adjustable to any aesthetic or project in need of an identifiable visual language.\u003c\/p\u003e\n\u003cp\u003eTo learn how to design flexible systems is not just learning another craft, it is going to change the way you think and work entirely. It is an approach, how to design. If you would place system design into a curriculum it would be the foundation course, putting you in the right mindset. You can apply the systemic approach to any discipline you will later specialize in, from corporate design, communication design, user experience design to textile design.\u003c\/p\u003e\n\u003cp\u003eThe book is divided into three parts. The first part is a richly illustrated theoretic introduction (82 pages) explaining the past, present and future of flexible systems. It describes how they were used in the past, how they are used today and why they should not just organize formal solutions, but the way how we work.\u003c\/p\u003e\n\u003cp\u003eThe second part is a hands-on, almost purely visual, description of how to design flexible systems on form, starting with a circle, triangle, square, pentagon and hexagon. Lots of instruction manuals and examples on how to use them on 148 pages!\u003c\/p\u003e\n\u003cp\u003eThe third part explains how transformation processes can become flexible systems for visual identities. Especially creative coders, motion designers and people who love to experiment will have a lot of fun with this chapter!\u003cspan data-mce-fragment=\"1\" style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47481968886095,"sku":"PK0105","price":48.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230368.jpg?v=1695633678"},{"product_id":"copy-of-cecile-poimboeuf-koizumi-stephen-ellcock-jeux-de-mains","title":"Coco Capitan, If you've seen it all, close your eyes","description":"\u003cp data-mce-fragment=\"1\"\u003e“\u003cem\u003eIf You’ve Seen It All, Close Your Eyes\u003c\/em\u003e” presents extracts from a decade of artist Coco Capitán’s handwritten notebooks. Coco Capitán has always scribbled down her thoughts – everywhere, all the time – often on scraps of paper that have filled notebook after notebook. From her first day in London in 2010 until now, and as she travels the world on photography assignments, Coco Capitán’s writings grant an insight into her free and instinctive creative process. Playful aphorisms and short poems address an array of issues with hints of humour and irony. She combines the serious with the mundane as she shares in her first text-based book social, metaphorical or sentimental moments with her witty tone and distinctive hand.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eLondon-based artist Coco Capitán (born 1992, Spain) earned a BA in Fashion Photography at the London College of Fashion followed by an MA in Photography at the Royal College of Art. She works across a range of genres including photography, painting, mural, text, video and installation. Capitán has shot campaigns for world-renowned fashion brands and magazines including Vogue, Dazed, Gucci, APC and Mulberry. Her first solo institutional exhibition was held at the Daelim Museum in South Korea (2018). Her second is in March 2019 at the Maison Européenne de la Photographie in Paris.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Chose Commune","offers":[{"title":"Default Title","offer_id":47482072236367,"sku":"PK0356","price":35.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231361.jpg?v=1698252356"},{"product_id":"kevin-killian-argento-series","title":"Kevin Killian, Argento Series","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eReprinted for the first time in over twenty years, Kevin Killian’s first book of poetry is an audacious, operatic dive into the darkest recesses of the AIDS crisis. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eIn 1991, Killian reported he was “frozen, unable to think of a way to write about AIDS crisis”. A year later, his friend Kathy Acker suggested the “films of Dario Argento as a prism through which to take apart horror of living and dying in AIDS era”. The result is \u003cem\u003eArgento Series\u003c\/em\u003e, framing Killian’s real-life experience of losing his friends and lovers to the disease through the camera lens of Italian horror filmmaker, Dario Argento. Here, AIDS is cast as the horror film monster, wreaking cold, unfeeling chaos and destruction wherever it finds itself. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eBlending a chilling, impersonal observation of death with Killian's typical high camp, tenderness and O'Hara-like wit, the poems use unflinching honesty and gallows humour to devastating effect. In \u003cem\u003eArgento Series\u003c\/em\u003e, Killian finds expression for a crisis, and moment in history, that changed everything, forever.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eKevin Killian (1952-2019) was a San Francisco-based poet, novelist, playwright, and art writer. Recent books include Fascination: Memoirs and the poetry collections Tony Greene Era and Tweaky Village. He is the coauthor of Poet Be Like God: Jack Spicer and the San Francisco Renaissance, the first biography of the important US poet. With Dodie Bellamy, he coedited \u003cem\u003eWriters Who Love Too Much: New Narrative Writing, 1977–1997\u003c\/em\u003e. He died in 2019. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003ePraise for \u003cem\u003eArgento Series\u003c\/em\u003e:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e'Here is Kevin Killian, pounding with bloodied fists on Poetry’s door. My heart swells with pride as I claim his masterpiece for our beleaguered city. \u003cem\u003eArgento Series\u003c\/em\u003e is Kevin’s Lament for the Makers, a monument reaching half-way to the stars for our fallen stars and every big dream of the world lost to AIDS.’ \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Robert Glück, author of \u003cem\u003eMargery Kempe\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘Lush, tossed off and incisive, there's no other American poet who lived more vividly on the page of his time and its culture—center, edges all of it. Kevin's \u003cem\u003eArgento Series\u003c\/em\u003e is a treat and a complete fact. Grab this volume, fast.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Eileen Myles, author of \u003cem\u003eChelsea Girls\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘High weirdness, thorny beauty, cruel loss – it's all here, in Kevin's voice, and always will be. We will never stop needing this book.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Anne Boyer, author of \u003cem\u003eThe Undying\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e'At once tender and terrifying, \u003cem\u003eArgento Series\u003c\/em\u003e is a dispatch from the end of the world. Moving through Italian horror, memories of lost friends, and the long shadow of the AIDS crisis, Killian finds a language for the impossible. This collection is as urgent and vital as ever, seeing the light of day after being unobtainable for far too long.'