mixing messages new waves violating old Rules // deconstRuction fbaul. dc 4matilde pinto 4789

desc

onst

Ruct

ionpu

sh pi

n stu

dio

forme

d by

milto

n glas

er an

d seym

our c

hwast

aRmi

n hof

man

begins

teach

ing at

Yale

Mar

shal

l McL

uhan

, Un

ders

tand

ing

Med

ia

Saul

Bas

s, M

an w

ith

the

Gold

en A

rms,

film

pos

ter a

nd

grap

hics

Andy

War

hol`s

Ca

mpb

ell`s

Sou

p

Henr

y Wo

lf at

Har

per`

s Ba

zzar

The

Amer

ican

“Bea

tnik”

gen

erat

ion

emer

ges

Herb

ert L

ubai

n de

signs

Ero

s

The

New

Real

ists

are

exhi

bite

d,

ackn

owle

dgin

g th

e ar

rival

of

Pop

Art

and

artis

ts

Kubr

ick`s

film

, 20

01:A

Spa

ce

Odys

sey

Andy

War

hol`s

film

, Ch

else

a Gi

rls

Luba

in`s

Av

ant G

arde

m

agaz

ine

Inge

Dru

ckre

y be

gins

her

teac

hing

ca

reer

Edou

ar H

offm

an

and

Max

Mie

ding

er

desig

n He

lvetic

a ty

pefa

ce

Robe

rt V

entu

ri wr

ites

Com

plex

ity

and

Cont

radi

tion

in A

rchi

tect

ure

and

Lear

ning

Las

Veg

as

Milt

on G

lase

r`s

world

fam

ous

Bob

Dyla

n po

ster

dan f

Ried

man a

nd th

e new

wav

e typ

ograp

hy in

the us

a

Mich

ael V

ande

rbyl,

Ca

lifórn

ia P

ublic

Rá

dio

post

er

The

film,

A Cl

ockw

ork

Oran

ge

300.

000

peop

le a

t-te

nd a

rock

con

cert

kn

own

as W

oods

tock

Geor

ge L

ucas

`s fi

lm,

Star

War

s

Robe

rt V

entu

ri`s

Lear

ning

from

Las

Ve

gas,

des

igne

d by

M

urie

l Coo

per

Arm

in H

ofm

ann,

wa

s an

inst

ruct

or

durin

g th

e Ya

le S

umm

er

Prog

ram

me

in

Grap

hic

Desig

n Br

issag

o

Mar

tin S

cors

ese`

s film

, Tax

i Driv

er

The

Appl

e M

acin

tosh

co

mpu

ter i

s de

signe

d

David

Lyn

ch`s

film

, Th

e El

epha

nt M

an

Nevil

le B

rody

is

Art D

irect

or o

f Th

e Fa

ce

Mich

ael G

rave

s ex

ibiti

on p

oste

r by

Willi

am

Long

haus

er

Mem

phis

foun

ded

in M

ilan

MOM

A ex

ibiti

on,

Deco

nstr

uctiv

ism

Arch

itect

ure

is cu

rate

d by

Phi

lip

John

son

Kath

erin

e M

cCoy

,De

cons

truc

ted

Typo

grap

hy

The

AIGA

pub

lishe

s a

defe

nitio

n of

gra

phic

desig

n: “

The

aaes

-th

etic

orde

ring

of

type

and

imag

e in

or

der t

o in

tere

st,

info

rm, p

ersu

ade

or s

ell.”

Rudy

Van

derL

ans

and

Zuza

na L

ick

lauc

h Em

igre

m

agaz

ine

Typo

grap

hy N

ow:

The

Next

Wav

eis

publ

ished

by

Rick

Po

ynor

, Edw

ard

Boot

h-Cl

ibbo

rn a

nd

Why

Not A

ssoi

ciate

s

Lúcid

a is

desig

ned

for l

aser

prin

ters

Fran

cis F

ord

Copp

ola`

s film

, Ap

ocal

ypse

Now

Rem

ote

Cont

rol b

y Ba

rbar

a Kr

uger

Step

hen

Helle

r wr

ites

Cult

of

Ugly

in

Eye

mag

azin

e

Rollin

g St

one,

Perc

eptio

n/Re

ality

ca

mpa

ign

by F

allo

n M

cEllig

ott a

nd

Rice

/Min

neap

olis

Mur

iel C

oope

r at

the

Visu

al L

angu

age

Work

shop

, MIT

April

Gre

iman

,Do

es It

Mak

e Se

nse,

po

ster

for D

esig

n Qu

arte

rly

Tibo

r Kal

man

de

signs

a m

usic

vídeo

for t

he

Talki

ng H

eads

Robe

rt Z

emec

kis`s

film

, For

rest

Gum

p

Pete

r Sav

ille jo

ins

Pent

agra

m, L

ondo

n

Quen

tin T

aran

tinos

film

, Pul

p Fi

ctio

n

Rick

Poy

nor,

edito

r of t

he n

ew

Eye

mag

azin

e

Brod

y an

d Ro

ssum

pr

oduc

e Fu

se

mag

azin

e

Pete

r Sav

ille

Asso

ciate

s fo

unde

d in

Lon

don

MTV

play

s th

e fir

st m

usic

vídeo

Émig

ré m

agaz

ine

(and

oth

er m

aga-

zines

) pub

lishe

s Fi

rst T

hing

s M

anife

sto

2000

Mixi

ng M

essa

ges:

Gr

aphi

c De

sign

in C

onte

mpo

rary

Cu

lture

at C

oope

r-He

witt

Natio

nal

Desig

n M

useu

m

The

exib

ition

Gra

phic

Desig

n in

Am

érica

: A

Visu

al L

angu

age

Hist

ory

is or

gani

zed

by th

e Wa

lker A

rt C

ente

r

Stev

en B

rowe

r re

desig

ns P

rint

mag

azin

e

David

Car

son,

Be

ach

Cultu

re

mag

azin

e

David

Car

son

desig

ns R

ay G

un

mag

azin

e

Copp

ola`

s film

, The

Go

dfat

her

Emile

Rud

er,

Typo

grap

hyA

Man

ual o

f Des

ign

Arm

in H

ofm

ann,

Gr

aphi

c De

sign

Man

ual

Wein

gart

bec

ame

an in

stru

ctor

at

the

Yale

Uni

vers

ity

Sum

mer

Gra

phic

Desig

n Pr

ogra

m in

Br

issag

o

Milt

on G

lase

r de

signs

cov

er I

LOVE

NY

sym

bol

Spie

lber

g`s

film,

Jaws

Char

les

Jenc

k`s

publ

ishes

his

artic

les

on a

rchi

tect

ural

Kath

erin

e an

d M

ichae

l McC

oy

com

e to

Cra

nbro

ok

Post

mod

erni

sm

Wein

gart

join

s th

e Ba

sle S

choo

l of

Desig

n fa

culty

“Lea

rn C

over

s”

