BRICKS FROM THE KILN #3

Andrew Lister and Matthew Stuart (Editor)

1,055 THB

 

Description

Bricks from the Kiln #3

Andrew Lister and Matthew Stuart (Editor)

English

2018
Published by Bricks from the Kiln
(Published as text, image, sound)
London, UK

New York, USA

Designed by Andrew Lister and Matthew Stuart
17 x 22.4 cm, 120 pages (with insert), color, offset, perfect bound, pvc dust jacket

Edition limited to 700 copies

Bricks from the Kiln three, edited by Andrew Lister and Matthew Stuart *a/ sounds again, the same voice continues to read* the following segments collected here are published as text, image and sound, and in various ways each deal with voice and typography, scripts and transcripts and the coding and decoding of language. They include a contextual history of the oblique, one of the earliest marks of punctuation; an interview on interviewing; a revived ceremonial song lacking a melody; some soft rock for hard times; a visual essay punctuating the recorded voice of virginia Woolf; a tour through the bowels of the Chicago Board Options Exchange; a bell tower score for a city-wide soundwork; a solo interview-cum-performance; an “afterreading”; Inuit syllabics as a mixture of semantics, poetry and marketing; and James Baldwin and Claudia Rankine in constructed conversation. Each segment is supported and supplemented by an accompanying audio(visual) component, which, as the issue is launched, will be broadcast on the BFTK homepage (www.b-f-t-k.info)and subsequently archived on a standalone page of the website (www.b-f-t-k.info/#3). Much like the supporting soundscape to James Bulley’s essay ‘Progress Music’ in BFTK two, in each case these can be played along side reading or listened to as separate contextual pieces. Fittingly, we begin issue three with a graphic score by James Bulley titles OSKA. *Oska (movement3) plays–a low humming drone slowly builds…*

About Bricks from the Kiln
“The notion of this content being on or around graphic design relates to the fact that BFTK ultimately collects the kinds of writing that interests and excites us first and foremost as readers, and secondly as designers and typographers. The majority of the writing isn’t necessarily aboutgraphic design or design criticism, but, given that both of our backgrounds are in graphic design, it can be seen through this lens. It’s certainly open-ended though, and deliberately so. Graphic design can sometimes be seen negatively as a kind of parasitic activity, in the way that it attaches itself to other disciplines. However that’s not the case for us. The way in which it can operate as a conduit that both shapes and carries material, and the proximity to other disciplines that it affords, is probably what drew us both to it as as field in the first place. Perhaps “on or around graphic design” isn’t exactly right, but it oddly seems at once more specific and more vague than terms like “visualculture” or “visual communication,” or even “cultural studies,” which are in the right ballpark but don’t sit quite right with us.” — Andrew Lister and Matthew Stuart, interviewed by Paul Bailey in the Gradient