Time wasted. Time gained. Time lost again. Time won back. Time given. Time taken. Time divided. It is time. But it is also everybody's time...

Forms of expression are only ever made in limited edition. And words made public without permission dishonour the power of social tradition.

Paradoxically, within the material qualities of language (when inscribed onto a surface) —(in public), rests a potential moment for others to make a mark of / for themselves.

In this way, a surface in figure becomes an others ground—and since function often re-tunes, counter balancing and scaling to invert and unfold its use, and vice versa—between the two, a new kind of removed conversational gestalt chain arises.

Additionally, the visual formation of language takes time. And a moment of, or in waiting, is also conversely short —time can be checked in advance, and through practice, a sense of tranquility of order eventually carries itself.

Unfortunately, a forthcoming rupture, (to time), is never too distant, or too fecund —either by misfortune, or by an unjust sense of sabotage, but protracted as disorder.

Always check what type of time in advance. Time not to affect the individual. Time not to affect the collective. Time to allow time time. It waits for no line.

Time to throw up.

out of

Gif: Found ' Time' graffiti tag, with etched (keyed) words on bus stop and brick wall. E2, London, 2018.

Under the Sign

' Under the Sign' is an independent typographic research project by Scott Joseph.

Comprising the fundamental aspects of typography as its basis, i.e. the art of composing and arranging language into legible display, ' Under the Sign' uses street photography and object collection refracted from urban life as a form of transmutational system whereby the role of image and language becomes inverted, i.e. from the documentarian to the directed. ' Under the Sign' also uses reference from mass/social media and online/open source culture; electronic, garage, drum and bass and hip-hop music genres; as well as marginal forms of writing relating to technology, sociology and poetry—as a way to investigate editorial and semiotic formats in an iterative methodology.

In addition, ' Under the Sign' invokes an oppositional tendency towards the almost obsolete nature of visual communication in an age of formula and institutional co-opting of 'design' based processes to other role pooling determinations.

The projects initial form will be presented via a digital architecture in numeric chronology, resulting in an archived online publication of polyvalent inter-textual and visual experiment.

Previous versions and extracts of ' Under the Sign' have been presented in print, installation and film (under other titles) at/in: Marres, Centre for Contemporary Culture, Maastricht, NL (2013); Goethe Institute, Amsterdam, NL (2014); Pakt, Amsterdam, NL (2015); 27th Brno Biennale, Brno, CZ (2016); Rogaland Kunstsenter, Stavanger, NO (2017); IDEA magazine, Tokyo, JP (2017) and AIGA magazine, NYC, US (2018).

N.B. The synopsis and mentality of ' Under the Sign' is not fixed and finite and is open to re-description dependent on the subject of chance material (in line to other external commissioned contexts and pedagogical frameworks). Likewise, the contents and index section of ' Under the Sign' will expand as material is made available.

' Under the Sign' is supported in 2019 in the Netherlands by the Stimuleringsfonds through its Grant Programme for Design.


No.1: It's Not What You've Got, It's What You Do With What You Have

No.2: As Serious As You Can Get


1. Blawan, What You Do With What You Got — R & S Records, 2011

2. Blackstar, Respiration — Rawkus, 2004