tag:blogger.com,1999:blog-33804130576713864192024-03-06T03:01:14.318+00:00Collective Investigations: Wednesday PostW E D N E S D A Y P O S TAnonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.comBlogger108125tag:blogger.com,1999:blog-3380413057671386419.post-27920670839583205102017-10-25T11:55:00.000+01:002017-10-28T23:07:13.490+01:00art /ärt/ n hacking the human. [L ars, artis] <div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Some years and some wine later Robert Good's "</span></span>A New Dictionary of Art" is finally out!</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">If <a href="http://www.robertgood.co.uk/" target="_blank">Robert Good</a> was Socrates, he would have gone to Agora in Athens - to the tables, shops, workshops, barbers - and discussed the definition of art with the public. Instead, he went to internet - the contemporary global Agora of chatrooms, forums, institution webpages - and asked the same question. The cacophony of voices that he received back, he presented in the book <a href="https://www.amazon.co.uk/New-Dictionary-Art-word-definitions-ebook/dp/B0762QCSQ6" target="_blank">A New Dictionary of Art</a>.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVGkWEEjmrgFnenExEhxaNyTuwcVrq9mXyU30dCIfxZYoVb-Gdtd2C4TKYo8fFDmVqAhyphenhyphenMUIC1X55yvevX1Apc5j35q45mmoF0SfmoOUJsY6lvl3-XujG0B9Fk8lgdFAYLe-FtrAooXM/s1600/0dic+of+art_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVGkWEEjmrgFnenExEhxaNyTuwcVrq9mXyU30dCIfxZYoVb-Gdtd2C4TKYo8fFDmVqAhyphenhyphenMUIC1X55yvevX1Apc5j35q45mmoF0SfmoOUJsY6lvl3-XujG0B9Fk8lgdFAYLe-FtrAooXM/s320/0dic+of+art_2.jpg" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">As a mesmerising accumulation of over 3000 definitions compiled from internet, the book is a glorious monument to undefinability. "A New Dictionary of Art" has all the definitions of art you had ever imagined: by critics, art historians, students and casual ramblers though Constable’s landscapes. And then there are some more definitions. And then another few and some you may totally agree with. And then a few more and another one which may sound like something Aunt Bessie would say. Two hundred and thirty pages contain neatly arranged long and short explanations, which range from goddamn serious (art is an effort to contextualise our existence, p.53) to whimsical (art is an egg’s idea of things that aren’t eggs, p.53). The volume of alphabetically sorted definitions is too vast to contain any conclusion of what art is, yet it provides a fascinating dip into a dazzling world of opinions of the English speaking world. Each voice in the dictionary is undeniably individual and unique. Each statement and different. Any effort of finding a common thread is futile. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />The book is a serious dictionary of art: pronunciation included (✓), part of speech included (✓), origin of the word included (✓). Two column design (✓). It feels solid (✓) . It weighs well. (✓). It has many pages (✓), chart of pronunciation (✓) and the list of abbreviations (✓). </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkBAo70iQQhrAfiHbRloY6ugrB5kK0q4taYUEaXUtxEUpKO6WEPqL8SdC-n5FXzwBp9cwHMbT3R-5OQGzY5NO0GEE1qC4P4XBo0Zd9tQ05cPM-uhaqufeCtMxSv4T57etNpXghSdoEdes/s1600/0dic+of+art_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkBAo70iQQhrAfiHbRloY6ugrB5kK0q4taYUEaXUtxEUpKO6WEPqL8SdC-n5FXzwBp9cwHMbT3R-5OQGzY5NO0GEE1qC4P4XBo0Zd9tQ05cPM-uhaqufeCtMxSv4T57etNpXghSdoEdes/s320/0dic+of+art_4.jpg" width="320" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />A New Dictionary of Art is a white flag in the search of meaning for the word “art”. Its captivating kaleidoscope of disparate opinions shows enormity of the task with which humanity has been struggling for centuries. This dictionary is spellbinding in both its madness and profoundness. Like an object of art, it “exists to inspire”. (p. 101)</span><br />
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<a href="http://www.egidija.com/" target="_blank"><span style="font-family: "trebuchet ms" , sans-serif;">[Egidija]</span></a><br />
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<br />Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-44262465448503047472017-03-31T10:00:00.000+01:002018-02-10T10:35:20.786+00:00Notes on the Ley - The Library of Alexandria <div style="line-height: normal; min-height: 14px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">We have reached the final stop on the Arnolfini Ley which is the site of the Ancient Library of Alexandria in Alexandria, Egypt.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">The Great Library of Alexandria, O. Von Corven, 19th century <b>A</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It was one of the largest and most significant libraries in the ancient world and were dedicated to the Muses, the nine goddesses of the arts.</span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">1</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Clio by Pierre Mignard <b>B</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There are nine Muses that represent different artistic concerns and because this Ley has thrown up a lot of esoteric patrons around the book I shall mention Clio, the muse of History. Whose emblem is a book and she is often depicted holding one.</span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">2</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> Quite appropriate for the upcoming weekend. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The library flourished under the patronage of the Ptolemaic dynasty and functioned as a major centre of scholarship, from its construction in the 3rd century BC until the Roman conquest of Egypt in 30 BC, with collections of works, lecture halls, meeting rooms, and gardens. The library was part of a larger research institution called the Musaeum of Alexandria, where many of the most famous thinkers of the ancient world studied.<span style="font-size: xx-small;"><b>3</b></span></span></div>
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<a href="https://upload.wikimedia.org/wikipedia/commons/2/21/Ptolemy_I_Soter_Louvre_Ma849.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://upload.wikimedia.org/wikipedia/commons/2/21/Ptolemy_I_Soter_Louvre_Ma849.jpg" width="213" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Bust of Ptolemy I in the Louvre Museum <b>C</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The library was created by Ptolemy I Soter, who was a Macedonian general and the successor of Alexander the Great.</span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">1</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> Most of the books were kept as papyrus scrolls. It is unknown precisely how many such scrolls were housed at any given time, but estimates range from 40,000 to 400,000 at its height.</span></div>
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<a href="https://upload.wikimedia.org/wikipedia/commons/c/cf/Title_page_of_Sir_Henry_Billingsley's_first_English_version_of_Euclid's_Elements%2C_1570_(560x900).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://upload.wikimedia.org/wikipedia/commons/c/cf/Title_page_of_Sir_Henry_Billingsley's_first_English_version_of_Euclid's_Elements%2C_1570_(560x900).jpg" width="261" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">The frontispiece of Sir Henry Billingsley's first English version of Euclid's Elements, 1570 <b>D</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ptolemy I Soter was an interesting fellow. He ruled Egypt between 305 – 283/2 BC.<b><span style="font-size: xx-small;">4</span></b> He claimed to have descended from Heracles and was a big fan of Euclid. Though found Euclid's seminal work, the Elements, too difficult to study, so he asked if there were an easier way to master it. According to Proclus Euclid famously quipped: "Sire, there is no Royal Road to geometry."<b><span style="font-size: xx-small;">5</span></b> I wonder if they would approve of our Ley Line?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The main bulk of its collection were papyrus scrolls, although codices were used after 300 BC.<b><span style="font-size: xx-small;">1</span></b> There are many famous donors such as Mark Antony who supposedly gave Cleopatra over 200,000 scrolls for the library as a wedding gift.<b><span style="font-size: xx-small;">6</span></b> Though most of its collection was acquired by the copying of originals. Galen spoke of how all ships visiting the city were obliged to surrender their books for immediate copying. The owners received a copy while the pharaohs kept the originals in the library.</span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">1</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Though unfortunately the library met and end eventually, due to events stacked against it. Ancient and modern sources identify four possible occasions for the partial or complete destruction of the Library of Alexandria: Julius Caesar's fire during his civil war in 48 BC; the attack of Aurelian in AD 270–275; the decree of Coptic Pope Theophilus of Alexandria in AD 391; and the Muslim conquest of Egypt in (or after) AD 642.</span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">6</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Though a new Library of Alexandria the Bibliotheca Alexandrina opened in 2002 to rekindle the essence of the old one and continue its practice of learning. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">[<a href="http://www.georgecullen.com/" target="_blank">George</a>]</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>1</b> Murray, S. A., (2009). The library: An illustrated history. New York: Skyhorse Publishing</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>2</b> Leeming, David (2005). "Muses". The Oxford Companion to World Mythology. Oxford University Press. p. 274.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>3</b> https://en.wikipedia.org/wiki/Library_of_Alexandria</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>4</b> Jones, Prudence J. (2006). Cleopatra: A Sourcebook. University of Oklahoma Press.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>5</b> Robinson, Victor (2005). The Story of Medicine. Kessinger Publishing. p. 80.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>6</b> MacLeod, Roy, The Library of Alexandria: Center of Learning in the Ancient World, New York:I.B Tauris & Co Ltd, 2005.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>A</b> <a href="https://upload.wikimedia.org/wikipedia/commons/6/64/Ancientlibraryalex.jpg">https://upload.wikimedia.org/wikipedia/commons/6/64/Ancientlibraryalex.jpg</a></span></div>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-71325166588720888652017-03-23T21:57:00.000+00:002018-02-10T10:35:56.869+00:00Notes on the Ley - Isernia and the Patron Saint of Bookbinders<span style="font-family: "arial" , "helvetica" , sans-serif;">The fifth point on the Ley is Isernia. A curious stop but proves there is more than coincidence at work along the Arnolfini Ley. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Isernia is a town in the southern Italian region of Molise, and the capital of province of Isernia.<b><span style="font-size: xx-small;">1</span></b> The area of Isernia was settled at least 700,000 years ago and the nearby site called Pineta is supposedly the most ancient site where traces of use of fire by humans have been found.<span style="font-size: xx-small;"><b>2</b></span> What has this got to do with books, well nothing. Except that this place was the birthplace of Pope Celestine V and what does he have to do with books! Well I assume nothing or a lot, but he happens to be the Patron Saint of Bookbinders,<b><span style="font-size: xx-small;">3</span></b> who would have thought it. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">St Peter Celestine by Niccolò di Tommaso, Castel Nuovo <b>A</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Patron saints are chosen as special protectors or guardians over areas of life. These areas can include occupations, illnesses, churches, countries, causes -- anything that is important to us.<span style="font-size: xx-small;"><b>4</b></span> Pope Celestine V or rather Saint Peter Celestine as he is know nowadays, became pope in 1294 albeit rather reluctantly.<b><span style="font-size: xx-small;">5</span></b> He had spent most of his life as a hermit in the surrounding hills content with prayer, ritual flagellation and bookbinding!<b><span style="font-size: xx-small;">6</span></b> A bookbinding hermit, I find hard to believe but apparently there is truth in it and something that makes the Arnolfini Ley unique. I think he must have detested the job so much and dreams of bookbinding in solitude must of weighed heavy on his mind that five months and eight days in office he quit. He has been called ‘the most inept pope in history’.<b><span style="font-size: xx-small;">7</span></b> It seems he has become famous for being the first pope who quit. His last decree in office was to declare the ‘right of resignation’.<span style="font-size: xx-small;"><b>8</b> </span>The next pope to resign of his own accord was Pope Benedict XVI in 2013, 719 years later. Though he never regained his hermit life due to his successor, Pope Boniface VIII who opposed his resignation and was concerned he may become an antipope figure. So poor Celestine was locked up and later died in prison. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">The coronation of Pope Celestine V in August 1294 <b>B</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">He was canonised by Clement V on 5th May and was big on miracles. Eighteen in fact were considered by the cardinals on petition of his canonisation, though only 11 were actually taken as truth.<b><span style="font-size: xx-small;">9</span></b> For reasons of, lack of witnesses or they simply got the wrong guy. I have been hunting and hunting to find a list of his miracles but no joy yet. I was hoping there would be a book related miracle amongst them. Of the ones I have found: He cured a woman of paralysis<b><span style="font-size: xx-small;">10</span></b> and more excitingly Levitated.<span style="font-size: xx-small;"><b>9</b></span> </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Saint Peter Celestine’s feast day is celebrated on the 19th May. So take a moment while binding or reading a book, to say a prayer to the Patron Saint of Bookbinders. You can even visit him yourself. His remains lie in the Church of Saint Maria di Collemaggio, in Aquila, Italy.</span><br />
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<b style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-size: xx-small;">D</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">[<a href="http://www.georgecullen.com/" target="_blank">George</a>]</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>Refrences</b> </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>1</b> <a href="https://en.wikipedia.org/wiki/Isernia">https://en.wikipedia.org/wiki/Isernia</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>2</b> Science Magazine</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>3</b> The Catholic Library World, Volume 22, John M. O'Loughlin, Francis Emmett Fitzgerald, 1950</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>4</b> <a href="http://www.catholic.org/saints/faq.php">http://www.catholic.org/saints/faq.php</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>5</b> <a href="http://www.traditioninaction.org/SOD/j218sd_PeterCelestine_05_19.html">http://www.traditioninaction.org/SOD/j218sd_PeterCelestine_05_19.html</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>6</b> The Saint-a-Day Guide, Sean Kelly, Rosemary Rogers 2003</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>7</b> Good News for Moderns, Nero James Pruitt, 2015</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>8</b> McBrien, Richard P. (2000) Lives of the Popes</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>9</b> Mysteries, Marvels and Miracles: In the Lives of the Saints, Joan Carroll Cruz, 1997</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>10</b> Contested Canonizations: The Last Medieval Saints, 1482-1523, Ronald C. Finucane, 2011</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>A</b> <a href="https://upload.wikimedia.org/wikipedia/commons/6/6b/Celestine_V_Castel_Nuovo_Napoli_n02.jpg">https://upload.wikimedia.org/wikipedia/commons/6/6b/Celestine_V_Castel_Nuovo_Napoli_n02.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>B</b> <a href="http://www.traditioninaction.org/SOD/SODimages5/218_Coronation.jpg">http://www.traditioninaction.org/SOD/SODimages5/218_Coronation.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>C </b><a href="http://assets.atlasobscura.com/article_images/18888/image.jpg">http://assets.atlasobscura.com/article_images/18888/image.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>D</b> <a href="http://www.traditioninaction.org/SOD/SODimages5/218_Celest1.jpg">http://www.traditioninaction.org/SOD/SODimages5/218_Celest1.jpg</a></span><br />
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http://catholicnewslive.com/story/26583</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWu1dZeqkCrV6i0xZc2q16ET_ALSr3paljlVpTvQko3GzW6wTPhWVrtu3VrtFajZGKGdnQQraM0PWVLz3Avw9_nwwwMI3PP3TKmChYLDuiEuMeNPHBtKX0bEh-8RHc3WoB6_VfstKubc/s1600/Celestinus_quintus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWu1dZeqkCrV6i0xZc2q16ET_ALSr3paljlVpTvQko3GzW6wTPhWVrtu3VrtFajZGKGdnQQraM0PWVLz3Avw9_nwwwMI3PP3TKmChYLDuiEuMeNPHBtKX0bEh-8RHc3WoB6_VfstKubc/s320/Celestinus_quintus.jpg" width="187" /></a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><br /></span></div>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-13986479771714603412017-03-22T16:23:00.002+00:002018-02-10T10:36:10.235+00:00Notes on the Ley - Alessandria and Umberto Eco's private library of books that lie<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">The fourth point on <i>Arnolfini Ley</i> is Alessandria, a city in Piedmont, Italy, known Borsalino hats and for being the birthplace of Umberto Eco. Umberto Eco is famous as a writer, philosopher and semiotician, as well as a collector of rare books. Since we are dealing with leylines, it is his extraordinary collection of books on "wrong, zany and occult science, as well as on imaginary languages" (Carriere, p 131) and his views on false beliefs is what we are interested in. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">My collection is very focused. It is a <i>Biblioteca Semiologica, Curiosa, Lunatica, Magica et Pneumatica</i>, or 'a collection dedicated to the occult and mistaken sciences'. (Umberto Eco in Carriere, p 127) </span> </span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">As a rare books collector I am fascinated by the human propensity for deviating thought. So I collect books about subjects in which I don’t believe, like kabbalah, alchemy, magic, invented languages. Books that lie, albeit unwittingly. I have Ptolemy, not Galileo, because Galileo told the truth. I prefer lunatic science. (in Zanganeh) </span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><br />I have found remarkably little about <span style="color: #990000;">Umberto Eco’s collection of books</span>. My own knowledge comes from his conversation with Jean-Claude Carriere published as <i>This is not the End of the Book</i>. Eco himself had admitted that he did not show his collection to many people. “A book collection is a solitary, masturbatory kind of phenomenon, and you don’t often come across people who share your passions.” ((Carriere, p 327) Umberto Eco has 50000 books in his various homes as well as 1200 rare titles. Although a fast reader himself (with a phenomenal memory too) many of the books in his library he had not read. Most of the collection he had accumulated is for research. He does not go to bookshelves to choose what to read, he says. He goes to pick up the book he needs.<br /> </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">Here is a fascinating walk though his library:</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">In <i>This is not the End of the Book</i> Eco and Carriere indulge in a series of brags on the size and contents of their collections. There we find out that of 1200 rare titles Eco <i>only</i> owns about thirty incunabula. They do include “the essentials”, he says. Of the more curious titles, that Umberto Eco owned, is “an incunabulum of the influential and deadly which-hunting manual, the <i>Malleuns Maleficarum</i>.”, which was signed by it’s binder with an image of Moses with horns. (Carriere, p 111)</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: normal;">There is an interesting part <span style="font-family: "trebuchet ms" , sans-serif;">in</span> this brag, where both authors discuss the works of Athanasius Kircher, (<i>insatiable in his lunatic curiosity</i>, Eco said in <i>Serendipities</i>), of which Eco has all, except for one - but that one is only a small book with no illustrations, totally devoid of charm, he says. Kircher, according to Carrier, was “a kind of Internet before its time - meaning that he knew everything that could be known, and within his knowledge there was 50 per cent accuracy and 50 per cent nonsence, or imagination.” (Carriere, p. 129)</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">An
excellent visualisation of Kircher’s reasoning for why the Tower of
Babel could never reach the moon. According to his calculations, such
structure would cause the Earth revolve on its axis. From his <i>Turris Babel</i>, 1679 (<a href="https://standrewsrarebooks.wordpress.com/2013/07/30/highlight-from-the-stacks-kirchers-tower-of-babel-1679/" target="_blank">St Andrews</a> copy at r17f BS1238.B2K5) </span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />The collection, of course, reflects <span style="color: #990000;">Eco’s fascination with the potential of erroneous</span> <span style="color: #990000;">thinking</span>, fantasy and mistakes. Like Flaubert, he says, they both adored silliness. (Carriere, p 131). This pursuit of utopias, fairy-tales and generally wishful thinking, is responsible for a number considerable inventions and discoveries. In <i>Serendipities</i>: <i>Language And Lunacy</i> Eco discusses such events. Christopher Columbus, for example, who stumbled upon America, when looking for India, believing that the Earth was much smaller than it was. Or the Donation of Constantine. Or Marco Polo discovering rhinoceros and believing he had found unicorns (which, were not as gentile animals, as he had expected). Or even the persistent search for Eldorado, which fuelled numerous expediti<span style="font-family: "trebuchet ms" , sans-serif;">ons. </span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /> “Fascinated” is <span style="font-family: "trebuchet ms" , sans-serif;">the</span> correct word to describe Eco’s attitude towards the power of falsity. Eco is respectful and never depreciative, because “<span style="color: #990000;">even the most lunatic experiments can produce strange side effects</span>, stimulating research that proves perhaps less amusing but scientifically more serious” (Eco, Serendipities, p.8)</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"> At a certain historical moment, some people found the suspicion that the sun did not revolve around the earth just as crazy and deplorable as the suspicion that the universe does not exist. So we would be wise to keep aan open, fresh mind against the moment when the community of scientists decrees that the idea of the universe has been an illusion, just like the flat earth and the Rosicrucians.</span></span> </span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;">After all, the cultivated person’s first duty is to be always prepared to rewrite the encyclopaedia. (Eco, Serendipities, p.21)</span></span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />Eco’s inquisitive and openminded attitude towards erroneous, fantastic and wishful theories is helpful when dealing with ley lines: they started as <a href="http://collective-investigations.blogspot.co.uk/2017_02_01_archive.html" target="_blank">Watkins' mappings of ancient trackways</a> and culminated as New Age fantasies and mysteries.<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span></span></span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Our Arnolfini Ley relies on the same principle as Watkins' leys - it connects the points of importance, which by randomness, luck or divine intervention happened to be on a straight line. We understand that our <span style="font-family: "trebuchet ms" , sans-serif;">l</span>ey might not be a scientifically sound mapping of objects - as you would expect from a mapping grounded in a theory of mysticism, false science and erroneous thinking. However, this wishful theory, when applied to our reading maps, has revealed <a href="http://collective-investigations.blogspot.co.uk/2017/03/notes-of-alignment-3-veneration-of-book.html" target="_blank">sacred aspects of the book</a> and elegant physical and metaphysical alignments between body<span style="font-family: "trebuchet ms" , sans-serif;"> </span>and book. </span></span></span></span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;">It is easy to dismiss ley lines as far fetched, but like with other cases of erroneous thinking, there is always a possibility of changing the angle or the context of interpretation to reveal potential and inspiration for another discovery.</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;">The attraction of cranks to leylines is naturally no encouragement to take them seriously: but neither it is a reason for the subject to be rejected. (Timpson, p.8)</span></span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><a href="http://www.egidija.com/" target="_blank">[Egidija]</a></span><br /><br /><br /><br />REFERENCES:<br /><br /><br />Carriere, Jean-Claude; Umberto Eco (2009) This is not the End of the Book. London: Harvill Secker <br />Eco, Umberto (1998) Serendipities : Language and Lunacy. Translated from Italian by William Weaver. New York: Columbia University Press.<br />Timpson, John (2002) Timpson’s Leylines. A Layman Tracking the Leys. London: Cassell Paperbacks<br />Zanganeh, Lila Azam (2008) Umberto Eco, The Art of Fiction No. 197. The Paris Review. Issue 185. [Online]. Available at https://www.theparisreview.org/interviews/5856/umberto-eco-the-art-of-fiction-no-197-umberto-eco (Accessed: 18 March 2017)</span></span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com2tag:blogger.com,1999:blog-3380413057671386419.post-50235534886070611962017-03-19T15:34:00.000+00:002018-04-01T12:07:46.242+01:00Notes of Alignment. [3. veneration of the book]<br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The first book I remember seeing was the sacred book, at Mass; it had been placed in full view on the altar, and the priest turned the pages with great respect. <span style="color: #990000;">My first book was therefore an object of worship.