Category Archives: writing

Support de Fortune

[W]hat then, would become of it — this context — if transferred? — if translated? Would it not rather be traduit (traduced) which is the French synonyme, or overzezet (turned topsy-turvy) which is the Dutch one? 1

SdF-1aprilThis month, Kristien Van den Brande installed her research Support de Fortune in the vitrine of Recyclart, Brussels.

“How do supports of writing — a book or a single piece of paper, pencils, typewriters or internet pages — work on our thoughts? How do ‘chance supports’ (a train ticket, the back of an envelope, the margin of a book) challenge common ideas and practices of archiving, binding, displaying, reproducing, translation?”

With Jonathan Lahey Dronsfield, Nick Thurston we contributed artist talks and performative readings, adding to the rich collection of material (books, references, ideas) that Kristien had brought together. It was a welcome opportunity to revisit many familiar themes, an occasion for a re-take of A Romance of Many Dimensions and a first try-out of Technical Writing.

Tools for a Read-Write World I

While working on a call for projects in the context of LGRU (codename: Tools for a Read-Write World) I drift off into reading an interview with Ward Cunningham. Cunningham developed concepts and codes for collaborative tools such as the Wiki, and also inspired programming methods like Extreme Programming.

Bill Venners: Everyone would likely agree that predicting the future is difficult, but is it always a bad idea?

Ward Cunningham: (…) When we start talking about what will be desired in the future, we might have some instincts and they might be right, but they won’t always be right. And we have to attend to the times when they aren’t right. (…)

Somebody might say, “Why don’t we look forward, look at all the work we have to do? Why don’t we design a system that makes all work easy from the beginning?” And if you can pull that off, that’s great. It’s just that, over and over, people try to design systems that make tomorrow’s work easy. But when tomorrow comes it turns out they didn’t quite understand tomorrow’s work, and they actually made it harder.

Bill Venners: To tackle the cost of change curve, you found a way to make it practical to make changes all the way through the lifetime of a project. And that made it less important to plan for the future, because you could make changes when they were actually needed as the future unfolded. Does an overall architecture simply emerge through the process of focusing only on each small step?

Ward Cunningham: I like the notion of working the program, like an artist works a lump of clay. An artist wants to make a sculpture, but before she makes the sculpture, she just massages the clay. She starts towards making the sculpture, and sees what the clay wants to do. And the more she handles the clay, the more the clay tends to do what she wants. It becomes compliant to her will.
A development team works on a piece of code over several months. Initially, they make a piece of code, and it’s a little stiff. It’s small, but it’s still stiff. Then they move the code, and it gets a little easier to move.

Working the Program: A Conversation with Ward Cunningham, Part III. Bill Venners, 2004

Tying the story to data

In the summer of 2010, Constant commissioned artist and researcher Evan Roth to develop a work of his choice, and to make the development process available in some way. He decided to use a part of his fee as prize-money for The GML-Recorder Challenge, inviting makers to propose an open source device ‘that can unobtrusively record graffiti motion data during a graffiti writer’s normal practice in the city’.

In three interviews that took place in Brussels and Paris within a period of one and a half years, we spoke about the collaborative powers of the GML-standard, about contact points between hacker and graffiti-cultures and the granularity of gesture.

The text is based on conversations between Evan Roth (ER) and Femke Snelting (FS), Peter Westenberg (PW), Michele Walther (MW), Stéphanie Villayphiou (SV), John Haltiwanger (JH) and momo3010.

Download PDF: Tying the story to data

Pen and paper

The LGM splash

An M for Meeting

Something old, something new, something borrowed, something blue.

For the 5th edition of the Libre Graphics Meeting, OSP proposed to replace the paint splash by an abstract drawing of three squares forming a flag and also the letter M.1 The splash had been in use since 2006 and some community members felt alienated by the proposal. On 10/10/2009 AL explained on the CREATE-mailinglist: “The main issue for OSP, is that we don’t think continuity can be resolved by going back to the paint splash. We honestly feel it misrepresents the pleasure of using and developing Libre Graphics Tools and we have consciously decided to work with imagery that avoids such remediation.2

Two years later, the Scribus Icon Contest (deadline October 31!)3 seems to have run into a similar argument. One of the proposals features yet another stylized iteration of a fountain pen:

Original Scribus logo

Scribus 1.3.5 introduced: Handwritten textboxes

Calligraphy AND textboxes. Proposal: Ian Hex

I am not the only one who doubts the calligraphic turn. LD responds:
The pen has been around for ages. Yet, a pen has not much to do with DTP and has always seemed to me a bit out of topic or a bit misleading. Typography is not calligraphy. No pen is involved in the work, really. It’s also arguable what a “scribe” has to do with DTP but here I find myself more comfortable since the scribe’s work was in fact to put down the ideas on paper. From that to layout, I think the link is pretty clear.4
GP does not altogether agree: “I think the connection makes some sense in that you have something of a depiction of the work of a scribe, which at least connects to the name Scribus. Furthermore, scribes worked as individuals, sometimes adding embellishments of drop caps and artwork in the margins (primitive layout) and were therefore much like the idea of an individual doing publishing on his own.
He adds: “The difficulty with using computers, screens, mice, keyboards, etc., is that these might be used in the logo for almost any software”

Avoiding the problem: Adobe InDesign (2011)

Reverse evolution: From a typographer's portrait to a writing tool. Aldus Pagemaker (1985)

An individual doing publishing on his own?

It puzzles me why the Scribus community — like other Libre Graphics projects — would want to ignore the rich source of imagery provided by their own object of development. Some keywords for a dreamt logo:
Box, Canvas, Chain, Character, Colour, Column, Curve, Diagram, Document, Figure, Font, Frame, Gap, Grid, Guide, Hyphen, Image, Layer, Line, Margin, Masterpage, Origin, Padding, Page, Pagenumber, Paragraph, Path, Point, Script, Sentence, Shape, Space, Stream, Stroke, Style, Table, Word.