Anthony Huberman

  • Robert Filliou

    TRYING TO MAKE SENSE of the ravaged economy in the New York Times Magazine a couple months ago, Paul Krugman—Nobel-winning economist and Times columnist—pointed to the lasting relevance of Adam Smith’s ideas in today’s dominant economic model. Modern economics was born with Smith’s Wealth of Nations (1776), which argued that the free market is an efficient and self-correcting machine and was premised on the assumption that investors pursue their self-interests, making decisions based on cool and rational assessments of risk. Free markets, in other words, work when we use reason and strategy,

  • Left: Logo for Dexter Sinister. Right: Cover of Dot Dot Dot 11 (January 2007).

    Dexter Sinister

    THE INSIGNIA FOR New York–based design and publishing collective Dexter Sinister—David Reinfurt and Stuart Bailey—is a plain shield, described in the very foreign but precise heraldic language as (party) per bend sinister: “a blank shield [(party)] with a single diagonal line [per bend] running from the bottom left edge to the top right hand corner [sinister].” Or, we could simply call this diagonal line a slash.

    As writer/editor/filmmaker Steve Rushton asserts, the slash (or “oblique stroke”) creates an alliance between categories, albeit a temporary one, because while it binds together

  • Resonance FM

    “A RADIO STATION that is an archive of the new, the undiscovered, the forgotten, the impossible. That is an invisible gallery, a virtual arts centre whose location is at once local, global, and timeless.” This adventurous mission belongs to Resonance 104.4 FM, “London’s first radio art station,” an artist-initiated and artist-run organization launched by the London Musicians’ Collective on May Day 2002. Resonance founders Ed Baxter and Phil England won a grant from the Arts Council of England, secured a temporary broadcast license through the Radio Authority’s Access Radio pilot program, and