intertopia

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	<title>intertopia</title>
	<link>https://intertopia.org</link>
	<description>intertopia</description>
	<pubDate>Wed, 22 May 2024 18:16:36 +0000</pubDate>
	<generator>https://intertopia.org</generator>
	<language>en</language>
	
		
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		<title>Index</title>
				
		<link>https://intertopia.org/Index</link>

		<pubDate>Mon, 11 Dec 2023 16:10:53 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

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		<title>Fold In and Fall Flat</title>
				
		<link>https://intertopia.org/Fold-In-and-Fall-Flat</link>

		<pubDate>Sun, 05 May 2024 21:43:27 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Fold-In-and-Fall-Flat</guid>

		<description>
	Jani Ruscicca: Fold in and Fall Flat

	Exhibition catalog for artist Jani Ruscicca’s Contemporary Art Galleries exhibition featuring an essay by puppeteer and theater historian Dr. John Bell
	

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		<title>Poster, Performed</title>
				
		<link>https://intertopia.org/Poster-Performed</link>

		<pubDate>Mon, 11 Dec 2023 16:10:50 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Poster-Performed</guid>

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	Poster, performed
	

	A critical and artistic study of the creation of computer algorithms to impart autonomy in a collaborative and generative process. The project builds on the work of past chance artists and the conditional design method — where active audience participation is key — and investigates the use of digital technology, artificial intelligence, and experimental print processes in creating such works of art. The project is a collaboration between Steve Bowden, Wylie Kasai, Arzu Ozkal, Tricia Treacy, and Mark Zurolo


	Poster, performed debuted at the Geffen Contemporary at MOCA in Los Angeles, California in 2023.&#38;nbsp;This project was made possible by an Arts-Integration Research Project Grant from the Hopkins Center for the Arts, a Design Initiative Project Grant from Dartmouth College and a School of Fine Arts Research Grant from the University of Connecticut. Red River Paper generously donated paper for the 2023 event.

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&#38;nbsp;
	Outputs were bound into unique, one-of-one editions following the installation.
	

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		<title>Acquiring Taste</title>
				
		<link>https://intertopia.org/Acquiring-Taste</link>

		<pubDate>Mon, 06 May 2024 18:53:12 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Acquiring-Taste</guid>

		<description>
	Acquiring Taste
	

	Acquiring Taste is an exhibition of contemporary art, music, and some unexpected objects selected from the collections of Janice and Mickey Cartin, Robinson and Nancy Grover, Peter Hirschl and Lisa Silvestri, and Sol and Carol LeWitt. These collectors, in different ways, play notable roles in contemporary art (and music) through their activities as collectors. In addition to the exhibition catalog, I designed the website and exhibition graphics with Randall Hoyt.
	The catalog’s premise was simple. As the exhibition’s title implied “acquiring” is an ongoing activity. In order to best illustrate that activity, displaying the entire databases of the collectors was necessary. The catalog gathers in one place a list of the entire collections of each collector. The text throughout was printed in a tinted varnish, except for any object that was included in the exhibition — for those items an image was included if available, and/or the text of the entry was printed in black ink. &#38;nbsp;

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		<title>Charged Particles</title>
				
		<link>https://intertopia.org/Charged-Particles</link>

		<pubDate>Tue, 07 May 2024 18:12:55 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Charged-Particles</guid>

		<description>
	Charged Particles
	

	Charged Particles is a publication series of one-of-one books. Three drawings are sewn into a single volume making each edition one-of-a-kind.&#38;nbsp;
	The drawings themselves evoke the action of atoms colliding and disintegrating and leaving traces of their movements. The forms are a result of an evolving set of small, freely moving drawing machines.

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		<title>F3QHQ</title>
				
		<link>https://intertopia.org/F3QHQ</link>

		<pubDate>Mon, 11 Dec 2023 16:10:51 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/F3QHQ</guid>

		<description>
	F3QHQ
	

	F3QHQ (Full-Three Quarter-Half-Quarter)&#38;nbsp; evolved from a type design brief utilizing a simple prescribed grid. When I broke the grid down into its 5 parts a generative system was discovered. I have developed a series of tools with which to create type based on the fundamental units from the grid, but have also transformed the system into a general composition tool.&#38;nbsp;
	

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&#60;img width="797" height="146" width_o="797" height_o="146" data-src="https://freight.cargo.site/t/original/i/ae86fcf33bc6a4f3afa15e6192456c7915c84e8a199480cac1ea37358b2f47f2/F3QHQ_example_units-landscape.png" data-mid="211621971" border="0"  src="https://freight.cargo.site/w/797/i/ae86fcf33bc6a4f3afa15e6192456c7915c84e8a199480cac1ea37358b2f47f2/F3QHQ_example_units-landscape.png" /&#62;


