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Zuzana Licko’Dur
Slovak dilini konuşup geleneklerini servet kazanmak için kestirme sürdürürken, okulda ikinci bir dili bir yol olacağını düşünmüşlerdi. ve yeni âdetleri öğreniyordum. Başlangıçta amaç sadece Hollandalı Bu benim farklılıkların farkına sanatçılara odaklanmaktı, ama varmamı sağladı ve bana bir sonraları içeriği yurt dışında yabancının bakış açısını verdi. Aynı çalışanları kapsar hale gelince ismi, zamanda muhtemelen her şeyi uygun biçimde, Emigre oldu. Uzun sorgulama eğilimimi geliştirdi ve ön lafın kısası, Rudy’nin arkadaşları yargıları sorgulamayı öğretti, bunlar derginin umdukları gibi kârlı da beni tasarım mesleğine çeken olmayacağını anlayınca dergiyi bize şeyler oldu. bırakıp gittiler. O sıralar ben zaten Mac ile yarattığım bitmap fontları doğmuş ama Kaliforniya Dijital yazıtipi tasarımıyla dergide kullanıyordum. Fontların dolaylarında yetişmişlerdi ilgilenmeye başlayan ilk grafik 1985’te Emigre’yi çıkartmaya tasarımcılardan ve Mac kullanan başladığımızda Mac’te sayfa ve bu yüzden girişimlerine ilk yazıtipi tasarımcılarından düzeni programları yoktu. arkasındaki Emigre (Göçmen) Grafik birisiniz. Bu nasıl oldu? PostScript ve lazer yazıcılar bile adını koydular. Aslında Resim yapmayı, Legolarla oynamayı henüz yoktu. Yazıtiplerini nokta yüzler gurbetçiler için mizahi ve matematiği seven bir çocuktum. vuruşlu ImageWriter yazıcılarda bir sanat dergisi olarak Bu yüzden mimar olmak istediğimi düşündüm ve UC Berkeley’de MRS EAVES OT Zuzana başlamış olan Emigre Çevre Tasarımı Bölümüne girdim. Dergisi zaman içinde Okula başladığımda, fotoğrafçılık, tipografi için son derece tipo ve tipografi gibi yan derslerle Licko etkin bir vitrin haline daha fazla ilgili olduğumu fark ettim. Bölüm Görsel Çalışmalar MyFonts, Creative Characters, gelmiş ve yazıtiplerinin programını durdurmuştu, ancak sayı 105, Haziran 2016 tartışıldığı avangard birçok mimarlık öğrencisinin Çeviri: Ayşe Dağıstanlı bir foruma dönüşmüştür. ufkunu genişleteceği düşünüldüğü Yaratıcı yeniden için bu dersler iptal edilmemişti. -
Rose, T. Prophets of Rage: Rap Music & the Politics of Black Cultural
Information Services & Systems Digital Course Packs Rose, T. Prophets of Rage: Rap Music & the Politics of Black Cultural Expression. In: T.Rose, Black noise : rap music and black culture in contemporary America. Hanover, University Press of New England, 1994, pp. 99-145. 7AAYCC23 - Youth Subcultures Copyright notice This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Staff and students of King's College London are Licence are for use in connection with this Course of reminded that copyright subsists in this extract and the Study. You may retain such copies after the end of the work from which it was taken. This Digital Copy has course, but strictly for your own personal use. All copies been made under the terms of a CLA licence which (including electronic copies) shall include this Copyright allows you to: Notice and shall be destroyed and/or deleted if and when required by King's College London. access and download a copy print out a copy Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is Please note that this material is for use permitted without the consent of the copyright holder. ONLY by students registered on the course of study as stated in the section above. All The author (which term includes artists and other visual other staff and students are only entitled to creators) has moral rights in the work and neither staff browse the material and should not nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any download and/or print out a copy. -
Methods for a Critical Graphic Design Practice
Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Emigre No.40
Fall Information is in a way the opposite 1996 of garbage, although in our contemporary Guest Editor: THE INFO Andrew Blauvelt PERPLEX commercialized world they may at times Designer: Rudy VanderLans Copy Editor: appear identical. As a rule, information is Alice Polesky Emigre Fonts: something to preserve, garbage is Zuzana Licko Sales, distribution, and administration: Tim Starback something to be destroyed. However, both Sales John Todd and Darren Cruickshank can be looked on as a kind of waste product, a physical burden, and for contemporary society both are among the most pressing 1 Emigre no.40 This issue of Emigre problems today. was typeset in Base-9 and Base-12, designed – B i l l V i o l a by Zuzana Licko. Postmaster: Emigre (ISSN 1045-3717) is published quarterly for $28 per year by Emigre, Inc. 4475 D Street, Sacramento, CA 95819, U.S.A. Second class postage paid at Sacramento, CA. Postmaster please send address changes to: Emigre 4475 D Street, Sacramento, CA 95819, U.S.A. Copyright: © 1996 Emigre, Inc. All rights reserved. No part of this publication may be reproduced without written permission from the contributors or Quotes on inside front and back covers by Bill Viola. Emigre, Inc. Emigre is From HISTORY, 10 YEARS, AND THE DAYDREAM, in Reasons for knocking at an Empty House . Cambridge, MA a registered trademark of and London: MIT Press, 1995 Emigre Graphics. Phone: 916.451.4344 / Fax: 916.451.4351 Email (Editorial): [email protected] / Email (Subscriptions, etc.): sales @emigre.com 1 27 1 We write not to be understood 2 28 2 but to understand. -
