Reading List

DateMain TopicLink
2020 DecemberModern, Postmodern, Metamodernhere


Modernity (Modern, Postmodern, Metamodern)


Sergei Eisenstein

New Media

Film as Art

Personal Experiments

Moving Image


Seeable and Sayable series



Johanna Drucker

Drucker, J. (2010) ‘Graphesis: Visual Knowledge Production and Representation’, Poetess Archive Journal, 2(1), p. 50.

The presentation of dense amount of data could interrupt fact. I believe synthetically analysed and objectively approached visual image, is a great tool for efficient and effective presentation of the fact. Drucker said graphics operates as an economical tool in an immediately legible form to interpret complex relations (Drucker, 2010). But he also mentioned interpretation of graphics are often governed by statistical disciplines in lack expertise. In many years, people has used symbols and images to represent the information. Graphic images, such as symbols or signs, are formed and made to serve the science graphical properties (Drucker, 2010). Now, visual images are also considered as practical uses in ordinary life, such as emoji. Consequently, false representation of the story has been increasingly spread out and easily made false new visual images. Many people receive the information without examination. I believe designer should concerns how to read conventional indication and what to produce based on humanities concerns and statistical methods, to deliver precise systematization of the data and avoid make a new story.

Holl, D.K.

  • Holl, D.K. (1995) Looking closer 3: Critical writings on graphic design. Edited by Michael Bierut, William Drenttel, Steven Heller, and Bill Drenttel. Saint Paul, MN: Distributor, Consortium Book Sales & Distribution.
  • Roberts, L. (1990) Eye magazine. Available at:­good1 (Accessed: 22 January 2017).

Michael Rock

  • Rock, M. (2013). Multiple signatures. 1st ed. New York: Rizzoli. Available at: http://2×­as­author/.
  • Rock, M. (1994) ‘Can design be socially responsible?’, in Bierut, M. (ed.) Looking closer : Critical Writings on Graphic Design. New York : Allworth Press: Distributor, Consortium Book Sales & Distribution, pp. 191–193.

Hurwit, J. (n.d.). Artists and signatures in ancient Greece. 1st ed.

Euthykartides the Naxian dedicated me, having made [me]

The only things we know about Euthykartides are what the toes, the base, and its inscription – probably the earliest Greek sculptor’s signature, certainly the earliest complete one – tell us. The man was from Naxos; he dedicated (the word is anetheke∗) a statue that he carved in a sanctuary that (largely because of Naxian investment) was fast becoming one of the most important in Greece.

What is the meaning of signature? The earliest Greek signature was not on present evidence an “individual artistic genius” who used his sculptures self-consciously to “express himself” or his “inner vision” or his “originality.” And his statue was probably completely conventional, even if the convention itself was in its infancy: (1)

The first signature could for the dedication his name to the god or promoting his name to buyers, or even he was proud of his skill. However, regardless of his purpose, his name replaced himself to the carved another sculpture figure. Follow the passed time, we cannot guess who it is – at least we know he is from Naxos – cannot guess how he looked like, but the image of carved shadow replaced his own image as Euthykartides.