Bastard - work in progress

Time 2021-11-03 19:05:28

Web Name: Bastard - work in progress

WebSite: http://www.bastard-project.com

ID:221007

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BASTARD Choose my Identity

Tell me who I am and give me a face. In it you will find facets of me, but also see a reflection of yourself.

The idea behind BASTARD was to bring together photographers, writers, illustrators, graphic designers, musicians and typographers to create a solid and unique book that also functions as a work of art. The profoundly personal impressions of the authors and artists have become intertwined and their distinct and individual visions have served to shed light on our modern culture -- on daily life, on the themes of change and continuity, and on the pervasive branding that is all around us. We must define who we are, be able to form both national and personal identities for ourselves, and in this journey we may come to see that globalization is not a completely negative force. Instead, the trend and phenomenon of globalization offers us proof that we are living in an era as exciting as one could imagine.

What happens when all of the disparate places and faces of the world "shrink" into a global village? What happens when cultures begin to merge and traditions start to dissolve?

Searching to define cultural identity and cultural bastarding, Christian Ernst, Lars Harmsen and André Rösler traveled to various hot spots highlighting the globalization trend. Writers with personal histories of emigration contributed their stories and poems. This book has been published with more than 50 unique typefaces, which have been created by typographers from all over the word. An engaging musical soundtrack is also included, as well as 50 high-resolution images, which serve to visually and aurally complement the book’s ideas.

Fonts: We take a special interest in typography, and have discovered that there are less new fonts designed nowadays, but they still play a big role: sampling, crossing and mixing. They are a form of expression. New fonts have been created by several designers: Peter Brugger, Stefan Claudius, Escobas, René Verkaart, Sirkka Hammer, Martina Hartmann, Sandra Hofacker, Paul Hoppe, David Hubner, Boris Kahl, Matthias Kantereit, Ingo Krepinsky, Heinrich Lischka, Michel M., Thomas Mettendorf, Christoph Rankers, Dan Reynolds, Henry Roussier, Christoph Seiler
All of these fonts are available at volcano-type.de or on the DVD accompanying the book.

DVD: a DVD containing fonts, free pix 7 work in the administration and management departments, 2 in press and communications, 3 are in charge of the warehouse; there are also 8 sales agents and 3 people who run the RAS Gallery in 2000, a grant was awarded Mr. Csiba by the Robert-Bosch-Foundation for his radio play "Ich töte Mozart nicht."

SELECTED PUBLICATIONS: Gleichgewichtsstörung, stories, Tübingen, 1995; Durch das Flugloch der Bleistiftspitze, poems, 1998; Das Lachen der Fische, poems, 2003; ich liebe zu frühstücken, poems, 2004

RADEK KNAPP

Born in Warsaw, Poland in 1964

Radek Knapp grew up with his grandparents in the Polish countryside. In 1976, he moved to Vienna to live with his mother. There, he began to study philosophy and write stories, while working various odd jobs to get by. In 1992, Mr. Knapp was awarded the Nachwuchsstipendium für Literatur awarded by the Bundesministerium für Unterricht und Kunst. In 1993, he won the Würdigungspreis awarded by the city of Vienna, and in 1999/2000 he received a Projektstipendium für Literatur awarded by the BKA. In 1994, he received the Aspekte-Literaturpreis for his pastoral-grotesque tales, entitled Franio, a collection of stories set in the Polish countryside. In 2001, Mr. Knapp was awarded the Adelbert-von-Chamisso-Förderpreis.
SELECTED PUBLICATIONS: Ein Bericht, stories, 1989; Franio, stories, 1996; Herrn Kukas 
Empfehlungen, novel, 1999; Papiertiger, Eine Geschichte in fünf Episoden, 2003; Gebrauchsanweisung für Polen, 2005

SUDABEH MOHAFEZ

Born in Teheran, Iran in 1963

Since 1979, Sudabeh Mohafez has been based in Berlin. She has studied music, English literature and pedagogy, and has been a part of several non-governmental organizations 
doing work in migration and violence prevention issues. She now lives and works as a freelance author in Germany and Portugal. For the novel Gespräch in Meeresnähe, 
Mohafez received a grant awarded by the Berliner Senatsverwaltung für Wissenschaft, Forschung und Kultur, and in 2006, she received the Adelbert-von-Chamisso-Förderpreis for her collection of stories entitled Wüstenhimmel, Sternenland.
SELECTED PUBLICATIONS: Wüstenhimmel, Sternenland, stories 2004; Gespräch in Meeresnähe, novel 2005; Gästezimmer, novel included in: Entwürfe Nr. 43, 2005 www.sudabehmohafez.de