\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Sam Moore, author of \u003cem\u003eAll My Teachers Died of AIDS \u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e'What Jackson Pollock said of himself, I will say of Kevin Killian: he is nature. \u003cem\u003eArgento Series\u003c\/em\u003e takes its title and frame from the Italian horror film maker Dario Argento but the effect is 100% Killian. Which is nature itself. Argento Series was written out of the carnage of the AIDS crisis. The poems are haunting, somnambulant, aggressive, plaintive, uncompromising, sullen, hilarious, brilliant, and outraged, creating a dynamic theatre of true horror. \u003cem\u003eArgento Series\u003c\/em\u003e now takes its place alongside the other queer masterworks of San Francisco poetry, including: Robert Duncan’s \u003cem\u003eThe Opening of the Field,\u003c\/em\u003e John Wiener’s \u003cem\u003eThe Hotel Wentley Poems\u003c\/em\u003e, and Jack Spicer’s \u003cem\u003eLanguage.\u003c\/em\u003e It’s important we have this title available again for new readers.'\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Peter Gizzi, author of \u003cem\u003eSky Burial\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e'Through the fake horror of Dario Argento’s giallo movies, legendary writer and editor Kevin Killian captures the true horror of living through the AIDS crisis. ‘The poetry was in the gore,’ Killian writes, and these poems are unsane, trembling, lesioned, possessed; horrorcore whimsy, rotting camp. With all the mordant, adrenal wit of a slasher movie’s final girl, his \u003cem\u003eArgento Series\u003c\/em\u003e is a survivor’s story, vividly retold.’\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Diarmuid Hester, author of\u003cem\u003e Nothing Ever Just Disappears\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eForeword by Derek McCormack\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eCover artwork by Hedi El Kholti\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47482194035023,"sku":"PK0276","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231248.jpg?v=1698232237"},{"product_id":"helen-bowell-ed-bi-lines-an-anthology-of-contemporary-bi-poetry-1","title":"Helen Bowell (ed.), Bi+ Lines: an anthology of contemporary Bi+ poets","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003eThe first-ever anthology of poems written by those who identify under the bi+ umbrella, Bi+ Lines is an engrossing, exciting, and often moving title gathering bi+ poets from across the globe.\u003cbr\u003e\u003cbr\u003eEdited by award winning poet Helen Bowell, the anthology collects new poems by more than 40 poets, ranging from those well-known to brand new voices.\u003cbr\u003e\u003cbr\u003eThemed around the idea of in-betweenness, these poems look at love and acceptance, at biphobia and belonging, at families and trust, and at how we can use poetry to express our desires, fears, and hopes. With new work from poets including Troy Cabida, Jen Campbell, Golnoosh Nourpanah, Shivanee Ramlochan, Jake Wild Hall and more, Bi+ Lines offers an insight into diverse stories that are often erased.\u003cbr\u003e\u003cbr\u003eYour Bi+ Lines poets are:\u003cbr\u003e\u003cbr\u003eFreya Bantiff, Davina Bacon, Jake Wild Hall, Suyin Du Bois, Rory O’Sullivan, Adriano Nobl, Ben Dalitz, Jen Campbell, Yves Olade, Chloe Henney, Nasim Rebecca Asl, Gayathiri Kamalakanthan, Jennifer Wong, Viv Kemp, Grae Tower, Lenni Sanders, Rona Jia Luo, Imogen Wade, Paul S Ukrainets, Fadairo Tesleem, Ilisha Thiru Purcell, Astra Papachristodoulou, Eoin Kelly, Kyla Jamieson, Hetty Cliss, Isaac Ginsberg Miller, Adegboyega Kayowa, Maria Ilona Moore, George Parker, Bebe Ashley, Noah Gower-Jones, Shivanee Ramlochan, Beth Harrison, Troy Cabida, Imogen Osborne, Dan Fitt-Palmer, Fee Griffin, Nnamdi Ndiolo, Carmina Masoliver, Mish Green, Len Lukowski, Ruth Yates, Golnoosh Nour, Holly Moberley, Jane Flett.\u003c\/p\u003e","brand":"Fourteen Poems","offers":[{"title":"Default Title","offer_id":47482422657359,"sku":"PK0349","price":9.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231018.jpg?v=1697466337"},{"product_id":"cooking-with-scorsese-the-cookbook","title":"Cooking With Scorsese: The Cookbook","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cp\u003e\u003cem\u003eThe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCookbook\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis illustrated with screenshots from the films that inspired each recipe, allowing readers to immerse themselves in the culinary action.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe typeface named \u003cem\u003eThe Fourth Lion\u003c\/em\u003e was designed in house specifically for the project. 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It offers precious insights into key modes of thinking behind the curatorial practices that have resulted in influential and landmark exhibitions at galleries and museums across the globe, including MoMA, Tate Modern, Pompidou Centre, Fotomuseum Winterthur, Finnish Museum of Photography, Zeitz MOCAA – Museum of Contemporary Art Africa, Instituto Moreira Salles and SCôP: Shanghai Center of Photography, among others.\u003cbr\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cbr\u003eTheir contributions provide wide-ranging discussions and a strong sense of critical self-reflexivity to explore the various ways curating mediates our experience and understanding of the photographic image. Among the fundamental questions engaged in the book are the medium specificity of photography; exhibitions as ‘artwork’; critical contexts for imagery; the curator’s role; collaboration and community; notions of ethics, responsibility and care; relationships between artists and curators, museums and audiences; as well as propositions for ‘decolonisation’ through forms of curatorial activism. Ultimately, this volume sheds light on the aesthetic, political and personal concerns of creative individuals involved in exhibition-making, generating new pathways for thinking about the display and dissemination of photography.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eFeaturing Sarah Allen, Mariama Attah, Yves Chatap, Clément Chéroux, Charlotte Cotton, Marta Dahó, Christine Eyene, Louise Fedotov-Clements, Yining He, Tom Lovelace, Roxana Marcoci, Shoair Mavlian, Renée Mussai, Thyago Nogueira, Azu Nwagbogu, Danaé Panchaud, Alona Pardo, Anna- Kaisa Rastenberger, Holly Roussell, Drew Sawyer, Kathrin Schönegg, Urs Stahel, Lisa Sutcliffe, Nadine Wietlisbach, Duncan Wooldridge\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eEditor Tim Clark\u003cbr\u003eCopy Editor Alex Merola\u003cbr\u003eDesign and  Art Direction Sarah Boris\u003cbr\u003eProduction Assistant Louis Stopforth\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"1000 Words","offers":[{"title":"Default Title","offer_id":47942237290831,"sku":"PK0002","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202301381.jpg?v=1700649526"},{"product_id":"slanted-42-books","title":"Slanted, #42—Books","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSlanted Magazine #42—Books \u003c\/em\u003eis a magazine about books. Every day, people ponder whether the future of the (printed) book is tied to its sensual quality. How can beautiful books secure their place in the media and society? How are content, medium, and form interconnected? Is manufacturing and design quality, in addition to its functionality, simply to be understood as a marketing argument?