Coded Bodies Publication - Revision history

Karl: Text replacement - "File:Stifo logo.jpg" to "thumb"

2024-01-31T13:37:11Z

Text replacement - "File:Stifo logo.jpg" to "thumb"

← Older revision		Revision as of 15:37, 31 January 2024
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	Supported by Creative Industries Fund NL		Supported by Creative Industries Fund NL
	[[File:Stifo logo.~~jpg~~]]		[[File:Stifo-logo.gif\|thumb]]

Juliette at 14:26, 27 January 2022

2022-01-27T14:26:47Z

← Older revision		Revision as of 16:26, 27 January 2022
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	[2] Intra-action is a term coined by feminist theorist Karen Barad and “signifies the inseparability of “objects” and “agencies of observation” (in contrast to “interaction”, which reinscribes the contested dichotomy).		[2] Intra-action is a term coined by feminist theorist Karen Barad and “signifies the inseparability of “objects” and “agencies of observation” (in contrast to “interaction”, which reinscribes the contested dichotomy).

			==Content==
			* [[Hacking & Designing Paradoxes of Collaborative Practice by Anja Groten]]
			* [[Datafied Troughs of Eeriness by Stephen Fortune]]
			* [[CULINARY FORENSICS KITCHEN (CFK) by Center for Genomic Gastronomy]]
			* [[Code maintenance: caring for the collective body by Sarah Payton]]
			* [[A brief and incomplete history of Eliza Ludd, 1812— by Ollie George]]
			* [[Bob Ross Lives! - workshop on creative potential of GANs by Lenka Hamosova and Pavol Rusnak]]
			* [[How to distinguish between aliens and natives by Juan Arturo Garcia]]
			* [[Randomised Flag of EU by Jonas Bohatsch]]
			* [[Queering sport by Gabriel Fontana]]
			* [[Prototype Pittsburgh by Erin Gatz]]
			* [[A conversation with Francisco Laranjo]]
			* [[How to Generate Distance — Exercises on Ecology and Perception by Eurico Sá Fernandes]]
			* [[Getting Rid of Attention Seeking Machines: How to. by Dahsa Ilina]]
			* [[PRĀṆIC GRID by Annika Kappner]]
			* [[Reflections on FeministSearchTool by Anja Groten and André Fincato]]

	<gallery>		<gallery>

Hd-onions at 18:17, 19 January 2021

2021-01-19T18:17:44Z

← Older revision		Revision as of 20:17, 19 January 2021
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	<gallery>		<gallery>
			Pub2019.jpg
	Pub2019-lenka.jpg		Pub2019-lenka.jpg
	Pub2019-arturo.jpg		Pub2019-arturo.jpg

Juliette at 12:25, 6 January 2021

2021-01-06T12:25:32Z

← Older revision		Revision as of 14:25, 6 January 2021
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	* Editor: Margarita Osipian		* Editor: Margarita Osipian
	* Design: Anja Groten, Juliette Lizotte and Jonas Bohatsch		* Design: Anja Groten, Juliette Lizotte and Jonas Bohatsch
	* Typefaces: Libre fonts by womxn discovered on https://www.design-research.be/by-womxn/ a collection by Loraine Furter aiming to give visibility to libre fonts drawn by womxn designers, who are often underrepresented in the typography field. Almendra by Ana Sanfelippo, Cirrus Cumulus by Clara Sambot, Coconat by Sara Lavazza, Compagnon by Juliette Duhé and Léa Pradine, Kaerukaeru by Isabel ~~Nota~~, Montserrat by Julieta Ulanovsky, Ortica by Benedetta Bovani, Ovo by Nicole Fally, Zarathustra by Loraine Furter, and Halibut Serif by Mateo Maggi distributed by Collletttivo, a collective that designs and distributes free open source typefaces		* Typefaces: Libre fonts by womxn discovered on https://www.design-research.be/by-womxn/ a collection by Loraine Furter aiming to give visibility to libre fonts drawn by womxn designers, who are often underrepresented in the typography field. Almendra by Ana Sanfelippo, Cirrus Cumulus by Clara Sambot, Coconat by Sara Lavazza, Compagnon by Juliette Duhé and Léa Pradine, Kaerukaeru by Isabel Motz, Montserrat by Julieta Ulanovsky, Ortica by Benedetta Bovani, Ovo by Nicole Fally, Zarathustra by Loraine Furter, and Halibut Serif by Mateo Maggi distributed by Collletttivo, a collective that designs and distributes free open source typefaces
	* Cover: The images used for the cover are made by Lenka Hamosova as part of her GAN research.		* Cover: The images used for the cover are made by Lenka Hamosova as part of her GAN research.
	* Printing: Raddraaier, Amsterdam		* Printing: Raddraaier, Amsterdam

