My recent work has explored the perception of the book and its transformation in the 21st century. Projects include; ‘The backs of books’ as part of the ACE exhibition at the Freies Museum in Berlin 2012; ‘Fantasies of Escapism and Containment’ solo exhibition and book 2012; Rosebud no.7 Very Funny, edited by Ralf Hermes, published by Verlag für moderne Kunst, Nurnberg 2010; group exhibition and publication, Art of the Book, Gallery 210, University of Missouri, St. Louis, USA 2010.
"Ten Days at the Laundry" The Yard an artist studio collective curated an Exhibiton and... more "Ten Days at the Laundry" The Yard an artist studio collective curated an Exhibiton and Event at an alternative venue at the Hyde Laundry Premises in the heart of Winchester. This project brought together artists from different creative groups in Winchester in an sequence of events that cover a range of contrasting disciples never put together in Winchester befor
In September of 2011, I spent a week driving along and across the Irish border, beginning on the ... more In September of 2011, I spent a week driving along and across the Irish border, beginning on the north coast near Derry and ending at the shores of the Irish Sea near Warrenpoint. At each crossing I selected a spot with a view across the landscape. I observed and recorded the details in a notebook. These observations were purely factual, ranging from the smallest detail to the most general aspect. The task was simply to, as accurately as possible, put down what I could perceive in front of me. These pages of text are combined with Google map samples of the precise area that each recording was made at in order to create double page spreads of text and image.
Artist, media critic and editor in chief of Neural magazine, Alessandro Ludovico is joined by Emm... more Artist, media critic and editor in chief of Neural magazine, Alessandro Ludovico is joined by Emmanuelle Waeckerle, Delphine Bedel and Colin Sackett to discuss the shifting nature of the book as a medium, and consider what it could be(come) in today's complex information era. The conversation draws on the themes of the publication Code X, edited by Danny Aldred (BOOK-LAB, Winchester School of Art) and Emmanuelle Waeckerle (bookRoom, UCA Farnham).
The book includes texts by Verena Kuni, Jan Distelmeyer, Manuel Burger, Clemens Jahn, Nina Franz ... more The book includes texts by Verena Kuni, Jan Distelmeyer, Manuel Burger, Clemens Jahn, Nina Franz and a conversation among Danny Aldred, Kristoffer Gansing and Siegfried Zielinski. As a result of a seminar held at the Berlin University of the Arts, it documents the outcomes of the students confronted with the notion of “post-digital”
NUREMBERG/VIENNA: “Don’t tell my mother that I work in an advertising agency. She thinks I play t... more NUREMBERG/VIENNA: “Don’t tell my mother that I work in an advertising agency. She thinks I play the piano in a whorehouse.” This infamous quote from French creative director Jacques Sequela represents something almost unheard of in the advertising and design business: a decisive sense of self-deprecation. Of course, advertising in general is rarely a dreary subject — in fact, a humorous element here or there is often considered a welcome stylistic device in consumer communications. Yet the people behind the laughs tend to take themselves and their profession extremely seriously. Nonetheless, there are signs that the trend is changing. It wouldn’t be the first time that the so-called “applied arts” follow in the footsteps of pioneering movements such as Dada, Fluxus, conceptual art and the like. “Privately, insiders have been whispering for quite some time that humor will be THE next big thing in design,” the editors of +rosebud magazine explain. “We’re going to find out if there is ...
From Winchester, UK, artist Danny Aldred acts as a stationary, virtual flaneur, processing a far-... more From Winchester, UK, artist Danny Aldred acts as a stationary, virtual flaneur, processing a far-away geography understood through Google Earth. He selects and transmits his experience of the area surrounding Street Road image by image via fax. The viewer is in turn invited to experience this re-invented version of the very landscape that surrounds him or her through the artist’s digital eye, traveling to unfamiliar territory both within a close radius and across continents. The images, which rhythmically and somewhat loudly enter the gallery space at regular intervals through a hanging fax machine, are fleeting, fragmented, sometimes eerie, pieces of a puzzle which doesn’t quite add up to anything akin to physical reality. The fax, a near obsolete technology, was almost comically difficult to set-up. We first had to track down the kind of fax machine, which would take rolls of paper, on Craigslist, then tinker with it over a significant length of time to get it to print continuousl...