by W

olfg

ang

Wein

gart

in

Typo

grap

hisc

he

Mon

atsb

atte

r

Sidn

ey L

umet

`s fi

lm,

Dog

Day

Afte

rnoo

n

4

6

8

1014

16

22

26

I ’ m i n t e r e s t e d i n w o r k t h a t d o e s n ’ t n e c e s s a r i l y l o o k a s i f

i t w a s ‘ d e s i g n e d ’ b u t s o r t o f j u s t l o o k s a s i f i t h a p p e n e d .

I a l w a y s l i k e d t h e i d e a , t h a t p e o p l e h a v e t o w o r k t o

u n d e r s t a n d w h a t y o u ’ r e s h o w i n g t h e m .

M i l t o n G l a s e r , h t t p : / / w w w . g r a p h i c - d e s i g n . c o m / d e s i g n / m i l t o n - g l a s e r - i n f o r m - a n d -d e l i g h t ? p a g e = 0 , 2 , s / d

I w a n t e d t o d o w o r k t h a t i s p u b l i c , I w a n t e d t o d o w o r k

t h a t p e o p l e s a w . . . t h a t w a s o n t h e s t r e e t . I t d i d n ’ t m a t t e r

i f I w a s c a l l e d a n a r t i s t o r a d e s i g n e r , i l l u s t r a t o r o r w h a t

e v e r e l s e , t h e c o r e v a l u e w a s a l w a y s t h e a c t o f m a k i n g

t h i n g s , a n d t h e t r a n s f o r m a t i o n o f a n i d e a t h a t y o u h o l d i n

y o u r m i n d t h a t b e c o m e s r e a l o r m a t e r i a l . T h a t , t o m e , i s

s t i l l t h e g l o r y o f a n y c r e a t i v e a c t i v i t y .

M i l t o n G l a s e r , h t t p : / / w w w . g r a p h i c - d e s i g n . c o m / d e s i g n / m i l t o n - g l a s e r - i n f o r m - a n d -d e l i g h t ? p a g e = 0 , 2 , s / d

4

What’s fascinating about the Graphic is its seamless mel-

ding of illustration and publication design -- that, and its

creative use of retro styles and period ornament at a time

with the austere Swiss Style ruled. Steven Heller, in his lead-

off article (“The Push Pin Effect”), refers to their “rein-

vention of discarded mannerisms”: using everything from

Victorian clichés to Art Deco flourishes to achieve striking

contrast and surprising effect. This is the same spirit that

infused some of the most creative design work that came

out of the UK around the Festival of Britain in 1951: in

the face of a standardized postwar modernism, putting

old-fashioned visual elements to use in novel ways. Heller

quotes Chwast as saying, in recollection: “Quaintness was

popular in those days.”

Although they were not alone in what they did, the Push

Pin designers were hugely influential. The spirit of contrast

that informs so much of the best design of the 1950s

found itself elaborated in flowing ink lines and techniques

like woodcut, collage, and painting on wood; Push Pin pio-

neered this. Since they were primarily illustrators, Push Pin

particularly wanted to offer an alternative to the dominance

of photography in modern graphic design. “Their mission

was not solely an attack on modernism,” says Heller, but it

did clearly offer a different way forward.

And novelty is always popular. In the late ‘50s, other de-

signers would use thePush Pin Graphic as inspiration, and

new ideas or styles that appeared in one issue might show

up all around the New York design world a month later. By

the mid-’60s, when the principals’ modes had hardened

into brilliant but recognizable styles, Milton Glaser and Sey-

mour Chwast practically defined a certain end of the visual

aesthetic of the time.

John D. Berry, http://www.creativepro.com/article/dot--the-push-pin, 2005

Wolfg

ang

Wein

gart

is a

Ger

man

gra

phic

desig

ner c

redi

ted

as th

e pr

ogen

itor o

f New

Wav

e ty

pogr

aphy

. Acc

ordi

ng to

Wei

ngar

t, “I

took

‘Swi

ss T

ypog

raph

y’ a

s m

y st

artin

g po

int,

but t

hen

I ble

w it

apar

t, ne

ver f

orcin

g

any

style

upo

n m

y st

uden

ts. I

nev

er in

tend

ed to

cre

ate

a “s

tyle

”. It

just

hap

pene

d th

at th

e st

uden

ts p

icked

up

— a

nd m

isint

erpr

eted

— a

so

calle

d ‘W

eing

art s

tyle

’ and

spr

ead

it ar

ound

.”

“Hi

s ty

pogr

aphi

c exp

erim

ents

wer

e st

rong

ly gr

ound

ed, a

nd w

ere

base

d on

an

intim

ate

unde

rsta

ndin

g of

the

sem

antic

, syn

tact

ic an

d pr

agm

atic

func

tions

of t

ypog

raph

y. Wh

erea

stra

ditio

nal S

wiss

typo

grap

hy m

ainl

y

focu

sed

on th

e sy

ntac

tic fu

nctio

n, W

eing

art w

as in

tere

sted

in h

ow fa

r the

gra

phic

qual

ities

of t

ypog

raph

y ca

n be

pus

hed

and

still

reta

in it

s m

eani

ng. T

his

is wh

en th

e se

man

tic fu

nctio

n of

typo

grap

hy c

omes

in:

Wein

gart

bel

ieve

s th

at c

erta

in g

raph

ic m

odific

atio

ns o

f typ

e ca

n in

fact

inte

nsify

mea

ning

. “Wh

at’s

the

use

of b

eing

legi

ble,

whe

n no

thin

g in

spire

s yo

u to

take

not

ice o

f it?

