The 21st issue, “Take, Eat” is edited by Will Holder, with Andrea di Serego Alighieri.
Finally, although the format is structured, there’s little concern for conserving a consistency of style in the sentences – some are long, some are short, some are serious, some are silly.
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“it never has been quite so obvious as now…“
Lyn Hejinian’s unpublished prose poem which (in her better-known essay The Rejection of Closure) the author reads closely as model for various, open, equitable relations between language and things
“I must explain to you first that the novel is not intended as a work of art—at least, not as it stands. It is a means to an end. I want to clear up an old tangle.…”
This 20th issue is edited by Will Holder; paying attention to difference; and transformations between accident⎱design 249
acorn⎱oak 293–94, 297–98
adult⎱child 95, 139, 207, 308
alphabetic⎱postalphabetic 3, 5
…the issue’s “theme” is better off unaccounted for, and up in the air, like a flock of birds (creatures who feature heavily), circling around performance, listening bodies, given time, and loving relations.
“in memoriam…Mary Cecil,Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau” adds a new score and production by Postcommodity and Alex Waterman to a suite of four early scores by the American composer Robert Ashley.
Two transcripts of films by Moyra Davey and Hervé Guibert. ‘Both “Wedding Loop”  and “Modesty, and Immodesty”  frame the daily practice of being and becoming undone by others.
Edited and illustrated by Chris Evans, and co-published with Para Site, Hong Kong.
“The ritual of the job interview can be considered as a courtship that’s conditioned by protocols that ask for a quite particular display: with social relations as material, a dance of conformity, the attempted imagining and echoing of expectations.”
…had its beginnings in prosody, the measure of language, geometry, and a notion of imagist transcription, even. A two-dimensional exercise, it turns out, on paper.…
The issue departs from Wojnarowicz’s grief at the loss of loved ones during the 1980s AIDS crisis, and anger at the US government for their willful neglect of this loss.
Typographers normally design using other people’s words and eventually accept a situation in which they are limited to making only slight modifications in a given text even when a syntactic rephrasing could make the message more understandable. […]
“I realized very slowly over a period of time that the activity of framing a performance and the intentions that accumulate around that activity produce a certain anxious kind of mode, and I became bothered by the flurry of activity and how it tends to mask so many things.”
This book proposes that description is one way to design, reproduce and enable access to things. Between October 2016 and December 2017, Will Holder will recall and describe hundreds of tiny material decisions made in response to a specific context of past collaborators’ work.
The 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
This 14th issue is concerned with bodies, ecology, empathy, gazing at the world, and reading (environments) from non-anthropocentric POVs—nonetheless described and written by humans. Animals, birds, and trees feature heavily.
Thanks to the generosity of de Appel, Amsterdam, we can offer you these back issues of F.R.DAVID