0
1
2
3
4
5
6
435px
1.07
-0.031
AEON
261px
1.15
-0.031
6th of July.2021;WedBroadcast
190px
1.10
-0.05
Subjectof Leak↗Truth?
190px
1.10
-0.01
34Min25SecAND1/4
129px
1.22
-0.028
DailyNews:1.240,00$Chicago/CTA❶WestInformation©Industry↔MEDIA&theCCTV±OBJECTIVITY②True
38px
1.28
-0.016
“I have no idea what we do. As citizens we cede more and more of our autonomy, but if we the government take away the citizens’ freedom to cede their autonomy we’re now taking away their anatomy. It’s a paradox. Citizens are constitutionally empowered to choose to default and leave the decisions to corp
38px
1.28
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EITHER INFORMATION PRODUCES MEANING (A NEGENTROPIC FACTOR), BUT CANNOT MAKE UP FOR THE BRUTAL LOSS OF SIGNIFICATION IN EVERY DOMAIN. DESPITE EFFORTS TO REINJECT MESSAGE AND CONTENT, MEANING IS LOST AND DEVOURED FASTER THAN IT CAN BE RE-INJECTED.
17px
1.50
-0.001
We live in a world where there is more and more information, and less and less meaning. Consider three hypotheses. Either information produces meaning (a negentropic factor), but cannot make up for the brutal loss of signification in every domain. Despite efforts to reinject message and content, meaning is lost and devoured faster than it can be re-injected. In this case, one must appeal to a base productivity to replace failing media. This is the whole ideology of free speech, of media broken down into innumerable individual cells of transmission, that is, into "antimedia" (pirate radio, etc.). Or information has nothing to do with signification. It is something else, an operational model of another order, outside meaning and of the circulation of meaning strictly speaking. This is Shannon's hypothesis: a sphere of information that is purely functional, a technical medium that does not imply any finality of meaning, and thus should also not be implicated in a value judgment. A kind of code, like the genetic code: it is what it is, it functions as it does, meaning is something else that in a sense comes after the fact, as it does for Monod in Chance and Necessity. In this case, there would simply be no significant relation between
17px
1.50
0.001
“Americans are in a way crazy. We infantilize ourselves. We don’t think of ourselves as citizens—parts of something larger to which we have profound responsibilities. We think of ourselves as citizens when it comes to our rights and privileges, but not our responsibilities. We abdicate our civic responsibilities to the government and expect the government, in effect, to legislate morality. I’m talking mostly about economics and business, because that’s my area.” “What do we do to stop the decline?” “I have no idea what we do. As citizens we cede more and more of our autonomy, but if we the government take away the citizens’ freedom to cede their autonomy we’re now taking away their anatomy. It’s a paradox. Citizens are constitutionally empowered to choose to default and leave the decisions to corporations and to a government we expect to control them. Corporations are getting better and better at seducing us into thinking the way they think—of profits as the telos and responsibility as something to be enshrined in symbol and evaded in reality. Cleverness as opposed to wisdom. Wanting and having instead of thinking and making. We cannot stop it. I suspect what’ll happen is that
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In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message. This is merely to say that the personal and social consequences of any medium-- that is, of any extension of ourselves -- result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology. Thus, with automation, for example, the new patterns of human association tend to eliminate jobs, it is true. That is the negative result. Positively, automation creates roles for people, which is to say depth of involvement in their work and human association that our preceding mechanical technology had destroyed. Many people would be disposed to say that it was not the machine, but what one did with the machine, that was its meaning or message. In terms of the ways in which the machine altered our relations to one another and to ourselves, it mattered not in the least whether it turned out cornflakes or Cadillacs. The restructuring of human work and association was shaped by the technique of fragmentation that is the essence of machine technology. The essence of automation technology is the opposite. It is integral and decentralist in depth, just as the machine was fragmentary, centralist, and superficial in its patterning of human relationships. The instance of the electric light may prove illuminating in this connection. The electric light is pure information. It is a medium without a message, as it were, unless it is used to spell out some verbal ad or name. This fact, characteristic of all media, means that the "content" of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and print is the content of the telegraph. If it is asked, "What is the content of speech?," it is necessary to say, "It is an actual process of thought, which is in itself nonverbal." An abstract painting represents direct manifestation of creative thought processes as they might appear in computer designs. What we are considering here, however, are the psychic and social consequences of the designs or patterns as they amplify or accelerate existing processes. For the "message" of any medium or technology is the change of scale or pace or pattern that it introduces into human affairs. The railway did not introduce movement or transportation or wheel or road into human society, but it accelerated and enlarged the scale of previous human functions, creating totally new kinds of cities and new kinds of work and leisure. This happened whether the railway functioned in a tropical or a northern environment and is quite