” Ex

cerp

t fro

m K

eith

Tam

It wa

sn’t

until

the

early

eig

htie

s, w

hen

his

Amer

ican

stud

ents

like

April

Gre

iman

and

Dan

Frie

dman

(abo

ve 1

971

post

er) b

roug

ht b

ack

to th

e US

a w

ealth

of t

ypog

raph

ic ar

sena

ls fro

m B

asel

and

co-

opte

d it

into

the

mai

nstre

am o

f gra

phic

desig

n. F

rom

Apr

il Gre

iman

’s ´h

ybrid

imag

ery”

to D

avid

Car

son’

s de

cons

truc

tive

page

layo

uts,

ana

rchy

reig

ned

supr

eme

in th

e ni

netie

s. T

hose

wer

e th

e da

ys fo

r gra

phic

desig

n su

pers

tars

,

whos

e st

yle m

any

a gr

aphi

c de

signe

r ado

red

and

imita

ted.

Whi

le n

o on

e ca

n gi

ve a

def

initi

ve a

nswe

r as

to w

heth

er th

ese

Amer

ican

grap

hic

desig

ners

took

wha

t Wei

ngar

t did

and

bro

ught

it to

new

hei

ghts

, the

y

cert

ainl

y m

anag

ed to

mak

e it

a hu

ge c

omm

ercia

l suc

cess

. “Th

ey w

ere

doin

g it

as a

sty

le a

nd it

was

nev

er m

y id

ea to

cre

ate

fash

ion,

” de

note

s We

inga

rt. T

he te

achi

ng a

t Bas

el fo

r Wei

ngar

t is

not a

bout

tren

ds b

ut

a ‘s

tabi

lity’

that

they

try

to m

ove

away

from

, but

nev

er to

tally

. W

olfg

ang

Wein

gart

’s T

ypog

raph

ic La

ndsc

ape

by K

eith

Tam

, http

://ke

ithta

m.n

et/w

ritin

gs.h

tml,

2001

VER

PÁG

. 14

A c c o r d i n g to Weingart,

“ I t o o k ‘ S w i s s T y p o g r a p h y ’ a s m y

s t a r t i n g p o i n t ,

but then I blew it apart, never forcing any style

u p o n m y s t u d e n t s .

I n e v e r i n t e n d e d t o c r e a t e

A

“style”.

I t j u s t h a p p e n e d t h a t t h e s t u d e n t s

p i c k e d u p —

and misinterpreted—

a so called

‘ W e i n g a r t s t y l e ’

and spread it around.”A p r i l G r e i m a n

W h a t ` s t h e u s e o f b e i n g l e g i b l e , w h e n n

o t h i n g i n s p i r e s y o u t o t a k e n o t i c e o f i t ?

W o l f g a n g W e i n g a r t ’ s T y p o g r a p h i c L a n d s c a p e b y K e i t h T a m , h t t p : / / k e i t h t a m . n e t / w r i t i n g s . h t m l , 2 0 0 1

► PÁG. 26 . APRIL GREIMAN: DOES IT MAKE SENSE ► PÁG. 16 . DECONSTRUCTION 7

P o s t m o d e r n i s t m a n i f e s t o , L e a r n i n g f r o m L a s V e g a s ,

g l o r i e d i n t h e f a l s e n e s s o f t h e c o m m e r c i a l f a c a d e s o f

t h e L a s V e g a s s t r i p a n d p r o m o t e d t h e f a l s e s u r f a c e

a s a m o d e l f o r a n e w m o v e m e n t i n a r c h i t e c t u r e . N o

l o n g e r d i d t h e o u t s i d e h a v e t o b e f u n c t i o n a l l y r e l a t e d

t o t h e i n s i d e . R a t h e r , s u p e r f i c i a l d e c o r a t i o n w a s a l -

l o w e d , a n d t h e r e s u l t i n g c o n t r a d i c t i o n o r d i s c o n t i n u i t y

b e t w e e n i n s i d e a n d o u t w a s i t s e l f a s t r o n g c r i t i q u e o f

t h e c l e a n , r a t i o n a l e x t e r i o r o f m o d e r n i s t a r c h i t e c t u r e .

T h i s l o v e o f p a r o d y i n g t h e f a l s e n e s s o f s u r f a c e a p -

p e a r a n c e s i n a r t a n d a r c h i t e c t u r e h a d i t s c o u n t e r p a r t

i n t h e s t r u c t u r a l i s t m o v e m e n t i n F r e n c h l i n g u i s t i c s .

S t r o n g l y c o l o r e d b y M a r x i s t d e t e r m i n i s m , s t r u c t u r a l i s m

e x e r c i s e d a m a j o r i n f l u e n c e i n A m e r i c a n u n i v e r s i t i e s

d u r i n g t h e 1 9 7 0 s , a c c o m p a n y i n g t h e d e m o r a l i z a t i o n

o f A m e r i c a a n d t h e e x p a n s i o n o f S o v i e t p o w e r . U n l i k e

m o d e r n i s m , s t r u c t u r a l i s m h e l d t h a t s u r f a c e a p p e a r a n c -

e s w e r e f a l s e a n d t h a t r a t i o n a l i t y w a s i t s e l f a s u r f a c e

p h e n o m e n o n u n d e r w h i c h l u r k e d a s u b r a t i o n a l s e l f - u n -

k n o w n t o u s . T h e s t r u c t u r a l i s m a t t e m p t t o d e m o n s t r a t e

t h a t r a t i o n a l i t y , t h e c o n s c i o u s s e l f , a n d c o n s c i o u s

s p e e c h w e r e f a l s e f r o n t s f o r i r r a t i o n a l i t y w a s r e p r e -

s e n t e d i n p o s t m o d e r n i s t g r a p h i c d e s i g n a s w e l l .

V i c t o r M a r g o l i n , D e s i g n D i s c o u r s e : H i s t o r y , T h e o r y , C r i t i c i s m , T h e U n i -v e r s i t y o f C h i c a g o p r e s s , C h i c a g o a n d L o n d o n , 1 9 8 9

“ N a k e d C h i l d r e n h a v e n e v e r p a y e d i n o u r f o u n t a i n s ” ,

R o b e r t V e n t u r i i n h i s 1 9 7 2 b o o k L e a r n i n g F r o m L a s

V e g a s , e x p l a i n i n g t h e d i f f e r e n c e b e t w e e n a m e r i c a n a n d

e u r o u p e a n a r t i s t i c a n d a r c h i t e c t u r a l e x p r e s s i o n .

