"he rummaged through a box of spare parts" # private area in a theater or
grandstand where a small group can watch the performance; "the royal box was
empty" # the quantity contained in a box; "he gave her a box of
chocolates" #
corner: a predicament from which a skillful or graceful escape is
impossible;
"his lying got him into a tight corner" # a rectangular drawing; "the flowchart
contained many boxes" # evergreen shrubs or small trees # any one of several
designated areas on a ball field where the batter or catcher or coaches are
positioned; "the umpire warned the batter to stay in the batter's box" #
the
driver's seat on a coach; "an armed guard sat in the box with the
driver" # put
into a box; "box the gift, please" # separate partitioned area in a public place
for a few people; "the sentry stayed in his box to avoid the cold" # hit with
the fist; "I'll box your ears!" # engage in a boxing match # a blow with the
hand (usually on the ear); "I gave him a good box on the ear"
telepresence - teleabsence, telewriting telealone the spectator is alone with
the machine
is like there is no relation between reading and writing, or between listening
and speaking. we view writing and speaking as the active part. what exactly is
the active part? what is the active part? another activity? another passivity?
when is this active part passive? when are we speaking without activity?
as
there is active listening?
http://noemata.wordpress.com
http://noemata.googlepages.com
cortext
codex
"possessive apostrophe" artists' books press
liber libre lib book / free
ambient texts/books
is ambient text supposed to be read? ads are ambient text already, and ambient music.. are there other ambient text possibilities?
next from net.books, in a broader definition, books around you,
contextual books, which also could mean that the books read you, you're the object. how do they read you? interactive?
for artprojects and experiments there should always
be a serial number on the web somewhere(google) --marcus kirsch,
netbehaviour
8 wait
bok
krkaen
when the scrypt encounters the boundary of two types of text, such as normal text and coded txt, it will undergo a "phase shift"
footmark
Henrykk ISBN
Henrykt Isbn
Hentrykk ISBN
Hr. Nik. Isbn
ISBN - Internasjonalt standard boknummer
kunst, person?
EAN "Bookland" ISBN-13
ISBNFORLAG 92428
ONIX ISBN : Henrik Ibsen
ISBN User's Manual, 5th edition
URN DOI EAN ISBN
telegraphy - distant writing
cryptography - secret writing
stenography - hidden writing
/
hexture
ISBN-10 82-92428-18-6
ISBN-13 978-82-92428-18-4
ISBN 978-82-92428-18-4
ISBN 9788292428184
/
-
ISBN 978-82-92428-18-4 ISBN-10 82-92428-18-6
ISBN-13 978-82-92428-18-4 ISBN 9788292428184
-
isbn 978-82-92428-18-4 isbn-10 82-92428-18-6
isbn-13 978-82-92428-18-4 isbn 9788292428184
-
ISBN-10 82-92428-18-6 ISBN-13 978-82-92428-18-4 ISBN 978-82-92428-18-4 ISBN 9788292428184
more info at noemata.net/books
river bank / text/context material context art
ambient books
contexts
Definitions of ambient media on the Web:
All media that do not belong to the classic generic group (ie, TV,
print, radio, posters and cinema), eg, advertising on blimps, bottle caps, etc.
www.media-frankfurt.de/en/infopool/dictionary/index.php
Out of Home Media (OOH) - out of home books
net.art.books:
context ISBN net.books -uality ISBN
Henrykt ISBN
mnbookarts.org
how electronic media expands or changes the notions and possibilities of the book
eg. handmade paper, electronic?
software, zigzag hyperdimensions, multi-dimensional
transforming the physical book techniques into electronical equivalents
- binding, paper
ref/link to hypertext, filesystems
steganographical books, secret books etc, possibilities of net.art.books publikum/formidling - siden disse artist's books er elektroniske finnes ikke lenger den tradisjonelle forskjellen mellom unikt objekt og opplag.
-flytende grenser mellom kunst-produksjon og kunstformidling
-visualitet, mens net.books stort sett var tekstuelt
ref linker g igjennom
headers in email, project, head in the sky "the
body"
"the body"
net.books
-ddsdpddrrfgef gmfwgfp? uk ah
-bker oversiktass
-isbn tagge all dir, alt material?
-foldere som trengs tagges:
ISBN-et skal framg av det frste skjermbildet i elektroniske medier
(online).
minus 1996-2002!
:
027 - bilder natur
again - loops video
airia - ?
amores - bilder grafitti
att - bilder scans
bb.tar - 80-tallet
bile - video tema
blackboard bilder tema
bmg - text scrypt
bookout - ?
books - net.books
cache5 - trash
cave - gif
chtonline - scrypt isbn?
correlab - trivia
demonstrata - akton plutus
div - bilder
divideo - video
djbyhand - musikk aktcharon?
dontknow - aktcharon
drawm - bilder, scrypt
etc - div
figesstures - bilder, scrypt
file - aktcharon
fit - scrypt, theresponser
fix - video tema
g04-4 - bilder livingroam?
g2004 -"-
g4q -"-
g7 -"-
g8 -"-
gameshow, aktch, scrypt
gl9 -"-
gmdiv - kamera?
gmlalbum - bilder, kamera?
golliksd - musikk
greybox - bilder
harang - bilder
hobyrhoss - video
hype - aktcharon, arspublica?
img - aktcharon
inkblot, bilder, scrypt
jul, akt, scrypt
knyt, text, norsk liste arkiv
kort - bilder abstrash, postkort nietzsche
ktonlutus - tekst, antologi ISBN eriknil?