JOSÉ F.A. OLIVER

Born in Hausach (the Black Forest), Germany in 1961

José F.A. Oliver is the child of Andalusian working migrants. He studied Romance languages, Germanics and philosophy at the University Freiburg, and began writing both poetry and short prose texts in German, as well as Spanish at a very early age. From 1988 to 1997, he was awarded several grants. In 1997, he was awarded the Adelbert-von-Chamisso-Preis for all of his literary work to date. In 2001, Oliver was Stadtschreiber (poeta laureatus) for the city of Dresden, and in 2004, he was the Stadtschreiber for Cairo, participating in the midad-project which was organized by the Goethe-Institute. In 2002, he was guest professor and writer-in-residence at the Massachusetts Institute of Technology in Cambridge, USA.

SELECTED PUBLICATIONS: Weil ich dieses Land liebe, poems, 1991; Austernfischer Marinero Vogelfrau, 1997; Fernlautmetz, poems, 2000; nachtrandspuren, poems, 2002; finnischer wintervorrat, poems, 2005.

www.suhrkamp.de

SELIM ÖZDOGAN

Born in Cologne, Germany in 1971

Selim Özdogan is a German author with Turkish roots. He grew up speaking both Turkish and German in Cologne. After earning his Abitur, he studied ethnology, English literature and philosophy without earning a degree. Mr. Özdogan works as a newspaper and magazine writer. His first novel was published in 1995. In 1996, Özdogan was awarded the i>Förderpreis des Landes Nordrhein-Westfalen in the category Young Artist/Poet/Author. In 1999, he received the Adelbert-von-Chamisso-Förderpreis awarded by the Robert Bosch Foundation.

SELECTED PUBLICATIONS: Es ist so einsam im Sattel, seit das Pferd tot ist, novel 1995; Ein gutes Leben ist die beste Rache, stories 1998; Ein Spiel, das die Götter sich leisten, 2002; Trinkgeld vom Schicksal, 2003; Die Tochter des Schmieds, novel 2005

www.selimoezdogan.de

ILIJA MARINOW TROJANOW

Born in Sofia, Bulgaria in 1965

Ilija Trojanow was granted political asylum in Germany in 1971 after his family fled to Italy through Yugoslavia. From 1972, he lived in Kenya for several years, attending a local German school. After earning his Abitur, he studied law and ethnology in Munich and began taking journalistic assignments. In 1998, he moved to Bombay, India and has since then worked mainly as a journalist and translator in that city. In addition to numerous grants, Trojanow has been honored with many prizes, amongst them the Bertelsmann-Literaturpreis in 1995, the Literaturpreis der Stadt Marburg in 1996, the Viktor-von-Scheffel-Preis in 1997, and the Adelbert-von-Chamisso-Preis in 2000.

SELECTED PUBLICATIONS: Die Welt ist groß und Rettung lauert überall, novel, 1999; Der Sadhu an der Teufelswand, eye-witness accounts, 2002; An den inneren Ufern Indiens, a travel account, 2003; Zu den heiligen Quellen des Islam, a pilgrimage, 2004

RÜDIGER JOHN

Artist, Austrian, born in Germany in 1971

Ruediger John creates situative, installative, interventionistic, research- and publication-oriented works and exhibitions, as well as definitoric and practical works on Artistic Research and Systemic Art. He has been invited to participate in numerous events, exhibitions and panel discussions. Since 1995, he also works artistically as Critical Aesthetic Coach and Consultant. Since 2000, he has held several teaching positions. He is the founder of the Gesellschaft für kritische Ästhetik (Society of Critical Aesthetics).