Juliette at 13:21, 31 December 2020

2020-12-31T13:21:08Z

← Older revision		Revision as of 15:21, 31 December 2020
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	With this publication, H&D reflects on conversations, discussions and bodily experiences that took place over the course of one year—spanning topics such as ubiquitous computing, disappearance of interfaces, transhumanism, digitized bodies, biometric data, agency of user, representation and citizenship. The book is composed of projects, initiatives, trials and errors, commentary and questions—all reflecting different perspectives, and entry points into, the subject of ‘Coded Bodies’. The contributions comprise playful reenactments, poetic commentary, annotated prototypes, how-to’s, speculations, prompts, scripts and scores, proposals and disposals. Spanning a wide range of approaches, backgrounds and experiences all contributors connect in this publication through their critical, yet playful attempts of coming to terms with our bodies’ entanglements with technology, and through their active engagement with the question of agency in relation to body-computer intra-actions.[2]		With this publication, H&D reflects on conversations, discussions and bodily experiences that took place over the course of one year—spanning topics such as ubiquitous computing, disappearance of interfaces, transhumanism, digitized bodies, biometric data, agency of user, representation and citizenship. The book is composed of projects, initiatives, trials and errors, commentary and questions—all reflecting different perspectives, and entry points into, the subject of ‘Coded Bodies’. The contributions comprise playful reenactments, poetic commentary, annotated prototypes, how-to’s, speculations, prompts, scripts and scores, proposals and disposals. Spanning a wide range of approaches, backgrounds and experiences all contributors connect in this publication through their critical, yet playful attempts of coming to terms with our bodies’ entanglements with technology, and through their active engagement with the question of agency in relation to body-computer intra-actions.[2]

	This publication is a documentation of a diverse range of activities that included a multitude of different bodies—and can only serve as an illustration of the actual experience of the many special encounters we had. However, the book also reflects the subject and subjectivities of our coded bodies through its making process. Every year H&D self-publishes an experimental publication. The process of making this publication enables us to reconnect with the growing network of participants and to reflect back on our own work as organizers and hosts. The publication is furthermore an occasion for us to question our design habits. In doing so, we try to use and build alternative design tools, such as the ‘PJ machine,’developed by Sarah Garcin or the newspaper generator developed by Heerko van der Kooij. These pages have been designed with a tool, which goes by the name ‘heart-beat-to-print,’ and which was created in collaboration with Jonas ~~Bohatch~~ especially for this publication. We invited Jonas to work with us on an experimental publishing tool that considers and challenges our bodily engagement as an important part of the design process. Jonas was one of our participants of the Summer Academy in 2019. He hosted a workshop using heartbeat sensors, in collaboration with Andrea Valliere and Ana Jeličić. The ambition of the heartbeat-to-print tool was to influence the design of text and page layout by using input from our bodies. The tool differentiates between ‘head,’ ‘body’ and ‘foot’ as literal references to body parts. We were curious to investigate in what ways our heartbeats as well as our voices can affect a page layout. What if we shout or whisper? What if we get excited about a certain passage in the text? The tool registers the heartbeat of the user with a pulse sensor connected to a computer with an Arduino board, and the volume of the user’s voice is captured through a microphone. A Processing script picks up on both values and translates those values in real-time to different typographic expressions. The interface shows the page and works like a teleprompter. By pressing the spacebar, a word appears. You can read it aloud. After speaking the word, you release the space bar. The heartbeat value determines the font, and the volume determines the size. Jonas incorporated a control window where we can adjust the maximum and minimum size of head, body and foot. The fonts are carefully selected by us and include libre fonts by womxn.		This publication is a documentation of a diverse range of activities that included a multitude of different bodies—and can only serve as an illustration of the actual experience of the many special encounters we had. However, the book also reflects the subject and subjectivities of our coded bodies through its making process. Every year H&D self-publishes an experimental publication. The process of making this publication enables us to reconnect with the growing network of participants and to reflect back on our own work as organizers and hosts. The publication is furthermore an occasion for us to question our design habits. In doing so, we try to use and build alternative design tools, such as the ‘PJ machine,’developed by Sarah Garcin or the newspaper generator developed by Heerko van der Kooij. These pages have been designed with a tool, which goes by the name ‘heart-beat-to-print,’ and which was created in collaboration with Jonas Bohatsch especially for this publication. We invited Jonas to work with us on an experimental publishing tool that considers and challenges our bodily engagement as an important part of the design process. Jonas was one of our participants of the Summer Academy in 2019. He hosted a workshop using heartbeat sensors, in collaboration with Andrea Valliere and Ana Jeličić. The ambition of the heartbeat-to-print tool was to influence the design of text and page layout by using input from our bodies. The tool differentiates between ‘head,’ ‘body’ and ‘foot’ as literal references to body parts. We were curious to investigate in what ways our heartbeats as well as our voices can affect a page layout. What if we shout or whisper? What if we get excited about a certain passage in the text? The tool registers the heartbeat of the user with a pulse sensor connected to a computer with an Arduino board, and the volume of the user’s voice is captured through a microphone. A Processing script picks up on both values and translates those values in real-time to different typographic expressions. The interface shows the page and works like a teleprompter. By pressing the spacebar, a word appears. You can read it aloud. After speaking the word, you release the space bar. The heartbeat value determines the font, and the volume determines the size. Jonas incorporated a control window where we can adjust the maximum and minimum size of head, body and foot. The fonts are carefully selected by us and include libre fonts by womxn.

