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  • I'm an artist and I cut books.

  • This is one of my first book works.

  • It's called "Alternate Route to Knowledge."

  • I wanted to create a stack of books so that somebody could come into the gallery

  • and think they're just looking at a regular stack of books,

  • but then as they got closer they would see this rough hole carved into it,

  • and wonder what was happening, wonder why,

  • and think about the material of the book.

  • So I'm interested in the texture,

  • but I'm more interested in the text and the images that we find within books.

  • In most of my work, what I do is I seal the edges of a book with a thick varnish

  • so it's creating sort of a skin on the outside of the book

  • so it becomes a solid material, but then the pages inside are still loose,

  • and then I carve into the surface of the book,

  • and I'm not moving or adding anything.

  • I'm just carving around whatever I find interesting.

  • So everything you see within the finished piece

  • is exactly where it was in the book before I began.

  • I think of my work as sort of a remix, in a way,

  • because I'm working with somebody else's material

  • in the same way that a D.J. might be working with somebody else's music.

  • This was a book of Raphael paintings, the Renaissance artist,

  • and by taking his work and remixing it, carving into it,

  • I'm sort of making it into something that's more new and more contemporary.

  • I'm thinking also about breaking out of the box of the traditional book

  • and pushing that linear format,

  • and try to push the structure of the book itself

  • so that the book can become fully sculptural.

  • I'm using clamps and ropes and all sorts of materials, weights,

  • in order to hold things in place before I varnish

  • so that I can push the form before I begin,

  • so that something like this can become a piece like this,

  • which is just made from a single dictionary.

  • Or something like this can become a piece like this.

  • Or something like this,

  • which who knows what that's going to be or why that's in my studio,

  • will become a piece like this.

  • So I think one of the reasons people are disturbed by destroying books,

  • people don't want to rip books

  • and nobody really wants to throw away a book,

  • is that we think about books as living things,

  • we think about them as a body,

  • and they're created to relate to our body, as far as scale,

  • but they also have the potential to continue to grow

  • and to continue to become new things.

  • So books really are alive.

  • So I think of the book as a body,

  • and I think of the book as a technology.

  • I think of the book as a tool.

  • And I also think of the book as a machine.

  • I also think of the book as a landscape.

  • This is a full set of encyclopedias that's been connected and sanded together,

  • and as I carve through it,

  • I'm deciding what I want to choose.

  • So with encyclopedias, I could have chosen anything,

  • but I specifically chose images of landscapes.

  • And with the material itself, I'm using sandpaper

  • and sanding the edges so not only the images suggest landscape,

  • but the material itself suggests a landscape as well.

  • So one of the things I do is when I'm carving through the book,

  • I'm thinking about images, but I'm also thinking about text,

  • and I think about them in a very similar way,

  • because what's interesting is that when we're reading text,

  • when we're reading a book,

  • it puts images in our head,

  • so we're sort of filling that piece.

  • We're sort of creating images when we're reading text,

  • and when we're looking at an image, we actually use language

  • in order to understand what we're looking at.

  • So there's sort of a yin-yang that happens,

  • sort of a flip flop.

  • So I'm creating a piece that the viewer is completing themselves.

  • And I think of my work as almost an archaeology.

  • I'm excavating and I'm trying to maximize the potential

  • and discover as much as I possibly can

  • and exposing it within my own work.

  • But at the same time,

  • I'm thinking about this idea of erasure,

  • and what's happening now that most of our information is intangible,

  • and this idea of loss,

  • and this idea that not only is the format constantly shifting within computers,

  • but the information itself,

  • now that we don't have a physical backup,

  • has to be constantly updated in order to not lose it.

  • And I have several dictionaries in my own studio,

  • and I do use a computer every day,

  • and if I need to look up a word, I'll go on the computer,

  • because I can go directly and instantly to what I'm looking up.

  • I think that the book was never really

  • the right format for nonlinear information,

  • which is why we're seeing reference books

  • becoming the first to be endangered or extinct.

  • So I don't think that the book will ever really die.

  • People think that now that we have digital technology,

  • the book is going to die,

  • and we are seeing things shifting and things evolving.

  • I think that the book will evolve,

  • and just like people said painting would die

  • when photography and printmaking became everyday materials,

  • but what it really allowed painting to do

  • was it allowed painting to quit its day job.

  • It allowed painting to not have to have that everyday chore of telling the story,

  • and painting became free and was allowed to tell its own story,

  • and that's when we saw Modernism emerge,

  • and we saw painting go into different branches.

  • And I think that's what's happening with books now,

  • now that most of our technology, most of our information,

  • most of our personal and cultural records are in digital form,

  • I think it's really allowing the book to become something new.

  • So I think it's a very exciting time for an artist like me,

  • and it's very exciting to see what will happen with the book in the future.

  • Thank you.

  • (Applause)

I'm an artist and I cut books.

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A2 初級

TED】ブライアン・デットマー古書が複雑なアートに生まれ変わる (【TED】Brian Dettmer: Old books reborn as intricate art)

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    CUChou に公開 2021 年 01 月 14 日
動画の中の単語