1960s and 1970s Art

In recent years, in the wake of protests by climate activists targeting artworks, many museums worldwide are seeking to redefine their role in an era of global warming. While current museological discourse primarily focuses on developing sustainable strategies and values, this article takes a historical perspective to explore how museums have mediated and represented nature. The article examines a turning point, in which museums fundamentally shifted their stance on the interplay between art and the environment. I argue that during the late 1960s and early 1970s, art institutions played a crucial role in fostering multidisciplinary approaches and practices that have since become integral to contemporary ecological discourse.

[...]
A exposição neoconcreta de março de
1959, viria ampliar nele essa divergência com a
concepção concretista o que lhe permitiu voltar,
já dentro de outra visão espacial, à exploração da
cor, que o rigor concretista o fizera abandonar.
Mas não se trata, aqui, de mera volta, e sim, de
redescoberta, uma vez que a cor ressurge livre de
qualquer função figurativa ou demarcativa, para se
tornar o elemento fundamental, significante,
da obra.
Tampouco pode-se dizer que se trata de cor subjetiva, no
sentido de que esteja ela presa às tonalidades próprias à
cor atmosférica, de fundo figurativo e sentimental. A cor
das últimas obras de Carvão (1959-60), é a um tempo
clara e densa, nem se expõe totalmente à percepção nem
se refugia em dissimulações e truques. Ela dura diante de
nós. A vista a penetra, mas nunca até à decifração total,
como se se alojasse no cerne da cor, na polpa da cor, lá
onde a percepção já não encontra a resistência do objeto
e onde tudo é apenas tempo de perceber.[...]

Jean-Jacques Tatin-Gourier-La lanterne magique: pluralité des imaginaires et des formes d'écriture. < < "; ("' Cathenne Velay-V allantin-Les contes mis en scèrie pour la lanterne magique. ... Ségolène Le Men-• La lanterne magique de Fr. édéric Soulié (1838) Anne-Marie.Johnson-• Une première mise e~ •scène péliÏiphlétaire • "\. .

This expansive new body of work comprises of sculpture, animation, installation and this publication, in graphic novel format, written in collaboration with Esther Leslie. We are taken on a journey of lactic abstractions, through the webs of bio-invasion and collective fantasy that interconnect various life forms through milk, its technologies and representations. The ontologies of species and gender have always been shaped by our relations with this primal liquid, and ensuring a ready supply has driven research in genetics, fertility and robotics. It is now open for radical transformation as new bio-organisms emerge, and real science merges with the fantastic. Deeper in the Pyramid is a project developed with Grand Union, Birmingham; Primary, Nottingham and Banner Repeater, London. See items in this repository: http://researchonline.rca.ac.uk/3366/, http://researchonline.rca.ac.uk/3490/, http://researchonline.rca.ac.uk/3493/

In Eros Presumptive, Lucy Lippard argues how “...it would seem that an audience visually sophisticated enough to appreciate and times prefer non-objective works of arts as concrete objects in themselves, rather than associative look-alikes, will also prefer the heightened sensation that can be achieved by an abstractly sensuous object.” Throughout her seminal essay, Lippard champions the erotic abstract through the metaphorical sensations, textures, and forms in the works of artists including Claes Oldenburg, Jean Linder, Charles Stark, Lindsay Decker, and Hannah Wilke. Following a series of exhibitions that Lippard notes lack “either courage, taste or material - perhaps all three”, the writer claims that figurative erotica is too literal, trite, and dull, losing sensual charm when erotic concepts are casted into the realm of figuration. In this essay, I will argue how the figurative erotic or low-brow, which can often be seen as kitsch, can serve as a form of revolution, depending on the intent of the artist and their lived experiences through the lens they are operating. I will specifically examine the confrontational œuvre of Rosalyn Drexler, who exposes realities of oppression and thus fails to conform to the norms of what forms of representation are acceptable in early contemporary art. This lack of conformity forms the basis of revolution and encapsulates the subversive nature of the 1960s that is evidently echoed in our culture today.

