bing in Stankievech 2016
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Saxl speaks of “many tentative and personal excrescences” (“The History of
Warburg’s Library,” 331). When Warburg fell ill in 1920 with a subsequent fouryear absence, the library was continued by Saxl and Gertrud Bing, the new and
later closest assistant. Despite the many helpers, according to Saxl, Warburg always
remained the boss: “everything had the character of a private book collection, where
the master of the house had to see it in person that the bills were paid in time,
that the bookbinder chose the right material, or that neither he nor the carpenter
delivering a new shelf over-charged” (Ibid., 329).
Ibid., 331.
Ibid., 329.
A noteworthy aside: Gertrud Bing was in charge of keeping a meticulous index of
names and keywords; evoking the library catalog of Borges’s fiction, Warburg even
kept an “index of un-indexed books.” See Diers, “Porträt aus Büchern,” 21.
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1. Arg.org supports a collec
bing in Constant 2015
e it, people can print with it, do things ... so why not make it even
better? Now we are following InDesign and QuarkXpress, and we are playing
the top league of page layout applications ... we’re kind of in a competition
with them. It is like climbing a mountain and than seeing the next, higher
mountain from the top.
In what way is it important to you that Scribus is Free Software?
Well ... it would not work with closed software. Open software allows you to
get other people that also are interes
good output,
and make that easy for users. If we are in doubt, we think for example:
InDesign does this in quite an OK way, so we try to do it in a similar way;
we do not have any problems with that. On the other hand ... I told you a
bit about climbing mountains ... We cannot go from the one top to the next
one just in one step. We have to move slowly, and have to find our ways and
move through valleys and that sometimes also limits us. I can say: I want it
this way but then it is not possible now,
s
something I would always speak against. Because that means you hide something
that’s there. Which seems a stupid thing to do, especially when you want to find
a kind of more flexible relation to your tools. I want to find a better word for
describing that sort of quick feedback. Because if it’s too much in the way, then
the process stops. The drawing can not be made if I’m worried too much about
the point of my pencil that might break ... or the ... I dont’t know ... the nozzle
being blocke
interaction is one of the things
that one can do, and arguably you’re giving it a different presentational form.
It’s still very much a gradation. It’s how much re-styleability remains. You
can’t ever have complete separation. If I’m describing a company, and [1]
I want to do a marketing brochure, and [2] I want to do an annual report
for the shareholders, and [3] I want to do an internal document for the
engineering team. I can’t have the same content all over those three and just
put st
y of typography actually starts with Free Software, with Donald
Knuth and his TeX. The TeX typesetting system has its own font software
or font system called Metafont. Metafont is a font programming language,
and algebraic programming language describing letter forms. It really gets
into the internal structure of the shapes. This is a very non-visual programming approach to it where you basically use this programming language to
describe with algebra how the shapes make up the letters. If you have a
hat you’ve got one ratio whitch is
the height of the vertical lines and another ratio which is the width between
them and another ratio which is the distance between the top point and the
middle point of the crossbar and the bottom point. By describing all of that
in algebra, you really describe the structure of that shape and that gives you
a lot of power because it means you can trace a pen nib objects over that
skeleton to generate the final typeform and so you can apply variations, you
can rota
that kind of source code. But that
approach is not a visual approach, you have to take it with a mathematical
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mind and that isn’t something which graphic designers typically have as a
strong part of their skill set.
The next step was describing the outline of a typeface, and the guy who
did this was working, I believe, at URW. He invented a digital typography
system or typedesign program called Ikarus. The rumor is it’s called Ikarus
because it crashed too much. Peter Karow is this guy. H
3
a kind of a practice for writing the dissertation. Then you have to document
your working process throughout the year, you have to submit your working
files, source files. Every single step is documented and you have to write
a small essay describing your process. And also, of course, apart from the
type design, you make a font specimen, so you make a very nice piece of
design that show up your font in use, as commercial companies do. All that
takes a full intense year. For British people, the co
two things overlap.
I am always thinking about documentation. The graffiti writer that was
in Vienna 26 showed me a video that was amazing. It was him and a
friend going out on a sunny day at 15:30 in the afternoon with two head
mounted cameras, bombing an entire train and you hear the birds singing
and you only experience it by these two videos that are linked. There are
interesting constraints: your hands are already full, you don’t want peoples’ faces on camera so the head-mounted cameras wer
I have been doing with graffiti and technology and even way
back with Graffiti Analysis, before GRL (Graffiti Research Lab), the idea
was always to keep the research very close to the people doing graffiti. I
was intentionally working with people bombing a lot and not with graffiti
celebrities. I wanted to work with who’s tag was on my mailbox, who’s
tag do I see a million times when I walk down the street. Since then
a lot has happened, like with more popular projects such as L.A.S.E.R.
Tag, and
fiti writer’s
normal practice in the city. The winning project will be an easy to follow
instruction set that can be reproduced by graffiti writers and amateur technologists. The goal is to create a device that will document a night of graffiti
bombing into an easily retrievable series of Graffiti Markup Language (.gml)
files while not interfering with the normal process of writing graffiti. The
solution should be easy to produce, lightweight, cheap, secure, and require
little to no setup and calib
They ended up with different names because they had different policies at the beginning instead of having the same
policy as now. They added here a bunch of Latin letters with marks that
were used for example in transcription. So if you’re transcribing Sanskrit for
example, you would use some of the characters here. Then at some point
they realized that this list of accented characters would get huge, and that
there must be a smarter way to do this. Therefore they figured you could
actually use jus
ers and Navajo
speakers without them worrying about changing fonts as long as they specify the language they’re using. But you can’t use this feature for languages
which aren’t in the OpenType specifications as they have their own way of
describing languages than Unicode. It’s really frustrating because, you can
find all the characters in Unicode, not organized in a practical way: you have
to look all around the tables to find the characters that may be used by one
language, and then you have
Display 200 300 400 500 600 700 800 900 1000 ALL characters around the word.