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Magazine Fiends: A (Micro)cultural Production Manual | Liner Notes

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A few hundred years have passed since metal, rubber, and trees (may they rest in peace) made knowledge more reproducible. Today, as audio, ebooks, and tiny mics proliferate, our intrigue in magazines and their microsized offspring persists. Is it glossy table adornments you’re chasing? DIY documentation that doesn’t take a charge? Maybe you cherish the scrawled poems inked into construction paper, the way its pulp tickles your fingers. There’s Condé Nast’s commercialized artifacts and there's self-published vessels. Smol containers of words, images, textures, distributed freely as revolutionary pamphlets among artists from Detroit to Mumbai. They sit beside Gildan shirts on merch tables and fall from the airborne bombers of occupiers, endure as mementos of Peruvian love stories or shrink and batch 80s rave posters to sell for the price of a week’s groceries in western capitals. Hua Hsu memorialized them well. However you feel, whatever you think’s fit to print, bound physical media has

Floodwater engulfs them, fascists burn them, but printed matters are database-proof ㋡ A few hundred years have passed since metal, rubber, and trees (may they rest in peace) made knowledge more reproducible. Today, as audio, ebooks, and tiny mics proliferate, our intrigue in magazines and their microsized offspring persists. Is it glossy table adornments you’re chasing? DIY documentation that doesn’t take a charge? Maybe you cherish the scrawled poems inked into construction paper, the way its pulp tickles your fingers. There’s Condé Nast’s commercialized artifacts and there's self-published v

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