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- To: Multiple recipients of list BOOK_ARTS-L <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
- Subject: Intrinsic Qualities
- From: "David I. Sheidlower" <dsheidlo@xxxxxxxxxxx>
- Date: Sat, 31 Aug 1996 10:27:20 -0700
- Message-id: <199608311725.KAA11729@SUL-Server-2.Stanford.EDU>
- Sender: "The Book Arts: binding, typography, collecting" <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
Dorothy Africa wrote:
> Michael, may I ask you a question? I hope this will not come over
> badly in the medium of print, since it is a genuine question and not
> a veiled slight. Why do you need to prevent the show through if you
> are deliberately concerning yourself with "found" material. Isn't
> the double surface printing part of the object you have found? I would
> be interested in hearing from you and other book artists who use found
> materials how they decide what intrinsic qualities of these materials
> to use and what to modify. I know this is a can of worms I am ripping
> open, but I would like to hear from those on the list who do this sort
> of thing.
> Dorothy C. Africa
> bookbinder, Harvard Law School Library
That's the point therein, isn't it? "Intrinsic qualities". By deciding
what not to tamper with you're kind of choosing what to identify as
intrinsic qualities. Or, sometimes by tampering enough, it's an
affirmation through distortion, no?
Dave Melnick's poetry (English words phonetically echoing Homer), let's
you know what what he's taking as raw material (sound). Whereas Ronald
Johnson's experiment with Paradise Lost takes the page as composed as
raw material. Someone like Schwitters(sp?) was going for a combination
of the two, no?
Maybe you go from "intrinsic qualities" to "useful characteristics" ala
the diamond: in a fabrication context, it cuts (hardness) and in a
jewelry context it "adorns" (sparkle?).