Food Futures is a compilation of unique design projects that act as visual stimulus for designers and food enthusiasts alike, illustrating the possibilities that new technologies open up to designers and the different ways society perceives food.
The aestheticisation of food is a growing phenomenon for both designers and consumers alike. Designers are increasingly identifying food as an object that speaks a global language, as an effective communication medium to visualise and express their ideas.
Aside from the role a designer plays in the process of food fabrication, industrial practices too contribute to the alteration of shape, colour, scent and consistency of food, transforming it before our eyes, for our eyes. Food Futures seeks to exist as a stimulating visual collection of experimentation and innovation in food design, posing questions and challenging how we perceive this everyday commodity.
Food Futures is structured in three main sections, each of which will encompass design projects appropriate to different categories. These sections will help to shape an understanding of the various ways in which the project has been fabricated and will be titled, respectively, 'Two Dimensional', 'Three Dimensional' and 'Multi Sensory' (experiential).

As the desire for food is part of human nature, artists and designers have often focused on the innovative application of food items and relative accessories. Food is regarded as more than a daily necessity by creatives; it serves as a unique medium with which to play with different whims and desires, to build connections with others, and to share feelings and emotions.
Ranging from graphic and product design to staged photography and culinary creation,Food Playerfeatures 105 provocative projects that play a funny, imaginative game with food, showcasing the original thoughts and creative ideals of designers, chefs and artists worldwide.Food Playerserves as an inspiring reference to professionals and laypeople alike, and provides all who encounter it with artistic inspiration and fresh creativity.
食物从来不止是吃这么简单。如今，在艺术家和设计师们眼中，食物不单单被视为一种生活必需品，食物是一种创新的媒介，一个获取欢乐、与人分享、建立关系、 获得满足的载体。其实食物设计已经成为一股风潮，通过食物和设计的结合，可以让人们重新审视食物与人、环境、社会的关系。
从平面设计和产品设计到装置艺术和饮食设计，本书通过轻松的排版，介绍了105个创新的食物设计。从它们身上，你不仅可以看到设计师们丰富的想象力和无穷的创意，你还能发现食物不一样的美。就让我们一起打破思维的局限，探寻食物设计的无限可能性！

编辑：朱墨、言由
后期制作：蔡小川、桑玉
设计指导：刘丽娜
页码：44页，65幅照片，含一个蝴蝶拉页
开本：8开
尺寸：25x34cm
印数：500册
在《空日》编辑过程中，我们试图将这个系列，置于朱墨多年来摄影创作的背景下，甚至偶尔试着去掉他 摄影师的身份，去 挖掘摄影之于他的所有可能。
我们还在尝试将纸当作一面墙，将书当作一个空间，试图让每一个跨页内的照片以及跨页与跨页之间产生某种难以言喻的东方式的幽玄情绪。这本书是朱 墨短暂的摄影创作生涯的回望，也是朱墨对摄影这个创作媒介的再思考。

This book provides insights into the innovative work of ther School of Product Design at the Dusseldorf University of Applied Arts under the direction of Elisabeth Holder and Herman Hermsen. This highlights many facets of jewellery and product design and the resulting tensions between art and design, ornament and commodity, unique specimen and serial production. The most recent creations by staff, students and graduates afford a comprehensive survey of the varied work inspired by this course. A textual kaleidoscope - taken from a round of talks between graduates and students - which reflects the different facets of college and professional life, rounds off the reflections on jewellery and product design at the Technical College Dusseldorf.

《人与土地》是“中国摄影教父”阮义忠最为著名的摄影系列，拍摄于1974—1986年，展现其时台湾乡村正在逐渐消逝的人情与风景，曾在国内外诸多美术馆展出并被收藏。
那时候还没有任何旅游指南，阮义忠依靠一册台湾客运路线图，走遍岛上大大小小的角落，在都市的触须探达之前，记录下乡民最朴素的日常生活。这是人与自然还亲密依存的年代，人们在土地上成长、劳作，视勤俭与坚韧为生活的信仰，又在最终归宿于土地。
增补本收录了《人与土地》系列全部86幅照片，每幅配以简净文字，讲述照片背后动人的真实。在人与土地的联结已变得冰冷而遥远的今天，幸有阮义忠捕捉到的一个又一个瞬间，留给我们可供寄托的不变。

"In the fifty-eight images of this handsome ... monograph, Sturges sustains a delicate balance on a very precarious wire ... His struggle is to observe and render his subjects in all of their complexities, trembling on the cusp of change. The result of this long-term, communal effort is one of the most clear-eyed, responsible investigations of puberty and the emergence of sexuality in the medium's history, making a metaphor of the metamorphosis from child to adult." --A. D. Coleman, The New York Observer In 1990 the FBI entered Sturges's studio and seized his work, claiming violation of child pornography laws. Citizens, artists, and the media responded with outrage. With The Last Day of Summer , Aperture accords Sturges's vision the dignity and respect it so richly deserves. Essay by Jayne Anne Phillips. Paperback, 9.5 x 11.5 in./96 pgs

