everyweekness

Visual Research //
// Abigail Thomas

By breaking the link - still tight - between discourses and their materiality, the digital revolution requires a radical revision of the gestures and notions that we associate to the written text.

Roger Chartrier in Non sperate di liberarvi dei libriUmberto Eco, Jean-Claude Carrière (2009)

{translated from Italian by P—DPA}

(via p-dpa)

(Source: worldcat.org, via p-dpa)

visual-poetry:

»mental reactions« by marius de zayas and agnes ernst meyer (1915)

by general accounts the earliest example of visual poetry in america—is the original maquette for a printed version published in the avant-garde magazine 291. both a drawing and a poem, the work is a collaboration between the mexican-born caricaturist marius de zayas (1880–1961) and the american journalist and art patron agnes ernst meyer (1887–1970).

[via]

visual-poetry:

»mental reactions« by marius de zayas and agnes ernst meyer (1915)

by general accounts the earliest example of visual poetry in america—is the original maquette for a printed version published in the avant-garde magazine 291. both a drawing and a poem, the work is a collaboration between the mexican-born caricaturist marius de zayas (1880–1961) and the american journalist and art patron agnes ernst meyer (1887–1970).

[via]

p-dpa:

Unlimited Vocabulary, Jane Birkin (2013)

The piece explores the dysfunction of the limited vocabulary, as provided by various metadata schema and used commonly for the description of images in museums, libraries and archives. Schemas are blunt tools of description, hampered by a Spartan narrowness of vocabulary; and as finding aids they become no less problematic. Unlimited Vocabulary is a model of dysfunction in itself, albeit a different dysfunction to that of the metadata schema. The vocabulary is an unwieldy 300 metres long — the rolls are shown partly unfurled to demonstrate the scope of the vocabulary, but most of the words remain unseen. As Cornelia Vismann observes of Alselm Kiefer’s lead books, they are ‘files at a standstill […] nothing more than alphabetic media.’ (Cornelia Vismann, Files: Law and Media Technology (Stanford: California, Stanford University Press, 2008) 162)

This is by no means a truly unlimited vocabulary, as we are told that the English language has recently hit one million words — although there is no way of corroborating this information, and the million words are certainly not accessible as a list. This is a vocabulary of more than 20,000 words, taken and adapted from lists of words for scrabble players and other word gamers, and then randomised.

Inspiration is drawn in part from the 1955 RAND Corporation publication One Million Random Numbers, a work succinctly described by an unnamed blogger as ‘a monstrous anti-table, a work of intentional disorder.’ Unlimited Vocabulary is both of these things.

(Source: unitsofdescription.wordpress.com)

The Girls’ Section of OUP’s bindery. Printed sheets are folded by the women using ivory rulers (also known as bone folders), and the folded sheets are then gathered into sections to be sewn.

p-dpa:

Welcome to the Machines - Die Digitaliserung von Typografie und Design, Anika Rosen (2012)

What McLuhan had announced ten years before became reality in the early 1970s: the history of reading and writing was continued by machines that automated the practices and replaced letters with numbers. This book is a catalogue that brings together images and texts from the era that decided how things would be read in the future.

Leipzig 2012
288 pages
210 x 297 mm
1-coloured and 4-coloured
Euro 29.00
ISBN 978-3-932865-67-1

(Source: institutbuchkunst.hgb-leipzig.de)

Both the computer as a writing technology and the forms of electronic writing can be allied to almost any theoretical position, including the most traditional. After all, the computer is now used to prepare most printed books for publication: as a tool for photocomposition, it reinforces the stability and fixity associated with print, the traditional views of the nature of authorship, and finally the economic dominance of major publishers and distributors. But traditionalists have generally regarded electronic technology as a threat to, rather than an extension of, their literary values.

traditionalists have generally regarded electronic technology as a threat to[…] their literary values.

Writing Space: Computers, Hypertext, and the Remediation of Print, Jay David Bolter (2001)

(Source: worldcat.org, via p-dpa)