	We hope readers will enjoy this wild layout as much as we enjoyed screaming, whispering, stammering it.		We hope readers will enjoy this wild layout as much as we enjoyed screaming, whispering, stammering it.

Juliette at 13:16, 31 December 2020

2020-12-31T13:16:20Z

← Older revision		Revision as of 15:16, 31 December 2020
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	==Credits==		==Credits==
			'''With contributions by:''' Anja Groten, jujulove, Nadia Piet, Dahsa Ilina, Stephen Fortune, Annika Kappner, Eurico Sá Fernandes, Juan Arturo Garcia, Ollie George, Lenka Hamosova & Pavol Rusnak, Jonas Bohatsch, Rogier Klomp, Gabriel Fontana, Erin Gatz, Sarah Payton, André Fincato, Center for Genomic Gastronomy and Francisco Laranjo.

	* Self-published by Hackers & Designers		* Self-published by Hackers & Designers

Juliette at 09:00, 21 October 2020

2020-10-21T09:00:03Z

← Older revision		Revision as of 11:00, 21 October 2020
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	[[File:Pub2019.jpg]]		[[File:Pub2019.jpg]]

	In 2019 the trans*disciplinary collective H&D invited its community to investigate the intersections of technology and the (human, post-human, trans-human, non-human) body from a maker's perspective. On a daily basis our bodies are being scanned, tracked, debugged, rendered, manipulated, and categorized by different kinds of computational processes and measuring devices. By creating shared moments of learning and unlearning, we posed questions such as: How are we, as users and makers, able to understand our bodies' relationships to computation?		In 2019 the trans*disciplinary[1] collective H&D invited its community to investigate the intersections of technology and the (human, post-human, trans-human, non-human) body from a maker's perspective. On a daily basis our bodies are being scanned, tracked, debugged, rendered, manipulated, and categorized by different kinds of computational processes and measuring devices. By creating shared moments of learning and unlearning, we posed questions such as: How are we, as users and makers, able to understand our bodies' relationships to computation?

