Academic literature on the topic 'Typographie – 1970-'

Cet article explore le développement d’une communauté professionnelle de design au Canada pendant les années 1950 et 1960 en examinant deux collaborations entre graphistes : les expositions canadiennes Typography (1958–1964) et l’exposition internationale Typomundus 20 (1963–1966). Celles-ci contribuèrent à la publicisation d’un nouveau discours qui permit aux typographes et aux concepteurs de la communication canadiens de se penser comme faisant partie d’une communauté unifiée et distincte de « graphistes ». Elles encouragèrent cette cohésion professionnelle notamment en avançant des normes professionnelles, en lançant une réflexion sur le statut et le rôle du graphisme par rapport au « grand » art, à la communication de masse et à la société en général, et en facilitant l’échange d’idées entre les professionnels canadiens et la communauté internationale de graphistes.

The typographer Anthony Froshaug worked intermittently as a teacher in Britain and Germany, from the late 1940s through to the 1980s. He was unusual in bringing the experience of typesetting and printing to design teaching, and in his wide set of intellectual interests. Froshaug's contribution was a notable if somewhat subterranean element in the development of education in typography in Britain, especially in the steps towards its modernization that were made in the 1960s and 1970s.

A list of available taxonomic names in Curculionidae: Scolytinae and Platypodinae in familyand genus-groups is given, together with some remarks on unavailable nominal taxa. Comments are provided on their status and nomenclature, and additions and corrections to extant catalogues given, as a first step for their inclusion in the electronic catalogue ‘WTaxa’. Available names, not recognised as such in current published catalogues, are: Mecopelminae Thompson, 1992; Trypodendrina Nunberg, 1954; Archaeoscolytus Butovitsch, 1929; Camptocerus Dejean, 1821; Coccotrypes Eichhoff, 1878 (April); Coptogaster Illiger, 1804; Cosmoderes Eichhoff, 1878 (April); Cryptoxyleborus Wood & Bright, 1992; Cylindra Illiger, 1802; Dendrochilus Schedl, 1963; Dendrocranulus Schedl, 1938; Doliopygus Browne, 1962; Doliopygus Schedl, 1972; Erioschidias Wood, 1960; Ernopocerus Wood, 1954; Idophelus Rye, 1877; Lepicerus Eichhoff, 1878 (April); Lepidocerus Rye, 1880; Miocryphalus Schedl, 1963; Ozopemon Hagedorn, 1910; Phloeoditica Schedl, 1963; Pinetoscolytus Butovitsch, 1929; Pycnarthrum Eichhoff, 1878 (April); Pygmaeoscolytus Butovitsch, 1929; Scolytogenes Eichhoff, 1878 (April); Spinuloscolytus Butovitsch, 1929; Stephanopodius Schedl, 1963; Stylotentus Schedl, 1963; Thamnophthorus Blackman, 1942; Trachyostus Browne, 1962; Treptoplatypus Schedl, 1972; Triarmocerus Eichhoff, 1878 (April); Trypodendrum Agassiz, 1846; Tubuloscolytus Butovitsch, 1929; Xelyborus Schedl, 1939. Unavailable names, not recognised as such in the current published catalogues, are: Chaetophloeini Schedl, 1966; Eidophelinae Murayama, 1954; Mecopelmini Wood, 1966; Strombophorini Schedl, 1960; Tomicidae Shuckard, 1840; Trypodendrinae Trédl, 1907; Acryphalus Tsai & Li, 1963; Adryocoetes Schedl, 1952; Asetus Nunberg, 1958; Carphoborites Schedl, 1947; Charphoborites Schedl, 1947; Cryptoxyleborus Schedl, 1937; Cylindrotomicus Eggers, 1936; Damicerus Dejean, 1835; Damicerus Dejean, 1836; Dendrochilus Schedl, 1957; Dendrocranulus Schedl, 1937; Doliopygus Schedl, 1939; Erioschidias Schedl, 1938; Ernopocerus Balachowsky, 1949; Gnathotrichoides Blackman, 1931; Ipites Karpiński, 1962; Isophthorus Schedl, 1938; Jugocryphalus Tsai & Li, 1963; Landolphianus Schedl, 1950; Mesopygus Nunberg, 1966; Micraciops Schedl, 1953; Miocryphalus Schedl, 1939; Mixopygus Nunberg, 1966; Neohyorrhynchus Schedl, 1962; Neophloeotribus Eggers, 1943; Neopityophthorus Schedl, 1938; Neoxyleborus Wood, 1982; Phloeoditica Schedl, 1962; Platypinus Schedl, 1939; Platyscapulus Schedl, 1957; Platyscapus Schedl, 1939; Pygodolius Nunberg, 1966; Scutopygus Nunberg, 1966; Stephanopodius Schedl, 1941; Stylotentus Schedl, 1939; Taphrostenoxis Schedl, 1965; Tesseroplatypus Schedl, 1935; Thamnophthorus Schedl, 1938; Thylurcos Schedl, 1939; Trachyostus Schedl, 1939; Treptoplatus Schedl, 1939. The name Tesseroceri Blandford, 1896, incorrectly given as “Tesserocerini genuini” in current catalogues, is unavailable as basionym for the family-group name, since it was proposed as a genusgroup name. Resurrected names from synonymy are: Hexacolini Eichhoff, 1878 from synonymy under Ctenophorini Chapuis, 1869 (invalid name because its type genus is a homonym) and given precedence over Problechilidae Eichhoff, 1878 under Art. 24.2; Hylurgini Gistel, 1848 from virtual synonymy under Tomicini C.G. Thomson, 1859 (unavailable name); Afromicracis Schedl, 1959 from synonymy under Miocryphalus Schedl, 1939 (an unavailable name) to valid genus; Costaroplatus Nunberg, 1963 from synonymy under Platyscapulus Schedl, 1957 (an unavailable name) to valid genus; Cumatotomicus Ferrari, 1867 from synonymy under Ips DeGeer, 1775 to valid subgenus of the same; Hapalogenius Hagedorn, 1912 from synonymy under Rhopalopselion Hagedorn, 1909 to valid genus; Pseudips Cognato, 2000, from synonymy under Orthotomicus Ferrari, 1867 to valid genus. New synonyms are: Hexacolini Eichhoff, 1878 (= Erineophilides Hopkins, 1920, syn. nov.); Hypoborini Nuesslin, 1911 (= Chaetophloeini Schedl, 1966, unavailable name, syn. nov.); Scolytini Latreille, 