independent of the freight or content of the railway medium. The airplane, on the other hand, by accelerating the rate of transportation, tends to dissolve the railway form of city, politics, and association, quite independently of what the airplane is used for. Let us return to the electric light. When the light is being used for brain surgery or night baseball is a matter of indifference. It could be argued that these activities are in some way the "content" of the electric light, since they could not exist without the electric light. This fact merely underlines the point that "the medium is the message" because it is the medium that shapes and controls the scale and form of human association and action. The content or uses of such media are as diverse as they are ineffectual in shaping the form of human association. Indeed, it is only too typical that the "content" of any medium blinds us to the character of the medium. It is only today that industries have become aware of the various kinds of business in which they are engaged. When IBM discovered that it was not in the business of making office equipment or business machines, but that it was in the business of processing information, then it began to navigate with dear vision. The General Electric Company makes a considerable portion of its profits from electric light bulbs and lighting systems. It has not yet discovered that, quite as much as A.T.& T., it is in the business of moving information. The electric light escapes attention as a communication medium.
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In accepting an honorary degree from the University of Notre Dame a few years ago, General David Sarnoff made this statement: "We are too prone to make technological instruments the scapegoats for the sins of those who wield them. The products of modern science are not in themselves good or bad; it is the way they are used that determines their value." That is the voice of the current somnambulism. Suppose we were to say, "Apple pie is in itself neither good nor bad; it is the way it is used that determines its value." Or, "The smallpox virus is in itself neither good nor bad; it is the way it is used that determines its value." Again, "Firearms are in themselves neither good nor bad; it is the way they are used that determines their value." That is, if the slugs reach the right people firearms are good. If the TV tube fires the right ammunition at the right people it is good. I am not being perverse. There is simply nothing in the Sarnoff statement that will bear scrutiny, for it ignores the nature of the medium of any and all media, in the true Narcissus style of one hypnotized by the amputation and extension of his own being in a new technical form. General Sarnor Twent on to explain his attitude to the technology of print, saying that it was true that print caused much trash to circulate, but it had also disseminated the Bible and the thoughts of seers and philosophers. It has never occurred to General Sarnoffthat any technology could do anything but add itself on to what we already are. Such economists as Robert Theobald, W W. Rostow, and John Kenneth Galbraith have been explaining for years how it is that "classical economics" cannot explain change or growth. And the paradox of mechanization is that although it is itself the cause of maximal growth and change, the principle of mechanization excludes the very possibility of growth or the understanding of change. For mechanization is achieved by fragmentation of any process and by putting the fragmented parts in a series. Yet, as David Hume showed in the eighteenth century, there is no principle of causality in a mere sequence. That one thing follows another accounts for nothing. Nothing follows from following, except change. So the greatest of all reversals occurred with electricity, that ended sequence by making things instant. With instant speed the causes of things began to emerge to awareness again, as they had not done with things in sequence and in concatenation accordingly. Instead of asking which came first, the chicken or the egg, it suddenly seemed that a chicken was an egg's idea for getting more eggs. Just before an airplane breaks the sound barrier, sound waves become visible on the wings of the plane. The sudden visibility of sound just as sound ends is an apt instance of that great pattern of being that reveals new and opposite forms just as the earlier forms reach their peak performance. Mechanization was never so vividly fragmented or sequential as in the birth of the movies the moment that translated us beyond mechanism into the world of growth and organic interrelation. The movie, by message. The message, it seemed, was the "content." as people used to ask what a painting was about. Yet they never thought to ask what a melody was about, nor what a house or a dress was about. In such matters, people retained some sense of the whole pattern, of form and function as a unity. But in the electric age this integral idea of structure and configuration has become so prevalent that educational theory has taken up the matter. Instead of working with specialized "problems" in arithmetic, the structural approach now follows the linea of force in the field of number and has small children meditating about number theory and "sets." Cardinal Newman said of Napoleon, "He understood the grammar of gunpowder." Napoleon had paid some attention to other media as well, especially the semaphore telegraph that gave him a great advantage over his enemies. He is on record for saying that "Three hostile newspapers are more to be feared than a thousand bayonets." Alexis de Tocqueville was the first to master the grammar of print and typography. He was thus able to read off the message of coming change in France and America as if he were reading aloud from a text that had been handed

