STEREOGRAPH.REACT

First � ings First 1964 . Manifesto

First � ings First 2000

Towards An Anarcho-Design Practice

What a perfect, perfect world

In the Bubble-� ackara

Since � en

CULTURE JAMMING . Peter Fuss

Moss Graffi ti

Mud Stencils

Reversa Grafi tti

Grafi tti & Street Art

POLITICAL ART. Craig Foster

EMPATHY™ by Vincent W.J. Van

Gorilla-Designpolitie

Shepard Fairey on Obama

PUBLIC INTERVEN. Jonas Staal

Wish You Were Here

Bureaudetudes

Students for a Free Tibet

A QR Code is a matrix code (or two-dimensional bar code) created by Japanese corporation Denso-Wave in 1994. � e “QR” is derived from “Quick Response”, as the creator intended the code to allow its contents to be decoded at high speed. QR Codes are common in Japan, where they are currently the most popular type of two dimensional codes. Moreover, most current Japanese mobile phones can read this code with their camera.Take a photo with your mobile phone and either get a short message and a link with our website.Go to the link and downloud the software.

� is simbol do the conection with the stereograoh web-sit were you have adicional information, vidios, texts and interviews.

TEXTSINTERVIEWS

VIDEOS

If you don’t have camera in you phone on ir your computer, don’t worry! Here you have a username and a password to acess.Username: FGT5YHJ Password: 7864982

react

STEREOGRAPH.REACT

First � ings First 1964 . Manifesto

First � ings First 2000

Towards An Anarcho-Design Practice

What a perfect, perfect world

In the Bubble-� ackara

Since � en

CULTURE JAMMING . Peter Fuss

Moss Graffi ti

Mud Stencils

Reversa Grafi tti

Grafi tti & Street Art

POLITICAL ART. Craig Foster

EMPATHY™ by Vincent W.J. Van

Gorilla-Designpolitie

Shepard Fairey on Obama

PUBLIC INTERVEN. Jonas Staal

Wish You Were Here

Bureaudetudes

Heath Bunting

URBAN TYPOS . Gustavo L

Joao Wainer

PIXO . Choque Cultural Gallery

TYPO WORKS by EVAN ROTH

ACTIVISM . 0100101110101101

Donating Copyleft by Evan Roth

Packard Jennings

T.S.A. Communication Evan Roth

Tinkin

HACKTIVISM . Add-Art

SKULLPHONE

ZTOHOVEN

CRAFTIVISM . Craftivism

Afghani Battle Carpets

Knitta

“GRÁFICA POPULAR”

Students for a Free Tibet

ARTIVISM . Tague

Bureaudetudes

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So much order and planning, so many grids, routines and systems. Its mechanical intricacies are astounding and mesmerizing; it has a pulse all its own. Even now the soft, humming anesthesia of the city seeks to replace what thoughts you may still be allowed to have with white noise.We are here to guard against exactly that. As citizens, we obediently pay our landlords to let us inhabit the homes we make, and we talk casually of the atrocities that our governments commit in our name – so what weld visual communication to social justice? The answers are as complex and as varied as the artists featured in this compilation. In honoring the libertarian ethic that we prefer, we’ve come together to applaud one another, and to provide a narrative about these activist efforts while simultaneously participating in them.Our work might be described as that design which must be done in pursuit of a more humane and libertarian world, and which claims that notions of freedom and ethical conduct are most poignant when communicated visually. Where mainstream media frames debates, our goal is to open them up or smash them to pieces. Where undemocratic structures put up barriers around our liberties, we are there to subvert them.Many of us have carved out wholly unique (and frequently noncommercial) spaces where we conduct our work, and explore alternative design practices as a means, not an end. Rather than sell revolution, or use revolution to sell a brand, we actively participate in creating that cumulative occurrence that is social change. In our line of work, we can fi nd at least one common theme: infl uencing systems through design is central to success. If a designer’s work tangibly contributes to fashioning and furthering alternative modes of social organization, it’s working. That design which proffers what could be, and which prefers community and participation thrives in this environment. It’s a rebellion against monoculture, and the editors of this volume are perfectly correct in labeling our work “reactive.” But it’s proactive, too. Cultural production of this variety questions and dismantles dominant ideologies. It is in character for us to not wish for the reform of unjust systems, but to disrupt them and hand out the tools with which to skirt or dismantle them. We work from an unscripted reality, and alleviate (rather than enforce) politics. There is something to be said about this foundation that we work from, and our propensity to thereby create new channels of communicating. The spaces we create through our solidarity, while temporary, are autonomous.

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