Die vorliegende Arbeit untersucht das künstlerische Werk von Francis Alӱs auf &quot;Strategien des Unproduktiven&quot; sowie auf das Verhältnis zwischen Arbeit und Nicht-Arbeit. Unproduktivität wird hier auf zweifache Weise verstanden: zum Einen als Nicht-Produzieren (im Sinne des Nichttuns, des Nichtarbeitens) und zum Anderen als Nichts-Produzieren (hinsichtlich der Performanz und Immaterialität von Alӱs&#39; künstlerischem Tun). Drei Begriffspaare durchziehen diese Untersuchung auf mehreren Ebenen: Produktivität und Unproduktivität, Arbeit und Nicht-Arbeit sowie Materialität und Immaterialität. Den Ausgangspunkt der folgenden Betrachtungen bildet im zweiten Kapitel die Annahme, dass der Akt des Gehens, der Alӱs vor allem in den ersten Jahren als künstlerische Methode diente, eine unproduktive Praxis darstellt. Das Gehen drückt hier die Verschwendung von Zeit und eine Form der Nicht-Arbeit aus und wird als Widerstand in einer auf Produktivität getrimmten Gesellschaft verstanden. Al...

The SAMMLUNG VERBUND collection was founded in 2004 by VERBUND. It aspires to uniquely position itself, both nationally and internationally, in the area of contemporary art and to create an unmistakable identity. Maxim: The collection's maxim is "Depth rather than breadth". Spotlighting whole groups of works allows a deeper level of engagement with an artist's particular period of artistic creativity. Artists: By 2017, the collection had acquired 1.000 works by a total of 138 artists.

Nous sommes aujourd'hui conscients de la possibilité de façonner l'environnement humain entier comme une oeuvre d'art ».-Marshall McLuhan, Le medium est le MASSAGE Le dadaïsme a entamé ce que, à travers l'interprétation de l'essaimage de la culture contemporaine, nous proposons de définir comme les dérives transpolitiques de l'imaginaire postmoderne. Ce mouvement, dans son bouleversement de la distinction entre ce qui est art et ce qui ne l'est pas, dans sa transfiguration de la figure de l'artiste, et donc dans la critique profonde du caractère vertical, idéologique et abstrait du pouvoir-savoir incarné dans les institutions, a amorcé la corrosion de la culture bourgeoise et de ses références politico-culturelles. Selon Abruzzese-le plus digne dépositaire de la tentative de Benjamin de saisir le lien entre les avant-gardes historiques et l'industrie culturelle-« la chute d'une frontière nette entre l'oeuvre et la vie [secondée par le dadaïsme] dévoile les caractéristiques générales et sociales des formes du spectacle et de la psychologie du spectateur : la fonctionnalité de l'objet esthétique se transfère dans la fonctionnalité de la société entière, et le caractère de spectateur s'étend au caractère de l'individu social » (2001 : 126-127). Bien qu'animée d'un désir antipolitique de soulever la conscience des masses contre elles-mêmes, la poétique dadaïste amorce l'étincelle de l'esthétisation du public, non contre la marchandise spectaculaire mais avec elle. Il s'agit d'un processus qui, bien que contraire au désir de Tzara et des autres membres de l'avant-garde, produit à long terme l'effet souhaité, à savoir, le bouleversement de l'ordre bourgeois. « Dans le conflit de Dada avec la face de la marchandise, la grande culture bourgeoise trouve sa plus grande négation et sa désagrégation définitive. Mais Dada devient la pointe la plus avancée et radicale de ce processus vaste et articulé pour lequel la société même tend à rendre matériellement vivant l'instant de contact entre le spectateur et l'oeuvre » (idem : 127). En outre, nous pouvons affirmer que la pulvérisation de l'expérience des avant-gardes dans l'industrie culturelle porte en elle une

Sommario-Il Landfill Mining (LFM) è una tecnologia di intervento su discariche poco utilizzata in Italia; tuttavia, con il diffondersi del concetto di economia circolare, il LFM potrebbe trovare nuovo slancio, dal momento che consente di recuperare materiali, che possono trovare nuova vita nel circuito del recupero o essere destinati alla produzione di energia, oltre che restituire aree in passato destinate a discarica a nuovi usi. La scarsa diffusione della tecnica del LFM è certamente dovuta agli alti costi che la contraddistinguono, sia per i presidi necessari per intervenire in sicurezza, evitando cedimenti od inneschi, sia per le attività di selezione, recupero dei rifiuti e smaltimento delle frazioni non recuperabili. Oltre a questi aspetti, che spesso costituiscono il limite del LFM, non va tuttavia dimenticata la difficoltà che tali progetti possono incontrare nel loro iter autorizzativo, in assenza di una normativa chiara che li disciplini, sempre al limite tra la norma rifiuti e quella delle bonifiche. Regione Lombardia, dovendo affrontare due casi specifici, ha analizzato il tema, cercando di individuare-per le diverse casistiche che potrebbero presentarsi-le corrette modalità approvative.

