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Which clippings match 'Futurism' keyword pg.1 of 1
13 SEPTEMBER 2014

About Two squares: In 6 constructions: A Suprematist Tale (Suprematicheskii Skaz Pro Dva Kvadrata v Shesti Postroikakh)

"This short book, intended for children of all ages, is perhaps the best–known work of El Lissitzky (1890–1941). Lissitzky was a Russian artist, architect, designer, typographer, and photographer who was active in the avante garde movement that flourished in Soviet Russia and in Germany, until the dominance of Soviet Realism by 1930 put a stop to its revolutionary activity. He directly influenced the typographical and display advertising innovations of the Bauhaus and 'de Stijl'. This book entirely integrates modern typographical effects, as Lissitzky intended, with his illustrations in the Suprematist style.

The original book About Two Squares was printed by letterpress, even the slanted text and illustrations. It was first produced ('constructed') in 1920 at the Soviet art institute UNOVIS in Vitebsk, and around April 1922 printed by Sycthian Press, Berlin, by Haberland Printers, Leipzig, in paperback, with 50 hardbound copies autographed and numbered, as the copyright page states."

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TAGS

1922 • About 2 Squares (El Lissitzky) • allegory • art books • artistartists booksavant-garde artists • avant-garde movement • black square • Bolshevism • childrens bookDe Stijldesign formalismEl LissitzkyFuturismgeometric abstractiongeometric formsgeometric primitivegraphic designgraphic design historyibiblioJew • Lazar Markovich Lissitzky • letterpress printinglithographymanifestomodernist aesthetics • modernist utopian vision • non-objective art • offset litho • offset printingpaperback • periodical design • picture bookprintingprintmaking • propagandist works • red circle • red square • Russian constructivism • Russian nationalism • sans-serif typeface • Soviet propaganda • Soviet Russiasquare • story of revolution • Suprematism • suprematism movement • suprematist aesthetics • typographical effects • typography • UNOVIS (Affirmers of the New Art) • utilitarianvisual abstraction

CONTRIBUTOR

Simon Perkins
30 JANUARY 2014

100+ Years of Design Manifestos

"Since the days of radical printer–pamphleteers, design and designers have a long history of fighting for what's right and working to transform society. The rise of the literary form of the manifesto also parallels the rise of modernity and the spread of letterpress printing. ...

The original list was largely drawn from Mario Piazza's presentation at the Più Design Può conference in Florence, though I've edited and added to it. I've also incorporated links where I was able to find them."

(John Emerson, 22 July 2009, Social Design Notes)

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TAGS

Albe Steiner • Alberto Marangoni • Allan Chochinov • anti-manifesto • Antonio Sant Elia • architectureArts and Crafts MovementBauhaus School • Blair Enns • Bruce MauBruce SterlingBruno TautDanish designDe Stijl • Dean Allen • design manifesto • Dieter RamsDogme 95El Lissitzky • Ellen Lupton • Filippo Tommaso MarinettiFuturism • Gelsomino DAmbrosio • Giancarlo Iliprandi • Gianfranco Torri • Giovanni Anceschi • Giovanni Baule • Giovanni Lussu • GNUgood designgraphic designGuy DebordIcogradainfographicsJeffrey Zeldman • Karim Rashid • Kathleen Hanna • Ken Garland • Laszlo Moholy-Nagyletterpress printing • literary form • manifestoManuel Lima • Mario Piazza • Mark Goldman • Marke Hamburg • Michael Erard • Mitch Goldstein • Noah Scalin • pamphleteer • Patrik Schumacher • Pierre Bernard • Pino Grimaldi • publishing • radical rethinking • Scandinavian Design Council • Society of the Spectacle (Guy Debord)typography • Umair Haque • un-manifesto • Walter Gropius • Warren Berger • William McDonough • William Morris

CONTRIBUTOR

Liam Birtles
11 FEBRUARY 2012

Overcoding, Coding, and Recoding

"...The social axiomatic of modern societies is caught between two poles and is constantly oscillating from one pole to the other. Born of decoding and deterritorialization, on the ruins of the despotic machine, these societies are caught between the Urstaat that they would like to resuscitate as an overcoding and reterritorializing unity, and the unfettered flows that carry them toward an absolute threshold. They recode with all their might, with world–wide dictatorship, local dictators, and an all–powerful police, while decoding – or allowing the decoding of – the fluent quantities of their capital and their populations. They are torn in two directions: archaism and futurism, neoarchaism and ex–futurism, paranoia and schizophrenia. They vacillate between two poles: the paranoiac despotic sign, the sign–signifier of the despot that they try to revive as a unit of code; and the sign–figure of the schizo as a unit of decoded flux, a schiz, a point–sign or flow–break. They try to hold on to the one, but they pour or flow out through the otaxher. They are continually behind or ahead of themselves."

(Deleuze and Guattari 1983, 260)

TAGS

a point-sign • a schiz • all-powerful • archaism • capital • continually ahead of themselves • continually behind themselves • cultural code • decoded flux • decoding • despot • despotic • despotic machine • deterritorialisation • dictatorship • ex-futurism • Felix Guattariflow • flow-break • flows • fluent quantities • FuturismGilles Deleuzeglobal capital flows • local dictators • neoarchaism • oscillating • overcodingparanoia • paranoiac • pole to pole • police • populations • pour • Recode • resuscitate • reterritorialising unity • schizo • schizophrenia • sign-figure • sign-signifier • social axiomatic of modern societies • societies • threshold • torn in two directions • unfettered flows • Urstaat • vacillate between two poles • world-wide dictatorship

CONTRIBUTOR

Simon Perkins
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