Ruben PaterCaps Lock, Valiz 2021PDF
Further Thoughts on Afrofuturism
Kodwo Eshun CR: The New Centennial Review, Summer 2003 PDF
Office of Culture and Design
Clara Balaguer and Kristian Henson Insights 2017, Walker Art Center Watch See also, Tropico Vernacular, Triple Canopy
The Aesthetics of Vulgarity
Achille Mbembe from On the Postcolony, University of California Press, 2001. pp 102–116 PDF see also, Africa contra Hegel, McKenzie Wark.
Subjects of Sex/Gender/Desire
from Gender Trouble, Routledge: NYC (1990).Judith Butler PDF
The Combahee River Collective Statement
This focusing upon our own oppression is embodied in the concept of identity politics. We believe that the most profound and potentially most radical politics come directly out of our own identity, as opposed to working to end someone else’s oppression.
The framework of identity reduces politics to who you are as an individual and to gaining recognition as an individual, rather than your membership in a collectivity and the collective struggle against an oppressive social structure.
Until Black Women Are Free, None of Us Will Be Free
we can take inspiration from the imaginative optimism of the Combahee Statement. Many things have changed since the publication of the document, but many have not, and therein lies the problem that continues to pull people into the streets. The women of the C.R.C. believed that another world was possible, one in which Black women, and thus all of humanity, were freed from systems of oppression and exploitation, as the result of a collective struggle that reached down to the roots of the problems we face.
The Pharmacopornographic Era
The pharmacopornographic business is the invention of a subject and then its global reproduction.
The Gay Science (What is Life?)
Life, too, is composition, and style is what our lives are about.
Postscript on the Societies of Control
October, Winter, 1992, Vol. 59 (Winter, 1992), pp. 3–7 Gilles DeleuzePDF
Eliot Noyes, Paul Rand, and the Beginnings of the IBM Design Program
The logo itself does not function as logo until it is firmly attached — physically and conceptually — to a particular, proprietary object or set of objects. While it may be said to exist without such an object, a logo does not attain its status as a symbol of value — that is, it does not have currency — until the system of objects to which it is affixed gives it meaning.
Post-Identity Design: Brands, Politics, and Technological Instability
Design can mobilize its forces toward a reduction in subjective creativity and private authorship and favor the development of systems toward cultural commons. In the future, identity systems might no longer consist of fixed design components, but of the programmatic interpretation of interrelated, ever-changing experiences.
A Politics of Alienation Laboria Cuboniks Read
McKenzie Wark 2017, publicseminar.org Read
Publics and Counterpublics
Michael Warner. Public Culture, Duke University Press, 2002. pp 49-62, 82–89. PDF
Metahaven and Marina Vishmidt Lars Müller, 2010 PDF
Kommando Otl Aicher
Selections Alexander Negrelli JVE, 2011 PDF
The Delights That Twentieth Century Technology Owes Us
Margit Rosen from Generous Structures, Casco Issues XXII Sternberg Press, 2011 PDF
Post-Cagean Aesthetics and the “Event” Score
Liz Kotz October, 2001. PDF pp 54–62, 71–80.
Structure in Art and Science
Structure, in its basic sense, is the combined unity of the parts and joints of entities. It is a pattern of dynamic cohesion in which noun and verb, form and to form, are coexistent and interchangeable; of interacting forces perceived as a single spatio-temporal entity.
The Grid in Corporate Identity
The conception of a corporate identity must be planned for all the information media which a firm uses for transacting its internal and external business.
Vital question: can a mark be variable without at the same time forfeiting its mark-like character?
Ideology and Ideological State Apparatuses
Ideology represents the imaginary relationship of individuals to their real conditions of existence.
Brand New Worlds
from Graphic Design: Now in Production
Andrew Blauvelt, Ellen Lupton (eds.). Walker Art Center, 2011.