All things are pierced. All things are permeable. We collapse. We turn outward.
[…] The first editorial line of Form launches the arc of argumentation that the magazine will follow over its robust three year run. This compact credo resonates unidentified among the three editors: geometric architect Philip Steadman, translator and concrete poet Stephen Bann, and avant-garde historian Mike Weaver. In italics, the trajectory of the magazine is then repeated in every subsequent issue:

“The aims of Form are to publish and provoke discussion of the relations of form to structure in the work of art, and of correspondences between the arts.” [1]

[…] Distinct from the pell-mell variety of articles in the common periodical, Form stands as a coherent whole, a meta-magazine, an argument through commentary, arrangement, and citation: exploring the relations of form to structure in the periodical work of print. […]
No thing is ever simple.

The cuttings above become an editorial challenge. Suddenly the periodical is no longer just a collection of work that the editors think is “good,” perhaps loosely arranged around a subject or theme, but the magazine becomes a specific, sustained investigation, developing in time, in a single issue and over a series of issues. What are the necessary/essential (or better yet potential) qualities of a magazine?

We collapse. We turn outward.

[Second Idea, Related & Released: This is also a potential model for a rigorous curatorial practice. (What is the difference between editing and curating? Is it simply a matter of the objects arranged (textual or physical) or the final outcome (magazine or exhibition)? Where, or what, is the exhibition catalog?)]

Some sort of fog, or cloud, grinds against our eyes. The implications remain uncertain. A feeling of dread pervades.

[1] Editorial Note, Form, no. 1 (1966): 3.

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