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Walking with speculative artefacts in public space of Amsterdam - Kamila Wolszczak

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Walking with speculative artefacts in public space of Amsterdam - Kamila Wolszczak

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From Walking as Research Practice

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Kija Lucas- Photographer - ‘Objects to remember you by’

Shana Sadeghi-Ray- Graphic designer- ‘Collection project’

Hans Eijkelboom- Photographer- ‘People of the Twenty-First Century’

Khandakar Ohida- Artist- ‘Dream Your Museum’

Simon Puschmann- Photographer- ‘Wastelands’

Callum O’Keefe- Photographer- ‘Antiques of the Future’

Robert Rauschenberg (litho prints)

Centre Centre- Publishing house (Patrick Fry)

Lenka Clayton

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https://www.themst.org/

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Lucas, K. (2015). Objects to remember you by: An Index of Sentiment. [Photography] 

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Objects to Remember You By: An Index of Sentiment examines the objects we carry through our lives and the memories and meanings we attach to them, qualities that surpass their initial usefulness. Something held by a loved one allows us to feel close to that person, even without their presence. While these objects can offer a sense of safety or closeness, they can also be heavy and difficult. When creating a place to live, we commonly introduce these objects to make our spaces our own and to remind us of what matters from our past. For this project, I ask participants to bring in object [s] of sentimental value to my studio or a designated place be photographed and added to a growing archive of images. This project has taken place throughout the San Francisco Bay Area, as well as upstate New York, Grinnell, Iowa, and Pittsburgh, PA. Please visit The Museum of Sentimental Taxonomy to learn about pop-ups to get your objects photographed or contact me if you would like to participate, or host the project at your space.

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Objects to Remember You By: An Index of Sentiment examines the objects we carry through our lives and the memories and meanings we attach to them, qualities that surpass their initial usefulness. Something held by a loved one allows us to feel close to that person, even without their presence.

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https://www.itsnicethat.com/articles/shana-sadeghi-ray-graphic-design-160721

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Celtic Pride (By Shana Sadeghi-Ray and Patrick Rood)

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Khandakar Ohida- Dream Your Museum (2022)

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Khandakar Ohida- Dream Your Museum (2022)

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The Jameel Prize is the V&A’s award for contemporary art and design inspired by Islamic culture, history, society and ideas.

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Hans Eijkelboom- ‘People of the Twenty-First Century’

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Hans Eijkelboom- ‘People of the Twenty-First Century’

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Hans Eijkelboom- Photographer- ‘People of the Twenty-First Century’ book.

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Eijkelboom, H. (2014). People of the twenty-first century. London: Phaidon Press.

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For the last 20 years, unassuming Dutch photographer Hans Eijkelboom has traversed the world, picking a spot, be it in Shanghai, New York, or Paris, and meticulously photographed what he saw. "I take between 1 and 80 photographs a day, almost every day, 12 months a year," he says, referring to his "Photo Notes" project, which has now been turned into a book titled People of the Twenty-First Century. The "Photographic Journal," published by PHAIDON, is the largest, most comprehensive work of his to date, and includes thousands of photos that, together, create a fascinating picture of mankind.

The "anti-sartorial" photographs of everyday people capture specific visual themes - people in red jackets, men with bare chests on roller blades - that are grouped together with the date, city and time range they were taken. And this combination and repetition is what makes the photographs so powerful. Viewed separately, they would hardly even catch our eye.

"I don't use this diary to show what happens in my life but as a method of visualizing the development of my world view," writes the artist. Much like the way stalagmites form in caves over hundreds of years, Eijkelboom's landscape is the result of a methodical fixation to the banality of everyday life. Hans Eijkelboom's People of the Twenty-First Century is available for around $26 (Via Citylab)

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Photographer Spends 20 Years Documenting How We All Dress Exactly Alike

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For the last 20 years, unassuming Dutch photographer Hans Eijkelboom has traversed the world, picking a spot, be it in Shanghai, New York, or Paris, and meticulously photographed what he saw.

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Antiques of the Future
A selection of images from my current body of work titled 'Antiques of the Future', a project exploring collectors and the relationship to their possessions. Starting as an exploration to try and understand my Fathers compulsion to collect, this series takes a broad view of collecting and explores the themes photographically. As well as creating the series of images, I am also currently building an immersive installation experience to be viewed physically along with the work to help the viewer gain a better understanding as to why these individuals collect.