</span> (Carriere, p.294)</span></span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJ8chVyq67hBuJOk-JwFdsY7o1gxQM3dONJGAUIbTKhl5Gppi7KiH0CPsUbRPTPmH6CKu4w047Rs5-pM8IbfTmbbHQZG_PXnoe2AYm0TB9rPkKIRGe_uXoG-CMM8BvavyLO0B0nOAjH8/s1600/blog_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJ8chVyq67hBuJOk-JwFdsY7o1gxQM3dONJGAUIbTKhl5Gppi7KiH0CPsUbRPTPmH6CKu4w047Rs5-pM8IbfTmbbHQZG_PXnoe2AYm0TB9rPkKIRGe_uXoG-CMM8BvavyLO0B0nOAjH8/s400/blog_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.patrickcomerford.com/2011/11/introducing-orthodox-spirituality.html">An icon of Christ in an antique shop in Thessaloniki (Photograph: Patrick Comerford, 2011)</a></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #990000;"><span style="color: #990000;">Ley lines</span> mark alignments formed by sacred sites</span> or sites of spiritual significance. <i>Arnolfini Ley</i> is a reading line, which runs between <span class="st">the<a href="https://www.tcd.ie/library/"> Library of Trinity College in Dublin</a> and <a href="http://www.bibalex.org/en/default">the Library of Alexandria</a>, connecting book related sites: special locations marked by the book - a very material object of spiritual veneration. </span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #990000;">Book, indeed, is an ambiguous object, reliant on the reader to transform it from an object to an abject.</span> Its existence is defined not solely by its physical presence, but also by its immaterial content: <span style="font-family: "trebuchet ms" , sans-serif;">book</span> can be a heavy volume of the Bible as well the sacred word of God <span style="font-family: "trebuchet ms" , sans-serif;">it contains</span>; it can be an intricately luxurious Sangorski binding and the ethereal rubaiyats of Omar Khayyám included into it. Holding the book allows us to admire it as an object. Reading, however, allows transmission of the intangible between the book and the person. </span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGLOa5vlK_oYVY93t4lb05XGgXsdnb0gqUhTDMH3rs7Z1ILRgnhLGv2GdCFHoj0I18X49ccLxhMn4s33hVjP-JGv22d237IMYU2ZguwmC1n3gZGELyA6WpmLSI9WhXRaxdfWs349UKYkE/s1600/omar-khayyam-rubaiyat-of-omar-khayyam-first-edition-sangorski-sutcliffe.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGLOa5vlK_oYVY93t4lb05XGgXsdnb0gqUhTDMH3rs7Z1ILRgnhLGv2GdCFHoj0I18X49ccLxhMn4s33hVjP-JGv22d237IMYU2ZguwmC1n3gZGELyA6WpmLSI9WhXRaxdfWs349UKYkE/s400/omar-khayyam-rubaiyat-of-omar-khayyam-first-edition-sangorski-sutcliffe.jpeg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://www.raptisrarebooks.com/product/omar-khayyam-rubaiyat-of-omar-khayyam-first-edition-sangorski-sutcliffe/">Rubaiyat of Omar Khayyam. Fitzgerald, Edward; Illustrated by F. Sangorski and G. Sutcliffe.</a></span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Levantine Jews were the first to <span style="color: #990000;">turn the act of reading into a ritual</span>, the practice, which will later be picked up by Christians and make the base of Christian liturgy.</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Babylonians and Assyrians had greatly respected magical texts. […] The respect had never entailed veneration of the written word itself, that is, the sanctification of writing and its physical material. The Levantine Jews introduced just such a sanctification, thereby adding a whole new dimension to reading. (Fischer, p 60)</span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">In discussing ritualistic reading of Leviticus, Wesley J. Bergen suggests, that reading can even replace ritual sacrifice. Text, he says, is not a ritual. It is a text about ritual and it is a sign of absent ritual. It was written to be read and performed, to encourage participation. Like in the contemporary Christian liturgy, “<span style="color: #990000;">text becomes part of sacred space and time</span>, the reading of the text becomes part of the ritual.”</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Thus, the ritual “reading” Leviticus’ becomes a subsitute for the ritual animal sacrifice. […] Thus, the textualisation of the ritual is balanced by the ritualisation of the text. The command by God to Moses (to speak these words) is fulfilled even while no animals are killed. The movement from animal sacrifice to reading of texts involves some loss and some gain, as all change does. So there is no loss of ritual, only it’s transformation. (Bergen, p7)</span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #990000;">Book as embodied word of God</span> existed throughout the Middle Ages at the center of Christian ritual. Heavily adorned Bibles, often containing relicts of the saints, were seen as incarnations of Christ himself. Early parchment bindings must have made the “body of Christ” metaphor even more visual: the books were made of animal skins, with pores visible on the surface of the page along the words God. There is certainly something macabre yet sublime in having earthly flesh support the holy scripture. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The analogy between the body of Christ and the letter of scripture would become a Christian commonplace, leading to a long Christian tradition that attempted to apprehend the mystery of Christ as Word through visions of Christ as book. (Kearney, p. 14)</span></span></blockquote>
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<tr><td style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWBtFjvWVRrhbqz3pfHUW8CBd0pbzUzgxgHWvWIE1HbeQOnw3Xobf5JnF33ScIW3Rgo_BqHYquLfJeWZwyuFXuYtBRC348RaQsIFDeku-PnaENtsBCBnn5iHc-jLEhAThQgRoX0KC5Wvg/s1600/relicsRR_JP2.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWBtFjvWVRrhbqz3pfHUW8CBd0pbzUzgxgHWvWIE1HbeQOnw3Xobf5JnF33ScIW3Rgo_BqHYquLfJeWZwyuFXuYtBRC348RaQsIFDeku-PnaENtsBCBnn5iHc-jLEhAThQgRoX0KC5Wvg/s400/relicsRR_JP2.jpeg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.defendingthebride.com/mc/relics.html">First class relic of Saint Pope John Paul II incased in a Golden Bible</a></span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Curiously, I found the idea of incarnate Word explicitly reinforced as as recently as 1965, by Pope Paul VI in <a href="https://en.wikipedia.org/wiki/Dei_verbum">Dei Verbum</a> ( the Second Vatican Council). </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The
Church has always venerated the divine Scriptures just as she venerates
the body of the Lord, since, especially in the sacred liturgy, she
unceasingly receives and offers to the faithful the bread of life from
the table both of God's word and of Christ's body. She has always
maintained them, and continues to do so, together with sacred tradition,
as the supreme rule of faith, since, as inspired by God and committed
once and for all to writing, they impart the word of God Himself without
change, and make the voice of the Holy Spirit resound in the words of
the prophets and Apostles. (<a href="http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19651118_dei-verbum_en.html">Dei verbum</a>) </span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">A good example of a ritual book is<a href="http://collective-investigations.blogspot.co.uk/2017/03/notes-on-ley-trinity-college-library.html" target="_blank"> the Book of Kells</a>, currently kept at the the </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span class="st"><a href="https://www.tcd.ie/library/">Library of Trinity College in Dublin</a></span></span></span>, our first point on <i>Arnolfini Ley</i>. This <span style="font-family: "trebuchet ms" , sans-serif;">e</span>laborately produced <span style="font-family: "trebuchet ms" , sans-serif;">manuscript </span>was <span style="font-family: "trebuchet ms" , sans-serif;">produced</span> with the purpose of it being displayed and worshiped<span style="font-family: "trebuchet ms" , sans-serif;">.</span> The book remained in Kells through Middle Ages, venerated as the gospel of St Colum Cille, a relic of the saint, brought to Kells together with another book (possibly Book of Durrow) (<a href="https://www.tcd.ie/library/manuscripts/book-of-kells.php">Library of Trinity College Dublin</a>). The <span style="font-family: "trebuchet ms" , sans-serif;">c</span>urrent <span style="font-family: "trebuchet ms" , sans-serif;">binding</span> of the Book of Kells exists as four volumes. The original, however, was one heavy and substantial object. Not unlike <span style="font-family: "trebuchet ms" , sans-serif;">religious</span> <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">architecture</span></span>, such book was not meant to be carried around. It was also not <span style="font-family: "trebuchet ms" , sans-serif;">designed</span> to be used for study or even reading. Like churches and cathedrals, which housed such manuscripts, medieval altar Bibles were there to evoke awe and reverence, elated to an ineffable and noetic religious experience. They were mediators between the God and the man, in the same way that other icons, relicts, and the the church itself were. </span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLEz1m3NBTSGBFgVw3JpqBNJBz3HvtV5wbrjNTjf43e3T6z2eLrINZuBfKEm8bP1Eo_OSNWmH2E_L9ZjswDAv1bvH39NTlquRqHDCMrGalv4d7eCuv7nnwxp5cN5eEaOkbuC4jAnOsPXg/s1600/blog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLEz1m3NBTSGBFgVw3JpqBNJBz3HvtV5wbrjNTjf43e3T6z2eLrINZuBfKEm8bP1Eo_OSNWmH2E_L9ZjswDAv1bvH39NTlquRqHDCMrGalv4d7eCuv7nnwxp5cN5eEaOkbuC4jAnOsPXg/s400/blog.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://lucian.uchicago.edu/blogs/vrc/2012/11/19/the-book-of-kells-for-ipad/">The Book of Kells </a></span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It was Reformation that shook up the idea of book as a venerated gilded icon: a process that led Christianity<span style="color: #990000;"> from piety focused upon image to piety focused upon word</span> (Kearney, p. 25) As Erasmus said - scripture and not picture should be at the center of religious experience. Reformation, of course, overlapped with the invention of printing press and a remarkably rapid growth of available printed texts across Europe as well as the spread of literacy. While Kearney calls this period "the crisis of the book”, it was a period of crisis only in understanding of its the place in faith and liturgy. Reading is a transformative act, powerful enough to convert reader to “true religion” (the reader can be easily corrupted, of course). Seemingly, it was in this period that veneration of the ineffable content of the book <span style="font-family: "trebuchet ms" , sans-serif;">overto<span style="font-family: "trebuchet ms" , sans-serif;">ok veneration of <span style="font-family: "trebuchet ms" , sans-serif;">book as a<span style="font-family: "trebuchet ms" , sans-serif;">n icon</span></span></span></span></span></span></span>. It is not a viewer in the presence of the scripture that benefits from the book, it is the reader. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjap5EpvTHS_YC5rHu7cH4ltJxQ9b3CxiSUMO31UsMHsoYHr4mINis4SgOd2TUkmTgh3Wjfx_fjqmg4EkiOQ0JIRhwlXzjUBRXqB-1XWunpnpd-IFFEa5A8zfWnx8YU4zJEBzW3n8sKszE/s1600/31dbdc8f328911babd216600ac265377.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjap5EpvTHS_YC5rHu7cH4ltJxQ9b3CxiSUMO31UsMHsoYHr4mINis4SgOd2TUkmTgh3Wjfx_fjqmg4EkiOQ0JIRhwlXzjUBRXqB-1XWunpnpd-IFFEa5A8zfWnx8YU4zJEBzW3n8sKszE/s400/31dbdc8f328911babd216600ac265377.jpeg" width="255" /></a></td></tr>
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<a href="https://www.etsy.com/uk/listing/181933439/jan-van-eyck-pendant-virgin-mary-reading"><span class="irc_su" dir="ltr" style="text-align: left;">Jan van Eyck, Ghent Altarpiece, excerpt, 1432</span></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #990000;">Veneration of the book needs an active reader</span>, to transform it from an object to an abject. Adoration is not directed purely at the material qualities of the book, but at the noetic aspects of the experience. Like sacred sites, relics, cathedrals (or even, us, people) books stand not only as solid structures, but also as embodiments of the metaphysical ideas and experiences.</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"></span><a href="http://www.egidija.com/"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">[Egidija]</span></span></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAjmsmFTFccvngOmmzyqGgY_IwrgTD_OJHrEjO93W2SVX_pejbNcvuN46etwthsjEyKUC2UpO3WrxN12UeLSqZLX9p8gXDrYpqSfVjSDcext1CbQxphSj_8DEcpnroI2POnwVCkIFYqAM/s1600/48ecbb9be81c4402c2794a4447598901.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAjmsmFTFccvngOmmzyqGgY_IwrgTD_OJHrEjO93W2SVX_pejbNcvuN46etwthsjEyKUC2UpO3WrxN12UeLSqZLX9p8gXDrYpqSfVjSDcext1CbQxphSj_8DEcpnroI2POnwVCkIFYqAM/s400/48ecbb9be81c4402c2794a4447598901.jpeg" width="377" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://books0977.tumblr.com/post/104078238782/at-a-book-c1882-marie-bashkirtseff-ukrainian">At a Book (c.1882). Marie Bashkirtseff (Ukrainian, 1858-1884). Oil on canvas. </a><a href="http://books0977.tumblr.com/post/104078238782/at-a-book-c1882-marie-bashkirtseff-ukrainian">Kharkiv Art Museum. </a></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">PS </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">There
is an interesting <span style="font-family: "trebuchet ms" , sans-serif;">story</span> which takes worship of the Word of God one
step further, bridging it into veneration of any material text. </span></span><br />
<blockquote class="tr_bq">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Ernst Curtius records an anecdote concerning Francis of Assisi in which “the</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> saint picked up every written piece of parchment which he found on the</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> ground, even if it were from a pagan book. Asked by a disciple why he did</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> so, Francis answered: “Fifi me, litteme sum ex quibus componitur gloriosissi</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">mum Dei <span style="font-family: "trebuchet ms" , sans-serif;">n</span>ome<span style="font-family: "trebuchet ms" , sans-serif;">n</span>. [My son, these are the letters out of which the glorious</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> name of God is formed].” Here, the incarnation of the logos means that all</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> language - fragments of text, scraps of parchment - has been glorified. <span style="color: #990000;">Writ</span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #990000;">ing itself is sacred</span>. (Kearney, p15)</span></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">SOURCES:</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Bergen, Wesley (2005) <i>Reading Ritual: Leviticus in Postmodern Culture.</i> New York: T & T Clark International</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Carriere, Jean-Claude; Umberto Eco (2009) <i>This is not the End of the Book</i>. London: Harvill Secker<br /><i>Dogmatic Constitution on Divine Revelation: Dei Verbum: Solemnly Promulgated by His Holiness Pope Paul V on November 18, 1965</i> [Online]. Available at http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19651118_dei-verbum_en.html (Accessed: 19 March 2017)<br />Fisher, Steven Rodger (2003)<i> A History of Reading.</i> London: Reaktion Books.<br />Kearney, James (2009) <i>The Incarnate Text: Imagining the Book in Reformation England.</i> Philadelphia: University of Pennsylvania Press.<br /><i>The Book of Kells</i> [Online]. Available at https://www.tcd.ie/library/manuscripts/book-of-kells.php (Accessed: 19 March 2017)</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-18372175232412740572017-03-17T17:53:00.000+00:002018-02-10T10:36:37.734+00:00Notes on the Ley - Booksellers Staircase, Rouen Cathedral<span style="font-family: "arial" , "helvetica" , sans-serif;">The next stop on the Arnolfini Ley is the ‘Booksellers Staircase’ in Rouen Cathedral.</span><br />
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<a href="https://upload.wikimedia.org/wikipedia/commons/1/1a/Rouen_Cathedral_as_seen_from_Gros_Horloge_140215_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://upload.wikimedia.org/wikipedia/commons/1/1a/Rouen_Cathedral_as_seen_from_Gros_Horloge_140215_4.jpg" width="248" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Rouen Cathedral <b>A</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The construction on the current building began in the 12th century in an Early Gothic style though the site has had churches on from the 4th century. It has been added to, fallen down and repaired ever since. <span style="font-size: xx-small;"><b>1</b></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Booksellers Staircase - Henk Bekker <b>B</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What particularly intrigues and falls directly on the Ley is the ‘Booksellers Staircase’ or the Escalier de la Librairie. This has an important significance on our line as it has both a sacred and book element. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This late Gothic stair case in Rouen Cathedral was built, under the direction of archbishop William d'Estouteville, by Guillaume Pontis in 1480. The stairs used to lead to the Cathedral library which was situated just above the Flamboyant Gothic arched door. In 1788 another story was built above the library to hold the Cathedral records and the upper flights of stairs were added then. <b><span style="font-size: xx-small;">2</span></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In 1562, during the start of the Wars of Religion, the library was ransacked by Calvinists, when many of the Cathedal's tombs, stained glass, and monuments were damaged. The library was later rebuilt by archbishop Francis de Harley de Champvallon. <b><span style="font-size: xx-small;">2</span></b></span></div>
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<a href="http://www.artwarefineart.com/sites/default/files/styles/460xh/public/portraits/Booksellers'%20%20Staircase%20in%20Rouen%20Cathedral.jpg?itok=_NBU-ETM" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://www.artwarefineart.com/sites/default/files/styles/460xh/public/portraits/Booksellers'%20%20Staircase%20in%20Rouen%20Cathedral.jpg?itok=_NBU-ETM" height="400" width="246"></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Booksellers Staircase -Attributed Thomas Shotter Boys, 1803–1874 </span><b style="font-family: '"arial"', '"helvetica"', sans-serif; font-size: x-small;">C</b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the north side of the cathedral where the ‘Booksellers Staircase’ are, there was also a book market which is how the stairs got there name. 3</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This staircase is fascinating as it exists at a point between around which the veneration of books took place. It is almost a physical embodiment of the Ley and has parallels with the Arnolfini itself. During BABE the Arnolfini will become a ‘Booksellers Staircase’ . With levels of book sellers between the bookshop on the ground floor to the reading room on the third floor. There is a directional flow of reading energy that will move through these spaces and that also exists on the ‘Booksellers Staircase’ in Rouen Cathedral. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">[<a href="http://www.georgecullen.com/">George</a>]</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>Refrences</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>1</b> Normandy, its Gothic architecture and history: as illustrated by twenty-five photographs from buildings in Rouen, Caen, Mantes, Bayeaux, and Falaise, Frederic George Stephens, A. W. Bennett, 1865.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>2</b> <a href="http://professor-moriarty.com/info/section/sculpture/gothic-sculpture-booksellers-staircase-rouen-cathedral">http://professor-moriarty.com/info/section/sculpture/gothic-sculpture-booksellers-staircase-rouen-cathedral</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>3</b> <a href="https://daydreamtourist.com/2013/12/12/inside-rouen-cathedral/">https://daydreamtourist.com/2013/12/12/inside-rouen-cathedral/</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>A</b> <a href="https://upload.wikimedia.org/wikipedia/commons/1/1a/Rouen_Cathedral_as_seen_from_Gros_Horloge_140215_4.jpg">https://upload.wikimedia.org/wikipedia/commons/1/1a/Rouen_Cathedral_as_seen_from_Gros_Horloge_140215_4.jpg</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>B</b> <a href="https://www.flickr.com/photos/henkbekker/">https://www.flickr.com/photos/henkbekker/</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>C</b> <a href="http://www.artwarefineart.com/gallery/booksellers-staircase-rouen-cathedral">http://www.artwarefineart.com/gallery/booksellers-staircase-rouen-cathedral</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUNr2inLlFnQXB-cTKW11Nmfvw6FUBxelEni3gEb3_fUxftKa0SY8cCt1_E6AyUUptOMASGCPwJCk_PgsMondX3_HyX-6xVhJKutqPeJZceWmhZkOLBiyNtgDxegLdVmhSXQBqakVy6Q0/s1600/Notre-Dame_de_Rouen%252C_Nave_20140521_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUNr2inLlFnQXB-cTKW11Nmfvw6FUBxelEni3gEb3_fUxftKa0SY8cCt1_E6AyUUptOMASGCPwJCk_PgsMondX3_HyX-6xVhJKutqPeJZceWmhZkOLBiyNtgDxegLdVmhSXQBqakVy6Q0/s320/Notre-Dame_de_Rouen%252C_Nave_20140521_1.jpg" width="291" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8r-9BnaIAxuGBxZlZ7b-IqNjkXMl24op7ZzhbRGZhSVu-hj4eB8zLhyphenhyphenLnNNjxkFFLla1Huhwyhs4RafQGYb3P7_Xo8HJN5Jl7n_VM9EhkkjlevGA02tnZb7rPPbAhDGWk_QK5wNyGpe0/s1600/RouenCathedral_Monet_1894.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8r-9BnaIAxuGBxZlZ7b-IqNjkXMl24op7ZzhbRGZhSVu-hj4eB8zLhyphenhyphenLnNNjxkFFLla1Huhwyhs4RafQGYb3P7_Xo8HJN5Jl7n_VM9EhkkjlevGA02tnZb7rPPbAhDGWk_QK5wNyGpe0/s320/RouenCathedral_Monet_1894.jpg" width="204" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNLjRWb6li9QSAe615op9qutmuvGNOX1jDT1baCTzUc6I32jVPs1AC1vzqFG8CQR5DUxw5C3YybfMyD2WvE3ONUwKCYpO-a3WAQueS9taHaerTlA-Ec-f3Tw_qUiD874zB6vF_eaT5I4/s1600/Rouen-Cathedral-Staircase-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNLjRWb6li9QSAe615op9qutmuvGNOX1jDT1baCTzUc6I32jVPs1AC1vzqFG8CQR5DUxw5C3YybfMyD2WvE3ONUwKCYpO-a3WAQueS9taHaerTlA-Ec-f3Tw_qUiD874zB6vF_eaT5I4/s320/Rouen-Cathedral-Staircase-2.jpg" width="320" /></a></div>
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http://www.mimirosenthal.com/2014/02/26/staircase-of-the-month-february-2014/</div>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-83576530478213443432017-03-07T15:49:00.000+00:002018-02-10T10:35:08.396+00:00Notes on the Ley - Arnolfini<div style="line-height: normal; min-height: 14px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Arnolfini reading room is housed on the third floor of the Arnolfini gallery in Bristol. It is the second stop on the Arnolfini Ley. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPRzd1dWgMgaxSVVUOFojVCl5pDCq3C63HBg6CuQqqdSvxhOPOr6ZLDMPit8npD2B4PyBrCyabxhQA33UAWiGzQOjtVpzCCDNNoMmjtZdF_7MCPFNLqscx-hPjkw9nAEveGFeF775U6c/s1600/image_crop.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPRzd1dWgMgaxSVVUOFojVCl5pDCq3C63HBg6CuQqqdSvxhOPOr6ZLDMPit8npD2B4PyBrCyabxhQA33UAWiGzQOjtVpzCCDNNoMmjtZdF_7MCPFNLqscx-hPjkw9nAEveGFeF775U6c/s400/image_crop.jpeg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">the Arnolfini reading room <b>A</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Arnolfini was established in 1961 as a site ‘…where all the contemporary arts could coexist and interact in order to stimulate creativity, to provoke thought and to give pleasure to a wide range of people.’</span><b style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="font-size: xx-small;">1</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Bristol, Acraman's Quay </span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">B</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">A 1929 aerial photograph of Bush House </span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">B</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It moved to its current site Bush House in 1975. Bush house was built in the early 1830s for Acraman Bush Castle & Co, for use as a tea warehouse which quickly failed. It was later used for iron and tin plate storage and expanded in the later 1830’s. By 1842 Acraman became bankrupt and in 1846 the building was occupied by George and James Bush, bonded warehouse keepers. Their company remained until the late 1960s and gave Bush house its name.</span><b style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="font-size: xx-small;">2</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Arnolfini gallery took its name from Jan van Eyck's fifteenth century painting The Arnolfini Portrait.</span><b style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="font-size: xx-small;">1</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">The Arnolfini Portrait - Jan van Eyck, 1434 </span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">D</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Arnolfini Portrait is one of the earliest paintings to assert the presence of the artist within its depiction and links to Arnolfini's consistent concerns: to explore the role of artist as a witness and recorder of what is around them.</span><b style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="font-size: xx-small;">3</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> This is an interesting side note that ties in to part of our project.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> The presence of the body and making you aware of it, is a part of the reason we are exploring reading spaces along the Ley. The act of reading and referencing that act, by drawing your attention to the body, through the hands, is an interesting part of the reading process and draws similarities with the </span><span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;">Arnolfini Portrait. Where the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Arnolfini Portrait references the artist as 'creator', our project </span><span style="font-family: "arial" , "helvetica" , sans-serif;">references</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> the hands as 'creator' and more importantly 'activator' of content.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> This process of the hands relationship through the book and the repeated actions of reading we have seen already at the Trinity College Library Dublin, through the devotional Book of Kells. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLj2cxLFUT9_nyr4_RVkDABtKX3YVhuq-E25KciLL4UOk354LrJxvfnc56pX1W_CmYFrQX1WBwEDNVG-j2z0iBO6CIuLm0RCv6ORYGuw8ZEgJHRWZojddaeTkPNUVTU01yWZwjgcF21kE/s1600/image_crop-4.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLj2cxLFUT9_nyr4_RVkDABtKX3YVhuq-E25KciLL4UOk354LrJxvfnc56pX1W_CmYFrQX1WBwEDNVG-j2z0iBO6CIuLm0RCv6ORYGuw8ZEgJHRWZojddaeTkPNUVTU01yWZwjgcF21kE/s400/image_crop-4.jpeg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">the Arnolfini reading room </span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">A</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We will take up residency in the reading room, which will become the focus of the Arnolfini Ley during BABE. The reading room is a space that houses a collection of contemporary art books, magazines and other resources that relate to the Arnolfini’s current programme. It is a space where <span style="font-kerning: none;">ideas behind the exhibitions and events centre. Like a supplement to the visual art and events that appear throughout the gallery spaces, the reading room acts in the same was as an ‘orrery’. With an exhibition as a point at the centre, thoughts move around this point to add depth and understanding to the whole exhibit. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A repeated action here is the action of acquiring knowledge, with a specific aim to be read. It is how, I think we came to be drawn to this part of the Ley. The centring of knowledge around a specific event such as BABE, gives the reading room an important role. Allowing us to explore and explain our thoughts around the alignment project. Using the space to build up a collection of ideas that act in the spirit of the reading room. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">the Arnolfini gallery </span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">E</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">[<a href="http://www.georgecullen.com/">George</a>]</span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>1</b> </span><a href="http://www.arnolfini.org.uk/about/arnolfini-history/">http://www.arnolfini.org.uk/about/arnolfini-history/</a></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>2</b> </span><a href="http://www.lookingatbuildings.org.uk/cities/bristol/bush-house/dating-bush-house.html">http://www.lookingatbuildings.org.uk/cities/bristol/bush-house/dating-bush-house.html</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>3</b> Hedley, Gill (May 2007). "Rees, Jeremy Martin". Oxford Dictionary of National Biography.</span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>A</b> </span><a href="http://www.arnolfini.org.uk/visit/reading-room">http://www.arnolfini.org.uk/visit/reading-room</a></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>B</b> </span><a href="http://www.lookingatbuildings.org.uk/cities/bristol/bush-house/dating-bush-house.html">http://www.lookingatbuildings.org.uk/cities/bristol/bush-house/dating-bush-house.html</a></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>C</b> </span><a href="http://www.arnolfini.org.uk/about">http://www.arnolfini.org.uk/about</a></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>D</b> </span><a href="https://en.wikipedia.org/wiki/Arnolfini_Portrait">https://en.wikipedia.org/wiki/Arnolfini_Portrait</a></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>E</b> </span><a href="https://en.wikipedia.org/wiki/Arnolfini">https://en.wikipedia.org/wiki/Arnolfini</a></span></div>