NUREMBERG/VIENNA: Don't tell my mother that I work in an advertising agency. She thinks... more NUREMBERG/VIENNA: Don't tell my mother that I work in an advertising agency. She thinks I play the piano in a whorehouse. This infamous quote from French creative director Jacques Sequela represents something almost unheard of in the advertising and design business: ...
We are pleased to announce Code—X, a new bookRoom press publication edited by Danny Aldred and Em... more We are pleased to announce Code—X, a new bookRoom press publication edited by Danny Aldred and Emmanuelle Waeckerlé, with a foreword by Alessandro Ludovico and endnotes by John Warwicker. 276 pages. RRP £20.00 – ISBN 978-0-9576828-3-2
Free download available here https://payhip.com/b/YFWwz Code—X, brings together a selection of projects and personal histories of the current transforming and expanding of publishing and the book medium with the aim to challenge the very notion of what it could be(come) in today's complex information era.
The way we share information is undergoing a huge transformation. Content is no longer fixed to a page, it can be user generated, open source or shared between different reading platforms. This disruption has challenged the very concept of the book as it has been accepted since the Gutenberg Revolution of the 1450s. 2010 marked the tipping point of the switch from print to pixel with more published online than on paper and this digital turn brought about new modes of making, reading and disseminating published works as well as new questions about formats, tools, content, collaboration and distribution.
The design of Code—X within codex form, proposed by studio 3015, represents a playful and daring twist of ink imitating pixel to render composition and design. The content is seen as a continuous scroll, cropped where screen meets paper edge. We celebrate both camps by highlighting dichotomies of edge to scroll, sequence to time and image to place. Featuring essays, interviews and works by:
Delphine Bedel, Simon Cutts, Sebastien Girard, Hans Gremmen, Andrew Haslam with Rose Gridneff & Alex Cooper, Alec Finlay with Ken Cockburn, Alessandro Ludovico, Silvio Lorusso, Katharine Meynell with Susan Johanknecht, Grégoire Pujade-Lauraine, AND Publishing, Colin Sackett, Jodie Silsby, Paul Soulellis, Stefan Szczelkun, John Warwicker (Tomato), Eric Watier, Maria White, Beth Williamson, David Lorente Zaragoza.
The books is the outcome of a collaboration with Book-Lab at Winchester School of Art where it was first launched in October 2015. This was followed by the Small Publishers Fair in London on the 7th of November 2015, then Printed Matter in New York on the 12th of November 2015, then TABS in Berlin on 21st January 2016, then Arts Libris in Barcelona on 24th April 2015
The book "War postdigital besser?" ["Was post-digital better?"] originates from a course at the B... more The book "War postdigital besser?" ["Was post-digital better?"] originates from a course at the Berlin University of the Arts' Visual Communication department entitled "Postdigital ist besser" ("Post-digital is better") which was composed around the relationship between the physical and the digital in book making. "War postdigital besser?" documents the respective works by the around 20 students but also takes a step further by posing this exact question to five selected authors from the fields of media studies and design:
Manuel Bürger (Graphic Designer, Berlin/Stuttgart)
Prof. Dr. Jan Distelmeyer (European Media Studies, FH Potsdam)
Nina Franz (Institute for Cultural History and Theory, Humboldt-University of Berlin)
Clemens Jahn (Graphic Designer, Berlin)
Prof. Dr. Verena Kuni (Visual Culture, Johann Wolfgang Goethe-Universität Frankfurt/Main)
The book also contains a foreword by the editors and a transcription of a podium discussion (with Danny Aldred, Dr. Kristoffer Gansing, and Prof. Dr. Siegfried Zielinski) which took place at the opening of an exhibition with the students' works at the Berlin University of the Arts' designtransfer gallery in April 2013.
Every book contains a used 3,5-inch disk with unknown content. Those disks are also the main (and only) cover design of the book.
Berlin 2014, 144 pages, ill., 23 x 16 cm, Softcover, German/(English)
ISBN 978-3-95763-004-9
"Ten Days at the Laundry" The Yard an artist studio collective curated an Exhibiton and... more "Ten Days at the Laundry" The Yard an artist studio collective curated an Exhibiton and Event at an alternative venue at the Hyde Laundry Premises in the heart of Winchester. This project brought together artists from different creative groups in Winchester in an sequence of events that cover a range of contrasting disciples never put together in Winchester befor
In September of 2011, I spent a week driving along and across the Irish border, beginning on the ... more In September of 2011, I spent a week driving along and across the Irish border, beginning on the north coast near Derry and ending at the shores of the Irish Sea near Warrenpoint. At each crossing I selected a spot with a view across the landscape. I observed and recorded the details in a notebook. These observations were purely factual, ranging from the smallest detail to the most general aspect. The task was simply to, as accurately as possible, put down what I could perceive in front of me. These pages of text are combined with Google map samples of the precise area that each recording was made at in order to create double page spreads of text and image.