Spread from Learning from Las Vegas, 1972

► PÁG. 23 ELLEN LUPTON. DECONSTRUCTION AND GRAPHIC DESIGN ► PÁG. 16 . DECONSTRUCTION THEORY 11

I n a r t a s w e l l a s a r c h i t e c t u r e . . . t h e r e

a r e m a n y a n d c o n t r a d i c t o r y t r e n d s i n o u r

q u i c k - c h a n g e g e n e r a t i o n . I n a r c h i t e c -

t u r e , s t r i c t - c l a s s i c i s m , a n d a l l s h o r t s

o f s h a d e s i n b e t w e e n , a r e e q u a l l y v a l i d .

N o g e n e r a l l y p e r s u a s i v e “ - i s m ” h a s a p -

p e a r e d . I t m a y b e n o n e w i l l a r i s e u n l e s s

t h e r e i s a w o r l d w i d e , n e w r e l i g i o n o r s e t

o f b e l i e f s o u t w h i c h a n a e s t h e t i c c o u l d

b e f o r m e d . M e a n w h i l e p l u r a l i s m r e i g n s ,

p e r h a p s a s o i l i n w h i c h p o e t i c , o r i g i n a l

a r t i s t s . . . c a n d e v e l o p . ( . . . ) T h e c o n f l u -

e n c e ( o f t h e s e s e v e n a r c h i t e c t s ) m a y i n -

d e e d b e t e m p o r a r y ; b u t i t s r e a l i t y , i t s

v i t a l i t y , i t s o r i g i n a l i t y c a n h a r d l y b e

d e n i e d .

P h i l i p J o h n s o n a n d M a r k W i g l e y , D e c o n s t r u c t i v i s t A r -c h i t e c t u r e , E x h i b i t i o n c a t a l o g u e : T h e M u s e u m o f M o d -e r n A r t , N e w Y o r k , 1 9 8 8

A r e a d e r c o m p r e h e n d a n d a c c o u n t f o r

c o m p l e x d i f f e r e n c e s i n s i g n i f i c a t i o n .

E a c h l a y e r , t h r o u g h t h e u s e o f l a n g u a g e

a n d i m a g e , i s a n i n t e n t i o n a l p e r f o r m e r

i n d e l i b e r a t e l y p l a y f u l g a m e w h e r e i n t h e

v i e w e r c a n d i s c o v e r a n d e x p e r i e n c e t h e

h i d d e n c o m p l e x i t i e s o f l a n g u a g e .

B y r n e a n d W i t t e , A B r a v e N e w W o r l d : U n d e r s t a n d i n g D e c o n s t r u c t i o n , i n L o o k i n g C l o s e r : C r i t i c a l w r i t i n g s o n g r a p h i c d e s i g n . N e w Y o r k : A l l w o r t h P r e s s , 1 9 9 4

Frank Gehry

Daniel Libeskind

Rem Koolhaas

Peter Eisenman

Zaha Hadid

Coop Himmelb(l)au

Bernard Tschumi

12 ► PÁG. 10 DECONSTRUCTIVIST ARCHITECTURE ► PÁG. 16 . DECONSTRUCTION THEORY ► PÁG. 16 . CRANBROOK ACADEMY OF ART

deconstructivism catapulted into the mainstream design press with moma’s 1988 exhibition deconstructivist architecture, curated by philip Johnson and mark wigley. the curators used the term ‘deconstructivism’ to link certain contemporary architectural practices to Russian constructivism, whose early years were marked by an imperfect vision of form and technology. the moma exhibition located a similarly skewed interpreta-tion of modernism in the work of frank gehry, daniel libeskind, peter eisenman, and others. wigley wrote

in his catalogue essay: ‘a deconstructive architect is…not one who dismantles buildings, but one who locates the inherent dilemmas within buildings. the deconstructive architect puts the pure forms of the architectural tradition on the couch and identifies the symptoms of a repressed impurity. the impurity is drawn to the surface by a combination of gentle coaxing and violent torture: the form is inter-rogated’. in wigley’s view, deconstruction in architecture asks questions about modernism by re-examining its own language, materials, and processes. by framing their exhibition around a new ‘ism’, wigley and Johnson helped to canonize the elements of a period style, marked by twisted geometries, centerless plans, and shards of glass and metal. this cluster of stylistic features quickly emigrated from architecture to graphic design, just as the icons and colors of neo-classical post-modernism had traveled there shortly before. while a more critical approach to deconstruction had been routedto graphic designers through the fields of photography and the fine arts, architecture provided a ready-to-use formal vocabulary that could be broadly adopted. ‘deconstruction’, ‘deconstructivism’, and just plain ‘decon’ became design-world clichés, where they named existing tendencies and catalyzed new ones in the fields of furniture and fashion as well as graphic design. in 1990 philip meggs published a how-to guide for would-be deconstructivists in the magazine step-by-step graphics. his essay, which includes a journalistic account of how the term ‘deconstruc-tion’ entered the field of graphic design, focuses on style and works back to theory. following the logic of the moma project, his story begins with constructivism and ends with its ‘deconstruction’ in contemporary design; unlike wigley, however, meggs’s story depicts early modernism as a purely rational enterprise.

E l l e n L u p t o n , a n d J . A b -b o t t M i l l e r , D e c o n s t r u c t i o n a n d G r a p h i c D e s i g n : H i s t o r y M e e t s T h e o r y , V i s i b l e L a n g u a g e , 1 9 9 4

Lupton e Miller, em meados de 90, identificam a permanência do termo des-

construtivista como indicação de trabalhos que priorizam a complexidade sobre

a simplicidade ou que encenam as possibilidades formais da produção digital.

No discurso comum, o termo aparece como falha ou indicação de um período

ou estilo da história do design gráfico. Para além disso, os autores propõem

a desconstrução como processo crítico – um acto de questionamento. Esse

conceito aproxima-se da forma como Derrida em 1997 concebe a descons-

trução, evitando uma toda definição ontológica, acabando por chegar à noção

de acontecimento, que deve ser compreendida dentro do discurso particular

em que se insere. A crítica da desconstrução foi introduzida por Derrida em seu

livro De la grammatologie, de 1967.

A desconstrução procura ser antes de tudo um acontecimento. Não pretende

ser um método de aplicação sistemática, nem uma forma de análise crítica

a decompor o todo, nem um anti-sistema de destruição. Ao desfazer e

reconstruir um objecto, empreende um caminho particular, tomando elementos

marginais, traços esquecidos, dados estranhos ou marcas heterogéneas que

permitem desconstruir as construções cristalizadas de pensamento e de poder.

Desse modo, cada ocorrência mantém-se singular. Derrida não aceita a relação

de identidade que supõe uma relação fixa entre dois termos. Para o autor, não

existe a essência ou a natureza última de um conceito, pois o seu significado

constrói-se por oposição a outros termos.

