A zine designed and produced by Jarin Moriguchi containing illustrations and writings in collaboration with Nathan Sarsona for the Printed Matter: L.A. Art Book Fair, 2023.
The contents of this volume chronicle the keywords and keyphrases of a ten-hour-long phone call between buddies and compatriots. The two of them were trying to figure out what kind of content should drive their next project . . .. . . running in circles and breaking for lunch.
In doing so, without being aware of it, until long after the meal, they had realized that they had generates enough content to get them started. At least, that was their hope.
The contents of this volume chronicle the keywords and keyphrases of a ten-hour-long phone call between buddies and compatriots. The two of them were trying to figure out what kind of content should drive their next project . . .. . . running in circles and breaking for lunch.
In doing so, without being aware of it, until long after the meal, they had realized that they had generates enough content to get them started. At least, that was their hope.
Designed and produced by Jarin Moriguchi, the contents of this book were generated through responsive writings and drawings in collaboration with Nathan Sarsona. Included are contemplations on screenwriting, aleatory, and choose-your-own-adventure games from the early internet era.
Print editions available at BĀS Bookshop, Honolulu, HI.
Print editions available at BĀS Bookshop, Honolulu, HI.
These pages attempt to give form to moments of conflict represented in the audio documentation of the International Design Conference in Aspen in 1970. I transcribed audio recordings of the event from the Special Collections Archive at the Richard J. Daley Library at the University of Illinois Chicago and the audio of a film of the conference by Eli Noyes and Claudia Weill (Cyclops Films, Inc.).
This documentation gives the transcriptions visual form by reproducing a curated selection of excerpts that best represent the drama of the event, with a focus on unscripted moments in the program.Snippets of speech are reproduced in a poetic format by intuitively breaking lines of text. These recollected transcripts dictate the reader’s perception of the content by emphasizing the often absurd and outlandish nature of what was said.
The typeface is a reproduction of a font used on Corona Data Systems’ Cordata Portable in the early 1980s. All illustrations were made by keyboard input using the glyphs included in each font. This alludes to how the hippie movement, the members of which were central to the conflict that took place in Aspen, morphed into Silicon Valley during this era, when,
“computers got common enough for funky hands to lay hold of them and to do tricks for funky heads ... beginning efforts to domesticate computers. Good intro to life with dumb-fuck genius machines.”1
1 Stewart Brand, ed., The Last Whole Earth Catalog (Menlo Park: Portola Institute, 1971): 321–322.
This documentation gives the transcriptions visual form by reproducing a curated selection of excerpts that best represent the drama of the event, with a focus on unscripted moments in the program.Snippets of speech are reproduced in a poetic format by intuitively breaking lines of text. These recollected transcripts dictate the reader’s perception of the content by emphasizing the often absurd and outlandish nature of what was said.
The typeface is a reproduction of a font used on Corona Data Systems’ Cordata Portable in the early 1980s. All illustrations were made by keyboard input using the glyphs included in each font. This alludes to how the hippie movement, the members of which were central to the conflict that took place in Aspen, morphed into Silicon Valley during this era, when,
“computers got common enough for funky hands to lay hold of them and to do tricks for funky heads ... beginning efforts to domesticate computers. Good intro to life with dumb-fuck genius machines.”1
1 Stewart Brand, ed., The Last Whole Earth Catalog (Menlo Park: Portola Institute, 1971): 321–322.