FRART Post-binary typography: research on the uses, appropriations and pollination of typefaces
- Creator : Camille Circlude
- Creator : Enz@ Le Garrec
- Support : Sophie Vela
- Support : Eugénie Bidaut
- Support : Laure Giletti
- Support : Ludi Loiseau
- Support : Léna Salabert Triby
- Support : Clara Sambot
- Support : Chloé Elvezi
- Support : Laura Conant
- Support : Pierre Huyghebeart
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FRART Post-binary typography: research on the uses, appropriations and pollination of typefaces — 1. Post-binary typography: research on the uses, appropriations and pollination of typefaces: introduction
- Contributor : Camille Circlude
- Contributor : Enz@ Le Garrec
- Contributor : Pierre Huyghebeart
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description:
Enz@ Le Garrec and Camille Circlude (formerly known as Caroline Dath), members of the Bye Bye Binary collective (BBB), are leading this research about post-binary typographic forms.
Inclusive, non-binary, post-binary typography makes use of new typographic signs, mainly new ligatures (i·e, l·e, f·e, x·se, r·e, f·v, etc.) and diversions of existing signs (*, @ , Ə, ɛ) in order to provide alternatives to the binary practices (centered dot, employé·e) currently used in inclusive writing in a french-speaking context.
This artistic research focuses on new queer imaginaries made possible by post-binary typefaces productions through an approach involving vivid archives; practices and contexts of use, appearance and dissemination of these typefaces, including the first fonts commissioned by important cultural institutions; licenses under which they are distributed, their accessibility and means of creation/production; range of the prism of legibility and visibility on gender minorities, allowed by these practices, via the prototyping of a set of collective fonts; viability and accessibility to a public affected by cognitive disorders impacting reading (dys/neuroa).
Typography, taught in art schools, is an artistic discipline that has the particularity of being also functional and used by a majority of people. However, these queer, camp and militant typo-graphic forms operate by questioning normative shapes, and de facto the "legibility" of traditional typographic standards. A question emerges: what legibility for queer forms?
In 2022, the diffusion of first free-licensed typefaces on the BBB Typotheque (typotheque.genderfluid.space) opens up new paths of research about diffusion, reception and use of these typefaces.
Co-auteur·es : Enz@ Le Garrec & Camille Circlude
Chercheur·euses associé·es : Sophie Vela, Eugénie Bidaut, Laure Giletti, Pierre Huyghebaert, Ludi Loiseau, Clara Sambot, Léna Salabert Triby, Chloé Elvezi & Laura Conant.
Invité·es extérieur·es : H·Alix Sanyas, Félixe Kazi-Tani, Axxenne, Roxanne Maillet, Julie Abbou, Élise Goutagny, et d'autres à venir.
FRART Post-binary typography: research on the uses, appropriations and pollination of typefaces — 2. Baskervvol
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description:
Bye Bye Binary, BBB Baskervvol, fork non-binaire du Baskervville de l’Atelier National de Recherche Typographique (ANRT) elle-même redessinée à partir du Baskerville de Claude Jacob, ajouts de glyphes non-binaire 2018-2022, Bruxelles.
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FRART Post-binary typography: research on the uses, appropriations and pollination of typefaces — 3. Josafronde
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description:
Morgane Le Ferec et Marouchka Payen, Josafronde, 2017-2023, Bruxelles.
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FRART Post-binary typography: research on the uses, appropriations and pollination of typefaces — 4. Typotheque
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description:
Bye Bye Binary, Typothèque, typotheque.genderfluid.space [site web], mars 2022.
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