Como apontam Lupton e Miller (1996), Derrida analisou as “molduras que

limitam as pinturas sem fazer parte da obra de arte”. Pela atenção descon-

strutivista, ao atentar para o que parece acessório, a moldura vem em primeiro

plano para revelar o vazio da autonomia da obra de arte, que existe apenas

como mímese convencional, bidimensional, por meio de técnicas representacio-

nais, como a perspectiva.

Lupton & Miller, Design Writing Research: Writing on Graphic Design, Phaidon Press, London, 1999

Derrida, Le droit à la philosophie du point de vue cosmopolitique. Verdier,1997

Luptonand Miller, A. Design Writing Research: Writing on Graphic Design, Phaidon, 1996

A desconstrução, uma das características da pós-modernidade, funda-se

num método que procura a descristalização de um sistema. Muito mais que

decompor um objecto, questiona a fundamentação da cultura ocidental, regida

por opostos, como: realidade/representação, corpo/mente, bem/mal e outros

antagonismos, que buscam sempre acentuar um termo em favor de outro, e

por esse caminho, cada vez mais, racionaliza, legitima e cristaliza tudo o que

já está estabelecido. A desconstrução é única e singular em cada acção. Opta

por caminhos específicos em cada caso, a cada momento e, em geral, busca

elementos antes considerados marginais numa visão clássica, reordenando

o discurso, apresentando propostas inusitadas e estabelecendo novos elos,

sejam visuais, sejam mentais.

Marcado por uma profunda consciência histórica e pela crise das vanguardas,

este é um tempo em que todos os estilos do passado constituem um repertório

válido para a inspiração e intervenção no presente. Assim, o Pós-Modernismo

pode ser entendido não só como um diagnóstico sobre a actual situação da

cultura ocidental, como também uma tendência que se fundamenta num dis-

curso eclético, plural e fragmentário, reflectindo precisamente o pano de fundo

social, cultural e tecnológico em que se desenvolve. De certo modo, alguns

precursores individuais que atravessaram todo o século nunca se aproximaram

dos modelos modernistas, como são os casos de Balthus (1908-2001), Francis

Bacon (1090-1992) ou Lucien Freud (1922-), embora se caracterize como um

período de revisão e de fusão de estilos, de meios e de processos. Numa outra

vertente, a arte irá subordinar-se a causas específicas, como é o caso de raízes

afro-americanas e hispânicas ligadas às respectivas minorias dos Estados

Unidos, e também da “arte feminina” que tem o seu expoente na obra de Judy

Chicago, Cindy Sherman e Barbara Kruger, em busca de uma identidade própria.

► PÁG. 26 . APRIL GREIMAN: DOES IT MAKE SENSE ► PÁG. 22 . KATHERINE MCCOY: CRANBROOK DISCOURSE 15

I w a n t t o t a k e t h e r o l e o f t y p o g r a p h y a w a y

f r o m a p u r e l y s u b s e r v i e n t , p r a c t i c a l r o l e t o -

w a r d s o n e t h a t i s p o t e n t i a l l y m o r e e x p r e s -

s i v e a n d v i s u a l l y d y n a m i c . T h e r e a r e n o s p e -

c i a l c h a r a c t e r s a n d p r e s e n t l y n o l o w e r c a s e i s

p l a n n e d . T h e f o n t i s d e s i g n e d t o h a v e n o l e t t e r

s p a c i n g , a n d i d e a l l y i s s h o u l d b e s e t w i t h n o

l i n e s p a c e . I d e c i d e d n o t t o i n c l u d e a c o m p l e t e

s e t o f p u n c t u a t i o n m a r k s a n d a c c e n t s , e n c o u r -

a g i n g p e o p l e t o c r e a t e t h e i r o w n i f n e e d e d .

N e v i l l e B r o d y , w w w . t y p e . c p . u k / s n e t / f u s e / s t a t e s a m p . h t m l , 1 9 9 6

► PÁG. 16 . DECONSTRUCTION THEORY 17

W h a t I r e a l l y w a n t o n t h e M a c i n t o s h

i s a v i r t u a l r e a l i t y i n t e r f a c e — a r m -

h o l e s i n e i t h e r s i d e o f t h e b o x s o y o u

c a n r e a c h i n a n d m o v e l o g o s a r o u n d ;

a r e a l p a i n t b r u s h s o t h a t y o u c a n f e e l

t h e t e x t u r e o f t h e s u r f a c e u n d e n e a t h .

D i a n e B u r n s , N e v i l l e B r o d y : D e s i g n -e r s o n M a c , T o k y o : G r a p h i c - s h a P u b -l i s h i n g C o . , 1 9 9 2

T h e m a t e r i a l y o f t h e s i g n i f i e r , w h e t h -

e r i t b e w o r d o r i m a g e , i s l i n k e d t o

i t s c a p a c i t y t o e i t h e r e v o k e o r d e s i g -

n a t e s e n s a t i o n a s i t t r a n f o r m e d i n t o

p e r c e p t i o n , a n d t h a t i t i n n o c a s e h a s

a g u a r a n t e e d t r u t h v a l u e , o n l y t h e r a -

l a t i v e a c c u r a c y w i t h i n t h e e x p e r i e n c e

o f a n i n d i v i d u a l s u b j e c t .

J o h a n n a D r u c k e r , T h e V i s i b l e W o r l d : E x p e r i m e n t a l T y p o g r a p h y a n d M o d e r n A r t 1 9 0 9 - 1 9 2 3 , C h i c a g o : U n i v e r s i t y o f C h i c a g o P r e s s , 1 9 9 4

18 ► PÁG. 16 . DECONSTRUCTION THEORY ► PÁG. 26 . APRIL GREIMAN: DOES IT MAKE SENSE ► PÁG. 22 . KATHERINE MCCOY: CRANBROOK DISCOURSE

Today, typefaces and their configurations contain meaning that is distinct from the words

they create. Certainly, calligraphy, decorative type, and italic or bold letterforms have

long served to Express tone or heighten the impacto f words. But the proliferation of

computer technology into most áreas of social experience, and especially in the field

of communication design, has a fundamental shift in the way we decipher information.

We are consumers of a complex lexion of type and image — a viewing audience more

accustomed to looking into space.