\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn this edition, Slanted Publishers delves deeper into books that are pushing boundaries, moving beyond traditional norms, and rediscovering their essence. The belief is that genuine reading encompasses more than mere skimming; it involves understanding, grasping, and engaging in creative thinking. The value placed on the tactile experience of holding a book, flipping through its pages, setting it aside, and seamlessly resuming the reading is immense. It’s an experience cherished by many, one that defines the true essence of books.\u003c\/p\u003e\n\u003cp\u003eSlanted Publishers emphasises the resurgence of book reading as a significant trend, especially for those seeking enduring experiences and embracing multi-dimensional thinking. 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This new edition once again includes a selection of Chicago gang compliment cards but with a handful of swap outs from the original, and is now ordered geographically (more or less) winding from south to north to reflect both the fundamental link of these organizations with physical locations and their interactions with others nearby. The essay has also been updated to reflect new information and perspectives introduced since the last edition was published.\u003c\/p\u003e\n\u003cp\u003eThee Almighty \u0026amp; Insane: Chicago Gang Business Cards from the 1970s \u0026amp; 1980s is an ode to an idiosyncratic print subculture that arose in Chicago just prior to the digital age when street gangs made business cards displaying their symbols, nicknames, territories, and enemies as a means to assert their pride, recruit new members, and serve as general tokens of affiliation. Less intended, but maybe more significant is the role of these cards as historical artifacts—not only documenting the specific histories of these gangs and their members, but also the larger social dynamics of a contentious time period in the city of Chicago. With enlarged reproductions of 70+ cards and an introductory essay by collector Brandon Johnson, this book is an appreciation of Chicago gang “compliment cards”: their hand-drawn graphics, their blackletter typefaces, their outlandish names and clever slogans. \u003c\/p\u003e","brand":"Almighty \u0026 Insane Books","offers":[{"title":"Default Title","offer_id":48060822159695,"sku":"PK0444","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230355.jpg?v=1702651242"},{"product_id":"samuel-clowes-huneke-a-queer-theory-of-the-state-1","title":"Samuel Clowes Huneke, A Queer Theory of the State","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eQueer theory has often been hesitant to align itself with a politics of the state, approaching it with a negative or pragmatic framework. \u003cem\u003eA Queer Theory of the State\u003c\/em\u003e offers a more optimistic perspective. Rather than eschew engagement with democratic theorizing, the historian Samuel Clowes Huneke asks how queer theory can wed its critically anti-normative impulses to the empirical need for a state. In answering this question, Huneke shows how the state is an integral component of a politics that seeks to subvert and undo the oppression of queer lives.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv itemprop=\"description\"\u003e\n\u003cbr\u003eSamuel Clowes Huneke is assistant professor of history at George Mason University. His first book, \u003cem\u003eStates of Liberation: Gay Men Between Dictatorship and Democracy in Cold War Germany\u003c\/em\u003e (2022), won the Charles E. Smith Award for best book in European History from the European History Section of the Southern Historical Association. 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It is a detective story. It is a historical episode in the time of the Armada and the dislocation of Sephardic Jews from Spain to an eventual location in New York’s Lower East Side. It is a first-person narrator’s story; Charlotte’s story; and Roderigo’s; and Fifi Corday’s. It is a 150-year-old story about Oregon and the story of a house in Oregon. \u003cem\u003eModern Love’\u003c\/em\u003es continuity is made of flow and motion; like an experience, it accumulates as you read, at that moment, through successive moments, right to the end.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eAn important figure of downtown New York’s performance art and burgeoning media art scene in the late 1970s and early 1980s, DeJong designed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eModern Love\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eherself and published it with help from Dorothea Tanning on the short-lived Standard Editions imprint. Critically acclaimed in its time,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eModern Love\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis now back in print on the 40th anniversary of its original publication.\u003c\/p\u003e\n\u003cp\u003eConstance DeJong is an artist and writer who has worked for thirty years on narrative form within the context of avant-garde music and contemporary art. Considered one of the progenitors of media art, or “time-based media,” DeJong shapes her intricate narrative form through performances, audio installations, print texts, electronic objects, and video works. Since the 1980s, DeJong has collaborated with Phillip Glass, Tony Oursler, and the Builders Association on performances and videos at Walker Art Museum, Minneapolis, MN; the Wexner Center, Columbus, OH; Philadelphia Museum of Art; and in New York, at The Kitchen, Thread Waxing Space, the Whitney Museum of American Art, and the Dia Center for the Arts. Her books include\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eI.T.I.L.O.E.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSpeakChamber\u003c\/em\u003e, and her work is included in the anthologies\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUp is Up, But So is Down: New York’s Downtown Literary Scene, 1974–1991\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(NYU Press, 2006);\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlasted Allegories\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(New Museum\/MIT, 1987); and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWild History\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Tanam Press, 1985).\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eEdition of \u003cmeta charset=\"utf-8\"\u003e2500\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":48072595472719,"sku":"PK0181","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231310_02fb150b-b6d8-4d23-8440-0d0e0b93eb32.jpg?v=1702906459"},{"product_id":"deforrest-brown-jr-assembling-a-black-counter-culture","title":"DeForrest Brown, Jr., Assembling a Black Counter Culture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeForrest Brown, Jr.’s \u003cem\u003eAssembling a Black Counter Culture\u003c\/em\u003e presents a comprehensive account of techno with a focus on the history of Black experiences in industrialized labor systems—repositioning the genre as a unique form of Black musical and cultural production.