The expansion of the temporality of destruction across the ages means opening the door to another form of allegorical arrangement, that of the slow destruction, the decay. Differentiated from abrupt "destruction by man," the decay (in a built structure) is, for Georg Simmel, significant as it was brought about by the nonconscious, yet creative, forces of nature. Persepolis dwells on the gradual, still ongoing, destruction brought on by the elements. Nature is still advancing over the ruin, a reality emphasized not only by the voice-over narrative but also by the images of broken stone, stumps of pillars amid grass and flowers, shots of small animals wandering about the place, birds singing, sounds of wind and water.

The output is an exhibition, ‘Me & You’, curated by Sheila Gaffney, and featuring the work of Linda Schwab. Research process: The exhibition is a curated display of material outputs from Gaffney’s artistic research that defines a particular approach in sculptural practice as ‘Embodied Dreaming’. This making approach is informed by the psychoanalytical writings of Christopher Bollas. The artefacts, individually and as a group, demonstrate the traditional sculptural processes of modelling and casting to be pertinent manual techniques for contemporary identity formations that have class, gender and multigenerational ethnicity in their scope. The source material for life modelling was personal family photographs in which Gaffney featured aged 5 or 6 years old, that provided her with a register of classed and gendered subjectivity, situation, place and an internalised knowledge from her lived experience. Gaffney used casting processes to simultaneously predetermine the production and rep...

This feature article details the history of Dwellings (1981), Charles Simonds's permanent installation for the Whitney Museum's former home on Madison avenue, completed by Marcel Breuer in 1965. In showing how Simonds's work slyly counters Breuer's design philosophy, the author reveals Simonds as practicing a unique form of institutional critique that has been lost to the canon of art history.

Katalog retrospektivne izložbe "Đorđe Ivačković: Gest u belom kvadratu", Muzej savremene umetnosti, Novi Sad, 2014.
Organizacija: Galerija RIMA, MSUV
Autori i kustosi izložbe / autori tekstova u katalogu: dr Ješa Denegri, Nevena Martinović
Muzej savremene umetnosti Vojvodine, Novi Sad
16. dec. 2014 - 10. jan. 2015.

Autoritratto paraît en Italie en 1969 (De Donato, Bari). Traduit par Autoportrait, il est publié pour la première fois en France en 2012 1. C'est un livre exceptionnel tant dans sa forme que dans son contenu qui doit être considéré comme un objet littéraire ayant profondément renouvelé l'approche de la critique d'art au XX e siècle. QUELLE CRITIQUE D'ART ? 1 JRP|Ringier/La Maison Rouge, Zurich-Paris, 2012 (édition G. Zapperi, traduction M-A. Maire-Vigueur).

in: Jae Kyung Kim (ed.), ein Buch in Form einer Ausstellung, Berlin: einBuch.haus, 2021, pp. 18-25 (German: pp. 7-17).

Das Programm der Berliner Künstler*innenbuch-Plattform einBuch.Haus beruhte in den Jahren 2018 -2021 auf einer so bestechend simplen wie zugleich kunsthistorisch bezugreichen thematischen Prämisse: Unter dem Titel „ein Buch in Form einer Ausstellung“ konzipierten 21 Künstler*innen(-Kollektive) ausgehend von ihrer jeweiligen
Publikationspraxis eine Einzelausstellung für die sich ebenerdig zur Straße hin
öffnenden Räumlichkeiten. Ein „Buch“ – hier als Überbegriff für alle Formen von Künstler*innen-Publikationen verwendet – war dabei stets inhaltlicher Ausgangspunkt der Ausstellung, welche in der räumlichen Darstellung die angesprochenen Themen und Ideen installativ übersetzte, durch weitere Exponate ergänzte, kontextualisierte und neu perspektivierte. [...]