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Antiques of the Future A selection of images from my current body of work titled 'Antiques of the Future', a project exploring collectors and the relationship to their possessions. Starting as an exploration to try and understand my Fathers compulsion to collect, this series takes a broad view of collecting and explores the themes photographically.

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hardware archive by liang-jung chen of initial initiatives as part of the misused project.

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Clayton explores themes of collecting and objects throughout all her projects.

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Other people’s shopping lists — LAURA BERTINELLI

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Other people’s shopping lists — LAURA BERTINELLI

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Graphic designer | Creative director | Illustrator

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Artcicle: Object Lessons in History - By Sam Roberts

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Artcicle: Object Lessons in History - By Sam Roberts

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Article: What These Designers Discovered After Collecting Decades of Printed Paper Junk- By Madeleine Morley

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Article: What These Designers Discovered After Collecting Decades of Printed Paper Junk- By Madeleine Morley

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What These Designers Discovered After Collecting Decades of Printed Paper Junk

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When I was a graduate student completing my art history thesis, I found that the best archives were the ones that didn’t contain glamorous or rare materials, but rather the ephemera of everyday life. At the time, I was working part-time in an analog painting archive gluing down pictures of paintings

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Exhibition: Barbican - Magnificent Obsessions

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Exhibition: Barbican - Magnificent Obsessions

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The first major exhibition in the UK to present the fascinating personal collections of post-war and contemporary artists

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issue1.shiftspace.pub. (n.d.). On Gathering - Mindy Seu.

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I have long been a gatherer. Though we rarely hear this word used literally anymore, we do hear its sister Floral arrangements by Wretched Flowers graced the tables of Forlini's in Manhattan for the 2020 Rhizome Benefit honoring Devin Kenny and Seth Price. Created to "raise questions about ethnobotany and interspecies collaboration," the arrangements were foraged from Wretched Flowers's property in Connecticut. As the year went on and we all began to navigate life in a time of heightened precarity, Anna Tsing's 2015 Ursula K. Le Guin, The positioning of Le Guin's basket and Tsing's feral infrastructure is foundational to adrienne maree brown, Michael Warner, "Publics and Counterpublics," gathering, as in gathering people, gathering information, gathering pace. Occasionally-increasingly, through a year of pandemic-we hear of gathering mushrooms and wild-foraged bouquets,1 The Mushroom at the End of the World grew increasingly relevant. See Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton: Princeton University Press, 2015).hobbies for the otherwise domesticated. But the term gatherer we more immediately associate with our origins as hunter-gatherers, nomads foraging food and moving with the seasons for subsistence. We went, we gathered goods, and then we returned home to our kin, sharing as survival.

In Ursula K. Le Guin's Carrier Bag Theory of Fiction 2 The Carrier Bag Theory of Fiction, rev. ed. (London: Ignota Press, 2019).(1986), Le Guin posits the first human tool as the basket, not the spear, thereby recasting the first protagonist as a gatherer, not a hunter. Not only did this address the deeply gendered roles of these two parts, it also changed the singular hero to the plural collective, from he to we. "Before the tool that forces energy outward," she writes, "we made the tool that brings energy home." Gathering, for Le Guin, is not a masculine, techno-utopian process of disruption or of moving fast and breaking things, but the methodical, deep labor that comes from "looking around, rather than looking ahead," from gathering rather than hunting. 3
The Scalability Project, which also uses this line in its curatorial statement. See Roxana Fabius, Patricia M. Hernandez, and Mindy Seu, The Scalability Project: Cacophony of Troubled Stories, A.I.R. Gallery, https://scalabilityproject.org.
When I call myself a gatherer, I mean that, even without my hands in dirt, I aggregate, together with collaborators, disparate pieces from an ecosystem, and develop the appropriate container for each collection. It was only when Laura Coombs pointed out the byline for the book Pleasure Activism (2019), "gathered and edited by adrienne maree brown," 4 Pleasure Activism is a gathering of ideas, stories, interviews, held together in the shape of a book. As a container, it is more than just the sum of its parts; the book is the site around which its public forms, and a place in which to gather that public. Pleasure Activism: The Politics of Feeling Good (Chico, CA: AK Press, 2019).
that I began to see myself in the term and its use. 5
Public Culture 14, no. 1 (2002): 49-90, https://doi.org/10.1215/08992363-14-1-49.