	A system of magnets of the grid units was created to provide a quick and easy method to assemble typefaces, which revealed the breadth of the system to create more than type. &#38;nbsp;
	

&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/7943ede931f1e76218b148977b0be60f22a62b60a51a19c102f71c1e587e59ca/IMG_0217.JPG" data-mid="211557904" border="0"  src="https://freight.cargo.site/w/1000/i/7943ede931f1e76218b148977b0be60f22a62b60a51a19c102f71c1e587e59ca/IMG_0217.JPG" /&#62;
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	Led by Steve Bowden, and made possible with the expertise of Peter Evonuk and David Wolfe of Wolfe Editions in Portland, Maine, we developed a set of lead type made from the five units of the grid. Peter made brass matrices and cast the lead type. 

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/52dce9f452a944209e08a01f576d4689b376f06b6f360bbdffb64387bfbaad52/IMG_8854.JPG" data-mid="211608156" border="0"  src="https://freight.cargo.site/w/1000/i/52dce9f452a944209e08a01f576d4689b376f06b6f360bbdffb64387bfbaad52/IMG_8854.JPG" /&#62;
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	The units have also been laser engraved in birch with alternative pattern variations.&#38;nbsp;
	

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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/2c00ce9c3fb7bc08678b1ec4e7d1f982d40d054f0983fea746c6d89db2b2c9c9/IMG_6321.JPG" data-mid="211616162" border="0"  src="https://freight.cargo.site/w/1000/i/2c00ce9c3fb7bc08678b1ec4e7d1f982d40d054f0983fea746c6d89db2b2c9c9/IMG_6321.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/000544eb7ebb0ab62ae98915088b3a4684b8294f835c6fbafc99b0e6994840e9/IMG_0342.JPG" data-mid="211617167" border="0"  src="https://freight.cargo.site/w/1000/i/000544eb7ebb0ab62ae98915088b3a4684b8294f835c6fbafc99b0e6994840e9/IMG_0342.JPG" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>An Incomplete Taxonomy</title>
				
		<link>https://intertopia.org/An-Incomplete-Taxonomy</link>

		<pubDate>Mon, 11 Dec 2023 16:10:51 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/An-Incomplete-Taxonomy</guid>

		<description>
	An Incomplete Taxonomy
	

An Incomplete Taxonomy is a study that began in 2012  documenting London’s coal plates — the cast iron covers for the chutes that once fed fuel into the cellars of urban houses. One of the first to document these was Dr. Shepherd Taylor in 1863, whose drawings were published in Opercula in 1929. War and urban renewal have eliminated many of the specimens he recorded, and more are lost to redevelopment all the time. 


	Throughout the documentation and redrawing of hundreds and hundreds&#38;nbsp; of these unique iron covers multiple outcomes have been generated via screenprinting, pronto plates, wood engraving, molds and polymer plates. Two publications are in development — a limited edition book of blind embossed covers, and&#38;nbsp; a second book reproducing the complete collection of redrawn iron plates accompanied by each one’s geolocation.

&#60;img width="4800" height="3600" width_o="4800" height_o="3600" data-src="https://freight.cargo.site/t/original/i/94baa3e3640a9f2a0092feca9d6eaeb8e7abe6c0b64ff12bcd29cb6edd71f0ba/exhibition-wall.jpg" data-mid="211681303" border="0"  src="https://freight.cargo.site/w/1000/i/94baa3e3640a9f2a0092feca9d6eaeb8e7abe6c0b64ff12bcd29cb6edd71f0ba/exhibition-wall.jpg" /&#62;

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&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/c8d6b1b32f5f987ea3eda7f650d9b5e2866de09b6aad97651e2bb0ae4859e215/incomplete_taxonomy-04.jpg" data-mid="211804739" border="0"  src="https://freight.cargo.site/w/1000/i/c8d6b1b32f5f987ea3eda7f650d9b5e2866de09b6aad97651e2bb0ae4859e215/incomplete_taxonomy-04.jpg" /&#62;
&#60;img width="1368" height="1368" width_o="1368" height_o="1368" data-src="https://freight.cargo.site/t/original/i/0dc3c2fe9af0c688bf726acf20e61f74ec5173b9835a4ec4762830469f5ec1fc/incomplete_taxonomy-06.jpg" data-mid="211805960" border="0"  src="https://freight.cargo.site/w/1000/i/0dc3c2fe9af0c688bf726acf20e61f74ec5173b9835a4ec4762830469f5ec1fc/incomplete_taxonomy-06.jpg" /&#62;
&#60;img width="2451" height="2451" width_o="2451" height_o="2451" data-src="https://freight.cargo.site/t/original/i/aaf74f15536350b7066dd9e4abae0a207b4e31c7e8959233877c9c3c306a1a17/IMG_1611.JPG" data-mid="211390017" border="0"  src="https://freight.cargo.site/w/1000/i/aaf74f15536350b7066dd9e4abae0a207b4e31c7e8959233877c9c3c306a1a17/IMG_1611.JPG" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Counting on Chance</title>
				