	With this publication, H&D reflects on conversations, discussions and bodily experiences that took place over the course of one year—spanning topics such as ubiquitous computing, disappearance of interfaces, transhumanism, digitized bodies, biometric data, agency of user, representation and citizenship. The book is composed of projects, initiatives, trials and errors, commentary and questions—all reflecting different perspectives, and entry points into, the subject of ‘Coded Bodies’. The contributions comprise playful reenactments, poetic commentary, annotated prototypes, how-to’s, speculations, prompts, scripts and scores, proposals and disposals. Spanning a wide range of approaches, backgrounds and experiences all contributors connect in this publication through their critical, yet playful attempts of coming to terms with our bodies’ entanglements with technology, and through their active engagement with the question of agency in relation to body-computer intra-actions.[1]		With this publication, H&D reflects on conversations, discussions and bodily experiences that took place over the course of one year—spanning topics such as ubiquitous computing, disappearance of interfaces, transhumanism, digitized bodies, biometric data, agency of user, representation and citizenship. The book is composed of projects, initiatives, trials and errors, commentary and questions—all reflecting different perspectives, and entry points into, the subject of ‘Coded Bodies’. The contributions comprise playful reenactments, poetic commentary, annotated prototypes, how-to’s, speculations, prompts, scripts and scores, proposals and disposals. Spanning a wide range of approaches, backgrounds and experiences all contributors connect in this publication through their critical, yet playful attempts of coming to terms with our bodies’ entanglements with technology, and through their active engagement with the question of agency in relation to body-computer intra-actions.[2]

	This publication is a documentation of a diverse range of activities that included a multitude of different bodies—and can only serve as an illustration of the actual experience of the many special encounters we had. However, the book also reflects the subject and subjectivities of our coded bodies through its making process. Every year H&D self-publishes an experimental publication. The process of making this publication enables us to reconnect with the growing network of participants and to reflect back on our own work as organizers and hosts. The publication is furthermore an occasion for us to question our design habits. In doing so, we try to use and build alternative design tools, such as the ‘PJ machine,’developed by Sarah Garcin or the newspaper generator developed by Heerko van der Kooij. These pages have been designed with a tool, which goes by the name ‘heart-beat-to-print,’ and which was created in collaboration with Jonas Bohatch especially for this publication. We invited Jonas to work with us on an experimental publishing tool that considers and challenges our bodily engagement as an important part of the design process. Jonas was one of our participants of the Summer Academy in 2019. He hosted a workshop using heartbeat sensors, in collaboration with Andrea Valliere and Ana Jeličić. The ambition of the heartbeat-to-print tool was to influence the design of text and page layout by using input from our bodies. The tool differentiates between ‘head,’ ‘body’ and ‘foot’ as literal references to body parts. We were curious to investigate in what ways our heartbeats as well as our voices can affect a page layout. What if we shout or whisper? What if we get excited about a certain passage in the text? The tool registers the heartbeat of the user with a pulse sensor connected to a computer with an Arduino board, and the volume of the user’s voice is captured through a microphone. A Processing script picks up on both values and translates those values in real-time to different typographic expressions. The interface shows the page and works like a teleprompter. By pressing the spacebar, a word appears. You can read it aloud. After speaking the word, you release the space bar. The heartbeat value determines the font, and the volume determines the size. Jonas incorporated a control window where we can adjust the maximum and minimum size of head, body and foot. The fonts are carefully selected by us and include libre fonts by womxn.		This publication is a documentation of a diverse range of activities that included a multitude of different bodies—and can only serve as an illustration of the actual experience of the many special encounters we had. However, the book also reflects the subject and subjectivities of our coded bodies through its making process. Every year H&D self-publishes an experimental publication. The process of making this publication enables us to reconnect with the growing network of participants and to reflect back on our own work as organizers and hosts. The publication is furthermore an occasion for us to question our design habits. In doing so, we try to use and build alternative design tools, such as the ‘PJ machine,’developed by Sarah Garcin or the newspaper generator developed by Heerko van der Kooij. These pages have been designed with a tool, which goes by the name ‘heart-beat-to-print,’ and which was created in collaboration with Jonas Bohatch especially for this publication. We invited Jonas to work with us on an experimental publishing tool that considers and challenges our bodily engagement as an important part of the design process. Jonas was one of our participants of the Summer Academy in 2019. He hosted a workshop using heartbeat sensors, in collaboration with Andrea Valliere and Ana Jeličić. The ambition of the heartbeat-to-print tool was to influence the design of text and page layout by using input from our bodies. The tool differentiates between ‘head,’ ‘body’ and ‘foot’ as literal references to body parts. We were curious to investigate in what ways our heartbeats as well as our voices can affect a page layout. What if we shout or whisper? What if we get excited about a certain passage in the text? The tool registers the heartbeat of the user with a pulse sensor connected to a computer with an Arduino board, and the volume of the user’s voice is captured through a microphone. A Processing script picks up on both values and translates those values in real-time to different typographic expressions. The interface shows the page and works like a teleprompter. By pressing the spacebar, a word appears. You can read it aloud. After speaking the word, you release the space bar. The heartbeat value determines the font, and the volume determines the size. Jonas incorporated a control window where we can adjust the maximum and minimum size of head, body and foot. The fonts are carefully selected by us and include libre fonts by womxn.
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	We hope readers will enjoy this wild layout as much as we enjoyed screaming, whispering, stammering it.		We hope readers will enjoy this wild layout as much as we enjoyed screaming, whispering, stammering it.

