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Do Or Diy
'Remember the lessons of literary history. Don't wait for others to validate your ideas. Do it yourself.'Mixing anecdote and advocacy, the first section of this two-part polemical essay offers an introduction to the concealed history of do-it-yourself publishing – as undertaken by some of the most revered writers in the modern Western literary canon, from Laurence Sterne (1713–1768) to Irma Rombauer (1882–1941) via Virginia Woolf (1871–1922) and Derek Walcott (1930–).Having looked back at some of the monuments of literary history, the second section takes its charge from the epigraph, 'Institutions cannot prevent what they cannot imagine', and looks forward to the political praxis of the twenty-first century's digital future.The essay was first commissioned by the Foreword for the London Art Book Fair 2011 catalogue. Translations will soon be available in Spanish and Italian.Accompanying an eponymous solo exhibition at the Whitechapel Gallery, London, April-May 2012; and the Laurence Sterne Museum, Coxwold, August 2012.Limited edition. Do or DIY is created by Craig Dworkin, Simon Morris and Nick Thurston.
Interpretation
None
Re-writing Freud
The artist has re-written Sigmund Freud's "The interpretation of dreams." A computer programme randomly selects words, one at a time from Freud's 223, 740 word text and begins to reconstruct the entire book, word by word, making a new book with the same words.
Design Transactions
Design Transactions presents the outcome of new research to emerge from ‘Innochain’, a consortium of six leading European architectural and engineering-focused institutions and their industry partners. The book presents new advances in digital design tooling that challenge established building cultures and systems. It offers new sustainable and materially smart design solutions with a strong focus on changing the way the industry thinks, designs, and builds our physical environment. Divided into sections exploring communication, simulation and materialisation, Design Transactions explores digital and physical prototyping and testing that challenges the traditional linear construction methods of incremental refinement. This novel research investigates ‘the digital chain’ between phases as an opportunity for extended interdisciplinary design collaboration. The highly illustrated book features work from 15 early-stage researchers alongside chapters from world-leading industry collaborators and academics.
The Persons
The Persons is a scrapbook of found texts which have been clipped, archived, sorted for their parallel grammatical structure, and then rearranged so that no two consecutive sentences come from the same source.Peter Jaeger's life, here, is thus written through the words of others: those protagonists who animated his imagination and left their traces in the newspapers, emails, diaries, books (from literature to philosophy), and all the countless ephemera with which the externalized inner drama of our lives plays out.Peter Jaeger is a Canadian poet, literary critic and text-based artist now living in the UK. His published work includes the books Eckhart Cars (2004), Prop (2007), and Rapid Eye Movement (2009). He currently teaches poetry and literary theory at Roehampton University in London, and lives in rural Somerset with his family.'The Persons extends the necessary citicism of the world inside a celebration of life.' Allen Fisher
Reading as Art
This is the book published alongside a group exhibition exploring the potential of the act of reading as art.The works included in the exhibition find different means to foreground and to investigate the activity of reading: the forms it can take (silent reading, reading aloud, spontaneous reading, purposeful reading, and so on), the matter of reading (the book, the screen, the space of the page), the bodies that engage in it and the contexts in which it occurs.All of the works are concerned to make reading manifest in some way; in so doing, they each show - differently - how reading is its own form of making.Featuring the work of 13 international artists, including Martin Creed and Pavel B�chler.Published on the occasion of the exhibition Reading as Art at Bury Art Museum and Sculpture Centre, 27 August - 19 November 2016
The Perverse Library
The Perverse Library includes Professor Craig Dworkin's bibliography (2,427 titles), a supplementary bibliography of absent and imagined books, and an accompanying essay arguing libraries are in fact defined not by what they contain, but by what books they exclude or fail to include. The essay also investigates the histories of libraries, makes a theoretical argument about the relation of canons to architectural space, and explores the psychology of collecting – including the pathology of bibliomania: 'He had but one idea, one love, one passion: books. And this love, this passion burned within him, consuming his days, devouring his existence.' Although they present themselves as figures of rational organization, library catalogues and classification systems can only hope to distract from the aberrant chaos they cannot exorcise. Published to accompany the exhibition The Perverse Library at Shandy Hall, Coxwold, North Yorkshire, 4 September – 31 October 2010, curated by Simon Morris.
I, Sparkie
Created by the artist Andrew Dodds, 'I, Sparkie' represents a rich and unusual archive relating to the life of a real budgerigar, Sparkie Williams, who was raised and trained in Newcastle, England, by Mrs Mattie Williams.
Catch-Words(by Nicholas D. Nance)
Between the fifteenth and eighteenth centuries, the assembly of printed sheets into ordered books had a textual aid: a few letters printed in the bottom-right margin of each page that anticipated the first word at the top of the following page.A quick glance could confirm that the 'catch-word' matched the start of the next page's text, and therefore that the sequencing and pagination were correct.This book gathers the catch-words in the first edition of Samuel Richardson's landmark novel Clarrisa, or, the history of a Young Lady (1748). Their new arrangement follows the structure of its source: each catch-word becomes a line, each gathering a stanza, each volume a canto. The process repeats ...