1804 (= Minulini Reitter, 1913, syn. nov.); Afromicracis Schedl, 1959 (= Miocryphalus Schedl, 1963, syn. nov.); Aphanarthrum Wollaston, 1854 (= Coleobothrus Enderlein, 1929, syn. nov.); Coccotrypes Eichhoff, 1878 (April) (= Coccotrypes Eichhoff, 1878 (December), syn. nov.); Cosmoderes Eichhoff, 1878 (April) (= Cosmoderes Eichhoff, 1878 (December), syn. nov.); Cumatotomicus Ferrari, 1867 (=Emarips Cognato, 2001, syn. nov.); Doliopygus Browne, 1962 (=Doliopygus Schedl, 1972, syn. nov.); Eidophelus Eichhoff, 1875 (= Idophelus Rye, 1877, syn. nov.); Hapalogenius Hagedorn, 1912 (= Hylesinopsis Eggers, 1920, syn. nov.); Phloeoborus Erichson, 1836 (= Phloeotrypes Agassiz, 1846, syn. nov.); Pycnarthrum Eichhoff, 1878 (April) (= Pycnarthrum Eichhoff, 1878 (December), syn. nov.); Scolytogenes Eichhoff, 1878 (April) (= Scolytogenes Eichhoff, 1878 (December) = Lepicerus Eichhoff, 1878 (December) = Lepidocerus Rye, 1880, synn. nov.); Trypodendron Stephens, 1830 (=Xylotrophus Gistel, 1848 = Trypodendrum Gistel, 1856, synn. nov.); Xylechinus Chapuis, 1869 (= Chilodendron Schedl, 1953, syn. nov.); Cosmoderes monilicollis Eichhoff, 1878 (April) (= Cosmoderes monilicollis Eichhoff, 1878 (December), syn. nov.); Hylastes pumilus Mannerheim, 1843 (= Dolurgus pumilus Eichhoff, 1868, syn. nov.); Hypoborus hispidus Ferrari, 1867 (= Pycnarthrum gracile Eichhoff, 1878 (April) syn. nov.); Miocryphalus agnatus Schedl, 1939 (= Miocryphalus agnatus Schedl, 1942, syn. nov.); Miocryphalus congonus Schedl, 1939 (= Miocryphalus congonus Eggers, 1940, syn. nov.); Lepicerus aspericollis Eichhoff, 1878 (April) = Lepicerus aspericollis Eichhoff, 1878 (December), syn. nov.); Spathicranuloides moikui Schedl, 1972 (June) (= Spathicranuloides moikui Schedl, 1972 (December), syn. nov.); Triarmocerus cryphalo-ides Eichhoff, 1878 (April) (= Triarmocerus cryphaloides Eichhoff, 1878 (December), syn. nov.); Scolytogenes darvini Eichhoff, 1878 (April) (= Scolytogenes darwinii Eichhoff, 1878 (December), syn. nov.). New type species designations are: Bostrichus dactyliperda Fabricius, 1801 for Coccotrypes Eichhoff, 1878 (April); Triarmocerus cryphaloides Eichhoff, 1878 (April) for Triarmocerus Eichhoff, 1878 (April); Ozopemon regius Hagedorn, 1908 for Ozopemon Hagedorn, 1910 (non 1908); Dermestes typographus Linnaeus, 1758 for Bostrichus Fabricius, 1775 (non Geoffroy, 1762). New combinations are: Afromicracis agnata (Schedl, 1939), A. attenuata (Eggers, 1935), A. ciliatipennis (Schedl, 1979), A. congona (Schedl, 1939), A. dubia (Schedl, 1950), A. elongata (Schedl, 1965), A. grobleri (Schedl, 1961), A. klainedoxae (Schedl, 1957), A. longa (Nunberg, 1964), A. natalensis (Eggers, 1936), A. nigrina (Schedl, 1957), A. nitida (Schedl, 1965), A. pennata (Schedl, 1953) and A. punctipennis (Schedl, 1965) all from Miocryphalus; Costaroplatus abditulus (Wood, 1966), C. abditus (Schedl, 1936), C. carinulatus (Chapuis, 1865), C. clunalis (Wood, 1966), C. cluniculus (Wood, 1966), C. clunis (Wood, 1966), C. costellatus (Schedl, 1933), C. frontalis (Blandford, 1896), C. imitatrix (Schedl, 1972), C. manus (Schedl, 1936), C. occipitis (Wood, 1966), C. pulchellus (Chapuis, 1865), C. pulcher (Chapuis, 1865), C. pusillimus (Chapuis, 1865), C. subabditus (Schedl, 1935), C. turgifrons (Schedl, 1935) and C. umbrosus (Schedl, 1936) all from Platyscapulus; Hapalogenius africanus (Eggers, 1933), H. alluaudi (Lepesme, 1942), H. angolanus (Wood, 1988), H. angolensis (Schedl, 1959), H. arabiae (Schedl, 1975), H. atakorae (Schedl, 1951), H. ater (Nunberg, 1967), H. baphiae (Schedl, 1954), H. brincki (Schedl, 1957), H. confusus (Eggers, 1935), H. decellei (Nunberg, 1969), H. dimorphus (Schedl, 1937), H. dubius (Eggers, 1920), H. emarginatus (Nunberg, 1973), H. endroedyi (Schedl, 1967), H. fasciatus (Hagedorn, 1909), H. ficus (Schedl, 1954), H. fuscipennis (Chapuis, 1869), H. granulatus (Lepesme, 1942), H. hirsutus (Schedl, 1957), H. hispidus (Eggers, 1924), H. horridus (Eggers, 1924), H. joveri (Schedl, 1950), H. kenyae (Wood, 1986), H. oblongus (Eggers, 1935), H. orientalis (Eggers, 1943), H. pauliani (Lepesme, 1942), H. punctatus (Eggers, 1932), H. quadrituberculatus (Schedl, 1957), H. rhodesianus (Eggers, 1933), H. saudiarabiae (Schedl, 1971), H. seriatus (Eggers, 1940), H. squamosus (Eggers, 1936), H. striatus (Schedl, 1957), H. sulcatus Eggers, 1944), H. togonus (Eggers, 1919), H. ugandae (Wood, 1986) and H. variegatus (Eggers, 1936), all from Hylesinopsis. New ranks are: Diapodina Strohmeyer, 1914, downgraded from tribe of Tesserocerinae to subtribe of Tesserocerini; Tesserocerina Strohmeyer, 1914, downgraded from tribe of Tesserocerinae to subtribe of Tesserocerini. New placements are: Coptonotini Chapuis, 1869 from tribe of Coptonotinae to tribe of Scolytinae; Mecopelmini Thompson, 1992, from tribe of Coptonotinae to tribe of Platypodinae; Schedlariini Wood & Bright, 1992, from tribe of Coptonotinae to tribe of Platypodinae; Spathicranuloides Schedl, 1972, from Platypodinae s.l. to Tesserocerina; Toxophthorus Wood, 1962 from Scolytinae incertae sedis to Dryocoetini. Confirmed placements are: Onychiini Chapuis, 1869 to tribe of Cossoninae (including single genus Onychius Chapuis, 1869); Sciatrophus Sampson, 1914 in Cossoninae incertae sedis; Cryphalites Cockerell, 1917 in Zopheridae Colydiinae. Corrected spellings are: Micracidini LeConte, 1876 for Micracini; Phrixosomatini Wood, 1978 for Phrixosomini. Gender agreements are corrected for species of several genera.