Designed by Zuzana Licko Licensed and Distributed by Emigre * Mr Eaves Type Specimen Mr Eaves Type Specimen
mr eaves type specimen 1 MReaves DesigneD by ZuZana Licko LicenseD anD DistributeD by emigre *www.emigre.com mr eaves type specimen mr eaves type specimen 2 Mr Eaves Design Notes 3 Mr Eaves is the often requested sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this latest addition to the Emigre Type Library is based on the proportions of the original Mrs Eaves. aa gg tt Mr Eaves Sans and Mr Eaves Modern counterparts. A matching Modern family provides a less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off aOriginal Mrs Eavesa Sans in black.d Mr Eaves Sans companiond font in white.ee terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. Licko took some liberty with the design of Mr Eaves. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique charac- teristics. mMr Eaves Sans and Mrm Eaves Modern counterparts. ww The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is f f tt cc desired. Deviations from the Mrs Eaves model are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. -
Ambition/Fear by Zuzana Licko and Rudy Vanderlans Visions of Bold
Ambition/Fear ously hinged between disciplines will find that digital technology By ZuZana Licko and Rudy VandeRLans allows them that crossover necessary for their personal expression. One such new area is that of digital type design. Custom typefaces can now be produced letter, by letter, as called for in day-by-day ap - plications. This increases the potential for more personalized type - Visions of bold-italic-outline-shadow Helvetica “Mac” tricks have faces as it becomes economically feasible to create letter forms for sent many graphic designers running back to their T-squares and specific uses. rubber cement. Knowing how and when to use computers is difficult, since we have only begun to witness their capabilities. Some design - By making publishing and dissemination of information faster and ers have found computers a creative salvation from the boredom of less expensive, computer technology has made it feasible to reach a familiar methodologies, while others have utilized this new technol - smaller audience more effectively. It is no longer necessary to market ogy to expedite traditional production processes. For this eleventh for the lowest common denominator. There is already a growth in issue of Emigre we interviewed fifteen graphic designers from around the birthrate of small circulation magazines and journals. Although the world, and talked about how they work their way through the this increases diversity and subsequently the chances of tailoring sometimes frustrating task of integrating this new technology into the product to the consumer, we can only hope that such abundance their daily practices. will not obliterate our choices by overwhelming us with options. -
THE KILLING SEASON a Summer Inside an LAPD Homicide Division
NATIONAL BESTSELLER "Remarkable—great journalism, social commentary, and writing rolled into a fascinating, gripping, and at times heartwrenching story."—Michael Connelly, rwiTiTT^ Author of The Poet and TVunk Music KILLING SEASON \ A SUMMER Ilmdeanlafd homicide division MILE C O RW I N THE KILLING SEASON A Summer Inside an LAPD Homicide Division Miles Corwin FAWCETT CREST • NEW YORK Sale of this book without a front cover may be unauthorized. If this book is coverless, it may have been reportedto the publisheras "un sold or destroyed" and neither the author nor the publisher may have received payment for it. A Fawcett Crest Book Published by The Ballantine Publishing Group Copyright © 1997 by Miles Corwin All rights reservedunder International and Pan-American Copyright Conventions. Published in the United States by The Ballantine Pub lishingGroup,a division of Random House. Inc., NewYork, and dis tributed in Canada by Random House of Canada Limited,Toronto. The photographs on insert pages 2-7 and cover photograph by Gary Friedman/Las Angeles Times http://www.randomhouse.com Library of Congress Catalog Card Number: 97-97106 ISBN 0-449-00291-8 This edition published by arrangement with Simon & Schuster, Inc. Manufactured in the United States ofAmerica First Ballantine Books Edition: May 1998 10 9 8 7 6 5 In memoryofmyfather, Lloyd Corwin Introduction The genesisof this book was a summer night that I spent with a homicide detective in South-Central Los Angeles. I was the crime reporterfor the LosAngeles Times, and I followed the detective in order to write about the changing nature of homi cide in the city. -
