GREENING
Helen Marten
(front / back flaps)
JOY & HAPPINESS, FIDELITY & INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)
PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)
TRANSLATION AND A LIPOGRAM: OR, ON FORMS OF AGAIN-WRITING AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)
UNHOMING (1 of 4): FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)
SNOW WHITE AND THE WHITE OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)
ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)
LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)
TRANS.MISSION [A.DIALOGUE]: A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)
THE MECHANISATION OF ART
Edgar Wind (glosses / annotations / insertions by Natalie Ferris & Bryony Quinn)
(pp.137–144)
UNHOMING (2 of 4)
Phil Baber
(p.147)
COMMISSION FOR A NOIR MOVIE B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)
UNHOMING (3 of 4)
Phil Baber
(pp.150–162)
EVERY CONTACT LEAVES A TRACE; TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)
HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)
METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)
AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)
SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)
EVERY TELLING HAS A TALING / EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)
GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)
UNHOMING (4 of 4)
Phil Baber
(pp.257–263)
TUNNELLING AND AGGREGATING FOR DESIGN RESEARCH
Bryony Quinn (text) & Peter Nencini (images)
(pp.265–272)
LET IT PERCOLATE: A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)
VIA: 48 DANTE VARIATIONS (2000–2020) — A NEW INFERNO
Caroline Bergvall
(pp.284–287 & pp.1, 2, 3, 14, 20, 21, 22, 34, 48, 49, 50, 63, 64, 117, 118, 125, 126, 135, 136, 145, 146, 148, 149, 150, 158, 163, 164, 171, 172, 194, 195, 196, 202, 203, 208, 218, 219, 232, 233, 234, 255, 256, 264, 274, 281, 282, 283, 288)
MARIST: A NOTE ON THE TYPE
Seb McLauchlan
(insert)
TO SEE AND KNOW MORE
Maria Fusco
(insert & pp.6, 14, 32, 40, 50, 60, 80, 92, 106, 120, 134, 146, 156, 162, 174, 190, 196, 210, 216, 226, 232, 246, 268, 276)