Gathering is, in this way, not the act of aggregation alone. It is not an automated collection or the formal acquisition of works for an institution, nor is it the plundering or extraction of resources from a neighboring region. It is the tender and thoughtful collection of goods for your kin, and a moment for reunion, for celebration, and for introspection around those goods. Now, as I reflect on some of the many remote conversations I've had in the past year, I see a throughline of gathering in its many forms: the material gathering of crowd-sourced ephemera; the social gathering of sharing these findings in online conversations; and the collective building of digital tools to contain them. Gathered here, in this text, these expansions and explorations of what gathering is and what it can be might help us return to the original meaning of the word, sharing as survival, as we move from physical to virtual contexts.Kirsten Grimstad and Susan Rennie, "Behind the Making of the 'Feminist Whole Earth Catalog,'" interview by Meg Miller, While second-wave feminism focused on employment and education, it primarily centered cis white women and upheld "white feminism," leading to the emergence of intersectionality at the heart of third-wave feminism. For more on intersectional feminism, please see Kimberle Crenshaw, "Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color," The The in-progress index was, for a time, an open-access Google Sheets document: https://docs.google.com/spreadsheets/d/1JAnThe manifesto was first published as Legacy Russell, "Digital Dualism And The Glitch Feminism Manifesto," See Saidiya Hartman, "Venus in Two Acts,"

The New Woman's Survival Catalog ( NWSC), a survey of alternative, second-wave feminism, was co-created by Kirsten Grimstad and Susan Rennie in 1973 with just that explicit goal in mind, its ambition baked into its title. The bookstores, rape crisis centers, and financial resources it documents, along with the consciousness-raising it forwards, Kirsten and Susan write, "express a rejection of the values of existing institutional structures, and, unlike the hip male counterculture, represent an active attempt to reshape culture." 6 AIGA Eye on Design, 16 Aug 2018, https://eyeondesign.aiga.org/behind-the-making-of-the-feminist-whole-earth-catalog.Compiled during a five-month road trip across the United States, the NWSC makes transparent the process of its own gathering in a situated, subjective way. The catalog openly rallies together a community-all who see themselves in the phrase new woman 7
Stanford Law Review 43, no. 6 (1991): 1241-299. -for which the sharing of its ideas is no less than a means of survival.
The NWSC was also an early inspiration for my ongoing work, the Cyberfeminism Index, 8 NWSC, the Cyberfeminism Index too began as a bibliography-inspired, secondhand, by a claim Kirsten's advisor at Barnard made that revolution cannot not happen within an institution; Kirsten and Susan, the advisor said, needed to go grassroots. While I myself didn't leave on a road trip, I logged hundreds of hours of phone calls and emails, which led to web rings, hypertext trails, and screenshots of the Wayback Machine and Rhizome's Webrecorder. Cyberfeminism Index was commissioned by Rhizome and co-presented with the New Museum for its First Look. See the index's current container at https://cyberfeminismindex.com; and, for the New Museum's feature, "First Look: Cyberfeminist Index," New Museum, 2020, https://www.newmuseum.org/exhibitions/view/first-look-cyberfeminism-index. The website was designed in collaboration with and developed by Angeline Meitzler, with frontend support from Janine Rosen and PDF support from Charles Broskoski. The typeface is Arial by Patricia Saunders and Robin Nicholas. Laura Coombs designed the encircled cross-reference numbers to make a complementary pairing with Arial.which I have been gathering and facilitating in conversation with net artists, historians, activists, named in a growing list on the "about" page of the site. The index holds examples of hackerspaces, digital-rights activist groups, DIWO (Do-It-With-Others) organizations, DIY (Do-It-Yourself) teledildonics manuals, bio-hacktivists, data dominatrixes, and open-source estrogen pioneers. Like the 9 The Internet Archive has archived billions of webpages since 1997 with their Wayback Machine. Rhizome's Conifer, previously called Webrecorder, is a web archiving service that creates an interactive copy of any web page.