L’auteur présente les principales maisons d’édition de poésie des années 1950 à 1970 et examine leurs produits sur le plan de l’aspect physique. Il traite du caractère typographique, de la mise en page, de la couverture, du support, de l’illustration et de l’appartenance à une collection. La maison Erta révolutionne la conception matérielle du recueil de poésie, par la qualité de ses livres expérimentaux. En général, le modèle français prédomine, bien qu’on remarque une certaine influence américaine à la fin de la période étudiée. Quelques ouvrages de la production québécoise anglophone sont de grandes réussites en tant qu’objets matériels.

Between the 1880s and the 1920s, advertising proved fundamental to art and literature reviews since it fostered a new link between visual and consumerist culture. This article is based on fin de siècle and avant-garde magazines read in dialogue. It samples French and Belgian magazines illustrating innovations to 1880s periodicals and 1920s modernist magazines. The paper highlights the use of visual techniques in advertisements (page design, typography, etc.) that strengthen aesthetic and political stances. Advertising rhetoric masks aesthetic manifestos but also social and political agenda, revealed by visual displays of text. Publicity is also an important medium for poetic experimentation, embedded in ordinary advertising design already in the 1890s. Its subversive use informs new means of artistic expression, considered avant-garde innovations (collage, cadavre exquis, or typographic combinations). Advertising later represents new modernist stances within avant-garde magazines. Surrealism and Dada exploited publicity to promote their revolutionary aesthetic. In the 1920s, advertising being increasingly professionalized, specific designers used new visual means, strengthened artistic exchanges, and gradually erased the division between art and commercial culture in magazines. Thus modernism became part of a visual culture resonant with consumer commodities. Advertising ultimately exemplifies an interesting change in periodicals’ patterns, across literature and art reviews to the mainstream press, through posters, and decorative or architectural designs.

Ips typographus Linnaeus, 1758, the most important pest of Norway spruce (Picea abies Linnaeus, 1753) from Eurasia has damaged, in the last decades, a large area of forest in Romania. Associations between beetles and their symbiotic fungi are well known compared to beetle-mite relationships. The objectives of the study are to determine: (i) the diversity of mites species associated with I. typographus in a local outbreak from Central Romania; (ii) the mite’s preferences concerning the body parts of their carriers; and (iii) how phoresy changes during seasonal flight activity of the host. A total of 7896 adult I. typographus were analyzed and six mite species (both adults and immature stages) were found: Dendrolaelaps quadrisetus Berlese,1920, Proctolaelaps fiseri Samsinak, 1960, Trichouropoda polytricha Vitzthum, 1923, Histiostoma piceae Scheucher, 1957, Uroobovella ipidis Vitzthum, 1923, and Uroobovella vinicolora Vitzthum, 1926. Most mites were observed under the carriers’ elytra (46.8%), while 26.7% and 25.8% were seen on the thorax and elytral declivities, respectively. Mite phoresy peaked in the spring corresponding to the dispersal flight of the carrier. A smaller peak in phoresy occurred in the summer during the second beetle generation.

This set of texts by Lorraine Perlman, a founding member of the Detroit Printing Co-op, and Danielle Aubert discusses several of the projects printed by Fredy and Lorraine Perlman in 1968 and into the 1970s. The Detroit Printing Co-op, which existed from 1970 until 1980, was open for use by anyone willing to learn to maintain and operate the equipment, which was considered social property. It was the site of production of thousands of leftist books, pamphlets, posters, and flyers over the course of the 1970s. In her text, Lorraine Perlman describes her time with her husband Fredy, a writer and printer, when they lived in Kalamazoo, Michigan, and first began publishing the magazine Black and Red, which would later become the name of their press, Black and Red. Danielle Aubert, a graphic designer, describes how Fredy Perlman’s anti-capitalist approach to craft led to experimentation with graphic arts equipment, layout, typography, and printing.

Abstract While existing studies of twentieth-century German photobooks have understandably sought out volumes by the most iconic photographers, with the most innovative typography, or with the most radical political messages, no photobook series better documents the continuities and ruptures of modern German history than the conventional and highly commercial Blauen Bücher, published by Karl Robert Langewiesche starting in 1907. Die Schöne Heimat, first published in 1915, was the series’ best-selling title. By 1971, and the 619,000th copy, Germany had changed fundamentally, yet the book was still recognizable as the one dedicated to “those who have defended their homeland and ours” during World War I. The article explores the remarkable longevity of this popular but problematic publication.

