Use this only as a reference and buy from your local independent book shop.
YOUR SUCCESS IN BUSINESS DEPENDS ON HOW WELL YOU THINK Six Thinking Hats can help you think better-with its practical and uniquely positive approach to making decisions and exploring new ideas. It is an approach that thousands of business managers, educators, and government leaders around the world have already adopted with great success. “The main difficulty of thinking is confusion,” writes Edward de Bono, long recognized as the foremost international authority on conceptual thinking and on the teaching of thinking as a skill. “We try to do too much at once. Emotions, information, logic, hope, and creativity all crowd in on us. It is like juggling with too many balls.” The solution? De Bono unscrambles the thinking process with his “six thinking hats”: * WHITE HAT: neutral and objective, concerned with facts and figures * RED HAT: the emotional view * BLACK HAT: careful and cautious, the “devil’s advocate” hat * YELLOW HAT: sunny and positive * GREEN HAT: associated with fertile growth, creativity, and new ideas * BLUE HAT: cool, the color of the sky, above everything else-the organizing hat Through case studies and real-life examples, Dr. de Bono reveals the often surprising ways in which deliberate role playing can make you a better thinker. He offers a powerfully simple tool that you-and your business, whether it’s a start-up or a major corporation-can use to create a climate of clearer thinking, improved communication, and greater creativity. His book is an instructive and inspiring text for anyone who makes decisions, in business or in life.
They say you can’t judge a book by its cover—but that hasn’t stopped anyone from trying. An original and visually engaging cover can help make the difference between a flop and a smash, and over the years more than a few designers have taken the creative and mysterious process to levels of supreme beauty and imagination. Peter Mendelsund is that kind of designer and Cover is the story of his love affair with books.
Renowned and award-winning designer of many best-selling books, Peter Mendelsund has enjoyed years as a much-sought-after designer and art director. Amongst the many recognizable covers he has created are those for the American edition of The Girl with the Dragon Tattoo and the following books of the Millennium trilogy; collections of the works of Joyce, Kafka, Dostoevsky, de Beauvoir, Bernhard, and Camus; the contemporary works of Peter Carey, Martin Amis, Tom McCarthy, Ben Marcus, Rick Bragg, and James Gleick; and many more. All have greatly benefitted from the care and touch Mendelsund gave their jackets.
The entire story of a book cover—from the moment a book is initially acquired to when it finally appears on bookstores’ shelves—is explained and illustrated in* Cover*. Cover abounds with Mendelsund’s completed book jackets along with ephemera from his previously unseen creative processes, including jacket sketches, interior art and illustrations, editorial illustration, and scores of rejected drafts. These images are punctuated by Mendelsund’s reflections on his work and his process, as well as by texts from writers with whom he has worked and designed for, including bestselling crime writers, Pulitzer and Booker Prize-winning fiction and non-fiction authors, well-known scientists, actors, and politicians.
Cover is a compendium of beautiful design and a beautiful design object itself; a profile and celebration of one of the publishing world’s most talented and prolific contemporary creators, and a brilliant showcase of his deft touch for balanced and innovative design.
Thought Experiments in Graphic Design Education documents an international mix of experimental, reflexive and speculative projects made by students, educators and practitioners who continue to question how and why graphic design is studied and practiced.
Contributors: Bart de Baets, Stuart Bailey, Delphine Bedel, Victor Boullet, Lionel Bovier, Dante Carlos, James Corazzo, Daniel Eatock, Bianca Elzenbaumer, Kenneth Fitzgerald, Fabio Franz, John Hammersley, Harrisson, Ken Hollings, Brockett Horne, Scott King, Ken Kirton, Jono Lewarne, Alexander Lis, Yvan Martinez, Armand Mevis, Rens Muis, Silas Munro, Sebastian Pataki, Stuart Price, Darren Raven, Alexander Shoukas, Rebecca Stephany, Jon Sueda, Joshua Trees, and many more.
