Journal articles 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.

A historiografia da arte relativa à capitania das Minas Gerais, desde a década de 1930, aponta a relevância especial dos missais portugueses, editados pela Impressão Régia, como fontes de modelos gravados para os pintores. O presente artigo objetiva reacender esse debate, deslocando-o do tradicional eixo interpretativo iconográfico e formal, ou seja, não enfatiza a análise das apropriações das gravuras portuguesas pelos pintores mineiros. Objetiva, diferentemente, compreender o processo de produção desses modelos em Lisboa tendo em vista as políticas econômicas adotadas em Portugal, na segunda metade do século XVIII, com vistas a favorecer e proteger a incipiente industrialização lusitana, substituindo importações. O enfoque recai sobre o estudo da produção dos livros e suas estampas, as concessões de privilégios de impressão aos lusitanos e a proibição de importação de missais estrangeiros, medidas tomadas desde a década de 1760. Conclui-se que essas investidas protecionistas tiveram como consequência o predomínio desses livros no mercado de missais na capitania das Minas, o que interferiu, por sua vez, no universo de insinuações artísticas europeias ali disponíveis, uma vez que suas estampas apresentavam pendores classicizantes, de origem italiana.

The Rijkmuseum Meermanno-Westreenianum at The Hague has as its core the former private collection, rich in manuscripts and incunabula, of Willem van Westreenen, who was able to acquire material from the earlier collections of Gerard and Johan Meerman. Maintained as a static collection, seldom open to the public, for more than a century, the Museum has since 1960 developed into a vital centre for fine printing, now including examples of modern typography alongside its older treasures.

This conversation was recorded in Berlin in April 1992, in time snatched from a hectic working day. Erik Spiekermann is a German graphic designer, who has specialized in information design and typeface design. He worked in London in the 1970s, and since 1981 has worked in Berlin, as a partner in MetaDesign. In 1989, the practice expanded to become 'MetaDesign plus'. Spiekermann is also a partner in FontShop, established in 1989 as a retailer of typeface software, with branches in Europe and North America. The main topic of this conversation is the work being undertaken by MetaDesign for the transport authority in Berlin - the BVG. Other issues discussed are recent debates over typography and legibility, and the critical discussion of typography. In the course of the exchange, the real processes of design are exposed - in a way that more formal discourse cannot do. The text given here has been transcribed from the tape-recording, with minimum editing.

The article is devoted to the problem of studying the censorship of provincial prerevolutionary periodicals (the official newspaper Tomskie Gubernskie Vedomosti [Tomsk Provincial Sheets] in particular). Usually, a reader or a researcher of periodicals deals with the issue of the newspaper that has been distributed, all the work on its preparation, editing, proofreading, and censorship remains “behind the scenes”. In this case, a special typographic print intended for editing and admission for publication by the editor of the unofficial part of Tomskie Gubernskie Vedomosti that was preserved in the State Archive of Tomsk Oblast allows examining the specific forms and features of the work of the editor and the censor. A complex of textual methods was used to study the considered archival material, including semantic analysis of newspaper text, syntactic and contextual analysis, and also a historical reconstruction method. The synthesis of linguistic methods and historical analysis methods is due to the complexity of the material, which requires an integrated interdisciplinary approach. Like most documents related to the implementation of censorship in prerevolutionary Russian journalism, this print as an object of study is at the intersection of textual criticism, archival research, history, and journalism. During the study, the handwritten notes in the margins and in the very texts of the publications were deciphered; the contents of two versions of the same issue (the preliminary version with corrections, and the final printed version) were compared; the most significant corrections were analyzed from the semantic and linguistic point of view; assumptions about the reasons for the edits were made and justified. The following conclusions were drawn as a result of the study. V.A. Meyer, responsible for the unofficial part, was not a writing editor (with his own column or editorials), but an administrator with the functions of an editor, censor, and proofreader of the special typographic print, which N.G. Guselnikov, the head of the newspaper office, prepared for him. The edited publications covered all-Russian political events, political events in Tomsk and Tomsk Governorate, as well as non-political events. The edits can be grouped into the following categories: delenda (deletion of certain “extra” words, phrases, sentences, as well as whole paragraphs and entire publications); replacement certain words, sentences, and publications; correction of forms of words and their inflections; correction of typos; rearrangement of the order of publications; indication or change of the source of borrowing or the author of the publication. The censor-editor edited both articles on local topics and reprints from other newspapers despite the fact that the reprints had already been accepted for publication by other periodicals.

Acarid mites associated with bark beetles feed on fungi, transfer fungal spores, and promote fungal strain recombination inside beetles’ galleries. Many of these mites are omnivorous generalists, with a clear preference to mycetophagy, living in different subcortical habitats, including galleries of bark beetles. We reviewed associations of acarid mites and scolytine beetles numbering 26 mite species in 11 genera associated with 45 bark beetle species in 17 countries (134 unique records total). A new genus and species of acarid mite, Ipsoglyphus bochkovi, gen. and sp. nov. (Acariformes: Acaridae) collected from Ips typographus pheromone traps in Western Siberia, Russia, is described and illustrated from deutonymphs. The new genus differs from all other acarid genera of by a combination of the following characters: two solenidia on genu I, an unpaired eye-spot present on the anterior prodorsum, and palpal supracoxal setae (elc p) lanceolate. As part of this work, we established the following new synonymies and combinations: Halictacarus zakhvatkini (Delfinado and Baker, 1976) comb. nov. from Schulzea (=Schulzea orientalis Putatunda & Kapil, 1995 syn. nov.; Schulzea halicti Putatunda and Kapil, 1995 syn. nov.); Halictacarus indicus (Putatunda & Kapil, 1995) comb. nov. from Schulzea; Forecellinia insolita (Woodring & Moser, 1970) comb. nov. from Anoetus; Histiogaster wichmanni (Türk & Türk, 1957) comb. nov. from Caloglyphus; Reckiacarus sudeticus (Kiełczewski & Wiśniewski, 1975), comb. n. from Histiogaster; Reckiacarus stammeri (F. Türk & E. Türk, 1957) comb. n. from Histiogaster. The following names were emended to agree in gender with the generic name Histiogaster Berlese, 1883 (feminine): Histiogaster iberica Kadzhaya, 1959, Histiogaster robusta Woodring, 1966, Histiogaster rotunda Woodring, 1966, Histiogaster striatissima Mahunka, 1973. Between the variant spellings Histiogaster arborsignum Woodring, 1963 and Histiogaster arborsignis Woodring, 1966, the latter is an incorrect subsequent spelling, however, because it is in prevailing usage, we treat it as correct: Histiogaster arborsignis Woodring, 1963.

In most cases, African American poetry eschews traditional literary norms. Contemporary African American poets tend to ignore grammatical rules, use unusual typography on many occasions, include much of their cultural heritage in their poetry, and interweave musical elements into literary genres. The influence of such musical genres as jazz, blues, soul, and gospel, together with the dilemmas that occur for the translator, will be shown to great extent, since music, like black speech, is a major part of African American culture and literature. The translator will have to maintain the specific African American rhythm, blues adaptations and the improvisational language under the jazz impact. The paper presents the problems in translating post-1950 African American poetry into Slovene, and asks to what extent can one successfully transfer the musical elements within this poetry for the target culture? Inevitably, it will identify a share of elements that are lost in translation.

Changes in the Visual Form of Aaro Hellaakoski’s Poem ”Vieras” (”The Stranger”) The present article shows how genetic criticism (critique génétique) can enrich our understanding and interpretation of visual poetry by examining the manuscript, proofs and published versions of the poem ”Vieras” (” e Stranger”) from the typographically experimental collection Jää- peili (”Ice Mirror”, 1928) by the Finnish poet Aaro Hellaakoski (1893–1952). e collection is regarded as a forerunner of Finnish modernism, and particularly its experimental typography got successors only as late as in the 1960s. Besides omitting punctuation and upper case letters, Hellaakoski experiments with the auditory and visual dimensions of ”Vieras” by dividing metrical stanzas and line units into typographically separate groups. In his later selected poems Valitut runot (”Selected poems”, 1940) and Runot (” e Poems”, 1947), Hellaakoski stripped ”Vieras” from these experimental features. e examination of the manuscripts and proofs of ”Vieras” shows that Hellaakoski’s later revisions actually revert the poem to a form closer to its early, visually more traditional, manuscript versions. e article suggests, that it was probably the integrity of Jääpeili as a modernist collection that motivated Hellaakoski into the experimental typography and ortography of ”Vieras”. ese features became dispensable when the poem was released from the context of the collection.

This article looks at the use of letterings and typefaces in the linguistic landscape through a comparison of hippie and punk concert posters. After a general introduction, some definitions and an overview on the hippie and punk movements and the posters they produced, the article introduces the methodology employed, which consisted of both an analysis of the lettering used in hippie and punk posters and a survey carried out among a sample of students at Universiti Malaya (Kuala Lumpur). This is followed by an analysis and a discussion of the data, which have led to two main findings: not only were the antithetical ideas behind these two youth movements portrayed through the specific lettering and fonts used, but the latter feature specific traits that may be linked to our mental processes and possibly our limbic system, the most primordial part of our brain.

Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years, Lowbrow artists have proved themselves and have begun to produce art and design works that are exhibited in different fields. The aim of this study is to emphasise the importance of Lowbrow art, which is seen as a subculture today. Keywords: Lowbrow, pop surrealism, street art, illustration, designer toy, subculture, visual design.

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

Scolytinae species are among the most damaging forest pests, and many of them are invasive. Over 1500 Scolytinae interceptions were recorded at New Zealand's borders between 1950 and 2000. Among the 103 species were Dendroctonus ponderosae, Ips typographus, and other high-risk species, but actual arrivals probably included many more species. Interceptions were primarily associated with dunnage, casewood (crating), and sawn timber, and originated from 59 countries, mainly from Europe, Australasia, northern Asia, and North America. New Zealand and United States interception data were highly correlated, and 7 of the 10 most intercepted species were shared. Interception frequency and establishment in New Zealand were not clearly related. By combining New Zealand and United States interceptions of true bark beetles we obtained data on species found in shipments from around the world. Logistic regression analysis showed that frequently intercepted species were about four times as likely as rarely intercepted species to be established somewhere. Interception records of wood and bark borers are valuable for the prediction of invaders and for our general understanding of invasions. The use of alternatives to solid wood packaging, such as processed wood, should be encouraged to reduce the spread of invasive wood and bark borers.

Que outros discursos e informações podem ser extraídos de um cartaz de cinema, se este for observado para além dos elementos gráficos que tradicionalmente definem o seu design? Este artigo procura analisar uma amostra de 160 cartazes de cinema português, entre 1920 e 1979, circunscrevendo-se a outros elementos visuais que não a imagética e tipografia que apresentam o filme que se pretende anunciar. Trata-se de um olhar direcionado para as margens dos cartazes, onde habitualmente se inscreviam estes conteúdos, numa layer secundária ou terciária de informação, muitas vezes ignorada, onde se encontraram dados relevantes ao nível da autoria, programa e tecnologia dos cartazes – três vértices sob os quais se estrutura o projeto de design e segundo os quais se agruparam estes elementos. De forma intencional ou não, implícita ou explicita, concluiu-se que os cartazes não comunicaram somente os filmes, mas também pequenos fragmentos da história do cinema e design nacionais.*****What other discourses and information can be extracted from a film poster when this artefact is observed beyond the graphic elements that traditionally define its design? This article sets out to study a sample of 160 Portuguese film posters, between 1920 and 1979, focusing specifically on visual elements which are not the images and typography that represent the film being advertised. This an observation that looks attentively to the margins of the posters, where these aspects were usually present, in a secondary or tertiary layer of information, often ignored or overlooked, containing relevant data related with the questions of authorship, programme and technology – three-axis upon which the design project is structured and developed and that were used to group these elements. Unintentionally or not, in an implicit or explicit way, it was possible to conclude that posters not only communicate the films themselves, but also small fragments of the Portuguese film history and design.