		<link>https://intertopia.org/Counting-on-Chance</link>

		<pubDate>Tue, 07 May 2024 22:54:12 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Counting-on-Chance</guid>

		<description>
	Counting on Chance: 25 Years of Artist’s Books

	Published in connection with the exhibition of the same name at Wesleyan University of 25 years of work by artist and publisher Robin Price. Counting on Chance features an essay by independent book-art historian Betty Bright, an interview with Robin Price by Suzy Taraba, and a complete list by Rutherford W. Witthus of Price's works from 1984 into early 2010. &#38;nbsp;
The covers for Counting on chance were generated solely on press using three of the four process color printing plates (cyan, magenta, and yellow) from the interior of the book, via a method used mostly for preparing the press for printing called "make-ready." By overprinting color, areas of image are built up on the paper by repeatedly passing the sheets through the press. In the true spirit of 'chance' the exact image of the cover was generated at random. Instructions to consistently rotate some of the sheets prior to feeding them into the press ensured variation within the edition.


	&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/1a1e834d329a10ff14991bc6cc78480546508dc991c3788a022157184bcf1128/counting-on-chance_covers-gif.gif" data-mid="211343717" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/1a1e834d329a10ff14991bc6cc78480546508dc991c3788a022157184bcf1128/counting-on-chance_covers-gif.gif" /&#62;

	
&#60;img width="1386" height="924" width_o="1386" height_o="924" data-src="https://freight.cargo.site/t/original/i/cde197b3aebcd4235c9ebaed3aaea28c67dcc1180f2f36a47848d52092770bed/COUNTING_ON_CHANCE_R04_20100511_Page_02.jpg" data-mid="211338850" border="0"  src="https://freight.cargo.site/w/1000/i/cde197b3aebcd4235c9ebaed3aaea28c67dcc1180f2f36a47848d52092770bed/COUNTING_ON_CHANCE_R04_20100511_Page_02.jpg" /&#62;
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&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/cc1e1e997e7ac38f6125acefdaa25865ade77555361f5b5fe844fd8425588785/COUNTING_ON_CHANCE_R04_20100511_Page_11.jpg" data-mid="211338856" border="0"  src="https://freight.cargo.site/w/1000/i/cc1e1e997e7ac38f6125acefdaa25865ade77555361f5b5fe844fd8425588785/COUNTING_ON_CHANCE_R04_20100511_Page_11.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a6d01b5e30ca558f33f32565c2db5dea18e39f32cc363965eac25c4695f3fef7/COUNTING_ON_CHANCE_R04_20100511_Page_34.jpg" data-mid="211338868" border="0"  src="https://freight.cargo.site/w/1000/i/a6d01b5e30ca558f33f32565c2db5dea18e39f32cc363965eac25c4695f3fef7/COUNTING_ON_CHANCE_R04_20100511_Page_34.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/602c7b77c219724ac9fdfbba8130fa524d24f05e972685242373c37fa7bef17e/COUNTING_ON_CHANCE_R04_20100511_Page_39.jpg" data-mid="211338869" border="0"  src="https://freight.cargo.site/w/1000/i/602c7b77c219724ac9fdfbba8130fa524d24f05e972685242373c37fa7bef17e/COUNTING_ON_CHANCE_R04_20100511_Page_39.jpg" /&#62;
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&#60;img width="2719" height="1800" width_o="2719" height_o="1800" data-src="https://freight.cargo.site/t/original/i/5d6614054c1065c1ae031f5566e4438519c351afcd665bdd831681b029963838/COUNTING_ON_CHANCE_R04_20100511_Page_59.jpg" data-mid="211338909" border="0"  src="https://freight.cargo.site/w/1000/i/5d6614054c1065c1ae031f5566e4438519c351afcd665bdd831681b029963838/COUNTING_ON_CHANCE_R04_20100511_Page_59.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Treads</title>
				
		<link>https://intertopia.org/Treads</link>

		<pubDate>Mon, 11 Dec 2023 16:10:49 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Treads</guid>

		<description> 
	Treads
	

	Treads is an ongoing study of the charcoal-like marks of tire treads on roads and the transformation of those static marks into filmic sequences.
Excerpt from 5 minute loop


