Counter-Signals is a periodically produced journal addressing, in variable iterations, convergent aspects of design, media, and politics.
The first issue — Militant Print / A Form Oriented to Its Own Circulation — documents and theorizes forms of militant aesthetics in the history of self-organized print publishing … among other things. The issue includes contributions from Mladen Dolar, Katharina Stadler, Thomas Fisher, Emma Holmes, Danielle Aubert, Mary Ikoniadou, T’ai Smith, Lucy Mulroney, Eirik Steinhoff, Nasrin Himada and Denise Ferreira da Silva, Léo Favier, Nicolás Pradilla, Alan Smart, Nasrin Tabatabai and Babak Afrassiabi, Josh Macphee, and Lewis Mumford.
Softcover, 184 pages, offset BW, 6.5 inches x 9.25 inches, Other Forms, Fall 2016/Winter 2017.
Edition of 750
The second issue — Hieroglyphs of the anti-commodity — documents and theorizes forms of militant aesthetics in the histories of art, labor, and typography, among other things. The issue includes contributions from Alan Moore, Chris Reeves, Lucy Mulroney, T’ai Smith, Lisa Vinebaum, Eirik Steinhoff, Nane Diehl, Jennifer Scappettone, Francesco Marullo, John A. Tyson, David Bennewith, Charlotte Taillet and Joel Colover, Josh MacPhee, Christopher Burke, Chris Lee, Tom Fisher, Alexander Negrelli, Nellie Kluz, Juliette Cezzar, TXT-books, and Bertolt Brecht.
Edited by Jack Henrie Fisher. Printed by Kopa, LT.
Softcover, 184 pages, offset BW, 6.5 inches x 9.25 inches, Other Forms, Fall 2017/Winter 2018.
Edition of 500.
The third issue — (All the Way) Down With Platforms — jumps off from contemporary theorizations of “platform capitalism” to consider a collection of projects and discourses engaged with a broadly defined array of framing and support structures, whether material, institutional, or conceptual. Following trajectories from the first two issues, number three stages a new set of materialist séances — with readings not only of printed texts from a communist genealogy that includes William Morris, Marx and Engels, and the Black and Red Gang (oh yeah and Mallarmé and Broodthaers) — but also of events: the student occupation of Froebel high school in Chicago 1972, Brussel’s Worlds Fair 1958, the burning of Grenfell tower in 2016, and the planned demolition of Robin Hood Gardens.
These readings aspire to theorize a political horizon for design that is articulated by the medium-specific aesthetics of capitalism as well as by the emergence of new fields of class conflict in information economies. The issue is framed both by a short intervention by Alan Smart on the stacking turtles of our contemporary platforms, along with a re-presentation of McKenzie Wark’s two-part essay on the “Vectoralist Class.”
The texts and images assembled in this issue span a range of discourses from political activism to design and art to poetry to architecture to historical scholarship. Counter-Signals #3 includes contributions from Brian Ang, Danielle Aubert, Hannah Bruckmüller, Experimental Jetset, Tom Fisher, Dominique Hurth, John Komurki, Nicole Marroquin, Leah Pires, Library Stack, Simon Sadler, Heath Schultz, Andrew Shurtz, Nicholas Thoburn, McKenzie Wark, and Michelle Weinroth.
Edited by Alan Smart and Jack Henrie Fisher. Printed by Kopa, LT.
Softcover, 256 pages, offset BW, 6.5 inches x 9.25 inches, Other Forms, Fall 2018/Winter 2019.
Edition of 500