In 1984 a radically new graphic design magazine set out to explore the as-yet-untapped and uncharted possibilities of Macintosh-generated graphic design. Boldly new and different, Emigre broke rules, opened eyes and earned its creators, Rudy VanderLans and Zuzana Licko, cult status in the world of graphic design. After a decade of publishing, the jury is still out on Emigre. But now, thanks to this comprehensive 10-year retrospective, you can reach your own conclusions. Are Emigre’s Mac-generated graphics important, influential and controversial…or just plain ugly? You decide. "The only people who have trouble reading Emigre are graphic designers who have been trained to make type clear. The rest of the world doesn’t live in that purist atmosphere." —Chuck Byrne, Print Magazine, September 1992 Here gathered together for the first time, you’ll find: Every Emigre cover ever issued A full catalog of over 80 Emigre typefaces Emigre’s most striking editorial layouts Plus stimulating and provocative commentary from both Rudy VanderLans and Zuzana Licko How has a magazine that prints just 7,000 copies managed to outrage so many graphic designers while inspiring so many others? The answer is in your hands.

In 1985, Berkeley-based graphic design company Emigre, the publisher of the legendary design magazine of the same name, launched one of the first independent digital type foundries to explore the new design possibilities offered by the MacIntosh computer. To announce each of their new typeface releases, Emigre published small booklets displaying the virtues of the fonts and revealing the processes used to design them. By creating specific contexts, many of these so called "type specimens" went beyond being simple sales tools. In fact the Emigre booklets were meant to be enjoyed as much for the typefaces as for their esoteric content.

From the largely forgotten prewar visit to the city of Petain and Laval to the seizing, burning, and capsizing of the Normandie, France's floating museum, in the Hudson River, Jeffrey Mehlman evokes the writerly world of French Manhattan, its achievements and feuds, during one of the most vexed periods in French history."--BOOK JACKET.

A quarter of a century ago, glasnost opened the door for a new look at Russian émigré culture unimpeded by the sterile concepts of Cold War cultural politics. Easier access to archives and a comprehensive approach to culture as a multi-faceted phenomenon, not restricted to single phenomena or individuals, have since contributed to a better understanding of the processes within the émigré community, of its links with the lost home country, and of the interaction with the cultural life of the countries of adoption. This volume offers a collection of critical articles that resulted from the international interdisciplinary symposium which was held at Saarland University in November 2011 as part of a one-week festival, “Russian Music in Exile”. Scholars from around the world contributed essays reflecting current perspectives on Russian émigré culture, shedding new light on cultural diplomacy, literature, art, and music, and covering essentially the whole 20th century, from pre-revolutionary movements to the present. The interdisciplinary approach of the volume shows that émigré networks were not confined to a particular segment of culture, but united composers, artists, critics, and even diplomats. On the whole, the contributions to this volume document the fascinating diversity, the internal contradictions, as well as the impact that the largest and most durable émigré movement of the 20th century had on European cultural life.

Will the Internet of the future just be enhanced television with 'buy-now' features? Is it destined to become no more than another leisure and commerce medium, or can it be steered away from this fate by designers, taking it to surprising new directions? In this manifesto designers, critics and multimedia specialists such as Kevin Kelly, Max Kisman, Steven Heller, Aaron Betsky, and Dagan Cohen express their opinions in sharp, thought-provoking questions and declarations. In a social milieu continually transformed by computers and communication technologies, can design make a difference? Has interactive design lost its battle to interface ignorance? Are we faced with a future in which our bodies will be the interface? Everyone is a Designer is meant to inspire new creativity with its incisive look at the new "Design Economy."

For almost twenty years, and over sixty issues, Emigre has been a sourcebook of ideas, fonts, images, work, products, and even music for an entire generation of designers. But this visual stimulation may have come at a price: are today's young designers writing passionately enough about what they do? Acting as agent provocateur in Rant, Emigre invites designers, teachers, and critics including Jeffery Keedy, Rick Valicenti, Shawn Wolfe, Kenneth FitzGerald, Denise Gonzales Crisp, Andrew Blauvelt, and Elliott Earls to challenge today's young designers to develop a critical attitude toward their own work and the design scene in general. Rant also signals a transition in the format of Emigre, away from its previous incarnation as a magazine/font catalog toward a series of "pocketbooks" focusing on critical writing about the state of graphic design.

This book explains the unexpected mobilization of the Crimean Tatar diaspora in recent decades through an exploration of the exile experiences of the Crimean Tatars in Central Asia, Middle East, Eastern Europe, and North America. This book adds to the growing literature on diaspora case studies and is essential reading for researchers and students of diasporas, migration, ethnicity, nationalism, transnationalism, identity formation and social movements. Moreover, this book is relevant both for specialists in Crimean Tatar Studies and for the larger fields of Communist, Post-Communist, Middle Eastern, European, and American studies.

This book explores the impact of migration, including its causes, upon the key ideas and directions of psychoanalytic theory and practice from the twentieth century until today. Having originated with a conference called "Émigré Analysts," developed through the Sandor Ferenczi Center at the New School for Social Research, this collection encompasses a wide array of often personal insights into the historical effects of exile and migration upon psychoanalysis. Divided into three sections, the book first attends to the political crises that affected the exile of psychoanalysts after the Second World War, tracing their journeys from Eastern Europe to the United States; secondly, the rise of antisemitism and the impact of the Holocaust upon these analysts is closely examined; and finally, this book attends to the protection and safety of analysts forced into exile in our contemporary moment with reference to the work being done by existing national and international psychoanalytic institutions. As an engaging and thoroughly detailed account of the influence of exile upon American psychoanalysis, this book will be of as much interest to scholars of history and twentieth-century culture as to psychoanalysts and psychoanalytic psychotherapists in training and in practice.

This is the first Anglophone volume on émigré scholars' influence on International Relations, uniquely exploring the intellectual development of IR as a discipline and providing a re-reading of some of its almost forgotten founding thinkers.

This new volume addresses the lasting contribution made by Central European émigré designers to twentieth-century American design and architecture. The contributors examine how oppositional stances in debates concerning consumption and modernism's social agendas taken by designers such as Felix Augenfeld, Joseph Binder, Josef Frank, Paul T. Frankl, Frederick Kiesler, Richard Neutra, and R. M. Schindler in Europe prefigured their later adoption or rejection by American culture. They argue that émigrés and refugees from fascist Europe such as György Kepes, Paul László, Victor Papanek, Bernard Rudofsky, Xanti Schawinsky, and Eva Zeisel drew on the particular experiences of their home countries, and networks of émigré and exiled designers in the United States, to develop a humanist, progressive, and socially inclusive design culture which continues to influence design practice today.