SELECTED PUBLICATIONS: Erweiterte Erkenntnisfähigkeit durch kulturelle Kontextualisierung, 2005; Objekt Subjekt Prädikat, 2005; TRANSFER: Kunst Wirtschaft Wissenschaft, 2003; Die Akademie ist keine Akademie, 1999; Scrapbook 1995-1998, 1998; short essays and narrative fragments, 1997; Central Park 1 AM, 1994; book - an object oriented definition of an infrastructure, 1991

www.artrelated.net

GUNILLA ZEDIGH Translation

INTERVIEW WITH THE DESIGNERS -- "IT DOESN’T END WITH THIS BOOK"

Sigrid Frank-Eßlinger: Three of you, André, Christian and Lars, traveled around the world to make this book: the BASTARD book. You started in Frankfurt and traveled to Mexico City, Los Angeles, Tokyo, Hong Kong, Bangkok, Dubai and back. Why 21 days? And why these cities?

Christian Ernst: Usually, we all do commercial work to earn a living, and that’s why we decided to devote 21 days to a topic of our choice. Not with the goal to complete something in particular, but rather simply with the desire to search for something. 21 days without an assignment, without the family. Artist for 21 days! It may not sound like a long time, but it really is. For me, it was a luxury. That’s when it occurred to us that we could travel around the world. But not because we wanted to visit these cities in particular. There are at least 20 other cities that are just as important to me.

Lars Harmsen: The BASTARD project is a follow-up to the VERSUS book, which Uli, Christian and I collaborated on. It’s an extension of our font and typography work. We’ve started having a greater interest in bastarding fonts.

André Rösler: The important thing is that we never said: Let’s take a trip and write a book about it. Lars first came up with the idea to BASTARD, and then we started thinking about how we could artistically realize the project.

Christian Ernst: We thought things over for three weeks, and then we planned the trip.

Ulrich Weiß: Part of the concept was that we’d only be able to stay on the surface of things this way. But facades are extremely honest and good representations of society.

André Rösler: Yes, and speed is also an extremely important aspect, which the BASTARD concept addresses. Of course, speed is normal in our world, but it hasn’t been as global, as fast and as forceful in the past as it is today. Since we traveled to so many cities within only three weeks, we quasi forced speed upon our very own bodies. And we wanted to see just how our perception of things would change when we were subjected to constant activity, change and jetlag. That was our experiment.

Sigrid Frank-Eßlinger: In other words, the fact that you only had 21 days to travel around the world didn’t really posit a problem, because time and speed were a part of the concept?

Christian Ernst: I constantly had the feeling that I wasn’t able to take in as much as I wanted to; everything just moved too fast. My perceptions of the individual cities became blurred and constantly shifted. And yet, I never got the feeling that if I’d stayed two or three more days in one place, it would have changed anything. We would hardly make it to the next flight, and there was the next city pushing us on.

Lars Harmsen: 21 days to go around the world mirrors what the Internet is all about. You sit down in front of your computer, send an e-mail clear across the globe and a few minutes later you’ve already got a reply. We moved with the same speed and subjected ourselves to the very same forces which urge on globalization.

Ulrich Weiß: High speeds and networks were two themes you explored on this trip. The effect it had on your bodies was a part of the experiment. You didn’t know beforehand if it would really work, if you would get something out of the experience, if you would actually make it. I mean there was always the possibility that you’d keel over after 12 days.

André Rösler: We visited the cities as if we were flipping through foreign design books, or web pages. You don’t know who the designer is, where he or she lives, what he or she does. But that isn’t what’s essential right then and there, because you’re looking directly at what the designer is doing.

Christian Ernst: We couldn’t predict in advance what would happen. During the trip, we actually just collected material, and it was first later that we really started working. We were absolutely drained afterward, but we had photographs, tape recordings and drawings to take home with us. And lots of memories. We met people on our journey, talked with them at length and got to know them. And just as we had taken them into our hearts, we had to go. I’ll never forget Mexico City, where André and Lars talked with ten typographers for hours about typography and drawing. That wasn’t an experience you could call superficial! If it were, then we would’ve been nothing more that voyeurs running through one city after another.

André Rösler: Yes, that’s right, but, at the same time, we never did anything as a kind of study.

Christian Ernst: No, we didn’t want to travel around feeling like we were doing research. Maybe, in an artistic vein, but, basically, we just wanted to perceive things.

André Rösler: Yes, perceive is a better word.

Sigrid Frank-Eßlinger: You wanted to feel and perceive globalization. And what was it like? What did you feel? What did you experience?

Christian Ernst: I can’t say what the best or most important experiences were. Our work and the book are meant to show that process. We were in motion, and we’re still in motion.

Ulrich Weiß: The process doesn’t just end; it doesn’t end with this book.

