Sunday, January 30, 2005
From the foreword of *Figuring the Word*, Johanna Drucker:
"From my earliest awareness I was convinced that my identity was as a writer: experience was only real if it was transformed into writing and writing was only legitimate if it ended up in a book. I felt protected by writing, concealed and revealed simultaneously, because my text could go out into the world as a book without my having to accompany it. Books lived a life or their own, independent of the identity and presence of their writers--at least, in some fictive sense....Writing provided an escape through invention and distancing strategies....When I learned letterpress printing in 1972 at CCAC, it had a profound effect on the way my work developed....[Printing] provides a fundamental means of transforming personal expression into an authoritative form within the social order and public sphere." (p. 3-4)
From *Verbi-Voco-Visual Explorations*, Marshall McCluhan, citing John L. McKenzie S.J.'s *The Two-Edged Sword* (Milwaukee: Bruce Publishing Co. 1956):
{The ancient Hebrews'] language is the speech of the simple man who sees motion and action rather than static reality. Static reality as concrete rather than abstract. It prefers nouns to adjectives for it does not even like to make the obvious distinction between a substance and its properties."
From *The Next Word* exhibition catalog by Johanna Drucker:
"I am not suggesting that fine art and graphic design are the same activity, or that literary prose is the same as commercial copy. but as the tools and vocabularies of these various modes of production often overlap--or are combined in the work of a single artist--the ways the distinctions are made are often finely nuanced." (p.5)
"From my earliest awareness I was convinced that my identity was as a writer: experience was only real if it was transformed into writing and writing was only legitimate if it ended up in a book. I felt protected by writing, concealed and revealed simultaneously, because my text could go out into the world as a book without my having to accompany it. Books lived a life or their own, independent of the identity and presence of their writers--at least, in some fictive sense....Writing provided an escape through invention and distancing strategies....When I learned letterpress printing in 1972 at CCAC, it had a profound effect on the way my work developed....[Printing] provides a fundamental means of transforming personal expression into an authoritative form within the social order and public sphere." (p. 3-4)
From *Verbi-Voco-Visual Explorations*, Marshall McCluhan, citing John L. McKenzie S.J.'s *The Two-Edged Sword* (Milwaukee: Bruce Publishing Co. 1956):
{The ancient Hebrews'] language is the speech of the simple man who sees motion and action rather than static reality. Static reality as concrete rather than abstract. It prefers nouns to adjectives for it does not even like to make the obvious distinction between a substance and its properties."
From *The Next Word* exhibition catalog by Johanna Drucker:
"I am not suggesting that fine art and graphic design are the same activity, or that literary prose is the same as commercial copy. but as the tools and vocabularies of these various modes of production often overlap--or are combined in the work of a single artist--the ways the distinctions are made are often finely nuanced." (p.5)
// posted by Scoop @ 10:05 PM 
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