Table of Contents

For Diego, the idea of the table of contents stemmed first and foremost from the notion of creating a literal and physical entity that represented the contents found in the latest issue of perediza, “the burgundy issue.” Selecting found materials and objects to embody each of the pieces and thought-provoking articles found inside issue IV. His intention was to visually capture the core ideas of the articles visually, but to further reflect on how these intellectual pieces could be further interpreted and digested, extrapolating their principles into a course, a plate, or an object found at the table. But upon deeper reflection and honing in on some of the ideas behind Assemblage Theory (Deleuze et al, 2013), which suggests that human processes are heterogeneous assemblages of systems, objects, materials, people, and social structures, fluctuating, changing, and evolving as time, societies, people, and history move on, the core significance of “The Table of Contents” piece translates this into the elements of mundane everyday life epitomized by a dining table and the concept of what sitting down at the table to eat means, especially when done in community.

Diego reflects and draws a parallel between the act of gathering and sitting down at the table to eat and sitting down and reading the magazine, how, just like how we consume, digest, and process our meals at the table, at perediza we aim for people to slow down, indulge in the consumption and the digestion of every bit of the magazine, the ideas that are born after reading, the conversations (just like we dialogue and converse at the table) and discussion, the exchange and circulation of knowledge gained, shared, and regained. “The Table of Contents” is meant to embody these dialogues, conversations, and the interactions—these assemblages and the compendium of different topics, different ideas, different sources of knowledge all co-existing at the same place, as if an international group of friends, all with unique cultural and critical points of view, sat down at the table to talk and share a meal, all rich in their knowledge and further nurtured by the interchangeof new knowledge. The objects at the table are meant to carry and represent the different voices, personalities, and the people behind the contents found on the pages of issue IV of perediza, and the setting of the table and the visual arrangement of the piece is meant to represent us, the team at perediza, curating, shaping visually, and putting all these ideas, all these “servings,” at the same place; the creation of a print issue in this case mirrors the setting and serving on the table.

For us at perediza, that’s exactly what the magazine is all about: the platforming and circulation of critical thinking in the hopes that they will go further than our pages and into the world, and for Diego specifically, hopefully the diverse and unique pieces found inside “the burgundy issue” of peredizawill find their way into one or two conversations at the dining table.

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