For its 2018-2021 program, Berlin-based artists’ book platform einBuch.Haus chose a simple premise with rich ties to art history: under the title “A book in the form of an exhibition,” twenty-one artists/ collectives created shows for the streetfacing gallery space based on their specific publishing practice. A “book” (used here as an umbrella term for all forms of artists’ publications) provided the point of departure for each exhibition’s content, its topics and ideas translated into three dimensions, with further exhibits adding context and new perspectives. [...]

This talk introduces the art of Renate Bertlmann by way of her discomfiting performances as a "pregnant bride." If these can be seen, as the artist suggests, as a restaging of Bertolt Brecht's comedy Die Hochzeit (The Marriage, 1919), then what role does laughter play in Bertlmann's work-and what kind of feminist gesture might be involved?

Der Beitrag befasst sich mit der Frage, wie die zeitgenössische polnische und russische Literatur von Frauen das Problem der Abtreibung darstellt. Diskutiert werden zwei literarische Fallbeispiele - »Ślad po mamie« (Spur einer Mutter, 2006) der polnischen Autorin Marta Dzido und »Kazus Kukockogo« (Reise in den siebenten Himmel, 2000) der russischen Autorin Ljudmila Ulitzkaja - die im Kontext der jeweiligen postsozialistischen Diskurse zur Abtreibungsproblematik zu verorten sind bzw. diese aktiv mitgestalten. Artwińska argumentiert, dass sich eine komparatistische Lektüre der beiden Texte lohnt, weil dadurch die kulturspezifischen Unterschiede im Hinblick auf die sozialkritische Funktion der »Frauenliteratur« herausgearbeitet werden können. Während Marta Dzido die Abtreibung im neoliberalen Sinne als eine private Angelegenheit von Frauen darstellt und das polnische restriktive Abtreibungsgesetzt von 1993 nicht in Frage stellt, sieht Ulitzkaja in dem stalinistischen Abtreibungsverbot ...

The paper examined the work of Franki Raffles (1955-1994), a feminist social documentary photographer, drawing on research from The Raffles Archive Project which gathered together Raffles’ complete photographic practice, together with her notebooks, diaries and press cuttings (Dr Alistair Scott, Edinburgh Napier University); and the recent exhibition ‘Franki Raffles: Observing Women at Work’ at The Glasgow School of Art, Scotland, the first solo exhibition of her work in the twenty-three years since her untimely death (Jenny Brownrigg, curator). Scott&#39;s section of this paper examined Raffles&#39; approach to documenting the lives of women working under two opposing political systems, namely communist and capitalist, to compare the differences of depiction, and reflect on how the images provide evidence of the strength and resilience of women in both types of society. Brownrigg outlined her curatorial methodology employed for interpreting Raffles work for display and situate Raff...

Seit dem Ende der 1960er Jahre setzt innerhalb der konzeptuellen Kunsttendenzen eine Auseinandersetzung mit dem neuen Paradigma der Informationsgesellschaft ein. Vorstellungen von den neuen elektronischen Kommunikationssystemen finden nicht nur in den populären Medien ein Echo, sondern auch in zwei 1970 in New York realisierten Ausstellungen, Information im Museum of Modern Art und Software im Jewish Museum. Die hierin gezeigten Auftragsarbeiten lenkten die öffentliche Rezeption auf die gesellschaftlichen Herausforderungen des technologischen Wandels. Ebenso forcierten die kuratorischen Konzeptionen eine Annäherung der künstlerischen Methoden an das neue kulturelle a priori der Computer-und Informationstechnologie, verknüpft mit der Forderung nach Einbindung der ästhetisch-künstlerischen Sensibilität in diese vorrangig ökonomisch motivierten Entwicklungen.

This expansive new body of work comprises of sculpture, animation, installation and this publication, in graphic novel format, written in collaboration with Esther Leslie. We are taken on a journey of lactic abstractions, through the webs of bio-invasion and collective fantasy that interconnect various life forms through milk, its technologies and representations. The ontologies of species and gender have always been shaped by our relations with this primal liquid, and ensuring a ready supply has driven research in genetics, fertility and robotics. It is now open for radical transformation as new bio-organisms emerge, and real science merges with the fantastic. Deeper in the Pyramid is a project developed with Grand Union, Birmingham; Primary, Nottingham and Banner Repeater, London. See items in this repository: http://researchonline.rca.ac.uk/3366/, http://researchonline.rca.ac.uk/3490/, http://researchonline.rca.ac.uk/3493/