</description>
		
	</item>
		
		
	<item>
		<title>Rewrite</title>
				
		<link>https://intertopia.org/Rewrite</link>

		<pubDate>Wed, 22 May 2024 18:16:36 +0000</pubDate>

		<dc:creator>intertopia</dc:creator>

		<guid isPermaLink="true">https://intertopia.org/Rewrite</guid>

		<description> 
	Rewrite
	

	In the 21st Century, nothing is created from scratch. When we design or write something, we begin with what is already there, the thing that needs amplifying, editing, making user friendly, massaging into a message, and the circumstances into which the designed thing will be introduced. We may not be conscious of the long trail of precedents, everything like it that has already been done, but our thinking and design choices are nevertheless informed by all the books, buildings, butter dishes or bezier curves that have preceded the books, buildings, butter dishes and bezier curves we are currently designing. “To design is always to redesign” (Bruno Latour 2008)

	This is not to imply that to rewrite or redesign is a stifling, constrained task. On the contrary, to weave the strands of influence into a startling new form is the very essence of creativity, as any dancer or jazz musician will know. And to reweave, redesign or rewrite one’s own work is to revisit it, sometimes years later, as a different person, energised or embarrassed enough by it to want to take it somewhere new, to demonstrate to ourselves and the world that we have actually learned something. It’s a small step from here to the idea of picking up someone else’s work and finishing it for them — or re-writing it. A rewrite based on a misreading, to paraphrase Harold Bloom.

&#60;img width="1008" height="1387" width_o="1008" height_o="1387" data-src="https://freight.cargo.site/t/original/i/6ebfd00ae8ac365991625d5a22ef88000f4662f3c0a060cad2ee95ee2a2cde31/rewrite_assemblage.jpg" data-mid="211468395" border="0"  src="https://freight.cargo.site/w/1000/i/6ebfd00ae8ac365991625d5a22ef88000f4662f3c0a060cad2ee95ee2a2cde31/rewrite_assemblage.jpg" /&#62;

	In 1977, the same year Voyager 2 was launched at Cape Canaveral, Shaun Cassidy released “Born Late”, a quick follow-up to his successful self-titled debut album, “Shaun Cassidy”. His debut had spun out pop-rock tunes like “Da Doo Ron Ron”, and “Hey There Lonely Girl”. “Born Late” was a modest reprisal of the same beats and tempos, but lacked the luster of that first album even with songs as enticingly titled as “Do You Believe in Magic?”. My sister had both albums. The orange slab serif type over neon green stripes of the “Shaun Cassidy” LP appealed to me, years before I’d learn what “slab serif” meant, much more than the minimal white condensed art nouveau type of “Born Late”. Perhaps it was for this reason that it was the cover of the “Born Late” LP that I casually “rewrote” in 1978. I must have concluded that Cassidy’s nose wasn’t quite right on that LP cover, so I edited it. And then erased the edit and discovered that erasing removed the edit and the image. So I erased some more hoping, like in some pre-digital dream, that erasing more would actually restore what had been previously erased. And I kept erasing until all that remained of his nose was a big, white smudge. I re-drew his nose and remember vividly how proud I was at a job I’d thought was done so admirably well that my sister would never notice. 
	There was an obvious permanence to my rewrite of “Born Late”. But it’s the ephemeral continuity of “rewrite” that most interests me. Our environments are constantly being rewritten. Winds rewrite the dunes. Rivers rewrite the valleys. Oceans rewrite the coastlines. Clouds rewrite the sky. Over and over again. Rewrite on endlessly geologic terms. Climate change might be considered a “rewrite” — after all one must concede it’s entirely possible for rewrites to not yield promising results. Harold Fisk’s map of the Alluvial Valley of the lower Mississippi river has been a critical visual in my approach to this theme. The collected re-directions in one single map reveal the meandering flow of the Mississippi via an accumulated graphic volume grounded in a geographic language.


	Each One Teach One &#38;nbsp;&#38;nbsp;
	

	The phrase “each one, teach one” is generally believed to have its roots in the African-American community and the struggle for education among enslaved people in the United States.&#38;nbsp;During slavery, African Americans were often prohibited from learning to read and write. Despite these restrictions, those who managed to acquire literacy skills would often secretly teach others, perpetuating a culture of mutual aid and resistance against oppression. This informal and clandestine system of education helped to preserve and spread knowledge despite the severe limitations imposed by slavery.
	“Each one teach one" embodies a philosophy of sharing knowledge and learning within a community, emphasizing the importance of personal responsibility in spreading education and enlightenment. The concept suggests that each individual who learns something should pass that knowledge on to another, creating a chain of learning and empowerment.
 
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	Floating Stencils
	

	The method of “floating stencils” in screenprinting is one in which images aren’t exposed into the screen with photo-sensitive emulsion. Instead temporary screen blocks are created with materials such as talcum powder, wax crayon and cut paper. The technique was introduced during Rewrite as a method for working quickly, but also its palimpsest-like characteristics — images layering over one another, mixing and juxtaposing with each new addition.
	

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	Rewrite / Devon UK

	Following Rewrite on Vinalhaven, a second residency was hosted in at Silverton Stables in Devon, UK.
	

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