This essay argues that Anne Waldman’s 1973 selected poems, Life Notes, articulates a vision of the environment that is positively and reparatively enmeshed with language and culture. Embracing the paradox at the heart of the best environmental writing, Life Notes reveals our natural environments to be at once legible and unknowable, and embodies this through experimental forms, language, and typography. This collection of poems, which has yet to be paid significant critical attention (despite Waldman’s renowned status as a poet), artfully mediates the relationship between word and world, giving voice, shape, and form to what we might call the poet’s ‘ecology of knowing’, per Eve Kosofsky Sedgwick’s formulation. Through a sustained process of imaginative elision of the human and nonhuman, I argue, Waldman illuminates the ways in which the ‘natural’ world is almost always touched by the human, and refutes the widely-held cultural fantasy that nature is self-evidently restorative or redemptive and thereby somehow at a remove from humankind. Life Notes, I suggest, is a ‘dissipative structure’, critically entangled with the everyday environment out of which it emerges and with which it remains ‘involved in a continual exchange of energy’ (Waldman).

Abstract Salvage felling is one of the indicators of the forest health quality and stability. Most of the European Union countries monitor forest harmful agents, which account for salvage felling, in order to see trends or functionality between factors and to be able to predict their development. The systematic evidence of forest harmful agents and volume of salvage felling in Slovakia started at the Forest Research Institute in Zvolen in 1960. The paper focuses on the occurrence of the most relevant harmful agents and volume of salvage felling in the Slovak forests over the last decade. Within the 10 years period (2004–2013) salvage felling in Slovakia reached 42.31 mil. m3 of wood, which was 53.2% of the total felling. Wind and European spruce bark beetle Ips typographus damaged 78.4% of salvage wood, i.e. they were the most important pest agents. Norway spruce (Picea abies) was the most frequently damaged tree species that represented the amount of 35.6 mil. m3 of wood (81.2% of total volume of salvage felling). As Norway spruce grows mostly in mountains, these regions of Central and Northern Slovakia were most affected. At the damaged localities new forests were prevailingly established with regard to suitable ecological conditions for trees, climate change scenarios and if possible, natural regeneration has been preferred. These approaches in forest stand regeneration together with silvicultural and control measures are assumed to gradually decrease the amount of salvage felling over long term perspective.

Resumo: O objetivo deste artigo é explicitar aspectos da interpretação de Gadamer à Carta Sétima de Platão que lancem luz sobre quais traços fundamentais são imprescindíveis a uma epistemologia que se ancore na hermenêutica filosófica. Merold Westphal propôs em um artigo que a hermenêutica filosófica poderia fornecer elementos para uma renovação da epistemologia analítica. O presente trabalho inscreve-se no interesse amplo de tratar sobre que implicações teriam para noção de conhecimento se a epistemologia seguisse o caminho apontado por Westphal. Para tanto, escolhemos um trabalho onde Hans Georg Gadamer, principal defensor da hermenêutica filosófica, explora uma interpretação fenomenológica de Platão em que identificamos elementos relevantes para pensar a noção de conhecimento dentro dessa chave de leitura. Hans-Georg Gadamer explora, sob a luz de sua concepção ontológico-hermenêutica, o texto da Carta Sétima, dando um entendimento renovado a alguns aspectos da obra platônica, bem como indicações a uma compreensão fenomenológica do conhecimento. Palavras-chave: Teoria do Conhecimento. Gadamer. Platão. Carta Sétima. Hermenêutica. Abstract: The aim of this article is to make explicit aspects of Gadamer 's interpretation of Plato's Seventh Letter that shed light on what fundamental traits are indispensable to an epistemology that is anchored in philosophical hermeneutics. Merold Westphal proposed in an article that philosophical hermeneutics could provide elements for a renewal of analytic epistemology. This paper is part of the broader interest of discussing what implications would have for the notion of knowledge if epistemology followed the path Westphal pointed out. For this, we chose a work where Hans Georg Gadamer, the main defender of philosophical hermeneutics, explores a phenomenological interpretation of Plato in which we identify relevant elements to think the notion of knowledge within this key of reading. Hans-Georg Gadamer explores, in the light of his ontological-hermeneutic conception, the text of the Seventh Letter, giving a renewed understanding to some aspects of the Platonic work, as well as indications to a phenomenological understanding of knowledge. Keywords: Theory of Knowledge. Gadamer. Plato. Seventh Letter. Hermeneutics. REFERÊNCIASBONJOUR, L. The structure of empirical knowledge. Cambridge: Harvard University Press, 1985.GADAMER, H.-G. Dialektik ist nicht Sophistik. Theätet lernt das im Sophistes. In: Griechische Philosophie. t.3. Gesammelte Werke, Bd. 7. Tubingen: Mohr, 1985c [1990], pp.338-370._______. Dialektik und Sophistik im siebenten Platonischen Brief. In: Griechische Philosophie. t.2. Gesammelte Werke, Bd. 6. Tubingen: Mohr, 1985b [1964], pp.90-115._______. Die phänomenologische Bewegung. In: Neuere Philosophie, t. 1; Hegel, Husserl, Heidegger. Gesammelte Werke, Bd. 3. Tubingen: Mohr, 1987 [1963], pp.105-146._______. Hegel und Heidegger. In: Neuere Philosophie, t. 1; Hegel, Husserl, Heidegger. Gesammelte Werke, Bd. 3. Tubingen: Mohr, 1987 [1971], pp.87-101._______. Platos dialektische Ethik. In: Griechische Philosophie. t.1. Gesammelte Werke, Bd. 5. Tubingen: Mohr, 1985a [1931], pp.3-163._______. Platos dialektische Ethik - beim Wort genommen. In: Griechische Philosophie. t.3. Gesammelte Werke, Bd. 7. Tubingen: Mohr, 1985c [1989], pp.121-127._______. Praktisches Wissen. In: Griechische Philosophie. t.1. Gesammelte Werke, Bd. 5. Tubingen: Mohr, 1985a [1930], pp.230-248._______. Wahrheit und Methode: Grundzüge einer philosophischen Hermeneutik. In: Hermeneutik I. Gesammelte Werke, Bd. 1. Tubingen: Mohr Siebeck, 1990 [1960].GRONDIN, J. Einführung zu Gadamer. Tübingen: Mohr Siebeck, 2000._______. Von Heidegger zu Gadamer: Unterwegs zur Hermeneutik. Darmstadt: Wissenschaftliche Buchgesellschaft – WBG, 2001.HEIDEGGER, M. Sein und Zeit. 19. Faksimile-Ausgabe der 1. Ausgabe. Tübingen: Verlag, 2006 [1927].PLATÃO. Opera Platonis. Recognovit brevique adnotatione critica instruxit Ioannes Burnet. Scriptorum Classicorum. Bibliotheca Oxoniensis, v.1-6. Oxford: Clarendoniano Typographeo, 1900.///RORTY, R. A filosofia e o espelho da natureza. Rio de Janeiro: Relume-Dumará, 1994.ROHDEN, L. Filosofa enquanto Fenomenologia e Hermenêutica à luz da Carta VII de Platão. In: BOMBASSARO, L. C.; DALBOSCO, C. A.; KUIAVA, E. A., (org.). Pensar Sensível. Festscrift ao prof. Jayme Paviani. Caxias do Sul, RS: Educs, 2011, pp. 87-104._______. Filosofando com Gadamer e Platão: movimentos, momentos e método[s] da dialética. Dissertatio, 36 (2012), pp. 105-130. Disponível em: <http://dx.doi.org/10.15210/dissertatio.v36i0.8660> (acessado em 09.08.2018)._______. Hermenêutica e[m] resposta ao elogio da verdadeira filosofia da Carta Sétima de Platão. In: Kriterion, Belo Horizonte, v. 54, 127 (2013), p. 25-42. Disponível em: <http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0100-512X2013000100002&lng=en&nrm=iso > (acessado em 17.09.2018)._______. Filosofar com Gadamer e Platão: hermenêutica filosófica a partir da Carta Sétima. 1. ed. São Paulo: Annablume, 2018.SMITH, P. C. H.-G. Gadamer’s Heideggerian Interpretation of Plato. In: Journal of the British Society for Phenomenology, Stockport, England, v. 12, 3 (1981), pp. 211–230. Disponível em: <https://doi.org/10.1080/00071773.1981.11007544> (acessado em 06.07.2018).VALENTIM, I. A Carta VII, o manifesto e a autobiografia política de Platão. In: Revista Opinião Filosófica, Porto Alegre, v. 3, 1 (2012), pp-60-72. Disponível em: <http://periodico.abavaresco.com.br/index.php/opiniaofilosofica/article/view/435> (acessado em 17.09.2018).WESTPHAL, M. A hermenêutica enquanto epistemologia. 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The phenomenon of the undefined status of literary criticism leads to a lack of clarity in its terminological apparatus. In particular, there is no unity on the issue of what to consider as the plot of a literary-critical utterance, as well as how to determine its motivational structure, or to identify a set of semantic fields. The subject of this research is the literary category of the chronotope, which is used to analyze the poetics of a critical text. This study was carried out on the basis of the collections of I.I. Vinogradov (1930-2015) “Like bread and water. Art in Our Life” (1963), “Art. True. Realism” (1975), “On a living track. Spiritual Searches of Russian Classics” (1987) with the involvement of textual criticism, biographical data and evidence of the historical context. Despite the artificiality of dividing the chronotope as dominant uniting texts, each of its parts is consistently characterized in order to accomplish the most complete presentation. Space, not in physical, but in textual terms, is understood as a set of factors that bind articles together at a formal level (genre format, heading complexes, typography design). The author's image is viewed as multifunctional: it builds an internal connection and a storyline. The functions of the chronological aspect are also shown: responsibility for the historical, cultural and biographical contexts, dating, meaningful transformation of articles. The conclusion deals with the possibility of using a complex view of the totality of chronotopic characteristics of judgment and the methodological preferences of the critic as a whole.

The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.

Настоящая работа является первым общим описанием на русском языке двух некрополей Кампокиаро (Кампобассо, Италия) – Виченне и Морионе, датируемых последней третью VII в. – началом VIII в. Культурное содержание некрополей показывает прочные связи с населением центральноазиатского происхождения. Важнейшим признаком некрополей являются захоронения с конем, соответствующие евразийскому кочевому погребальному обряду. Автор поддержал выводы европейских исследователей о том, что с большой долей вероятности некрополи оставлены булгарами дукса–гаштальда Алзеко, зафиксированными Павлом Диаконом в VIII в. на территориях Бояно, Сепино и Изернии. Аналогии некрополей Кампокиаро с погребениями Аварского каганата показывают присутствие в аварском обществе булгар со схожим погребальным обрядом. Из тысяч погребений с конем, оставленных аварским населением, булгарам могла принадлежать большая часть. Авары и булгары составляли основу и правящую верхушку каганата. Народ Алзеко являлся той частью булгар, которая в 631 г. боролась за каганский престол, что указывает на высокое положение булгар и их большое количество. После поражения эта группа булгар мигрировала последовательно в Баварию, Карантанию и Италию. Несколько десятков лет проживания в венедской, а затем в лангобардской и романской среде привели к гетерогенности погребального инвентаря, но не изменили сам обряд. Булгары лангобардского королевства составляли новый военный слой, который представлял из себя профессиональную кавалерию, получивший землю. Эта конная дружина является ранним примером европейского феодального воинского и социального сословия, которое станет называться рыцарством. Библиографические ссылки Акимова М.С. Материалы к антропологии ранних болгар // Генинг В.Ф., Халиков А.Х. Ранние болгары на Волге (Больше–Тарханский могильник). М.: Наука, 1964. С. 177–191. Амброз А.К. Кинжалы VI – VIII вв, с двумя выступами на ножнах // СА. 1986. № 4. С. 53–73. 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This essay investigates an orientalist typography operating in Portugal from the end of the nineteenth century to the beginning of the twentieth century by focusing on the typographer José António Dias Coelho (1858-1940). He served for almost fifty years at the national printing press (Imprensa Nacional) and was responsible for the composition of most of the works then published by well-reputed Portuguese orientalists. The essay is divided into two parts: first, evidence is provided of his notorious performance in using Oriental types based on testimonies extracted from books’ paratexts by Portuguese orientalists (such as Guilherme de Vasconcelos Abreu, Sebastião Rodolfo Dalgado, or David Lopes); then, a micro-history of the Portuguese typographer is written so as to evince his role in the genealogy of Oriental Studies in Portugal.