But computers alone do not have an effect on the way we read. All Technologies incor-

porate a set of practices which in turn, presuppose a cultural disposition. Within the field

of graphic design, there has been a shift from modern forms to computer-generated,

deconstructionist ones. Underlying this trend toward digitization is changing conception

of the way we envision the world which generates new kind of cultural meaning.

Modernism as a school of thought is supported by a modelo of vision that presupposes

a linear path between a viewer`s eye and an object of perception. In this conception,

there is no “space” between the eye anda n image because the acto f seeing is not

understood to incorporate human experience. Rather, the gazine “eye of distance and

infinite vision” is disembodied from the self and shielded from the outside.

When the Macintosh computer was introduced to the field in the 1980`s, designers be-

gan to layer and dissolve type and imaginery — a practice that shattered the conception

of a detached, objective reader. Designers began to endorse the short of communica-

tion that would “promote multiple rather than fixed readings” and “provoke the read into

becoming an active participant in the construction of the message”.

When typography is treated as imagery — that is, when i tis pushed to the limits of

legibility — the result is an enhanced visual involvement on the part of the viewer. As

designers tranform the mechanics of representation, more demands are made on the

viewer to interpret messages. Designers now expect that something like “projection”

will occur while reading. For example, in The End of Print, David Carson`s art direction

of magazines such as Ray Gun and Beach Culture is defended on the basis that their

audience does not need visual direction. Whereas most magazines “want their readers

to know what to expect, to know where to look and how to read through a page”, these

publications establish “a diferent relationship with the reader”.

Romanyshyn, Technology as Symptom and Dream, New York: Routledge Press, 1989

Poynor, Type and Decon-struction in the Digital Era, Typography Now: The New Wave, Cincinnati, Oh: North Light, 1992

Lewis Blackwell and David Carson, eds., The End of Print: The Graphic Design of David Carson, San Francisco: Chronicle Books, 1995

D e a r D a v i dI a m s o r y a b o u t t h e e n d o f p r i n t

I t w a s n i c e w h i l e i t l a s t e d

I always liked the smell of m i m e o c o p i e sAnd you could always tear out the pages after you read themI ` l l m i s s t h e subjectivity the imprecision

B u t i a m r e a d y i t h i n k

C o u l d y o u b l o w t h i s u p r e a l l y b i g a n d

p r i n t i t i n t h e w r o n g c o l o r And tell everybody to go back the school and to remember that F o r m a i n ` t w o r t h a s h i t a n y w a y

a n d t h a t c o n t e n t i d e a s y o u b i g

B u n c h o f j e r k s r u l e s m a k e t h a t p a r t r e d o r s o m e t h i n g o k ?

M o i r a C u l l e n i n t e r v i e w s T i b o r K a l m a n , E y e # 2 0 , h t t p : / /w w w . e y e m a g a z i n e . c o m / f e a t u r e . p h p ? i d = 3 0 & f i d = 1 6 7 , 1 9 9 5

I f s o m e o n e i n t e r p r e t s m y w o r k i n a w a y t h a t i s t o t a l l y n e w t o m e ,

I s a y f i n e . T h a t w a y y o u r w o r k h a s a l i f e o f i t s o w n . Y o u c r e a t e

a s i t u a t i o n f o r p e o p l e t o d o w i t h i t w h a t t h e y w i l l , a n d y o u d o n ` t

c r e a t e a n e n c l o s e d o r e n c a p s u l a t e d m o m e n t .

J e f f e r y K e e d y , E m i g r e # 1 5 , 1 9 9 0

Romanyshyn, Technology as Symptom and Dream, New York: Routledge Press, 1989)

The less legible a typface becomes, either on its own or in juxtaposition with other graphic

elements, the more it takes on an inherent image. When this occurs, words are no longer

simply read, but understood within the context of an entire visual construction. This is the

visual laguage of deconstruction.

Deconstruction, as we learned from Jacques Derrida in Grammatology, is the technique of

breaking down a “whole” on order to reflect critically on its parts. When using this method,

the designer affirms that different interpretations will be discovered within the fabric that

holds a message together. Unlike the linearity of modernism which implies a separation

between the viewer and the viewed, and a “withdrawal of the self from the world,” typo-

graphic deconstruction compels a viewer to take part in the interpretation of a message.

This strategy of visual disorganization was embraced and legitimized by design schools

such as the Cranbrook Academy of Art.

S w a n s o n , G u n n a r G r a p h i c D e s i g n a n d R e a d i n g : E x p l o r a -t i o n s o f a n u n e a s y r e l a t i o n s h i p , A l l w o r t h P r e s s , A l l -w o r t h C o m m u n i c a t i o n s , N e w Y o r k , 2 0 0 0 .

► PÁG. 16 . DECONSTRUCTION THEORY 21

A theory-heavy, mid-1990s look at the concept of Deconstruction, looking at its origins in French post-structuralist discourse and then current use in the design world. The Cranbrook Academy of Art (Michi-gan), under the direction of Profes-sors Michael and Katherine McCoy, became a center of Post-Modernist discussion from the mid 1970s. What emerged became know as the ‘Cranbrook Discourse’ widely publicized intersection of post-structuralism and graphic de-sign. Designers at Cranbrook had first confronted literary criticism when they designed a special issue of Visible Language on contempo-rary French literary aesthetics, pub-lished in the summer of 1978.

Daniel Libeskind, head of the Cranbrook architecture program, provided the graphic designers with a seminar in literary theory, which prepared them to develop their strategy: to systematically disin-tegrate the the series of essays by expanding the spaces between lines and words and pushing the footnotes into the space normally reserved for the main text. French Currents of the Letter, which outraged designers committed to the established ideologies of prob-lem-solving and direct communica-tion, remains a controversial land-mark in experimental graphic design.

E l l e n L u p t o n , D e s i g n W r i t i n g R e s e a r c h : W r i t i n g o n G r a p h i c D e s i g n , P h a i d o n P r e s s , L o n d o n , 1 9 9 9

R P : I n t h e 1 9 8 0 s t h e o r e t i c a l i d e a s a s s u m e d c o n s i d e r a b l e i m p o r t a n c e a t t h e

A c a d e m y . H o w d i d t h a t c o m e a b o u t ?