AbstractComposer Udo Kasemets (1919–2014) emigrated to Canada in 1951 from Estonia following the Second World War, and during the 1960s undertook a number of initiatives to mobilize experimental music in Toronto. This article investigates Canavangard, Kasemets's publication series of graphic scores which appeared between 1967 and 1970. Influenced by Marshall McLuhan's spatial theory of media, Kasemets saw the transformative potential of non-standard notational practices to recalibrate the relationships between composer, performer, and listener. Kasemets's 1963 compositionTrigon, which was frequently performed by his ensemble during the decade, illuminates the connections between McLuhan and experimental music. In my analysis of the work, I argue thatTrigonmanifestly puts into performance many of the rhetorical strategies used by McLuhan to describe the immersive, intersensory environments of post-typographic media ecologies. Kasemets believed that abandoning standard notation would have extraordinary ramifications for musical practice going forward in the twentieth century, similar to how McLuhan saw the messianic power of electronic media to destabilize the typographic universe. Canavangard, as much more than a short-lived publication series of graphic scores, maps the convergences of music, culture, and technology in post-war Canada.

Cette thèse interroge la typographie contemporaine au prisme du postmodernisme des années 1980 jusqu'au début des années 2000 afin de montrer que celle-ci va au-delà du simple outil de communication visuelle et de technique d'impression. Dans ce but, cette recherche revient sur l'histoire de la typographie pour en soulever les problématiques récurrentes (idéal de beauté, lisibilité, pluridisciplinarité) retravaillées et ré-étudiées par le postmodernisme. Outre les effets stylistique, le postmodernisme se pose en opposition et réaction au modernisme qu'il remet en cause en tant que modèle dominant. Les problématiques qui découlent de cette remise en question, interrogent la légitimité du designer ainsi que sa place dans la société, dans le processus de création. La typographie et son statut sont parties prenantes de ce débat qui permet de l'extraire du simple objet imprimé. Cette thèse interroge donc la possibilité de considérer la typographie comme objet esthétique et critique qui pense et se pense, à partir des discussions et travaux de cette période, ainsi qu'en s'appuyant tout particulièrement sur la recherche en design. Cette démarche permet également de mettre en perspective la recherche et les savoirs actuels autour de la typographie afin de faire émerger les paradoxes de cette dernière et d'aboutir à sa redéfinition
This thesis is about contemporary typography in the light of postmodernism from the eighties to the early years of the new millenium in order to show that it goes beyond the mere tool of visual communication and printing technique. So the research relates the history of typography and raises the recurrent issues (ideal of beauty, lisiblility, multi-disciplinarity) worked out and studied by postmodernism. Beside the stylistic effects, postmodernism stands out by reaction to modernism which it questions as a prevailing pattern. The deriving problems raise the question of whether the designer is legitimate and what his/her position in society is, in the creative process. Typography and its status are part and parcel of this issue which helps take it from the mere printed object. Thus, this thesis raises the question of whether it is possible to consider typography as an aesthetic and critical object which thinks, from the talks and works of that period, by particularly drawing upon research in design. This process also helps put into perspective the analysis and current knowledge around typography in order to develop its paradoxes and lead to re-define its goal

Après un âge d'or au cours de l'entre-deux-guerres, les revues d'art fleurissent à nouveau à Paris au lendemain de 1945 et dans les décennies suivantes, une période également riche d'innovations technologiques qui vont conditionner une nouvelle approche de la feuille imprimée. Nous nous proposons d'interroger les différents modes de traduction de l'art contemporain sur la page et par extension quelle est la position de la revue à l'égard des expérimentations typographiques qui se font alors jour. En effet, il semble évident qu'il existe une proximité entre les recherches initiées par les artistes et celles menées dans le champ du graphisme; les idées nouvelles ne doivent-elles pas s'exprimer sous une tanne originale pour rendre compte pleinement de leur nouveauté? Des mots forts sur une page sans relief ne peuvent avoir le même impact que s’ils sont servis par une mise en page tapageuse qui pousse le lecteur à réagir en modifiant ses modalités de déchiffrage. Pourtant, a contrario. Nous pouvons opposer que les nouveaux concepts ont besoin de s'appuyer sur des formes simples et claires pour être assimilés et acceptés par le plus grand nombre s'accordant de fait avec le présupposé selon lequel on ne peut comprendre que ce qui est clairement exprimé dans le fond et dans la forme. Notre démonstration se fonde sur l'analyse détaillée de plusieurs dizaines de titres. Constituant un corpus hétérogène et protéiforme à la fois par leur orientation éditoriale et par leur maquette: la revue institutionnelle classique ("Le Bulletin des Musées de France", "La Revue du Louvre", la "belle revue" ("Les Cahiers d'art", "Verve"), le magazine luxueux abondamment illustré ("L'Œil", "La Galerie des arts"). La publication expérimentale parfois limitée à une seule livraison ("Rixes", "Art et Création"), la revue conçue comme un outil de promotion d'un courant ("Art d'aujourd'hui", "Cimaise") et enfin les publications des mouvements d'avant-garde artistique (lettrisme, situationnisme).

Cette thèse expose un double projet, analytique et sémiologique, concernant l'écriture poétique moderne. Il s'agit en effet d'étudier de manière concomitante : réalité prosodique et << matérialité >> de l'écrit. Par matière, il faut comprendre tout matériau issu du code typographique, constituant l'image textuelle telle qu'elle sera définie dans la première partie. Cette valeur renverse celle de texte figure et fonde une des orientations majeures de ce travail. Elle s'inscrit dans la voie de << l'image écrite >> présentée par Anne-Marie Christin. Tous les exemples d'application étudiés visent à renforcer la pertinence du déchiffrement du poème (ou d'un recueil entier) qui tend à souligner l'existence de cette image textuelle comme repère pour une double lecture asémantique et sémantique - sans exclusion de genre ou de pratique. Première partie : de l'ancien au moderne, pose les bases de l'outil sémiologique permettant un décryptage de la mise en page du texte poétique et de son image, avant le traitement de << l'exemple-phare >> de la poésie de Pierre Reverdy. Celui-ci sera notamment précédé d'une relecture du calligramme apollinarien comme virtuosité typographique couvrant une innovation prosodique latente, dépassant sa seule réalisation mimétique dans l'espace d'inscription. L'image-prosodie, deuxième partie présente la poétique reverdienne et son rapport a la typographie dès la lucarne ovale, et dans le contexte des années d'écriture (1915 -1922) du volume anthologique de plupart du temps (paru en 1945) où elle figure. La troisième partie rassemble les éléments pour une édition critique de la Lucarne ovale 1916, illustrée par une copie du recueil en fac similé. Elle permet de donner un exemple précis de l'utilisation prosodique et visuelle de la typographie chez l'un des poètes majeurs du XXème siècle qui, dès le début de sa recherche poétique, interroge l'ordre des signes, la page et le lieu du livre.