In 1972, the poet Waly Salomão published the book Me Segura Qu’eu Vou Dar um Troço, in which the visual dimension plays an important role. The typographic layout and the incorporation of photographs bestow a character that raises the text above its literary nature so that the book also works as a photo-book. This essay analyses the differing layouts of the images that appear in Me Segura Qu’eu Vou Dar um Troço based on the problematization of conditions of enunciation, montage as a procedure and the incorporation of new discourses and languages which give rise to new “modes of speaking”.

Paper correspondence between fans and creators/producers is a sort of historiographic challenge to the imagined shift from so-called analog to digital fandom. It opens the possibility of applying digital methodologies to archival objects as researchers continue to historicize fan practices, identities, and cultures. Using the archival papers of soap opera showrunners Frank and Doris Hursley, and Bridget and Jerome Dobson as a case study for this structural-affective analysis, I draw data and metadata from approximately three hundred fan letters and responses. Trends of emotion across the letters figure prominently in an analysis of the affective strategies used by both fans and creators to create an intimately collaborative televisual experience. The letters contain layers of valuable metadata, including filing conventions, typography, and collage; these permit identification of negotiations of power over the televisual narrative, and they provide valuable insights into the affective textures of the soap fan's everyday life. Digital fan studies foregrounds the integration of fandom into one's online life, as well as the importance of social media in closing the gulf between fan and creator. This praxis expands on the value of analog tools—pen, paper, scissors, and typewriter—to the predigital television fan's virtual life. Material communication played and continues to play an important role in fomenting fannish identity, exercising industrial literacy, performing affective engagement, and navigating an enduring, affectionate tension between author and audience.

To the unrefined or under-bred person, the visiting-card is but a trifling and insignificant piece of paper; but to the cultured disciple of social law it conveys a subtle and unmistakable intelligence. Its texture, style of engraving, and even the hour of leaving it, combine to place the stranger whose name it bears in a pleasant or disagreeable attitude, even before his manners, conversation, and face have been able to explain his social position (1920 etiquette manual quoted in Curtin 138). There’s a scene in the ‘90s TV series Ab Fab where Eddy, stumbling from her car, fresh from Harvey Nicks and tipsy on Bolly, shouts into her mobile ‘it’s ok Bubbles, I’m coming into the office now’ as she enters the office. When it first aired this was a wry comment on the vacuous, superfluous nature of new communication technologies. Now, it’s like ‘so what?’ Why not attempt to convey constantly the banal minutiae of the every day? Indeed, what troubles the technological verisimilitude is not that Eddy desires absolute proximity but that she’s not texting. In these days of ‘intensive propinquity’ (Kang 2002), however, it is easy to overlook the fact that telepresence—text’s uncanny power to stand in for the corporeal body—has a long history. Indeed, one such precursor to today’s technologies of telepresence would undoubtedly appeal to Eddy and Pats. In this paper, I want to consider the extent to which the British eighteenth-century visiting card conceptually, culturally and materially anticipates a range of contemporary technologies of propinquity. Acting as complex cultural avatars, these visiting cards conveyed the desires of class and gender in the construction of identity. The British pictorial visiting card of the early eighteenth century developed from the practice of using playing cards as visiting cards, the caller’s name being inscribed on the back of the playing card. In the mid eighteenth century the custom of using playing cards as visiting cards was replaced by cards manufactured for the express purpose of notifying those with whom one wished to make contact. At first these cards, printed on ‘stout paper or thin card’, were relatively plain, except for ‘an ornamental frame of tasteful design’ that surrounded the edge thus leaving the centre blank so that the caller could write their name. Soon, however, visiting cards were being printed with illustrations. These cards commonly left room for a short message in addition to the caller’s name (Staff 10). By the latter part of the eighteenth century, most visiting cards carried elaborate designs which varied according to the taste, hobbies or professional interests of the intended consumers. For those connected to the military, for example, there were cards illustrated with swords, cannons, flags or a person in uniform was depicted. Cards left by recent callers were commonly displayed in special receptacles on mantelpieces or small tables so that visitors ‘had a chance to see whom the family numbered among its social circle and be suitably impressed’ (Pool 66). At the close of the eighteenth century, the highly illustrated visiting card gave way to an understated and smaller format. No longer pictorial, visiting cards of the nineteenth-century, as Maurice Rickards notes, were ‘reticent’ in style and ‘espoused sobriety’ in typography and design. Victorian culture took seriously the materialities of visiting card practice as the exchange and expression of symbolic capital. As Rickards explains: In Britain, the etiquette of typographic style and layout was rigorously observed: the wording was engraved; printing was in black, card colour was white. A man’s town address appeared in the lower left-hand corner, his club on the right …. Unmarried daughters living at home did not have cards of their own. They appeared compendiously on their mother's cards (351). Visiting cards demonstrate the rich prehistory of contemporary technologies of telepresence in terms of the imaginative, symbolic and rhetorical functions they performed. Telepresence can be defined as the degree to which geographically dispersed agents experience a sense of physical and/or psychological proximity through the use of particular communication technologies. Like many of the media forms they anticipate, visiting cards were used to stand in for the corporeal presence of their author. As a late nineteenth-century etiquette manual explained: ‘the stress laid by Society upon the correct usage of these magic bits of paste-board, will not seem unnecessary, when it is remembered that the visiting card … frequently is made to take the place of one’s self’ (quoted in Davidoff 42). Visiting cards functioned as avatars of presence and identity, a complex language system which allowed the discursive agents to mediate social relations according to the varying degrees of intimacy that were desired. As long as all parties could read the codes and conventions, the level of acquaintanceship could be increased, maintained or decreased. For example, if one wanted to ‘put an end to an unsatisfactory acquaintanceship’, help was, literally, at hand. Instead of the ‘intolerable’ practice of ‘cutting’ – the procedure of pointedly refusing to recognise a person with whom one formerly had been in close contact – one would slowly reduce the time spent calling to the minimum length required. ‘After this’, advises an 1897 guide called Manners for Men, the gentleman ‘may leave cards once more without asking if the ladies of the family are at home. In this way he can gradually and with perfect courtesy break off the intimacy’ (quoted in Curtin 144). But communication might sometimes break down inadvertently. A participant’s failure to interpret the signs correctly could have unpleasant consequences. Because of this, etiquette manuals warned that servants be instructed on how to observe the difference between calling and card leaving. The intricacy inherent in the semiotics of ‘speaking by the card’ is demonstrated by the role servants were expected to play. Protocol demanded that a call was answered with a call and a card by a card. Returning a call with a card could be interpreted as a snub. In some cases that was the intention of one of the participants; leaving a card instead of calling in person was an easily understood gesture intended to scale down a particular acquaintanceship. However, it might just be a mistake. One of the many complications adhering to the practice of calling and leaving cards was that one could not assume the person to whom a card belonged had, in fact, ‘called’ upon one. As Michael Curtin explains: In practice, cards very often substituted for calls since the person receiving the call was not at home. In this case, a card equalled a call, though there was a complication. Since … cards were delivered in person, one who meant to leave cards was easily confused with another who called but merely left cards because no one was at home (141). The first problem, then, is how the caller deploys the card and how the receiver interprets this action; to what degree does the card stand for the physical presence of the caller? Even in the pre-Barthesian era, authorial intention was problematic: did the caller intend to see the person on whom they called or did the card stand for a less intimate mode of communication? Further complicating matters were the servants. Unlike Wilkie Collins’ depiction of a passive and neutral butler bearing a visiting card—‘waiting not like a human being who took an interest in the proceedings but … like an article of furniture’ (85)—many etiquette manuals warned that servants were actively involved in the chain of communication. Servants, as Curtin outlines, often went to call in place of their ‘mistresses’ and ‘therefore should be exactly instructed as to their mistress’s wishes, whether to call or to leave a card’. Likewise, ‘those servants who answered the door should be made to understand this distinction, to inquire into the caller’s intention’ and record this in writing (141). Visiting cards reproduced divisions of class by regulating the public and the private. The finely nuanced signifying system of these cards addressed only middle-class and aristocratic participants. For the middle classes and the aristocracy, privacy was the inherited right which visiting cards sought to protect. Those of the working class, as Davidoff argues, had to accept that their homes could be entered at any time by members of the ‘superior’ class, who would walk in and ‘at once become involved in the life of the family by asking questions, dispensing charity or giving orders’ (46). If the visiting card was significant as a medium of telepresence, enabling subjects to imagine, desire, fear or forestall each other’s presence, in 1854 this function was enhanced with the addition of a photographic image. The carte-de-visite reworked and conflated the technical, formal and social uses of both portraiture and the visiting card. Distinguished from the older types of visiting card by being smaller in dimension, usually measuring 4½ x 2½ inches, the carte-de-visite also carried a photographic print which was affixed to the cardboard of which it was made. Mediating the performance of identity in new ways, cards now visually depicted their bearers: Thus for a ceremonial visit, the print would represent the visitor with his hands imprisoned in spotless gloves, his head slightly inclined, as for a greeting, his hat resting graciously on his right thigh. According to etiquette, if the weather were bad, an umbrella faithfully reproduced under the arm of a visitor would eloquently declare the merit of his walk (quoted in McCauley 28). The role played by the carte-de-visite in the performance of gender is emphasised by an 1862 article on ‘flirting’ which warned that a woman would be so branded ‘if she be lavish in the distribution of her carte-de-visite’ (‘Flirts’ 163). The carte-de-visite was also an important element in the production of celebrity and the emerging commodity culture. While functioning as a visiting card, the particular topics and scenes represented on the carte-de-visite meant that it became a popular object to collect and display. Often depicting royalty, politicians or military leaders, this new mode of portraiture, as an 1862 newspaper put it, made ‘the public thoroughly acquainted with all its remarkable men’ to the extent that ‘we know their personality long before we see them’ (Wynter 673). The carte-de-visite familiarised the famous and made famous the familiar: The commercial value of the human face was never tested to such an extent as it is at the present moment in these handy photographs. No man, or woman either knows but that some accident may elevate them to the position of the hero of the hour (Wynter 673). Although invented to modernise the existing visiting card, the carte-de-visite neither replaced the older version nor was it used solely for calling. For the bourgeoisie, argues McCauley, the carte-de-visite album became a ‘faddish parlour amusement’ (48). As an enabler of telepresence, the carte-de-visite seemed to promise future generations an intimate knowledge of their distant ancestors. It would collapse time, bringing history into the present. As one nineteenth century journalist remarked, ‘it is very pleasing to have one’s relatives and acquaintances reunited in an album … you converse with them, it seems as if they were there beside you’ (quoted in McCauley 48). In general, the literature on presence, virtual presence and telepresence limits its historiography to an examination of electronic media (for example, Goldberg, Sconce, and Sobchack). As this paper has suggested, what’s needed is research that focuses on those forms of analogue textual culture that, functioning as avatars of corporeality and presence, might be regarded as fabulous. Works Cited Kang, Kathy. ‘Intensive Propinquity and ::fc:: Style’, paper delivered at the Fibreculture Conference, November 22 - 24, Museum of Contemporary Art, Sydney, 2002. Collins, Wilkie. The New Magdalen. 1873. Gloucestershire, UK: Sutton, 1995. Curtin, Michael. Propriety and Position: A Study of Victorian Manners, London: Garland, 1987. Davidoff, Leonore. The Best Circles: Society, Etiquette and the Season, London: Croom, 1973. ‘Flirts,’ The Living Age. 74 (1862). Goldberg, Ken, ed. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, Cambridge, MA: MIT P, 2000. McCauley, Elizabeth Anne, A. A. E. Disderi and the Carte de Visite Portrait Photograph, New Haven: Yale U P, 1985. Pool, Daniel. What Jane Austen Ate and Charles Dickens Knew: From Fox Hunting to Whist: The Facts of Daily Life in Nineteenth-Century, New York: Simon & Schuster, 1993. Rickards, Maurice. The Encyclopedia of Ephemera: A Guide to the Fragmentary Documents of Everyday Life for the Collector, Curator, and Historian, ed. Michael Twyman, New York: Routledge, 2000. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television, Durham: Duke UP, 2000. Sobchack, Vivian. ‘The Scene of the Screen: Envisioning Cinematic and Electronic “Presence”’. Materialities of Communication. Ed. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer, trans. William Whobrey. Stanford: Stanford U P. 83 - 106. Staff, Frank. The Picture Postcard and its Origins, London: Lutterworth, 1979. Wynter A. ‘Cartes De Visite,’ The Living Age. 72 (1862). Citation reference for this article MLA Style Milne, Esther. "‘Magic Bits of Paste-board’" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/02-milne.php>. APA Style Milne, E. (2004, Jan 12). ‘Magic Bits of Paste-board’. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/02-milne.php>