La merde, dans le domaine de la recherche en sciences humaines, est pour ainsi dire à la mode-voir, par exemple, Fecal Matters in Early Modern Literature and Art, sous la direction de Je Persels et Russell Ganim (2004); Cacaphonies: The Excremental Canon of French Literature (2022), publié par Annabel Kim; ou l'ouvrage à paraître sur l'excrément dans la littérature française du Moyen Âge à l'extrême contemporain (codirigé par Lucas Wood et moi-même). Cette a rmation n'est cependant pas entièrement juste, car depuis

This paper examines three exhibitions at the Stedelijk Museum in Amsterdam that are related through their ludic art and exhibition tactics: Die Welt als Labyrinth (1960, canceled before it opened), Bewogen Beweging (1961), and Dylaby (1962). Despite never having been realized, Die Welt als Labyrinth provided a basis for experimental exhibition strategies that focused on artistic intervention in the Stedelijk’s galleries; subsequent ludic exhibitions built upon their predecessor’s innovations. By narrowing the focus on one institution over a short period of time, we can survey the development of playful exhibition strategies, as well as reveal a glimpse of the social, historical, and political conditions of Amsterdam in the early 1960s. In this article, I will turn my attention to audiences’ responses to the exhibitions, largely drawing upon contemporary reviews. My aim is to understand how ludic exhibitions operated at the Stedelijk Museum in Amsterdam, exploring the meaning and res...

Walter De Maria&#39;s creation, The Lightning Field, differs from other works of land art in a profound way: The Lightning Field has been designed as an experience with ritual-like qualities. De Maria has made a space and an order of visitation to it. He creates the opportunity for a contemplative response that is individual and shared, though not directly related to organized religious practices. Completed in 1977, the project is composed of 400 stainless steel poles arranged in a grid measuring one mile by one kilometer, carefully sited in the New Mexico desert. In contrast to the projects with which it has been associated (such as Robert Smithson&#39;s Spiral Jetty and Michael Heizer&#39;s Double Negative), De Maria thought intensely about the way his project creates a dialogue with visitors. The Lightning Field was received by art critics of the time in the context of land art or minimalism. The art historical reading of The Lightning Field, while valid, does not tell the whole ...

Aucune étude française n’analyse de manière aussi approfondie la presse espagnole d’opposition à Franco au cours de la période 1966-1982 que l’ouvrage d’Isabelle Renaudet, ancienne membre de la Casa de Velázquez et actuellement maître de conférences à l’université d’Aix-Marseille I. Publié dans la prestigieuse collection de la bibliothèque de la Casa de Velázquez, Un Parlement de Papier, sous-titré La presse d’opposition au franquisme durant la dernière décennie de la dictature et la transition démocratique, est une vaste étude, très documentée et très sérieuse sur des organes de presse d’opposition au franquisme et des tirages parfois peu connus.

Norbert Jocks in Kunstforum seine kuratorischen Verfahren: "Es sind auch dramaturgische Einfälle, mit denen ich der Ausstellung einen anderen Atem gebe." 1 Den Atem-Begriff hatte er schon einmal im selben Jahr in einem Interview mit der Kuratorin Christiane Rekade zur Position von Kurator*innen im zeitgenössischen Ausstellungsbetrieb verwendet: "[D]ie geistige Ansiedlung [der Kurator*innen, e.w.] dagegen liegt zwischen Künstler und Institution, also ein Freiheitsraum, den der freischaffende Kurator nutzt, um ganz auf das Werk einzugehen, ihm temporär den Atemraum zu sichern, den weder die Galerie noch das Museum ihm geben können. Dienst am Werk bevor es Besitz mit dessen eigenen Regeln wird. Der freischaffende Kurator ist also Ermöglicher in den verschiedensten Situationen, die sich-siehe die Explosion des Biennalemodells-radikal vermehrt haben." 2 Einmal bekommt die Ausstellung durch Szeemanns kuratorische Gestaltung einen "anderen Atem", dann wird den Werken durch das Agieren eines Kurators der "Atemraum" gesichert. Szeemann zufolge verfügt nur der ‚freischaffende', institutionsunabhängige Kurator über das spezifische Potential, Atemraum zu geben und verweist damit nicht zufällig auf seinen eigenen Erfahrungshintergrund. Nach der erfolgreichen, wenn auch umstrittenen Ausstellung Live in Your Head: When Attitudes