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<br />Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-66284645500402400832017-03-01T20:57:00.002+00:002018-02-10T10:34:33.301+00:00Notes on the Ley - The Trinity College Library, Dublin<div style="line-height: normal;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">A series of posts are going to run alongside the 'Notes of Alingnment' called 'Notes on the Ley' that explore the points of interest that run along the Arnolfini Ley. The line itself connects various sites of reading and book veneration amongst other interesting places. There are some fascinating connections that make the line interesting from a reading and book perspective. The acts of reading at these points give the Arnolfini Ley a synergy of gesture that we can tap into and explore.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span style="text-align: start;">The Long Room, </span>Trinity College Library <b>A</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The first stop is the Trinity College Library in Dublin. Which has the stunningly iconic library space that is the Long Room. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Library was founded in 1592 with the founding of the College. The famous long room (pictured above) was built between 1712 and 1732 and houses 200,000 of the Library's oldest books. The Long Room originally had a flat ceiling and shelving for books only on the lower level.</span><b style="font-family: '"arial"', '"helvetica"', sans-serif; text-align: center;"><span style="font-size: xx-small;">1</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> But by the 1850s the room had to be expanded as the current shelves were full. The Library was endowed with a Legal Deposit privilege in 1801, which meant (and still does) it received a copy of materials published in the United Kingdom and Ireland, vastly expanding the collection.</span><b style="font-family: '"arial"', '"helvetica"', sans-serif; text-align: center;"><span style="font-size: xx-small;">2</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span style="text-align: start;">The Long Room, </span>Trinity College Library as it existed before the extension. </span><b style="font-family: '"arial"', '"helvetica"', sans-serif;"><span style="font-size: xx-small;">B</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Altogether the Library houses over 6 million printed volumes with the most famous one being the Book of Kells, which was donated in 1661 by Henry Jones the then Vice Chancellor of Trinity College.<span style="font-size: xx-small;"><b>2</b></span> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Folio 2r of the Book of Kells <b>C</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Folio 291v contains a portrait of John the Evangelist. <b>D</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Book of Kells is an illuminated manuscript of the four Gospels of the New Testament in latin and believed to have been created c. 800 AD. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The manuscript takes its name from the Abbey of Kells in </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Kells, County Meath</span><span style="font-family: "arial" , "helvetica" , sans-serif;">, where it was kept for centuries.<b><span style="font-size: xx-small;">3</span></b> The book is thought to have had a more sacramental rather than educational purpose. In this sense, it would have been used more as a venerated object and as the focus of sacred and devotional events within the abbey. It would have been placed on the high altar of the church and removed only for the reading of the Gospel during Mass.<span style="font-size: xx-small;"><b>4</b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The book can be viewed online in full here:<b><span style="font-size: xx-small;"> http://digitalcollections.tcd.ie/home/index.php?DRIS_ID=MS58_003v</span></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Although this book no longer exists in a church it is interesting that it would appear on the Arnolfini Ley. The Arnolfini Ley came about from the reading and reverence of books and the repeated actions of reading that exist along it. Nothing typifies this reverence than a book made for ceremony. The intense focus upon the repeated act of reading has found its place on the Arnolfini Ley and brings the Trinity College Library in alignment with the other points. Even today the book is visited and read by people almost as a pilgrimage. It has become the focus and centre of the Long Room from which the Ley radiates out from. </span></div>
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<span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif; text-align: start;"><span style="font-size: xx-small;">Roger Powell rebinding the Book of Kells <b>E</b></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A repeated act that is also to note and concerns the hands relationship to the book and the repeated actions that they produce, is in its binding. By its very nature the act of reading is destructive and to preserve the book it has had to be rebound. Sometimes for better and sometimes for worse. A destructive rebind in the 19th century saw the book drastically reduced in size and its edges trimmed and gilded.<b><span style="font-size: xx-small;">5</span></b> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "\22 \\22 arial\\22 \22 " , "\22 \\22 helvetica\\22 \22 " , sans-serif; font-size: xx-small; text-align: center;">Roger Powell talking about binding </span><b style="font-family: '"\\22 arial\\22 "', '"\\22 helvetica\\22 "', sans-serif; text-align: center;"><span style="font-size: xx-small;">F</span></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">More recently in the 1950s t</span><span style="font-family: "arial" , "helvetica" , sans-serif;">he book of Kells was rebound from one into four volumes by bookbinder Roger Powell to stretch and preserve several pages that had developed bulges.<b><span style="font-size: xx-small;">3</span></b> This rebinding has changed the experience of the book. Its </span><span style="font-family: "arial" , "helvetica" , sans-serif;">pace though reading and handling and through the movement of hands. Even now as it lies on display in the Trinity College Library only two copies are out at any one time. Though they can't be held, they can be read next to each other and the reading of it in this way has transformed its whole appreciation. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">[<a href="http://www.georgecullen.com/">George</a>]</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>References</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>1</b> "Book of Kells - The Old Library & the Book of Kells Exhibition : Trinity College Dublin, The University of Dublin, Ireland". Tcd.ie. 2014-12-04</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>2</b> </span><a href="http://www.tcd.ie/library/about/history.php">http://www.tcd.ie/library/about/history.php</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>3</b> <a href="https://www.inyourpocket.com/dublin/Book-Of-Kells_34924v">https://www.inyourpocket.com/dublin/Book-Of-Kells_34924v</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>4</b> Calkins, Robert G. (1983). Illuminated Books of the Middle Ages. Ithaca, NY: Cornell University Press. ISBN 0-8014-1506-3.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>5</b> <a href="http://www.tcd.ie/library/manuscripts/book-of-kells.php">http://www.tcd.ie/library/manuscripts/book-of-kells.php</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>A</b> </span><a href="https://en.wikipedia.org/wiki/File:Long_Room_Interior,_Trinity_College_Dublin,_Ireland_-_Diliff.jpg">https://en.wikipedia.org/wiki/File:Long_Room_Interior,_Trinity_College_Dublin,_Ireland_-_Diliff.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>B</b> <a href="https://upload.wikimedia.org/wikipedia/commons/7/70/James_Malton_Trinity_College_Library_Dublin.jpg">https://upload.wikimedia.org/wikipedia/commons/7/70/James_Malton_Trinity_College_Library_Dublin.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>C</b> <a href="https://en.wikipedia.org/wiki/File:KellsFol005rCanonTable.jpg">https://en.wikipedia.org/wiki/File:KellsFol005rCanonTable.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>D</b> <a href="https://en.wikipedia.org/wiki/File:KellsFol291vPortJohn.jpg">https://en.wikipedia.org/wiki/File:KellsFol291vPortJohn.jpg</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>E</b> <a href="http://www.irishtimes.com/culture/heritage/from-the-archive-handled-with-care-and-great-dedication-1.2908763">http://www.irishtimes.com/culture/heritage/from-the-archive-handled-with-care-and-great-dedication-1.2908763</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>F</b> <a href="http://www3.hants.gov.uk/wfsa/sound/craft-recordings/bookbinder.htm">http://www3.hants.gov.uk/wfsa/sound/craft-recordings/bookbinder.htm</a></span><br />
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-24387631027698476232017-02-22T17:26:00.000+00:002017-10-22T11:26:59.815+01:00Notes of Alignment. [2. on The Old Straight Track]<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><br /></span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9R4h612sBHY7XfcYcl7F_A1IbamBu7nY2PxZ7Yw2thBDB9X0PGFivVjYb67if1NQq7y1d86dmBZy4IPnQb9JiyN8eQYNC_wMfOL2wf2hypC4jIoviGTDVdtZUeeqW6Kb0lnMBwiVnGCs/s1600/WATKINS+BLOG_18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9R4h612sBHY7XfcYcl7F_A1IbamBu7nY2PxZ7Yw2thBDB9X0PGFivVjYb67if1NQq7y1d86dmBZy4IPnQb9JiyN8eQYNC_wMfOL2wf2hypC4jIoviGTDVdtZUeeqW6Kb0lnMBwiVnGCs/s640/WATKINS+BLOG_18.jpg" width="640" /></a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">This post is about Alfred Watkins’ <i>The Old Straight Track</i>, some ideas and legends behind it, its rebirth in 1960s and some of the influences<span style="font-family: "trebuchet ms" , sans-serif;">.</span></span></span></span></span></span></blockquote>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRYM5RK-_2rTD6gUbDuSH2ax3liyKor7dIAPs5zfCgoL-LLzU42smeX32GoTWWjzAfBXd0ct4WhTfgUh0UlfFr0yAQEaPmY6qSTOw72mo5qDWFHgXmYHxL19DhzMk9uxF0A7WNEBLmew8/s1600/WATKINS+BLOG_12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRYM5RK-_2rTD6gUbDuSH2ax3liyKor7dIAPs5zfCgoL-LLzU42smeX32GoTWWjzAfBXd0ct4WhTfgUh0UlfFr0yAQEaPmY6qSTOw72mo5qDWFHgXmYHxL19DhzMk9uxF0A7WNEBLmew8/s320/WATKINS+BLOG_12.jpg" width="320" /></a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Alfred Watkins published <i>The Old Straight Track</i> in 1925 on the back of his lecture to the <a href="http://www.woolhopeclub.org.uk/">Woolhope Naturalists’ Field Club</a> in Hereford, where he presented his idea of leys - lines of straight alignments (of stones, mounts, churches, etc) in the landscape, which are visible to this day as a record of the ancient trade routes used by our ancestors to travel across Britain. Alfred Watkins had spent years photographing his native Hereforshire and mapping the walking routes (<a href="http://www.tate.org.uk/download/file/fid/7394">Daniels</a>). Then, <span style="font-family: "trebuchet ms" , sans-serif;">i</span>n 1920, as he was sitting in his car at a Blackwardine crossroads, he came up with the theory of leys. <br /><span style="font-size: normal;"><br /></span></span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">(Watkins was no walker along ley-lines, at least for any distance; he favoured motor cars of various kinds, both steam and petrol powered vehicles, to get close to the key sites, to carry his camera and his assistant Mr McKaig, and to establish the scope of the system. (<a href="http://www.tate.org.uk/download/file/fid/7394">Daniels</a>))</span></span></span></span></span></blockquote>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjceobt1H-l0HCYQtt_bc36PGSd8lCTpqMlYtffbrucrijGX2pSo5WMaDmEN_B1_x2Yl4b92qfl3-ot4xfarFt_sTlZaBVRvaWt6WlOXahyphenhyphenUYXv4tFe4zH00__t5fVISYOxcKo8WyNXHDs/s1600/WATKINS+BLOG_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjceobt1H-l0HCYQtt_bc36PGSd8lCTpqMlYtffbrucrijGX2pSo5WMaDmEN_B1_x2Yl4b92qfl3-ot4xfarFt_sTlZaBVRvaWt6WlOXahyphenhyphenUYXv4tFe4zH00__t5fVISYOxcKo8WyNXHDs/s640/WATKINS+BLOG_8.jpg" width="640" /></a></span></span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />The book is an impressive, extensively researched effort to make sense of the landscape Watkins clearly loved. <i>The Old Straight Track</i> is as elegant, as it is methodical. When reading it, it is easy to get fascinated by his systematic account of mounts, stones, wells, ponds, histories and customs that surround them, links with the Bible narratives as well as straight lines in other countries, attempts at etymological explanations of toponyms and hydronyms. Then, there is a poetic quote at the start of each chapter and the book completes with a four-liner from Ruyard Kipling. <i>The Old Straight Track</i> can appear romantic and far-fetched in places (some etymologies are incorrect, some alignments are rather imaginative), however Watkins constructed a vision of olde England, which defines the relationship of<span style="font-family: "trebuchet ms" , sans-serif;"> </span>many English ramblers with their walking tracks today.</span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzcHz0QI3Jn5c2qMCwJsaCW7HZXoInbwIJYqWlp33ulmywIH3SVqyT-4jVhXAFY5v-vayPQocOfF7By8TnAUEy5toAeOY6U4FwSSL2wIpbIw8tTkDJn1SHGTSTEirtkqXGcwzsByz8jIY/s1600/WATKINS+BLOG_7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzcHz0QI3Jn5c2qMCwJsaCW7HZXoInbwIJYqWlp33ulmywIH3SVqyT-4jVhXAFY5v-vayPQocOfF7By8TnAUEy5toAeOY6U4FwSSL2wIpbIw8tTkDJn1SHGTSTEirtkqXGcwzsByz8jIY/s640/WATKINS+BLOG_7.jpg" width="640" /></a></span></span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /><i>The Old Straight Track</i> got forgotten soon after Watkins’ death. Then, psychedelic 60s came. In 1961 Tony Weld - a former RAF pilot - suggested that there was a link between the leylines and UFO sightings, twisting the idea of ancient trackways into energy lines, thus giving birth to the subject of “earth mysteries”. (</span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Pennick, p.27)</span></span> Nothing illustrates better the leap from Watkins original archeology-based ideas to ancient astronauts and psychic channelling, than rewriting of the event at Blackwardine crossroads (see the first paragtaph above). <span style="font-family: "trebuchet ms" , sans-serif;">The "updated" version </span>says, that </span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">Alfred Watkins was riding around the Herefordshire hills in the early 1920s, when he pulled up his horse to gaze across the landscape, and he had a sudden revelation. In his vision, every landmark, whether natural or man-made, was linked by a network of straight lines, which he saw as glowing wires laid out over the surface of the land. The lines passed through hill summits and cairns, linking church spires, prehistoric settlements and burial sites, old encampments and sacred monuments. Following the route that they took were trackways, straight roads that had been ancient and well trodden long before the coming of the Romans, along which the first settlers of this country would have travelled by day and night, their eyes keenly aware of waymarkers. (<a href="https://the-hazel-tree.com/2014/07/14/book-review-the-old-straight-track-by-alfred-watkins/">Woolf</a>)</span></span></span></span></span></blockquote>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKBAf0nhyphenhyphen0A3a1crfWOcBgotxyZuRJjx50NVC1amRGDEABpYsXcLpEbwZV7eKEMkJPSUg7z20l8AsOXIhCM2nCKDY0hJhXthju0VO0JNTBPNUjduGagy02jRw1Lcjmhyoca5OgEC25SX8/s1600/WATKINS+BLOG_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKBAf0nhyphenhyphen0A3a1crfWOcBgotxyZuRJjx50NVC1amRGDEABpYsXcLpEbwZV7eKEMkJPSUg7z20l8AsOXIhCM2nCKDY0hJhXthju0VO0JNTBPNUjduGagy02jRw1Lcjmhyoca5OgEC25SX8/s640/WATKINS+BLOG_6.jpg" width="640" /></a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">New Age mystics highjacking the </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>The Old Straight Track</i></span> brought it to the forefront of discourse and visibility. As Timpson says, </span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;">The attraction of cranks to leylines is naturally no encouragement to take them seriously: but neither it is a reason for the subject to be rejected (Timpson, p.8)</span></span></span></span></span></blockquote>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUfN9u9coV8-87oNVChuOTCI24BEoy6TfCFM2XRsBnT_GCABpipBw4f2yZYiVri6gQifz2n4iLKV-3GFOTaa6S1gZ0uvyaxHU397AvVLPzLh5r8FhIiG4MmKVaxbPn1a3ruKZC_yrL8Rw/s1600/IMG_9084.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUfN9u9coV8-87oNVChuOTCI24BEoy6TfCFM2XRsBnT_GCABpipBw4f2yZYiVri6gQifz2n4iLKV-3GFOTaa6S1gZ0uvyaxHU397AvVLPzLh5r8FhIiG4MmKVaxbPn1a3ruKZC_yrL8Rw/s640/IMG_9084.JPG" width="316" /></a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">I found few direct references on how Watkins’ book influenced art. It is inevitable that it did so to some extent, considering that arrival of <span style="font-family: "trebuchet ms" , sans-serif;">New Age</span> <span style="font-family: "trebuchet ms" , sans-serif;">magic</span> coincided with the beginnings of “land art” movement. Looking at the land works of Richard Long and photography of Alfred Watkins it is easy to see visual similarities. However, those similarities lie not in the mystical and the magical energies, but in the real and physical human presence on the land, such as human marks on the land made though walking. </span></span></span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZV7_SsM8D1uCDagr1WArao7GXgMa56t_net8lImP9Qe4b8N6VY19PE1s7EB7haEqrp_ACjxMQJ-0kBh9LtplX5myjDClKrD-qhL3pjZsReUFP9nwGDOdlftvQL2u1nJQoMb38Nm9qWAs/s1600/A+Line+Made+By+Walking%252C+England%252C+1967%252C+Richard+Long.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZV7_SsM8D1uCDagr1WArao7GXgMa56t_net8lImP9Qe4b8N6VY19PE1s7EB7haEqrp_ACjxMQJ-0kBh9LtplX5myjDClKrD-qhL3pjZsReUFP9nwGDOdlftvQL2u1nJQoMb38Nm9qWAs/s400/A+Line+Made+By+Walking%252C+England%252C+1967%252C+Richard+Long.jpeg" width="318" /></a></span></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: normal;"><a href="http://caljphotography.blogspot.co.uk/2013/03/the-art-of-walking-richard-long-and.html">Richard Long</a></span></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">Richard Long first found out about about ley-lines at the time of his solo exhibition at The Whitechapel Gallery in 1971:</span></span><br /><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">"Someone came up; he saw my lines of walking across Exmoor, the line made by walking and said, have you heard of this man, an eccentric geographer who had a strange theory about invisible lines that connected prehistoric sites across England. That was the first time I had heard of these ley-lines." (<a href="http://www.tate.org.uk/download/file/fid/7394">Daniels</a>)</span></span></span></span></span></blockquote>
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIXpff-Dhe8fKGLd3HlpMXmdNtj89JDjs3ObAFKsL1CnBSQXG9XHw6zkRP0acqWMQWaXofG5VxjttAvI4cZap2byQtXqeVwxMQdLX_p46lR9k1TM9PfONmykOOhNWlelVFygtCMBoED8/s1600/hamish.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIXpff-Dhe8fKGLd3HlpMXmdNtj89JDjs3ObAFKsL1CnBSQXG9XHw6zkRP0acqWMQWaXofG5VxjttAvI4cZap2byQtXqeVwxMQdLX_p46lR9k1TM9PfONmykOOhNWlelVFygtCMBoED8/s400/hamish.tiff" width="256" /></a></span></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="http://www.artnet.com/artists/hamish-fulton/a-five-day-circular-clockwise-walk-round-london-a-PHzRD-FGcV5Xfy00gSAS9w2">Hamish Fulton</a></span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Hamish Fulton, on the other hand, was not only affected by the concept of leys, but also by the designs of Alfred Watkins’ books. </span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;">His Straight Line Walk, 1969, relates to the artist’s fascination with the prehistoric ‘ley’ system of walking paths. Around the same time, Fulton made a special visit to the Hertford [sic] Public Library to see Watkins’s original books. Fulton acknowledges this as a very important visit, not only because of his interest in the concept of a walked line for navigational purposes, but also because of the artist’s admiration for the sheer visual and physical beauty of Watkins’s books. Fulton remains fascinated by the clarity and elegance of 1930s and 1940s book layouts, with clear geometric blocks of text, augmented by delicately tinted, tipped in photographs. (<a href="http://www.tate.org.uk/download/file/fid/7394">Daniels</a>).</span></span></span></span></span></blockquote>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqa73yfvO6JbEuVgjUk7NM7yRMUnrMtqj1cVPVkVZdWPg3rOeHOD-7Do0VP2-LhbAY14D18FU8EaqK04tefP75gjZ0rX2Kf1DruO6uvS87goN3E3pBy90e0iE4zUjyHlxREq8P4pduOYs/s1600/WATKINS+BLOG_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqa73yfvO6JbEuVgjUk7NM7yRMUnrMtqj1cVPVkVZdWPg3rOeHOD-7Do0VP2-LhbAY14D18FU8EaqK04tefP75gjZ0rX2Kf1DruO6uvS87goN3E3pBy90e0iE4zUjyHlxREq8P4pduOYs/s640/WATKINS+BLOG_2.jpg" width="398" /></a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Watkins was indeed a competent photographer and his books offer not only skilled pictures, but accomplished and clever layouts and compositions: some pages contain sweeping landscapes with mistied background hills, while others sit as combined images, united as a journey sequence of a common alignment. Simple and clear, parts of <i>The Old Straight Track </i><span style="font-family: "trebuchet ms" , sans-serif;">are</span> tremendously enjoyable as a photo book. </span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;">Like Hamish Fulton, we too are fascinated by Watkins' books and their aesthetics - not just T<i>he Old Straight Track</i>, but also <i>Early British Trackways</i> with its collaged and overlapping images and simple clear lettering. <i>Alignment</i> project might be borrowing some of those designs. </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;">There are some conceptual aspects which we will be taking further. In particular, we like the idea that major sacred landmarks can be aligned into a straight track: regardless of what mystic or mundane causes for the alignment might be. If <span style="font-family: "verdana" , sans-serif;">e</span>ither <span style="font-family: "verdana" , sans-serif;">for</span> sheer randomness or divine intention<span style="font-family: "verdana" , sans-serif;"> </span>some sites fall into one lin<span style="font-family: "verdana" , sans-serif;">e, c</span>ould we find alignments of our own? </span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;">NEXT: <span style="font-family: "verdana" , sans-serif;"><a href="http://collective-investigations.blogspot.co.uk/2017/03/notes-of-alignment-3-veneration-of-book.html">about book as sacred object and book as part of the ritual</a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">REFERENCES:<br /><br />Daniels, Stephen (2006) <i>Lines of Sight: Alfred Watkins, Photography and Topography in Early Twentieth-Century Britain.</i> Tate Papers Autumn. [Online]. Available at <a href="http://www.tate.org.uk/download/file/fid/7394">http://www.tate.org.uk/download/file/fid/7394</a> (Accessed: 21 Ferbruary 2017)<br /><br />Knight, Adam (2013) <i>Ley-lines lead writer to wrong place in history.</i> Hereford Times. 10 June. [Online]. Available at <a href="http://www.herefordtimes.com/news/10465680.Ley_lines_lead_writer_to_wrong_place_in_history/?ref=rss">http://www.herefordtimes.com/news/10465680.Ley_lines_lead_writer_to_wrong_place_in_history/?ref=rss</a> (Accessed: 21 Ferbruary 2017)<br /><br />Neil, Alan (2015) <i>Ley Lines of the South West.</i> Launceston: Bossiney Books.<br /><br />Mills, Billy (2015) <i>The Old Straight Track by Alfred Watkins – walking through the past.</i> The Guardian. 8 August, [Online]. Available at <a href="https://www.theguardian.com/books/booksblog/2015/aug/20/the-old-straight-track-by-alfred-watkins-walking-through-the-past">https://www.theguardian.com/books/booksblog/2015/aug/20/the-old-straight-track-by-alfred-watkins-walking-through-the-past</a>. (Accessed: 21 Ferbruary 2017)<br /><br />Pennick, Nigel (1997) <i>Leylines. Mysteries of the Ancient World. </i>London: Weidenfeld & Nicolson.<br /><br />Timpson, John (2002) <i>Timpson’s Leylines. A Layman Tracking the Leys.</i> London: Cassell Paperbacks<br /><br />Watkins, Alfred (1974) <i>The Straight Old Track. Its Mounds, Beacons, Moats, Sites and Mark Stones. </i>London: Abacus.</span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">W<span style="font-size: normal;">oolf, Jo </span></span><span style="font-size: normal;"><i>Book review: ‘The Old Straight Track’ by Alfred Watkins.</i> The Hazel Tree. <span class="date published time" title="2014-07-14T15:20:11+00:00">14 July, 2014. </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">[Online].
