Rémi Forte

Starting in 2025, this account will go dormant. If you’d like to stay in touch, you’ll find all the ways to reach me here: rmfrt.com

Franz Mon, Abstrakt, 1967

Now spinning: Spacemen 3, Starship, 1987 open.spotify.com/intl-fr/track/…

Ruth Wolf-Rehfeldt, Cages on the Run, ca. 1980s

Now spinning: This Heat, 24 Track Loop, 1979 open.spotify.com/intl-fr/track/…

Ian Hamilton Finlay, Sea-Poppy 1 (Fishing Boat Letters and Numbers), 1968

Uncertainty

It’s a huge change, and I’m still processing what’s next.

Honestly, it’s a bit of a mess right now, and I’m questioning whether I’ll even continue with Obsidian. And I don’t have the time to organize it all at the moment.

After two years of building and using my Obsidian vault, I’ve just completely dismantled it. It feels surreal—it’s been my go-to tool for so long.

Now spinning: Cowboys International, The ‘No’ Tune, 1979 (A track for everyone who loved Andrew Weatherall’s show on @NTSlive ) open.spotify.com/intl-fr/track/…

Natalie Czech, A Negative Calligramme by Julien Bismuth (Jalousie), 2018

@poisbem 🖤

@rmfrt lov ely

Behind the scenes of designing my 2022 poetry book “Airplane Crash”

Běla Kolářová, Radiogram of Circle, 1962-1963

Poem from the “hmnru” series, December 2021—one of my earliest concrete poems created with a pen plotter.

@ANRT_type 205.tf/collection/gar…

Presentation to the @ANRT_type on automating the layout of Thomas Huot-Marchand‘s Garaje typeface specimen, published by 205TF, using Python and Drawbot.