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eBrown traces the genealogy and current developments in techno, locating its origins in the 1980s in the historically emblematic city of Detroit and the broader landscape of Black musical forms. Reaching back from the transatlantic slave trade to Emancipation, the Industrial Revolution, and the Great Migration from the rural South to the industrialized North, Brown details an extended history of techno rooted in the transformation of urban centers and the new forms of industrial capitalism that gave rise to the African American working class. Following the groundbreaking work of key early players like The Belleville Three, the multimedia output of Underground Resistance and the mythscience of Drexciya, Brown illuminates the networks of collaboration, production, and circulation of techno from Detroit to other cities around the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAssembling a Black Counter Culture\u003c\/em\u003e\u003cspan\u003e reframes techno from a Black theoretical perspective distinct from its cultural assimilation within predominantly white, European electronic music contexts and discourse. With references to Theodore Roszak’s \u003c\/span\u003e\u003cem\u003eMaking of a Counter Culture, \u003c\/em\u003e\u003cspan\u003ewritings by African American autoworker and political activist James Boggs, and the “techno rebels” of Alvin Toffler’s \u003c\/span\u003e\u003cem\u003eThird Wave, \u003c\/em\u003e\u003cspan\u003eamong others, Brown draws parallels between movements in Black electronic music and Afrofuturist, speculative, and \u003c\/span\u003e\u003cspan\u003eAfrodiasporic practices to imagine a world-building sonic fiction and futurity embodied in techno.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDeForrest Brown, Jr. is an Alabama-raised rhythmanalyst, writer, and representative of the Make Techno Black Again campaign. As Speaker Music, he channels the African American modernist tradition of rhythm and soul music as an intellectual site and sound of generational trauma. On Juneteenth of 2020, he released the album Black Nationalist Sonic Weaponry on Planet Mu. His written work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music, and has appeared in \u003c\/span\u003e\u003cem\u003eArtforum\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eTriple Canopy\u003c\/em\u003e\u003cspan\u003e, NPR, \u003cem\u003eCTM Festival\u003c\/em\u003e, \u003c\/span\u003e\u003cem\u003eMixmag\u003c\/em\u003e\u003cspan\u003e, among many others. He has performed or presented work at Haus der Kulturen der Welt, Berlin; Camden Arts Centre, UK; Unsound Festival, Krakow; Sónar, Barcelona; Issue Project Room, New York; and elsewhere. \u003cem\u003eAssembling a Black Counter Culture\u003c\/em\u003e is Brown’s debut book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eEdition of 4000\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":48072601207119,"sku":"PK0157","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230100_372e4870-3db1-44eb-806f-c52186653ab3.jpg?v=1702906507"},{"product_id":"pippa-garner-better-living-catalog","title":"Pippa Garner, Better Living Catalog","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePippa Garner’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBetter Living Catalog\u003c\/em\u003e, originally published in 1982, takes the form of a mail order catalog featuring clever and whimsical inventions that parody consumer goods while simultaneously critiquing America’s obsession with ingenuity, efficiency, leisure, and comfort. These works, which were made as prototypes and photographed for the publication, take the form of improbable accessories, clothing, footwear, home appliances, and office gadgets.\u003c\/p\u003e\n\u003cp\u003eFor example, the “Reactiononometer,” a portable wristband, instantly measures social success, while the “Digital Diet Loafers” display the wearer’s weight with every step. If the “Munch-o-Matic” reduces deskwork interruptions by flinging a snack right into the user’s mouth, other items promise financial solvency (the controlled cash flow “Autowallet”), sustainable waste management, or mess-free companionship (the “Pet-a-Vision” TV console). The artist asserts that all of the products in the book are “absolute necessities for contemporary survival.”\u003c\/p\u003e\n\u003cp\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBetter Living Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas a pop hit when it was published, earning Garner spots on nighttime TV talk shows and attention from magazines like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVogue\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e. In a meme-filled culture, the works still resonate today, finding their analog in widely-circulating consumer products, and—in the case of the “High Heel Skates”—even appearing unattributed in the runway collection of a major luxury fashion brand.\u003c\/p\u003e\n\u003cp\u003eA few years after the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBetter Living Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas published, Garner began her gender transition, which she has characterized as an artistic project that draws conceptual parallels to the altered consumer goods she has continued to create since the 1970s. The artist’s practice has always been about hacking—gender hacking, she stated, was “an excellent premise for maverick conceptual art and diametrically opposed to anything I’d ever done.”\u003c\/p\u003e\n\u003cp\u003eMany of the prototypes Garner created for the publication were repurposed or recycled, making this previously rare gem of an artist book one of the artist’s few works to now be widely available.\u003c\/p\u003e\n\u003cp\u003eBorn in 1942 in Evanston, Illinois, Pippa Garner (formerly known as Philip Garner) began her practice in the late sixties as a member of the highly regarded Transportation Design department at ArtCenter, California, with plans to become a car stylist, and was drafted to Vietnam to serve as a combat illustrator. In the mid-80s, Garner began her gender transition, which she considers a conceptual artwork, marking an extension of her practice from twenty years of altering cars, garments, and consumer products to using her own body as raw material. Garner appeared on the Tonight Show Starring Johnny Carson and other talk shows, showcasing her satirical consumer product inventions, and her artwork has been featured in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCar \u0026amp; Driver\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eArts \u0026amp; Architecture\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVogue\u003c\/em\u003e, among other publications. In the 1980s, her performance, design, and video work was exhibited in institutions including the Los Angeles Institute of Contemporary Art; Whitney Museum of American Art; and Museum of Contemporary Art, Los Angeles; since 2015, she has had exhibitions at STARS, O-Town House, Redling Fine Art, and Parker gallery in Los Angeles; Jeffrey Stark in New York; JOAN, Los Angeles; Kunstverein München; 49 Nord 6 Est – Frac Lorraine, Metz; Kunsthalle Zurich; and Art Omi, Ghent, New York. She is the author of three other books:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUtopia… or Bust! 