![]() During that time he was Professor and Assistant Dean (Academic) for the Creative Industries Faculty and from 2006 to 2011 he was the Assistant Dean (Research). In July 2016 Brad completed thirty years of service with QUT. in this way, the contemporary artistsbook may be the hardcopy home of a modern, mythic form.Brad Haseman is an Adjunct Professor Professor with the Creative Industries Faculty. Some of these experiments involve the invocation of pre literate, oral language structures that work more by the devices and grammars of music, song and myth than the usual strategies of standard literacy. The prescriptions of these conventions and the domination of the line and the grid onto the look of language have come to minimise the participation (and uncertainty) of the senses in the direct process of apprehending meaning with language forms.īut the pages of artistsbooks are often filled with the explorations of other ways that language forms can activate a lively, sensory involvement with the page space, or how meaning can be formulated beyond the limitations of chronology. This presentation is a speculation on the idea that contemporary artistsbooks may be the laboratory for a new literacy, and that in honor of the quietly evolutionary nature of this new literacy, we might call it “postliteracy”.Īs background, it explores how our centuries of standard literacy and its attendant conventions of pictorial space and chronological, narrative time, have privileged a specific code in the representations of our language systems (both image and text) and their operations across the page and through the book. LYN ASHBY (Abstract) – POSTLITERACY AND ARTISTSBOOKS: Coming to our senses with a modern mythic form These examples focus on celebrating the book as a physical container used by artists to: re-present language, offer performative reading, view how reading is perceived, appropriate text from novels and instructional manuals into new works, or to transform information from the virtual into the physical. Physical engagement with artists’ books provides us with spaceto breathe, a slower rhythm of ingesting information and time to reflect, so what about the artists who are making them? How are artists engaging with the physical book now? We seem to have already moved from Linear to non-linear reading we are used to flitting through digital screen-based texts, and losing our attention through a multitude of online multi-tasking. If a post-Literate society might also encompass new ways of thinking about reading, we could think of contemporary artists’ books as a site of practice beyond that of McLuhan’s sign posting of the invention of moveable type as fundamentally responsible for how the Western world physically reads: “along the straight Lines of the printed page.” SARAH BODMAN (Abstract)– ARTISTS’ BOOKS AS A PHYSICAL SITE OF PRACTICE Sarah Bodman presents her keynote lecture. Dr Lyn Ashby – Australian artist and scholar making books. ![]()
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