Cette étude est née d’un trouble, d’une difficulté à situer certains objets visuels aux frontières entre deux champs disciplinaires : l’art et le design graphique. L’interrogation d’un corpus mixte, centré sur les années 1950 à 1970 et touchant particulièrement la France, l’Italie, la Pologne et les États-Unis, essaye de comprendre comment s’est construite une histoire partagée, avec des phases de rencontre, de rapprochement ou de défiance, d’autonomie et d’ouverture, d’incorporation et de rejet. Le premier temps s’intéresse à la pratique artistique du décollage, principalement à travers le travail de Raymond Hains et Mimmo Rotella, pour ensuite excéder la question de l’affiche et se pencher sur l’existence d’un « décollage » et d’une liquidité optique et typographique. La deuxième partie se concentre sur les relations entre la France et la Pologne. L’étude attentive du contexte polonais et du développement d’un affichisme d’auteur, notamment autour de la figure d’Henryk Tomaszewski, conduit à s’intéresser attentivement au parcours du graphiste Roman Cieslewicz qui s’installe en France en 1963, permettant à la fois de porter un regard de biais sur la vie culturelle hexagonale et de mieux cerner l’anti-mouvement Panique auquel il prend part. Le dernier fragment se focalise plus particulièrement sur les États-Unis par l’intermédiaire de trois exemples : la relecture partielle de Fluxus au filtre du design graphique de George Maciunas, un regard sur les positionnements de l’artiste Ed Ruscha et l’étude d’un design graphique féministe à Los Angeles
This dissertation discusses the interaction between two different disciplinary fields – art and graphic design – and seeks to understand how a divided history occured. It focuses on France, Italy, Poland and United States, especially on the years 1950-1970. The first part examines the artistic practice of décollage, principally trough the examples of Raymond Hains and Mimmo Rotella, then explores Optical and typographical liquidity. Chapter two focuses on the links between France and Poland. Paying close attention to the polish context and the rise of a singular affichisme, centred around Henryk Tomaszewski, then we emphasize the carreer of Roman Cieslewicz who moves to France in 1963. He takes an important part in cultural french live and at the same time he is involved in « anti-movement » Panique. The last chapter focuses on United States trough three examples : the links between Fluxus and the graphic design of George Maciunas, the stimulating and insidious work of Ed Ruscha and an attention to feminist graphic design in Los Angeles

Dans les films de Jean-Luc Godard, l’écrit est omniprésent. L’hypothèsedéveloppée ici est que le livre se perpétue et se réinvente au cinéma.La mise en page, et singulièrement la typographie, est le moyen privilégiépour le cinéaste d’interroger et éprouver les rapports paradoxaux du texteet de l’image. Dans les voies ouvertes par lui et dans une perspectiveméthodologique comparatiste, j’étaye mes intuitions, hypothèses etdémonstrations sur mon expérience de praticien-chercheur dans le champgraphique, en me fondant sur la démarche inductive qu’offrentles rapprochements d’images et de textes.Mon corpus d’études s’ordonne autour de trois figures : Maximilien Vox(1894-1974), l’homme-livre et l’homme du livre ; Marguerite Duras (1914-1996), cinéaste, comme dépositaire d’une certaine idée de la France et deses courants de création, et Jean-Christophe Averty (1928-2017), metteuren page de télévision. La distinction normative entre télévision et cinéman’a pas favorisé un réel dialogue entre Godard et Averty. En dépit de leursantagonismes notoires, esthétiques et politiques, elle fait écran à leurproximité, pourtant la plus surprenante et profonde, dans le champ d’étudeexaminé.Au prisme du graphisme, perspectives et proportions de l’oeuvre deGodard s’affranchissent du seul regard des études cinématographiques.Le rapprochement des différents champs de l’esthétique — histoires ducinéma, design graphique ou télévision — établissent combien Godard, touten étant « le cinéma à lui tout seul », est un héritier de la page impriméeet son prolongateur, de l’imprimé à la vidéo
In Jean-Luc Godard’s films, the written word is omnipresent. The hypothesisdeveloped here is that the book is perpetuated and reinvented in thecinema. The layout, and especially the typography, is the privileged way forthe filmmaker to question and experience the paradoxical relationshipsbetween text and image. In the ways opened by him and from a comparativemethodological perspective, I support my intuitions, hypotheses anddemonstrations on my experience as a practitioner-researcher in the graphicfield, based on the inductive approach offered by the confrontation ofimages and texts.My body of studies is organized around three figures : Maximilien Vox(1894-1974), the man of the book in France ; Marguerite Duras (1914-1996),filmmaker, depositary of a certain idea of France and its creative currents,and Jean-Christophe Averty (1928-2017), television layout maker. Thenormative distinction between television and cinema has not fostered a realdialogue between Godard and Averty. Despite their notorious aesthetic andpolitical antagonisms, it conceals their proximity, even though it is the mostsurprising and profound, in the field of study examined.Through the prism of graphic design, perspectives and proportions ofGodard’s work are free from the sole gaze of film studies. The convergenceof the different fields of aesthetics – history of cinéma, graphic design ortelevision — establish how much Godard, while being « the cinema all alone »,is an heir to the printed page and an extender, from print to video