The current container of the Cyberfeminism Index is a bespoke website, developed by Angeline Meitzler with frontend support from Janine Rosen, that highlights a multiplicity of voices, visualization of citations, and the site's aging. You might feel, upon arrival, that the site comes across like any other data table, but as you begin to move, the site responds: colors appear, form elements glow, and each click is added to a side panel "trail" that can be downloaded, printed, and disseminated. 10 For more on the making of the Cyberfeminism Index, see Mindy Seu, "Sharing as Survival: Mindy Seu on the Cyberfeminist Index," interview by Marie Hoejlund, The Gradient, 9 Nov 2020, https://walkerart.org/magazine/sharing-as-survival-mindy-seu-cyberfeminism-index. Formerly, the index lived in an open-access, crowd-sourced spreadsheet. Soon it will be a book. 11
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Among the resources catalogued within the Cyberfeminism Index, you see various forms of Legacy Russell's Glitch Feminism-first a manifesto (2012), then an essay (2013), and now an anthology (2020). 12
h_WAcniKzzlIicRUQmJL0-X3HdVr4v38ZQHE8tvA/edit?usp=sharing. Corey Tegler has collected other examples of bibliographies, resources, and tools that use Google Docs in an Are.na channel. Corey Tegler, "Radical Google Docs," Are.na, 2017, https://www.are.na/corey-tegeler/radical-google-docs. 13 This conversation was organized by Kelsa Trom and Emma Osore. "Cyberfeminism as Glitch & Archive: A Conversation with Legacy Russell & Mindy Seu," New Inc, 24 Feb 2021, https://www.youtube.com/watch?v=Y6ccyXBYjhk.By aggregating nodes and markers, hard research and scattered facts, these containers might surface suppressed voices among the connections they draw, as introduced by Saidiya Hartman's notion of "critical fabulation." History written by the victors offers glimpses of marginalized figures, for whom we need to "fabulate" stories to "strain against the limits of the archive" and "represent lives... through the process of narration." 14
The Society Pages, 2012. It was then commissioned by Rhizome, retitled "Elsewhere, After the Flood: Glitch Feminism and the Genesis of Glitch Body Politic," Rhizome, 12 Mar 2013, https://rhizome.org/editorial/2013/mar/12/glitch-body-politic. In 2020, the manifesto was expanded into an essay anthology called Glitch Feminism: A Manifesto, (New York and London: Verso, 2020).In a public conversation, Legacy and I discussed the idea that an essay anthology or digital index, in their presentations of new histories, might serve as maps. Small Axe: A Caribbean Journal of Criticism 12, no. 2 (2008): 1-14, https://doi.org/10.2979/sax.2008.-.26.1.Building relationships between things is a form of authorship too.

In an interview with Roxana Fabius, Patricia M. Hernandez, and me for adrienne maree brown, "Conversation Is Not a Master's Tool," interview by Roxana Fabius, Patricia M. Hernandez, and Mindy Seu, The Scalability Project (2020), adrienne maree brown described relationships like a spiderweb-diaphanous yet strong, thick yet porous. "A web allows things to fall through, like a sieve," she said. "Some things are not meant to be caught." I like to think of these webs as citational networks; who you read allows you to catch similar sentiments. brown also built upon Audre Lorde's "The Master's Tools Will Never Dismantle the Master's House" (1984), declaring, "I believe conversation is not a master's tool. I believe being in a circle, in a community, is not a master's tool." Here, she describes gathering people to share stories as a web, a network, as a finding aid for like-minded voices. 15 The Scalability Project: Cacophony of Troubled Stories, A.I.R. Gallery, 2020,https://scalabilityproject.org/inteviews/
conversation-is-not-a-masters-tool.
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Amelia Winger-Bearskin makes a similar claim: "If history is written by the victors, then the future will be written by the vectors," she says. A technologist, artist, and host of Wampum Codes,Amelia interviews Indigenous people who work with new technologies in what she labels "co-creation through a podcast." As a member of the Seneca-Cayuga Nation of Oklahoma in the Haudenosaunee (Iroquois Confederacy), Amelia told me in a conversation for DataBrowser that she was taught to think about storytelling from a decentralized perspective. Stories are entrusted to storytellers by the elders. But these storytellers are not meant to repeat the narrative verbatim; they are expected to understand these stories and, through them, reflect on what the community needs to hear at any given moment. This temporal gathering, both in and around a story, acknowledges the personal subjectivities always inherent in retelling. Only multi-authorship truly exists.