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Young and not-so-young designers are becoming increasingly aware of this. Many feel impotent: they were told they had the tools to make the world a better place, but instead the world takes its toll on them. Beyond a haze of hype and bold claims lies a barren land of self-doubt and impostor syndrome. Although these ‘feels’ might be the Millennial norm, design culture reinforces them. In conferences we learn that “with great power comes great responsibility” but, when it comes to real-life clients, all they ask is to “make the logo bigger.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book probes the disillusionment that permeates design. It tackles the deskilling effects provoked by digital semi-automation, the instances of ornamental politics fashioned to please the museum-educational complex, the nebulous promises of design schools. While reviving historical expressions of disenchantment, Silvio Lorusso examines present-day memes and social media rants. To depict this disheartening crisis, he crafts a new critical vocabulary for readers to build upon. What this exposé reveals is both worrying and refreshing: rather than producing a meaningful order, design might be just about inhabiting chaos.\u003cbr\u003e\u003cbr\u003eWhat was once a promising field rooted in problem-solving has become a problem in itself. The skill set of designers appears shaky and insubstantial – their expertise is received with indifference, their know-how is trivialised by online services, their work is compromised by a series of unruly external factors. If you see yourself as a designer without qualities; if you feel cheated, disappointed or betrayed by design, this book is for you.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e“Are you a bit depressed about design? This book might help you understand why. It may also make you laugh. With a lightness of touch, Silvio Lorusso provides an unflinching but well-reasoned discussion as to how design has become so ‘bigged up’ and what this actually means for its practitioners. After reading this book, design will never look the same to you.”\u003cbr\u003e\u003cbr\u003e– Guy Julier, author of \u003cem\u003eEconomies of Design\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“What happens once design is a smokescreen and can no longer claim to be a blueprint for change? This is the question Silvio Lorusso puts on the table. How did form, no matter how cool and disruptive, become so futile and tired? Read this with caution: we can no longer design ourselves out of this painful realisation.”\u003cbr\u003e\u003cbr\u003e– Geert Lovink, author of \u003cem\u003eStuck on the Platform\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The disillusion of design is the disillusion of the world. This book is an essential read, not only for specialists. Because design affects us all, and because understanding where design fails helps us understand where design succeeds.”\u003cbr\u003e\u003cbr\u003e– Emanuele Quinz, author of \u003cem\u003eStrange Design\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48127867650383,"sku":"PK0338","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202303861.jpg?v=1704185410"},{"product_id":"chloe-griffin-edgewise-a-picture-of-cookie-mueller","title":"Chloé Griffin, Edgewise: A Picture of Cookie Mueller","description":"Cookie Mueller was a firecracker, a cult figure, a wit, a wild child, a writer, a go go dancer, a mother, an unlikely queer icon, an alchemist, a lightning rod in dark times. A child of suburban 50‘s Maryland and post-beatnik 60’s freakdom, she made her name first as an actress in the films of John Waters, and then as an art critic and columnist, a writer of hilarious and sublime stories and short fiction and a maven of the Downtown art world. Edgewise tells the story of Cookie‘s life through an oral history composed from over 80 interviews with the people who knew her. After tracing back some of the steps of the author’s 7-year trip in search of Cookie, the voices take us from the late 60’s artist communes of Baltimore to 70’s Provincetown where romantics and queers crawled the dunes and discos, to the sleepless creative high of post-industrial Bohemian New York, through 80‘s West Berlin and Positano, and into the depths and contradictions of Cookie’s life and loves.\n\u003cdiv\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eSince  her death from AIDS in 1989, Cookie’s work and life have made her  an underground icon. Her original texts, first published by Hanuman Books and Semiotext(e), have been reprinted  by Serpent’s Tail, and she is remembered for her appearances in the  No Wave films and theater of Amos Poe, Michel Auder, Gary Indiana and others.\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cbr data-mce-fragment=\"1\"\u003eAlong  with the text, Edgewise consists of original artwork, unpublished  photographs and archival material, and photo contributions by  Philip-Lorca DiCorcia, David Armstrong, Robert Mapplethorpe, Peter Hujar and others.  Edgewise  is a meditation on memory and story-telling.\u003c\/div\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156814836047,"sku":"PK0522","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202312441.jpg?v=1708355385"},{"product_id":"copy-of-leonhard-laupichler-sophia-brinkgerd-eds-new-aesthetic-3","title":"Leonhard Laupichler \u0026 Sophia Brinkgerd (eds.), New Aesthetic 3","description":"\u003cp\u003eNew Aesthetic 3: A Collection of Experimental and Independent Type Design\u003c\/p\u003e\n\u003cp\u003eDesign and art are constantly evolving. In both professions, we either risk that our work is transforming into artifacts from a previous period or we can embrace change, encourage experiments and produce more meaningful results. New Aesthetic is looking at experimental and independent type design as an intersection of art and design. Typography has established itself in our graphic work culture as an essential component — whether in print or on screen — serving to strengthen visual messages. The traditional form of type was built around the way we read and write. However, we live in a time of transformation and adaption: Our world is experiencing great changes and our habits shift to accommodate new technologies as they appear. As designers, our creative process mirrors how we use our imagination to shape modern visual communication, it brings in a dash of visual surprise, and breaks the conventions we are used to. 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Wilson, La Monte Young, Marian Zazeela.