Jan Tschichold (1902-1974), typographe et théoricien de la typographie, est célèbre pour la rupture qui scinde son travail en deux corpus en apparence inconciliables selon les catégories traditionnelles de l’histoire de l’art : modernisme et traditionalisme. Dans les années 1920, il est en Allemagne, l’un des défenseurs de la « Nouvelle Typographie », conception avant-gardiste de la discipline influencée notamment par le Bauhaus. Après avoir émigré en Suisse suite à l’arrivée au pouvoir des nazis, il devient à partir de la fin des années 1930, un érudit de l’histoire de l’imprimerie, replaçant la forme traditionnelle du livre au centre de ses préoccupations. Comment expliquer cette rupture ? Nous proposons de répondre à cette question en décentrant notre regard des travaux de conception de Tschichold pour s’attacher à ses pratiques de lecture et d’écriture. Cela permet d’envisager son activité comme celle d’un professionnel intégré contraint de s’adapter à la mécanisation et l’automatisation de processus de travail autrefois artisanaux, en décalage avec l’image du créateur avant-gardiste franc-tireur dont il jouit parfois. En superposant aux outils conceptuels de l’histoire de l’art, les grilles d’analyse des historiens du livre, de l’industrialisation ou des sociologues, nous tentons d’apporter de nouveaux éléments de compréhension, non seulement concernant Tschichold, mais également le courant de la Nouvelle Typographie. De manière plus générale, nos recherches questionnent les notions de « typographie » et de « typographe », ainsi que les relations qu’entretiennent typographie, design graphique et publicitaire, peinture, photographie et architecture au XXe siècle
Jan Tschichold (1902-1974), typographer and theorist of typography, is famous for the break that divides its work into two apparently irreconcilable corpora in the traditional categories of art history: modernism and traditionalism. In the 1920s, he is in Germany, one of the “New Typography” advocates, avant-garde design discipline particularly influenced by the Bauhaus. After immigrating to Switzerland (after the Nazis came to power), he became from the late 1930s, a scholar of the history of printing, replacing the traditional form of the book at the center of its concerns. How to explain this failure? We propose to answer this question by offsetting our view of Tschichold design work to focus on practices of reading and writing. This allows considering its work like a professional forced to adapt a craft to mechanization and automation, stepping out with the legend of the avant-gardist artist who is propagated by many books on the history of graphic design. By superimposing on the conceptual tools of art history, the analysis grids of the historians of book and printing, of the industrial revolution or the tolls of sociologists, we try to bring new elements of understanding, not only for Tschicholds career, but also the “artistic” movement of the New Typography. More generally, our work questions the notions of “typography” and "typographer" and the relationship between typography, graphic and advertising design, painting, photography and architecture in the twentieth century

Darbe tiriamas knygų paaugliams dizainas Lietuvoje ir Latvijoje 1990-2009 m. Analizuotos knygos, kurios sulaukė skaitytojų, literatūrologų pripažinimo, buvo įvertintos knygų vaikams ir paaugliams konkursuose – viso beveik pusšimtis leidinių. Žvelgiant į knygą kaip į estetinę, kultūrinę vertę turintį objektą, tyrimu siekta išryškinti bei palyginti knygų paaugliams dizaino Lietuvoje ir Latvijoje ypatumus ištiriant šių leidinių apipavidalinimo elementus bei jų sąveiką. Siekiant šio tikslo, atskirose darbo dalyse atskleista knygos dizaino specifika, apžvelgta knygų apipavidalinimo raida XX a., įsigilinta į paauglių psichologiją, pristatyta knygų paaugliams atsiradimo istorija Vakarų pasaulyje bei Lietuvoje ir Latvijoje, ištirti minėtųjų šalių knygų paaugliams dizaino ypatumai. Atliekant tyrimą naudotasi aprašomuoju, aprašomuoju analitiniu, istoriniu, lyginamuoju, formaliosios analizės metodais. Darbe remiamasi kelių skirtingų disciplinų teorijomis. Pasitelkiamas tiek psichologijos mokslas, siekiant geriau pažinti paauglius ir jų poreikius, tiek grafinio dizaino teorija, padedanti atskleisti analizuojamų knygų apipavidalinimo ypatumus. Taip pat remiamasi poststruktūralistiniu požiūriu į grafinį dizainą: knygos apipavidalinimas laikomas tiek pat reikšmingu, kiek ir literatūrinis jos turinys, nes kiekvienas knygos elementas priklauso kultūrinių reprezentacijų tinklui ir pats savaime generuoja papildomas reikšmes. Atlikus tyrimą įvardinti atskirų knygos dizaino elementų bei jų... [toliau žr. visą tekstą]
This study investigates the design of books for teenagers in Lithuania and Latvia in years 1990 to 2009. Almost half a hundred books have been analyzed – the ones that received recognition of both readers and literary persons, and those which were well evaluated in the contests of books for children and youth. Looking into a book as if it was the object having both aesthetic and cultural value, the research has tried to reveal and to compare design peculiarities of books for teenagers in Lithuania and Latvia, examining design elements and their interaction. To achieve this aim, in separate parts of the research the specificity of book design is uncovered and its development in 20th century is reviewed. There is a focus on teenagers' psychology, the research paper also presents the history of how books for teenagers emerged in Western world, Lithuania and Latvia, and examines design peculiarities of books for teenagers in the above mentioned countries. To carry out the research such methods as descriptive, descriptive - analytical, historical, comparative and the method of formal analysis are used. The work is based on theories of several different disciplines. Psychological science is used to better understand teenagers and their needs. The graphic design theory helps to uncover design peculiarities of the books analyzed. Post structural approach to graphic design is also used – the design of the book is considered to be as important as its literary content, as each element... [to full text]

