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of Deniz Cem Önduygu

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Typography

What do you think if you notice that all the zeros in the book you’re reading have inverted stroke modulation? (The vertical parts are thinner than the horizontal parts.) You may think that there’s been a glitch in the font software. The moment of delight comes when you remember that the book you’re holding is A Universe From Nothing by physicist Lawrence Krauss who argues that the nature of nothing is quite different from what we thought: it is unstable and has to give rise to something. You may then think, as I first did, that the “0″ glyph of the font has been modified for this purpose but the original Stempel Garamond design actually has zeros with inverted strokes. I bet someone was reminded of this fact and chose the typeface with this clever detail in mind, though I wasn’t able to find out who did the typesetting. Even if this is pure coincidence, it’s too good to go unnoticed.

To be honest, I view physics as a much respected distant elder in comparison to biology which is like a lover to me. Ever since I did my first readings on quantum physics and relativity, I’ve always felt the famous barrier of intuitive understanding – the limits of our cognitive machinery evolved to function in “the Middle World”. My approach to contemporary physics and its deep questions as a layperson has been an indifferent one: “Even if we arrive at new answers, I won’t be able to understand them” – in a Searlean sense.

Krauss’s book has somewhat changed that. First, while he surveyed the recent (last century) developments in physics and cosmology, he managed to make me understand many things that I hadn’t quite understood in my previous readings. Moreover, the book regenerated the curiosity in me related to the big questions only physics can answer by making them more accessible and relevant, and convinced me that our flat universe with its total gravitational energy of zero can indeed come from almost nothing. (The last one was probably the easiest since I’m in no position to dispute.) I say “almost” because I can see how Krauss’s version of nothing is not going to satisfy those who ask the age-old metaphysical question “Why is there something rather than nothing?” As for me, I find the question too, well, metaphysical to be taken seriously.

If you’re curious but not enough to read the book, you can watch Krauss’s popular talk after which the book was written.

ISType (Istanbul Type Seminars), conceived and organized by Onur Yazıcıgil (Sabancı University) and Alessandro Segalini (Izmir University of Economics), is a lecture and workshop series devoted to encouraging typographic literacy in Turkey. The upcoming ISType 2012 will be held between June 15–18 under the theme Transmit and will host international guests including Ellen Lupton and Gerard Unger as well as Turkish designers/academicians such as Esen Karol and Ömer Durmaz. I and Emre will also be speaking as Fevkalade.

P.S. Emre made this amazing opening title for the seminars, don’t miss it.

 

Dawkins vs Gould: Survival of the FittestDawkins vs Gould: Survival of the Fittest by Kim Sterelny

I had low expectations for this book because of its (typographically) cheesy cover design and clumsy typesetting. In the end it made me want to read his other books.

The author uses the debate between Dawkins and Gould to walk through many important topics in evolutionary biology, mentioning lots of other scientists and philosophers on the way, and successfully switching between detailed examples and the big picture. He definitely knows what he’s talking about, and his writing is so clear and concise that it somehow resonates with the in-your-face 12-point Baskerville it’s set with. Even so, I would recommend it to those who have read Dawkins/Gould and are somewhat familiar with their ideas. The book ends with an amazing Suggested Reading section where Sterelny makes useful comments on every book he suggests.

In any case, Kim, if you’re reading this: change your publisher. Your book deserves better design.

And this is something I did (based on the original) reflecting where I stand on the debate:

The Gotham epidemic has long hit Istanbul, and this is probably the best example to document it.

I’m sure the people at the Communist Party of Turkey would feel a little uncomfortable had they been told that the typeface that they use on their posters is strongly American, spawned from the letterings in New York City to celebrate the American vernacular, and used by Barack Obama so consistently – in his campaign (below) and in Office – that it is known as the “Obama font” by laypeople.

Well, at least they agree on the “change” part of it.

Yesterday I found a hardcover 1911 copy of Man’s Place in Nature and Other Essays by Thomas Henry Huxley in a second-hand book seller in Kadıköy, Istanbul. I’ll let you enjoy this beautiful title spread while I myself will be enjoying the fact that I’ve bought a 1911 Huxley for 20 TL ($13).