\u003c\/p\u003e\n\u003cp\u003eFluxus was a loose international collective of artists, poets, and musicians with a shared impulse to challenge the existing conventions of art making and propose a model of how art could be part of one’s life. After a series of year-long festivals in Europe between September 1962 and Summer 1963, Fluxus established its headquarters in downtown New York, and soon developed offshoot centers across the United States, Latin America, Europe, and Asia. George Maciunas acted as the spokesperson of the collective from 1962 until his premature death in 1978. 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PKB can supply UK and Europe. \u003c\/p\u003e\n\u003cp\u003eThe fourth edition of the best-selling monograph features a new cover colour and cover artwork.\u003c\/p\u003e\n\u003cp\u003eJB Blunk presents the breadth of the artist's practice and includes never-before-seen archival and newly commissioned photographs of jewellery, ceramics, paintings, furniture, sculpture, and his hand-built house. The book features essays by Lucy Lippard, Glenn Adamson, Fariba Bogzaran, Louise Allison Cort, and René Bustamante.\u003c\/p\u003e\n\u003cp\u003eThese essays contextualise Blunk among his contemporaries, his materials, and his places. Lippard connects Blunk’s interdisciplinary practice with her own attempts at an archaeological, rather than linear, approach to art history and criticism. Cort and Bogzaran reconstruct the early relationships and experiences that influenced Blunk in Japan and in Northern California, respectively. An archival interview with Blunk from 1978 and a new interview with his longtime friend \u0026amp; studio assistant Rick Yoshimoto offer primary insight into Blunk’s work and process, forty years apart.\u003c\/p\u003e\n\u003cp\u003e“Wood. Clay. Stone. Spirit. These are the elements from which JB Blunk created his work, and a more elemental artist of the postwar era would be hard to find. Blunk proceeded through sheer instinct and in deep conversation with nature; his art was the ultimate expression of a life lived off the grid.”\u003c\/p\u003e\n\u003cp\u003e—Glenn Adamson\u003c\/p\u003e\n\u003cp\u003eJB Blunk is edited by Mariah Nielson and Åbäke, printed by die Keure, co-published by Blunk Books and Dent-De-Leone, and designed by Åbäke.\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Dent-De-Leone","offers":[{"title":"Default Title","offer_id":49101316161871,"sku":"PK0940","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202303331.jpg?v=1718362859"},{"product_id":"a-year-in-the-allotment","title":"A Year in the Allotment","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA 32-page A6 2 colour riso zine documenting a year in an allotment in North Yorkshire!\u003c\/span\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--td {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}--\u003e\u003c\/style\u003e","brand":"Black Lodge Press","offers":[{"title":"Default Title","offer_id":49161722134863,"sku":"PK0995","price":5.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202304402.jpg?v=1718966665"},{"product_id":"aruna-d-souza-imperfect-solidarities","title":"Aruna D’Souza, Imperfect Solidarities","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCan empathy deliver political change? Does art that elicits emotional identification with others take us where we need to go? In \u003c\/span\u003e\u003cem\u003eImperfect Solidarities\u003c\/em\u003e\u003cspan\u003e, writer and art historian Aruna D’Souza offers observations pulled from current events as well as contemporary art that suggest that a feeling of understanding or closeness based on emotion is an imperfect ground for solidarity. Empathy—and its correlate, love—is a distraction from the hard work that needs to be done to achieve justice. Rather, D’Souza contends, we need to imagine a form of political solidarity that is not based on empathy, but on the much more difficult obligation of care. When we can respect the unknowability of the other and still care for and with them, without translating ourselves into their terms, perhaps we will fare better at building political bridges.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":49209418678607,"sku":"PK0929","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202305102.jpg?v=1719568971"},{"product_id":"hesse-k-disquiet-drive-1","title":"Hesse K., Disquiet Drive","description":"\u003cdiv\u003e\n\u003cspan\u003eOne night a satellite falls out of the sky and splits a girl in half. \u003c\/span\u003e\u003ci\u003eDisquiet Drive\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eis a book scraped together from the shorn parts of a person who may no longer exist. Beginning with an admission that language and embodiment seem indistinguishable, yet refusing to claim a singular voice, the texts in this collection lurch between the fiery crucible of a transition and the weird jaggedness of our own continuity; between inverted memoir and prose-poetry; the raw, irrepressible lyric and the essay as an exercise in the art of digging-one’s-heels-in. \u003c\/span\u003e\u003ci\u003eDisquiet Drive\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eis about undoing the words we’re handed so that language can survive, and undoing the body so that it can find a way to live.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e'\u003ci\u003eDisquiet Drive\u003c\/i\u003e is restlessly exquisite. Hesse K’s writing vibrates with the quiet solar intensity of a planetary body that can’t be looked at directly: things slip, slink, snick and lick into each other, limning a gorgeous periphery where genre, past and future selves, follies, fossils and hormones collide. I can’t remember when I last read something as exhilarating, beautiful and deeply attuned to the implications and contradictions involved in struggling towards a bearable world, and the ‘undomesticated sensibility’ it requires of us.' —\u003c\/span\u003e\u003cspan\u003e Daisy Lafarge, author of \u003ci\u003eLovebug\u003c\/i\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e'Buck wild and entirely unique, \u003ci\u003eDisquiet Drive\u003c\/i\u003e took me to the beautiful and chaotic edge of the universe and made me want to write (live) for 200 years.' — Eliot Duncan, author of \u003ci\u003ePonyboy\u003c\/i\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHesse K. is a writer. Her criticism and poetry has appeared in MAP magazine and Montez Radio, and in anthologies by Sticky Fingers Publishing, Toothgrinder, Worms and Pilot Press, among others. She lives in London.\u003c\/p\u003e","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":49333193539919,"sku":"PK1034","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202309282-edited.jpg?v=1721389542"},{"product_id":"epoch-issue-3","title":"Epoch, Issue 03","description":"\u003cdiv class=\"pagingInfo\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003ePlease note that this issue has multiple cover variations. We will be unable to select specific covers and you may not receive the one pictured. It's lucky dip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eEPOCH ISSUE 03\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eThe issue 3 of EPOCH\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003eis about the idea of PROPHECY. Unpicking ideas around progression, divination, new paths, shifting technologies and visions for the future. How do we define and predict what is coming culturally, physically, creatively?