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Language Scraps 02
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Language Scraps 02

Language Scraps 02

120mm x 180mm, 36pp, saddle stitched with copper staples, green, brown and black risograph printing, various paper stocks, cream gloss hot foil cover detail, first edition of 300

"In this essay Paul Wilson views The Fall through a typographiuc lens and explores their visual identity as propelled and produced by Mark E. Smith. “Mark E. Smith’s handwriting became part of The Fall’s visual identity: a typographic signifier of and for The Fall. His attitude towards the development and articulation of a visual identity for The Fall, and in particular the use of his handwriting, reflects his position towards The Fall’s sonic identity. Further, his ambivalence towards contemporary technologies (of sound recording, communication and graphic design), together with his fascination with the idea of creative unwinding (or as he often calls it ‘unlearning’) continually relocates The Fall’s aesthetic tending towards an idealized primitivism.” This essay was first published in Mark E. Smith and The Fall: Art, Music and Politics (2010) published by Routledge. Edited, updated and represented March 2021.” (Publisher PR)

$3.50

Original: $10.00

-65%
Language Scraps 02—

$10.00

$3.50

Language Scraps 02

120mm x 180mm, 36pp, saddle stitched with copper staples, green, brown and black risograph printing, various paper stocks, cream gloss hot foil cover detail, first edition of 300

"In this essay Paul Wilson views The Fall through a typographiuc lens and explores their visual identity as propelled and produced by Mark E. Smith. “Mark E. Smith’s handwriting became part of The Fall’s visual identity: a typographic signifier of and for The Fall. His attitude towards the development and articulation of a visual identity for The Fall, and in particular the use of his handwriting, reflects his position towards The Fall’s sonic identity. Further, his ambivalence towards contemporary technologies (of sound recording, communication and graphic design), together with his fascination with the idea of creative unwinding (or as he often calls it ‘unlearning’) continually relocates The Fall’s aesthetic tending towards an idealized primitivism.” This essay was first published in Mark E. Smith and The Fall: Art, Music and Politics (2010) published by Routledge. Edited, updated and represented March 2021.” (Publisher PR)

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120mm x 180mm, 36pp, saddle stitched with copper staples, green, brown and black risograph printing, various paper stocks, cream gloss hot foil cover detail, first edition of 300

"In this essay Paul Wilson views The Fall through a typographiuc lens and explores their visual identity as propelled and produced by Mark E. Smith. “Mark E. Smith’s handwriting became part of The Fall’s visual identity: a typographic signifier of and for The Fall. His attitude towards the development and articulation of a visual identity for The Fall, and in particular the use of his handwriting, reflects his position towards The Fall’s sonic identity. Further, his ambivalence towards contemporary technologies (of sound recording, communication and graphic design), together with his fascination with the idea of creative unwinding (or as he often calls it ‘unlearning’) continually relocates The Fall’s aesthetic tending towards an idealized primitivism.” This essay was first published in Mark E. Smith and The Fall: Art, Music and Politics (2010) published by Routledge. Edited, updated and represented March 2021.” (Publisher PR)