Christian Ernst: (laughing) And in the end, there will be a twelve-volume BASTARD Encyclopedia. This is only volume one.

Lars Harmsen: Before we left on our trip, we contacted people we didn’t know. And all of our encounters with them ended up being extremely intense, friendly and enjoyable. We never had the feeling that we were tourists. We felt that we belonged and were amongst colleagues. We met people whose brains tick like ours. And because of that, we always felt comfortable immediately, although we were in a foreign setting. That’s something that made a big impression on me. I never felt like I was a tourist.

Christian Ernst: Yes, and it was also nice to feel that the people we met thought it was special to meet us, too. Globalization or no globalization. And the fact that it’s possible to meet colleagues in Mexico City or Hong Kong without having some big contract deal in one’s suitcase was also something that amazed me. I mean, they were taking time out of their busy lives for us.

André Rösler: What I won’t forget is the way I perceived the individual cities. It’s different when you set off from home to travel to one particular place than it is to fly from one foreign place to the next. It completely 
changes your way of perceiving things. When you visit four, five, or six cities in a row, you perceive them differently than you would if you were flying from your hometown directly to, say, Tokyo. It made me more sensitive to the cities and the people. I suddenly started making completely different comparisons. I asked myself how the people were in one place compared to another. And the effect of this: being able to make direct comparisons was something I had never thought of before. And by meeting with so many different designers, we also noticed with what full force globalization has hit this branch. Someone shows you a pocket book with Mexican ornamental art in Mexico, and then you discover the exact same book in Hong Kong and Tokyo at the design shops. That’s when you notice that our brains think alike. That’s globalization. That’s bastarding. The same plastic figures, the same office interiors, the same hand bags. It was the same across-the-board, and this really surprised me.
Lars Harmsen: (smiling) Did you think everyone else was drawing stick figures in the sand with little pieces of wood and calling it design?

André Rösler: No, no, that’s not what I mean. I’m just saying that their work could have been much more influenced by their cultural surroundings.

Christian Ernst: You could interpret that in a negative sense, of course: that everything is the same. But when you meet people you notice the diversity of cultures. Everyone is afraid of standardization. When everyone has the same design books does that mean young designers everywhere will use the same design? No – people are individual and influenced in different ways. They’re simply different, and that was definitely a relief to discover!

Sigrid Frank-Eßlinger: Now you’re back. Did the trip change you? Did it change your work? What have you gained from the experience?

André Rösler: After the trip, I thought a lot about what I do compared to all the people we met. And I’m impressed that everything we collected on the trip is really consistent: due to the fact that we shared the same experiences. Also the work we did at the very beginning. I was afraid that certain things would fall by the wayside, that they wouldn’t fit into the context. But now, suddenly, everything has fallen into place. Probably, because the foundation of our work, design-wise, is the same.

Christian Ernst: I started out sorting through and choosing pictures from the masses of photos we had collected, trying to get an idea of what we’d done during the three weeks. First now, just like André, I’ve reached the point where I feel that our work has started coming together to create a whole. But other than that: my freelance work hasn’t changed at all; it’s completely separate from the BASTARD project. But having worked together with colleagues on this project has, of course, influenced me and changed me personally. It’s been an extremely good feeling, to work in a team that is getting something put together. This wasn’t something I was aware of right away; it became more and more obvious as time went by.

Lars Harmsen: I noticed just how small Karlsruhe is. And that traveling, going out into the world, is, for me, the only way that I can be content within the small cosmos I call my home. I have to bring the world to me, in order to feel gratified. If I were to live in a city like Hong Kong, I’d probably go to the desert, or go sit on top of a mountain. It was a real necessity for me to leave the small, safe little world in which I live. And our trip was totally able to achieve this. As far as my work is concerned, it gave important impulses. I noticed that radical changes in my environment stimulate my development within graphic art and help me reach new levels of quality. This project definitely did that. Simply because I observed, worked, was involved in discussions and was a part of a team. And as a designer, I learned a lot. I’ve experienced new things and broadened my mind, and I’ll be able to pass that on to my customers. And it’s nice that friendships have developed, and that some of us are now working on other projects with people we met. It’s great that team work with so many different kinds of people can actually work. Up until now, I’ve never worked on an interdisciplinary project like this one before, which combines illustration, photography, typography and graphic design. It was an experiment, and at the beginning no one really knew if it would work. If we’d be able to put it all together and create one homogenous work. If it did work, that’s not for us to judge. But as far as we’re concerned, this project was a totally new and thrilling experience.