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cspan class=\"s4\"\u003eThe issue features interviews and exclusive projects from\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003eBarbara Kruger, Grace Wales Bonner, Pierre Huyghe, Marc Goehring, Gabriel Moses, Thundercat, Daniel Shea, Martine Syms, Georgia Pendlebury, Rinko Kawauchi, Benedict Redgrove, Thomas Lohr, Omaima Salem, Hassan Rahim, Mike Miller, Vito Fernicola\u003c\/span\u003e\u003cspan class=\"s4\"\u003e\u003cspan\u003e \u003c\/span\u003eand many more.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"pagingInfo\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Epoch","offers":[{"title":"Default Title","offer_id":49371232928079,"sku":"PK1046","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202311162.jpg?v=1722010081"},{"product_id":"blank-forms-06-organic-music-societies","title":"Blank Forms 06: Organic Music Societies","description":"\u003cp\u003e\u003cspan\u003eBeginning with an overview by Blank Forms Artistic Director Lawrence Kumpf and Don Cherry biographer Magnus Nygren, this volume further explores Don’s work of the period through a piece on his \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRelativity Suite\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e by Ben Young and an essay on the diasporic quality of his music by Fumi Okiji. Ruba Katrib emphasizes the domestic element of Moki’s practice in a biographical survey accompanied by full-color reproductions of Moki’s vivid tapestries, paintings, and sculptures, which were used as performance environments by Don’s ensembles during the Sweden years and beyond. Two selections of Moki’s unpublished writings—consisting of autobiography, observations, illustrations, and diary entries, as well as poetry and aphorisms—are framed by tributes from her daughter Neneh Cherry and granddaughter Naima Karlsson. Swedish Cherry collaborator Christer Bothén contributes period travelogues from Morocco, Mali, and New York, providing insight into the cross-cultural communication that would soon come to be called “world music.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe collection also features several previously unpublished interviews with Don, conducted by Christopher R. Brewster and Keith Knox. A regular visitor to the Cherry schoolhouse in rural Sweden, Knox documented the family’s magnetic milieu in his until-now unpublished \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eTågarp Publication\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Reproduced here in its entirety, the journal includes an interview with Terry Riley, an essay on Pandit Pran Nath, and reports on counter-cultural education programs in Stockholm, including the Bombay Free School and the esoteric Forest University.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTaken together, the texts, artwork, and abundant photographs collected in \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eOrganic Music Societies\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e shine a long overdue spotlight on Don and Moki’s prescient and collaborative experiments in the art of living.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":49404722905423,"sku":"PK1164","price":51.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202313072.jpg?v=1723459190"},{"product_id":"the-cricket-black-music-in-evolution","title":"The Cricket: Black Music in Evolution","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA rare document of the 1960s Black Arts Movement featuring \u003c\/span\u003eAlbert Ayler\u003cspan\u003e, \u003c\/span\u003eAmiri Baraka\u003cspan\u003e, \u003c\/span\u003eMilford Graves\u003cspan\u003e, \u003c\/span\u003eSun Ra\u003cspan\u003e, \u003c\/span\u003eCecil Taylor\u003cspan\u003e, and many more, \u003c\/span\u003e\u003cem\u003eThe Cricket \u003c\/em\u003e\u003cspan\u003efostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, \u003c\/span\u003eA.B. Spellman\u003cspan\u003e, and \u003c\/span\u003eLarry Neal\u003cspan\u003e between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, \u003c\/span\u003e\u003cem\u003eThe Cricket\u003c\/em\u003e\u003cspan\u003e laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including \u003c\/span\u003eStanley Crouch\u003cspan\u003e, \u003c\/span\u003eHaki Madhubuti\u003cspan\u003e, \u003c\/span\u003eIshmael Reed\u003cspan\u003e, \u003c\/span\u003eSonia Sanchez\u003cspan\u003e and \u003c\/span\u003eKeorapetse Kgositsile\u003cspan\u003e) and a range of musicians, from Mtume to \u003c\/span\u003eBlack Unity Trio\u003cspan\u003e, to devise new styles of music writing. The publication emerged from the heart of a political movement—“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface—and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar \u003c\/span\u003eDavid Grundy\u003cspan\u003e, who argues that \u003c\/span\u003e\u003cem\u003eThe Cricket\u003c\/em\u003e\u003cspan\u003e “attempted something that was in many ways entirely new: creating a form of music writing which united politics, poetry, and aesthetics as part of a broader movement for change; resisting the entire apparatus through which music is produced, received, appreciated, distributed, and written about in the Western world; going well beyond the tried-and-tested journalistic route of description, evaluation, and narration.”\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":49404927115599,"sku":"PK1017","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202312362.jpg?v=1722609288"},{"product_id":"cookie-mueller-fan-mail-frank-letters-and-crank-calls","title":"Cookie Mueller, Fan Mail, Frank Letters, and Crank Calls","description":"\u003cp\u003e\u003cem\u003e“Hello?”\u003cbr\u003e“Yeah, hi Georgia!”\u003cbr\u003e“This isn’t Georgia. Who’s\u003cbr\u003ecalling please?”\u003cbr\u003e“John Huston.”\u003cbr\u003e“From the grave ?”\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the publication of Cookie Mueller’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGarden of Ashes\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein our first series, we are thrilled to reissue her first contribution to the Hanuman canon:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFan Mail, Frank Letters, and Crank Calls\u003c\/em\u003e, an epistolary portrait of the absurdity of human connection. Her book also doubles as a shrine to channels of analogue communication between private and public personas that have since metastasized in our climate of microcelebrity ideation. Sexy and hilarious, Mueller’s text embraces the discomfiting nature of desire with empathy and trademark wit.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCookie Mueller\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(1949–1989) was an American writer, actress, and advice columnist, best remembered as a regular cast member of some of the director John Waters's groundbreaking films, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMultiple Maniacs, Pink Flamingos, Female Trouble\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDesperate Living\u003c\/em\u003e. She died from AIDS-related complications in 1989.