Aperture – Issue 205
A little over a year ago, blow magazine was no more than a loose idea waiting to take shape. Over the past twelve months we have cultivated a visual collection to honour the printed image, to celebrate known photographers and to shed a light on fresh talent. So it is with celebration in mind that we present to you our third issue: The Body Issue. One of the most photographed of subjects, the human body is infinite in its ability to communicate visually. Regularly a study of shape and form, sometimes a tool for social commentary and often a subject of controversy, the body acts as a human landscape with endless possibilities for expression and interpretation.
Welcome to Baseline 60, our autumn issue. To coincide with the 60th issue of the magazine, we mounted an exhibition at the University for the Creative Arts (UCA) to celebrate the 17-year collaboration with its students, graduates and staff. For the first book review in this issue we selected the Design series published by the Antique Collectors’ Club, designed by Webb and Webb. It is reviewed by Prof. Alan Powers. The second publication is TD 63–73 Total Design and its pioneering role in graphic design. The author is Ben Bos and it is published by Unit Editions. The review is by Prof. Ian McLaren.
Baseline covers the related areas of graphic art, multimedia, architecture and typographic design. The articles are written by internationally recognised contributors and its design and print production regularly wins major international design awards. Issue 58: Welcome to Baseline issue 58, our spring issue. As usual the designs of the cover and jacket reflect some aspects of the features published here. The cover shows the numbers 50 and 8 in Lagoon, an Armenian typeface by Carolyn Puzzovio. The jacket, which doubles as poster, is a photographic collage of urban stencil characters. The two books, which are reviewed, are essential references for any serious design library. Paul Shaw reflects on Helmut Schmid’s homage to Emil Ruder, typographer and educator at the renowned Kunstgewerbeschule in Basle. Paul Razzell comments on David Jury’s vast 400 pages artist book reference catalogue, which presents an important record of the first biennial Codex Book Fair and Symposium, Berkeley, California.
Book, CD, Deluxe, Sale
CD release with a limited edition, 50 page book complete with beautiful images and texts eluding to the recording materials, machinery, processes and personnel. The book also encompasses an audio cookbook with recipes for you to create your own experimental audio loops and soups. The culmination of a year’s worth of sound experiments with machines of a bygone era, The Otolith Sessions sees Elsie Martins ‘Atom Eye’ project realise it’s most ambitious and complete work to date. A meticulously programmed full length as opposed to a collection of tracks the album develops and unfolds with a palpable sense of purpose and adventure over the albums six storied compositions. The visceral nature of the beautiful but abstruse music is no fluke but a deliberate result of the unhurried nature of the albums writing and production process. The Otolith Sessions was mixed & co-produced by James Aparicio (Liars, Spiritualized) and features guest appearances from regular collaborators; award-winning percussionist Pete Lockett (Björk, David Holmes, Royal Philharmonic Orchestra, Lee Scratch Perry, Primal Scream) and Mute Artist, Composer and Producer Simon Fisher Turner (whose work includes soundtracks for Derek Jarman’s Caravaggio, The Last of England, The Garden and David Lynch-produced Nadja).