Available at </span><a href="https://the-hazel-tree.com/2014/07/14/book-review-the-old-straight-track-by-alfred-watkins/"><span style="font-size: normal;">https://the-hazel-tree.com/2014/07/14/book-review-the-old-st</span>raight-track-by-alfred-watkins/</a>
(Accessed: 21 Ferbruary 2017)</span></span></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></span></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Unless otherwise stated, all images are rephotographed from<span style="font-family: "trebuchet ms" , sans-serif;">: </span></span></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Watkins, Alfred (1974) <i>The Straight Old Track. Its Mounds, Beacons, Moats, Sites and Mark Stones.</i> London: Abacus.</span></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-15930973373280423612017-02-16T16:06:00.000+00:002017-03-31T13:25:37.212+01:00Notes of Alignment. [1. ley lines]<br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Arnolfini is located in an alignment with The Library of Trinity College (Dublin), Bookseller’s Staircase (Rouen Cathedral), The Library of Alexandria; as well as a number of smaller peaks, mounts, cathedrals and sites of book veneration. We have called this line of alignment<b> the Arnolfini Ley.</b></i></span></blockquote>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />On March 1st we are starting a res<span style="font-family: "trebuchet ms" , sans-serif;">idency at Arnolfini, Bri<span style="font-family: "trebuchet ms" , sans-serif;">stol. We are super excited about that! <span style="font-family: "trebuchet ms" , sans-serif;">Our <i>Alignment</i></span> <span style="font-family: "trebuchet ms" , sans-serif;">project</span> will <span style="font-family: "trebuchet ms" , sans-serif;">focus on <span style="font-family: "trebuchet ms" , sans-serif;">the <span style="font-family: "trebuchet ms" , sans-serif;">sacre<span style="font-family: "trebuchet ms" , sans-serif;">d and </span></span>ritualistic aspects of reading, <span style="font-family: "trebuchet ms" , sans-serif;">though investigation into the <span style="font-family: "trebuchet ms" , sans-serif;">theories</span> of <span style="font-family: "trebuchet ms" , sans-serif;">mystical and <span style="font-family: "trebuchet ms" , sans-serif;">religious </span>geographical </span>alignments<span style="font-family: "trebuchet ms" , sans-serif;"> called l<span style="font-family: "trebuchet ms" , sans-serif;">e</span>ylines. We <span style="font-family: "trebuchet ms" , sans-serif;">are <span style="font-family: "trebuchet ms" , sans-serif;">researching</span> Arnolfini's collection of artist's books, we will be producing artwork, a large scale int<span style="font-family: "trebuchet ms" , sans-serif;">ervention and <span style="font-family: "trebuchet ms" , sans-serif;">talks to coincide with BABE2017.</span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-family: "trebuchet ms" , sans-serif;">Notes</span> of Alignment</i> will be a short series of blog<span style="font-family: "trebuchet ms" , sans-serif;"> posts</span> which will cover some of the aspects of research<span style="font-family: "trebuchet ms" , sans-serif;">: Alfred Watkins, leylines<span style="font-family: "trebuchet ms" , sans-serif;">, land art, library as a sacred space, <span style="font-family: "trebuchet ms" , sans-serif;">reading as <span style="font-family: "trebuchet ms" , sans-serif;">a performative act, ect. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: red;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> [1. leylines]</span></span></span></span></span></span> </span></span></span></span></span></span></span></span></span><br /> </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">At the beginning of the 20th century archeologist, photographer and brewer Alfred Watkins coined the term <i>ley line</i> to describe avenues of alignment along which ancient natural and man-made monuments existed on a local scale in his native Herefordshire. Those trackways, according to him, marked the paths of human activity. </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Our neolithic ancestors</span> created them as a byproduct of line-of-sight navigation: prehistoric people made their way across landscape in straight lines, as a result, standing stones, mounts, burial sites, holy wells, cairns, pagan altars are located as landmark points to keep travellers on course. <u>T<span style="font-family: "trebuchet ms" , sans-serif;">he next post will look <span style="font-family: "trebuchet ms" , sans-serif;">at his book "The Old S<span style="font-family: "trebuchet ms" , sans-serif;">traight Track".</span></span></span></u></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">In 1960s the idea was picked up by mystic enthusiasts and ley lines became related to a wide range of phenomena: UFOs, haunted houses, drowsing, time slips, astral projections, vampirism, poltergeist, etc. The current New Age concept of ley lines is not dissimilar to Chinese feng-shui, German heilige linien, Nazaca lines in Peru: they mark concentrated energy paths, which envelope the world in a matrix of power lines, <a href="http://ancientexplorers.com/blog/ley-lines/">orientated to include</a> Machu Picchu, the Pyramids of Giza, Easter Island, Puma Punku, Lhasa Tibet, the ancient ruins of Mohenjo Daro, Findhorn in Scotland, the Bermuda Triangle, the Arizona vortices, Angkor Wat, numerous obelisks, sacred domed structures around the globe and intergalactic objects. For an informative overview of various extraordinary approaches to studying leylines by Paul Devereux see <a href="http://www.pauldevereux.co.uk/html/body_leylines.html">Leys / "Ley Lines”</a> - an abridged summary of paper given at the "WEGE DES GEISTES - WEGE DER KRAFT (Ways of Spirit - Ways of Power)" conference in October, 1996, in Germany. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.crystalinks.com/grids.html">Bill Becker and Bethe Hagens grid</a></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">Most of literature on ley lines is vague and unmethodica<span style="font-family: "trebuchet ms" , sans-serif;">l (and this a<span style="font-family: "trebuchet ms" , sans-serif;">n understatement)</span></span>. As a result, alternative more systematic and exciting projects can be found, <span style="font-family: "trebuchet ms" , sans-serif;">for example,</span> <a href="https://www.tomscott.com/ley/">Tom Scott’s Magical Mystical Leyline Locator</a>. Scott’s tool is based on principle, that a large number of randomly placed points will inevitably have some of them neatly aligned into a straight line. Not unlike constellations in the sky, it is human predisposition to infer patterns in a large sample of data, which produces the effect of leys. <span style="color: red;">PLEASE TRY!</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"></span><span style="font-family: "trebuchet ms" , sans-serif;">In regards to our <i>Alignment</i> project, it is the idea of aligned holy sites that excites us the most: the idea of religious ritual being performed in multiple points across the line every day, like an engine, producing a rhythm, reinforcing the time and energy flow, combining those disconnected locations into a system, giving it meaning and purpose. </span><br />
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<a href="http://collective-investigations.blogspot.co.uk/2017/02/notes-of-alignment-2-on-old-straight.html"><span style="font-family: "trebuchet ms" , sans-serif;">NEXT: <span style="font-family: "trebuchet ms" , sans-serif;">ON THE OLD STRAIGHT TRACK</span></span></a><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com2tag:blogger.com,1999:blog-3380413057671386419.post-26127536599601924442016-09-21T16:54:00.000+01:002016-09-21T16:54:25.430+01:00 Liberature : Literature in the Form of the Book (Sally-Shakti Willow)<div style="text-align: justify;">
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<span style="font-family: Verdana,sans-serif;">Based in Krakow, Poland, Katarzyna Bazarnik and Zenon Fajfer are
creating, curating, documenting and theorising a literary revolution : <a href="http://haart.e-kei.pl/e-booki/Zenon_Fajfer_-_Liberature_or_Total_Literature_ENG.pdf" target="_blank">Liberature</a>.
Since Fajfer coined the term in 1999 – which could be used not only to
describe the kinds of works that he and Bazarnik were creating together
but could also be applied retrospectively to works by writers such as
James Joyce, Stephane Mallarme, William Blake and Laurence Sterne and
equally applied to a range of more recent and contemporary works by
writers such as B.S. Johnson and <a href="http://visual-editions.com/tree-of-codes-by-jonathan-safran-foer" target="_blank">Jonathan Safran Foer</a>
– the couple have been prolific in producing, publishing and
researching around this previously undocumented area of literary
activity.</span><br />
<span style="font-family: Verdana,sans-serif;"><a href="http://www.ifa.filg.uj.edu.pl/en/katarzyna-bazarnik" target="_blank">Katarzyna </a>has published widely in academic contexts on Liberature, including the 2014 <em>Incarnations of Material Textuality,</em> and has a book forthcoming this year. <a href="http://haart.e-kei.pl/e-booki/Zenon_Fajfer_-_Liberature_or_Total_Literature_ENG.pdf" target="_blank">Zenon’s collected essays from 1999-2009 can be found here</a>. Together they edit and run the Liberature imprint at Krakow-based small publisher <a href="http://www.ha.art.pl/" target="_blank">Korporacja Ha!art</a>, which has published several notable works including the first publication in Poland of Raymond Queneau’s <em>One Hundred Thousand Billion Poems</em>, a specially-formatted version of Mallarme’s <em>Un Coup de Des</em>
following the writer’s original directions for the text, and the first
foreign translation of Nobel Prize winner Herta Muller’s D<em>er Wächter nimmt seinen Kamm. </em>The
Liberature imprint has also published works by B.S. Johnson, and
publishes a range of liberatic works by Bazarnik and Fajfer themselves.</span><br />
<br />
<span style="font-family: Verdana,sans-serif;"><em><strong>Liberature takes its name by replacing the Latin ‘liter’
(letter) with the Latin word for book, ‘liber’, which also means ‘free’.
</strong></em></span><br />
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<span style="font-family: Verdana,sans-serif;">What distinguishes Liberature from literature is the focus on the
form of the book as an integral element of communication within the
structure of the whole. Where generally the bound codex is rendered
invisible – and in the digital age, almost obsolete – as simply the
carrier of the message of the printed word, Liberature recognises and
foregrounds the book’s physical materiality as a vital component of the
literary work printed onto its pages.</span><br />
<span style="font-family: Verdana,sans-serif;">What distinguishes Liberature from the Artist Book is that the
primary focus is on the literary text in its relationship with the book
object – the marriage of material form and literary content – where the
Artist Book in general explores the possibilities of the book form
without requiring specific literary content.</span><br />
<span style="font-family: Verdana,sans-serif;">On 12th August, <a href="https://quirkyjoe.com/" target="_blank">Joe </a>and I met Katarzyna and Zenon at the <a href="http://krakowcityofliterature.com/city-of-literature/literary-life/literary-spots-in-krakow/liberature-reading-room/" target="_blank">Liberature Reading Room</a>
in Krakow where they showed us their collection and spoke about their
work. The Liberature Reading Room is a research resource housing books
from their own personal collection, theoretical and scholarly
publications, promotional material and press clippings, all related to
contemporary and historical works that are considered to be works of
liberature, or ‘liberatic’.</span><br />
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<a href="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2454.jpg?w=230&h=172&crop=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Liberature Reading Room, Krakow" border="0" data-attachment-id="1907" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"2.4","credit":"","camera":"iPhone 4S","caption":"","created_timestamp":"1471015674","copyright":"","focal_length":"4.28","iso":"160","shutter_speed":"0.05","title":"","orientation":"1"}" data-image-title="img_2454" data-large-file="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2454.jpg?w=640" data-medium-file="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2454.jpg?w=300" data-orig-file="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2454.jpg" data-orig-size="640,480" data-original-height="172" data-original-width="230" height="172" src="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2454.jpg?w=230&h=172&crop=1" style="height: 172px; width: 230px;" title="img_2454" width="230" /></a><a href="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2453.jpg?w=230&h=173&crop=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Liberature Reading Room, Krakow" border="0" data-attachment-id="1906" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"2.4","credit":"","camera":"iPhone 4S","caption":"","created_timestamp":"1471015514","copyright":"","focal_length":"4.28","iso":"160","shutter_speed":"0.05","title":"","orientation":"1"}" data-image-title="img_2453" data-large-file="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2453.jpg?w=640" data-medium-file="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2453.jpg?w=300" data-orig-file="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2453.jpg" data-orig-size="640,480" data-original-height="173" data-original-width="230" height="173" src="https://sallyshaktiwillow.files.wordpress.com/2016/09/img_2453.jpg?w=230&h=173&crop=1" style="height: 173px; width: 230px;" title="img_2453" width="230" /></a></div>
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<span style="font-family: Verdana,sans-serif;">The book for which the term was coined, <em>Oka-leczenie</em> (2000),
is formed of three interlinked codices bound together – a deliberate
decision to present a physical experience of the book’s content in
material form. Spanning the stories of a death, a birth and an
intermediary period between the two, the book can opened at the
beginning of any of the three codices which never end but open onto
one another in an intentionally endless cycle. Thus the book is no
longer an invisible component, subordinate to the text in the
communication of meaning, or at least intention. In a work of
Liberature, the material structure of the book is employed as an
integral dimension of communication in the design of the text as a
whole. This, for those who have attempted it, is a radical act that
questions some deeply held assumptions.</span><br />
<span style="font-family: Verdana,sans-serif;">The focus of Western literary production and its critical reception
has overwhelmingly been on the words of the text, rather than the design
of the book as an object. This echoes the cultural prejudice that has
traditionally valued the intellectual over the physical. The
physicality of the book remains invisible and unquestioned, as it has
largely been the intellectual work of the writer in creating the text
that has been most valued. In this way, it’s become easy to ‘lose
yourself’ in a good story – the physical act of turning the pages
becomes no interruption to the mental and intellectual act of reading
the words and reconstructing an imaginary narrative. But this kind of
reading can neglect, or at worst negate, the body: the physical
processes at work not only in the act of reading, but in the experience
of being human. To me, this replicates the age-old theological
dichotomy between the body and the soul, which again demonises the
former in favour of the latter. Liberature aims at bringing the
material form back into play, to foreground its relationship with the
immaterial and raise questions about its role.</span><br />
<br />
<span style="font-family: Verdana,sans-serif;">The codex form itself, far from being an innocuous and insignificant
vehicle for the written word, developed at a culturally and spiritually
significant point in time. The first codices were Coptic – designed to
encode the biblical narrative. In the structure of the codex form, with
its linear temporality and teleological focus, we can see the structure
of the biblical narrative embodied in material form. Every novel ever
written and produced within this set of structures is to a greater or
lesser degree reproducing the structure and story of the Bible. Its
structures and codes have dominated our narratives for so long that they
are now an unconscious and unquestioned part of our lives, shaping the
ways that we think, interpret and experience the world.</span><br />
<br />
<span style="font-family: Verdana,sans-serif;"><em>For these reasons and others, I believe it is the vital work of
writers and artists to draw attention to and question our unconscious
assumptions about the material form of the book.</em></span><br />
<br />
<span style="font-family: Verdana,sans-serif;">In his ’emanational texts’ – the literary texts that become
the content for the liberatic material forms – Fajfer goes further still
in probing the relationship between the physical and the spiritual.
Each book contains both a visible text and an invisible text: the
invisible text emanates from a close reading of the first letters of
each word of the visible text, until only a single seed word remains.
The seed word becomes both the origin and the end point, or the birth
and the death, of the visible text on the page. In this way, both the
visible and the invisible carry equal significance and weight, as each
gives rise to the other.</span><br />
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<figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_1955" style="width: 275px;"><span style="font-family: Verdana,sans-serif;"></span><br /></figure>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://sallyshaktiwillow.files.wordpress.com/2016/09/8d4dcede-thumb.jpg?w=656" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="8d4dcede-thumb" border="0" class=" size-full wp-image-1955 aligncenter" height="299" src="https://sallyshaktiwillow.files.wordpress.com/2016/09/8d4dcede-thumb.jpg?w=656" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_1955"><figcaption class="wp-caption-text"><span style="font-family: Verdana,sans-serif;">Oka-leczenie, Katarzyna Bazarnik and Zenon Fajfer (2000)</span></figcaption></figure></td></tr>
</tbody></table>
<span style="font-family: Verdana,sans-serif;">An exploration of the relationship between the physical form of the
book and the physical form of the body, and the energising of silent
spaces in relationship with the word, are integral elements in the work
of our book <em><a href="https://sallyshaktiwillow.wordpress.com/2016/05/18/the-unfinished-dream/" target="_blank">The Unfinished Dream</a></em>,
which we donated to Katarzyna and Zenon for the Liberature Reading Room
while we were there. It was exciting to discuss our work in the
context of Liberature: particularly being told that <em>The Unfinished Dream</em> is a liberatic project in their opinion. Overspilling the boundaries of the codex, <em>The Unfinished Dream</em> is also a performance and <a href="https://vimeo.com/176299078" target="_blank">a film</a> with each
element of the project designed to foreground the relationship between
the physical forms of the book and the body and the interrelationship
between word and silence in speech and on the page.</span><br />
<br />
<span style="font-family: Verdana,sans-serif;">The physical object of the book is a central concern of <em>The Unfinished Dream</em>.
The project explores the ways that the materiality of the book is
ignored and made invisible at the expense of the words and ideas it
contains, in a similar way to the relationship between the physical
human body and the concepts and ideas that are generated by the mind. <em>The Unfinished Dream</em>
explores writing, drawing and creative practice as embodied, physical
processes – processes that take place in, of and through the body, and
which may be experienced physically, viscerally and emotionally by those
who come into contact with them. The foregrounded interrelationship
between word and silence is intended to raise questions about the
relationships between self and other, subject and object, writer and
reader: creating a non-linear multiplicity that requires the
collaboration of the reader to engender meaning.</span><br />
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<span style="font-family: Verdana,sans-serif;">In Fajfer’s words, Liberature is ‘total literature’ in which every
aspect of literary production is engaged and controlled by the writer as
a potentially meaningful component of the work. I find the phrase
‘total literature’ difficult to subscribe to, due to the ways that I
work with energising silence to co-create a text that overspills its
pages and finds its meaning and its locus somewhere in the spaces
between self and other, subject and object, writer and reader – it
doesn’t reside in the pages of the book, and I as the writer am not
fully in control of its meanings. I asked about this while we were
there and Katarzyna explained that the term comes from the idea of
‘total theatre’ in which all elements of theatrical production are
employed to generate the overall effect. Total literature is intended
to reflect this all-encompassing method of production, and not to be
conflated with totalising. This is something I understand, but still
find uncomfortable in its terminology. For me the defining phrases <a href="http://haart.e-kei.pl/e-booki/Zenon_Fajfer_-_Liberature_or_Total_Literature_ENG.pdf" target="_blank">‘spatio-temporal literature’ (p62)</a>, or simply <a href="http://www.bookarts.uwe.ac.uk/news-archive/contrad09/conpdfs/liberature.pdf" target="_blank">‘literature in the form of the book’</a> describe the work and impact of Liberature adequately, whilst avoiding the complication of unintended ideological connotations.</span><span style="font-family: Verdana,sans-serif;"> </span></div>
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<span style="font-family: Verdana,sans-serif;">In the UK, the London-based small publisher <a href="http://visual-editions.com/" target="_blank">Visual Editions</a> has
published a number of works that could be considered liberatic,
employing the spatio-temporal aspect of literature and constituting
literature in the form of the book, including <a href="http://visual-editions.com/tree-of-codes-by-jonathan-safran-foer" target="_blank">Jonathan Safran Foer’s <em>Tree of Codes</em></a>, <a href="http://visual-editions.com/kapow-by-adam-thirlwell" target="_blank"><em>Kapow</em></a><a href="http://visual-editions.com/kapow-by-adam-thirlwell" target="_blank"> by Adam Thirlwell</a>, and a redesigned contemporary edition of <em><a href="http://visual-editions.com/the-life-and-opinions-of-tristram-shandy-gentleman-by-laurence-sterne" target="_blank">Tristram Shandy</a>. </em></span></div>
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<span style="font-family: Verdana,sans-serif;">It was incredibly inspiring and energising to meet with Katarzyna and
Zenon to discuss Liberature, and we’re grateful to them for their
generosity and their genuine interest in our work as well as the vibrant
and animated conversations we had that sparked so many ideas. We hope
to continue the conversation for many years to come.</span></div>
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<span style="font-family: Verdana,sans-serif;"> </span>
<span style="font-family: Verdana,sans-serif;"><strong><a href="https://sallyshaktiwillow.wordpress.com/" target="_blank">Sally-Shakti Willow</a></strong></span><br />
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-87471230373249060302016-07-27T10:00:00.000+01:002016-07-27T10:00:00.835+01:00leaf, leave, leaves<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/commons/2/24/Blank_page_intentionally_end_of_book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: x-small;"><img border="0" height="273" src="https://upload.wikimedia.org/wikipedia/commons/2/24/Blank_page_intentionally_end_of_book.jpg" width="400" /></span></a></div>
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<b style="font-family: Helvetica; text-align: start;"><span style="font-size: x-small;">1.</span></b></div>
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A book is a set of written, printed, illustrated, or blank sheets, made of ink, paper, parchment, or other materials, fastened together to hinge at one side. A single sheet within a book is a leaf, and each side of a leaf is a page.<span style="font-size: x-small;"><b>1.</b></span></div>
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The word "page" comes from the Latin word, "pagina", which means a "column of writing" or "to arrange vines in a rectangle"; "pagina" is derived from the word "pangere," meaning "to mark out the boundaries" or "plant vines in a vineyard."<b><span style="font-size: x-small;">2.</span></b></div>
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The idea of a page as a boundary is an interesting one and is quite fitting for this post. As we are beginning to rethink the role of the blog and what form it might take in the future. We will begin to wind down the regularity of the posts. They will still continue to appear, but instead of a weekly offering there will be a more in depth output. The blog may even become physical as we extend its boundaries further. We have built up a great resource here and great connections with guest post writers and to do this justice we have to evolve it. So watch this space. </div>
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An interesting fact about the blog, though you could probably guess, is that the word ‘Book’ appears 1236 times (not counting this post). So thats an average of 12.5 mentions of ‘Book’ per post. Thats a lot of book chat. So it’s obvious that we will be talking about books for a long while to come, at least to get our 12.5 mentions of books a week. Which I hope will still happen. </div>
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So as we leave you, though we are not really leaving we are still going to be leafing through books. So as not to bring down our average I’ll leave you with this:</div>
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book, book, book, book, book, book, book, book, book, book, book, book, bo</div>
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[<a href="http://www.georgecullen.com/">George</a>]</div>
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<span style="font-size: x-small;"><b>1. </b>https://en.wikipedia.org/wiki/Page_(paper)</span></div>
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<span style="font-size: x-small;"><b>2. </b>Emmanuel Souchier, "Histoires de pages et pages d'histoire," dans L'Aventure des écritures (History of Pages and Pages of History" in The Adventure of Writing), Paris, Bibliothèque nationale de France, 1999</span></div>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-30017498121387480052016-07-20T10:00:00.000+01:002016-07-20T10:00:13.517+01:00MA Book Arts show & South London Gallery - a few WOW moments of one day<br />
As were walking across Camberwell, Chris, George and myself were talking about how exciting it is to see something new: new, meaning an unexpected arrangement of old building blocks, which makes you go "WOW, clever/nice/beautiful/thoughtful/etc.!". We were talking about that as we were walking towards South London Gallery and Camberwell College of Arts MA shows.<br />
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This post is a about some of the WOW moments of that day.<br />
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1. Luis Camnitzer <span class="ng-binding"><i>Art History Lesson no.8</i> @ <a href="http://www.southlondongallery.org/page/144/Under-the-Same-Sun-Art-from-Latin-America-Today/1130">South London Gallery</a></span><br />
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Empty slide projectors arranged
around the room casting irregular rectangles of light onto the
wall in a seemingly random sequence. Art history (as well as literary history, or any other history in fact) is written by those
in power, and tends to exclude certain accounts (including Latin
America’s).