\u003c\/p\u003e","brand":"Hanuman Editions","offers":[{"title":"Default Title","offer_id":49450186899791,"sku":"PK1087","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202313252.jpg?v=1723467091"},{"product_id":"chris-dorley-brown-a-history-of-the-east-end-1","title":"Chris Dorley-Brown, A History of the East End","description":"\u003cdiv class=\"accroche\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\"A fabulous tribute to a constantly ruined and renewed area of London that has found its ideal chronicler. Light and dust, cloud and fire, tower block and underpass: stoic compositions give the dignity of permanence to a zone of perpetual transition. You can taste it, breathe it. Walk it. And come to believe that the experience is somehow richer and riper than the real thing.\" (Iain Sinclair)\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eChris Dorley Brown has documented London's East End all his life. Today, we are delighted to present this collection in a retrospective book - the photographer's first monograph.\u003c\/p\u003e\n\u003cp\u003eChris Dorley Brown is a self-taught British documentary photographer, based in London's East End. His cultural education was formed in East London in the late 1970s, against a backdrop of highly polarized political conflict and change.\u003c\/p\u003e\n\u003cp\u003eThe photographs presented in this book - almost 100 - were taken between 1984 and 2023. The journey through the book is like taking a stroll: starting on the banks of the Thames, we discover the vernacular architecture of the 1980s; their demolition a few years later; followed by more recent architecture. We follow the transformations brought about by construction for the Olympic Games; then, the deserted streets during lockdown; ending on the banks of the Thames, almost at its mouth. One-offs, here and there, intersperse these main themes.\u003c\/p\u003e\n\u003cp\u003eTexts and leaflets are included in the book. The author recounts his career with a certain ease: the depictions are very visual, and anecdotes are related side-by-side with his most profound thoughts.\u003c\/p\u003e\n\u003cp\u003eFor Chris Dorley Brown,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003esaudade\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the word that best sums up this work, a story that Native Americans taled and sang to each other as they traveled.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"Independently Published","offers":[{"title":"Default Title","offer_id":49615551758671,"sku":"PK1148","price":33.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/cover-1.jpg?v=1725970637"},{"product_id":"clemence-imbert-why-history-matters-to-graphic-design","title":"Clémence Imbert, Why History Matters to Graphic Design","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePublished by HEAD–Publishing, the book explores the significance of historical knowledge in art and design schools, and more specifically in graphic design courses.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\"‘Why teach graphic design students the history of graphic design?’\u003c\/strong\u003e\u003cbr\u003eClémence Imbert\u003cspan\u003e's Manifesto opens with this question. Using European and American examples of innovative teaching projects from the 20th and 21st centuries, Imbert questions the foundations of her own teaching practice as a graphic design his-torian at HEAD–Genève, and defends the importance of teaching the history of graphic design to art and design school students. Beyond the mere acquisition of academic skills, her teaching allows for a nurturing of the eye and sensibility of future graphic designers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbove and beyond training graphic designers in technical skills, project methods and academic skills (reading, writing, research), the affective and emotional benefits of exploring graphic design history need to be  recognized and defended.’ p. 76. 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Part I was conducted by Norwegian filmmaker Joachim Trier about directing personal stories within the larger history of film; Part II with Dutch design studio Experimental Jetset  draws the line from Mills’ design work in the 1990s to his films today; while Part III with Canadian singer and pop star Feist explores the making of 'C’mon C’mon' up close and the creative process at large.\u003c\/div\u003e\n\u003cdiv\u003e \u003cbr\u003eGraphically, these three conversations are presented in three separate booklets bound into one volume, which is simple and complicated, straightforward and complex all at the same time, and thus very much like Mills’ work, come to think of it.\u003c\/div\u003e\n\u003c!----\u003e","brand":"mono.kultur","offers":[{"title":"Default Title","offer_id":49703108477263,"sku":"PK1206","price":11.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202317741.jpg?v=1726827560"},{"product_id":"kyoichi-tsuzuki-tokyo-style","title":"Kyoichi Tsuzuki, Tokyo Style","description":"\u003cp\u003e\u003cem\u003e‘I had no choice but to buy my first large format camera, and since I did not have a car, I mounted my equipment on the foot of my scooter and rode around Tokyo for more than two years. 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A foreword by writer Barry Yourgrau, a longtime friend of Kyoichi, meditates on the ‘untidy and prodigiously cluttered’ hideouts of Tokyo, filled with everything ‘from the raunchy to the freaky and funky to the kawaii (“cute” in Japanese)’.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTokyo Style\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003einvites readers into the routines of one of the world’s major metropolises, offering a template for the ways we might live more connected with ourselves and our community. ‘Take a seat’, Kyoichi beckons. ‘This lifestyle ain’t half bad’.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Apartamento","offers":[{"title":"Default Title","offer_id":49758284317007,"sku":"PK1105","price":74.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202318341.jpg?v=1727447949"},{"product_id":"frederik-bille-brahe-atelier-september-a-place-for-daytime-cooking","title":"Frederik Bille Brahe, Atelier September: A place for daytime cooking","description":"\u003cp\u003e\u003cem\u003e‘This is a blueprint, you could say, for how to live a good life, eat well, and be happy.’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAtelier September: A place for daytime cooking\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the first cookbook dedicated to the renowned Copenhagen restaurant, featuring recipes from owner Frederik Bille Brahe, who grants exclusive access to Atelier September’s most iconic dishes. 86 recipes offer mostly vegetarian takes on breakfast, lunch, sweets, and A.S staples, including the ‘Avocado mad’, all with a focus on fresh, seasonal ingredients. 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