En rapport avec la tradition du poète-historien du vingtième siècle, la poétique documentaire pratiquée par Ezra Pound et Susan Howe de manières distinctes mais liées sert de base à une étude de la matérialité complexe au sein du processus compositionnel des deux écrivains. Fondée sur les matériaux d'archives des deux séquences, une analyse détaillée des « Malatesta Cantos » de Pound et de « Marginalia de Melville » de Howe permet une réflexion sur le développement de la transformation typographique dans le domaine de la poésie. Tout au long de cette critique, Steven Paschall aborde les processus de la signification de la matérialité en parallèle aux conceptions et expériences Poundiennes et Howiennes de l'archive historique et de la production littéraire. Pour Pound l'interprétation du quattrocento et de la saga de Sigismond Malatesta, et pour Howe celle des notes marginales et des ébauches manuscrites, a mené à la composition des poèmes innovateurs qui, à partir des sources textuelles, redéfinissent les idées conventionnelles de l'historiographie et de la pratique interprétative poétique au moyen des techniques structurelles et formelles. En examinant les opérations de l'appropriation littéraire, de la révision du langage écrit et de la page visuo-spatiale, Paschall avance un lien généalogique entre la matérialité archivistique du « poème contenant l'histoire » de Pound et les expériences visuelles d'articulation effectuées dans les reconfigurations palimpsestiques de Howe
Set against the tradition of the 20th-century poet-historian, the documentary poetics practiced in distinct yet related ways by Ezra Pound and Susan Howe serves as the basis of this study's investigation of the complex materiality underpinning each writer's compositional process. Pound's "Malatesta Cantos" and Howe's "Melville's Marginalia" are the focus of detailed analysis specifically grounded in the archival materials for each sequence in order to explore the development of typographic metaphrasis. Throughout this critical work, Steven Paschall sets the processes of materiality's signification in parallel to Pound and Howe's conceptions of, and engagements with, the historical archive and literary production. Pound's reading of the quattrocento and the saga of Sigismondo Malatesta, and Howe's reading of marginalia and manuscript drafts, resulted in unique source-based poems, the structural and formal techniques of which redefine conventional notions of historiography and interpretative poetic practice. In addressing the mechanics of literary appropriation, editing written language, and the visio-spatial page, Paschall asserts a genealogical thread between the archival materiality of Pound's "poem containing history" and the visual experiments in articulation of Howe's palimpsestic reconfigurations thereof

Le dictionnaire étymologique du français de Walther von Wartburg, le Französisches Etymologisches Wörterbuch (FEW), est en cours d’informatisation. Ses 25 volumes, répartis sur plus de 16000 pages, sont saisis puis jalonnés de balises sémantiques XML par une série d’algorithmes afin de permettre la mise en place d’un FEW électronique et son interaction avec différentes ressources extérieures. Or, l’encodage des données saisies ainsi que leur affichage dépendent directement de polices de caractères qui soient en mesure de formater l’ensemble du contenu du FEW, notamment une série de caractères inédits utilisés pour la notation de transcriptions phonétiques.L’objet de cette thèse consiste dans l’étude de la réalisation matérielle du FEW, en particulier sa typographie, des premières publications d’articles en 1922 jusqu’à leur diffusion actuelle sous une forme uniquement numérique. L’étude s’appuie pour cela sur une analyse des évolutions de la présentation du dictionnaire en abordant ses changements, d’ordre lexicographique mais aussi technique. Cette analyse est complétée par l’observation d’une série d’autres dictionnaires dont la mise en forme typographique est remarquable. La thèse participe ainsi à mettre en évidence la manière dont le FEW est un objet lexicographique unique.Le résultat concret de la thèse correspond à la création d’une famille de caractères adaptée aux usages du FEW. Ces polices sont exploitées au sein de deux interfaces: la première accompagne les rédacteurs du FEW lors de l’élaboration de nouveaux articles, la seconde permet aux utilisateurs de consulter et d’interagir avec la base de données du FEW informatisé. Issue d’une collaboration entre linguistes, informaticiens et designers, cette thèse propose un modèle d’intégration du design typographique au sein des humanités numériques
The etymological dictionary of the French language by Walther von Wartburg, entitled Französisches Etymologisches Wörterbuch (FEW), is being digitalized. Its 25 volumes spread over 16,000 pages are currently being typed and tagged with semantical XML language using a series of algorithms, in order to create a computerized FEW, able to interact with several external resources. However, the encoding and the display of the data requires appropriate fonts to typeset the whole dictionary, including a series of specific characters for phonetic transcriptions.The purpose of this thesis is to study the material realization of the FEW, and more specifically its typography, starting from the publication of the first articles in 1922 up to their current circulation as an exclusively digital content. The study is based on an analysis of the evolution of the dictionary's layout, taking into account lexicographical but also technical changes. This analysis is completed by a study of a selection of other dictionaries whose typesetting is remarkable. This thesis hence contributes to highlighting the extent to which the FEW is a unique lexicographic object.The concrete result of this thesis consists in a typeface family tailored to the needs of FEW users. These fonts are implemented in two interfaces: the first one is used by FEW editors to structure and write new articles, the second one enables users to consult and interact with the database of the computerized FEW.The result of a collaboration between linguists, computer scientists and designers, this thesis proposes a new model for integrating typographic design within digital humanities

Chapter 2 addresses Acker’s practice of collage, and the anxiety of self-description. Blood and Guts in High School is positioned in relation to both the Dadaist collage and montage practices of artists such as Hannah Höch at the beginning of the twentieth century, and the subversive publications of the 1960s and 1970s: mimeographed magazines, and the punk and post-punk medium of Xeroxed publications. The original manuscript of Blood and Guts in High School housed in the archive possesses a different materiality to the published version of the novel. The materiality of the text in its collage and typographic experimentation is situated in a counter position to the language and hegemonic discourses within which Janey, the voice of the text, is imprisoned. Drawing on Acker’s practices of illegibility, and Denise Riley’s work on language and affect, the chapter argues that Blood and Guts in High School, through its experimental form, reveals the anxiety of self-description that Janey experiences within conventional language structures. Illustration, experimental typography, non-referential language, and the use of the poetic, function in Blood and Guts in High School as sites of an alternate language that emerges through compositional form and experimental forms of iteration.

Chapter 4 focuses on two books: The Cave, by Clark Coolidge and Bernadette Mayer (published in 2009), and Coolidge’s The Maintains (1974). Attending to the collaborations’ claims of negative ontology and the shifting nexus of particular terms reveals the intertext at the heart of the book: Carl Andre’s contemporaneous sculpture Equivalents I-VIII. Indeed, the chapter follows the implications of the collaboration’s proposals to make an argument for considering the book itself as sculpture. Following from that sculptural reading, and the book’s equation of caverns and dictionaries, the chapter turns to The Maintains, alongside its dictionary source text, in order to detail the way in which it excavates the dictionary with an understanding of the reference book’s physical, typographic and sculptural space.