	[1] Intra-action is a term coined by feminist theorist Karen Barad and “signifies the inseparability of “objects” and “agencies of observation” (in contrast to “interaction”, which reinscribes the contested dichotomy).		[1] Trans* here is used as an umbrella term to refer to a variety of identities within the gender identity spectrum that are represented in the H&D community. By connecting trans* to the notion of disciplinarity we intend to address there is more to consider when it comes to ‘difference' than disciplinary boundaries. The notion trans*disciplinarity is an attempt to apply an intersectional approach to problematizing disciplinary boundaries.

			[2] Intra-action is a term coined by feminist theorist Karen Barad and “signifies the inseparability of “objects” and “agencies of observation” (in contrast to “interaction”, which reinscribes the contested dichotomy).

	<gallery>		<gallery>

Juliette at 08:16, 21 October 2020

2020-10-21T08:16:27Z

← Older revision		Revision as of 10:16, 21 October 2020
Line 8:		Line 8:
	In 2019 the trans*disciplinary collective H&D invited its community to investigate the intersections of technology and the (human, post-human, trans-human, non-human) body from a maker's perspective. On a daily basis our bodies are being scanned, tracked, debugged, rendered, manipulated, and categorized by different kinds of computational processes and measuring devices. By creating shared moments of learning and unlearning, we posed questions such as: How are we, as users and makers, able to understand our bodies' relationships to computation?		In 2019 the trans*disciplinary collective H&D invited its community to investigate the intersections of technology and the (human, post-human, trans-human, non-human) body from a maker's perspective. On a daily basis our bodies are being scanned, tracked, debugged, rendered, manipulated, and categorized by different kinds of computational processes and measuring devices. By creating shared moments of learning and unlearning, we posed questions such as: How are we, as users and makers, able to understand our bodies' relationships to computation?

	With this publication, H&D reflects on conversations, discussions and bodily experiences that took place over the course of one year—spanning topics such as ubiquitous computing, disappearance of interfaces, transhumanism, digitized bodies, biometric data, agency of user, representation and citizenship. The book is composed of projects, initiatives, trials and errors, commentary and questions—all reflecting different perspectives, and entry points into, the subject of ‘Coded Bodies’. The contributions comprise playful reenactments, poetic commentary, annotated prototypes, how-to’s, speculations, prompts, scripts and scores, proposals and disposals. Spanning a wide range of approaches, backgrounds and experiences all contributors connect in this publication through their critical, yet playful attempts of coming to terms with our bodies’ entanglements with technology, and through their active engagement with the question of agency in relation to body-computer intra-actions.		With this publication, H&D reflects on conversations, discussions and bodily experiences that took place over the course of one year—spanning topics such as ubiquitous computing, disappearance of interfaces, transhumanism, digitized bodies, biometric data, agency of user, representation and citizenship. The book is composed of projects, initiatives, trials and errors, commentary and questions—all reflecting different perspectives, and entry points into, the subject of ‘Coded Bodies’. The contributions comprise playful reenactments, poetic commentary, annotated prototypes, how-to’s, speculations, prompts, scripts and scores, proposals and disposals. Spanning a wide range of approaches, backgrounds and experiences all contributors connect in this publication through their critical, yet playful attempts of coming to terms with our bodies’ entanglements with technology, and through their active engagement with the question of agency in relation to body-computer intra-actions.[1]

