Emery L. Norton is a graphic designer and editor who writes under the false name C.M. Ellen.

1    Graphic Design

Focus: publications, exhibition graphics and websites with an emphasis on concept and typography.

2    Writing

Almost Improv: Interview with Filmmaker Gary Burns, Autumn 2018; on the occasion of screening “Kitchen Party” (1997), for Selim Projects. 

The Midden: Press Release, Autumn 2018; for Garret Publications

Try To Act As If You Don’t Know, Autumn 2018; review of the publication “OASE #100: Karel Martens and the Architecture of the Journal”, for Arkkitehti (Finnish Architectural Review)

A Table With Three Legs, Summer 2018; conceptual reading of Alvar Aalto’s Stool 60, for “The Lives of Others” exhibition catalogue at Factory Gallery in Seoul 

From Without to About to Something Else, Summer 2018; S’lim Zine #6 editorial, for Selim Projects 

Footnotes For The Reader: Interview with Leevi Lehto, Summer 2018; accompanying the preface to “Alussa oli Kääntäminen: 2000-luvun poetiikkaa” (In the Beginning Was Translation: A 21st Century Poetics), for S’lim Zine #6

A Vacuum Cleaner Is For Cleaning Except When It Is Not, Spring 2017; short fiction making up the artistic component of the MA thesis from Aalto Univeristy, under the mentorship of Stuart Bertolotti-Bailey 

Portraits Probably, Spring 2016; workshop at Design Museum Helsinki on the ocassion of the exhibition “Daniel Palillo”, for Helsinki New and Pre Helsinki  



Contact: e-mail, phone, text message, instagram

Design news: typesetting the book of essays “Salt in the Wound: Encounters with Comtemporary Artists Across Europe” by curator Jurriaan Benschop, for Garret Publications; collaborative redesign of the magazine “Arkkitehti”,  for the Finnish Architectural Review; exhibition graphics and publication on Minna Canth, for Teatterimuseo.

Non-design news: Copyediting the recipes of Rirkrit Tiravanija and Antto Melasniemi (Bastard Brothers) for their forthcoming cookbook (2019); Editing a forthcoming serial publication that pairs archival interviews with newly commissioned texts (ongoing until Spring 2020), for Design Museum Helsinki.

News regarding relevant leisure activities, a.k.a. hobbies, a.k.a. personal research: a wordbook on translation titled “Abandon Abandon” and a perpetual calendar based on the work of Russian graphic artist R. Naiden.

Old news: Master of Arts graduate from Aalto University under the mentorship of Stuart Bertolotti-Bailey; national recognition from the Graphic Designers of Canada, the Design Exchange: Canada’s Design Museum and Grafia’s Vuoden Huiput.

Header icon: the top of the page is a revolving space with a dual function; it displays work (either discarded drafts or excerpts from published projects) and it adds navigation to the site (linking to *this* page on mobile and to the top of the design page on desktop). Currently on display is a drawing from p.21 of the publication “Yearbook of Exhibitions 2016–17: Harald Herlin Learning Centre”.


Mark

The first time Ulysses appeared in Finnish (Odysseus, 1964) the translator of that novel, Pentti Saarikoski, consulted an instruction manual that today would be considered quite flawed, or at least out of date. Can you describe how your own translation of Ulysses (2012) and the one that came before it have been influenced by two different notions of contemporary literature...more




Without the about, the reader wouldn’t know that the publishers of this zine are Helsinki-based, or that they initiate projects that exist in the margins of architecture and design, or that their website is built using Indexhibit – though maybe in the future they would like to update it into something else (selim.fi/about). There’s no chance of knowing that S’lim Zine has two different International Standard Serial Numbers, or that each issue is deliberately restricted to 36 A4 sized pages,1 or that no.6 is about Helsinki – without the about...more



Let’s start with “Kitchen Party”. For the readers who haven’t seen the film, can you begin by describing the premise and how the kitchen plays into it? Was the kitchen part of the story from the beginning or did it evolve, say, after developing the characters...more



The Midden marks the end of a five-year multidisciplinary research initiative on ecological issues in contemporary art. In response to the current oil-dependent society, termed fossil modernity, it aims at imagining new paths toward more livable futures. The book digs into a heap of material amassed by the art research project Frontiers in Retreat (2013–18) involving 25 artists at residencies across Europe. Contributors from the fields of media studies, speculative fiction, philosophy and curatorial writing include Taru Elfving, Emmi Itäranta, Jenni Nurmenniemi, Jussi Parikka, Antti Salminen, and Tracey Warr...more



Portraits Probably, Spring 2016; workshop at Design Museum Helsinki on the ocassion of the exhibition “Daniel Palillo”, for Helsinki New and Pre Helsinki 


If those who are undone by theory become theorists, what becomes of those who are undone by fashion? Join Daniel Palillo at Design Museum Helsinki in a hands-on workshop for undoing fashion. An event for becoming  makeshift makeup artists and objects of the eye. Live face making, with skin-safe ink or paper construction, will be captured by portrait specialsit Sanna Lehto. Participants will receive a digital copy of their portait after the event...more















Try To Act As If You Don’t Know, Autumn 2018; review of the publication “OASE #100: Karel Martens and the Architecture of the Journal”, for Arkkitehti (Finnish Architectural Review)

Looking at the front and inside flaps of OASE 100, covered in every colophon detail since issue 28 and itemized as index-like lists that are arranged by category, you can’t help but notice one thing. Those don’t go there. Almost as a reminder, the credits of the current issue are also near the back where designers typically put them. Through his work as both a designer and a teacher, Karel shares a kind of mindset with you. Sometimes, by way of an impossible exercise: “I often say, try to act as if you don’t know what a book is, like you’ve never seen a book cover before” (2010 interview with Harmen Liemburg)...more



A Table With Three Legs, Summer 2018; conceptual reading of Alvar Aalto’s Stool 60, for “The Lives of Others” exhibition catalogue at Factory Gallery in Seoul 


Imagine that the Finnish design system is a table standing on four legs. The entire infrastructure is supported equally by four pillars and each of them representing part of the industry – education, memory, profession and promotion. Playing a bit of the game ‘telephone’ here, the metaphor was heard from Professor Pekka Korvenmaa – during an open discussion at Design Museum Helsinki – who allegedly heard it from Antti Nurmesniemi. A story’s origin, you could argue, is almost always up for debate but Korvenmaa, having written the book Finnish Design: A Concise History, had secured his reputation some years ago with a mass of reliable source material. As the professor reached the end of his opening remarks the audience was left on the edge of their seat: “if one leg falls, the table falls down...more

 

A Vacuum Cleaner Is For Cleaning Except When It Is Not, Spring 2017; short fiction making up the artistic component of the MA thesis from Aalto Univeristy, under the mentorship of Stuart Bertolotti-Bailey


The quadratic format plots the alphabet on a 5×5 letter grid, with the letter K always replaced with the letter C for sake of economy and convenience (as in H-O-U-S-E-C-E-E-P-I-N-G). To locate a letter on the grid, identify the horizontal row from the first 1–5 knocks, then the vertical column from the next 1–5 knocks, which are always separated by a pause. Consider the first and last letters of the alphabet for example; two knocks separated by a pause designates the letter A (first row, first column), while ten knocks separated by a pause mid-way designates the letter Z (5th row, 5th column). Note that identifying the pause between row and column is crucial since six knocks can potentially designate letter E (1,5), letter I (2,4), letter N (3,3), letter R (4,2), or letter V (5,1), depending on the position of the pause...more





Mark