Memory work of this sort is also a form of activism. Whose memories are saved and retold to future generations? Hailey Loman, the co-creator, along with her interviewers and storytellers, of the Autonomous Oral History Group (AOHG), spoke with me about the collective gathering of stories. "You're taking a lived experience and making a record of it together," Loman said. There is a "sweet duty" to shaping someone's personal memories. Oral histories, like publications, bind people. After a conversation, all parties maintain ownership of what transpired, and they continue to hold ties to one another. This form of storytelling is not predetermined, but develops through its unfolding. Perhaps gathering stories is radical because it refuses to give the gatherer all of the credit. The collector-collection dynamic is deliberately broken. The person who puts it together is only one of many parts.

Though seemingly intimate, these aforementioned conversations were held remotely through a myriad of video-conferencing tools that have become so familiar in pandemic times. And while the frequency of online correspondence has increased, the platforms of these new social gatherings have affordances, affecting behaviors of those who use them. Since the start of the pandemic, Prem Krishnamurthy has led Present! an experimental Zoom talk show and performance series that tries to activate all of the different modes of dialogue that might exist on one given digital platform. 16 Present! is an experimental Zoom talk show and performance series that Prem Krishnamurthy began in March 2020. For documentation of the first three seasons, see Prem Krishnamurthy, "Present!," 2020, https://bit.ly/PresentExclamation. In early February 2021, I attended Prem's latest workshop and conversation, co-led by Kalaija Mallery, called "A Gathering of Gatherings," around new formats of online convening. We discussed sociologist Ray Oldenburg's concept of the "third place," the space between home and work, and whether this place could exist online. The event began with rules for conduct and an " incomplete list of suggestions for organizing communities online." Present! feels like a feedback loop, adapting suggestions from the audience into the live event and then commenting on its output. After Kalaija pointed out the lack of white noise that often creates the ambience for most online events, everyone unmuted. When we keep our microphones off and stage our conversations as a singular broadcast between hosts and viewers, we lose moments for participation. Consider the eeriness of seeing everyone laugh but hearing silence. Once everyone unmuted, we shed our formality and the casual conversation returned, with the many moments of interruption that permeate in-person gatherings.

These rules of engagement, for conduct and for play, created what Priya Parker calls "temporary alternative worlds," in The Art of Gathering (2018), which was recommended to me by Laurel Schwulst. The primary goal of meaningful social gatherings, or, as Priya writes, "the conscious bringing together of people for a reason," is to create a "sense of belonging." 17 During the Spring 2021 semester, Laurel Schwulst taught the Princeton course Graphic Design: Link while I led the Yale MFA course On Gathering. We co-developed the virtual gathering prompt that takes place in the second of half of each class, for which Laurel recommended Priya Parker, The Art of Gathering: How We Meet and Why It Matters, (New York: Riverhead Books, 2018). For our online class syllabi, see Laurel Schwulst, Graphic Design: Link, Princeton University, 2021, https://veryinteractive.net/link/ and Mindy Seu, On Gathering, Yale University, 2021, http://on-gathering.com/.On remote conferencing platforms, we're limited to very particular frames and senses, so if we want to connect with people, we actually have to learn new skills. In the process, we might embrace "bumpiness," Prem's term for "pleasure in the irregular, in what's not already expected and familiar." In the end, as Prem's longtime colleague Chris Wu stated, "It's not about perfection. It's all about the gesture."

Gathered here, we weave from cyberfeminist indexes to citational networks and from oral histories to conversational, online events. As we continue to learn our way with these digital tools and online events, we might shift our energy from trying to prevent inevitable technical difficulties to cultivating a sense of belonging. Tools break and containers change, but the urge to tell stories remains. Containers and content can be used to mutually inform the shape of their counterparts, expressing a tender, anti-heroic, communal, and present side of storytelling in place of our received understanding of historical material as heroic, individual, disconnected, and past. As we complicate the definition of gathering, this blurring of container and content diminishes any lingering idea of fixed, solitary authorship. After all, societal movements come not from singular authors but emerge as dissolved collections, making it impossible to know where one thing begins or ends. To survive, we gather not only from what's around us, but from among us.

