Through her work created in the intersection of visual arts, music, and dance – or where time-based installation meets live performance – the artist Oh Min has been keenly observing and transposing different ways in which the body senses time. In this book, she coins the term “post-texture” to describe a shift in the mode of sensation, especially in music, from the one centered on universal and hierarchical weaving systems of lines (“texture” of melodies) to the one formed around non-linear, synchronous masses.

The typography attempts a similarly synchronous polyphony. With Oh Min’s essays, a single text monopolizes the space and runs from one page to the next, in the familiar convention of book design. As other contributors join the discussion, however, the text diverges into three independent flows that run in parallel, each occupying a third of the page space. The reader may follow each flow, taking the margin marks as a cue; or they may choose to ignore the structure and read across the multiple texts instead, vertically transversing for inevitable breaks, accidentally making sense for themselves. The cover copies the page where the artist defines “post-texture,” highlighting a portion with the title by blind stamping.