Amaranth Borsuk
University of Washington, Bothell
@amaranthborsuk
amaranthborsuk.com
Clay Bulla (Sumer, 3500 BCE) Clay Tablet (Mesopotamia, 2800) Scroll (Papyrus: 1900, Parchment: 1600) Jiance (China, 1600)
Sutra (India and Sri Lanka, 450) Khipu (Peru, 2500/1500) Waxed Tablet (Greece, 400) Parchment notebook (Rome, 55)
Concertina (China, 618 CE) Butterfly (960) Wrapped back (1127) Stab binding (1644)
Literature was never only words, never merely immaterial verbal constructions. Literary texts, like us, have bodies, an actuality necessitating that their materialities and meanings are deeply interwoven into each other.
—N. Katherine Hayles
Writing Machines (2002)
Chansonnier de Jean de Montchenu (ca. 1470, coll. BNF), 2007 facsimile, image via UC Libraries.
[An artist's book] integrates the formal means of its realization and production with its thematic or aesthetic issues. […] It has to have some conviction, some soul, some reason to be and to be a book in order to succeed.
—Johanna Drucker
The Century of Artists’ Books (2004)
Alison Knowles, The Big Book (1967).
As much acts of interpretation as material things, as much processes as objects, media are not merely storage mechanisms somehow independent of the acts of reading they record.
—Craig Dworkin
No Medium (2013)
Tender Claws, Pry (2014).
It might be any art: an artist’s book could be music, photography, graphics, intermedial literature. The experience of reading it, viewing it, framing it—that is what the artist stresses in making it.
—Dick Higgins
"A Preface" (1985)
Emmett Williams, Sweethearts (1967).
Sweethearts, digital facsimile by Mindy Seu, sweetheartsweetheart.com
A book is a sequence of spaces.
Each of these spaces is perceived at a different moment - a book is also a sequence of moments.
. . . .
A book is not a case of words, nor a bag of words, nor a bearer of words.
—Ulises Carrión
“The New Art of Making Books” (1975)
Tunnel Under The Thames (S & J Fuller, London, 1826). Hand-colored peepshow. Collection of State Library of South Australia.
Michael Snow, Cover to Cover (1975).
Regiomontanus, Calendrium (Venice: Maler, Ratdolt & Löslein, 1476).
| Raymond Queneau, Cent Mille milliards de poèmes (Gallimard, 1961).
Wait, later this will be nothing
—Dieter Roth
Snow (1964/65)
Dieter Roth, Literaturwurst (1969).
Alisa Banks, Edges: Cornrow (2007).
Books don’t simply mediate a meeting of minds between reader and author. They also broker (or buffer) relationships among the bodies of successive and simultaneous readers—or even between one person who holds the book and others before whose gaze, or over whose dead body, she turns its pages.
—Leah Price, How to Do Things with Books
in Victorian Britain
a house of (material)
(location)
using (light source)
inhabited by (inhabitants)
Based on Nick Montfort's reimplementation
of Alison Knowles and James Tenney's House of Dust,
a 1967 computer-generated poem in Fortran, using Javascript.