moom bookshop

GREENING
Helen Marten
(front / back flaps)
JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)
PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)
TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)
UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)
SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)
ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)
LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)
TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)
THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)
UNHOMING (2 of 4)
Phil Baber
(p.147)
COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)
UNHOMING (3 of 4)
Phil Baber
(pp.150–162)
EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)
HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)
METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)
AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)
SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)
EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)
GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)
UNHOMING (4 of 4)
Phil Baber
(pp.257–263)
TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)
LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)