Modern Gothic is an all-purpose typeface with American roots, suitable for a wide range of applications, from subway signage to baseball headlines. The family follows a graded, hourglass-shaped model in terms of widths – the regular weight intended for typesetting long texts has been made narrower, while the black and thin cuts are wider for more display-oriented applications. This allows typographers to create efficient copy-fit sections using the medium and light cuts, while preserving the original gothic flavour in the extreme styles for moments where it can flex its strong character. Within the family, there is only one interpolation, each weight being fine-tuned for its intended use.

Grotesques originated in Europe and their distorted counterparts in the US were named gothics. Gothic Modern was an early attempt, released circa 1895 by Chicago type foundry Barnhart Brothers and Spindler.¹ Since gothics were first utilised as headlines in newspapers and on broadsides, quirks were likely welcomed as a way to garner attention. However these same oddities harsh the flow in text sizes, and certainly do not meet contemporary drawing standards. Some characters from this genre turned into celebrities, refined over generations and later got work in the telecommunication industry;² this was not the case for Gothic Modern, which was left forgotten in a dusty book in Chi-Town, until…

In 2016 the process of synthesising the ’merican roughness of Gothic Modern into Modern Gothic was initiated. Bentzen has skillfully navigated the classic challenge in type design – how to keep the sauce pungent, without preservatives; dropping a sans in 2021, sans an expiration date? The capitals have been optically corrected to avoid the classically heavy caps typical of the genre, at the same time preserving their character by maintaining their wide-set frame inherited from the gothic style, and perhaps, a mid-western American diet. I’ll have the wings, the deep dish, and an XL Coke. No body shaming (today is my cheat day, we hit the gym tomorrow), and also – I was born this way – born in the USA.

1          Barnhart Brothers & Spindler, Gothics, Chicago, USA, 1901.
2         https://fontsinuse.com/typefaces/3784/bell-gothic

Technical Information:

Design: Malte Bentzen
Classification: Neo Gothic/Grotesk
Cuts: 12 (6 styles with italics)
Mastering: Michele Patanè
First sketch: 2016
Released: 2022
Latest update: 11/2022
Initiated at ECAL

OpenType Features:
aalt
Access All Alternates
calt
Contextual Alternates
case
Case Sensitive Forms
ccmp
Composites
dlig
Discretionary Ligatures
dnom
Denominator
frac
Fractions
locl
Localized Forms
numr
Numerator
ordn
Ordinals
pnum
Proportional Figures
salt
Stylistic Alternates
sinf
Scientific Inferiors
subs
Subscript
sups
Superscript
tnum
Tabular Figures
ss01
Alt a
ss02
Alt g
Supported Languages:

Afrikaans, Albanian, Asu (Tanzania), Basque, Bemba (Zambia), Bena (Tanzania), Breton, Catalan, Chiga, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba (Kenya), Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo (Kenya and Tanzania), Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu (Tanzania), Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili (macrolanguage), Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek, Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Buy Modern Gothic Family

540 EUR
1140 EUR
Modern GothicComplete Family
Modern Gothic Thin Italic
Modern Gothic Light Italic
Modern Gothic Regular Italic
Modern Gothic Medium Italic
Modern Gothic Bold Italic
Modern Gothic Black Italic
375 EUR
570 EUR
Modern GothicEssential Family
Modern Gothic Regular Italic
Modern Gothic Medium Italic
Modern Gothic Bold Italic

Single Styles

95 EUR
Modern GothicThin
95 EUR
Modern GothicThin Italic
95 EUR
Modern GothicLight
95 EUR
Modern GothicLight Italic
95 EUR
Modern GothicRegular
95 EUR
Modern GothicItalic
95 EUR
Modern GothicMedium
95 EUR
Modern GothicMedium Italic
95 EUR
Modern GothicBold
95 EUR
Modern GothicBold Italic
95 EUR
Modern GothicBlack
95 EUR
Modern GothicBlack Italic
Package discount
EUR

Buying guide

We offer the possibility of buying individual styles as well as complete families. The price shown is the cost of our most basic licence. Further licencing options are available during the checkout process.

