Three interconnected palimpsest essays recount (1) the backstory of a “meta” font recently updated by Dexter Sinister and used to typeset the Contemporary Condition book series, (2) a broad history of the rationalization of letterforms that considers the same typeface from “a higher point of disinterest,” and (3) a pending proposal for a sundial designed to operate in parallel physical and digital realms. Notes on the Time, Time, Letters & Spirits is the sixth volume of the Contemporary Condition.

What’s on a Universal Serial Bus? A collection of electronic works by Dexter Sinister produced from 2008 to 2015. Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt, who operate at the intersection of graphic design, publishing, and contemporary art. This memory stick is released parallel to the exhibition at Kunstverein München, “On a Universal Serial Bus.*”

This book explores contemporary publishing in its broadest, most exploded sense. The first part of this book consists of pieces of writings written since the conception of Dexter Sinister’s New York basement workshop and bookstore in the summer of 2006. The second part consists of reproductions of a series of lithographic proof prints.

The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and/or history—the project focuses specifically on archives becoming productive due to their spatial framework.

We have entered a post-post-studio age, and find ourselves with a new studio model: the transdisciplinary. This volume delves into four pioneering transdisciplinary studios—Jorge Pardo Sculpture, Konstantin Grcic Industrial Design, Studio Olafur Eliasson, and Åbäke—by observing and interviewing the practitioners and their assistants.

Devised by Stuart Bailey, Lars Bang Larsen, Angie Keefer, and David Reinfurt, this bulletin is based on Larsen’s just-completed PhD dissertation at the University of Copenhagen, A History of Irritated Material: Psychedelic Concepts in Neo-Avantgarde Art. The idea was to contrive a popular version of his academic thesis by editing it psychedelically.

Following From Berkeley to Berkeley: Objectif Exhibitions, 2008–2010, this publication is the second in a two-part series of interviews with artists who exhibited at Objectif Exhibitions, Antwerp, between 2010 and 2011. The interviews are accompanied by a collection of secondary and parallel material produced in collaboration with each artist.

This issue of Bulletins of the Serving Library doubles as a catalogue of sorts to “Ecstatic Alphabets/Heaps of Language,” a group exhibition curated by Laura Hoptman at the Museum of Modern Art, New York.

What happens when you look at design as some thing more than a service-based relationship between client and designer? What new strategies and models help to question and challenge the limits of design? What outer circumstances influence this kind of practice?