"Dot Dot Dot" is not your father's design magazine -- a high-gloss tombstone with decontextualized, overproduced work by the "usual suspects." Instead, what you'll find is a groundbreaking journal that fills a longstanding gap in graphic arts publishing: a venue for creative, interdisciplinary journalism on subjects that affect the way we think about and make design. We're proud to add it to our growing catalog of books and journals. For each issue, "Dot Dot Dot" invites a multidiscipllinary group of contributors to both ...
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"Dot Dot Dot" is not your father's design magazine -- a high-gloss tombstone with decontextualized, overproduced work by the "usual suspects." Instead, what you'll find is a groundbreaking journal that fills a longstanding gap in graphic arts publishing: a venue for creative, interdisciplinary journalism on subjects that affect the way we think about and make design. We're proud to add it to our growing catalog of books and journals. For each issue, "Dot Dot Dot" invites a multidiscipllinary group of contributors to both write and design pieces about the past, present, and future of visual culture. Smart, passionate, and imaginatively designed, "Dot Dot Dot" is for graphic designers and anyone interested in the creative practice of the visual arts. Issue 7 includes "The Problem with Posters" by Rob Giampietro, "Mexico 1968/Rotterdam 2003" by Peter Bilak, "'Landy's (Failed) Gesture' and the General Intellect" by J.J. King, "The Every Day Story of Flesh-Eating, Blood-Sucking Freaks" by Steve Rushton (with John Russell), "Eno and the Long Now" by Michael Bracewell (with Brian Eno and Lucy McKenzie), and "Writing on Money" by Paul Elliman, among others.
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