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"The Pleasure of Showing and Looking at Words," by
Professor Manfredo Massironi, first appeared in the
Belle Lettere exhibition catalogue in the year 1997.
The paper, revised for codici, is the feature article for
this first issue. It establishes an insightful and refreshing
foundation for what Massironi refers to as "calligraphy
research." For him, calligraphy research represents
what is new, what has not been seen before, and that
which is unexplored. For me, the article is significant
because it is written by a visual language scholar –
someone who is not a calligrapher but who has a
knowledge of the field and a perspective that allows
him to see our work in a unique light. The paper begins
with a presentation of his views on the origins of modern
calligraphy and writing. He provides insights on the links
between two of the major writing systems, Oriental and
Arabic, and modern Western calligraphy research.
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"Moving Towards a 21th Century Calligraphy" is the title
of a workshop series that began in 2000. This article
features the program and the works created by various
students over a period of a few years. The themes
developed in the program involved the creation of an
expressive alphabet design, the study of lettering as
drawing, and composition experiments concerned
with the shape and space of writing.
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"The Calligraphic Line" by Hans Joachim Burgert, is a
lengthy text translated by Brody Newenschander. The
article presented here is not a review of the book, but
a selection of Burgert's thoughts pertaining to the idea
of creating new letterforms. The text was one of the
supporting documents presented to the students.
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Christian Dotremont, one of the European COBRA artists
of the 1950s, was born in Belgium. Although he was not
a calligrapher, his art work was "writing." The painting and
discussion presented here in codici provides an
opportunity to examine the visual/verbal issues that all
calligraphers face with their modern researches.
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"The Space of Writing: Calligraphic Experiments by
Thomas Ingmire" was a project undertaken for the
Ditchling Foundation in 2001. It was a featured part
of an event titled "Spring Lines," which had as its
focus the influence of the calligraphic traditions of
Japan, China, and the Arab world on modern Western
calligraphy. This article describes the work created
for the commission, a collection of 28 written sheets
featuring the poem "Blanco" by Octavio Paz.
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1. ABOUT CODICI --- 2. TABLE OF CONTENTS --- 3. HOW TO ORDER
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