The Acoustic City
The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and -
A Console Reborn the Story of Sound Techniques
David Broza’s En Casa Limon ★ Live By Phone ★ Here Comes MIDI 2.0 ★ Classic Tracks: ‘White Punks on Dope’ August 2020 \\ mixonline.com \\ $6.99 >REVIEWED PRESONUS QUANTUM 2626 AUDIO INTERFACE NUGEN AUDIO SEQ-S LINEAR PHASE EQ MUSIC PRODUCTION ! LIVE SOUND ! SOUND FOR PICTURE A Console Reborn The Story of Sound Techniques Shooter Jennings’ Truth Producing Tanya Tucker or Playing With Marilyn Manson, It’s All About Honesty Resurrection of a Console Danny White, Geoff Frost and the Legend of Sound Techniques By Steve Harvey hat signi!icant piece of audio Frost set up a workshop upstairs and began to equipment is common to “Hey, hand-build custom consoles for the likes of De W Jude,” several tracks off the White Lane Lea Kingsway and Trident Studios, while Album and a slew of career-de!ining LPs from Wood ran the studio below. When the red light the likes of David Bowie, Queen, Elton John, The went on in the workshop Frost and crew would Doors, Deep Purple, Genesis, The Rolling Stones set down tools until the end of the take. and Nick Drake? It wasn’t long before Tutti Camarata at Sunset While you think about that, let me tell you Sound Recorders in Hollywood heard about the a story. Sound Techniques A Range and ordered one to In late 1964, Geoff Frost and John Wood, two enable his facility to work in the new 8-track staff engineers working at Levy's Sound Studio format. Installed in April 1967, the desk was in London, decided to quit and open their own the !irst British-designed mixing desk ever sold recording studio after the giant U.S. -
The Music of Relationality in the Cinema of Claire Denis
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Concert and disconcertion: the music of relationality in the cinema of Claire Denis https://eprints.bbk.ac.uk/id/eprint/40453/ Version: Full Version Citation: Brown, Geoffrey (2019) Concert and disconcertion: the music of relationality in the cinema of Claire Denis. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Concert and Disconcertion : the music of relationality in the cinema of Claire Denis Geoffrey Brown Thesis submitted for the degree of PhD in French 2019 Department of European Cultures and Languages Birkbeck, University of London 2 Declaration I declare that the work presented in this thesis is my own, and that this thesis is the one on which I expect to be examined. Geoffrey Brown 3 This thesis is dedicated to Agnès Calatayud, an inspirational teacher, who reconnected me to French cinema after a long carence, and who, crucially, first introduced me to the films of Claire Denis. 4 Abstract This thesis argues that the interest which the films of Claire Denis display in the ever-shifting modes of relations between people is illustrated through analysis of how music is used throughout her corpus of feature films. Denis draws on an extremely eclectic palette of musical styles, and the thesis proposes that these varying musical modalities are central to her treatment of relational issues, as are the ways in which she deploys her chosen musical selections. -
Inside Emigre 1984 - 2005
Deeply involved Inside Emigre 1984 - 2005 They came to the profession of graphic design not simply to assimilate but to question and also to transform it. I believe Content in me Million ideas participants Exploration 12 16 20 Rules to Enthusiasm question Good 8 luck 26 22 30 Editorial Impressum 7 34 6 7 Editorial When I started my research for Emigre Magazin I wasn’t sure what to expect. Needless to say, I was impressed by Rudy VanderLans unconventional layouts and the enormous amount of different fonts created by Zuzana Licko. But apart from this I found more. While I went through the issues of Emigre in our library I stumbled over some ama- zing articles from different authors concerning various subjects of life per se as well as discussi- ons about graphic design. Finally, I came to issue #69, a summary of the whole Emigre story. I found myself confronted with testifies from Rudy VanderLans concerning the attitude, a graphic designer should have, and what it needs to be a designer, such as enthusi- asm and entrepreneurialism but also a little bit of luck. It became clear why Emigre was successfull almost two decades. As a student I thought these statements are really worth sharing and therefo- re I centered my attention in this folder on Rudy VanderLans quotations. 8 Ex plo ra tion Be tired of the monotony of traditional typography E Elments of the Emigre cover issue # 14, 1985 11 10Exploration „ The first issue was put Early explorers of new technology together in 1984 in an We wanted to explore a more 11.5″ by 17″ format by VanderLans and two other Dutch immigrants, expressive, individualized Marc and Menno.