In Progress

19/05/2010

More Images on Flickr

Want to see more impressions from the dakar exposition in Dakar? Click here!

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09/05/2010

Vernissage Bastard-Project at Goethe Institut Dakar

Happy to open the exposition...
Vielen Dank, lieber Uwe, Norbert, Fatou und das gesamte Goethe-Team! Merci!!!

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08/05/2010

Impressions from Dakar
Preparing the expostion

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03/05/2010

DakArt Off: „Bastard - Choose my identity“
Dakar, Senegal, Vernissage 8.5.2010

After a long break we´re on the road again. The Goethe-Institut Dakar in Senegal invited us to work there and present our work. The exposition takes place during the Dak´Art.

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05/03/2009

Erectile - the new Bastard Project
Pictopia, Berlin, 19-21 march

CHARACTER SHOOTING GALLERY
Der Character Rummelplatz ist eröffnet. Das Bastard-Project läd zur shooting gallery. Eine
kleine Horde jungfräulich weißer Charakters wartet sehnsüchtig auf ihre Initiation. Spürt die
Energie des surreal farbenfrohen Rituals und werdet Teil der Paintball Finissage

http://pictopia.festival.pictoplasma.com/

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11/04/2008

Art Bastard
Urban Contemporary Art culture, presenting a selection of artists from all over the world. The site lead their readers to events, galleries and present all kind of brilliant researched informations about and around art.

They present our book and made a nice portrait of sunny andré.

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14/02/2008

Typo-images of the Exposition

As usual: once the party is over you feel so tired. But happy, because it was nice to see all those people. Here a fiew images showing the typo-work of this event. More images to follow soon.

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22/01/2008

Making Of
Bastard Exposition

Bastard photographer Christian is proud of his new phone, making pictures from everything and everywhere. Catch a glimpse of the preparation for our exposition and party...See you in two days!

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14/12/2007

EXPOSITION + PARTY
24 / 26 / 27 Januar, Fleischmarkthalle Karlsruhe

THE BASTARD EXHIBITION AND PARTY

DO 24. Jan 2008, 18:00
VIP OPENING EVENT: only for special guests

SA 26. Jan 2008, 21:00 PARTY
Âme / feat. F. Wiedemann (Innervision Records)
Shahrokh (Compost Records / Blacklabel)
Djuma soundsystem (Get Physical Music / Berlin)
10,- € / students 8,- €

SUN 27. Jan 2008, 15:00-18:00
Finissage with Glühwein

Fleischmarkthalle Schlachthof Karlsruhe, Durlacher Allee 62
This Event is proudly supported by: PTV AG and Finest/Magma BRAND DESIGN

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06/12/2007

Leonora

Leonora Oppenheim once worked in Barcelona, now she is back in London. We met here during our exposition last year in Barcelona at the Ras Gallery (she helped us to set up the exposition). Now she writes for Cool Hunting. Thanx for presenting André´s work in Paris!

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03/12/2007

André goes Paris
Illustrative Paris, 29.11.-9.12.2007

André is not getting tired of travelling around the world and painting walls in galleries. Just one week after Dortmund he rushed to Paris for an exhibition with Illustrative Paris from 29.11. - 9.12.2007 in Espace Commines, 17 rue Commines, 75003 Paris

Mehr Infos hier

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26/11/2007

Impressions from Focus Award
Dortmund

We just came back from our weekend in Dortmund where we presented our work during the FOCUS AWARD (See also Slanted).
The students of the Design School Dortmund made a great job. Excellent organisation, perfect accomodation, interesting line-up, great audience, good vibes. The blue containers where amazing! We loved the typographic work on the posters and catalogues. Thank you!

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23/11/2007

Maria Guseva
krasnodar / russia

We just got thes images from Maria, born in Novokorsunskoj / Titnascherski. 2006 she won the epson artphoto contest and 2007 the large price of student spring at the kuban. She will work on the krasnodar student project with Bastard-fotograf Ch. Ernst.

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19/11/2007

BASTARD goes PTV AG
New Exposition in the main Building of PTV AG Karlsruhe

From 15 of November till beginning of next year a part of the work of Bastard-Project is shown in the main building of PTV AG in Karslruhe, Stumpfstr. 1
This is part of a pre-show. The main exposition (beeing announced soon) will open on 24th and 26th of January 2008 in the old slaughterhouse of Karlsruhe (a beautiful place that has been changed to a music/exposition space during the last few weeks).

