Véritable icône bibliophilique, artisan du livre moderne, promoteur de la culture graphique, Geoffroy Tory reste et demeure un inclassable. Imprimeur officiel de François Ier, illustrateur attitré de Du Bellay, créateur de la cédille, de l’apostrophe et des lettres accentuées, ce maître de la mise en page est un père spirituel pour un grand nombre d’éditeurs, de typographes et de relieurs contemporains. Aussi n’est-ce pas un hasard si le Musée national de la Renaissance et la Bibliothèque nationale de France lui rendent aujourd’hui hommage.
camouflage curation drawing enhancing the everyday ephemeral erotic gardening giant guerilla com semiotic
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Holy dueling Gallic phallic symbols, Batman! French journalist Aude Baron tells Boing Boing,
On Friday, if you were going to the Eiffel Tower, in Paris, you could see a giant penis! It was drawn into the snow covering the grass. A Dutch tourist took a picture and posted it on Twitter. Amazing view! But what if it was a PhotoShop? To be sure, I called the store which is a the first floor of the Tour Eiffel, and I was confirmed the masterpiece was still here, making everyone laugh. Unfortunately the garden department of Paris city hall told me they would soon rake it up.
enhancing the everyday ephemeral guerilla com semiotic
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Sara and I have been following the work of Sten and Lex in Italy for many years. We’ absolutel love their latest body of work, created for their current solo show at the CO2 GALLERY in Rome.
They call this recent series “Poster Stencils” because, in essence, they are both stencils and posters at the same time. The video above shows their process of pasting up the matrix of the stencil, cut on paper, on a panel of wood as a poster. They then paint on the matrix in black and when it all all dry they destroy the matrix, letting some parts of the matrix stay pasted to the wood. In this manner the stencil is not reproducible and the matrix “dies” in the work itself.
“For semiotics, on the other hand, the message is a construction of signs which, through interacting with the receivers, produce meanings. The sender, defined as transmitter of the message, declines in importance. The emphasis shifts to the text and how it is ‘read’. And reading is the process of discovering meanings that occurs when the reader interacts or negotiates with the text. This negotiation takes place as the reader brings aspects of his or her cultural experience to bear upon the codes and signs which make up the text. It also involves some shared understanding of what the text is about. We have only to see how different papers report the same event differently to realize how important is this understanding, this view of the world, which each paper shares with its readers. So readers with different social experiences or from different cultures may find different meanings in the same text. This is not, as we have said, necessarily evidence of communication failure.
The message, then, is not something sent from A to B, but an element in a structured relationship whose other elements include external reality and the producer/reader. Producing and reading the text are seen as parallel, if not identical, processes in that they occupy the same place in this structured relationship. We might model this structure as a triangle in which the arrows represent constant interaction; the structure is not static but a dynamic practice.”