last+fawned - div
livingroam - livingroam
lVTEamontag - bilder
makebook - ?
makeyop - bilder, a la hds
maria - scrypt
metaepi - musikk
momiom - juke & kellykek
move - aktcharon
moverithas - video
mpphp2004 - isbn mwp
n23q - bilder
naturans - img
naturara - img
newbook - ?
newTextdocument - ?
nix - bilder
nno - bilder
noesis - text liste arkiv
noscapes - gen. bilder scrypt
nudes - isbn? florian cramer ed
nyTekstdokument - ?
ok - trash
oldan - musikk
olds - tekst liste arkiv
ozone scrypt
pa - aktcharon
pal - aktcharon
part - ? mailart
peaces - gen.bilder
pilots - aktcharon
postbox03 - mailart
postjul - aktcharon
pulskt - ?
r263 - bilder
reg - trash bilder
schtrr - bilder livingroam
scrypt - kode
silo - aktcharon
still - kamera, still?
str - bilder
syncue - musikk bilder
terminal - bilder germinal
tinden - bilder
translesion - musikk
unop - musikk
unsr - bilder
uteksi - bilde, video
va1 - bilder
var - bilder
withoutbook - ?
wml - scrypt
wumpus - aktcharon
juke and kellykek - musikk
chtonline - bok+scrypt
scrypt, samle i coll./
abm chat
ozone - scrypt
2 gmail-wiki books
open lukket med googlegroups blogger?
isbn D., H. & C. isbn &c Abandoned papers isbn krkaen isbn NOOP isbn still isbn
uteksi isbn isbn fra noemata.net/ g gjennom noemata/ foldere i noemata ca
tilsvarer bker
? many-to-one book, many writes it, only one can read it.
possible? singlecast
cryptic/private, gmail.com book
i'll be the first one to admit that i'm not a writer
write-acts, performative
birth announcement
acoustic writing
net.books ascii school of net art, code
invisble books -stegano -kaos, how every
structure is the same, wouldn't know the difference between what is part of the
text and what is of context
bookmark
net.art.books:
context default gspace-books gbooks gallerybooks
NET.ART.BOOKS
- etablere en kontekst
"The structure that we call a book has changed drastically from what it was in the past, and it will change drastically in the future. [Others]
have pointed out that our word "book" pre-dates the codex, our word
"library" predates the introduction of papyrus,... "volume" is derived from "roll," as in a scroll. Rather than being locked in time, I've found it productive to be aware of historical models and to embrace them in my development as a book artist. It's not an either/or situation.
There's room on my library shelves for all kinds of books." - Edward H.
Hutchins, Proprietor of Editions
From the beginning
Many people who write about the history of artists books begin with William Blake, suggesting that his innovative printing techniques and merging of type and image, both in proximity and concept, were the first examples of artists books.
Any historical figure, (possibly not even considered an artist in his lifetime), who has pushed the notion of a book to a new or higher level, influences and encourages book artists to continue their investigations
- to experiment and to innovate. Each of these small steps in the
alteration of the book structure, content or design brings us to where we are today.
In the 1990s there was considerable emphasis placed on book artists to challenge the codex form and to develop and perfect new structures. Is not the redefinition of the vertical scroll, to first read horizontally in a series of columns, and then to take the scroll and fold it back and forth, thus establishing a page, one of the most fundamentally
innovative structures? This innovation with added covers for protection and hinges for stability - a codex - has been the primary bearer of knowledge for the last 2000 years. Christian scholars of the 7th century A.D. are said to have secured the longevity of the codex format because the codex made it possible to have several books open at once for
comparative study. With scrolls this would have been impossible.2
= BINDING
William Blake
This is William Blake (1757-1827), who as I mentioned earlier is often described as the first artists book maker. His work was unique during this time for these reasons: it created a painterly union with image and text,9 and he was self-published with full control over the entire
process. The union of image and text and the idea of self publishing are both key elements that are still important to many in the artists book field.
For ten years Blake attempted to find a publisher that would allow him to create his own images and engrave his own plates (two processes, previously not done by the same person). Because publishers were not willing to take his work under these terms and because of Blake's
poverty, he was forced to create an economical way to print and to
self-publish.
Another poet that is is frequently referred to as being an influence or inspiration for 20th and 21st century book artists is the French poet Stphane Mallarm (1842-1898). In his work he was searching for "a book in which typography and even the foldings of the pages achieve an
ideational, analytical, and expressive significance."15 He saw the book as an expansion of the letter where each phrase had a relationship with the page and proportion of the book. Paul Valry, one of Mallarm's
colleagues describes his work in this way.
Mallarm finally showed me how the words were arranged on the page.
It seemed to me that I was looking at the form and pattern of a thought, placed for the first time in finite space. Here space itself truly
spoke, dreamed, and gave birth to temporal forms. Expectancy, doubt, concentration all were visible things.16
In Un Coup de ds (A Throw of the Dice) first published in
1897, one can see how placement and typography inspire the text,
expanding and clarifying its meaning.
This idea was later adopted by Futurist Filippo Marinetti in his 1912 manifesto Parole in Liberta (Words at Liberty). In an interview in
Artists/Author: Contemporary Artists' Books,Martha Wilson likens this period in the beginning of the 20th century to the 1960s, where artists were seeking new means to get attention. The Futurists were using print to broadcasting their ideas, and in the 1960s artists found cheaply produced, easily distributed books a good medium to disseminate their ideas.