Complex systems are an invention of the universe. It is not at all clear that science has an a priori primacy claim to the study of complex systems. (Galanter 5) Introduction In popular dialogues, describing a system as “complex” is often the point of resignation, inferring that the system cannot be sufficiently described, predicted nor managed. Transport networks, management infrastructure and supply chain logistics are all often described in this way. In socio-cultural terms “complex” is used to describe those humanistic systems that are “intricate, involved, complicated, dynamic, multi-dimensional, interconnected systems [such as] transnational citizenship, communities, identities, multiple belongings, overlapping geographies and competing histories” (Cahir & James). Academic dialogues have begun to explore the collective behaviors of complex systems to define a complex system specifically as an adaptive one; i.e. a system that demonstrates ‘self organising’ principles and ‘emergent’ properties. Based upon the key principles of interaction and emergence in relation to adaptive and self organising systems in cultural artifacts and processes, this paper will argue that complex systems are cultural systems. By introducing generic principles of complex systems, and looking at the exploration of such principles in art, design and media research, this paper argues that a science of cultural systems as part of complex systems theory is the post modern science for the digital age. Furthermore, that such a science was predicated by post structuralism and has been manifest in art, design and media practice since the late 1960s. Complex Systems Theory Complexity theory grew out of systems theory, an holistic approach to analysis that views whole systems based upon the links and interactions between the component parts and their relationship to each other and the environment within they exists. This stands in stark contrast to conventional science which is based upon Descartes’s reductionism, where the aim is to analyse systems by reducing something to its component parts (Wilson 3). As systems thinking is concerned with relationships more than elements, it proposes that in complex systems, small catalysts can cause large changes and that a change in one area of a system can adversely affect another area of the system. As is apparent, systems theory is a way of thinking rather than a specific set of rules, and similarly there is no single unified Theory of Complexity, but several different theories have arisen from the natural sciences, mathematics and computing. As such, the study of complex systems is very interdisciplinary and encompasses more than one theoretical framework. Whilst key ideas of complexity theory developed through artificial intelligence and robotics research, other important contributions came from thermodynamics, biology, sociology, physics, economics and law. In her volume for the Elsevier Advanced Management Series, “Complex Systems and Evolutionary Perspectives on Organisations”, Eve Mitleton-Kelly describes a comprehensive overview of this evolution as five main areas of research: complex adaptive systems dissipative structures autopoiesis (non-equilibrium) social systems chaos theory path dependence Here, Mitleton-Kelly points out that relatively little work has been done on developing a specific theory of complex social systems, despite much interest in complexity and its application to management (Mitleton-Kelly 4). To this end, she goes on to define the term “complex evolving system” as more appropriate to the field than ‘complex adaptive system’ and suggests that the term “complex behaviour” is thus more useful in social contexts (Mitleton-Kelly). For our purpose here, “complex systems” will be the general term used to describe those systems that are diverse and made up of multiple interdependent elements, that are often ‘adaptive’, in that they have the capacity to change and learn from events. This is in itself both ‘evolutionary’ and ‘behavioural’ and can be understood as emerging from the interaction of autonomous agents – especially people. Some generic principles of complex systems defined by Mitleton Kelly that are of concern here are: self-organisation emergence interdependence feedback space of possibilities co-evolving creation of new order Whilst the behaviours of complex systems clearly do not fall into our conventional top down perception of management and production, anticipating such behaviours is becoming more and more essential for products, processes and policies. For example, compare the traditional top down model of news generation, distribution and consumption to the “emerging media eco-system” (Bowman and Willis 14). Figure 1 (Bowman & Willis 10) Figure 2 (Bowman & Willis 12) To the traditional news organisations, such a “democratization of production” (McLuhan 230) has been a huge cause for concern. The agencies once solely responsible for the representation of reality are now lost in a global miasma of competing perspectives. Can we anticipate and account for complex behaviours? Eve Mitleton Kelly states that “if organisations are understood as complex evolving systems co-evolving as part of a social ‘ecosystem’, then that changed perspective changes ways of acting and relating which lead to a different way of working. Thus, management strategy changes, and our organizational design paradigms evolve as new types of relationships and ways of working provide the conditions for the emergence of new organisational forms” (Mitleton-Kelly 6). Complexity in Design It is thus through design practice and processes that discovering methods for anticipating complex systems behaviours seem most possible. The Embracing Complexity in Design (ECiD) research programme, is a contemporary interdisciplinary research cluster consisting of academics and designers from architectural engineering, robotics, geography, digital media, sustainable design, and computing aiming to explore the possibility of trans disciplinary principles of complexity in design. Over arching this work is the conviction that design can be seen as model for complex systems researchers motivated by applying complexity science in particular domains. Key areas in which design and complexity interact have been established by this research cluster. Most immediately, many designed products and systems are inherently complex to design in the ordinary sense. For example, when designing vehicles, architecture, microchips designers need to understand complex dynamic processes used to fabricate and manufacture products and systems. The social and economic context of design is also complex, from market economics and legal regulation to social trends and mass culture. The process of designing can also involve complex social dynamics, with many people processing and exchanging complex heterogeneous information over complex human and communication networks, in the context of many changing constraints. Current key research questions are: how can the methods of complex systems science inform designers? how can design inform research into complex systems? Whilst ECiD acknowledges that to answer such questions effectively the theoretical and methodological relations between complexity science and design need further exploration and enquiry, there are no reliable precedents for such an activity across the sciences and the arts in general. Indeed, even in areas where a convergence of humanities methodology with scientific practice might seem to be most pertinent, most examples are few and far between. In his paper “Post Structuralism, Hypertext & the World Wide Web”, Luke Tredennick states that “despite the concentration of post-structuralism on text and texts, the study of information has largely failed to exploit post-structuralist theory” (Tredennick 5). Yet it is surely in the convergence of art and design with computation and the media that a search for practical trans-metadisciplinary methodologies might be most fruitful. It is in design for interactive media, where algorithms meet graphics, where the user can interact, adapt and amend, that self-organisation, emergence, interdependence, feedback, the space of possibilities, co-evolution and the creation of new order are embraced on a day to day basis by designers. A digitally interactive environment such as the World Wide Web, clearly demonstrates all the key aspects of a complex system. Indeed, it has already been described as a ‘complexity machine’ (Qvortup 9). It is important to remember that this ‘complexity machine’ has been designed. It is an intentional facility. It may display all the characteristics of complexity but, whilst some of its attributes are most demonstrative of self organisation and emergence, the Internet itself has not emerged spontaneously. For example, Tredinnick details the evolution of the World Wide Web through the Memex machine of Vannevar Bush, through Ted Nelsons hypertext system Xanadu to Tim Berners-Lee’s Enquire (Tredennick 3). The Internet was engineered. So, whilst we may not be able to entirely predict complex behavior, we can, and do, quite clearly design for it. When designing digitally interactive artifacts we design parameters or co ordinates to define the space within which a conceptual process will take place. We can never begin to predict precisely what those processes might become through interaction, emergence and self organisation, but we can establish conceptual parameters that guide and delineate the space of possibilities. Indeed this fact is so transparently obvious that many commentators in the humanities have been pushed to remark that interaction is merely interpretation, and so called new media is not new at all; that one interacts with a book in much the same way as a digital artifact. After all, post-structuralist theory had established the “death of the author” in the 1970s – the a priori that all cultural artifacts are open to interpretation, where all meanings must be completed by the reader. The concept of the “open work” (Eco 6) has been an established post modern concept for over 30 years and is commonly recognised as a feature of surrealist montage, poetry, the writings of James Joyce, even advertising design, where a purposive space for engagement and interpretation of a message is designated, without which the communication does not “work”. However, this concept is also most successfully employed in relation to installation art and, more recently, interactive art as a reflection of the artist’s conscious decision to leave part of a work open to interpretation and/or interaction. Art & Complex Systems One of the key projects of Embracing Complexity in Design has been to look at the relationship between art and complex systems. There is a relatively well established history of exploring art objects as complex systems in themselves that finds its origins in the systems art movement of the 1970s. In his paper “Observing ‘Systems Art’ from a Systems-Theroretical Perspective”, Francis Halsall defines systems art as “emerging in the 1960s and 1970s as a new paradigm in artistic practice … displaying an interest in the aesthetics of networks, the exploitation of new technology and New Media, unstable or de-materialised physicality, the prioritising of non-visual aspects, and an engagement (often politicised) with the institutional systems of support (such as the gallery, discourse, or the market) within which it occurs” (Halsall 7). More contemporarily, “Open Systems: Rethinking Art c.1970”, at Tate Modern, London, focuses upon systems artists “rejection of art’s traditional focus on the object, to wide-ranging experiments al focus on the object, to wide-ranging experiments with media that included dance, performance and…film & video” (De Salvo 3). Artists include Andy Warhol, Richard Long, Gilbert & George, Sol Lewitt, Eva Hesse and Bruce Nauman. In 2002, the Samuel Dorsky Museum of Art, New York, held an international exhibition entitled “Complexity; Art & Complex Systems”, that was concerned with “art as a distinct discipline offer[ing] its own unique approache[s] and epistemic standards in the consideration of complexity” (Galanter and Levy 5), and the organisers go on to describe four ways in which artists engage the realm of complexity: presentations of natural complex phenomena that transcend conventional scientific visualisation descriptive systems which describe complex systems in an innovative and often idiosyncratic way commentary on complexity science itself technical applications of genetic algorithms, neural networks and a-life ECiD artist Julian Burton makes work that visualises how companies operate in specific relation to their approach to change and innovation. He is a strategic artist and facilitator who makes “pictures of problems to help people talk about them” (Burton). Clients include public and private sector organisations such as Barclays, Shell, Prudential, KPMG and the NHS. He is quoted as saying “Pictures are a powerful way to engage and focus a group’s attention on crucial issues and challenges, and enable them to grasp complex situations quickly. I try and create visual catalysts that capture the major themes of a workshop, meeting or strategy and re-present them in an engaging way to provoke lively conversations” (Burton). This is a simple and direct method of using art as a knowledge elicitation tool that falls into the first and second categories above. The third category is demonstrated by the ground breaking TechnoSphere, that was specifically inspired by complexity theory, landscape and artificial life. Launched in 1995 as an Arts Council funded online digital environment it was created by Jane Prophet and Gordon Selley. TechnoSphere is a virtual world, populated by artificial life forms created by users of the World Wide Web. The digital ecology of the 3D world, housed on a server, depends on the participation of an on-line public who accesses the world via the Internet. At the time of writing it has attracted over a 100,000 users who have created over a million creatures. The artistic exploration of technical applications is by default a key field for researching the convergence of trans-metadisciplinary methodologies. Troy Innocent’s lifeSigns evolves multiple digital media languages “expressed as a virtual world – through form, structure, colour, sound, motion, surface and behaviour” (Innocent). The work explores the idea of “emergent language through play – the idea that new meanings may be generated through interaction between human and digital agents”. Thus this artwork combines three areas of converging research – artificial life; computational semiotics and digital games. In his paper “What Is Generative Art? Complexity Theory as a Context for Art Theory”, Philip Galanter describes all art as generative on the basis that it is created from the application of rules. Yet, as demonstrated above, what is significantly different and important about digital interactivity, as opposed to its predecessor, interpretation, is its provision of a graphical user interface (GUI) to component parts of a text such as symbol, metaphor, narrative, etc for the multiple “authors” and the multiple “readers” in a digitally interactive space of possibility. This offers us tangible, instantaneous reproduction and dissemination of interpretations of an artwork. Conclusion: Digital Interactivity – A Complex Medium Digital interaction of any sort is thus a graphic model of the complex process of communication. Here, complexity does not need deconstructing, representing nor modelling, as the aesthetics (as in apprehended by the senses) of the graphical user interface conveniently come first. Design for digital interactive media is thus design for complex adaptive systems. The theoretical and methodological relations between complexity science and design can clearly be expounded especially well through post-structuralism. The work of Barthes, Derrida & Foucault offers us the notion of all cultural artefacts as texts or systems of signs, whose meanings are not fixed but rather sustained by networks of relationships. Implemented in a digital environment post-structuralist theory is tangible complexity. Strangely, whilst Philip Galanter states that science has no necessary over reaching claim to the study of complexity, he then argues conversely that “contemporary art theory rooted in skeptical continental philosophy [reduces] art to social construction [as] postmodernism, deconstruction and critical theory [are] notoriously elusive, slippery, and overlapping terms and ideas…that in fact [are] in the business of destabilising apparently clear and universal propositions” (4). This seems to imply that for Galanter, post modern rejections of grand narratives necessarily will exclude the “new scientific paradigm” of complexity, a paradigm that he himself is looking to be universal. Whilst he cites Lyotard (6) describing both political and linguistic reasons why postmodern art celebrates plurality, denying any progress towards singular totalising views, he fails to appreciate what happens if that singular totalising view incorporates interactivity? Surely complexity is pluralistic by its very nature? In the same vein, if language for Derrida is “an unfixed system of traces and differences … regardless of the intent of the authored texts … with multiple equally legitimate meanings” (Galanter 7) then I have heard no better description of the signifiers, signifieds, connotations and denotations of digital culture. Complexity in its entirety can also be conversely understood as the impact of digital interactivity upon culture per se which has a complex causal relation in itself; Qvortups notion of a “communications event” (9) such as the Danish publication of the Mohammed cartoons falls into this category. Yet a complex causality could be traced further into cultural processes enlightening media theory; from the relationship between advertising campaigns and brand development; to the exposure and trajectory of the celebrity; describing the evolution of visual language in media cultures and informing the relationship between exposure to representation and behaviour. In digital interaction the terms art, design and media converge into a process driven, performative event that demonstrates emergence through autopoietic processes within a designated space of possibility. By insisting that all artwork is generative Galanter, like many other writers, negates the medium entirely which allows him to insist that generative art is “ideologically neutral” (Galanter 10). Generative art, like all digitally interactive artifacts are not neutral but rather ideologically plural. Thus, if one integrates Qvortups (8) delineation of medium theory and complexity theory we may have what we need; a first theory of a complex medium. Through interactive media complexity theory is the first post modern science; the first science of culture. References Bowman, Shane, and Chris Willis. We Media. 21 Sep. 2003. 9 March 2007 http://www.hypergene.net/wemedia/weblog.php>. Burton, Julian. “Hedron People.” 9 March 2007 http://www.hedron.com/network/assoc.php4?associate_id=14>. Cahir, Jayde, and Sarah James. “Complex: Call for Papers.” M/C Journal 9 Sep. 2006. 7 March 2007 http://journal.media-culture.org.au/journal/upcoming.php>. De Salvo, Donna, ed. Open Systems: Rethinking Art c. 1970. London: Tate Gallery Press, 2005. Eco, Umberto. The Open Work. Cambridge, Mass.: Harvard UP, 1989. Galanter, Phillip, and Ellen K. Levy. Complexity: Art & Complex Systems. SDMA Gallery Guide, 2002. Galanter, Phillip. “Against Reductionism: Science, Complexity, Art & Complexity Studies.” 2003. 9 March 2007 http://isce.edu/ISCE_Group_Site/web-content/ISCE_Events/ Norwood_2002/Norwood_2002_Papers/Galanter.pdf>. Halsall, Francis. “Observing ‘Systems-Art’ from a Systems-Theoretical Perspective”. CHArt 2005. 9 March 2007 http://www.chart.ac.uk/chart2005/abstracts/halsall.htm>. Innocent, Troy. “Life Signs.” 9 March 2007 http://www.iconica.org/main.htm>. Johnson, Jeffrey. “Embracing Complexity in Design (ECiD).” 2007. 9 March 2007 http://www.complexityanddesign.net/>. Lyotard, Jean-Francois. The Postmodern Condition. Manchester: Manchester UP, 1984. McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: U of Toronto P, 1962. Mitleton-Kelly, Eve, ed. Complex Systems and Evolutionary Perspectives on Organisations. Elsevier Advanced Management Series, 2003. Prophet, Jane. “Jane Prophet.” 9 March 2007 http://www.janeprophet.co.uk/>. Qvortup, Lars. “Understanding New Digital Media.” European Journal of Communication 21.3 (2006): 345-356. Tedinnick, Luke. “Post Structuralism, Hypertext & the World Wide Web.” Aslib 59.2 (2007): 169-186. Wilson, Edward Osborne. Consilience: The Unity of Knowledge. New York: A.A. Knoff, 1998. Citation reference for this article MLA Style Cham, Karen, and Jeffrey Johnson. "Complexity Theory: A Science of Cultural Systems?." M/C Journal 10.3 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0706/08-cham-johnson.php>. APA Style Cham, K., and J. Johnson. (Jun. 2007) "Complexity Theory: A Science of Cultural Systems?," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/08-cham-johnson.php>.

