library library explores publication as a graphic design practice. Each issue orbits around a literary text, and experiments with form and materiality through formats that challenge the dominant models of commercial graphic design and mainstream publishing. This project aims to build a community through collaborative making, and to connect with a small yet engaged public. The design of each issue considers the performative potential of publication, and explores diverse methods of dissemination from exhibition to multiplication and distribution.
(this is a project by Toront-based graphic designer, Rebecca Wilkinson)
[...] in affluent sectors of the globe, what was once consumerism has expanded to 24/7 activity of techniques of personalization, of individuation, of machinic interface, and of mandatory communication. p.72
In the theater, the illusion that the actor creates is recognized beforehand as an illusion by actor and audience alike. But in real life we more often participate in the illusion. We take it into ourselves, where it struggles against the sense we ordinarily make of things. In life, illusions are subtle, changeable, and hard to define with certainty, and they matter far more to our sanity. p.46
In each case, the issue of estrangement between what a person senses as her "true self" and her inner and outer acting- becomes something to work out, to take a position on. p.136
The occasional lapses from the standard of civility that we take for granted remind us of the crucial steadying effect of emotional labor. p.187
3 hard questions faced by emotion laborers: (p.132 onward)
1-How to avoid identity confusion? (greater for women and younger workers) + requires depersonalization to deal with situations.
2-Am I being phony?
3-If I'm doing deep acting for an audience from whom I'm disconnected, how can I maintain my self-esteem without becoming cynical?"
Rules as to the type, intensity, duration, timing, and placing of feelings are society's guidelines, the promptings of an unseen director. The stage, the props, and fellow members of the cast help us internally assemble the gifts that we freely exchange. p.85