Public Health in Crisis

Moving beyond the usual genres of form in graphic design’s canonical history, ‘Designing History’ proposes a model centred on bureaucratic instruments of identity, ownership, value, and permission: money, passports, certificates, property deeds, etc. It considers the implications of a design history of the document, where the designer shifts from being a practitioner of conventional design histories to become subject and agency of bureaucratic authority. The book is a revised edition of ‘Immutable: Designing History’ (2022) and includes an extended essay that contextualizes the project as a remapping of graphic design’s historical, pedagogical, and practical assumptions.

The fourth in a series of publications, featuring writing by graphic design students of EKA GD MA. Typing... includes essays, scripts, translations and stories on a wide range of topics: killing vowels and milling fonts, personal knowledge management, shortcuts, tedious/careful/tiring/joyful typesetting, type of Georgianness, typing in 3rab(izi) and typing in all lowercase.

With contributions by Anna Wittenkamp Rich, Archil Tsereteli, Fa(tima)-Ezzahra El Khammas, João (Juca) Pedro Nogueira, Karthik Palepu, Laura Martens, Linnea Lindgren, Rok Ifko Kranjc.

Designed by Fatima-Ezzahra El Khammas and Laura Martens
Cover by Hanafi Gazali

Written according to its own dictum, "language is the universal inebriant," these epistolary essays, personal narratives, meditations on avant-garde writers, and unorthodox forays into the "narco-imaginary"—the habits and conventions surrounding literary and cultural representations of drug use—attend to the residue of transient impressions that remain, long after the delirium of creative activity subsides.

Ramsey Scott teaches at Brooklyn College, CUNY. His essays, poems, and fiction have appeared in various print and online publications, including the Southwest Review, the Seneca Review, The Massachusetts Review, Shampoo, Tarpaulin Sky, Confrontation, and Mirage #4/Period(ical). The Narco-Imaginary is his first book.

A restless inquiry into the cultural and psychic sources of insomnia by one of contemporary French literature's most elegant voices.

Plagued by insomnia for twenty years, Marie Darrieussecq turns her attention to the causes, implications, and consequences of sleeplessness: a nocturnal suffering that culminates at 4 a.m. and then defines the next day. “Insomniac mornings are dead mornings,” she observes. Prevented from falling asleep by her dread of exhaustion the next day, Darrieussecq turns to hypnosis, psychoanalysis, alcohol, pills, and meditation. Her entrapment within this spiraling anguish prompts her inspired, ingenious search across literature, geopolitical history, psychoanalysis, and her own experience to better understand where insomnia comes from and what it might mean. There are those, she writes, in Rwanda, whose vivid memories of genocide leave them awake and transfixed by complete horror; there is the insomnia of the unhoused, who have nowhere to put their heads down. The hyperconnection of urban professional life transforms her bedroom from a haven to a dormant electrified node.

Ranging between autobiography, clinical observation, and criticism, Sleepless is a graceful, inventive meditation by one of the most daring, inventive novelists writing today.

Exhibiting for Multiple Senses looks into artistic and curatorial research practices that emphasize the multisensory character of the human body in the encounter with artworks. For some time now, numerous contemporary artists and curators have moved beyond the primacy of the visual in the experience of art exhibitions. The book discusses this shift by bringing together experimental exhibition-making, curatorial theory, art, design, and museum research, disability activism and crip theory. Its intent is to demonstrate resonances between curatorial theory and practice and between disability and crip art activism. While the latter is still often regarded as relevant for only small portions of visibly disabled people, in recent years neurodiversity and invisible disabilities have proven to be relevant for the sensory experiences of much larger parts of exhibition audiences.

Exhibiting for Multiple Senses shares famous and lesser-known examples of experimental exhibitions as well as of artistic practices linked to exhibitions. By mobilizing the senses of touch, smell, taste, and hearing, as well as applications of multimodal technologies and insights from neuroscience, these examples all explore abilities and possibilities of the complex and diverse sensory apparatus that is the human body.

Contributors: David Bobier, Luca M. Damiani, Stephanie Farmer & Hettie James, Eva Fotiadi, David Gissen & Georgina Kleege, Adi Hollander, Lilian Korner, Elke Krasny, Renata Pękowska, Caro Verbeek