In a media saturated world, doodles have recently received the kind of attention usually reserved for coverage of racy extra marital affairs, corrupt governance, and product malfunction. Former British Prime Minister Blair’s private doodling at a World Economic Forum meeting in 2005 raised suspicions that he, according to one keen graphologist, struggled “to maintain control in a confusing world," which infers he was attempting to cohere a scattershot, fragmentary series of events (Spiegel). However, placid-faced Microsoft CEO Bill Gates, who sat nearby, actually scrawled the doodles. In this case, perhaps the scrawls mimicked the ambience in the room: Gates might have been ‘tuning’–registering the ‘white noise’ of the participants, letting his unconscious dictate doodles as a way to cope with the dissonance trekking in with the officialspeak. The doodles may have documented and registered the space between words, acting like deposits from his gestalt.Sometimes the most intriguing doodles co-exist with printed texts. This includes common vernacular graffiti that lines public and private books and magazines. Such graffiti exposes tensions in the role of readers as well as horror vacui: a fear of unused, empty space. Yet, school children fingering fresh pages and stiff book spines for the first few times often consider their book pages as sanctioned, discreet, and inviolable. The book is an object of financial and cultural investment, or imbued both with mystique and ideologies. Yet, in the e-book era, the old-fashioned, physical page is a relic of sorts, a holdover from coarse papyrus culled from wetland sage, linking us to the First Dynasty in Egypt. Some might consider the page as a vessel for typography, a mere framing device for text. The margins may reflect a perimeter of nothingness, an invisible borderland that doodles render visible by inhabiting them. Perhaps the margins are a bare landscape, like unmarred flat sand in a black and white panchromatic photo with unique tonal signature and distinct grain. Perhaps the margins are a mute locality, a space where words have evaporated, or a yet-to-be-explored environment, or an ambient field. Then comes the doodle, an icon of vernacular art.As a modern folklorist, I have studied and explored vernacular art at length, especially forms that may challenge and fissure aesthetic, cultural, and social mores, even within my own field. For instance, I contend that Grandma Prisbrey’s “Bottle Village,” featuring millions of artfully arranged pencils, bottles, and dolls culled from dumps in Southern California, is a syncretic culturescape with underlying feminist symbolism, not merely the product of trauma and hoarding (Ensminger). Recently, I flew to Oregon to deliver a paper on Mexican-American gravesite traditions. In a quest for increased multicultural tolerance, I argued that inexpensive dimestore objects left on Catholic immigrant graves do not represent a messy landscape of trinkets but unique spiritual environments with links to customs 3,000 years old. For me, doodles represent a variation on graffiti-style art with cultural antecedents stretching back throughout history, ranging from ancient scrawls on Greek ruins to contemporary park benches (with chiseled names, dates, and symbols), public bathroom latrinalia, and spray can aerosol art, including ‘bombing’ and ‘tagging’ hailed as “Spectacular Vernaculars” by Russell Potter (1995). Noted folklorist Alan Dundes mused on the meaning of latrinalia in Here I Sit – A Study of American Latrinalia (1966), which has inspired pop culture books and web pages for the preservation and discussion of such art (see for instance, www.itsallinthehead.com/gallery1.html). Older texts such as Classic American Graffiti by Allen Walker Read (1935), originally intended for “students of linguistics, folk-lore, abnormal psychology,” reveal the field’s longstanding interest in marginal, crude, and profane graffiti.Yet, to my knowledge, a monograph on doodles has yet to be published by a folklorist, perhaps because the art form is reconsidered too idiosyncratic, too private, the difference between jots and doodles too blurry for a taxonomy and not the domain of identifiable folk groups. In addition, the doodles in texts often remain hidden until single readers encounter them. No broad public interaction is likely, unless a library text circulates freely, which may not occur after doodles are discovered. In essence, the books become tainted, infected goods. Whereas latrinalia speaks openly and irreverently, doodles feature a different scale and audience.Doodles in texts may represent a kind of speaking from the ‘margin’s margins,’ revealing the reader-cum-writer’s idiosyncratic, self-meaningful, and stylised hieroglyphics from the ambient margins of one’s consciousness set forth in the ambient margins of the page. The original page itself is an ambient territory that allows the meaning of the text to take effect. When those liminal spaces (both between and betwixt, in which the rules of page format, design, style, and typography are abandoned) are altered by the presence of doodles, the formerly blank, surplus, and soft spaces of the page offer messages coterminous with the text, often allowing readers to speak, however haphazardly and unconsciously, with and against the triggering text. The bleached whiteness can become a crowded milieu in the hands of a reader re-scripting the ambient territory. If the book is borrowed, then the margins are also an intimate negotiation with shared or public space. The cryptic residue of the doodler now resides, waiting, for the city of eyes.Throughout history, both admired artists and Presidents regularly doodled. Famed Italian Renaissance painter Filippo Lippi avoided strenuous studying by doodling in his books (Van Cleave 44). Both sides of the American political spectrum have produced plentiful inky depictions as well: roughshod Democratic President Johnson drew flags and pagodas; former Hollywood fantasy fulfiller turned politician Republican President Reagan’s specialty was western themes, recalling tropes both from his actor period and his duration acting as President; meanwhile, former law student turned current President, Barack Obama, has sketched members of Congress and the Senate for charity auctions. These doodles are rich fodder for both psychologists and cross-discipline analysts that propose theories regarding the automatic writing and self-styled miniature pictures of civic leaders. Doodles allow graphologists to navigate and determine the internal, cognitive fabric of the maker. To critics, they exist as mere trifles and offer nothing more than an iota of insight; doodles are not uncanny offerings from the recesses of memory, like bite-sized Rorschach tests, but simply sloppy scrawls of the bored.Ambient music theory may shed some light. Timothy Morton argues that Brian Eno designed to make music that evoked “space whose quality had become minimally significant” and “deconstruct the opposition … between figure and ground.” In fact, doodles may yield the same attributes as well. After a doodle is inserted into texts, the typography loses its primacy. There is a merging of the horizons. The text of the author can conflate with the text of the reader in an uneasy dance of meaning: the page becomes an interface revealing a landscape of signs and symbols with multiple intelligences–one manufactured and condoned, the other vernacular and unsanctioned. A fixed end or beginning between the two no longer exists. The ambient space allows potential energies to hover at the edge, ready to illustrate a tension zone and occupy the page. The blank spaces keep inviting responses. An emergent discourse is always in waiting, always threatening to overspill the text’s intended meaning. In fact, the doodles may carry more weight than the intended text: the hierarchy between authorship and readership may topple.Resistant reading may take shape during these bouts. The doodle is an invasion and signals the geography of disruption, even when innocuous. It is a leveling tool. As doodlers place it alongside official discourse, they move away from positions of passivity, being mere consumers, and claim their own autonomy and agency. The space becomes co-determinant as boundaries are blurred. The destiny of the original text’s meaning is deferred. The habitus of the reader becomes embodied in the scrawl, and the next reader must negotiate and navigate the cultural capital of this new author. As such, the doodle constitutes an alternative authority and economy of meaning within the text.Recent studies indicate doodling, often regarded as behavior that announces a person’s boredom and withdrawal, is actually a very special tool to prevent memory loss. Jackie Andrade, an expert from the School of Psychology at the University of Plymouth, maintains that doodling actually “offsets the effects of selective memory blockade,” which yields a surprising result (quoted in “Doodling Gets”). Doodlers exhibit 29% more memory recall than those who passively listen, frozen in an unequal bond with the speaker/lecturer. Students that doodle actually retain more information and are likely more productive due to their active listening. They adeptly absorb information while students who stare patiently or daydream falter.Furthermore, in a 2006 paper, Andrew Kear argues that “doodling is a way in which students, consciously or not, stake a claim of personal agency and challenge some the values inherent in the education system” (2). As a teacher concerned with the engagement of students, he asked for three classes to submit their doodles. Letting them submit any two-dimensional graphic or text made during a class (even if made from body fluid), he soon discovered examples of “acts of resistance” in “student-initiated effort[s] to carve out a sense of place within the educational institution” (6). Not simply an ennui-prone teenager or a proto-surrealist trying to render some automatic writing from the fringes of cognition, a student doodling may represent contested space both in terms of the page itself and the ambience of the environment. The doodle indicates tension, and according to Kear, reflects students reclaiming “their own self-recognized voice” (6).In a widely referenced 1966 article (known as the “doodle” article) intended to describe the paragraph organisational styles of different cultures, Robert Kaplan used five doodles to investigate a writer’s thought patterns, which are rooted in cultural values. Now considered rather problematic by some critics after being adopted by educators for teacher-training materials, Kaplan’s doodles-as-models suggest, “English speakers develop their ideas in a linear, hierarchal fashion and ‘Orientals’ in a non-liner, spiral fashion…” (Severino 45). In turn, when used as pedagogical tools, these graphics, intentionally or not, may lead an “ethnocentric, assimilationist stance” (45). In this case, doodles likely shape the discourse of English as Second Language instruction. Doodles also represent a unique kind of “finger trace,” not unlike prints from the tips of a person’s fingers and snowflakes. Such symbol systems might be used for “a means of lightweight authentication,” according to Christopher Varenhorst of MIT (1). Doodles, he posits, can be used as “passdoodles"–a means by which a program can “quickly identify users.” They are singular expressions that are quirky and hard to duplicate; thus, doodles could serve as substitute methods of verifying people who desire devices that can safeguard their privacy without users having to rely on an ever-increasing number of passwords. Doodles may represent one such key. For many years, psychologists and psychiatrists have used doodles as therapeutic tools in their treatment of children that have endured hardship, ailments, and assault. They may indicate conditions, explain various symptoms and pathologies, and