/ / / completed / / /
P.0 condemn || condemned
Stephen Duncombe once said, “The history of all rebellious cultural and political movements is within the history of the unavoidable contradiction of staking out new ground within and through the landscape of the past”.
“condemn || condemned” is the first publication from OXBLOOD Publishing, from the publisher’s founder. Operating under the imperative “get out, get out fast” this first publication was conceived, designed, and produced over the course of the few weeks following the 2017 presidential inauguration. The images are a small sampling of condemned buildings found in Auburn, NY. The images and corresponding text explore, through design and process, the poetic parallels and undertones between a body public whose foundation seems split by the awakening of a deep cultural fissure, and the often-overlooked deteriorating physical infrastructures.
P.1 [something billeted, something treatise]
“[something billeted something treatise]” was composed by Sutton through an aleatoric process that utilized lines from poems previously published or forthcoming in “Dusie: Tuesday Poem”, “N/A”, and “Volt”, amongst other works.
In order to subject the layout and design of Sutton’s work to additional aleatoric methods, the original manuscript was typed on a Smith-Corona Galaxy XXII, with all bracketing and underlining added by hand. The typewritten master was scanned and paginated digitally with the entirety of the final edition laser-printed. The cover labels are typewritten and the back imprint is letterpress.
The covers and paper are all salvaged office supplies (hanging file folders and 20# Gilbert copy paper, 25% cotton, and graph paper).
P.2 ISBN: Commodification + Monopoly
Sherman’s “ISBN: Commodification + Monopoly” is a brief essay presenting concerns with the current ISBN model in small press publishing, while also offering the potential of a cooperative solution.
The content of this book was printed digitally on 28# Mohawk Color Copy Premium with i-Tone. The covers were letterpress printed on a strange stock from the Wells College Book Arts Center paper storage room. The endpapers are a selection of ISBNs + SBNs from the author’s personal library.
For more information on Sherman’s proposed ISBN cooperative model, please contact email@example.com.
P.3 In/Conversation: On Language Series: No.1
Vida Sačić + H.R.Buechler / / notes for a conversation on “Like Some Female Hamlet”
This is the printed publication/iteration of Vida Sačić + H.R.Buechler / / notes for a conversation on “Like Some Female Hamlet” – No.1 in our In/Conversation: On Language Series. As a publication that was born in the digital, this analog publication possesses materials and a materiality that cannot be properly translated back into the digital. This includes a limited print from artist, Vida Sačić, produced after this project’s conclusion for the Assembly.
The interview itself concluded in late summer of 2017, with the printed publication/iteration produced in late winter of 2018 by H.R.Buechler between/at the Wells College Book Arts Center and Macmillin copy room in Aurora, NY. All design was conducted within the constraints of the Google Docs platform from which the work manifested (with the exception of page numbers). The Google Doc was exported as a .PDF, with the pages paginated into 11” x 17” spreads via InDesign for laser-printing on 28# Mohawk Color Copy Premium with i-Tone.
The covers were letterpress printed on a combination of (primarily) salvaged file folders from the Wells College “Rumpus Room” – a home for wayward and used office supplies – and a few “new” file folders from the cabinet next to the desk in office #32 of Morgan Hall. The broken wood type ‘V’ comes from H.R.’s personal collection, with the rest of the type provided by the Wells College Book Arts Center. Some monotype was harmed in the production of proper diacritics for typesetting.
No physical copy is alike. Just as no iteration of this publication is alike.
P.4 Ice In Water
Bruschera’s Ice In Water navigates the negotiations faced by the impact (and continuous integration) of technology in our day-to-life through a carefully and concise collection of poetics. Abrupt (yet repetitious) in delivery, her poetics are interrupted by simple imagery, variations in the transparency of material, impacting the ultimate read of the text itself. Various design errors present themselves, which further speak to the concerns presented.
The content of this book was printed digitally on 28# Mohawk Color Copy Premium with i-Tone, 29T Arjowiggins Curious Translucent Clear, and Clearprint 1000H Series Drafting and Design Vellum. The covers were letterpress printed on a backstock of French Paper Construction Insulation Pink cover weight.
The layout of this chapbook is set-up roughly to echo the screen size of a (now-obsolete) iPhone 5.