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The Century of Artists' Books
"Over the last ten years this book has become the definitive text in an emergent field: teachers, librarians, students, artists, and readers turn to the expertise contained on these pages every day."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Visualization and Interpretation
An analysis of visual epistemology in the digital humanities, with attention to the need for interpretive digital tools within humanities contexts. In the several decades since humanists have taken up computational tools, they have borrowed many techniques from other fields, including visualization methods to create charts, graphs, diagrams, maps, and other graphic displays of information. But are these visualizations actually adequate for the interpretive approach that distinguishes much of the work in the humanities? Information visualization, as practiced today, lacks the interpretive frameworks required for humanities-oriented methodologies. In this book, Johanna Drucker continues her in...
Sweet Dreams
Surveying a wide range of exciting and innovative artists, Drucker demonstrates their clear departure from the past, petitioning viewers and critics to shift their terms and sensibilities as well.
The Visible Word
Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.
Diagrammatic Writing
Diagrammatic Writing is a poetic demonstration of the capacity of format to produce meaning. The articulation of the codex, as a space of semantically generative relations, has rarely (if ever) been subject to so highly focused and detailed a study. The text and graphical presentation are fully integrated, co-dependent, and mutually self-reflexive. This small book work should be of interest to writers, bibliographers, designers, conceptual artists, and anyone interested in the meta-language of diagrammatic thought in graphic form.
Italy
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The Word Made Flesh
Calling attention to the visual materiality of the text, this book attempts to halt linear reading, trapping the eye in a field of letters which make a complex object on the page. The writing refers continually to the visceral character of language, literalizing metaphors of tongue, breath, and flesh. The work both embodies and discusses language as a physical form, one whose properties cannot be ignored by arriving at a disembodied content. The format of this work invokes a reference to the carmina figurata of the Renaissance -- works in which a sacred image was picked out in red letters against a field of black type so that a holy figure could be seen and meditated on in the process of reading. The technique is reversed here, with the red field of small type serving as a background in which large, black letters are arranged like figures on the red ground. This is a facsimile reprint of an original letterpress edition issued in 1989.
Digital_Humanities
A visionary report on the revitalization of the liberal arts tradition in the electronically inflected, design-driven, multimedia language of the twenty-first century. Digital_Humanities is a compact, game-changing report on the state of contemporary knowledge production. Answering the question “What is digital humanities?,” it provides an in-depth examination of an emerging field. This collaboratively authored and visually compelling volume explores methodologies and techniques unfamiliar to traditional modes of humanistic inquiry—including geospatial analysis, data mining, corpus linguistics, visualization, and simulation—to show their relevance for contemporary culture. Written by five leading practitioner-theorists whose varied backgrounds embody the intellectual and creative diversity of the field, Digital_Humanities is a vision statement for the future, an invitation to engage, and a critical tool for understanding the shape of new scholarship.
A Girl's Life
"A Girl's Life is a graphic melodrama of romance, crime, and passion in which girls 'struggle to survive the snares and pitfalls of contemporary life.' Darkly comic and fiendishly noir, the mood of this book is expressed in colorful prose, lurid collage, and wildly adventurous typography. This collaboration between visual poet Johanna Drucker and painter/book artist Susan Bee is an exciting synthesis of two distinctive but sympathetic sensibilities which addresses adolescent angst in all of its fashionably gory details; 'accessory to a crime' takes on a whole new meaning in this book." --
SpecLab
Nearly a decade ago, Johanna Drucker cofounded the University of Virginia’s SpecLab, a digital humanities laboratory dedicated to risky projects with serious aims. In SpecLab she explores the implications of these radical efforts to use critical practices and aesthetic principles against the authority of technology based on analytic models of knowledge. Inspired by the imaginative frontiers of graphic arts and experimental literature and the technical possibilities of computation and information management, the projects Drucker engages range from Subjective Meteorology to Artists’ Books Online to the as yet unrealized ’Patacritical Demon, an interactive tool for exposing the structures that underlie our interpretations of text. Illuminating the kind of future such experiments could enable, SpecLab functions as more than a set of case studies at the intersection of computers and humanistic inquiry. It also exemplifies Drucker’s contention that humanists must play a role in designing models of knowledge for the digital age—models that will determine how our culture will function in years to come.