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19/11/2007

Chrisitan Ernst goes Krasnodar
Student Project

A couple of days ago Bastard Photograph Ch. Ernst Kurti came back from Offerta (a local Fair about products of the region) with a bunch of pictures taken at the both of Krasnodar (the twin-city of Karlsruhe). In 2008 he would like to invite a few students to come here and work with him, in return he will visit Krasondar and give lectures at the Art School. Nice new project.

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15/11/2007

Focus Award 2007
FH Dortmund 21.11-25.11.2007

We are invited to present our Work during the FOCUS AWARD in Dortmund. Our lecture is at 18:30. A lot of great Speakers will be there. See the listing here.

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11/07/2007

Kampfabsage
New Book by Ilija Trojanow, Ranjit Hoskote

Bastard author Ilija Trojanow wrote a new book subtitled Kulturen bekämpfen sich nicht, sie fließen zusammen: Cultures don´t fight each other, they melt together.

Ranjit writes for The Bombay Times and The Hindu. He is poet and secretary of the indian PEN.

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06/06/2007

Pix from André
Designcenter Stilwerk

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01/06/2007

Typo Berlin, 18-20th of May
Instant Gallery on tour

Time is running. We will try to upload a bunch of images from our road-trip to berlin in the upcoming days.

We drove up to Berlin with our caravan tuesday 15 th of mai, arrived at typoBerlin on thursday and stayed till sunday. Our lecture on friday showed images we took on our way to Berlin, a kind of experimental road show. On stage where also DJ Frank Wiedemann (Âme) and Sudabeh Mohafez.

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01/06/2007

The Artists of "Illustrative" in Berlin
Designcenter Stilwerk

The Exposition "Die Künstler der Illustrative" will show works from: Mario Wagner (D), Rusell Cobb (UK), Lars Henkel (D), Vania Zouravlev (RU), Andre Rösler (D), Pierre Le Gonidec (F), Tim Dinter (D), Louise Weir (UK), David Foldvari (UK), Jan Feindt (D), Roman Bittner (D), Finn Campbell-Notman (UK).

location: Designcenter Stilwerk, Kantstr. 17, 10623 Berlin
Open: 1.- 30. June 2007, every day from 9:00 - 20.00

Opening: 8. June 2007, 19.00

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07/05/2007

translations 02
Pix from Mainz

It was absolutely great to be there. The folks from FH-Mainz made a great job: perfectly organised, fantastic party location, brilliant speakers... our lecture seemed to be one of the highlights.

More pix also on our flickr space.
See also tdc/slanted.

see you in berlin!

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26/04/2007

Bastard-Project Playlists
Magazine und deren Designs folgen bestimmten modischen Codes. Die visuellen Moden können sicherlich mit den musikalischen Moden der letzten Jahre verglichen werden. Die meisten Grafik- und auch Typedesigner verorten sich ja mit ihrer Arbeit und ihrem Musikgeschmack in den verschiedenen zeitgenössischen Feldern – Typografie, Magazine, Playlists.

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The book

BY: Christian Ernst, Lars Harmsen,
André Rösler, Ulrich Weiss

AUTHORS: László Csiba, Radek Knapp,
Sudabeh Mohafez, José F.A. Oliver,
Selim Özdogan, Ilija Marinow Trojanow.

396 pages, full colour, hardcover
195 x 235 mm
CDR with 50 Fonts free for layout,
50 HighRes Pix, bonus music tracks

Price: 35 Euro
ISBN: 84-96540-15-4

SEE / BUY

Links Christian Ernst André Rösler volcano-type slanted Sudabeh Mohafez Support Canon Eastpak Fliegen24.com HP Leica ptv ppl top

If you are interested in supporting this international project, feel free to join us!