Character Overview

A
Character name
Unicode Decimal
65
Unicode Hex
41
HTML Entity (Hex)
A
Uppercase
  • 65
    A
  • 66
    B
  • 67
    C
  • 68
    D
  • 69
    E
  • 70
    F
  • 71
    G
  • 72
    H
  • 73
    I
  • 74
    J
  • 75
    K
  • 76
    L
  • 77
    M
  • 78
    N
  • 79
    O
  • 80
    P
  • 81
    Q
  • 82
    R
  • 83
    S
  • 84
    T
  • 85
    U
  • 86
    V
  • 87
    W
  • 88
    X
  • 89
    Y
  • 90
    Z
Lowercase
  • 97
    a
  • 98
    b
  • 99
    c
  • 100
    d
  • 101
    e
  • 102
    f
  • 103
    g
  • 104
    h
  • 105
    i
  • 106
    j
  • 107
    k
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    l
  • 109
    m
  • 110
    n
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    o
  • 112
    p
  • 113
    q
  • 114
    r
  • 115
    s
  • 116
    t
  • 117
    u
  • 118
    v
  • 119
    w
  • 120
    x
  • 121
    y
  • 122
    z
Uppercase Accents
  • 193
    Á
  • 258
    Ă
  • 194
    Â
  • 196
    Ä
  • 192
    À
  • 256
    Ā
  • 260
    Ą
  • 197
    Å
  • 195
    Ã
  • 198
    Æ
  • 262
    Ć
  • 268
    Č
  • 199
    Ç
  • 264
    Ĉ
  • 266
    Ċ
  • 208
    Ð
  • 270
    Ď
  • 272
    Đ
  • 201
    É
  • 276
    Ĕ
  • 282
    Ě
  • 202
    Ê
  • 203
    Ë
  • 278
    Ė
  • 200
    È
  • 274
    Ē
  • 280
    Ę
  • 7868
  • 286
    Ğ
  • 284
    Ĝ
  • 290
    Ģ
  • 288
    Ġ
  • 294
    Ħ
  • 292
    Ĥ
  • 7716
  • 306
    IJ
  • 205
    Í
  • 206
    Î
  • 207
    Ï
  • 304
    İ
  • 204
    Ì
  • 298
    Ī
  • 302
    Į
  • 296
    Ĩ
  • 308
    Ĵ
  • 310
    Ķ
  • 313
    Ĺ
  • 317
    Ľ
  • 315
    Ļ
  • 7734
  • 321
    Ł
  • 323
    Ń
  • 327
    Ň
  • 325
    Ņ
  • 330
    Ŋ
  • 209
    Ñ
  • 211
    Ó
  • 334
    Ŏ
  • 212
    Ô
  • 214
    Ö
  • 210
    Ò
  • 336
    Ő
  • 332
    Ō
  • 216
    Ø
  • 213
    Õ
  • 338
    Œ
  • 222
    Þ
  • 340
    Ŕ
  • 344
    Ř
  • 346
    Ś
  • 352
    Š
  • 350
    Ş
  • 348
    Ŝ
  • 536
    Ș
  • 7838
  • 358
    Ŧ
  • 356
    Ť
  • 354
    Ţ
  • 538
    Ț
  • 218
    Ú
  • 364
    Ŭ
  • 219
    Û
  • 220
    Ü
  • 217
    Ù
  • 368
    Ű
  • 362
    Ū
  • 370
    Ų
  • 366
    Ů
  • 360
    Ũ
  • 7810
  • 372
    Ŵ
  • 7812
  • 7808
  • 221
    Ý
  • 374
    Ŷ
  • 376
    Ÿ
  • 7922
  • 377
    Ź
  • 381
    Ž
  • 379
    Ż
Lowercase Accents
  • 225
    á
  • 259
    ă
  • 226
    â
  • 228
    ä
  • 224
    à
  • 257
    ā
  • 261
    ą
  • 229
    å
  • 227
    ã
  • 230
    æ
  • 263
    ć
  • 269
    č
  • 231
    ç
  • 265
    ĉ
  • 267
    ċ
  • 240
    ð
  • 271
    ď
  • 273
    đ
  • 233
    é
  • 277
    ĕ
  • 283
    ě
  • 234
    ê
  • 235
    ë
  • 279
    ė
  • 232
    è
  • 275
    ē
  • 281
    ę
  • 7869
  • 287
    ğ
  • 285
    ĝ
  • 291
    ģ
  • 289
    ġ
  • 295
    ħ
  • 293
    ĥ
  • 7717
  • 305
    ı
  • 237
    í
  • 238
    î
  • 239
    ï
  • 236
    ì
  • 307
    ij
  • 299
    ī
  • 303
    į