Artist, media critic and editor in chief of Neural magazine, Alessandro Ludovico is joined by Emm... more Artist, media critic and editor in chief of Neural magazine, Alessandro Ludovico is joined by Emmanuelle Waeckerle, Delphine Bedel and Colin Sackett to discuss the shifting nature of the book as a medium, and consider what it could be(come) in today's complex information era. The conversation draws on the themes of the publication Code X, edited by Danny Aldred (BOOK-LAB, Winchester School of Art) and Emmanuelle Waeckerle (bookRoom, UCA Farnham).
The book includes texts by Verena Kuni, Jan Distelmeyer, Manuel Burger, Clemens Jahn, Nina Franz ... more The book includes texts by Verena Kuni, Jan Distelmeyer, Manuel Burger, Clemens Jahn, Nina Franz and a conversation among Danny Aldred, Kristoffer Gansing and Siegfried Zielinski. As a result of a seminar held at the Berlin University of the Arts, it documents the outcomes of the students confronted with the notion of “post-digital”
NUREMBERG/VIENNA: “Don’t tell my mother that I work in an advertising agency. She thinks I play t... more NUREMBERG/VIENNA: “Don’t tell my mother that I work in an advertising agency. She thinks I play the piano in a whorehouse.” This infamous quote from French creative director Jacques Sequela represents something almost unheard of in the advertising and design business: a decisive sense of self-deprecation. Of course, advertising in general is rarely a dreary subject — in fact, a humorous element here or there is often considered a welcome stylistic device in consumer communications. Yet the people behind the laughs tend to take themselves and their profession extremely seriously. Nonetheless, there are signs that the trend is changing. It wouldn’t be the first time that the so-called “applied arts” follow in the footsteps of pioneering movements such as Dada, Fluxus, conceptual art and the like. “Privately, insiders have been whispering for quite some time that humor will be THE next big thing in design,” the editors of +rosebud magazine explain. “We’re going to find out if there is ...
From Winchester, UK, artist Danny Aldred acts as a stationary, virtual flaneur, processing a far-... more From Winchester, UK, artist Danny Aldred acts as a stationary, virtual flaneur, processing a far-away geography understood through Google Earth. He selects and transmits his experience of the area surrounding Street Road image by image via fax. The viewer is in turn invited to experience this re-invented version of the very landscape that surrounds him or her through the artist’s digital eye, traveling to unfamiliar territory both within a close radius and across continents. The images, which rhythmically and somewhat loudly enter the gallery space at regular intervals through a hanging fax machine, are fleeting, fragmented, sometimes eerie, pieces of a puzzle which doesn’t quite add up to anything akin to physical reality. The fax, a near obsolete technology, was almost comically difficult to set-up. We first had to track down the kind of fax machine, which would take rolls of paper, on Craigslist, then tinker with it over a significant length of time to get it to print continuousl...
NUREMBERG/VIENNA: Don't tell my mother that I work in an advertising agency. She thinks... more NUREMBERG/VIENNA: Don't tell my mother that I work in an advertising agency. She thinks I play the piano in a whorehouse. This infamous quote from French creative director Jacques Sequela represents something almost unheard of in the advertising and design business: ...
We are pleased to announce Code—X, a new bookRoom press publication edited by Danny Aldred and Em... more We are pleased to announce Code—X, a new bookRoom press publication edited by Danny Aldred and Emmanuelle Waeckerlé, with a foreword by Alessandro Ludovico and endnotes by John Warwicker. 276 pages. RRP £20.00 – ISBN 978-0-9576828-3-2
Free download available here https://payhip.com/b/YFWwz Code—X, brings together a selection of projects and personal histories of the current transforming and expanding of publishing and the book medium with the aim to challenge the very notion of what it could be(come) in today's complex information era.