K M : W e a l w a y s e n c o u r a g e s t u d e n t s t o r e a d . I t i s a n u n s t r u c t u r e d p r o g r a m m e s o

w e h a v e n e v e r h a d c o u r s e s w i t h o f f i c i a l r e a d i n g l i s t s . I n s t e a d , b e c a u s e o f t h e

p e r s o n a l n a t u r e o f e a c h s t u d e n t ’ s p r o g r a m m e , t h e y i n d e p e n d e n t l y c o n s t r u c t

t h e i r o w n f o c u s . W e h a v e a n o n g o i n g d e p a r t m e n t b i b l i o g r a p h y , a n d i t h a s b e e n

a l o n g - t e r m p r o j e c t o f m i n e t o e x p a n d i t a n d k e e p i t a s c u r r e n t a s p o s s i b l e .

I t a l l c o m e s b a c k t o m y e a r l y i n t e r e s t i n p r o b l e m - s o l v i n g . P a r t o f t h e s t u -

d e n t s ’ g o a l f o r t h e t w o y e a r s i s t o d e v e l o p t h e i r o w n c o n c e p t u a l s t r a t e g i e s

a s d e s i g n e r s . W e e n c o u r a g e t h e m t o c a p i t a l i s e o n t h e i r s t r e n g t h s , t o b e c o m e

a w a r e o f t h e i r n a t u r a l a b i l i t i e s , b u t a l s o t o i n c o r p o r a t e e x t e r n a l i d e a s f o r

c o n c e p t u a l i s i n g . W e a r e c o n t i n u a l l y l o o k i n g f o r a d d i t i o n a l t h e o r i e s . S e m i o t i c s

w a s a l w a y s s o m e t h i n g w e d i s c u s s e d – n o t a s a m a j o r f o c u s , a s a t R h o d e I s l a n d

S c h o o l o f D e s i g n – b u t t r y i n g t o m a k e s u r e t h e s t u d e n t s u n d e r s t o o d t h e f u n d a -

m e n t a l s a n d i t s p o t e n t i a l a s a d e s i g n t o o l . A l s o , i n t h e 1 9 7 0 s w e b r o u g h t t h e

s t r u c t u r e d p l a n n i n g p r o c e s s e s d e v e l o p e d a t I l l i n o i s I n s t i t u t e o f T e c h n o l o g y

i n t o t h e d e s i g n d e p a r t m e n t .

T h e d e p a r t m e n t i s f o r t u n a t e t o h a v e a r e a l l y g o o d f i n e a r t p h o t o g r a p h y

p r o g r a m m e n e x t d o o r t o u s i n t h e s a m e b u i l d i n g , w h e r e t h e y a r e a l s o v e r y

i n t e r e s t e d i n v i s u a l t h e o r y . F i n e a r t p h o t o g r a p h y w a s t h e f i r s t f i e l d t o a p -

p l y p o s t - s t r u c t u r a l i s m t o v i s u a l m e d i a , s u c h a s t h e i d e a t h a t y o u c a n r e a d a

p h o t o g r a p h a n d d e c o d e i t . I t h i n k a l o t o f t h e s e i d e a s h a v e b e e n c o m m u n i c a t e d

i n f o r m a l l y b y t a l k b e t w e e n r o o m - m a t e s , i n s t u d i o r o m a n c e s a n d h a n g i n g a r o u n d

e a c h o t h e r ’ s s t u d i o s .

I n t h e m i d t o l a t e 1 9 7 0 s t h e r e w a s a m o v e a w a y f r o m m i n i m a l i s m , b u t i t w a s

m a i n l y a f o r m a l i n v e s t i g a t i o n i n f l u e n c e d b y p e o p l e l i k e W e i n g a r t a n d A p r i l

G r e i m a n . I t w a s n o t s o m u c h a q u e s t i o n i n g o f t h e c o n c e p t u a l f o u n d a t i o n s o f

M o d e r n i s m a s a q u e s t i o n i n g o f i t s f o r m a l e x p r e s s i o n . B y t h e e a r l y 1 9 8 0 s t h a t

s e e m e d t o b e p r e t t y t h o r o u g h l y e x p l o r e d . E v e r y n e w g r o u p a s k s i t s e l f : “ W h a t ’ s

t h e c o n t r i b u t i o n w e ’ r e g o i n g t o m a k e ? ” T h e r e w e r e a c o u p l e o f i t c h y y e a r s

w h e n s t u d e n t s w e r e s e a r c h i n g f o r n e w a p p r o a c h e s a n d f i n d i n g l i t t l e t h i n g s

h e r e o r t h e r e t h a t d i d n ’ t q u i t e c o m e t o f r u i t i o n . B u t t h e n e x t d i r e c t i o n r e a l l y

b e g a n t o e m e r g e w i t h t h e c l a s s J e f f r e y K e e d y w a s i n , a r o u n d 1 9 8 4 – a g r o u p o f

a v i d t h e o r y h u n t e r s ! T h a t c l a s s a n d s e v e r a l i n s u c c e s s i o n , i n c l u d i n g t h e c l a s s

E d w a r d F e l l a w a s i n , v e r y a g g r e s s i v e l y s e a r c h e d o u t a n d e x p l o r e d p o s t - s t r u c -

t u r a l i s t t h e o r i e s a n d p h i l o s o p h y . F o r a w h i l e i t s e e m e d l i k e t h e t h e o r y - o f - t h e -

w e e k c l u b – s t r u c t u r a l i s m , p o s t - s t r u c t u r a l i s m , p h e n o m e n o l o g y , c r i t i c a l t h e o r y ,

r e c e p t i o n t h e o r y , h e r m e n e u t i c s , l e t t r i s m , V e n t u r i v e r n a c u l a r i s m , p o s t - m o d e r n

a r t t h e o r y – b u t g r a d u a l l y t h e i d e a s w e r e s i f t e d t h r o u g h , a s s i m i l a t e d , a n d t h e

m o s t a p p l i c a b l e b e g a n t o e m e r g e .

P o y n o r , A f t e r C r a n b r o o k : K a t h e r i n e M c C o y o n t h e W a y A h e a d , E y e # 1 6 , 2 0 0 9 .

T h e m o d e r n i s t c o n c e p t s o f o r i g i n a l i t y — a s p r o c e s s a n d o r i g i n a l i t y — a s

p r o d u c t h a v e b e e n s w e p t a s i d e . P o s t m o d e r n i s t s d e n y t h e e x i s t e n c e o f s i n g u l a r

f o u n d i n g r e f e r e n c e s o r p o i n t s - o f - d e p a r t u r e ; i n s t e a d t h e s p e a k o f s i g n i f i e r s

a n d d e c o n s t r u c t e d m e a n i n g s w h i c h p r o d u c e a n i n f n i t e a r r a y o f i n t e r r e l a t e d a n d

c i r c u l a r i n t e r p r e t a t i o n s . T h e y a r e n o o r i g i n a l i d e a s i n a r t ; i m a g e s c a n a l w a y s

b e d e c o n t r u c t e d t o r e v e a l a n t e c e d e n t c o n s t r u c t a n d c o n c e p t s .