The work’s empty projectors present viewers with a space within which to
imagine and, potentially, write these “other” narratives. Don't you think it is a particularly bookish installation?<br />
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<span class="ng-binding">2. Tim Burrough <a href="http://www.timburrough.co.uk/index.php?/project/silver-on-gold/"><i>Silver on Gold</i></a> @ Camberwell MA Book Arts Show</span></div>
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<span class="ng-binding">Tim's final work consits of an installation and a book Silver or Gold, which address the layering of memory and the impermanence of those layers though a volume of text, printed across pages with only one layer (book) or one word (installation) visible at a time. The whole installtion, in fact </span>
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<span class="ng-binding">3. </span><span class="ng-binding">Wenjing Mou </span><span class="ng-binding"><em>Sun in Smog </em>and <em>Under the Mask </em>@ Camberwell MA Book Arts Show</span></div>
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<span class="ng-binding">Wenjing's final work considers pollution in China as it’s main subject. Photography is essential to her works - the viewer navigates though sequences of images establishing the connections between the space of the book and reality of what it represents. Wenjing uses Chinese paper, articulating fragility of the environment and reinforcing the cultural and spacial associations. Here is a nice interview on the subject <a href="http://blogs.arts.ac.uk/camberwell/2016/07/05/insert-name-ma-visual-arts-book-arts-student-wenjing-mou/">http://blogs.arts.ac.uk/camberwell/2016/07/05/insert-name-ma-visual-arts-book-arts-student-wenjing-mou/</a></span></div>
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<span class="ng-binding">4. <a href="http://lenawurz.tumblr.com/">Lena Wurz </a></span><br />
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<span class="ng-binding">out_ - @ </span><span class="ng-binding"><span class="ng-binding">Camberwell MA Book Arts <i>interim</i> Show</span> </span>
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Lena's work is different. Beautifully simple yet visual, it consists of layers of papers with only remnants of textual symbols visible from behind the corners. The absence of text is very much there. It speaks of the relationship about the presence, the assumed, the supposed, the expected and balance between them all.</div>
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Lena is not graduating until next year. Very intersested to see what her final show will be like! </div>
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<span class="ng-binding"><br /></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-33261487913999763892016-07-13T10:00:00.000+01:002016-07-13T10:05:18.873+01:00Fantasy as Truth as Book<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Truth is fundamental to fairy tales and fantasy fiction. If you look beyond the otherworldly settings these stories teach us something about our lives, they ask questions and throw light into the dark places of the world, holding up a mirror to the things we hide from, bury or ignore. Coming packaged in fantasy makes these truths easier to accept and to learn from. Fantasy fiction is not the sole property of literature. The visual arts have the same power to create and tell fantastical stories; stories that ask questions and pierce through our perceptions of the world and ourselves. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />My newest work, The Ellentree, is a short fantasy story through text, photography and the book form. The narrative follows Evelyn and his encounters with unnamed character You. Evelyn slips between our world and another following a path of leaves left by the mystical Ellentree. Central to both the story and the greater questions behind it is the saying ‘Seeing is Believing’. This idea is threaded throughout the book, particularly in my use of photography and text. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />I could not photograph the imagined other world in which Evelyn finds himself. Instead I chose to construct a surreal reality, making, installing and photographing hundreds of origami birds in various natural landscapes across the country. It is through the contrast between image and text, the space between what we are seeing and what the text is describing, that the fantasy world is constructed and the story told. The text brings to the photographs new readings not contained within the image, these readings are fantastical ones that state categorically that what we are seeing: origami cranes and copper piping are actually a fantasy tree in another world. The surrealism of the photographs aims to make this fantasy easier to believe. When aided by the text the origami becomes a symbol for something other. Rather than paper birds they become the impossible leaves described as belonging to an impossible tree. This reading is steadily built upon as the origami is used repeatedly throughout the book. Appearing each time in a new location or season this symbol of the other world is able to drive the narrative journey forward. The birds anchor the reader in the imaginary, allowing me to use real world landscapes as a springboard for the reader’s imagination. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />Telling this story requires the audience’s active participation: our assumptions, expectations and most importantly, our projections. We complete the narrative almost instinctively, filling in the blanks from image to image, connecting the dots from text to photograph. This process needs a space to be enacted, the story needs a space in which to be told, contained and encountered. The artists’ book is the perfect space. The book can encompass the meeting of mediums, ideas, stories and questions. As a form the book is an intimate thing, one we are at once familiar with and yet still willing and able to be surprised by. It is also a structured space, and one that can act as a foundation upon which these different elements can be built. The Ellentree is a book of duality and contrasts: between the real and the fantasy, third and second person, photography and text. It is through the design and structure of the book that this duality becomes harmonious. As we turn the pages of The Ellentree we encounter and re-encounter photographs, page layouts and font colours, discovering a rhythm and pattern intended to that acts as signposts through the story and the questions it asks us. The relationship between the text and photographs depends upon the white space of the page to link them together. Our eye travels across the page, reading across both forms and so blending them together, reading them as one. They become part of the same thread, one that we are able to access through the quiet intimacy of the space of the book. This intimacy is important for the questions and emotional story; it is why The Ellentree was always intended as a book. The story of The Ellentree is at once uplifting and thought provoking, sad and happy, real and not real. Whatever truth, whatever mirror might be found within this fantasy story is made possible by the contemplative, intimate, contained yet limitless space of the book.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Rosie Sherwood is an artist, scholar and independent publisher. At the heart of Sherwood’s interdisciplinary practice is a fascination with time and a desire to tell stories. In 2012 Rosie Sherwood founded <a href="http://www.asyetuntitled.org/">As Yet Untitled</a> and Elbow Room, successfully crowd funding to expand the publishing company in 2015. Sherwood graduated from Camberwell College of Art with an MA in Book Arts in 2013. She has delivered conference papers and University lectures across the country. Sherwood has taken part in both group and solo exhibitions as well as artist book and small publishers fairs. Sherwood’s works can be found in special collections including The Poetry Library, Tate Library and Archive and the National Libraries of both Victoria and Queensland, Australia.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;"><br />www.asyetuntitled.org<br /><br />@ayupublishing<br /><br />@rosie__sherwood</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-3606590936947140722016-07-06T10:00:00.000+01:002016-07-06T14:14:32.319+01:00Three Unconventional Narrative StructuresNarrative takes a central role in most, if not all of my artworks. I am often to keen to tell a story, something that develops over time. When it comes to site-specific works that I have made, the narrative might even be driven by details from a place.<br />
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Recently, my artwork has been becoming more stand-alone and often a narrative will be confined to just one book (as opposed to a series) and because of this I have been keen to think how I might escape the linearity of the form. Instead of looking out there at other book-objects, I will look at three works in different media to see whether ideas from those could translate across.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_gnYSeUY-SmnNZ3H9lCqSbQxycML0Prnc9eLbe4XsOOuPx-6_Ep-m2yTCou7YXkMpPdDQ2s_p_poF3JlMSQqLJYpYyFccoVdooI09fapUN0s3LEgi91staA-dNPGeIaq8lCE1cVtRuo/s1600/Journey+Into+Fear+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_gnYSeUY-SmnNZ3H9lCqSbQxycML0Prnc9eLbe4XsOOuPx-6_Ep-m2yTCou7YXkMpPdDQ2s_p_poF3JlMSQqLJYpYyFccoVdooI09fapUN0s3LEgi91staA-dNPGeIaq8lCE1cVtRuo/s400/Journey+Into+Fear+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Journey Into Fear, Stan Douglas</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwTXyM_rzm-1QzPh93r4QmfiVJ4QL3SAMw0ABYUURmiU7g0MMNEbepDGeewGLnlP_gj0W_3dyy4rVCRV9gYRIvohe5g5AuA8EX17RE2h3yBQV6iKZ4rJNQGivnTDCUSEEgP77elGJl6_8/s1600/Journey+Into+Fear.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwTXyM_rzm-1QzPh93r4QmfiVJ4QL3SAMw0ABYUURmiU7g0MMNEbepDGeewGLnlP_gj0W_3dyy4rVCRV9gYRIvohe5g5AuA8EX17RE2h3yBQV6iKZ4rJNQGivnTDCUSEEgP77elGJl6_8/s400/Journey+Into+Fear.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Journey Into Fear, Stan Douglas</td></tr>
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The first is a video installation called <a href="https://www.theguardian.com/arts/critic/feature/0,,728606,00.html">Journey Into Fear</a> by <a href="https://en.wikipedia.org/wiki/Stan_Douglas">Stan Douglas</a> (2001), which I saw at the <a href="http://www.serpentinegalleries.org/exhibitions-events/stan-douglas">Serpentine Gallery</a> many years ago. The work is a single screen projection which at first glance appears to be a feature film; some kind of drama set on a ship. The film is mostly made up of exchanges between characters inside the boat - these scenes are interspersed with exterior shots or views of the ship at sea. Except for the exchanges appearing a little cryptic and the dialogue jarring slightly, as if it has been dubbed, the film seems like any other thriller of the genre. Things begin to change however once the viewer sees the same scene repeated, but with the characters saying different dialogue. It turns out that the scenes loop randomly and have several possible dialogue tracks for each, changing the nature of the interaction and subsequently the flow of the story itself. A viewer would have to watch the film for 157 minutes to witness all the possible permutations - this in itself means that each gallery visitor is likely to have a slightly different experience of the artwork, as they are unlikely to see the entire work.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDu0qfGV5VXwBX2PmCQ7hARvz6qjdqInxfFuS0JFGaDnXMmuj5jB_fH_ICCKIK631J_ZglTimPuKbWXlPP9vmUOz7L2-ICFEzDMB0cUKTeXOBvDFhwHwrnTBig3ufvwu00PTzMqbFCK0/s1600/Her+Story+1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDu0qfGV5VXwBX2PmCQ7hARvz6qjdqInxfFuS0JFGaDnXMmuj5jB_fH_ICCKIK631J_ZglTimPuKbWXlPP9vmUOz7L2-ICFEzDMB0cUKTeXOBvDFhwHwrnTBig3ufvwu00PTzMqbFCK0/s320/Her+Story+1.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Her Story, Main Screen.</td></tr>
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The second example I would like to talk about is <a href="https://en.wikipedia.org/wiki/Her_Story_(video_game)">Her Story</a>; a video game (<a href="https://play.google.com/store/apps/details?id=com.MrSamBarlow.HerStoryGame&hl=en">Android </a>and
<a href="https://itunes.apple.com/gb/app/her-story/id952658953?mt=8">Apple</a>) where players must assume the role of a detective, watching interview footage from a case in order to work out the details and solve it. On the surface the game sounds straightforward, but compared to others, it is pretty unique. When you first open the app you are presented with the desktop search terminal from a police computer (circa 1994) and apart from viewing the 'Read Me' files on the desktop, all you can do is enter key words into the search bar and view the footage that is returned.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0oR1Ef8WzRzIHr3AHfMymsCXB6ZvDwVNP5OgkZoT5V1C2HO8ed44_WTtKnFVPRk4oCnykCz77KNQuIT0ditsCzY6hD8qCMTPo4bxu3dhUQGj27zdSX9aXzdxxsLncWBmYxdPRn8vLB4/s1600/Her+Story+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0oR1Ef8WzRzIHr3AHfMymsCXB6ZvDwVNP5OgkZoT5V1C2HO8ed44_WTtKnFVPRk4oCnykCz77KNQuIT0ditsCzY6hD8qCMTPo4bxu3dhUQGj27zdSX9aXzdxxsLncWBmYxdPRn8vLB4/s320/Her+Story+2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Her Story, Interview Footage</td></tr>
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Each interview clip is short, only giving you a partial scene, so you are
forced to think up different key words (terms that you think might appear in a
dialogue) in order to piece the scenario together. This technique makes the
game mysterious, but compelling, as the player has to listen and look out for
clues that might suggest a key word or phrase that might broaden the search. As
clips are sorted by key words and not date, the player might be hearing
interview footage from any part of the enquiry. Playing the game makes you feel
like you are creating a huge jigsaw, but without knowing how many pieces you
have left. This narrative device is fascinating and hugely compulsive.<o:p></o:p><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGtuvkgui9xqXeK-sGOQJprrL8IltvIsoRrREOA8Ak5wu5Fxs2U2v7b1LjAL87Oj4QaYw4CoJ1mYV-Py33WyU5OyftUws7SQJN7QOHuXmg61lVSvFUi4qyvq6_LExXPBQ0XUZ_Q6_pqg/s1600/REM+Imitation+of+Life.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGtuvkgui9xqXeK-sGOQJprrL8IltvIsoRrREOA8Ak5wu5Fxs2U2v7b1LjAL87Oj4QaYw4CoJ1mYV-Py33WyU5OyftUws7SQJN7QOHuXmg61lVSvFUi4qyvq6_LExXPBQ0XUZ_Q6_pqg/s320/REM+Imitation+of+Life.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from Imitation of Life.</td></tr>
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<a href="https://en.wikipedia.org/wiki/Imitation_of_Life_(song)">Imitation of Life</a> is an imaginative music video for the group <a href="https://en.wikipedia.org/wiki/R.E.M.">R.E.M.</a>, which features a
crowded scene at what appears to be a party. The camera zooms in and out and
the footage plays backwards and forwards throughout the video, highlighting
snippets of action at the party. The thread that ties the video is that
characters in the midst of actions at the party appear to be lip-syncing the
words to the song. The technical devices used make us unaware of the real duration of the
events we are seeing, and the constant refocusing of the frame tease out new
narratives, making us think of the endless possibility in each moment.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF9VhvpZuwHyR4EMeB_HuvjaIzuiCCcRFFMA8O4vxO9F_avD5JSubsGRFZaedOpj07kY9CsGqgphVOEWSCy-F9Qe4CXylpCVZ0vYcGfikTugGfu-LWnDTfQo32Baf4HmHpdTUhmjHOZrI/s1600/REM+Imitation+of+Life+2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF9VhvpZuwHyR4EMeB_HuvjaIzuiCCcRFFMA8O4vxO9F_avD5JSubsGRFZaedOpj07kY9CsGqgphVOEWSCy-F9Qe4CXylpCVZ0vYcGfikTugGfu-LWnDTfQo32Baf4HmHpdTUhmjHOZrI/s320/REM+Imitation+of+Life+2.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from Imitation of Life.</td></tr>
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Is there scope for this type of story telling in the book form? Could the
author replay scenes but with different elements as Stan Douglas does, or could
a reader be guided through a book in different ways in order to discover
different events first as in Her Story? Or maybe the reader could pick a new narrative out of
an existing one like Imitation of Life? <o:p></o:p><br />
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[Chris]Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-64176846499488800912016-06-29T10:00:00.000+01:002016-06-29T10:00:09.974+01:00the sharing and spreading of people - the sharing and spreading of ideas. <div style="font-family: Helvetica; line-height: normal;">
I’m going to take this post to write about the sharing and spreading of ideas, through learning from other people. What other people have to show us is not foreign or wrong but comes from a whole wealth of experience. Everyone has different backgrounds and it is obvious that we have learned the most and gained the most from our closest European neighbours. It is also only right that we preserve these networks for learning no matter what comes our way.</div>
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So as this is a book arts blog lets get start with books. An early form of the book is called an Incunable. An incunable is a printed book that was made before 1501 and comes at the formative stages of printing. "Incunable" is the anglicised singular form of "incunabula", Latin for "swaddling clothes" or "cradle", which can refer to "the earliest stages or first traces in the development of anything.” <b>1.</b> And these first stages incidentally began in Europe.</div>
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As we all know Gothenburg invented a form of printing with moveable metal type in the mid 15th century. He used this technique to print his 42-line Bible in Latin, printed probably between 1452 and 1454 in the German city of Mainz. <b>2.</b></div>
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Gutenberg lost a lawsuit against his investor Johann Fust, so Fust put Gutenberg's employee Peter Schöffer in charge of his print shop. After that Gutenberg established a new one with the financial backing of another money lender. With Gutenberg's monopoly on printing revoked, and the technology no longer secret, printing spread throughout Germany and beyond, diffused first by emigrating German printers, but soon also by foreign apprentices. <b>3.</b> Along with the sack of Mainz in 1642, the instability and unfavourable business climate created by the war caused an exodus of printers and other tradesmen, who sought more politically stable cities with commercial potential. As many early books were printed in Latin, the universal language of the scientific and religious communities throughout Europe, it made it easier for the pioneers of print to establish themselves outside their countries of origin. <b>2.</b></div>
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<span style="font-size: x-small;">By convention, a printer's travels are indicated by a line representing the shortest, or most likely, path between two places. The thickness of the line indicates the number of journeys from one place to another. The dotted lines indicate itineraries within a region for which a precise destination could not be established. A question mark is used to indicate uncertainty. <b>4.</b></span></div>
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In rapid succession, printing presses were set up in Central and Western Europe. Major towns, in particular, functioned as centres of diffusion (Cologne 1466, Rome 1467, Venice 1469, Paris 1470, Kraków 1473, London 1477). In 1481, barely 30 years after the publication of the 42-line Bible, the small Netherlands already featured printing shops in 21 cities and towns, while Italy and Germany each had shops in about 40 towns at that time. According to one estimate, "by 1500, 1000 printing presses were in operation throughout Western Europe and had produced 8 million books." <b>5.</b> According to another, the output was in the order of twenty million volumes and rose in the sixteenth century tenfold to between 150 and 200 million copies. Germany and Italy were considered the two main centres of printing in terms of quantity and quality.</div>
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<span style="font-size: x-small;">Spread of printing in the 15th century from Mainz, Germany <b>6.</b></span></div>
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If the printing press was so successful, it was because all of the physical conditions for its success were present – paper, a Chinese invention, was introduced into Spain by Muslims, and it expanded throughout Europe during the Middle Ages. Paper mills could be found in Sicily in the 12th century, in Fabriano (Italy) in the 13th century, and in both and Germany starting in the 14th century. <b>4.</b></div>
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The craft of printing evolved very quickly as printers sought to improve their techniques, carrying the tools of their trade and new ideas across Europe. Along the way the process grew into a more complicated business, with a number of allied trades and specialists supplementing and enriching their work. <b>2.</b></div>
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So I hope this tradition of sharing skills through the freedom of movement is maintained. Where people are valued for what they bring to a country and are not subjected to the hate of a few. Also I hope for us, that it does not dissuade people from wanting to do so. More so than ever we need to look out, rather than become stagnated from within. </div>
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[<a href="http://www.georgecullen.com/">George</a>]</div>
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<b>References</b></div>
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<b>1.</b> Oxford English Dictionary, 1933, I:188.</div>
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<b>2.</b> http://www.library.manchester.ac.uk/firstimpressions/Spread-of-Print-through-Europe/</div>
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<b>3.</b> https://en.wikipedia.org/wiki/Global_spread_of_the_printing_press#Europe</div>
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<b>4.</b> http://www.garamond.culture.fr/en/page/the_spread_of_the_printing_press_across_europe</div>
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<b>5. </b>E. L. Eisenstein: "The Printing Revolution in Early Modern Europe", Cambridge, 1993 pp. 13–17, quoted in: Angus Maddison: "Growth and Interaction in the World Economy: The Roots of Modernity", Washington 2005, p.17f.</div>
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<b>6. </b>https://en.wikipedia.org/wiki/Printing_press</div>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-34458984580983126702016-06-22T10:22:00.000+01:002017-10-22T11:30:15.779+01:00→ John Dee, Aby Warburg, library as a portrait and a bit about tomorrow. <br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">With tomorrow approaching fast, I was intending to write something suitably pro-European. Unfortunately, I am not a very politically eloquent person. Even yesterday's BBC debate failed to inspire me with their power of speech on the subject.</span></span><br />
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<span class="st"> ↓</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />As result, I was flicking though the notes from the events I had attended recently. (It is that time of the year<span style="font-family: "verdana",sans-serif;">,</span> when there <span style="font-family: "trebuchet ms" , sans-serif;">is</span> a lot <span style="font-family: "trebuchet ms" , sans-serif;">happening<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">!</span></span></span>). I was lucky to be part of two exceptional events in the past two weeks: a <a href="http://www.bookhistory.org.uk/book-history-research-network">Book History Research Network</a> study day <i>Collections within Collections</i> at UCL organized by <a href="http://www.ucl.ac.uk/dis/people/annewelsh">Anne Welsh</a> (trully the happiest librarian I have ever met!) and <a href="http://warburg.sas.ac.uk/events/aby-warburg-150-work-legacy-promise"><i>Aby Warburg 150: Work, Legacy, Promise</i></a> conference at <a href="http://warburg.sas.ac.uk/">the Warburg <span style="font-family: "trebuchet ms" , sans-serif;">I</span>nstitute</a>. The common thread that r<span style="font-family: "trebuchet ms" , sans-serif;">an</span> though those days <span style="font-family: "trebuchet ms" , sans-serif;">was</span> that of a collection, a unique curated group of objects and ways <span style="font-family: "trebuchet ms" , sans-serif;">of</span> approaching it, organizing it, working with it.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-ft_WyShI4J6XYnm2iyPFszv7YNEC70kasnJWP_rM2bD6JeEtIaVRMvLDgl0dlWGhh8P7wG4RQC1y-CrwkPZeyJkMh5NJTON83L1Ub0WqztFXtzDDEO_Rrzp1COMFHE1vEJHqHyj9Pw/s1600/full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-ft_WyShI4J6XYnm2iyPFszv7YNEC70kasnJWP_rM2bD6JeEtIaVRMvLDgl0dlWGhh8P7wG4RQC1y-CrwkPZeyJkMh5NJTON83L1Ub0WqztFXtzDDEO_Rrzp1COMFHE1vEJHqHyj9Pw/s400/full.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Aby M. Warburg, «Mnemosyne-Atlas», 1924 – 1929</b></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">Mnemosyne-Atlas, Boards of the Rembrandt-Exhibition, 1926 | Photography | <a href="http://www.medienkunstnetz.de/works/mnemosyne/"><span class="title">©</span></a></span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Book History Research Network is run by ever-amazingly organised <a href="http://www.lboro.ac.uk/departments/phir/staff/catherine-armstrong.html">Catherine Armstrong</a> from Loughborough University. The study day <i>Collections within Collections</i><span style="font-family: "trebuchet ms" , sans-serif;"> </span>was attended by a small but enthusiastic international group of researchers from various libraries across Europe<span style="font-family: "trebuchet ms" , sans-serif;">, speaking <span style="font-family: "trebuchet ms" , sans-serif;">about b<span style="font-family: "trebuchet ms" , sans-serif;">ook</span></span></span> collections: some being as big as <span style="font-family: "trebuchet ms" , sans-serif;">Hospitaller Order's Library in Malta</span><span style="font-family: "trebuchet ms" , sans-serif;">, others being </span>as small as a parochial English library with six books. I was interested in the collection as an identity, in particular. The common denominator in each private library is the collector, after all. Kate Birkwood (Royal College of Physicians) spoke about John Dee’s library and Alison Walker (British Library) spoke about reconstructing Sir Hans Sloane’s library. Each of them mentioned collection as a sense of self. There is currently an excellent exhibition at the Royal College of Physicians </span></span><span style="font-family: "trebuchet ms" , sans-serif;"> <a href="https://www.rcplondon.ac.uk/events/scholar-courtier-magician-lost-library-john-dee">Scholar, courtier, magician: the lost library of John Dee</a></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">, which illustrates the idea very well: carefully selected and very heavily annotated books draw Dee’s life paths and interests. The exhibition is supplemented by three very informative <a href="https://www.youtube.com/watch?v=3TH5AwZEx3g">films, which are certainly worth watching</a>. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;">Dee built, and lost, one of the greatest private libraries of 16th
