Unbinding the Book

Jotta
Blurb
#unbindingthebook
  1. Recommended Reading by Kate Morrell

    This list reflects Kate Morrell’s interest and activities within artists’ books and small presses. Whilst a fan of the book object in its material form, Morrell is also interested in considering the book from various perspectives e.g. artist, researcher, designer, distributor, librarian, reader, collector.

    ‘Doctor Ox’s Experiment’ by Jules Verne, 1872
    Reprinted by Prof George Van Den Bergh to accompany his book proposal ‘Capital Letters, Twin and Multiple Print’, 1958

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    ‘Dr Ox’s Experiment’ is a short story of science fiction, first published in 1872. As part of his proposal, Prof Van Den Bergh printed a pocket book version of the title by Jules Verne. The reproduction utilised Van Den Bergh’s invention for compressing text: ‘Capital Letters, Twin and Multiple Print’ (1958). A dusty copy of the original proposal can be accessed at St Bride Library, London, including 3 different copies of ‘Dr Ox’s Experiment’. I recommend reading the edition published by Prof Van Den Bergh, complete with celluloid reading screens.

    ‘The Book on Books on Artists’ Books’ by Arnaud Desjardin, The Everyday Press

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    ‘The Book on Books on Artists’ Books’ is a bibliography of books, pamphlets and catalogues on artists’ books, published since the early 1970s. The content places an interesting focus upon the varied channels for the distribution, circulation and promotion of artists’ books.

    The Reanimation Library, New York

    3.Jotta_Reanimation_Library

    This is not a recommendation for one particular book, but an entire collection of material, held by a small library in New York. The Reanimation Library is an ideal resource for my research-based projects. Often my book works are generated from forgotten or overlooked material from sites of collection and archive. If only they had a UK branch.

    ‘The Reanimation Library is an independent presence library.* The books in the collection—simultaneously prosaic and peculiar—are relics of the rapidly receding 20th century. Chosen primarily for the images that they contain, they have been culled from thrift stores, rummage sales, flea markets, municipal dumps, library sales, give-away piles, and used bookstores across the country.’ 

    ‘*Presence library is a mistranslation of the German word for reference library, Präsenzbibliothek. In addition to being a non-circulating collection, the library encourages IRL encounters with actual books and actual humans.’

    ‘Variable Format’ by Lynn Harris, published by AND and designed by Åbäke with Pierre Pautler, 2012

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    A project by AND publishing which explores technical scope of print on demand services.

    ‘Variable Format is a sample book, a model, a serial system that explores the technological margins of print on demand and how reading is informed by the materiality of the book object.’ 

    I’m also interested in a second publishing and exhibition project by AND publishing: ‘The Piracy Project’, which explores creative approaches to reproduction, appropriation and notions of authorship. One of my book works, ‘Hoard’ (2012), is included in this collection of touring publications.

    Four Corners Familiars, Four Corners Books

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    Four Corners Familiars is a series of new editions of classic novels that feature artists responses to the material. I’m interested in this revival of ‘lost’ texts and how they can be reinterpreted and repositioned through appropriation by the artist. Two favourites from the series are: ‘The Prisoner of Zenda’ by Anthony Hope, with art by Mireille Fauchon. ‘The Picture of Dorian Gray’ by Oscar Wilde with art by Gareth Jones.

    ‘The Form of the Book Book’ edited by Sara De Bondt and Fraser Muggeridge, Occasional Papers, 2009

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    A selection of essays on book design by graphic designers and graphic design historians, including a conversation with Bob Stein founder of The Institute for the Future of the Book.

    ‘In a nod to Jan Tschichold’s famous collection of essays The Form of the Book, first published in 1975, this book offers in-depth analyses of key moments in the history of book design in order to better imagine the many forms the book will take, and is already taking, in our digital age.’

    ‘Post-Digital Print. The Mutation of Publishing Since 1894′ by Alessandro Ludovico, Onomatopee, 2012

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    ‘How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over?’  Alongside its focus on defining and expanding the term ‘post-digital print’, the book reflects on the history of alternative publishing, zine culture and the evolution of print. You can buy the printed book from Onomatopee or download a PDF version for free.

    ‘The Information: A History, a Theory, a Flood’ by James Gleick, 2011

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    Admittedly i’ve not yet finished this book – its volume is overwhelming. The book provides a history of information beginning with cuneiform tablets and the compilation of the first English dictionary, through to cloud technology.

  2. Kate Morrell

    Kate Morrell’s is an artist who employs drawing, sculpture, book works and archival research to create work centred around forgotten histories and instances of amateur and inaccurate interpretations of printed, historical material. For Unbinding The Book, she will be undertaking a research-led book project, which will consist of a digital re-make of a 1958 typesetting innovation created by Prof Dr George van den Bergh, a Dutch lawyer, amateur astronomer and inventor. His new form of typesetting was titled ‘Hoofdletters, Tweeling-en Meerlingdruk’. Translated as ‘Capital letters, Twin and Multiple-print’, it aimed to make more efficient use of the printed page by compressing text, printing in capital letters and moving the lines close together, along with a range of less successful optical tricks, 2-colour spectacles and celluloid reading screens.

    By reducing paper quantity and lowering production cost, he aimed to make books more accessible, though his book was largely dismissed as an eccentric curiosity. His critics anticipated high set-up costs for typesetting and manufacturing equipment. However, with present day design software, many of these concerns are irrelevant. To test Van den Bergh’s theory in print Morell will re-make part of the text, complete with compatible reading screen, using digital processes, which Van den Bergh could not have foreseen. Re-visited in 2014, ‘Hoofdletters, Tweeling-en Meerlingdruk’ appears as much more than a typographic curiosity. His concerns regarding economy of print and information compression and dissemination, resonate further when reread in our post-digital era.

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