R o g e r C l a r k , A r t e d u c a t i o n : I s s u e s i n p o s t m o d e r n i s t p e d a g o g y , R e s t o n , V i r -g i n i a : N a t i o n a l , A r t e d u c a t i o n A s s o c i a t i o n – N A E A , 1 9 9 6 .

Y o u c a n d o a g o o d a n d w i t h o u t g o o d t y p o g r a p h y , b u t y o u c a n ’ t d o a g r e a t a d

w i t h o u t g o o d t y p o g r a p h y .

H e r b L u b a l i n , B a s e l i n e # 4 , 1 9 8 1 .

T h e c r a n b r o o k t h e o r i s t i s t ` s a i m , d e r i v e d f r o m f r e n c h p h i l o s o p h y a n d l i t e r a r y

t h e o r y , i s t o d e c o n s t r u c t , o r b r e a k a p a r t a n d e x p o s e , t h e m a n i p u l a t i v e v i s u a l

l a n g u a g e a n d d i f f e r e n t l e v e l s o f m e a n i n g e m b o d i e d i n d e s i g n .

P o y n o r , T y p e a n d D e c o n s t r u c t i o n i n t h e D i g i t a l E r a , T y p o g r a p h y N o w : T h e N e w W a v e , C i n c i n n a t i , O h : N o r t h L i g h t , 1 9 9 2

► PÁG. 6 . WEINGART’S TYPOGRAPHIC ► PÁG. 23 ELLEN LUPTON. DECONSTRUCTION AND GRAPHIC DESIGN ► PÁG. 26 . APRIL GREIMAN: DOES IT MAKE SENSE 25

T A X I > > I r e a d t h a t y o u d i d n ’ t l i k e t h e w a y y o u r

r i g h t b r e a s t l o o k e d i n “ D o e s I t M a k e S e n s e ? ” ,

a n d t h e r e f o r e c l o n e d a n d f l o p p e d y o u r l e f t

b r e a s t a n d p l a c e d i t o n t h e r i g h t s i d e o f y o u r

b o d y i n s t e a d . ” H o w d o e s s u c h p r o f e s s i o n a l i s m

a n d q u e s t f o r p e r f e c t i o n f o r y o u r a r t t r a n s l a t e

i n t o o t h e r a s p e c t s o f y o u r l i f e a s w e l l ?

A p r i l G r e i m a n > > T o o m u c h p e r h a p s .

T A X I D e s i g n N e t w o r k i n t e r v i e w s w i t h A p r i l G r e i m a n , W o m e n i n D e s i g n I I b y N i n a r t L u i , h t t p : / / w w w . d e s i g n t a x i . c o m / a r t i c l e .p h p ? a r t i c l e _ i d = 1 0 0 1 9 2 , s / d

27

TAXI >>“The Mac’s just another pencil!” – In your opinion, what is the Mac of today,

or has it remained as relevant and as cutting-edge today as it did in the 1980s?

April Greiman>>At that time, it was when the Mac was being compared to other

‘traditional’ tools, disciplines of graphic design. The Mac is both another pencil, but

as history would prove this out, a ‘meta-tool’ and an integrative process.

TAXI Design Network interviews with April Greiman, Women in Design II by Ninart Lui, http://www.designtaxi.com/article.php?article_id=100192, s/d

Cut-and-paste. Cut-and-paste. What a joy. It saved from wheelchair-bound Matisse

from madness. It freed, for him, colors from shapes, shapes from images, images

from ideas. By cutting and pasting, bodies are freed from the stranglehold of con-

text, designation, meaning. Greiman shares his joy, and takes it a step further. Her

Mac is her scissors. This turns out to be much more than an articulate pair of knives.

The capacity to zoom in and out, to isolate and frame and reframe and transpose

and turn translucent is a technical advance that Matisse would surely have envied.

April Greiman, Something from Nothing, Rotovision, London, Paris, Berlin, 2001

Two things.

First, precisely what Socrates took it for. A thing subject to uncertainty from outside,

mischief from within. Bodies confounded the objectivity of science, the equanimity of the

law, the integrity of structures. Vulnerable to seduction, they trespass boundaries —

others, and their own — and like ghosts, may even embody other bodies. If the mind is

something dialectically spirited toward a pre-designated end, the body is something that

is spirited by feeling and risk, by intuition toward, the unknown, toward the constitution

of what Husserl called, “vague essences”. All things have a body; even words, symbols

and signs, those stand-ins, utilities through which The Real is usually mediated. Where

the mind has one unequivocal point of arrival, the truth, the body has provisionally many.

And, teleological path outside the world of accident and chance, bodies of the type I`m

speaking are engaged in accidental and chance encounters. We can see early signs of

this in Marinetti`s dizzying use of graphic language, the way words mingle with images

in countless Dadaist works. When the body is set loose in the field anything can happen.

For sure, the mind keeps the body in check, by assigning it roles, functions. But what

happens when these bodies are freed of their roles or assignments? Have no intrinsic

utility? Things which exist for the sake of...?

The second sense of the body: I tis built-up, a construction, what Deleuze and Guattari

call an “assemblage.” It has the capacity to extend beyond itself, code with other bodies,

it possesses what Nietzsche calls “plasticity.” And because of this “plasticity”, bodies

can change scale, compromise structures, aggress, marry other bodies. In the poster

Does It Make Sense, the earth floats over a lunar horizont that is a kind of prosthetic for

the cropped shin-bone of her leg. On the other shin we find a cirrus cloud, and at the

intersection of her pubis? — a dinosaur, and Stonehenge. A spiral galaxy romantically

reaches into her hair and weaves into her.

A field, unlike a surface, is something occupied by bodies, of which the human body,

including ones`s own body, is only a single instance, just a participant.

The world is a field occupied by bodies, and every poster, as a field, is a world.

A p r i l G r e i m a n , S o m e t h i n g f r o m N o t h i n g , R o t o v i s i o n , L o n d o n , P a r i s , B e r l i n , 2 0 0 1

► PÁG. 13 . MAC AND TECNOLOGY ► PÁG. 16 . DECONSTRUCTION THEORY 2 9