reveal patterns that otherwise may go unnoticed. For instance, doodles may “reflect a specific physical illness and point to family stress, accidents, difficult sibling relationships, and trauma” (Lowe 307). Lowe reports that children who create a doodle featuring their own caricature on the far side of the page, distant from an image of parent figures on the same page, may be experiencing detachment, while the portrayal of a father figure with “jagged teeth” may indicate a menace. What may be difficult to investigate in a doctor’s office conversation or clinical overview may, in fact, be gleaned from “the evaluation of a child’s spontaneous doodle” (307). So, if children are suffering physically or psychologically and unable to express themselves in a fully conscious and articulate way, doodles may reveal their “self-concept” and how they feel about their bodies; therefore, such creative and descriptive inroads are important diagnostic tools (307). Austrian born researcher Erich Guttman and his cohort Walter MacLay both pioneered art therapy in England during the mid-twentieth century. They posited doodles might offer some insight into the condition of schizophrenics. Guttman was intrigued by both the paintings associated with the Surrealist movement and the pioneering, much-debated work of Sigmund Freud too. Although Guttman mostly studied professionally trained artists who suffered from delusions and other conditions, he also collected a variety of art from patients, including those undergoing mescaline therapy, which alters a person’s consciousness. In a stroke of luck, they were able to convince a newspaper editor at the Evening Standard to provide them over 9,000 doodles that were provided by readers for a contest, each coded with the person’s name, age, and occupation. This invaluable data let the academicians compare the work of those hospitalised with the larger population. Their results, released in 1938, contain several key declarations and remain significant contributions to the field. Subsequently, Francis Reitman recounted them in his own book Psychotic Art: Doodles “release the censor of the conscious mind,” allowing a person to “relax, which to creative people was indispensable to production.”No appropriate descriptive terminology could be agreed upon.“Doodles are not communications,” for the meaning is only apparent when analysed individually.Doodles are “self-meaningful.” (37) Doodles, the authors also established, could be divided into this taxonomy: “stereotypy, ornamental details, movements, figures, faces and animals” or those “depicting scenes, medley, and mixtures” (37). The authors also noted that practitioners from the Jungian school of psychology often used “spontaneously produced drawings” that were quite “doodle-like in nature” in their own discussions (37). As a modern folklorist, I venture that doodles offer rich potential for our discipline as well. At this stage, I am offering a series of dictums, especially in regards to doodles that are commonly found adjacent to text in books and magazines, notebooks and journals, that may be expanded upon and investigated further. Doodles allow the reader to repopulate the text with ideogram-like expressions that are highly personalised, even inscrutable, like ambient sounds.Doodles re-purpose the text. The text no longer is unidirectional. The text becomes a point of convergence between writer and reader. The doodling allows for such a conversation, bilateral flow, or “talking back” to the text.Doodles reveal a secret language–informal codes that hearken back to the “lively, spontaneous, and charged with feeling” works of child art or naïve art that Victor Sanua discusses as being replaced in a child’s later years by art that is “stilted, formal, and conforming” (62).Doodling animates blank margins, the dead space of the text adjacent to the script, making such places ripe for spontaneous, fertile, and exploratory markings.Doodling reveals a democratic, participatory ethos. No text is too sacred, no narrative too inviolable. Anything can be reworked by the intimate graffiti of the reader. The authority of the book is not fixed; readers negotiate and form a second intelligence imprinted over the top of the original text, blurring modes of power.Doodles reveal liminal moments. Since the reader in unmonitored, he or she can express thoughts that may be considered marginal or taboo by the next reader. The original subject of the book itself does not restrict the reader. Thus, within the margins of the page, a brief suspension of boundaries and borders, authority and power, occurs. The reader hides in anonymity, free to reroute the meaning of the book. Doodling may convey a reader’s infantalism. Every book can become a picture book. This art can be the route returning a reader to the ambience of childhood.Doodling may constitute Illuminated/Painted Texts in reverse, commemorating the significance of the object in hitherto unexpected forms and revealing the reader’s codex. William Blake adorned his own poems by illuminating the skin/page that held his living verse; common readers may do so too, in naïve, nomadic, and primitive forms. Doodling demarcates tension zones, yielding social-historical insights into eras while offering psychological glimpses and displaying aesthetic values of readers-cum-writers.Doodling reveals margins as inter-zones, replete with psychogeography. While the typography is sanctioned, legitimate, normalised, and official discourse (“chartered” and “manacled,” to hijack lines from William Blake), the margins are a vernacular depository, a terminus, allowing readers a sense of agency and autonomy. The doodled page becomes a visible reminder and signifier: all pages are potentially “contested” spaces. Whereas graffiti often allows a writer to hide anonymously in the light in a city besieged by multiple conflicting texts, doodles allow a reader-cum-writer’s imprint to live in the cocoon of a formerly fossilised text, waiting for the light. Upon being opened, the book, now a chimera, truly breathes. Further exploration and analysis should likely consider several issues. What truly constitutes and shapes the role of agent and reader? Is the reader an agent all the time, or only when offering resistant readings through doodles? How is a doodler’s agency mediated by the author or the format of texts in forms that I have to map? Lastly, if, as I have argued, the ambient space allows potential energies to hover at the edge, ready to illustrate a tension zone and occupy the page, what occurs in the age of digital or e-books? Will these platforms signal an age of acquiescence to manufactured products or signal era of vernacular responses, somehow hitched to html code and PDF file infiltration? Will bytes totally replace type soon in the future, shaping unforeseen actions by doodlers? Attached Figures Figure One presents the intimate graffiti of my grandfather, found in the 1907 edition of his McGuffey’s Eclectic Spelling Book. The depiction is simple, even crude, revealing a figure found on the adjacent page to Lesson 248, “Of Characters Used in Punctuation,” which lists the perfunctory functions of commas, semicolons, periods, and so forth. This doodle may offset the routine, rote, and rather humdrum memorisation of such grammatical tools. The smiling figure may embody and signify joy on an otherwise machine-made bare page, a space where my grandfather illustrated his desires (to lighten a mood, to ease dissatisfaction?). Historians Joe Austin and Michael Willard examine how youth have been historically left without legitimate spaces in which to live out their autonomy outside of adult surveillance. For instance, graffiti often found on walls and trains may reflect a sad reality: young people are pushed to appropriate “nomadic, temporary, abandoned, illegal, or otherwise unwatched spaces within the landscape” (14). Indeed, book graffiti, like the graffiti found on surfaces throughout cities, may offer youth a sense of appropriation, authorship, agency, and autonomy: they take the page of the book, commit their writing or illustration to the page, discover some freedom, and feel temporarily independent even while they are young and disempowered. Figure Two depicts the doodles of experimental filmmaker Jim Fetterley (Animal Charm productions) during his tenure as a student at the Art Institute of Chicago in the early 1990s. His two doodles flank the text of “Lady Lazarus” by Sylvia Plath, regarded by most readers as an autobiographical poem that addresses her own suicide attempts. The story of Lazarus is grounded in the Biblical story of John Lazarus of Bethany, who was resurrected from the dead. The poem also alludes to the Holocaust (“Nazi Lampshades”), the folklore surrounding cats (“And like the cat I have nine times to die”), and impending omens of death (“eye pits “ … “sour breath”). The lower doodle seems to signify a motorised tank-like machine, replete with a furnace or engine compartment on top that bellows smoke. Such ominous images, saturated with potential cartoon-like violence, may link to the World War II references in the poem. Meanwhile, the upper doodle seems to be curiously insect-like, and Fetterley’s name can be found within the illustration, just like Plath’s poem is self-reflexive and addresses her own plight. Most viewers might find the image a bit more lighthearted than the poem, a caricature of something biomorphic and surreal, but not very lethal. Again, perhaps this is a counter-message to the weight of the poem, a way to balance the mood and tone, or it may well represent the larval-like apparition that haunts the very thoughts of Plath in the poem: the impending disease of her mind, as understood by the wary reader. References Austin, Joe, and Michael Willard. “Introduction: Angels of History, Demons of Culture.” Eds. Joe Austion and Michael Willard. Generations of Youth: Youth Cultures and History in Twentieth-Century America. New York: NYU Press, 1998. “Doodling Gets Its Due: Those Tiny Artworks May Aid Memory.” World Science 2 March 2009. 15 Jan. 2009 ‹http://www.world-science.net/othernews/090302_doodle›. Dundes, Alan. “Here I Sit – A Study of American Latrinalia.” Papers of the Kroeber Anthropological Society 34: 91-105. Ensminger, David. “All Bottle Up: Reinterpreting the Culturescape of Grandma Prisbey.” Adironack Review 9.3 (Fall 2008). ‹http://adirondackreview.homestead.com/ensminger2.html›. Kear, Andrew. “Drawings in the Margins: Doodling in Class an Act of Reclamation.” Graduate Student Conference. University of Toronto, 2006. ‹http://gradstudentconference.oise.utoronto.ca/documents/185/Drawing%20in%20the%20Margins.doc›. Lowe, Sheila R. The Complete Idiot’s Guide to Handwriting Analysis. New York: Alpha Books, 1999. Morton, Timothy. “‘Twinkle, Twinkle Little Star’ as an Ambient Poem; a Study of Dialectical Image; with Some Remarks on Coleridge and Wordsworth.” Romantic Circles Praxis Series (2001). 6 Jan. 2009 ‹http://www.rc.umd.edu/praxis/ecology/morton/morton.html›. Potter, Russell A. Spectacular Vernaculars: Hip Hop and the Politics of Postmodernism. Albany: State University of New York, 1995. Read, Allen Walker. Classic American Graffiti: Lexical Evidence from Folk Epigraphy in Western North America. Waukesha, Wisconsin: Maledicta Press, 1997. Reitman, Francis. Psychotic Art. London: Routledge, 1999. Sanua, Victor. “The World of Mystery and Wonder of the Schizophrenic Patient.” International Journal of Social Psychiatry 8 (1961): 62-65. Severino, Carol. “The ‘Doodles’ in Context: Qualifying Claims about Contrastive Rhetoric.” The Writing Center Journal 14.1 (Fall 1993): 44-62. Van Cleave, Claire. Master Drawings of the Italian Rennaissance. Cambridge, Mass.: Harvard UP, 2007. Varenhost, Christopher. Passdoodles: A Lightweight Authentication Method. Research Science Institute. Cambridge, Mass.: Massachusetts Institute of Technology, 2004.

Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” that abominations should be the best of our time (Bangs, 1978). This absurd pretzel logic sounds uncannily like Jacques Derrida’s definition of the “post” condition, since for it to arrive it begins by not arriving (Derrida 1987, 29). Lester is thinking like a poststructuralist. The oddness of the most singularly odd album out in Bangs’ greatest misses of the seventies had nothing to do with how ridiculous it was, but the fact that it even existed at all. (Bangs 1978) The album was entitled The Best of Marcel Marceao. Produced by Michael Viner the album contained four tracks, with two identical on both sides: “Silence,” which is nineteen minutes long and “Applause,” one minute. To underline how extraordinary this gramophone record is, John Cage’s Lecture on Nothing (1959) is cacophonous by comparison. While Bangs agrees with popular opinion that The Best of Marcel Marceao the “ultimate concept album,” he concluded that this is “one of those rare records that never dates” (Bangs, 1978). This tacet album is a good way to start thinking about the Classical Gas project, and the ironic semiotics at work in it (Tofts & Gye 2011). It too is about records that are silent and that never date. First, the album’s cover art, featuring a theatrically posed Marceau, implies the invitation to speak in the absence of speech; or, in our terms, it is asking to be re-written. Secondly, the French mime’s surname is spelled incorrectly, with an “o” rather than “u” as the final letter. As well as the caprice of an actual album by Marcel Marceau, the implicit presence and absence of the letters o and u is appropriately in excess of expectations, weird and unexpected like an early title in the Classical Gas catalogue, Ernesto Laclau’s and Chantal Mouffe’s Hegemony and Socialist Strategy. (classical-gas.com) Like a zootrope animation, it is impossible not to see the o and u flickering at one at the same time on the cover. In this duplicity it performs the conventional and logical permutation of English grammar. Silence invites difference, variation within a finite lexical set and the opportunity to choose individual items from it. Here is album cover art that speaks of presence and absence, of that which is anticipated and unexpected: a gramophone recoding without sound. In this the Marceau cover is one of Roland Barthes’ mythologies, something larger than life, structured like a language and structured out of language (Barthes 1982). This ambiguity is the perfidious grammar that underwrites Classical Gas. Images, we learned from structuralism, are codified, or rather, are code. Visual remix is a rhetorical gesture of recoding that interferes with the semiotic DNA of an image. The juxtaposition of text and image is interchangeable and requires our imagination of what we are looking at and what it might sound like. This persistent interplay of metaphor and metonymy has enabled us to take more than forty easy listening albums and republish them as mild-mannered recordings from the maverick history of ideas, from Marxism and psychoanalysis, to reception theory, poststructuralism and the writings of critical auteurs. Foucault à gogo, for instance, takes a 1965 James Last dance album and recodes it as the second volume of The History of Sexuality. In saying this, we are mindful of the ambivalence of the very possibility of this connection, to how and when the eureka moment of remix recognition occurs, if at all. Mix and remix are, after Jean Baudrillard, both precession and procession of simulacra (Baudrillard, 1983). The nature of remix is that it is always already elusive and anachronistic. Not everyone can be guaranteed to see the shadow of one text in dialogue with another, like a hi-fi palimpsest. Or another way of saying this, such an epiphany of déjà vu, of having seen this before, may happen after the fact of encounter. This anachrony is central to remix practices, from the films of Quentin Tarrantino and the “séance fictions” of Soda_Jerk, to obscure Flintstones/Goodfellas mashups on YouTube. It is also implicit in critical understandings of an improbable familiarity with the superabundance of cultural archives, the dizzying excess of an infinite record library straight out of Jorge Luis Borges’ ever-expanding imagination. Drifting through the stacks of such a repository over an entire lifetime any title found, for librarian and reader alike, is either original and remix, sometime. Metalanguages that seek to counter this ambivalence are forms of bad faith, like film spoilers Brodie’s Notes. Accordingly, this essay sets out to explain some of the generic conventions of Classical Gas, as a remix project in which an image’s semiotic DNA is rewired and recontextualised. While a fake, it is also completely real (Faith in fakes, as it happens, may well be a forthcoming Umberto Eco title in the series). While these album covers are hyperreal, realistic in excess of being real, the project does take some inspiration from an actual, rather than imaginary archive of album covers. In 2005, Jewish artist Dani Gal happened upon a 1968 LP that documented the events surrounding the Six Day War in Israel in 1967. To his surprise, he found a considerable number of similar LPs to do with significant twentieth century historical events, speeches and political debates. In the artist’s own words, the LPs collected in his Historical Record Archive (2005-ongoing) are in fact silent, since it is only their covers that are exhibited in installations of this work, signifying a potential sound that visitors must try to audition. As Gal has observed, the interactive contract of the work is derived from the audience’s instinct to “try to imagine the sounds” even though they cannot listen to them (Gal 2011, 182). Classical Gas deliberately plays with this potential yearning that Gal astutely instils in his viewer and aspiring auditor. While they can never be listened to, they can entice, after Gilles Deleuze, a “virtual co-existence” of imaginary sound that manifests itself as a contract between viewer and LP (Deleuze 1991, 63). The writer Jeffrey Sconce condensed this embrace of the virtual as something plausibly real when he pithily observed of the Classical Gas project that it is “the thrift-bin in my fantasy world. I want to play S/Z at 78 rpm” (Sconce 2011). In terms of Sconce’s spectral media interests the LPs are haunted by the trace of potential “other” sounds that have taken possession of and appropriated the covers for another use (Sconce 2000).Mimetic While most albums are elusive and metaphoric (such as Freud’s Totem and Taboo, or Luce Irigaray’s Ethics of Sexual Difference), some titles do make a concession to a tantalizing, mimetic literalness (such as Das Institut fur Sozialforschung). They display a trace of the haunting subject in terms of a tantalizing echo of fact or suggestion of verifiable biography. The motivation here is the recognition of a potential similarity, since most Classical Gas titles work by contrast. As with Roland Barthes’ analysis of the erotics of the fashion system, so with Gilles Deleuze’s Coldness and Cruelty: it is “where the garment gapes” that the tease begins. (Barthes 1994, 9) Or, in this instance, where the cigarette smokes. (classical-gas.com) A casual Max Bygraves, paused in mid-thought, looks askance while lighting up. Despite the temptation to read even more into this, a smoking related illness did not contribute to Bygraves’ death in 2012. However, dying of Alzheimer’s disease, his dementia is suggestive of the album’s intrinsic capacity to be a palimpsest of the co-presence of different memories, of confused identities, obscure realities that are virtual and real. Beginning with the album cover itself, it has to become an LP (Deleuze 1991, 63). First, it is a cardboard, planar sleeve measuring 310mm squared, that can be imprinted with a myriad of different images. Secondly, it is conventionally identified in terms of a title, such as Organ Highlights or Classics Up to Date. Thirdly it is inscribed by genre, which may be song, drama, spoken word, or novelty albums of industrial or instrumental sounds, such as Memories of Steam and Accelerated Accordians. A case in point is John Woodhouse And His Magic Accordion from 1969. (classical-gas.com) All aspects of its generic attributes as benign and wholesome accordion tunes are warped and re-interpreted in Classical Gas. Springtime for Kittler appeared not long after the death of its eponymous philosopher in 2011. Directed by Richard D. James, also known as Aphex Twin, it is a homage album to Friedrich Kittler by the PostProducers, a fictitious remix collective inspired by Mel Brooks whose personnel include Mark Amerika and Darren Tofts. The single from this album, yet to be released, is a paean to Kittler’s last words, “Alle Apparate auschalten.” Foucault à gogo (vol. 2), the first album remixed for this series, is also typical of this archaeological approach to the found object. (classical-gas.com) The erasure and replacement of pre-existing text in a similar font re-writes an iconic image of wooing that is indicative of romantic album covers of this period. This album is reflective of the overall project in that the actual James Last album (1968) preceded the publication of the Foucault text (1976) that haunts it. This is suggestive of how coding and recoding are in the eye of the beholder and the specific time in which the remixed album is encountered. It doesn’t take James Last, Michel Foucault or Theodor Holm Nelson to tell you that there is no such thing as a collective memory with linear recall. As the record producer Milt Gabler observes in the liner notes to this album, “whatever the title with this artist, the tune remains the same, that distinct and unique Foucault à gogo.” “This artist” in this instance is Last or Foucault, as well as Last and Foucault. Similarly Milt Gabler is an actual author of liner notes (though not on the James Last album) whose words from another album, another context and another time, are appropriated and deftly re-written with Last’s Hammond à gogo volume 2 and The History of Sexuality in mind as a palimpsest (this approach to sampling liner notes and re-writing them as if they speak for the new album is a trope at work in all the titles in the series). And after all is said and done with the real or remixed title, both artists, after Umberto Eco, will have spoken once more of love (Eco 1985, 68). Ambivalence Foucault à gogo is suggestive of the semiotic rewiring that underwrites Classical Gas as a whole. What is at stake in this is something that poststructuralism learned from its predecessor. Taking the tenuous conventionality of Ferdinand de Saussure’s signifier and signified as a starting point, Lacan, Derrida and others embraced the freedom of this arbitrariness as the convention or social contract that brings together a thing and a word that denotes it. This insight of liberation, or what Hélène Cixous and others, after Jacques Lacan, called jouissance (Lacan 1992), meant that texts were bristling with ambiguity and ambivalence, free play, promiscuity and, with a nod to Mikhail Bakhtin, carnival (Bakhtin 1984). A picture of a pipe was, after Foucault after Magritte, not a pipe (Foucault 1983). This po-faced sophistry is expressed in René Magritte’s “Treachery of Images” of 1948, which screamed out that the word pipe could mean anything. Foucault’s reprise of Magritte in “This is Not a Pipe” also speaks of Classical Gas’ embrace of the elasticity of sign and signifier, his “plastic elements” an inadvertent suggestion of vinyl (Foucault 1983, 53). (classical-gas.com) This uncanny association of structuralism and remixed vinyl LPs is intimated in Ferdinand de Saussure’s Cours de linguistique générale. Its original cover art is straight out of a structuralist text-book, with its paired icons and words of love, rain, honey, rose, etc. But this text as performed by Guy Lombardo and his Royal Canadians in New York in 1956 is no less plausible than Saussure’s lectures in Geneva in 1906. Cultural memory and cultural amnesia are one and the same thing. Out of all of the Classical Gas catalogue, this album is arguably the most suggestive of what Jeffrey Sconce would call “haunting” (Sconce, 2000), an ambivalent mixing of the “memory and desire” that T.S. Eliot wrote of in the allusive pages of The