century England. He claimed to own over 3,000 books and 1,000
manuscripts, which he kept at his home in Mortlake near London, on the
River Thames.</span></span><br />
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</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;">The authors and subjects of Dee’s books are wide-ranging, and reflect
his extraordinary breadth of knowledge and expertise. They include
diverse topics such as mathematics, natural history, music, astronomy,
military history, cryptography, ancient history and alchemy.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;">These books give us an extraordinary insight into Dee’s interests and
beliefs – often in his own words – through his hand-written
illustrations and annotations. </span></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Predictions of solar and lu<span style="font-family: "trebuchet ms" , sans-serif;">nar eclipses to 1606. <span style="font-family: "trebuchet ms" , sans-serif;">Eclipsium omnium ab anno Domini 1554 usque in annum Domini 1606 accurata descriptio et pictura | Cyprian von Leowitz, published Augus<span style="font-family: "trebuchet ms" , sans-serif;">burg<span style="font-family: "trebuchet ms" , sans-serif;">, 1556 <span style="font-family: "trebuchet ms" , sans-serif;">| R<span style="font-family: "trebuchet ms" , sans-serif;">oyal College of Physicians</span></span></span></span></span></span></span></span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://warburg.sas.ac.uk/events/aby-warburg-150-work-legacy-promise"><i>Aby Warburg 150: Work, Legacy, Promise</i></a> conference started a Tuesday later with<span style="font-family: "trebuchet ms" , sans-serif;"> </span>screening of a wonderful documentary by <a href="http://www.judithwechsler.com/films">Judith Wechsler</a> <a href="https://www.youtube.com/watch?v=EkcvqWs3nYc"><i>Aby Warburg: Metamotphosis and Memory</i></a>. Aby Warburg was a book collector and his greatest legacy is his library now housed at Warburg Institute. <a href="http://warburg.sas.ac.uk/library"><span style="font-family: "trebuchet ms" , sans-serif;">The</span> library</a> represents <span style="font-family: "trebuchet ms" , sans-serif;">Warburg's</span> distinctive interdisciplinary vision not only though the type of works it contains, but also though the unique system of classification he envisioned:</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The categories of Image, Word, Orientation and Action constitute the main divisions of the Warburg Institute Library and encapsulate its aim: to study the tenacity of symbols and images in European art and architecture (Image, 1st floor); the persistence of motifs and forms in Western languages and literatures (Word, 2nd floor); the gradual transition, in Western thought, from magical beliefs to religion, science and philosophy (Orientation, 3rd & 4th floor) and the survival and transformation of ancient patterns in social customs and political institutions (Action, 4th floor).</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">In other words the Library was to lead from the visual image, as the first stage in human's awareness (Image), to language (Word) and then to religion, science and philosophy, all of them products of humanity's search for Orientation which influences patterns of behaviour and actions, the subject matter of history (Action).</span></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://warburg.sas.ac.uk/library">Warburg Library plan</a></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The library is a joy to visit! <span style="font-family: "trebuchet ms" , sans-serif;">F</span>luid intuitive system of filing images<span style="font-family: "trebuchet ms" , sans-serif;"> (</span>for example<span style="font-family: "trebuchet ms" , sans-serif;">)</span> creates unexpected parallels, not unlike those in his Bilderatlas Mnemosyne. The idea of juxtaposition and layering seems to play an important role here<span style="font-family: "trebuchet ms" , sans-serif;">. </span>A small but curious exhibition on display illustrates Warburg’s interconnected way of working, <span style="font-family: "trebuchet ms" , sans-serif;">when</span> each of his projects was conceived as part of a greater totality.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Systems of Warburg Library.</td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Library recreates the collector behind it. Private or public, it is a representation of the mind, the individual, the society which curated it and found importance in certain titles, orders, systems, but not the others. Warburg’s or Dee’s collections are the<span style="font-family: "trebuchet ms" , sans-serif;">ir </span>portraits, in a <span style="font-family: "trebuchet ms" , sans-serif;">certain</span> way. What portrait does my library paint?</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And the referendum?<br /><br />"I am not an Athenian or a Greek, but a citizen of the world." (Socrates)<br /><br />"When life ends up breathtakingly fucked, you can generally trace it back to one big, bad decision. The one that sent you down the road to Shitsburg.” (Deadpool)<br /><br />Fingers crossed <span style="font-family: "trebuchet ms" , sans-serif;">for<span style="font-family: "trebuchet ms" , sans-serif;"> tomorrow<span style="font-family: "trebuchet ms" , sans-serif;">. </span></span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.egidija.com/">[Egidija] </a></span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-28983599030697632492016-06-15T10:00:00.000+01:002016-06-15T17:55:35.393+01:00Documenting Artists' BooksAfter a recent embarrassment of handing out a business card to a friend and gently being asked why <a href="http://www.chrisgibsonart.com/">my website</a> was almost empty, I resolved to spend some time bringing it up to scratch (i.e. adding at least some coherent content to it!).<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsQrfUU10ubsi0WbqbY8CsYCduHBhxWqS5k1e0W238ZADW0oEcfX_6-LvAlMcnO2AXOMfOlhxlHoriPE1FJQ2Ou09TIREuExeqcScKOU5uDaEmAao5nPedo2G2pUVSgNWFTjvU8N_fJE/s1600/between+the+lines+-+cover.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsQrfUU10ubsi0WbqbY8CsYCduHBhxWqS5k1e0W238ZADW0oEcfX_6-LvAlMcnO2AXOMfOlhxlHoriPE1FJQ2Ou09TIREuExeqcScKOU5uDaEmAao5nPedo2G2pUVSgNWFTjvU8N_fJE/s200/between+the+lines+-+cover.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original - Cover</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20kyulPDJekbhuwn6GMi_m0pLIv1h8j5Ux0Qwu_c170eLcgn_21BnEoY19lUkqW80BovM1zeDAWjUMVcuIDb176OS1eQhazLC5TYvqymWNNLv5VgQ7nyzzU3gMxJiW2RMKc9_T8LM7zY/s1600/between+the+lines+-+interior.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20kyulPDJekbhuwn6GMi_m0pLIv1h8j5Ux0Qwu_c170eLcgn_21BnEoY19lUkqW80BovM1zeDAWjUMVcuIDb176OS1eQhazLC5TYvqymWNNLv5VgQ7nyzzU3gMxJiW2RMKc9_T8LM7zY/s200/between+the+lines+-+interior.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original - Interior</td></tr>
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Starting the process I soon remembered why I had given up months before. Building a website and adding content in a straightforward, appealing way is quite a challenge and central to that challenge is taking clear documentation. I overcame the problem in quite a straight forward way, so I wanted to talk about it here. I'll use the example of an artwork called 'Between the Lines'.<br />
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The two original photos (above) were taken with my smartphone from the slightly battered proof copy that arrived from the printer. It was hasty because I wanted to get the photos on my website in time for them going on sale at the <a href="http://www.whitechapelgallery.org/events/london-art-book-fair/">Whitechapel Book Fair</a>. Shamefully I've been using those photos ever since!<br />
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One simple way of establishing how I wanted the new documentation to look was by addressing what I didn't like about the old photographs:<br />
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<li>Both of my original images were cropped and didn't give a true impression of the cover design or the page layout. I had originally taken the photos like this in an attempt to make them look visually interesting and (particularly regarding the cover) to hide the roughness of the book itself. As the book is merely documentation, I realised that clarity was more important than visual interest, so documented the cover and pages in their entirety and from above.</li>
<li>Both images are different sizes (one square, the other rectangular), so they looked uneven next to each other. The simple solution to this was to choose a standard size - making them square meant that I didn't have to remember what ratio I had picked.</li>
<li>Using my smart phone camera meant that the colours were very uneven. The simple solution to this was to use a better camera.</li>
<li>The background didn't match other documentation, so I opted to pick a particular shade and use that across all my documentation.</li>
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Strange how these things sound so simple, but had never really occurred to me before. So I set up a little studio in my front room and took some photos with my compact camera.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_Tl6Ept1OeHSvqyc4SyWFOjOstOaGtADU1DrEs62Y6sknNys7gAQWdDBnwm-ydDWDIlzKg3STV2MqRsucbt7CEhu-ly7sKmCkNZLZ8FscRpkYO6gVB55W8NqeZrAQEYzuGQOSzyuRT4/s1600/Between+the+Lines+-+Cover.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_Tl6Ept1OeHSvqyc4SyWFOjOstOaGtADU1DrEs62Y6sknNys7gAQWdDBnwm-ydDWDIlzKg3STV2MqRsucbt7CEhu-ly7sKmCkNZLZ8FscRpkYO6gVB55W8NqeZrAQEYzuGQOSzyuRT4/s320/Between+the+Lines+-+Cover.JPG" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVhC8Fx7nokcQb8Zqm_42yIsHDVYnkYQ5-Hsy4vXielMmkXLRIPnSMM2cJ5G10MBKS4qpnpc7aygOR41zU-8M36m2fl9LdZWSMOu_6zgpqptt4yXt_NTbq4u03TOvX5OobKH1DUfmgwDA/s1600/DSCF1758.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVhC8Fx7nokcQb8Zqm_42yIsHDVYnkYQ5-Hsy4vXielMmkXLRIPnSMM2cJ5G10MBKS4qpnpc7aygOR41zU-8M36m2fl9LdZWSMOu_6zgpqptt4yXt_NTbq4u03TOvX5OobKH1DUfmgwDA/s320/DSCF1758.JPG" width="213" /></a>Using this set-up the only two elements that I needed to control were the background and quality of the image. These could be done together in Photoshop. All I had to do was to separate the book and the background and work on them separately.<br />
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For the book element I improved the contrast and changed the colours slightly to match the original. For the background I increased the contrast so that the paper textures of the background disappeared, but the shadow stayed. I then filled the background with a specific shade of the grey that provided a contrast. Noting down the details of the shade of grey were important, as I then used the same shade on all subsequent documentation. The finished images are here:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF0hRpou66FOEMIrxHTk2EQ-3b6wdwXgoNi-zWVR9hFgxwKvPpGx9JOH8pAIgraSlKVwerx7xKSQ2HNovAI0pJ9Tb9nmW1-I1TOAqDevC3kNNwoz5MOGYQ7PVKY9691F0jSPQsjJfhKe0/s1600/Between-the-Lines-Artists-Book-Cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF0hRpou66FOEMIrxHTk2EQ-3b6wdwXgoNi-zWVR9hFgxwKvPpGx9JOH8pAIgraSlKVwerx7xKSQ2HNovAI0pJ9Tb9nmW1-I1TOAqDevC3kNNwoz5MOGYQ7PVKY9691F0jSPQsjJfhKe0/s200/Between-the-Lines-Artists-Book-Cover.jpg" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New - Cover</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; float: right; margin-bottom: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf3NKGe2uUuh_fg-v_IM1yKRioG_CGApp7BQlqZgC2kOveDIf1Fbr_bc7kgeq1LgIblHxhMNdn5XHYbPJ8c7rFsbSWjncHqA96ts8VtULtWU5sc-RzfYfpHviRqGid9Q1fbu2frKSO75c/s1600/Between-the-Artists-Book-Interior-Spread.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf3NKGe2uUuh_fg-v_IM1yKRioG_CGApp7BQlqZgC2kOveDIf1Fbr_bc7kgeq1LgIblHxhMNdn5XHYbPJ8c7rFsbSWjncHqA96ts8VtULtWU5sc-RzfYfpHviRqGid9Q1fbu2frKSO75c/s200/Between-the-Artists-Book-Interior-Spread.jpg" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New - Interior</td></tr>
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Below these are other books that I documented using the same technique - I hope it gives you an idea of how straight forward the process can be.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF6W3bWX8uWbvSbfYWuGkW6RoeNCW8sehkdGKrlKRtaszdPQShZ6LfKDbEItAy4rWvzstfltI3Od89_pyivOoQRZ8bEPcgJhuqBD46YdV1CXIP0qwyDBLstk08bQ6R9S2wD5pLrG-ZSgs/s1600/Mrs-Dalloway-Variations-1and2-Artists-Books.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF6W3bWX8uWbvSbfYWuGkW6RoeNCW8sehkdGKrlKRtaszdPQShZ6LfKDbEItAy4rWvzstfltI3Od89_pyivOoQRZ8bEPcgJhuqBD46YdV1CXIP0qwyDBLstk08bQ6R9S2wD5pLrG-ZSgs/s200/Mrs-Dalloway-Variations-1and2-Artists-Books.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mrs Dalloway Variations</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVud0kJyAueL33YRhF7-InONF994n8-groJWd6Hqmzwp4R0bu1wV9Rnk8yQhmtNnKUFHJ-TbABV2iqIs5GkBS54ilN9CP9bE6kyPXGy91SoKr7De8ZXkpl4gahI2fddTw5icB59dpEw60/s1600/Mrs-Dalloway-Variations-1-Artists-Book-Interior-Spread.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVud0kJyAueL33YRhF7-InONF994n8-groJWd6Hqmzwp4R0bu1wV9Rnk8yQhmtNnKUFHJ-TbABV2iqIs5GkBS54ilN9CP9bE6kyPXGy91SoKr7De8ZXkpl4gahI2fddTw5icB59dpEw60/s200/Mrs-Dalloway-Variations-1-Artists-Book-Interior-Spread.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mrs Dalloway Variations</td></tr>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com2tag:blogger.com,1999:blog-3380413057671386419.post-12567846265559166502016-06-08T10:00:00.000+01:002016-06-14T09:42:16.435+01:00GUEST POST: The Book as Utopian Object (Sally-Shakti Willow)<div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: "trebuchet ms" , sans-serif;">For my practice-based PhD in utopian poetics and experimental writing at the University of Westminster, I’m researching the utopian philosophy of Ernst Bloch and the artist books of Theresa Hak Kyung Cha. I’m coming towards the end of my first year, and the first fruit of creative practice is the project called <i>The Unfinished Dream</i>, a collaborative work with illustrator and animator Joe Evans.<br /><br /><i><b>The Unfinished Dream</b></i> began as an experiment in applying Ernst Bloch’s utopian theory to creative writing practice, inspired by the text works of Theresa Hak Kyung Cha. Both Bloch and Cha explore the relationship between subject and object (self and other). Bloch suggests that the experience of non-alienation, where the subject (the individual) experiences itself as not-separate from the object (the world/the other) is the essence of the utopian. Cha embodied this desire to create an experience of non-alienation between the subject and the object in all of her major text, film, and performance works. The Unfinished Dream experiments with these ideas and has developed into a collaborative project that keeps growing and shifting – an unfinished and unfolding creative process.<br /><br />For Bloch, the utopian function of art and literature is to facilitate the ‘self-encounter’ (100), the recognition of oneself in and through an encounter with the other. For Cha, as for Bloch, the art object becomes a space of encounter between the artist and the audience where each fulfils the roles of both subject and object in their interrelationship with one another through the work. One of the forms used by Cha for realising this connection was the artist book. The book is an object of intimacy, a space in which the reader and writer are drawn together through the page. The book, as an object, is designed to be held and engaged with in a one-to-one relationship between the writer/maker and the reader. Cha uses scriptovisual techniques to create a relationship between text and space, words and silence, self and other in her artist books.<br /><br />I’m interested in exploring this strange relational space between artist and audience, writer and reader, self and other as an experiment in the kind of non-alienation that Bloch ascribes to the utopian function of art and literature. I’m interested in the ways that the book form can facilitate this kind of an encounter between subject and object, self and other. What kinds of spaces need to be opened up within the text for the reader to project herself into? How might the relationships between text and space / word and silence / text and image / image and space engender a performative experience of non-alienation for a reader encountering the book object? <br /><br />To experience something, we often need to encounter it physically, via our sense organs. In this sense, and in others, the physical relationship between the book and the body is integral to the project. I’m also deeply interested in the physicality of the book form, its materiality and its function. Below, I describe some of the processes and ideas behind the creation of The Unfinished Dream, the first part of my creative practice for this three-year PhD.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijld7clmtgBKce405Vs5aLiKDmcUgVIM_KtLtz0YJm650tZXC_c33SwqzaLIsh4QnFLldj9bsLzOwDYdayPz1UMANOVqIaly4-YgJMiWDZ9IfYlMYA2SCrsQbb1zV0GpPLhuABpkg7ouk/s1600/three+dream.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijld7clmtgBKce405Vs5aLiKDmcUgVIM_KtLtz0YJm650tZXC_c33SwqzaLIsh4QnFLldj9bsLzOwDYdayPz1UMANOVqIaly4-YgJMiWDZ9IfYlMYA2SCrsQbb1zV0GpPLhuABpkg7ouk/s640/three+dream.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The Unfinished Dream illustration details</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"> <b>‘May I write words more naked than flesh, stronger than bone, more
resilient than sinew, sensitive than nerve’.</b> <b>Theresa Hak Kyung Cha,
Dictee</b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>The Artist Book:</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The physical object of the book is a central concern of <i>The Unfinished Dream</i>. The experimental writing collection explores the ways that the materiality of the book is often ignored and made invisible at the expense of the words and ideas it contains, in a similar way perhaps to the relationship between the physical human body and the concepts and ideas that are generated by the mind. <i>The Unfinished Dream </i>explores writing, drawing and creative practice as embodied, physical processes – processes that take place in, of and through the body, and which may be experienced physically, viscerally and emotionally by those who come into contact with them.<br /><br />Similarly, the general invisibility of the book form means that culturally we take for granted the codex structure which has become synonymous with what a ‘book’ is. Historically though, and across geographical and cultural spaces, different forms such as scrolls, wrapped papers, and now digital platforms have provided alternative ‘book’ forms with different relationships to structure, linearity and temporality. The codex form developed with Coptic Christianity and encodes the linear, teleological (end-focused) structure of the biblical narrative. What happens when we question these invisible assumptions that structure the stories we tell ourselves, and the stories we tell of ourselves, so implicitly? <i>The Unfinished Dream</i> explores the human relationship to the codex form and the teleological narrative it encodes and embodies.<br /><br />Ernst Bloch describes utopia as ‘in the process of being’ (15). For Bloch, utopia is a process rather than a destination and as such it is non-teleological. Cha’s major artist book <i>Dictee</i> embodies a non-teleological structure in that there is no temporal narrative development throughout the book, and her use of repetition to return to key thematic images and ideas gives the book a cyclical or circular structure, despite its codex binding. <i> The Unfinished Dream</i> embodies a similar structural rhythm in an attempt to disrupt the teleological structure of the codex form via its content. <br />The book also explores the relationship between words and silence as represented by the spaces between words and phrases on the page; the relationship between words and images; and the relationship between parts of words through the non-standard use of the square bracket. Each of these relationships has the potential to generate multiple possibilities through the gaps in between two elements and/or the dissonance generated between two or more contradictory parts placed together. This is intended to have a twofold utopian function in that it disrupts teleological structural development by offering a profusion of possible pathways through the book as well as situating the reader as a co-creator of meaning, as each person encounters and experiences the book differently. In this way the boundaries between writer and reader become more permeable. The co-creative relationship between the reader and the writer/artist is at the heart of <i>The Unfinished Dream</i>, as the reader must complete and interpret the work of the writer and illustrator from the multiple possibilities that are offered both within and beyond the text.<br /><br />When making <i>The Unfinished Dream</i> we also wanted to question some of the invisible assumptions which suggest that artist books must be artisan products, requiring specialist skills, materials and equipment to produce and displaying the skills of fine craftsmanship. We love those kinds of artist books of course. But we were interested in a kind of democratic creative process that didn’t fetishize the book as an object, that embraced real life physical processes and that aesthetically embodied the ideas contained within the book.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMDdL94mwKUMjq41ZxHGDS7GREVUhZ_t39z-ES5_zJMmu0BlunmG2Dy9ta0kfrc9N5mCvKxGnaet7CvroUa-KnGbwa0qXlvXzeWuhLVy0YfxeyXHhcPD2eZX1bG6kgwJ2nxmsHPWvGg8/s1600/IMG_1839.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMDdL94mwKUMjq41ZxHGDS7GREVUhZ_t39z-ES5_zJMmu0BlunmG2Dy9ta0kfrc9N5mCvKxGnaet7CvroUa-KnGbwa0qXlvXzeWuhLVy0YfxeyXHhcPD2eZX1bG6kgwJ2nxmsHPWvGg8/s400/IMG_1839.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "trebuchet ms" , sans-serif;">A4 school exercise books, hand illustrated, cut and pasted</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMcTaXxQBN0qIBba4Ex2qhrCjQ3D4_Z3xo4WTrZT37wHk3-h9-iNjofuEHiLHmbyBO0Gt73xtEa4ZrMKMJViVUr9W3pkDd-s6_x17dUQaTZKGQSShdi6aclX-o66CAdgBJukPudaOu_-k/s1600/IMG_1917.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMcTaXxQBN0qIBba4Ex2qhrCjQ3D4_Z3xo4WTrZT37wHk3-h9-iNjofuEHiLHmbyBO0Gt73xtEa4ZrMKMJViVUr9W3pkDd-s6_x17dUQaTZKGQSShdi6aclX-o66CAdgBJukPudaOu_-k/s400/IMG_1917.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Binding with Sally’s hair</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The Unfinished Dream – artist book</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgKn1Y2qHnEnNh0ZrhUvSeY7XucOIrcnmAnENWM9SkdMCKYn3HUbrMGUM-JfcGCoJ0tWx0rUbhOxBqVEzW0HS1AmVwp5JvoQeltNEIOVYILuEfdiJn6EECzX3gYl3978xWoyxtM9s02rs/s1600/Interior+page+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgKn1Y2qHnEnNh0ZrhUvSeY7XucOIrcnmAnENWM9SkdMCKYn3HUbrMGUM-JfcGCoJ0tWx0rUbhOxBqVEzW0HS1AmVwp5JvoQeltNEIOVYILuEfdiJn6EECzX3gYl3978xWoyxtM9s02rs/s400/Interior+page+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The Unfinished Dream – interior pages</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQiJJ2Iy3wvl9mav-1GQL-CfFVx8HBdvDrGAgQRJC0Q21Z-DFQYVUcfgwA9BPRl8pGzbb2Dl6ZouUFwen7DeBqlXY1C2PA8heMEC_MTTJ_As1XJ8SNnBRk8TPjWA_CMCm1ZOJeI1ziq1U/s1600/Straif+page.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQiJJ2Iy3wvl9mav-1GQL-CfFVx8HBdvDrGAgQRJC0Q21Z-DFQYVUcfgwA9BPRl8pGzbb2Dl6ZouUFwen7DeBqlXY1C2PA8heMEC_MTTJ_As1XJ8SNnBRk8TPjWA_CMCm1ZOJeI1ziq1U/s400/Straif+page.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The Unfinished Dream – interior pages</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF7vBcNgO5YYPPQawyk69uPUmI5VXFEpqPTUj_j3kZsJ6yZY47HSnwKIfaKTdwO9skv03TNh9PWF1oWc9GZiNkHZrCBymXly9E14bSS22fzwHP0MHFZFT5P6zd4mqLLyLSBTYEZYN8pOA/s1600/Final+Poem.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF7vBcNgO5YYPPQawyk69uPUmI5VXFEpqPTUj_j3kZsJ6yZY47HSnwKIfaKTdwO9skv03TNh9PWF1oWc9GZiNkHZrCBymXly9E14bSS22fzwHP0MHFZFT5P6zd4mqLLyLSBTYEZYN8pOA/s400/Final+Poem.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The final poem is left unfinished, with space for the reader to complete the work</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />In addition to the artist book, <i>The Unfinished Dream</i> is also a short film and a performance. <a href="https://vimeo.com/166983368"> Click here to watch the film (90 seconds; contains nudity)</a>.<br />To find out more about the project, <a href="https://subatomicbooks.com/2016/05/17/the-unfinished-dream/">including the film and the performance, please click here.</a></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRBBzEYcifE15m9drNH1Cc5Z5KrXGFjK5Y0u_XVo7EtY_VmWEqOoWPRrBbUfR6u03PQyObNcu4GC8NheMUG0cOkvcEd6tdzC7jv-WHS_S5uO7hkSfOtDJJgH6BzizNSzepT6WAmFPf8cA/s1600/Film+still.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRBBzEYcifE15m9drNH1Cc5Z5KrXGFjK5Y0u_XVo7EtY_VmWEqOoWPRrBbUfR6u03PQyObNcu4GC8NheMUG0cOkvcEd6tdzC7jv-WHS_S5uO7hkSfOtDJJgH6BzizNSzepT6WAmFPf8cA/s400/Film+still.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">A still from the film, projected as part of the performance</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">The Unfinished Dream is a project by <a href="http://www.subatomicbooks.com/">[Sub]Atomic Books</a>: <a href="http://www.sallyshaktiwillow.wordpress.com/">Sally-Shakti Willow</a> & <a href="http://www.quirkyjoe.com/">Joe Evans</a></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />Bibliography:<br />Bloch, Ernst (1988). The Utopian Function of Art and Literature: Selected essays, trans. Jack Zipes and Frank Mecklenberg. Cambridge Massachusetts and London: The MIT Press<br />Cha, Theresa Hak Kyung (2001 [1982]). Dictee. Berkeley, California: University of California Press</span></div>