  • 297
    ĩ
  • 309
    ĵ
  • 311
    ķ
  • 312
    ĸ
  • 314
    ĺ
  • 318
    ľ
  • 316
    ļ
  • 7735
  • 322
    ł
  • 324
    ń
  • 329
    ʼn
  • 328
    ň
  • 326
    ņ
  • 331
    ŋ
  • 241
    ñ
  • 243
    ó
  • 335
    ŏ
  • 244
    ô
  • 246
    ö
  • 242
    ò
  • 337
    ő
  • 333
    ō
  • 248
    ø
  • 245
    õ
  • 339
    œ
  • 254
    þ
  • 341
    ŕ
  • 345
    ř
  • 347
    ś
  • 353
    š
  • 351
    ş
  • 349
    ŝ
  • 537
    ș
  • 223
    ß
  • 359
    ŧ
  • 357
    ť
  • 355
    ţ
  • 539
    ț
  • 250
    ú
  • 365
    ŭ
  • 251
    û
  • 252
    ü
  • 249
    ù
  • 369
    ű
  • 363
    ū
  • 371
    ų
  • 367
    ů
  • 361
    ũ
  • 7811
  • 373
    ŵ
  • 7813
  • 7809
  • 253
    ý
  • 375
    ŷ
  • 255
    ÿ
  • 7923
  • 378
    ź
  • 382
    ž
  • 380
    ż
Numerals
  • 48
    0
  • 49
    1
  • 50
    2
  • 51
    3
  • 52
    4
  • 53
    5
  • 54
    6
  • 55
    7
  • 56
    8
  • 57
    9
Dingbat Numerals
  • 9450
  • 9312
  • 9313
  • 9314
  • 9315
  • 9316
  • 9317
  • 9318
  • 9319
  • 9320
  • 9471
  • 10102
  • 10103
  • 10104
  • 10105
  • 10106
  • 10107
  • 10108
  • 10109
  • 10110
Currency & Math
  • 8383
  • 162
    ¢
  • 164
    ¤
  • 36
    $
  • 8364
  • 8356
  • 8378
  • 163
    £
  • 165
    ¥
  • 8901
  • 43
    +
  • 8722
  • 215
    ×
  • 247
    ÷
  • 61
    =
  • 8800
  • 62
    >
  • 60
    <
  • 8805
  • 8804
  • 177
    ±
  • 8776
  • 126
    ~
  • 172
    ¬
  • 94
    ^
  • 8734
  • 8709
  • 8747
  • 960
    π
  • 8710
  • 181
    µ
  • 8719
  • 8721
  • 8730
  • 8706
  • 37
    %
  • 8240
Superscript
  • 8304
  • 185
    ¹
  • 178
    ²
  • 179
    ³
  • 8308
  • 8309
  • 8310
  • 8311
  • 8312
  • 8313
Subscript
  • 8320
  • 8321
  • 8322
  • 8323
  • 8324
  • 8325
  • 8326
  • 8327
  • 8328
  • 8329
Ordinals
  • 170
    ª
  • 186
    º
Ligatures
  • 64257
  • 64258
Punctuation & Symbols
  • 46
    .
  • 44
    ,
  • 58
    :
  • 59
    ;
  • 8230
  • 33
    !
  • 161
    ¡
  • 63
    ?
  • 191
    ¿
  • 183
    ·
  • 8226
  • 35
    #
  • 47
    /
  • 92
    \
  • 40
    (
  • 41
    )
  • 123
    {
  • 125
    }
  • 91
    [
  • 93
    ]
  • 45
    -
  • 8211
  • 8212
  • 95
    _
  • 8218
  • 8222
  • 8220
  • 8221
  • 8216
  • 8217
  • 8249
  • 8250
  • 34
    "
  • 39
    '
  • 9679
  • 9675
  • 9632
  • 9633
  • 9674
  • 64
    @
  • 38
    &
  • 182
  • 167
    §
  • 169
    ©
  • 174
    ®
  • 8471
  • 8482
  • 176
    °
  • 8242
  • 8243
  • 124
    |
  • 166
    ¦
  • 8224
  • 8225
  • 8494
  • 65533
Fraction
  • 189
    ½
  • 8585
  • 8531
  • 8532
  • 188
    ¼
  • 190
    ¾
  • 8533
  • 8534
  • 8535
  • 8536
  • 8537
  • 8538
  • 8528
  • 8539
  • 8540
  • 8541
  • 8542
  • 8529
  • 8530
Arrows
  • 8593
  • 8599
  • 8594
  • 8600
  • 8595
  • 8601
  • 8592
  • 8598
  • 8596
  • 8597
Global
  • 57344
  • 57345
  • 57346
  • 57347
  • 57348
  • 57349
  • 57350