"At Twelve" is Sally Mann's revealing, collective portrait of twelve-year-old girls on the verge of adulthood. To be young and female in America is a time of tremendous excitement and social possibilities; it is a trying time as well, caught between childhood and adulthood, when the difference is not entirely understood. As Ann Beattie writes in her perceptive introduction, "These girls still exist in an innocent world in which a pose is only a pose-- what adults make of that pose may be the issue." The consequences of this misunderstanding can be real: destitution, abuse, unwanted pregnancy. Mann does not deny this reality, but records it, both in the faces of her subjects and in written stories that accompany thirteen of the portraits, adding another dimension to our understanding of "childhood." The young women in Mann's unflinching, large-format photographs, however, are not victims. They return the viewer's gaze with a disturbing equanimity. Poet Jonathan Williams writes, "Sally Mann's girls are the ones who do the hard looking in "At Twelve"-- be up to it " Partly this is a result of the remarkable rapport that Mann is able to establish with her subjects. Herself the mother of three, Mann has lived most of her life in Lexington, Virginia, where all of these pictures were taken. In fact, many of the families of the young women were cared for by her father, who was the town doctor for over forty years. So while" At Twelve "is an intensely personal vision of what it means, now, to be twelve and female, each of Mann's subjects is allowed the opportunity to frankly return our wondering, reminiscent gaze and to have a history of her own, rooted in a specific place at aparticular moment-- at twelve.

本书是罗伯特•卡帕跟随盟军转战大西洋、北非、欧洲的经历。他的文字直接、幽默，文风简洁明快。他的摄影作品没有太多的色调、裁切的技巧讲究。就像他的名言所说的：“如果你的照片拍得不够好，那是因为你离得不够近。”他一直想尽一切办法出现在战争的最前沿。他用照相机记录：战争中的生命、友谊、信任、爱情。他用镜头带我们体验到了真实的战争！加入大量之前没有发布的卡帕的摄影作品，西班牙内战、中国抗日战争、第一次中东战争及二战等各个时期的摄影作品。它几乎不需要剪辑就可以成为一部史诗般的冒险电影。

John Baldessari (born 1931) is a luminary in the realms of Conceptual art and book art, and one of the most important figures in contemporary art of the last 40 years. Since his sensational Cremation Project of 1970, for which he incinerated every single painting he had made between 1953 and 1966, Baldessari's work has mined the tensions between language, image and sign-making. Baldessari unpicks the very mechanisms of media representation, and even the idea of artistic subject matter itself, using painting, photography, film/video, collage and reliefs, integrating images and text from advertising and movies into his works. Since 1980, Baldessari has worked mostly without text in serial photographs and pictures, and strategies such as overpainting, visual omissions and withheld information have increasingly taken on the earlier function of language. For this superbly designed book, Baldessari has designed a sequence of enigmatically fragmentary and geometrically emphatic images, arranged rhythmically across the volume's landscape format, that slowly accrete narrative as the reader-viewer moves through the book. These fragments, derived largely from B-movie stills, lead into a second chapter that reproduces the complete pictures. Juggling these themes of composition, information, omission and rhythm, Parse consolidates Baldessari's signature concerns into a great work of book art.

Beauty is in the feet of the beholder.-Jonathan williams

Spanning twenty years and two continents, the collection draws from over 2,000 photographs taken on the coasts of Eastern America, Western Europe, and the Mediterranean. As the title suggests, the book chronicles Baron’s transformation of concrete, geographical sites into abstract tableaux. Utilizing long exposure for each image, Baron reveals the most essential aspect of his subject matter: light.

Pierre Borhan has created a book that takes the reader on a voyage, a unique journey that highlights the ocean as a source of auspicious inspiration, of commercial potential, and as the hub of many conquering expeditions. The beauty of this work, however, is its ability to correlate the infinite magnitude of the ocean itself alongside the diversity of major photographic masterpieces from photographers of various nationalities and time periods who possess a poetic resonance that dominates beyond all else. The mystery, adventure, and awe-inspiring beauty of the sea are captured in this volume as never before. Uniting three hundred historical photos, documentary photos, and art photos, from archival works to pictures taken in the present day, The Sea invites the reader to explore the staggering appeal of the ocean from a number of striking perspectives, including lonely lighthouses, bustling port towns, early explorations of Antarctica and the Arctic Circle, and abstract compositions of waves, water, and light by some of the world’s best-known photographers. With high-quality reproductions and an attractive box set, this volume offers a lasting tribute to nature’s most powerful force.

This is the first publication on the work of Konstantin Grcic, one of the most interesting and prolific designers of today. The book offers an insight into his design process showing products at different stages of development together with a remarkable portfolio of finished pieces through sketches, drawings and specially commissioned photographs. Edited by photographer and visual researcher Florian B+hm and with texts by Konstantin Grcic, Francesca Picchi and Pierre Doze.

This book celebrates established icons, newly discovered gems and contemporary masterworks that represent the highest expression of Scandinavian design and response to their environment. Fifty projects are featured in detail, ordered according to the way in which different light conditions have imparted particular qualities on the buildings. Henry Plummer treats his subject from a uniquely authoritative perspective in which his words resonate directly with his artfully taken images. Books that give a true sense of the magical light that have shaped great buildings are rare: this is a publication to savour. Nine chapters present established icons, newly discovered gems and contemporary masterworks, according to the way in which different light conditions have imparted particular qualities to buildings. Among the buildings featured are Arne Jacobsens town hall in Arhus, Denmark, Alvar Aaltos Villa Mairea in Finland, Klas Anshelms Malmo Konsthall in Sweden, and many others. Each chapter features an introduction, which traces the nature, quality and cultural history of that aspect of light.