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Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-72239685137051253712016-06-01T10:00:00.000+01:002016-06-01T10:00:00.279+01:00Cannons of Page Construction<div style="line-height: normal;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Book designer, typographer, teacher and writer Jan Tschichold popularised the idea of Cannons of page Construction in the mid to late twentieth century, based on the work of J. A. van de Graaf, Raúl M. Rosarivo, Hans Kayser, and others. These ways of structuring the page are very interesting although very rigid. I wonder if they have a place within modern design or are they seen as bit old fashioned and stifle creativity. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“Though largely forgotten today, methods and rules upon which it is impossible to improve have been developed for centuries. To produce perfect books these rules have to be brought to life and applied.” </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Tschichold </i><b><span style="font-size: x-small;">1.</span></b></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Jan Tschichold, wrote three works concerning typography; Die neue Typographie (1927), The Proportion of the Book (1955) and The Form of the Book (A collection of essays written between 1937 and 1975 that discusses all elements influencing classical book design.) For many years, he worked for Penguin Books where he laid the foundation for the design of their paperbacks.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><b>Van de Graaf Cannon</b></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtgKGA0ZusJQJkg0UnM2rJjVhq17ImmwKkr9rXBo-G70wQpIPH5Vlz_Pp5iNk7Lln3XQwNqu2hJlD8tWip6fSn3hRCX3sGtiOLyfjjznQ95-UEY5ftPKWcf4Qz7SoNYwbsHhyCeML9Uos/s1600/Van_de_Graaf_canon_in_book_design.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtgKGA0ZusJQJkg0UnM2rJjVhq17ImmwKkr9rXBo-G70wQpIPH5Vlz_Pp5iNk7Lln3XQwNqu2hJlD8tWip6fSn3hRCX3sGtiOLyfjjznQ95-UEY5ftPKWcf4Qz7SoNYwbsHhyCeML9Uos/s400/Van_de_Graaf_canon_in_book_design.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">He measured a number of old books and manuscripts and discovered a number of different systems. One discovered by J. A Van de Graaf and written about in his book, Nieuwe berekening voor de vormgeving (1946). Van de Graaf's canon works with any page size and allows the text body to be placed within a pleasing and functional part of the page. The resulting inside margin is one-half of the outside margin, and proportions 2:3:4:6 (inner:top:outer:bottom). The position of the text in this way is not only aesthetically pleasing but has a practical function, in giving space to read and hold the book and giving enough space within the page for printing. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Golden Cannon</i></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZJPqfUHPw6yqCAhOBwlD1_ncfcxKZVmZPQAHaDI36M9uTjvhdxqk5n_br6-5MUVibx5YdSsZA34ghQ_iG8banz5nNQnGLA1TPSyk7DlOVkTpOySLHyc7medib8aWWeesLWSUXH4oNAk/s1600/Golden_canon_of_page_construction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZJPqfUHPw6yqCAhOBwlD1_ncfcxKZVmZPQAHaDI36M9uTjvhdxqk5n_br6-5MUVibx5YdSsZA34ghQ_iG8banz5nNQnGLA1TPSyk7DlOVkTpOySLHyc7medib8aWWeesLWSUXH4oNAk/s400/Golden_canon_of_page_construction.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Tschichold's "golden canon of page construction" combined with Rosarivo's construction by division of the page into ninths. These two constructions rely on the 2:3 page ratio to give a type area height equal to page width as demonstrated by the circle, and result in margin proportions 2:3:4:6. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Raúl Rosarivo analyzed Renaissance books with the help of a drafting compass and a ruler and concluded in his Divina proporción tipográfica ("Typographical Divine Proportion", first published in 1947) that Gutenberg, Peter Schöffer, Nicolaus Jenson and others had applied the golden canon of page construction in their works.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">According to Rosarivo, his work and assertion that Gutenberg used the "golden number" 2:3, or "secret number" as he called it, to establish the harmonic relationships between the diverse parts of a work, was analyzed by experts at the Gutenberg Museum and re-published in the Gutenberg-Jahrbuch, its official magazine. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">‘the height of the type area equals the width of the page: using a page proportion of 2:3, a condition for this canon, we get one-ninth of the paper width for the inner margin, two-ninths for the outer or fore-edge margin, one-ninth of the paper height for the top, and two-ninths for the bottom margin. Type area and paper size are of equal proportions. ... What I uncovered as the canon of the manuscript writers, Raul Rosarivo proved to have been Gutenberg's canon as well. He finds the size and position of the type area by dividing the page diagonal into ninths’ </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Tschichold </i><span style="font-size: x-small;"><b>2<i>.</i></b></span></span></blockquote>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Golden Section</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Building on Rosarivo's work, Jan Tschichold and Richard Hendel asserts that the page proportion of the golden section (21:34) has been used in book design, in manuscripts, and incunabula, mostly in those produced between 1550 and 1770. Hendel writes that since Gutenberg's time, books have been most often printed in an upright position, that conform loosely, if not precisely, to the golden ratio.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">These page proportions based on the golden section or golden ratio, are usually described through its convergents such as 2:3, 5:8, and 21:34.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This video nicely demonstrates building up the structure of the page:</span><br />
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<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/57018050" webkitallowfullscreen="" width="640"></iframe></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/57018050">Canons of Page Construction</a> from <a href="https://vimeo.com/user12933292">Aaron Zalonis</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">[<a href="http://www.georgecullen.com/">George</a>]</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>References:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>1.</b> As cited in Hendel, Richard. On Book Design, p.7</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>2.</b> Tschichold , The Form of the Book p.45</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://en.wikipedia.org/wiki/Canons_of_page_construction">https://en.wikipedia.org/wiki/Canons_of_page_construction</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/57018050">https://vimeo.com/57018050</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="http://www.bachgarde.com/html/works/gridsystem.html">http://www.bachgarde.com/html/works/gridsystem.html</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="http://www.metricphilatelist.net/TowsonU/publications/Stanley-Max_GoldenCanon-article.pdf">http://www.metricphilatelist.net/TowsonU/publications/Stanley-Max_GoldenCanon-article.pdf</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>Images:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://en.wikipedia.org/wiki/Canons_of_page_construction">https://en.wikipedia.org/wiki/Canons_of_page_construction</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://vimeo.com/57018050">https://vimeo.com/57018050</a></span><br />
<br />Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-80470193873451637012016-05-25T09:18:00.000+01:002017-10-22T11:32:09.090+01:00→ some books I wanted to buy: Anouk Kruithof, Elisabeth Tonnard, Horses Think Press<br />
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<span style="font-family: "trebuchet ms" , sans-serif;">This was a busy a<span style="font-family: "trebuchet ms" , sans-serif;">rty </span>weekend in London - Art16, Photo London and Offprint happening all at once<span style="font-family: "trebuchet ms" , sans-serif;">!</span> As a restult, George and myself went on a <span style="font-family: "trebuchet ms" , sans-serif;">stroll</span> around town, which included visits to Oliver Wood Rare Books (<i>beautiful books by </i><span class="st"><i>Daisuke Yokota</i>)</span>, Parafin Gallery (<i>got a copy of </i><span class="st"><i>Michelle Stuart's catalogue</i>)</span>, Peter Harrington on Dover Street (<i>a fascinating exhibition of travel and exploration books</i>), Photographers' Gallery (<i>got a copy of </i><span class="irc_su" dir="ltr" style="text-align: left;"><i>Erik Kessel's "Brussels Beauties"</i>) </span>and - Offprint, where I found those three books, which I <span style="font-family: "trebuchet ms" , sans-serif;">wanted to buy very much (but I did not)</span>.<b><i> </i></b></span><br />
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<span style="font-size: x-large;"><span style="color: #eeeeee;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "trebuchet ms" , sans-serif;">I.</span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><i><a href="http://www.anoukkruithof.nl/work/becoming-blue/">Becoming Blue</a></i></b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span class="st">Anouk Kruithof </span></i></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span class="st"><i><span class="st">2009</span></i></span></i></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i><span class="st">20,5 X 27,5 cm, paperback, 102 pages<br />ISBN 978-3-86895-024-3 </span></i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/37982409?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="640"></iframe></span>
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<span style="font-family: "trebuchet ms" , sans-serif;">Blue has many connotations: it is the colour of Virgin Mary, conservatives and melancholy. Photographer Anouk Kruithof exploits the latter one in her book of portraits, as she plays with the tension of the disrupted calm and stillness. Kruithof catches her subjects unawares to project an image of surprise. Dressed in blue and posed against a plain blue background, the subjects are caught by the camera at a moment when they least expect it. The books is effectively pasted with blank spreads of light blue slowing down the rhythm into a meditative flow - a very cinematic experience.</span><br />
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<span style="font-size: x-large;"><span style="color: #eeeeee;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "trebuchet ms" , sans-serif;">II.</span></span></span></span><br />
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<a href="https://elisabethtonnard.com/works/the-lovers/"><span style="font-family: "trebuchet ms" , sans-serif;"><i><b>The Lovers</b></i></span></a><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>Elisabeth Tonnard</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>2015</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>Edition of 100. Digital print, 24 pages.</i></span> <br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL-5HBqyd2AvKwOPr7xewDlB81PQTX9MDGLTHVC9UxgmCqeZf9rpZa5101tV_pbIybt0ghrCHd4VhM2CLo9eO9h-E0eBPPlfZGdHfpFfUnBcPcneRKW2Qglbrb8bxr9L4MF_DE3F0VILM/s1600/offprint+-+egidija.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL-5HBqyd2AvKwOPr7xewDlB81PQTX9MDGLTHVC9UxgmCqeZf9rpZa5101tV_pbIybt0ghrCHd4VhM2CLo9eO9h-E0eBPPlfZGdHfpFfUnBcPcneRKW2Qglbrb8bxr9L4MF_DE3F0VILM/s640/offprint+-+egidija.jpg" width="640" /></a></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgywALkms50j7wgZiZws4NicyD4Tdj8pyVCiQtcOg3iY9DP4rDf4bDRHnzHPq2fWCgRIppgGrgrZ3Jrt8tT6i49kzSgsIr44LDd9c0uZQO_Ef92n2Xwm2w3Ny5oOI0Z3ihggh3VaQzvETQ/s1600/offprint+-+egidija_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgywALkms50j7wgZiZws4NicyD4Tdj8pyVCiQtcOg3iY9DP4rDf4bDRHnzHPq2fWCgRIppgGrgrZ3Jrt8tT6i49kzSgsIr44LDd9c0uZQO_Ef92n2Xwm2w3Ny5oOI0Z3ihggh3VaQzvETQ/s640/offprint+-+egidija_6.jpg" width="640" /></a></span></div>
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</span><span style="font-family: "trebuchet ms" , sans-serif;">What this book does well, is reconsidering the value and the meaning of decontextualised object, though interpretative possibilities of the photographs isolated in (and from) space and time. This book is based around screenshots made while watching ‘Discarded: Joachim Schmid and the Anti-Museum,’ a video about Joachim Schmid’s work, realized by the Hillman Photography Initiative at the Carnegie Museum of Art in 2014. At one point in this documentary Schmid is at a flea market in Berlin, looking through a pile of junked photographs. For a brief moment his perusal and the movements of his hands caused the stack to tell the story captured in the book. It's minimalist look and spacious layout place images into a void, open for new stories and relationships.</span></div>
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<span style="font-size: x-large;"><span style="color: #eeeeee;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "trebuchet ms" , sans-serif;">III.</span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://t.umblr.com/redirect?z=http%3A%2F%2Foferwolberger.com%2Fnews%2Fpublications%2F8-visitor%2F&t=Y2VhMjFjYTQyMzk5MWViZmMwY2E0Y2YzNmE0NDU5M2NjNTJlY2IzZiw2RWloVENiSA%3D%3D" target="_blank"><i>Visitor</i></a> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Ofer Wolberger<br />7.8 x 11.5 inches (198 x 292 mm), unbound, soft cover<br />Printed in black and red ink, risograph<br />56 pages<span style="font-family: "trebuchet ms" , sans-serif;">, e</span>dition of 200</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhP5ZoII2Gv33lhATWrz9nGXY-eCWgYA-P8pFbH_voIuRz9QuoTbyFaxP9zBCNwDWrQJ45ePDzJq8AKLRy-YTdl-tnZx2YIBdT1ByqAG20JG8npuTIYc3vFQRc6SsloYQhsTusi2Rr5Y8/s1600/oferwolberger_visitor2011.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhP5ZoII2Gv33lhATWrz9nGXY-eCWgYA-P8pFbH_voIuRz9QuoTbyFaxP9zBCNwDWrQJ45ePDzJq8AKLRy-YTdl-tnZx2YIBdT1ByqAG20JG8npuTIYc3vFQRc6SsloYQhsTusi2Rr5Y8/s640/oferwolberger_visitor2011.jpg" width="640" /></a></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJioe2i0P3MrTFbKYZpa1NRkJ4faAlqpuUXCdPuPOkM-PoVM2vMdyUipSlJKKfuT1g-hSEuz9sYbWbc9PdbLqUZKNZOWMaTbjN3buLiU1wrgUQi5gNUGE6Z4Ni2E9Yt3XMMFmWiKwaauQ/s1600/oferwolberger_visitor05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJioe2i0P3MrTFbKYZpa1NRkJ4faAlqpuUXCdPuPOkM-PoVM2vMdyUipSlJKKfuT1g-hSEuz9sYbWbc9PdbLqUZKNZOWMaTbjN3buLiU1wrgUQi5gNUGE6Z4Ni2E9Yt3XMMFmWiKwaauQ/s640/oferwolberger_visitor05.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">all </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://t.umblr.com/redirect?z=http%3A%2F%2Foferwolberger.com%2Fnews%2Fpublications%2F8-visitor%2F&t=Y2VhMjFjYTQyMzk5MWViZmMwY2E0Y2YzNmE0NDU5M2NjNTJlY2IzZiw2RWloVENiSA%3D%3D" target="_blank"><i>Visitor</i></a> </span>images are from <a href="http://shanelavalette.tumblr.com/post/94220985559/bookshelf-visitor-by-ofer-wolberger">Shane Lavalette</a></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">Another recontextualised portrait comes from an ongoing project <i>Visitor, </i>which<i> </i>uses<i> </i>images made in the lobby of one
building in midtown Manhattan. The project takes as it’s ‘found’
material the crudely made and heavily pixelated visitor badges that are
made when an outsider intends to visit a company or person within an
office building. All the <i>Visitor </i>portraits depict the same
unidentified woman in an array of poses and with a wide variety of
facial expressions. The images appear voyeuristic and strangely intimate
while referencing the look of video surveillance footage.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.egidija.com/">Egidija</a></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-28108124883170231022016-05-18T10:00:00.000+01:002016-05-18T10:00:04.885+01:00Making Books as a RitualI was recently reminded of <i><a href="http://www.independent.co.uk/arts-entertainment/arts-the-meaning-of-life-1105175.html">Donald Parsnips Daily Journal</a></i>: a publication made and distributed daily by the artist <a href="https://en.wikipedia.org/wiki/Adam_Dant">Adam Dant</a> in the Spitalfields over a five year period. The artist printed 100 copies each day and handed them out on his way to work.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2diwQ-I4-P_eorSJCqWMe08sXeapPL7MGWLZACW73phh3aoClpWN9LQYoXDzzTA7AmYub209UIW4G7HrRdw6xCm4V_ZSKNBVs_WguyvxjvrR95-R1-uV09jWNP4gVxLLKNXlqvek8Tc/s1600/Parsnips.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2diwQ-I4-P_eorSJCqWMe08sXeapPL7MGWLZACW73phh3aoClpWN9LQYoXDzzTA7AmYub209UIW4G7HrRdw6xCm4V_ZSKNBVs_WguyvxjvrR95-R1-uV09jWNP4gVxLLKNXlqvek8Tc/s320/Parsnips.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Donald Parsnips Daily Journal - 8th July 1998. Image Source: <a href="http://www.artnet.com/Magazine/reviews/robinson/robinson1-22-13.asp">Artnet</a>.</td></tr>
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When I first came across the artwork, during my BA in Fine Art I was inspired by it (and by a similar, and more intimate artwork by a friend Rose Clout), particularly for the artist's focus and persistence; the fact that day in and day out they kept creating. Collectively the body of resulting work had impact, in much the same way as a retrospective of <a href="https://en.wikipedia.org/wiki/On_Kawara">On Karawa's</a> date paintings might have; the artworks are tangible results of a quest for perfection. Some of the glow from these works may come from the realisation that the artist has sacrificed some part of their life to this cause. To a young artist as I was, there was something heroic in this and perhaps romantic; the struggling artist personified.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiDlu4oMqivF1tN5CTCii4aHnKIgfZuLpFy5G99l1tF66XYQvMOeaamd3FEOEgHJwIi9imrTrh9X2gHDOPsYbHcgH3sS1nCKwIUF3Mby0Ug1faKDFHR9TR46I_gAbZrKZclhNzwQT6CE/s1600/kawara+-+today.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiDlu4oMqivF1tN5CTCii4aHnKIgfZuLpFy5G99l1tF66XYQvMOeaamd3FEOEgHJwIi9imrTrh9X2gHDOPsYbHcgH3sS1nCKwIUF3Mby0Ug1faKDFHR9TR46I_gAbZrKZclhNzwQT6CE/s400/kawara+-+today.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">On Kawara's Today series. Image Source: <a href="http://www.artbouillon.com/2014/07/on-and-on-kawara.html">Art Bouillon</a>.</td></tr>
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Ten years later when I embarked on my MA in Book Arts, I dabbled in this ritualistic process myself over the course of the works:<br />
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<i>Your Day is My Day</i> was a publication I created daily, produced and printed on the same day and left in a location related to the content. The intention was that someone would find the 'book' and realise it relates to the place they were standing and perhaps make them conscious of where they were at that moment and what they were doing; a prompt for self-reflection.<br />
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This idea morphed into another work of art a year later. For a group show called <i><a href="http://chrisgibsonart.blogspot.co.uk/2011/10/exhibition-overdue.html">Overdue </a></i>I placed a book wrapped in paper in a vitrine in Camberwell College's library. The book contained a QR code on the front, which linked to an ebook created by me that could be downloaded each day. The book changed each day, implying the fluidity of books within the digital realm.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvcGbFSmcBNgdi0eqB1pLojqAw1ix6lrRAxICzdETNDxBokblWCdbOdlbFHZ5xppPZM8xsaWwF30XMzL9zHV4F5EiYg8P5_3qaY68yIJTpky7uE3exlhfGsArpYlNDB1At6psp7bo5eA/s1600/Overdue.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvcGbFSmcBNgdi0eqB1pLojqAw1ix6lrRAxICzdETNDxBokblWCdbOdlbFHZ5xppPZM8xsaWwF30XMzL9zHV4F5EiYg8P5_3qaY68yIJTpky7uE3exlhfGsArpYlNDB1At6psp7bo5eA/s320/Overdue.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wrapped book in vitrine</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbs7PVCmz9NJkCbfGJnIKQR6B3WZw_zezlsFqeTsuspKy0Sq0yEUXR02fK_YRRCwks4b82pi7pR4MFXfYxREw0iRYov6yL5jWasUSeBhGe5lXFJL06baqzQHWxOM9Wj00HXGKs4xg38dQ/s1600/stonelike-detail.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbs7PVCmz9NJkCbfGJnIKQR6B3WZw_zezlsFqeTsuspKy0Sq0yEUXR02fK_YRRCwks4b82pi7pR4MFXfYxREw0iRYov6yL5jWasUSeBhGe5lXFJL06baqzQHWxOM9Wj00HXGKs4xg38dQ/s200/stonelike-detail.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of artwork in one of the ebooks.</td></tr>
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The next time I <a href="http://chrisgibsonart.blogspot.co.uk/2013/04/artwork-between-actual-and-possible.html">worked </a>in a similar way was for an exhibition at <i>bookartbookshop</i> as part of Collective Investigations. I created four stacks of book pages, each with a brief story on each (relating to the place in the shop where they were left) and embedded with a QR code. When scanned the the viewer would be taken to a page online, where the text would be <a href="http://betweentheactualandpossible.blogspot.co.uk/">redrafted day by day</a> until it became unrecognisable.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_IASuLuL10scjSr6FEeEdiZTnIhCclumvNgUGjcVIsmKQgoW2Yj6oVmXFD1t3RdncN63vOvQUolzYBPGSBq7hrbd_AKUCDOgxoXTrxh0G1YkI_hflD-O6MNXZO5p3FB-tVxu0ZdNRas/s1600/Notebook.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_IASuLuL10scjSr6FEeEdiZTnIhCclumvNgUGjcVIsmKQgoW2Yj6oVmXFD1t3RdncN63vOvQUolzYBPGSBq7hrbd_AKUCDOgxoXTrxh0G1YkI_hflD-O6MNXZO5p3FB-tVxu0ZdNRas/s320/Notebook.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the stacks of paper in situ.</td></tr>
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None of these projects were carried out on the scale of Adam Dant's or On Kawara's, but each was difficult and rewarding in their own way. On the positive side the projects pushed me to work to a deadline each day and the time constraints meant I couldn't be too precious about the end result. The time-pressure and the ongoing nature of the works pushed me to be inventive and think of something new each day and these ideas, although not groundbreaking themselves, did germinate other ideas for later artworks. The only real negative of this way of working was that the rushed nature of some of the works meant that individual details were not completed with the standard of quality I would usually work to.<br />
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[Chris]<br />
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<br />Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-7428179102895145052016-05-11T09:01:00.000+01:002016-05-11T09:03:19.173+01:00GUEST POST: Becoming The Book (Chloe Spicer/ObjectBook)<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06BVGeDQH0RXCxCc4dt8kcoy12CYFST8PnhniqkGhzRHkKd3uwyxUfSrsHMOHQegzueWecEJPNDS06pvU2iA1qUguhpjDNILVztEakmKw-9ISTaAEGCRy6ZKKhZdJGVyodNXxvInqP6Y/s1600/image1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="347" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06BVGeDQH0RXCxCc4dt8kcoy12CYFST8PnhniqkGhzRHkKd3uwyxUfSrsHMOHQegzueWecEJPNDS06pvU2iA1qUguhpjDNILVztEakmKw-9ISTaAEGCRy6ZKKhZdJGVyodNXxvInqP6Y/s400/image1.png" width="400" /></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-family: "trebuchet ms" , sans-serif;">Becoming The Book</span></b></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">My work, as a bookish artist and time spent working/lurking in libraries can be summed up with this primary objective: I want to become a book. </span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNwhieTyy1oCPQreVEmGJo0NYFMirb7vgUGc5eo_NUcv9u_j62gO_OfneoMJm_i1ccxx68EXERMBottu6UoJUMqPp0i2TiSGR8rSPJ3OXHOX6esU1b0mrYPIx0Q5_Ur8F3FETEETKGgrQ/s1600/image2.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNwhieTyy1oCPQreVEmGJo0NYFMirb7vgUGc5eo_NUcv9u_j62gO_OfneoMJm_i1ccxx68EXERMBottu6UoJUMqPp0i2TiSGR8rSPJ3OXHOX6esU1b0mrYPIx0Q5_Ur8F3FETEETKGgrQ/s400/image2.jpeg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Still from 002 is The Book (installation), 2015</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">I’m not exactly sure what that means yet. I think people imagine that I’m envisaging wrapping myself in a large fold of red leather, and will spend a few years lying on a shelf somewhere quietly cultivating a dusty aroma. Sure, actually that sounds like great fun, but I think of being or ‘becoming book’ as a sort of spiritual practice or human evolutionary plan which is beyond, but intrinsically linked to, the codex. I want to be a book, but I want you all to be books too. </span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0TJj7FIlp4xLVxPe_YfoREowpHic2Et-hd8Q6Ue42Z0e89sxLdmAbDefaFg4AXNu4pfBGiXZZk1t12_6QYTyRGzsr0fUz-JkDYwbAjuFY_oTwRp6YhoBCWGMCMLC9xhfAJ5lVi4CESyU/s1600/image3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0TJj7FIlp4xLVxPe_YfoREowpHic2Et-hd8Q6Ue42Z0e89sxLdmAbDefaFg4AXNu4pfBGiXZZk1t12_6QYTyRGzsr0fUz-JkDYwbAjuFY_oTwRp6YhoBCWGMCMLC9xhfAJ5lVi4CESyU/s400/image3.jpg" width="310" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Books for the Body I, 2015 (Digital Print)</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>A universal accessibility for The Book </b><br /><br />Although sounding slightly dystopian, my latter aim is not entirely selfish. Books have huge accessibility problems: I love books, but they hurt me. They play hard to get. I can forgive the paper cuts, but it seems particularly cruel as a bibliophile that I experience painful visual disturbances when reading - text literally dances on the page.<br /><br />This is an interesting symptom of my neurodiversity, but there are countless other differences in eye sight or physical ability and neurological diversity that can make reading a book bloody hard, before we even consider the need for education and access to books themselves. It seems quite remarkable that any of us can nestle into that cosy armchair with the fireplace, slippers, cup of cocoa/glass of whisky and a good read. There must be a better way. What can the book of the future do to address these issues? Can there be a universal accessibility for the book?<br /> </span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl8aH8221Sb-H-x22jwahuzBv_dgm-93gkEAQVwUhTeTs2l82eAwI-pzFM8w39EzPxdN40hE7kVJHDMFvVJmRB3vwiO5DpE5hB_8hTszTSwVekJZmVGYbP0MO2r0YrowSlTg7jSysa3eo/s1600/image4.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl8aH8221Sb-H-x22jwahuzBv_dgm-93gkEAQVwUhTeTs2l82eAwI-pzFM8w39EzPxdN40hE7kVJHDMFvVJmRB3vwiO5DpE5hB_8hTszTSwVekJZmVGYbP0MO2r0YrowSlTg7jSysa3eo/s400/image4.JPG" width="265" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Raver at The Library Rave, 2015</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Books as multisensory experience</b><br /><br />Books have special sensory power. In order to read a book, and to decide that it is worth the effort, I really need positive tactile feedback. They need to be against my skin, in fact even that seems like a cop out – I need books under my skin, to absorb the content and bookish ‘essence’; e-book screens are entirely unfit for purpose.<br /><br />I’ve learned that despite my love for diversity, I am not an inclusive book lover. There are many books that just aren’t book enough for me: e-books, textbooks & magazines – anything that doesn’t feel good hasn’t got a chance. Books need to offer a sensory experience.</span></span><br />
