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INFERNAL DOMESTIC: HR GIGER BY CAMILLE VIVIER

HR Giger (1940–2014) is best known for the nightmarish creatures and environments of 1979’s Alien, and more broadly for his transgressive (yet deeply stylized and stylish) paintings on broadly “biomechanical” themes. Much of Giger’s work, which in addition to the paintings and drawings for which he was best known included sculpture, industrial art, and even furniture, was created in his Zurich home studio, which he transformed over the decades into a real-world embodiment of his aesthetic.

John Peck
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OHRAI NORIYOSHI: GREEN UNIVERSE

Noriyoshi Ohrai (1935-2015) was a Japanese poster artist and illustrator known for his vivid work that elevated mainstream sci-fi and action tropes into hallucinatory, richly detailed compositions. In addition to his well-known posters for Star Wars and Godzilla, he created promotional artwork for thousands of films from Japan and around the world.

John Peck
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INVENTING GREENLAND

WITH A TOTAL population of 56,000 spread across a landmass twice the size of all other Nordic countries combined, Greenland’s overall density hovers at just over zero. The precursors to Greenland’s modern-day inhabitants were settlers both indigenous and European, dating back millennia and including the Saqqaq, Independence I-II, and Dorset cultures, as well as the Greenlandic Vikings who settled in the far south in 982 (led by Erik the Red). All these prior cultures and settlements, however, disappeared, leaving only archaeological records.

John Peck
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ROBOTIC LANDSCAPES: DESIGNING THE UNFINISHED

AT OUR CURRENT moment in third decade of the 21st century, the relationship between technology and conservation could generously be described as uneasy: decades of greenwashing have seen the goodwill behind formerly sound words like “eco”, “organic”, and “autonomous” erode like so much sand. Current technological advances, from electric / autonomous vehicles to drones to the self-perpetuating slurry of metaverse and NFT content, pay occasional lip service to the impending wave of climate catastrophes, while rarely working to counteract it, and in some cases even accelerating it.

John Peck
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JUNKSPACE IN PASTEL: GEORGE BYRNE’S “POST TRUTH”

ORIGINALLY HAILING FROM Sydney, Australia, photographer George Byrne traveled extensively before finally settling in Los Angeles. The city became both his home and his subject (to the point of near-exclusivity, with rare exceptions made for Miami), and over the past decade he has developed a distinctive style and method, in which he digitally edits, alters, and blends photos into seamless, uncanny portmanteaus. The end result is a dreamlike series of bright, colorful locales that do not quite exist in the real world, appearing temporarily abandoned or forgotten, equal parts idyllic and abject.

John Peck
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INTERVIEW: JAMES J. CONWAY OF RIXDORF EDITIONS

FOUNDED IN BERLIN in 2017, Rixdorf Editions is an independent press dedicated to publishing neglected German texts of the late 19th and early 20th century in new English translations. In focusing on previously untranslated works of the pre-Weimar “Wilhelmine” era, the press sheds light on a literary era that is often overlooked, despite having produced writing as startlingly creative and groundbreaking – if not more so – than the more famous movements that would follow.

John Peck
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TOSHI OMAGARI DISCUSSES “ARCADE GAME TYPOGRAPHY”

IN-GAME TYPOGRAPHY of the arcade age played a role similar to that of neon signs in decades prior: to grab the attention of passersby, define brands and products, and above all make a unique aesthetic statement within the limits of its technology. Arcade games had to not only stand out in dark rooms and corridors, they had to compete side-by-side against other games, and along with eye-catching cabinet designs and sound blaring through speakers, a game’s onscreen display – called “attract mode” – was its primary means of drawing in paying customers. Typography played an essential role in drawing in players and convincing them to spend that first quarter – and after they had done so, in displaying essential information, providing encouragement, and keeping score. For those with enough skills, the experience of entering one’s initials on a semi-permanent High Score screen provided the ultimate type-based endorphin rush.

John Peck
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ARCHITECTURAL GUIDE: MOON

ARCHITECTURAL GUIDE: MOON, published to broadly coincide with the 50th anniversary of the first manned lunar mission, is a fascinating hybrid of various types of reference guide. From its first pages, the book fully commits to addressing the contradiction contained in its title: namely, how can one discuss the “architecture” of a place that is not just currently uninhabited, but could remain so indefinitely? While other entries in DOM’s Architectural Guide series are organized by region, the Moon guide is, understandably, instead chronological – after all, with most existing structures on the Moon having been built with little to no idea where they would eventually end up, the book can be forgiven for suspending the idea of architecture as a site-specific practice in this case.

John Peck
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