	This publication is a documentation of a diverse range of activities that included a multitude of different bodies—and can only serve as an illustration of the actual experience of the many special encounters we had. However, the book also reflects the subject and subjectivities of our coded bodies through its making process. Every year H&D self-publishes an experimental publication. The process of making this publication enables us to reconnect with the growing network of participants and to reflect back on our own work as organizers and hosts. The publication is furthermore an occasion for us to question our design habits. In doing so, we try to use and build alternative design tools, such as the ‘PJ machine,’developed by Sarah Garcin or the newspaper generator developed by Heerko van der Kooij. These pages have been designed with a tool, which goes by the name ‘heart-beat-to-print,’ and which was created in collaboration with Jonas Bohatch especially for this publication. We invited Jonas to work with us on an experimental publishing tool that considers and challenges our bodily engagement as an important part of the design process. Jonas was one of our participants of the Summer Academy in 2019. He hosted a workshop using heartbeat sensors, in collaboration with Andrea Valliere and Ana Jeličić. The ambition of the heartbeat-to-print tool was to influence the design of text and page layout by using input from our bodies. The tool differentiates between ‘head,’ ‘body’ and ‘foot’ as literal references to body parts. We were curious to investigate in what ways our heartbeats as well as our voices can affect a page layout. What if we shout or whisper? What if we get excited about a certain passage in the text? The tool registers the heartbeat of the user with a pulse sensor connected to a computer with an Arduino board, and the volume of the user’s voice is captured through a microphone. A Processing script picks up on both values and translates those values in real-time to different typographic expressions. The interface shows the page and works like a teleprompter. By pressing the spacebar, a word appears. You can read it aloud. After speaking the word, you release the space bar. The heartbeat value determines the font, and the volume determines the size. Jonas incorporated a control window where we can adjust the maximum and minimum size of head, body and foot. The fonts are carefully selected by us and include libre fonts by womxn.		This publication is a documentation of a diverse range of activities that included a multitude of different bodies—and can only serve as an illustration of the actual experience of the many special encounters we had. However, the book also reflects the subject and subjectivities of our coded bodies through its making process. Every year H&D self-publishes an experimental publication. The process of making this publication enables us to reconnect with the growing network of participants and to reflect back on our own work as organizers and hosts. The publication is furthermore an occasion for us to question our design habits. In doing so, we try to use and build alternative design tools, such as the ‘PJ machine,’developed by Sarah Garcin or the newspaper generator developed by Heerko van der Kooij. These pages have been designed with a tool, which goes by the name ‘heart-beat-to-print,’ and which was created in collaboration with Jonas Bohatch especially for this publication. We invited Jonas to work with us on an experimental publishing tool that considers and challenges our bodily engagement as an important part of the design process. Jonas was one of our participants of the Summer Academy in 2019. He hosted a workshop using heartbeat sensors, in collaboration with Andrea Valliere and Ana Jeličić. The ambition of the heartbeat-to-print tool was to influence the design of text and page layout by using input from our bodies. The tool differentiates between ‘head,’ ‘body’ and ‘foot’ as literal references to body parts. We were curious to investigate in what ways our heartbeats as well as our voices can affect a page layout. What if we shout or whisper? What if we get excited about a certain passage in the text? The tool registers the heartbeat of the user with a pulse sensor connected to a computer with an Arduino board, and the volume of the user’s voice is captured through a microphone. A Processing script picks up on both values and translates those values in real-time to different typographic expressions. The interface shows the page and works like a teleprompter. By pressing the spacebar, a word appears. You can read it aloud. After speaking the word, you release the space bar. The heartbeat value determines the font, and the volume determines the size. Jonas incorporated a control window where we can adjust the maximum and minimum size of head, body and foot. The fonts are carefully selected by us and include libre fonts by womxn.

	We hope readers will enjoy this wild layout as much as we enjoyed screaming, whispering, stammering it.		We hope readers will enjoy this wild layout as much as we enjoyed screaming, whispering, stammering it.

			[1] Intra-action is a term coined by feminist theorist Karen Barad and “signifies the inseparability of “objects” and “agencies of observation” (in contrast to “interaction”, which reinscribes the contested dichotomy).