Schools represented: After School Club; Art Center College of Design; CalArts; California College of the Arts; Central Saint Martins; ERG, Belgium; Geneva University of Art and Design; Gerrit Rietveld Academie; The Institute of Social Hypocrisy; KABK, The Hague; London College of Communication; Lost in the Forest Institute; Merz Academie; MIT; North Carolina State University; Parsons, The New School for Design; Royal College of Art; San Francisco Art Institute; Stockport College; IAUV, Venice, Italy; The University of the West of England; Werkplaats Typografie
Edition of 500 Riso printed 330 pages 176 x 250mm (6.93 x 9.84 inches) Softcover English ISBN 978-0-9573509-1-5
Editors: Yvan Martinez and Joshua Trees Design: Ponto
What is the place of individual genius in a global world of hyper-information— a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, “originality” begins to take a back seat to what can be done with other people’s words—framing, citing, recycling, and otherwise mediating available words and sentences, and sometimes entire texts. Marjorie Perloff here explores this intriguing development in contemporary poetry: the embrace of “unoriginal” writing. Paradoxically, she argues, such citational and often constraint-based poetry is more accessible and, in a sense, “personal” than was the hermetic poetry of the 1980s and 90s.
Perloff traces this poetics of “unoriginal genius” from its paradigmatic work, Benjamin’s encyclopedic Arcades Project, a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, both movements now understood as precursors of such hybrid citational texts as Charles Bernstein’s opera libretto Shadowtime and Susan Howe’s documentary lyric sequence The Midnight. Perloff also finds that the new syncretism extends to language: for example, to the French-Norwegian Caroline Bergvall writing in English and the Japanese Yoko Tawada, in German. Unoriginal Genius concludes with a discussion of Kenneth Goldsmith’s conceptualist book Traffic—a seemingly “pure’” radio transcript of one holiday weekend’s worth of traffic reports. In these instances and many others, Perloff shows us “poetry by other means” of great ingenuity, wit, and complexity.
Corrected Slogans looks at conceptual practices in contemporary art and poetry. In conjunction with the exhibition Postscript: Writing After Conceptual Art *at the Museum of Contemporary Art in Denver, the online magazine *Triple Canopy hosted a series of public conversations between some of the most innovative artists and poets working today. The symposium Poems for America asked how conceptual writing has transformed conventional notions of expression, while Automatic Reading, a seminar-style roundtable, focused on reading as a creative practice, and the book as a material object. *Corrected Slogans *features annotated transcripts of these events, which include contributions from Nora Abrams, Andrea Andersson, Erica Baum, Franklin Bruno, Corina Copp, Michael Corris, Brian Droitcour, Jim Fletcher, Zachary German, Lucy Ives, Aaron Kunin, Margaret Lee, Paul Legault, K. Silem Mohammad, Ken Okiishi, R. H. Quaytman, Katie Raissian, Ariana Reines, William S. Smith, Mónica de la Torre, Gretchen Wagner, Hannah Whitaker and Matvei Yankelevich, along with new essays, artworks and poetry.
This book has three parts. In the first two, basic principles in the theory and practice of book design are discussed. The third part then shows how the ideas of the first and second parts have been applied in particular examples. ‘Book design as a school of thought’ was originally delivered (in German) as a lecture and published as a pamphlet, in 1991. This is its first publication in English. ‘Designing books’ was published as a separate booklet by Agfa (Wilmington, Mass.) in 1989, in German. Translation into several other languages followed, including an English edition (1990): all long out of print. The version published here has been revised and considerably augmented with new illustrations. The third part, ‘Books designed by Jost Hochuli’, is completely new. Here Robin Kinross comments on 27 of Hochuli’s works. Both authors are internationally known, Kinross more as critic and historian, Hochuli above all as a practitioner. In this book they offer a serious introduction to book design, free of ideological dogma. Short and concise, it contains a rich, painstakingly selected fund of illustrations.
Known for his innovative book design and typographic style, Jost Hochuli stands out as one of the most admired mid-20th-century Swiss graphic designers. Working since 1959, Hochuli has created an impressive archive of aggressive book designs and experimental graphic work using wood and linoleum cut typography. Included are writings from Hochuli, as well as theoretical essays by Kinross and Hans Peter Wilberg.