The way we share information is undergoing a huge transformation. Content is no longer fixed to a page, it can be user generated, open source or shared between different reading platforms. This disruption has challenged the very concept of the book as it has been accepted since the Gutenberg Revolution of the 1450s. 2010 marked the tipping point of the switch from print to pixel with more published online than on paper and this digital turn brought about new modes of making, reading and disseminating published works as well as new questions about formats, tools, content, collaboration and distribution.
The design of Code—X within codex form, proposed by studio 3015, represents a playful and daring twist of ink imitating pixel to render composition and design. The content is seen as a continuous scroll, cropped where screen meets paper edge. We celebrate both camps by highlighting dichotomies of edge to scroll, sequence to time and image to place. Featuring essays, interviews and works by:
Delphine Bedel, Simon Cutts, Sebastien Girard, Hans Gremmen, Andrew Haslam with Rose Gridneff & Alex Cooper, Alec Finlay with Ken Cockburn, Alessandro Ludovico, Silvio Lorusso, Katharine Meynell with Susan Johanknecht, Grégoire Pujade-Lauraine, AND Publishing, Colin Sackett, Jodie Silsby, Paul Soulellis, Stefan Szczelkun, John Warwicker (Tomato), Eric Watier, Maria White, Beth Williamson, David Lorente Zaragoza.
The books is the outcome of a collaboration with Book-Lab at Winchester School of Art where it was first launched in October 2015. This was followed by the Small Publishers Fair in London on the 7th of November 2015, then Printed Matter in New York on the 12th of November 2015, then TABS in Berlin on 21st January 2016, then Arts Libris in Barcelona on 24th April 2015
The book "War postdigital besser?" ["Was post-digital better?"] originates from a course at the B... more The book "War postdigital besser?" ["Was post-digital better?"] originates from a course at the Berlin University of the Arts' Visual Communication department entitled "Postdigital ist besser" ("Post-digital is better") which was composed around the relationship between the physical and the digital in book making. "War postdigital besser?" documents the respective works by the around 20 students but also takes a step further by posing this exact question to five selected authors from the fields of media studies and design:
Manuel Bürger (Graphic Designer, Berlin/Stuttgart)
Prof. Dr. Jan Distelmeyer (European Media Studies, FH Potsdam)
Nina Franz (Institute for Cultural History and Theory, Humboldt-University of Berlin)
Clemens Jahn (Graphic Designer, Berlin)
Prof. Dr. Verena Kuni (Visual Culture, Johann Wolfgang Goethe-Universität Frankfurt/Main)
The book also contains a foreword by the editors and a transcription of a podium discussion (with Danny Aldred, Dr. Kristoffer Gansing, and Prof. Dr. Siegfried Zielinski) which took place at the opening of an exhibition with the students' works at the Berlin University of the Arts' designtransfer gallery in April 2013.
Every book contains a used 3,5-inch disk with unknown content. Those disks are also the main (and only) cover design of the book.
Berlin 2014, 144 pages, ill., 23 x 16 cm, Softcover, German/(English)
ISBN 978-3-95763-004-9
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Free download available here https://payhip.com/b/YFWwz
Code—X, brings together a selection of projects and personal histories of the current transforming and expanding of publishing and the book medium with the aim to challenge the very notion of what it could be(come) in today's complex information era.
The way we share information is undergoing a huge transformation. Content is no longer fixed to a page, it can be user generated, open source or shared between different reading platforms. This disruption has challenged the very concept of the book as it has been accepted since the Gutenberg Revolution of the 1450s. 2010 marked the tipping point of the switch from print to pixel with more published online than on paper and this digital turn brought about new modes of making, reading and disseminating published works as well as new questions about formats, tools, content, collaboration and distribution.
The design of Code—X within codex form, proposed by studio 3015, represents a playful and daring twist of ink imitating pixel to render composition and design. The content is seen as a continuous scroll, cropped where screen meets paper edge. We celebrate both camps by highlighting dichotomies of edge to scroll, sequence to time and image to place. Featuring essays, interviews and works by:
Delphine Bedel, Simon Cutts, Sebastien Girard, Hans Gremmen, Andrew Haslam with Rose Gridneff & Alex Cooper, Alec Finlay with Ken Cockburn, Alessandro Ludovico, Silvio Lorusso, Katharine Meynell with Susan Johanknecht, Grégoire Pujade-Lauraine, AND Publishing, Colin Sackett, Jodie Silsby, Paul Soulellis, Stefan Szczelkun, John Warwicker (Tomato), Eric Watier, Maria White, Beth Williamson, David Lorente Zaragoza.