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Collecting, sharing, and creating the Cyberfeminism Index

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Visual research from previous module.

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Book: Emotionally Durable Design- Chapter three, Attachments to Objects

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Book: Emotionally Durable Design- Chapter three, Attachments to Objects

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Chapman,J. (2012) ‘Chapter three, Attachments to Objects’, Emotionally Durable Design (Objects, Experiences & Empathy) Routledge. pp 63-86

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Article: Design and order in everyday life by Mihaly Csikszentmihalyi

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Article: Design and order in everyday life by Mihaly Csikszentmihalyi

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The Idea of design

Margolin, Victor. Buchanan, Richard

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Margolin, V. and Buchanan, R. (1995). ‘Design and Order in Everyday Life- Mihaly Csikszentmihalyi ‘,The idea of design. Cambridge, Mass: Mit Press pp 118-126.

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Book: Evocative objects: things we think with- Sherry Turkle

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Book: Evocative objects: things we think with- Sherry Turkle

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Turkle, S. (2011). Evocative objects : things we think with. Cambridge, Mass. ; London: Mit Press.

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Why are we so attached to our things? - Christian Jarrett

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Why are we so attached to our things? - Christian Jarrett

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https://youtu.be/H2_by0rp5q0

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Why are we so attached to our things? - Christian Jarrett

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Radical Talisman project

https://www.instagram.com/p/DDdC6U0T44n/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

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WE KEEP EACH OTHER SAFE Radical Talismans are precious objects for precious information. Each talisman contains a programmable NFC tag that can store information, and be scanned by a phone. Community members can carry these small stones with them, and use them to share sensitive information with one another. Each

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Taxonomy of the Cornflake- Anne Griffiths 

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Taxonomy of the Cornflake- Anne Griffiths 

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Podcast about it - https://www.bbc.co.uk/programmes/p06r909t

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An oologist made collections of eggs in an attempt to reveal the best examples of morphological patterns, mutations and colourings. Entomologists or lepidopterists, in order to trace the origin of the species, orchestrate and organise insects or butterflies into family groups, looking for evolutionary links that reveal the ancestry of their subjects.

This collection reflects these same ambitions as those collectors who display impaled specimens in strict family groups upon the finest of steel pins. Yet while today, the world has agreed on the systems by which nature is organised into its distinct genera and species, in adopting the role and struggles of the original taxonomist, I grapple to allocate subjects into ranks using arbitrary systems based on colour, size, contortion and shape.

This piece, shown at the Royal Academy Summer Exhibition 2018, has been sold, however the Taxonomy continues with additional selections available on application.

BBC Podcast

A BBC podcast on the collection is available here. BBC Boring Talks, #24 The Taxonomy of Cornflakes

Press Articles

Other selections, from the Taxonomy can seen at the Mmuseumm, New York Colorfactory New York and in other private collections. Reviews from the New York Times, Wall Street Journal and the Observer.

Return to Portfolio

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museum cornflakes collection cabinet curiosity taxonomy categorisation preservation restoration taxidermy 	display

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Anne Griffiths is an artist, collector and lecturer who lives in a small town on the edge of the Downs. Her studio is in Oxford where she works and houses many of her curious collections

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More objects here: https://www.martinparr.com/objects/

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This is the question I'm exploring through this developing body of work by incorporating experiments in new mediums including ceramics and wood. Inspired by botánica goods and the ability to purchase amuletic objects, Talismans is an exercise in manufacturing magic.

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Explore Julia Arredondo's talisman manufacturing practice. Combining spiritual object manufacturing with a craft approach, Julia's Talismans are rooted in the syncretic spiritual practices of South Texas.