This chapter approaches two texts in detail, both of which explicitly focus on the relationship between music and philosophy: ‘L’Echo du sujet’ – a well-known essay from the early collection Typographies I (1979) which theorises a ‘catacoustic’ subject (rooted in a proto- or pre- subjective musico-rhythmic element) – and Le Chant des Muses (2005), transcribed from a talk aimed at teenagers given towards the end of his life. As well as critiquing the alignment of the maternal-feminine with the musical, the chapter probes at Lacoue-Labarthe’s construction of this essentially rhythmical/emotional – and constitutively nostalgic – subject and locates in this gesture his own autobiographical impulse. The chapter also develops from the thinking on tonality outlined with Nancy, to develop a critique of the assumed notion of the musical work: a static, total, bound and autonomous object which obscures its means of production and the labour required for its (re)production (regardless of whether it is actually performed, as such). Finally, in the way that Lacoue-Labarthe expressly puts this into relation to education, socialisation and environment, the chapter argues that there is an important political and ethical value to Lacoue-Labarthe’s conception of a ‘catacoustic’ subject.

A whole series of questions flows from Loy’s general understanding, such as: Was there a particular sort of land form associated with ancient Greek settlements? Were settlements always located at springs, and did springs always have settlements? Why were there springs in some places and not in others, in what seemed to be the same sort of terrain? How much have the typography and the water resources changed since antiquity? How much did they change in the last 800 years B.C.? What can we tell about the water resources of antiquity from observing the modern situation? What were the relationships between ancient Greek settlements and the occurrence of karst phenomena? Was karst a geological form that had special relevance to water resource management in ancient Greece? Answers to some of these questions will become apparent as we discuss the geological aspects of ancient Greek urban history. Man-environment relations, in the ancient Greek world as elsewhere, were complex interactions of mode, duration, and intensity of human interference with the initial site conditions and with the climatic and biotic flux, affected by the resilience of the ecosystem. To understand these human communities in their physical setting, we need to study a range of features, many complex interactions, and man’s impact on the setting, realizing that our research goals and those of other experts may be widely divergent. Such complex interactions are called socionatural systems by J. W. Bennett (1976, 22). The condition of the watersheds of the hinterlands, in good times and bad, is directly pertinent to the ability of cities to extract water and transport it to municipal users. Hence the problems of erosion are not irrelevant to our topic—the management of water and the process of urbanization (Thrower and Bradbury, 1973, 59 –78; Aschmann, 1973, 362 –66). The thin, barren soil of these rocky peninsulas and islands is the result of climate not man. At the least, the currently observable extensive and permanent deforestation of uplands is locally a very recent phenomena (after the Younger Fill, to be discussed later) and therefore not a cause but a result of existing conditions.

The snigger point, or note of cachinnation, was invented by Ambrose Bierce in 1887. He proposed the new typographic symbol as “an improvement in punctuation,” explaining in an essay that “it is written thus ︶ and represents, as nearly as may be, a smiling mouth. It is to be appended, with the full stop, to every jocular or ironical sentence; or, without the stop, to every jocular or ironical clause of a sentence otherwise serious.” Recommended to humorless colleagues who had no trouble recognizing his sarcasm, the snigger point, or note of cachinnation, never caught on. Similar suggestions have since been advanced, independently, with different motivations. In 1899 the French writer Alcanter de Brahm earnestly proposed that a backward question mark be used in print as a point d’ironie , an idea that Alfred Jarry fervently endorsed two years later, though both the irony mark and its creator faded into obscurity shortly thereafter. And in 1967 Reader’s Digest ran a short item by the Baltimore Sunday Sun correspondent Ralph Reppert, whose Aunt Ev seasoned her family letters with the symbol –) representing “her tongue stuck in her cheek,” an idea recirculated on an ARPANET mailing list in 1979 in a proposal to counteract “the loss of meaning in this medium [due to] the lack of tone, gestures, facial expressions, etc.” The ARPANET community never embraced Aunt Ev’s innovation. But three years later a slightly different icon was rapidly and permanently adopted. The emblem was first playfully circulated on the Carnegie Mellon University bulletin board system by a computer scientist, Scott Fahlman: . . . 19-Sep-82 11:44 Scott E Fahlman :-) From: Scott E Fahlman <Fahlman at Cmu-20c> I propose that the following character sequence for joke markers: :-) Read it sideways. Actually, it is probably more economical to mark things that are NOT jokes, given current trends. For this, use :-( . . . The :-( symbol was enthusiastically taken up together with the :-), though not in the way Fahlman intended.

This research discusses the importance of historical research as it serves to determine ideas and helps to group historical facts into explanatory scientific systems. Thus, by systematically documenting this knowledge contributes to develop and improve the theory and practice of education. Since design education in Sri Lankan is nearly two decades old, subject areas such as Graphic design lacks the needed literature on early Sri Lankan graphic practices that determine and contribute towards clarifying current and future trends built on historical research. The historical data that contributes to these subject areas are found at archival locations, and the preservation process in such locations limits us from the opportunity to observe historical data (primary data); that is required to establish new knowledge; in this case graphic design. Thus, this research aims towards documenting historical data towards building new knowledge. To achieve this, the historical data: specific to early book cover prints are compared with a literature survey on early printing technologies and on how they are identified. For this, the primary data (early book covers) from archival locations, were documented and visually observed with the use of a linen-prover magnifying glass with x4 enlarging capacity. The findings were compared with literature on different print technologies used during this era with the knowledge on how to identify them. The findings were compiled into stimuli for the analysis purpose. And finally, the gathered data was chronologically compiled as new knowledge. In conclusion, we were able to determine the technology used in early prints, more specific to print technology used during the early book publishing and printing industry of Sri Lanka. Since the data is chronologically (1870-1920) compiled we were able to identify patterns that help build new knowledge into other subject areas. It opens up discussion on historical trends in book cover designs, parameters of each technology used in Sri Lanka that influence book layout, its typography and letter composition for further research.