Direktor der Philagraphica 2010, eines Stadtestivals in Philadelphia, das der zeitgenössischen Druckgrafikkunst gewidmet ist, est. "Zwischen Video und Druck besteht ein demokratisches Gleichgewicht," ügte Julien Robson, Kurator ür zeitgenössische Kunst an der Pennsylvania Academy o the Fine Arts und Kurator der Philagraphica hinzu. "Sie vertreten ein sehr unterschiedliches Zeitgeühl. Das Video ist sehr schnell und das angewandte Verahren sehr auwändig. Sehr handgemacht." 2 Diese Worte erassen die gegenwärtigen Veränderungen in der Welt der Druckgrafik, weit entern von dem, was noch vor zwöl Jahren zur Diskussion stand. Es ist noch nicht so lange her (1999), dass Luis Camnitzer in Printmaking: A Colony o the Arts schrieb: "Die Druckgrafik ist wohl das beste Beispiel ür den Triumph des technischen Fundamentalismus über die kreative Freiheit der Kunst." 3 Er nahm damit Bezug au die strengen technischen Regeln-den KünstlerInnen, die mit Druckgrafik arbeiten, wohlbekannt-die genau beolgt werden mussten, um ein künstlerisches Projekt zu realisieren. Diese Regeln unterschieden die Kunst der Druckgrafik von allen anderen Künsten. Diese Anschauung ließ die aszinierende Aura einer Künstlerwelt bestehen, voll alter Rituale und überlieerten technischen Wissens. In Ländern mit großer künstlerischer Tradition wie Italien entstand sogar ein eigener Mikrokosmos des Kunsthandwerks. Eine große Zeit der Wiedergeburt der Druckgrafikkünste waren die rühen 1960er Jahre, nach den Erahrungen mit Hayters Atelier 17 in Paris, unterstützt von einigen Verlagen ür Druckgrafik wie U.L.A.E.

The purpose of this critical article is to analyse how and why the artist Heidi Bucher united built space, body and time through Häutungen (Skinnings). By charting her personal life, it has enabled me to recognise notable changes in her practice during times of emotional hardship which prompted her to return home to deal with feelings of absence and loss. Through her Skinnings, it provided a platform to reassume control in her life where art-making served as a cathartic process that led to the transformation of architectural space into something otherly. In doing so, she reconnected with a place of personal significance, liberated it from its' past hauntings and undermined patriarchal jurisdiction in domestic space. After years of obscurity, it is time to recognise Heidi Bucher for the work she did, both in her art practice in exploring historical-architectural space and commencing a feminist dialogue in Switzerland.

This essay focuses on the increasingly short-circuited relationship between art, criticism and publicity in French-speaking countries in the 1960s. Zooming in on the case study of the exhibition catalogue to Marcel Broodthaers' solo-show Court-Circuit (1967) reveals the electrified entanglement of letters - written and published between artist and critic - and letters of the alphabet, which form words, stencils to be re-used, namely clichés. Following the performativity of typography, this essay takes into account questions of subjectivity and canonization. In 1972, Leo Steinberg attested that the critic's words intend to be repeated and to perform clichés. In 1967, art critic Pierre Restany describes Broodthaers' art object - a muffled telephone - as a 'cliché of our civilization'. His text reads like a letter to the artist, in which Restany uses big bold capitalized letters to mask individuals who might have attended the opening of the exhibition: A, B, C. Artist Marcel Broodthaers responds in the same manner repeating the critic's alphabet. Reading the exhibition catalogue becomes an experimental enterprise: How do critic and artist write to each other? Apparently, clichés are set to play in this publication: clichés are employed in the use of language as well as in the graphic design of the catalogue page, which is also based on a cliché. Investigating short-circuits and following terminological clichés, my reading of Broodthaers and Restany is accompanied by Avital Ronell and her media-theoretical, technophilosophical approach coming from literary criticism. Reading Ronell's thoughts on the electrifications of speech published in her book Telephone Book, which itself stages a telephone book, supports this essay's strive to 'take the call' of typography with its performative capacities and its onomatopoetic dimensions. The letters of Marcel Broodthaers and Pierre Restany, this is my hypothesis, enact a coded play of letters, words and initials, infused by technology. Dealing with the printed letter while continuously employing the printed letter in my own writing, causes a terminologico-typhographical culmination in the most common cliché: cli-je.