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Michael Landy- Break Down (London, UK 2001)

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Michael Landy- Break Down (London, UK 2001)

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Over a fourteen-day period, all of Landy’s personal belongings were systematically destroyed by a team of ten operatives using a constructed facility modelled on a material reclamation factory. Each of the 7,226 items were categorised according to type (Artworks, Clothing, Equipment, Furniture, Kitchen, Leisure, Motor Vehicle, Perishables, Reading Material and Studio Material) and placed on a roller conveyer to be pulped, granulated or smashed, ready for landfill. The process was performed against a playlist backdrop that included Joy Division’s Love Will Tear Us Apart and David Bowie’s Breaking Glass.

https://www.artangel.org.uk/project/break-down/

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BARRY ROSENTHAL PHOTOGRAPHY - Found In Nature

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© 2023 Barry Rosenthal. All rights remain the property of Barry Rosenthal.

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Academic Article: Possessions and the Extended Self- Russell W. Belk

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Academic Article: Possessions and the Extended Self- Russell W. Belk

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Belk, R.W. (1988). Possessions and the Extended Self. Journal of Consumer Research, [online] 15(2), pp.139–168. Available at: https://www.jstor.org/stable/2489522.

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JSTOR is a digital library of academic journals, books, and primary sources.

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Waste Not - Exhibition (2012)

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A poignant meditation on family life and the artist’s childhood during the Cultural Revolution, Chinese artist Song Dong presented an installation comprising over 10,000 items collected by his mother.

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BBC Radio 4 - Objects of Desire - Available now

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This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data.

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Collecting website- multiple projects

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Collectarium is a publishing platform that designs activities to create collections to engage audiences into new ways of seeing.

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Pentagram- ‘Pentagram Papers 47: Museum Collection’

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Pentagram- ‘Pentagram Papers 47: Museum Collection’

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‘Pentagram Papers 47: Museum Collection’

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Book design for the series’ forty-seventh publication.

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Walking with speculative artefacts in public space of Amsterdam - Kamila Wolszczak

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Walking with speculative artefacts in public space of Amsterdam - Kamila Wolszczak

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From Walking as Research Practice

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My name is Finley Doyle I am a designer and student

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Workshop about 'Lost and Found' - photographing the items people drop or forget.

Plan to make a one hole/single ring book of the photos as part of experimentation.

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Do you want to meet other community-minded neighbours and help with running the project? Or do you have skills in fixing items that you'd like to put to good use? Please see our get involved page.

We are established as a non-profit community interest company, and everyone who works on the project does so on a voluntary basis.

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Do you want to meet other community-minded neighbours and help with running the project? Or do you have skills in fixing items that you'd like to put to good use? Please see our get involved page. We are established as a non-profit community interest company, and everyone who works on the project does so on a voluntary basis.

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What are mundane Talismans?

How do we become attached to good luck objects in a everyday way?

(objects/ talismans that aren't linked to religion or spiritualism)

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Each month, one pair will write and design a letter to be sent to the other and Colorama will riso-print and distribute them. In this published, monthly correspondence, the duos will write about current reflections on their work, themes of inspiration and friendship, merging fiction and documentation with design work.

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Colorama on Instagram: "2LY LETTER NO.9

Florian Emden (Leipzig) to SM Studio (London) !! Riso printed in green and black.

This letter is on Portals, Beginnings, Monsters, PMS.
It is the second to last letter by @florian__emden 💌

The letters are available separately 🍋‍🟩🫛🌶️🥒🫐🍍🍎or as part of the subscription - where at this point you’ll receive the first 8 bundled 🍇at once and the remaining 3 (!!!) monthly with stamp and all into your mailbox 📬 

#coloramapress#smstudio#florianemden#mailart#risoprinting#correspondence#collage#artistbook#epistolary#smallpress#artmail#illustration#cutout##graphicdesign#key#luxuriously#monstersinc#door#risography#typography#smallpress"

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2,407 likes, 0 comments - coloramaprint on February 19, 2025: "2LY LETTER NO.9

Florian Emden (Leipzig) to SM Studio (London) !! Riso printed in green and black.

This letter is on Portals, Beginnings, Monsters, PMS.
It is the second to last letter by @florian__emden 💌

The letters are available separately 🍋‍🟩🫛🌶️🥒🫐🍍🍎or as part of the subscription - where at this point you’ll receive the first 8 bundled 🍇at once and the remaining 3 (!!!) monthly with stamp and all into your mailbox 📬 

#coloramapress#smstudio#florianemden#mailart#risoprinting#correspondence#collage#artistbook#epistolary#smallpress#artmail#illustration#cutout##graphicdesign#key#luxuriously#monstersinc#door#risography#typography#smallpress". 