Waste Land (Eliot 1975, 27). Here we encounter the memory of a bookish study of signs from the early twentieth century and the desire for its vinyl equivalent on World Record Club in the 1960s. Memory and desire, either or, or both. This ambivalence was deftly articulated by Roland Barthes in his last book, Camera Lucida, as a kind of spectral haunting, a vision or act of double seeing in the perception of the photographic image. This flickering of perception is never static, predictable or repeatable. It is a way of seeing contingent upon who is doing the looking and when. Barthes famously conceptualised this interplay in perception of an between the conventions that culture has mandated, its studium, and the unexpected, idiosyncratic double vision that is unique to the observer, its punctum (Barthes 1982, 26-27). Accordingly, the Cours de linguistique générale is a record by Saussure as well as the posthumous publication in Paris and Lausanne of notes from his lectures in 1916. (Barthes 1982, 51) With the caption “Idiot children in an institution, New Jersey, 1924,” American photographer Lewis Hine’s anthropological study declares that this is a clinical image of pathological notions of monstrosity and aberration at the time. Barthes though, writing in a post-1968 Paris, only sees an outrageous Danton collar and a banal finger bandage (Barthes 1982, 51). With the radical, protestant cries of the fallout of the Paris riots in mind, as well as a nod to music writer Greil Marcus (1989), it is tempting to see Hine’s image as the warped cover of a Dead Kennedys album, perhaps Plastic Surgery Disasters. In terms of the Classical Gas approach to recoding, though, this would be far too predictable; for a start there is neither a pipe, a tan cardigan nor a chenille scarf to be seen. A more heart-warming, suitable title might be Ray Conniff’s 1965 Christmas Album: Here We Come A-Caroling. Irony (secretprehistory.net) Like our Secret Gestural Prehistory of Mobile Devices project (Tofts & Gye), Classical Gas approaches the idea of recoding and remixing with a relentless irony. The kind of records we collect and the covers which we use for this project are what you would expect to find in the hutch of an old gramophone player, rather than “what’s hot” in iTunes. The process of recoding the album covers seeks to realign expectations of what is being looked at, such that it becomes difficult to see it in any other way. In this an album’s recoded signification implies the recognition of the already seen, of album covers like this, that signal something other than what we are seeing; colours, fonts etc., belonging to a historical period, to its genres and its demographic. One of the more bucolic and duplicitous forms of rhetoric, irony wants it both ways, to be totally lounge and theoretically too-cool-for school, as in Rencontre Terrestre by Hélène Cixous and Frédéric-Yves Jeannet. (classical-gas.com) This image persuades through the subtle alteration of typography that it belongs to a style, a period and a vibe that would seem to be at odds with the title and content of the album, but as a totality of image and text is entirely plausible. The same is true of Roland Barthes’ S/Z. The radical semiologist invites us into his comfortable sitting room for a cup of coffee. A traditional Times font reinforces the image of Barthes as an avuncular, Sunday afternoon story-teller or crooner, more Alistair Cooke/Perry Como than French Marxist. (classical-gas.com) In some instances, like Histoire de Tel Quel, there is no text at all on the cover and the image has to do its signifying work iconographically. (classical-gas.com) Here a sixties collage of French-ness on the original Victor Sylvester album from 1963 precedes and anticipates the re-written album it has been waiting for. That said, the original title In France is rather bland compared to Histoire de Tel Quel. A chic blond, the Eiffel Tower and intellectual obscurity vamp synaesthetically, conjuring the smell of Gauloises, espresso and agitated discussions of Communism on the Boulevard St. Germain. With Marcel Marceao with an “o” in mind, this example of a cover without text ironically demonstrates how Classical Gas, like The Secret Gestural Prehistory of Mobile Devices, is ostensibly a writing project. Just as the images are taken hostage from other contexts, text from the liner notes is sampled from other records and re-written in an act of ghost-writing to complete the remixed album. Without the liner notes, Classical Gas would make a capable Photoshop project, but lacks any force as critical remix. The redesigned and re-titled covers certainly re-code the album, transform it into something else; something else that obviously or obliquely reflects the theme, ideas or content of the title, whether it’s Louis Althusser’s Philosophy as a Revolutionary Weapon or Luce Irigaray’s An Ethics of Sexual Difference. If you don’t hear the ruggedness of Leslie Fiedler’s essays in No! In Thunder then the writing hasn’t worked. The liner notes are the albums’ conscience, the rubric that speaks the tunes, the words and elusive ideas that are implied but can never be heard. The Histoire de Tel Quel notes illustrate this suggestiveness: You may well think as is. Philippe Forest doesn’t, not in this Éditions du Seuil classic. The titles included on this recording have been chosen with a dual purpose: for those who wish to think and those who wish to listen. What Forest captures in this album is distinctive, fresh and daring. For what country has said it like it is, has produced more robustesse than France? Here is some of that country’s most famous talent swinging from silk stockings, the can-can, to amour, presented with the full spectrum of stereo sound. (classical-gas.com) The writing accurately imitates the inflection and rhythm of liner notes of the period, so on the one hand it sounds plausibly like a toe-tapping dance album. On the other, and at the same time, it gestures knowingly to the written texts upon which it is based, invoking its rigours as a philosophical text. The dithering suggestiveness of both – is it music or text – is like a scrambled moving image always coming into focus, never quite resolving into one or the other. But either is plausible. The Tel Quel theorists were interested in popular culture like the can-can, they were fascinated with the topic of love and if instead of books they produced albums, their thinking would be auditioned in full stereo sound. With irony in mind, then, it’s hardly surprising to know that the implicit title of the project, that is neither seen nor heard but always imminent, is Classical Gasbags. (classical-gas.com) Liner notes elaborate and complete an implicit narrative in the title and image, making something compellingly realistic that is a composite of reality and fabulation. Consider Adrian Martin’s Surrealism (A Quite Special Frivolity): France is the undeniable capital of today’s contemporary sound. For Adrian Martin, this is home ground. His French soul glows and expands in the lovely Mediterranean warmth of this old favourite, released for the first time on Project 3 Total Sound Stereo. But don’t be deceived by the tonal and melodic caprices that carry you along in flutter-free sound. As Martin hits his groove, there will be revolution by night. Watch out for new Adrian Martin releases soon, including La nuit expérimentale and, his first title in English in many years, One more Bullet in the Head (produced by Bucky Pizzarelli). (classical-gas.com) Referring to Martin’s famous essay of the same name, these notes allusively skirt around his actual biography (he regularly spends time in France), his professional writing on surrealism (“revolution by night” was the sub-title of a catalogue for the Surrealism exhibition at the National Gallery of Australia in Canberra and the Art Gallery of New South Wales in 1993 to which he contributed an essay) (Martin 1993), as well as “One more bullet in the head,” the rejected title of an essay that was published in World Art magazine in New York in the mid-1990s. While the cover evokes the cool vibe of nouvelle vague Paris, it is actually from a 1968 album, Roma Oggi by the American guitarist Tony Mottola (a real person who actually sounds like a fictional character from Sergio Leone’s Once Upon A Time in America, a film on which Martin has written a book for the British Film Institute). Plausibility, in terms of Martin’s Surrealism album, has to be as compellingly real as the sincerity of Sandy Scott’s Here’s Sandy. And it should be no surprise to see the cover art of Scott’s album return as Georges Bataille’s Erotism. Gramophone The history of the gramophone represents the technological desire to write sound. In this the gramophone record is a ligature of sound and text, a form of phonographic writing. With this history in mind it’s hardly surprising that theorists such as Derrida and Kittler included the gramophone under the conceptual framework of a general grammatology (Derrida 1992, 253 & Kittler 1997, 28). (classical-gas.com) Jacques Derrida’s Of Grammatology is the avatar of Classical Gas in its re-writing of a previous writing. Re-inscribing the picaresque Pal Joey soundtrack as a foundation text of post-structuralism is appropriate in terms of the gramme or literate principle of Western metaphysics as well as the echolalia of remix. As Derrida observes in Of Grammatology, history and knowledge “have always been determined (and not only etymologically or philosophically) as detours for the purpose of the reappropriation of presence” (Derrida 1976, 10). A gas way to finish, you might say. But in retrospect the ur-text that drives the poetics of Classical Gas is not Of Grammatology but the errant Marcel Marceau album described previously. Far from being an oddity, an aberration or a “novelty” album, it is a classic gramophone recording, the quintessential writing of an absent speech, offbeat and untimely. References Bahktin, Mikhail. Rabelais and His World. Trans. Hélène Iswolsky. Bloomington: Indiana University Press, 1985. Bangs, Lester. “The Ten Most Ridiculous Albums of the Seventies”. Phonograph Record Magazine, March, 1978. Reproduced at http://rateyourmusic.com/list/dacapo/the_ten_most_ridiculous_records_of_the_seventies__by_lester_bangs. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. London: Flamingo, 1982. ---. Mythologies. Trans. Annette Lavers. London: Granada, 1982. ---. The Pleasure of the Text. Trans. Richard Miller. Oxford: Blackwell, 1994. Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman. New York: Semiotext[e], 1983. Deleuze, Gilles. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Zone Books, 2000. Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: Johns Hopkins University Press, 1976. ---. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago: Chicago University Press, 1987. ---. “Ulysses Gramophone: Hear Say Yes in Joyce,” in Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1992. Eco, Umberto. Reflections on The Name of the Rose. Trans. William Weaver. London: Secker & Warburg, 1985. Eliot, T.S. The Waste Land and Other Poems. London: Faber & Faber, 1975. Foucault, Michel. This Is Not a Pipe. Trans. James Harkness. Berkeley: University of California Press, 1983. ---. The Use of Pleasure: The History of Sexuality Volume 2. Trans. Robert Hurley. New York: Random House, 1985. Gal, Dani. Interview with Jens Hoffmann, Istanbul Biennale Companion. Istanbul Foundation for Culture and the Arts, 2011. Kittler, Friedrich. “Gramophone, Film, Typewriter,” in Literature, Media, Information Systems. Ed. John Johnston. Amsterdam: Overseas Publishers Association, 1997. Lacan, Jacques. The Ethics of Psychoanalysis (1959–1960): The Seminar of Jacques Lacan. Trans. Dennis Porter. London: Routledge, 1992. Marcus, Greil. Lipstick Traces: A Secret History of the Twentieth Century. London: Secker & Warburg, 1989. Martin, Adrian. “The Artificial Night: Surrealism and Cinema,” in Surrealism: Revolution by Night. Canberra: National Gallery of Australia, 1993. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television. Durham: Duke University Press, 2000. ---. Online communication with authors, June 2011. Tofts, Darren and Lisa Gye. The Secret Gestural Prehistory of Mobile Devices. 2010-ongoing. http://www.secretprehistory.net/. ---. Classical Gas. 2011-ongoing. http://www.classical-gas.com/.