Comprising scores of photographs from inside the studio of the prolific Dutch graphic designer and educator Karel Martens, this book is a testament to the personal and experimental nature of his work. Although he can be placed in the tradition of Dutch modernism, Martens seems to maintain a certain distance from contemporary developments. The shelves of books and stacks of papers seen in these images are evocative of both his professional practice and work as an artist, which more recently entails making relief prints from found industrial artefacts. A fascinating and intimate creative portrait of this design community mentor, with texts by David Senior and Martens himself.
Irma Boom has become one of the most widely renowned and laureated book designers in the world today. Her often ingenious solutions to individual book productions have gained her international fame and her work is now collected by many leading museums such as the MoMa in New York. Besides book designs she also creates corporate identities, postage stamps and posters. The Special Collections of the University of Amsterdam Library honoured Irma Boom with a major retrospective exhibition of her work, now traveling to Paris. To accompany this exhibition she produced an exceptional catalogue; this miniature book contains a complete overview of her work, now re-printed in a slightly bigger version and with more pages.
Editorial collective and online magazine Triple Canopy has been producing a high minded, high design artifact,according to The New York Times, since its first edition in 2008. Invalid Format is the second volume in an archive of their widespread publishing activities, including artist projects and literary work published in the second year of Triple Canopys existence, documentation of public programs, and a sampling of foundational correspondence. The wide scope of writers and contributing editors include Anna Sperber & Peter Kerlin, Leslie Thornton, Ian Volner & Matico Josephson, Neil Greenberg, José León Cerrillo, Lucy Raven, Nathan Schneider, Teddy Cruz & Caleb Waldorf, Hovhanness Tumanyan & Vahram Aghasyan, Joshua Cohen, Lucy Ives, Karthik Pandian, Sophia Al Maria & Manal Al Dowayan, and Rafil Kroll Zaidi, among others.
Invalid Format is an archive of the widespread activities of Triple Canopy, the New York-based magazine and publisher. The book translates into print work that originally appeared in other forms. The third volume of Invalid Format includes artist projects and literary work published online in the third and fourth years of Triple Canopy’s existence, as well as documentation of public programs. In form and content, the book explores how works produced for the screen and live settings might be transposed to the codex in a way that recalls former contexts while also fully inhabiting the page. It includes contributions by Michael Almereyda, Kurt Beals, Mel Bochner, Daniel Bozhkov, Paul Chan, Joshua Cohen, Jordan Crandall, Simon Critchley, Moyra Davey, Roe Ethridge, Ellie Ga, Daniel Gordon, Vivian Gornick, David Graeber, Group Theory, Joseph McElroy, Tom McCarthy, Matt Mullican, Ken Okiishi, Eve Sussman, Lynne Tillman and McKenzie Wark, among others.
Invalid Format is an archive of the widespread publishing activities of Triple Canopy, the editorial collective and online magazine based in New York, Los Angeles and Berlin. The book, designed in collaboration with Project Projects, translates into print work that originally appeared in other forms. This inaugural volume of Invalid Format includes artist projects and literary work published in the first year of Triple Canopy’s existence, documentation of public programs, and a sampling of foundational correspondence. In form and content, the book explores how works produced for the screen might be transposed to the codex in a way that recalls that former context while also fully inhabiting the page. Contributors include Lene Berg, Keren Cytter, Rivka Galchen, Sheila Heti, Adam Helms, Craig Kalpakjian, Jon Kessler, Wayne Koestenbaum, Rachel Mason, Amir Mogharabi, Ed Park & Rachel Aviv, Emily Richardson & Iain Sinclair, Michael Robinson and Diane Williams.
Clive Phillpot has been a tireless advocate for the artist’s book for more than 40 years—both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library’s collection of artist’s books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d’artiste. As he has delineated the genre: “Artists’ books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.” Also collaborating with Printed Matter and Franklin Furnace, among other places dedicated to the medium of the book, Phillpot helped raise awareness of artists’ books, endowing them with the critical credentials to enter the collections of museums. Booktrek gathers for the first time Phillpot’s essays on the definition and development of artists’ books from 1972 to the present—historical texts, manifestos, catalogue entries and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long. Booktrek will prove an invaluable reference for all those interested in the evolution of the artist’s book, and offers a crucial account of the genre’s ascent.