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Credits The entire Actar team for believing in us, giving us hope, and having faith in our work. Special thanks to: Anna, Ramon, 
Dolors – we love you! Thank you for believing in us! All the authors for giving this project depth: László Csiba, 
Radek Knapp, Sudabeh Mohafez, José F.A. Oliver, Selim Özdogan, Ilija Marinow Trojanow. All the font-designers who 
contributed: Peter Brugger, Stefan Claudius, Escobas, René Verkaart,Sirkka Hammer, Martina Hartmann, Sandra Hofacker, 
Paul Hoppe, David Hubner, Boris Kahl, Matthias Kantereit, Ingo Krepinsky, Heinrich Lischka, Michel M., Thomas Mettendorf, Christoph Rankers, Dan Reynolds, Henry Roussier, Christoph Seiler. All the MAGMA team Sandra Augstein, Daniela Stulic, Sabine Reckwell, Susanne Schwarz, Monika Frondorf, Thomas Mettendorf, Christoph Seiler, Boris Kahl, Flo Gaertner: for helping us get this project up and running. Andreas “AL” Lehnert, www.lunatic-media.de: for being mister music, always pushing the buttons. Andreas 
Hirsch, Hirschreisen. Anna Tetas, Actar: you’ve done a great job! Benni Schmidt-Hansberg for linking us up with Peter in MXC, you rule, man! Boris Kahl, Magma for nice font designs and lots of love and patience with Lars and Uli. CHR15 for being strict, direct and severe. Corinne and Tom Barbereau love for letting us go. Tom, this book shows your future. Dee / munit.org for all sound specialist expertise. Diki Hertel for helping us in L.A. Diya Ajit for all the lovely e-mails and great design, next time we really must meet! Dr. Latex (p. 341): for opening up your home and 
office to us and showing us your work. Escobas (p. 342): for being a wrestling fan, party man, font designer. Fakir/Javo 
(p. 341) you rock! Great work, we love you and your friends! Thanx for linking us up to Complot! Frank W. Albers, Robert Bosch Stiftung for linking us up with the authors. Gunilla Zedigh for all fine translation work. Jakob (p. 370), Cyclos Mesanjeros Crazy Dansk Torero. John Wu (p. 360): VJ, designer, master of speed, Hong Kong will see us again because of you! Jörg Lesser, Reisebüro Lesser Mister 1000 volt-flight-checker. Thanks for organizing our trip! Jürgen Siebert, Fontshop for the wonderful portrait of your 10 year old daughter Marie Fischer, originaly digitalised by Kai Vermehr (2004, eBoy) – p. 162. Katrin Ernst, Gloria Ernst (p. 188) wife, mother, beloved, for letting us go. Kristina Stifter for having 
faith in us, trusting in us for so many years. Thank you so much! Leica: support (Leica CM). Lutz Frischmann Freelens. Maria Palatini for proofreading the English. Marika Jox sun, light and fruit tea. Martin Wrede our man in Berlin. Martina Hartmann for your illustration p. 160. Stay tuned! Martina Weber for all your thoughts and constructive criticism. Matthias von der Ahe photo mac power! Michael Schmidt, Starshot for linking us up with Eastpak. Natalie Ouard, Emirate Airlines (p. 164) for opening up your home to us in Dubai. We loved your place! Great pool! Nobuhiro Sonoda next time you’ll be in Tokyo, we hope! Peter Kienzle for good connections & English. Peter Aagaard (p. 370), Cyclos Mesanjeros for helping us in Mexico City. PTV AG for supporting this project. Ralf Stockhoff pope of photobacks! Ramon Prat, Actar we love your books! Recep and Holger driving staff & airport-service. Fixie Inc rocks! Renko Heuer who knows everybody! Rieke 
Harmsen, EPV for finding the authors for us, and having great ideas. Rüdiger John for writing theory, asking strange questions and making us argue. Sabine Weinbrecht, Lara & Lazlo Weiß wife, daughter and son: look at this great book! Sandra Looke for giving me a small Leica. Sigrid Frank-Eßlinger for reading, providing food for thought, lots of help and a fresh pair of eyes. Sigrid Ingenohl for linking us up with Andreas Hirsch. Yes, the world is out there! Stefan G. Bucher, (p. 353) 344design.com for showing us the Pasadena Art College. We love your design (p. 175). Tanja, EastPak for providing us perfect Eastpak travel bags. Taro Hirano (p. 370) for showing us his small studio in Japan (f*** hard to find 
you!). Thomas Mettendorf, Magma for the wonderful font Copy and many good ideas. Tinka Heeckt (p. 70, 359) crazy 
power girl in Hong Kong. You and your friends are great (p. 371)! Top Ev. Berlin:Thank you! Will Matthews Toys and Towers.

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