The books is the outcome of a collaboration with Book-Lab at Winchester School of Art where it was first launched in October 2015. This was followed by the Small Publishers Fair in London on the 7th of November 2015, then Printed Matter in New York on the 12th of November 2015, then TABS in Berlin on 21st January 2016, then Arts Libris in Barcelona on 24th April 2015
Manuel Bürger (Graphic Designer, Berlin/Stuttgart)
Prof. Dr. Jan Distelmeyer (European Media Studies, FH Potsdam)
Nina Franz (Institute for Cultural History and Theory, Humboldt-University of Berlin)
Clemens Jahn (Graphic Designer, Berlin)
Prof. Dr. Verena Kuni (Visual Culture, Johann Wolfgang Goethe-Universität Frankfurt/Main)
The book also contains a foreword by the editors and a transcription of a podium discussion (with Danny Aldred, Dr. Kristoffer Gansing, and Prof. Dr. Siegfried Zielinski) which took place at the opening of an exhibition with the students' works at the Berlin University of the Arts' designtransfer gallery in April 2013.
Every book contains a used 3,5-inch disk with unknown content. Those disks are also the main (and only) cover design of the book.
Berlin 2014, 144 pages, ill., 23 x 16 cm, Softcover, German/(English)
ISBN 978-3-95763-004-9
Free download available here https://payhip.com/b/YFWwz
Code—X, brings together a selection of projects and personal histories of the current transforming and expanding of publishing and the book medium with the aim to challenge the very notion of what it could be(come) in today's complex information era.
The way we share information is undergoing a huge transformation. Content is no longer fixed to a page, it can be user generated, open source or shared between different reading platforms. This disruption has challenged the very concept of the book as it has been accepted since the Gutenberg Revolution of the 1450s. 2010 marked the tipping point of the switch from print to pixel with more published online than on paper and this digital turn brought about new modes of making, reading and disseminating published works as well as new questions about formats, tools, content, collaboration and distribution.
The design of Code—X within codex form, proposed by studio 3015, represents a playful and daring twist of ink imitating pixel to render composition and design. The content is seen as a continuous scroll, cropped where screen meets paper edge. We celebrate both camps by highlighting dichotomies of edge to scroll, sequence to time and image to place. Featuring essays, interviews and works by:
Delphine Bedel, Simon Cutts, Sebastien Girard, Hans Gremmen, Andrew Haslam with Rose Gridneff & Alex Cooper, Alec Finlay with Ken Cockburn, Alessandro Ludovico, Silvio Lorusso, Katharine Meynell with Susan Johanknecht, Grégoire Pujade-Lauraine, AND Publishing, Colin Sackett, Jodie Silsby, Paul Soulellis, Stefan Szczelkun, John Warwicker (Tomato), Eric Watier, Maria White, Beth Williamson, David Lorente Zaragoza.
The books is the outcome of a collaboration with Book-Lab at Winchester School of Art where it was first launched in October 2015. This was followed by the Small Publishers Fair in London on the 7th of November 2015, then Printed Matter in New York on the 12th of November 2015, then TABS in Berlin on 21st January 2016, then Arts Libris in Barcelona on 24th April 2015
Manuel Bürger (Graphic Designer, Berlin/Stuttgart)
Prof. Dr. Jan Distelmeyer (European Media Studies, FH Potsdam)
Nina Franz (Institute for Cultural History and Theory, Humboldt-University of Berlin)
Clemens Jahn (Graphic Designer, Berlin)
Prof. Dr. Verena Kuni (Visual Culture, Johann Wolfgang Goethe-Universität Frankfurt/Main)
The book also contains a foreword by the editors and a transcription of a podium discussion (with Danny Aldred, Dr. Kristoffer Gansing, and Prof. Dr. Siegfried Zielinski) which took place at the opening of an exhibition with the students' works at the Berlin University of the Arts' designtransfer gallery in April 2013.
Every book contains a used 3,5-inch disk with unknown content. Those disks are also the main (and only) cover design of the book.
Berlin 2014, 144 pages, ill., 23 x 16 cm, Softcover, German/(English)
ISBN 978-3-95763-004-9