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Alfonsos Sohn Renato übernahm den Familienbetrieb und industrialisierte in den frühen 1950er Jahren die Herstellung von Espressokannen, von denen er weltweit rund 300 Millionen verkaufte. Der umstrittene Unternehmer stellte immer neue Kopien seines Produkts her, um die Konkurrenz zu schlagen, und zeigte wenig Interesse, Aufzeichnungen, Proto- typen und weiteres Archivmaterial aufzubewahren. Angesichts dieser Lücke machte sich der Künst- ler David Bergé daran, im Umfeld der ehemaligen Fabrik, auf Flohmärkten und in Flagship-Stores Bialetti-Kannen zusammenzutragen. Mit diesem Buch legt Bergé seine Vorstellung eines mögli- chen Bialetti-Katalogs vor. Es gibt Einblick in die feinmechanischen Herstellungsprozesse, wobei es sich auf die Stimmen von Mitgliedern der Industriellenfamilie als auch auf die von früheren Fabrikarbeiter·innen, Sekretär·innen und Gewerkschaftsvertreter·innen stützt. Bialetti, eine Ikone des 20. Jahrhunderts, die heute nicht mehr in jeder Küche zu finden ist. 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Ausgehend vom Digitalen als scheinbar univer­ salem Substrat der Schrift verfolgt der erste Band der Reihe Das Neue Alphabet die Spuren dieses Wechselspiels anhand exemplarischer Fälle: dem Verhältnis von Binärcode und Monadologie in der Leibniz’schen Philosophie, den technologischen wie kosmologischen Aspekten nichtwestlicher Schriftsysteme, die als Gegenbild zu einem monolithischen Sprachverständnis fungieren, und der gleicher­ maßen poetischen wie ordnungsstiftenden Wirkmacht des Kinderlieds zum Erlernen des ABCs. Begleitet werden die Texte von Bildern des Künstlers Wolfgang Tillmans. –– Operating in the space between a regulatory cosmos and the chaos of life, spoken language and its written notation unfold in different directions. 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