	<gallery>		<gallery>

Juliette at 08:14, 21 October 2020

2020-10-21T08:14:33Z

← Older revision		Revision as of 10:14, 21 October 2020
Line 29:		Line 29:
	* Editor: Margarita Osipian		* Editor: Margarita Osipian
	* Design: Anja Groten, Juliette Lizotte and Jonas Bohatsch		* Design: Anja Groten, Juliette Lizotte and Jonas Bohatsch
	* Typefaces: Libre fonts by womxn discovered on https://www.design-research.be/by-womxn/ a collection by Loraine Furter aiming to give visibility to libre fonts drawn by womxn designers, who are often underrepresented in the typography field. Almendra by Ana Sanfelippo, Cirrus Cumulus by Clara Sambot,		* Typefaces: Libre fonts by womxn discovered on https://www.design-research.be/by-womxn/ a collection by Loraine Furter aiming to give visibility to libre fonts drawn by womxn designers, who are often underrepresented in the typography field. Almendra by Ana Sanfelippo, Cirrus Cumulus by Clara Sambot, Coconat by Sara Lavazza, Compagnon by Juliette Duhé and Léa Pradine, Kaerukaeru by Isabel Nota, Montserrat by Julieta Ulanovsky, Ortica by Benedetta Bovani, Ovo by Nicole Fally, Zarathustra by Loraine Furter, and Halibut Serif by Mateo Maggi distributed by Collletttivo, a collective that designs and distributes free open source typefaces
	Coconat by Sara Lavazza, Compagnon by Juliette Duhé and Léa Pradine, Kaerukaeru by Isabel Nota, Montserrat by Julieta Ulanovsky, Ortica by Benedetta Bovani, Ovo by Nicole Fally, Zarathustra by Loraine Furter, and Halibut Serif by Mateo Maggi distributed by Collletttivo, a collective that designs and distributes free open source typefaces
	* Cover: The images used for the cover are made by Lenka Hamosova as part of her GAN research.		* Cover: The images used for the cover are made by Lenka Hamosova as part of her GAN research.
	* Printing: Raddraaier, Amsterdam		* Printing: Raddraaier, Amsterdam

Juliette at 08:14, 21 October 2020

2020-10-21T08:14:13Z

← Older revision		Revision as of 10:14, 21 October 2020
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	Pub2019-rogier.jpg		Pub2019-rogier.jpg
	Pub2019-ollie.jpg		Pub2019-ollie.jpg
			Pub2019-back.jpg
	</gallery>		</gallery>

Line 28:		Line 29:
	* Editor: Margarita Osipian		* Editor: Margarita Osipian
	* Design: Anja Groten, Juliette Lizotte and Jonas Bohatsch		* Design: Anja Groten, Juliette Lizotte and Jonas Bohatsch
	* Typefaces: Libre fonts by womxn discovered on https://www.design-research.be/by-womxn/ a collection by Loraine Furter aiming to give visibility to libre fonts drawn by womxn designers, who are often underrepresented in the typography field.		* Typefaces: Libre fonts by womxn discovered on https://www.design-research.be/by-womxn/ a collection by Loraine Furter aiming to give visibility to libre fonts drawn by womxn designers, who are often underrepresented in the typography field. Almendra by Ana Sanfelippo, Cirrus Cumulus by Clara Sambot,
	Almendra by Ana Sanfelippo,		Coconat by Sara Lavazza, Compagnon by Juliette Duhé and Léa Pradine, Kaerukaeru by Isabel Nota, Montserrat by Julieta Ulanovsky, Ortica by Benedetta Bovani, Ovo by Nicole Fally, Zarathustra by Loraine Furter, and Halibut Serif by Mateo Maggi distributed by Collletttivo, a collective that designs and distributes free open source typefaces
	Cirrus Cumulus by Clara Sambot,
	Coconat by Sara Lavazza,
	Compagnon by Juliette Duhé and Léa Pradine,
	Kaerukaeru by Isabel Nota,
	Montserrat by Julieta Ulanovsky,
	Ortica by Benedetta Bovani,
	Ovo by Nicole Fally,
	Zarathustra by Loraine Furter,
	~~And~~ Halibut Serif by Mateo Maggi distributed by Collletttivo, a collective that designs and distributes free open source typefaces
	* Cover: The images used for the cover are made by Lenka Hamosova as part of her GAN research.		* Cover: The images used for the cover are made by Lenka Hamosova as part of her GAN research.
	* Printing: Raddraaier, Amsterdam		* Printing: Raddraaier, Amsterdam