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<tr><td style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ8iTa49nTdFCKnhKIQt9o5pVocX_mYTtpG03UXWvYLnixzlWz37zPKZf14b-NazSsZoakUjv59y_oJFUGPYhrcCmg2mNFsGxTN0mPXldHFchbbjkVY39CAGVSBw4ZREgaTzOFds9wYyw/s1600/image5.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ8iTa49nTdFCKnhKIQt9o5pVocX_mYTtpG03UXWvYLnixzlWz37zPKZf14b-NazSsZoakUjv59y_oJFUGPYhrcCmg2mNFsGxTN0mPXldHFchbbjkVY39CAGVSBw4ZREgaTzOFds9wYyw/s400/image5.png" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">The Library Rave, 2015</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Seeking a universal and multisensory accessibility whilst holding onto the tactile nature of books is the keystone of my practice. This is a lifelong research project, which I develop through participatory events, workshops and installations to explore human experiences and requirements of books, and to pilot my methods of becoming book. I live for the stories that appear out of these interventions. I’ve met people who confess to having compulsively nibbled the corners of pages as a child or who fell in love at a library self-service machine, this all seems desperately important somehow.<br /><br /><b> </b></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>So what would this bookish future look like? </b></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">How will we become books? Crude methods like immersing in shredded Book Baths (2010) or wearing Book Art Hats (2014), which toyed with absorption through bodily contact (if we place books on our heads, will some of the knowledge fall out?), have evolved into practical bio-tech solutions like DNA as Data Storage (2015) where I considered rewriting the body’s junk DNA with books. What would it mean to use our bodies as data storage devices? Could the volumes we embody subconsciously provide wisdom or alter our characters? Families could choose to take responsibility for the storage of particular genres of books. On having children, these libraries would merge, and grow with each generation, eventually becoming a global genetic library.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The DNA method is universal, but a tad disconcerting which leads us to a more palatable solution: Edible Books (2015) - rice paper books printed with edible ink/pens and bound with strawberry laces, or as in Books for the Body (2015) miniature leather bound books. Digesting information is a popular and accessible way of becoming a book (if you eat seeds a tree will grow inside you…), although its unclear how the digestive system would allow for retention of information. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">BYOBBBBBQ (Bring your own book book burning BBQ) (2015) is a ritualistic ceremony for books which have come to the end of their lives. I believe that when you place a book in the fire, the text rises in the smoke, which participants then inhale (or consume by cooking over the ashes) enabling the books to live on within them. This follows the eastern worlds insight into text burning as a spiritual act, rather than one of censorship.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">The Library Rave (Image credit Mindy Lee)</span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">But in looking for a multisensory accessibility The Library Rave (2015) offers the cumulative method: an audio book silent disco, offering a bookish experience for all the senses (Join the rave at the BALTIC Book Market June 18-19).<br /><br />Dance round the library to the bookish anthems of Fahrenheit 451 and The Library of Babel over music, as you rave with books and handheld disco light. Wear your entry wristband, drop an e (book), and maybe just maybe we’ll all become books by way of sensory overload.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Image credit: UAL</span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">You are invited to join Object Book 26th May for a tempestuous evening of cocktails, cinema and books:<br /><br />Book Flick Nights: I’ll Drown my Book.<br />Celebrate Shakespeare400 with book art workshops, literary refreshments and a bookish screening of an art-house take on The Tempest. <br />The Colour House Theatre, London SW19 6.45pm £12/£10 [goo.gl/TlV8gG]<br /> </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Facebook.com/ObjectBook <br />@Object_Book<br />ChloeSpicer.co.uk<br />@ChloeSpicerArt</span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-84435910800883903822016-05-04T10:00:00.000+01:002016-05-04T10:00:40.717+01:00Publication as Artwork<div style="line-height: normal;">
<span style="font-family: Arial, Helvetica, sans-serif;">On Monday I went to see the recently opened ‘<a href="http://www.tate.org.uk/whats-on/tate-britain/exhibition/conceptual-art-britain-1964-1979">Conceptual Art in Britain 1964-1979</a>’ at the <a href="http://www.tate.org.uk/visit/tate-britain">Tate Britain</a> and it was nice to see the exhibition of books and the interesting challenges that that faces. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">‘The book is a medium that requires no visual display other that to be read, an the active mental participation of the reader. The book imposes no information system but the printed image and word; it is a complete entity in which both public and private documents are reproduced. The book is a collection of photographs, writings and ideas - it is a product of thought and of imagination. It is a result of concrete activities, and serves to document, and to offer information as the means and material of art’ <b><span style="font-size: x-small;">1.</span></b></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-size: x-small;">book as artwork 1960 - 1972 - German Celant </span></span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">A.</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Germano Celant's ‘<a href="https://books.google.co.uk/books/about/Book_as_Artwork_1960_1972.html?id=-Zmb5m3UTyoC&redir_esc=y">Book as Artwork 1960-1972</a>’ 1972 was produced to accompany an exhibition at <a href="http://nigelgreenwoodprize.com/gallery/">Nigel Greenwood Gallery</a> in London and was the first critical consideration of the artist's book.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In the introduction he describes the point at which book arts evolved:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">‘At that time, there was a move away from an informal art, which was visual and in which the information was emotionally charged… This art had been made up of traditional artisan techniques of communications (like colour, collage, dripping and action painting) leaving little scope for public participation. The move was towards an <i>informale freddo</i>, involving the spectator. The visual and physical data of this technique was achieved through technological and biological media, possessing a small visual content, but demanding a high degree of participation and contemplation from the spectator.’ </span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">1.</span></b></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-size: x-small;">book as artwork 1960 - 1972 - Exhibition Nigel Greenwood Gallery </span></span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">B.</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Book as Artwork exhibition showed books in in clear perspex vitrines along the outside of the wall. These were only partially closed so that rarer books at the back could be displayed and those that could be handled placed nearer the front. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-size: x-small;">Front Cover of Art - Language, Volume 1 Number 1, 1969 </span></span><b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">B.</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The evolution of the book form in art can be linked to an adoption by artists as a way of dissememinating their work. Such as the artists group <a href="https://en.wikipedia.org/wiki/Art_%26_Language">Art & Language</a>. In the exhibition at the Tate the original publications were kept in vitrines with facsimiles of the pages pasted on the wall. Allowing the gallery visitor the chance to read the work. The only failing of this system was time, but it gave a nice contrast to the idea of art object and art communication. Preserving the original intent of the object in communicating and sharing information. The work (the book) is a container for the ideas and is a vehicle for them. The design choice of the book, had to be matter of fact and functional, in order to work as read information. Though the book is still a vital component and is much a part of the ideas contained within. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">‘A little about the form of the ideas. There have been, and still are, artists “who write” as a supplement to their object work. The artists who founded Precinct Publications have increasingly, over the past two years, been placed in a position such that they “only write”, and as such many people, it can be assumed, would not allow them qualification “artist”. It matters not. The crucial question is not, whether or not they are artists, but whether or not their remarks, assertions, etc. hold out as relevant to certain problematic aspects of art today. The artists think, rightly or wrongly, that these aspects sufficiently warrant their attention for them to form Precinct Publications as vehicle through which their ideas can be made public.’ <span style="font-size: x-small;"><b>2.</b></span></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">If you have a chance I urge you to see the show. It brings together a lot of examples of reading and language, through books, within a gallery space. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;">[<a href="http://www.georgecullen.com/">George</a>]</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>References</b></span><br />
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<span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>1.</b> CELANT, G. </span><span style="font-family: Arial, Helvetica, sans-serif;"><i>book as artwork 1960 - 1972. </i>1972<i>. </i></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>2.</b> <i>An Introduction to Precinct Publications</i>, Coventry, 1968</span><br />
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<span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>A. </b></span><span style="font-family: Arial, Helvetica, sans-serif;">CELANT, G. </span><span style="font-family: Arial, Helvetica, sans-serif;"><i>book as artwork 1960 - 1972. </i>1972<i>. </i></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>B.</b> <i>Conceptual Art in Britain 1964 - 1979</i>. Tate, London. 2016</span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0tag:blogger.com,1999:blog-3380413057671386419.post-52238845703367700562016-04-27T10:02:00.001+01:002017-10-22T10:53:30.509+01:00→ intimate and cathartic is the constellation of cancer<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEXgIctVCBWLchNcHeLb5yFFl8v0ETGWZ1VC1gvgeYBO6ZkOi1dVRWmnu4t8Pr2EQoiodVgO-X0A4e2KGuqBs4RSE7B1i7kl7jgmR_oyjgs0Ikzl_Hx92qr3tddk-T2sR_Wm6sU0SdThw/s1600/bw+Paton_Speaking+in+Tongues_6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEXgIctVCBWLchNcHeLb5yFFl8v0ETGWZ1VC1gvgeYBO6ZkOi1dVRWmnu4t8Pr2EQoiodVgO-X0A4e2KGuqBs4RSE7B1i7kl7jgmR_oyjgs0Ikzl_Hx92qr3tddk-T2sR_Wm6sU0SdThw/s640/bw+Paton_Speaking+in+Tongues_6.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Speaking in Tongues: Speaking Digitally / Digitally Speaking (2015) by <a href="http://www.theartistsbook.org.za/">David Paton</a></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">"Intimate and cathartic" refers to both: the process of making a book and the process of reading. Book as an object encourages intimate interaction between the maker and the object, the object and the reader. Art as an activity veers towards the cathartic experiences between the artist and the object; the object and the viewer. Adding to that a medical context, results in Medical Humanities and an approach to art, which considers artist’s books as a tool to aid healing and facilitate communication between doctors and patients.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUQlMH1bNsEj-ba-xB2m-Ody4y7R-krfJFn-Ny8MK6p_TE4amk6hMokKGV3M9pofV-wEybX0CQrqcg_mXeqsTtjIC1N2IyUTb-l22C62IV1cvdoYIoAQIUA5b98OLpxOf2zy2RDFtJPoI/s1600/Egidija+Martha+images_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUQlMH1bNsEj-ba-xB2m-Ody4y7R-krfJFn-Ny8MK6p_TE4amk6hMokKGV3M9pofV-wEybX0CQrqcg_mXeqsTtjIC1N2IyUTb-l22C62IV1cvdoYIoAQIUA5b98OLpxOf2zy2RDFtJPoI/s400/Egidija+Martha+images_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Test Day II (1999) by <a href="http://www.une.edu/mwwc/research/featured-writers/martha-.-hall-collection-1998-2003">Martha A. Hall</a></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">I
was <span style="font-family: "trebuchet ms" , sans-serif;">honoured</span> to co-<span style="font-family: "trebuchet ms" , sans-serif;">organise</span> </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">with Dr Stella Bolaki </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Prescriptions</i> exhibition, which is now open
until August 14 at <a href="http://canterburymuseums.co.uk/events/prescriptions/">The Beaney House of Art and Knowledge</a>, Canterbury.
The exhibition is part of <a href="https://www.kent.ac.uk/english/research/conferences/artistsbooks.html">Artists’ Books and the Medical Humanities</a>
project by the University of Kent’s School of English. It was <span style="font-family: "trebuchet ms" , sans-serif;">originally structured</span>
around a set of Martha A Hall’s books, which she created from 1998 until
her death in 2003 to document her experiences with breast cancer and
interactions with the medical community. To exten<span style="font-family: "trebuchet ms" , sans-serif;">d </span><i>Prescriptions</i>
further, <span style="font-family: "trebuchet ms" , sans-serif;">I initiated a</span>n open-call, which resulted in over 200 artists
worldwide submitting nearly 250 works, of which 88 bookworks were
selected<span style="font-family: "trebuchet ms" , sans-serif;"> as a curated Medical Humanities art<span style="font-family: "trebuchet ms" , sans-serif;">ist's books </span>collection, </span>reflecting on the themes of illness, grieving, disability, mental health, surgery, birth, aging,
recovery, history of medicine, treatments and wellbeing.</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Once</span> the exhib<span style="font-family: "trebuchet ms" , sans-serif;">ition is <span style="font-family: "trebuchet ms" , sans-serif;">over</span>, the collection will be housed at </span></span></span></span></span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">University of Kent’s <span style="font-family: "trebuchet ms" , sans-serif;">Library's Special Collection.</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA4lUy8rv3G6sqlJj3jRkhfhIv12fZQb4DMeZ_1pYq-xVggA5eVDCmKqJMoLz6ceeD2p8ZffpYyf3jeK_jtkVY-LEkRDeVZmWopl0Wqd22mMsbKLsnfg_8awzer4UgxOtdvDjQsZVMXzk/s1600/Egidija+PRESCRIP_39.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA4lUy8rv3G6sqlJj3jRkhfhIv12fZQb4DMeZ_1pYq-xVggA5eVDCmKqJMoLz6ceeD2p8ZffpYyf3jeK_jtkVY-LEkRDeVZmWopl0Wqd22mMsbKLsnfg_8awzer4UgxOtdvDjQsZVMXzk/s400/Egidija+PRESCRIP_39.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">View of Prescriptions at The Beaney, Canterbury. </span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Illness, healing, grief are intimate processes. Like Martha A Hall, a number of <i>Prescriptions</i> artists have responded to their conditions by <span style="font-family: "trebuchet ms" , sans-serif;">making books</span>: some dealt with their own diagnosis, others dealt with the grief at the illness of a friend. Like Martha A Hall, 25 of the participants have cancers, of which 11 are breast cancer patients and further 4 are friends or family of a breast cancer patient. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://en.wikipedia.org/wiki/Cancer_%28constellation%29#Stars"><b>Cancer</b></a> is one of the twelve constellations of the zodiac. Its name is Latin for <i>crab</i> and it is commonly represented as one. Its astrological symbol is ♋. Cancer is a medium-size constellation with an area of 506 square degrees and its stars are rather faint. Cancer is the dimmest of the zodiacal constellations, having only two stars above the fourth magnitude. </span></span></span></blockquote>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Cancer is <span style="font-family: "trebuchet ms" , sans-serif;">frequently</span> <span style="font-family: "trebuchet ms" , sans-serif;">represented</span> as a combination of five stars. </span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">1<span style="font-family: "trebuchet ms" , sans-serif;">.</span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> Lizzie Brewer</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJ8McJ2UH-RQhDRAk_ho68dLvwdIWIHYZdlLJW_AWSk75tWUI6CsQIOx9yp2onxM3tJobtJyn01u44qGG0PLCLKBWfxAP9T2wIwqf5Ms1JgnySECGdMFi0IFFGqtBnktqFMzaxHfF5uM/s1600/brewer_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJ8McJ2UH-RQhDRAk_ho68dLvwdIWIHYZdlLJW_AWSk75tWUI6CsQIOx9yp2onxM3tJobtJyn01u44qGG0PLCLKBWfxAP9T2wIwqf5Ms1JgnySECGdMFi0IFFGqtBnktqFMzaxHfF5uM/s640/brewer_1.jpg" width="640" /></a></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The first star in my <span style="font-family: "trebuchet ms" , sans-serif;">C</span>ancer constellation is <a href="http://lizziebrewer.com/">Lizzie Brewer</a>. Lizzie<span style="font-family: "trebuchet ms" , sans-serif;">'s wo<span style="font-family: "trebuchet ms" , sans-serif;">rk <i>Prescriptions</i></span></span> <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">is a set of </span></span>embossed prints, which reflect on the amount of pills taken during the five years of her breast cancer treatment. Each tablet is one little step towards healing<span style="font-family: "trebuchet ms" , sans-serif;">: </span>her work shows a long journey. Repetition is what stands out in Lizzie’s work: tablets look the same, pages look the same. There is meditative quality to an ongoing expanse of sheet after sheet after sheet. Other then details of her surgical report there are no other texts and there are no images. The person behind this data is very much absent - repetition hides her like a smokescreen. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> 2. Carole Cluer</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim8oXSSfcroi7TfpiTJ5VbALZ8Dfg6aefWsObgVh_Eet_3c9-wd29Q0FHmhjRcdT_tBP1eMR9zKkis3nEnXg8ul-p7J3tI_zE3I9Ha7esbEWc1vRs-AixfHoFQRS55-pQ-iVyscTPaIUI/s1600/cluer_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim8oXSSfcroi7TfpiTJ5VbALZ8Dfg6aefWsObgVh_Eet_3c9-wd29Q0FHmhjRcdT_tBP1eMR9zKkis3nEnXg8ul-p7J3tI_zE3I9Ha7esbEWc1vRs-AixfHoFQRS55-pQ-iVyscTPaIUI/s640/cluer_1.jpg" width="640" /></a></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.carolecluer.com/">Carol Cluer</a> was diagnosed with breast cancer in 2004. <i>Unknown</i> is another seemingly detached work, which hides individual well behind volume, number and data. Carole considers the number of people diagnosed with breast cancer in the same year as her. Based on the measurement grids and tattoos used when you have radiotherapy, she had drawn a grid by dragging a fine gold wire across paper, so each dot represents one person - anonymous person - like herself. The books consist of pages and pages and pages of identical looking hand drawn grids: simple <span style="font-family: "trebuchet ms" , sans-serif;">to</span> look at, but exquisitely executed. If Lizzie’s work zooms into<span style="font-family: "trebuchet ms" , sans-serif;"> </span>individual’s experience, Carol’s work zooms out to globalize <span style="font-family: "trebuchet ms" , sans-serif;">it</span>, by re-contextualising herself into <span style="font-family: "trebuchet ms" , sans-serif;">the worldwi<span style="font-family: "trebuchet ms" , sans-serif;">de stream of</span></span> data. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">3. Carol Pairaudeau</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjE3FeYyq64pxgCncDCUmotMKolXVteM8Hi1sO9jubmnC3lMOFkWEP8pVCDwBTlofjqADZ-eSSQRqhLytsnXx9JMF9_3oCYnXlRSIO5QR4MKw0Zp5QEZjzKlLP81TZc3B517IvSWXUbL4/s1600/pairaudeau_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjE3FeYyq64pxgCncDCUmotMKolXVteM8Hi1sO9jubmnC3lMOFkWEP8pVCDwBTlofjqADZ-eSSQRqhLytsnXx9JMF9_3oCYnXlRSIO5QR4MKw0Zp5QEZjzKlLP81TZc3B517IvSWXUbL4/s640/pairaudeau_1.jpg" width="640" /></a><span style="font-size: small;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">If individual is hiding behind the data in two previous two works, </span><span style="font-size: small;"><a href="http://www.carolartgallery.com/"><span style="color: #0000ee;"><u>Carole Pairaudea<span style="color: #0000ee;"><u>u</u></span></u></span></a> puts herself right into the center of her book. Not only is the <span style="font-family: "trebuchet ms" , sans-serif;">work</span> presented in a hospital sample bag with <span style="font-family: "trebuchet ms" , sans-serif;">Carole's</span> name printed on it, her book is a concertina, show<span style="font-family: "trebuchet ms" , sans-serif;">ing</span> <span style="font-family: "trebuchet ms" , sans-serif;">her scar</span> and bruising on one side<span style="font-family: "trebuchet ms" , sans-serif;"> and</span> words (about <span style="font-family: "trebuchet ms" , sans-serif;">healing of the</span> scar) on the other. The photo images of bruised skin are otherworldly in their blues, greens and purples<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">. The<span style="font-family: "trebuchet ms" , sans-serif;">ir<span style="font-family: "trebuchet ms" , sans-serif;"> beautiful and painterly quality contrasts <span style="font-family: "trebuchet ms" , sans-serif;">with the<span style="font-family: "trebuchet ms" , sans-serif;">ir painful <span style="font-family: "trebuchet ms" , sans-serif;">origin</span>.</span></span></span></span> </span></span>The text complements images: it transports reader through <i>stitch</i> to <i>fade</i> of the scar in three concertina folds, producing six steps. Like in Lizzie’s work, Carol’s work is about time and healing. The steps might be bigger and <span style="font-family: "trebuchet ms" , sans-serif;">may take more </span>time of complete, but the work feels cathartic<span style="font-family: "trebuchet ms" , sans-serif;"> </span>and emotionally true.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">4. Ruchika Wason Singh</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSCvggirC3VbJQjngIIv6I1LExgHCWrNxY-HyclhtQW7Z3JTT59iNeoZgpq02pC6HbJ654t2AsDhNQ9pll-yElyFOgzaA5s81E9y6X_Qa-l3ln_r2g3dUUeE4eQVyEayXJvadgYm5pba4/s1600/ruchika_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSCvggirC3VbJQjngIIv6I1LExgHCWrNxY-HyclhtQW7Z3JTT59iNeoZgpq02pC6HbJ654t2AsDhNQ9pll-yElyFOgzaA5s81E9y6X_Qa-l3ln_r2g3dUUeE4eQVyEayXJvadgYm5pba4/s640/ruchika_1.jpg" width="640" /></a><span style="font-size: small;"> </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://du-in.academia.edu/RuchikaWasonSingh">Ruchika Wason Singh</a> builds her book as a journey of acceptance <span style="font-family: "trebuchet ms" , sans-serif;">at</span> the loss of <span style="font-family: "trebuchet ms" , sans-serif;">her</span> breast. <span style="font-family: "trebuchet ms" , sans-serif;">P</span>hysical and emotional healing is replicated in her creative process. Ruchika paints breasts and tears them into pieces, which she then restores by painting onto them. She resurrects the breast visually as she completes her inner transformation into an honest acknowledgment <span style="font-family: "trebuchet ms" , sans-serif;">of her situation</span>. Ruchika then pastes images <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">onto sheets of paper</span></span> <span style="font-family: "trebuchet ms" , sans-serif;">to form</span> a book, which further contributes to the idea of archiving the experience. Her <span style="font-family: "trebuchet ms" , sans-serif;">set</span> of collages is loosely held together by fabric, resembling bandages. The cover image is a stitched scar. The book is wholesome, </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">bold and honest</span></span><span style="font-family: "trebuchet ms" , sans-serif;">. </span>Ruchika’s work elicits anguish and grief that feel resolved as the book is closed.</span><span style="font-size: small;"><br /></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">5. Mara Acoma</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOXnkVwQB3Ae13N4w8BFyzP1HUkOz8ejr7fMSu_OYz03n_zyUMY2RgqaGYtkNUORagdE_KG58homioIYZ5k5VI4eb2LtGSp3bnqS0UFkYgSz8uDU-6sU3F1d9kIraEWMgrUly83PJAgA/s1600/acoma_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOXnkVwQB3Ae13N4w8BFyzP1HUkOz8ejr7fMSu_OYz03n_zyUMY2RgqaGYtkNUORagdE_KG58homioIYZ5k5VI4eb2LtGSp3bnqS0UFkYgSz8uDU-6sU3F1d9kIraEWMgrUly83PJAgA/s640/acoma_1.jpg" width="640" /></a></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">A photo book by <a href="http://www.maraacoma.com/">Mara Acoma</a> documents her own experience of having her mother diagnosed with breast cancer. The work, Mara says, allowed her to demystify her own emotional journey. She is using the visual language of <span style="font-family: "trebuchet ms" , sans-serif;">n</span>ear <span style="font-family: "trebuchet ms" , sans-serif;">d</span>eath <span style="font-family: "trebuchet ms" , sans-serif;">e</span>xperiences<span style="font-family: "trebuchet ms" , sans-serif;"> and</span> folklore surrounding ghosts<span style="font-family: "trebuchet ms" , sans-serif;">.</span> The images are dark, produced to the backdrop of gothic sets of crumbling castles, gloomy forests, abandoned hospitals and misted up windows. A lone ghost of a heroine is moving from one location to the next across sprawling spreads of large size monochromatic photographs. Those imaginary locations represent her mental states, which - like Lizzie’s tablet’s or Carole’s bruises - are steps towards emotional healing. </span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Intimate and cathartic is a diary for the writer<span style="font-family: "trebuchet ms" , sans-serif;">, as it</span> is for the reader. The books above are diaries in the most generic sense of the word. They are non-verbal diaries. <span style="font-family: "trebuchet ms" , sans-serif;">Their <span style="font-family: "trebuchet ms" , sans-serif;">authors</span> <span style="font-family: "trebuchet ms" , sans-serif;">reach</span> be<span style="font-family: "trebuchet ms" , sans-serif;">yond language to say <span style="font-family: "trebuchet ms" , sans-serif;">the unsayable. The (almost) lack of language <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">evokes</span> universal readability of the artwork, whi<span style="font-family: "trebuchet ms" , sans-serif;">ch in tu<span style="font-family: "trebuchet ms" , sans-serif;">rn, <span style="font-family: "trebuchet ms" , sans-serif;">resonates with <span style="font-family: "trebuchet ms" , sans-serif;">universal <span style="font-family: "trebuchet ms" , sans-serif;">concerns</span> of underst<span style="font-family: "trebuchet ms" , sans-serif;">anding <span style="font-family: "trebuchet ms" , sans-serif;">illness and understanding healing as a process</span>.</span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.egidija.com/">[Egidija]</a></span></span>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span>Anonymoushttp://www.blogger.com/profile/15112517063581453126noreply@blogger.com0