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View this post on Instagram

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Christian Lange

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Out of print

196 pp.
with numerous black/white-illustrations
thread-sewn gatefolded brochure

Leipzig February, 2013
ISBN: 9783940064738
Edition Number: 2

Width: 24.1 cm
Length: 34 cm

Language(s): English, German

Author
Christian Lange

Designer
Christian Lange

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Spector's publishing practice is settled squarely in the intersection of art, theory, and design. Based in Leipzig Germany, our publishing house explores the possibilities offered by an active exchange between all parties involved in the book production process: artists, authors, book designers, lithographers, printers and bookbinders.

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Collage poetry

https://www.poetryfoundation.org/poetrymagazine/poems/52692/two-poems-from-the-day

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Kenneth Goldsmith's writing has been called some of the most "exhaustive and beautiful collage work yet produced in poetry" by Publishers Weekly. Goldsmith is the author of eight books of poetry, founding editor of the online archive UbuWeb (http://ubu.com), and the editor I'll Be Your Mirror: The Selected Andy Warhol Interviews, which is the basis for an opera, Trans-Warhol, premiering in Geneva in March of 2007. Goldsmith is also the host of a weekly radio show on New York City's WFMU. He teaches writing at The University of Pennsylvania, where he is a senior editor of PennSound, a online poetry archive. More about Goldsmith can be found on his author's page at the University of Buffalo's Electronic Poetry Center: http://epc.buffalo.edu/authors/goldsmith.

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Kenneth Goldsmith's writing has been called some of the most "exhaustive and beautiful collage work yet produced in poetry" by Publishers Weekly. Goldsmith is the author of eight books of poetry, founding editor of the online archive UbuWeb (http://ubu.com), and the editor I'll Be Your Mirror: The Selected Andy Warhol Interviews, which is the basis for an opera, Trans-Warhol, premiering in Geneva in March of 2007.

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Kenneth Goldsmith Interview: Poetry in a Newspaper

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*A continuous present and using everything and beginning again.* (GS)

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Designing Writing
is an ongoing research on the materiality of language and on the library as a living organism.

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What is Flea Market Love Letters? | Mysite

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A4, 16 pages, Black & white printing, Hand sewn, Letterpressed softcover, 2025 The publication showcases the outcome of a participatory exhibition and event centred on collective text creation. Visitors were invited to engage with a “puddle” of words, shaping their own expressions by arranging them freely across wh

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160 x 220mm, 96 pages, Colour printing, Open glue bound, Softcover, 2024 'Love Letters' is a selection of 46 envelopes for the letters that Dutch graphic designer Karel Martens sent to his love, Lous, between 1962 and 1963. The envelopes were all manually crafted using printing ink and a spoon to create the pattern.

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riso poster

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quick zine draft

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Interim review presentation

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Brief re written to reflect the change in focus. Project is now focused on letters.

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Was then ring bound and pages cut in half lengthways- to reflect idea of memories being mixed and forgotten.

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Built with Readymag—a tool to design anything on the web.

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Standards Manual is back with its tenth title, exploring pre-internet communication

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This time, the Brooklyn-based publisher is venturing into the history of radio communication, sharing a collection of QSL cards collated by designer Roger Bova.

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Have your dreams been shattered? If so I understand

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Create an account or log in to Instagram - Share what you’re into with the people who get you.

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Archive of graphic design focused on typographic treatment

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idea of lots of loose elements coming together

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A6, 14 postcards, Colour printing, Comes in envelope, 2024 tender stains is a non-seasonal zine exploring poetry as a stain of time, a memory.

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Abriss-(kante) is German for the tear-off edge or stub

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Ryan Thompson – AH AH: Conscience Letters and Photographs from the Haleakalā and Hawai’i Volcanoes National Parks

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Ah! Sorry… Following a trail of regret from the Petrified Forest (the subject of his classic Bad Luck, Hot Rocks) to the islands of Maui and Hawai’i, artist and educator Ryan Thompson considers the implications of another trove of handwritten apologies, this time from the archives of the Haleakalā and Hawai’i Volcanoes