One and Three Books_2017_Book_&_Manuscript_Studies_University_of_Amsterdam (doi:10.21979/N9/FUH1XM)

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One and Three Books_2017_Book_&_Manuscript_Studies_University_of_Amsterdam

doi:10.21979/N9/FUH1XM

DR-NTU (Data)

2020-05-23

1

Ojeda, Danne Hernandez, 2020, "One and Three Books_2017_Book_&_Manuscript_Studies_University_of_Amsterdam", https://doi.org/10.21979/N9/FUH1XM, DR-NTU (Data), V1

One and Three Books_2017_Book_&_Manuscript_Studies_University_of_Amsterdam

doi:10.21979/N9/FUH1XM

Ojeda, Danne Hernandez (Nanyang Technological University)

Indesign

DR-NTU (Data)

Ojeda, Danne Hernandez

Ojeda, Danne Hernandez

2020-05-21

https://doi.org/10.21979/N9/FUH1XM

Arts and Humanities, Arts and Humanities, Book design, Editorial design, Conceptualism, Author pedagogy, University of Amsterdam

ONE AND THREE BOOKS Two projects in one, “One and Three Books” is a curatorial project that is the outcome of an ongoing research/pedagogical project; both the curatorial project and the research project are led by Danne Ojeda. Their purpose is to analyze the relationship between the book as a concept and the book as an object of communication. Inspired by Joseph Kosuth’s artwork “One and Three Chairs,” the curatorial and research projects are seen as a conceptual proposition that investigates the definition of a book while exploring the book’s form as an object throughout the book’s production process. As an ongoing research/pedagogical project, “One and Three Books” is currently being developed within the curriculum of the Editorial Design tutorial course—a course that is offered to senior students at the School of Art, Design and Media at Nanyang Technological University in Singapore since 2009. //////////////////////////////////////////////// UNIVERSITY OF AMSTERDAM. Place: BOOK & MANUSCRIPT STUDIES GALLERY, Turfdraagsterpad 15–17, 1012 XT, Amsterdam, The Netherlands, University of Amsterdam. DATE: 06.04 – 31.05.2017. Work exhibited: One and Three Books curatorial pedagogical project (9 Visual Communication students from the School of Art, Design and Media. Showcase: 18 works as part of the exhibition.

process produced data

textual data

experimental data

These non published images are subjected to copyright. Written permission from the author(s)/curator is required for their use or publication.

10.1162/desi_a_00539

Ojeda, D. (2019). “One and Three Books” Unfolded. Design Issues, 35(2), 101-112.

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.101, black and white version] ///// Figure 1. Danne Ojeda, One and Three Books, exhibition identity, 2017. Book & Manuscript Studies gallery, Faculty of Humanities, University of Amsterdam, The Netherlands.

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Posted Online March 22, 2019
https://doi.org/10.1162/desi_a_00539
© 2019 Massachusetts Institute of Technology
Design Issues
Volume 35 | Issue 2 | Spring 2019
 p.101-112

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Exhibition Identity printed on the glass entry of the gallery. One and Three Books exhibition (UvA)

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A BOOK IS A MICROSCOPE It is an instrumental device that enables the reader to discover another world. The table of contents divides the book into chapters, which are represented by different layers of pages. This reflects the way a microscope lens can provide gradual magnification of details. A microscope works together with a microscope slide to uncover things that are otherwise invisible to the naked eye. The simple appearance of a microscope slide is reflected in the plain, physical structure of a book. Both a microscope slide and a book are compressed forms of an undiscovered world. With a collection of microscope slides, or by reading different chapters of a book, the reader accumulates knowledge that enables them to draw conclusions. Shuhui Goh Slides of content Book prototypes: 155 × 50 mm / 170 × 100 mm

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A BOOK IS A MICROSCOPE It is an instrumental device that enables the reader to discover another world. The table of contents divides the book into chapters, which are represented by different layers of pages. This reflects the way a microscope lens can provide gradual magnification of details. A microscope works together with a microscope slide to uncover things that are otherwise invisible to the naked eye. The simple appearance of a microscope slide is reflected in the plain, physical structure of a book. Both a microscope slide and a book are compressed forms of an undiscovered world. With a collection of microscope slides, or by reading different chapters of a book, the reader accumulates knowledge that enables them to draw conclusions. Shuhui Goh Slides of content Final book: 150 × 42 mm

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.110, black and white version] ///// Figure 15. Work exhibited Liying Chan (Clover), A Book is a Cultural Vessel, 2016, book prototype: 137 × 250 mm, final book: 147 × 260 mm ///// A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts.

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A BOOK IS A DOORSTOP It opens the door to unrevealed stories. By keeping this imaginary door open, the reader can enter an undiscovered world. In a more abstract way, a book enables the reader to keep an open mind. The tangibility of the book creates a magical attachment to it. The beauty of the book as a doorstop is initially concealed by its unassuming and nondescript appearance, but it could possibly transform into an entrance to new stories, magnificent worlds and unexplored fields of knowledge. Beverly Goh Doorstop Book prototype: 150 × 210 mm Final book: 210 × 55 mm

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.111, black and white version] ///// Figure 16. Work exhibited Joanne Quek, Bridging Pages. Gaining Knowledge Beyond This World, 2016, book prototype: 177 × 230 mm, final book: 185 × 230 mm. (Published in black and white) /////A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts.

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Exhibition_(Fragment)

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.111, black and white version] /////Figure 16. Work exhibited Joanne Quek, Bridging Pages. Gaining Knowledge Beyond This World, 2016, book prototype: 177 × 230 mm, final book: 185 × 230 mm. /////A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts.

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.111, black and white version] ///// Figure 16. Work exhibited Joanne Quek, Bridging Pages. Gaining Knowledge Beyond This World, 2016, book prototype: 177 × 230 mm, final book: 185 × 230 mm. /////A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts.

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.105, black and white version] ///// Figure 8. Work exhibited Su Lynn Goh, A Book is a Body, 2016, book prototype: 188 × 248 mm, final book: 190 × 245 mm ///// A BOOK IS A BODY It encompasses certain ideas and contains content. The structure of a book can be compared to a human body. Not only does a book have a head, foot and a spine that holds everything together; it also contains a body of text which can be seen as the soul and voice of the book. A book embodies a whole world of non-physical things as emotions and thoughts that are captured and reflected in words. These things are as intangible as a human soul. Each book has its own personality and is meant to communicate. Reading a book is in a way the same as getting to know someone; it takes time and effort. The reader keeps the experience and treasures the knowledge that was discovered while reading the book.

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A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space. Angeline Lee Un-empty, Japanese concepts of space Book prototype: 236 × 200 mm Final book: 236 × 200 mm

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Exhibition_(Fragment)

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A BOOK IS A JOURNEY The process of becoming a book is a journey wherein the book travels far and wide, from hands to machines, across places, continents and oceans. Even when the book reaches a reader it continues to travel during the time the book is being read. The book may even be passed on to a new reader. During its travels the physical aspects of the book will transform. The book is portrayed as a blemished package: it is covered with tape and reflects the journey the book has made so far. This way the book visually communicates its travelling nature. The inside of the book can be revealed by tearing the box open, which reinforces the concept of a book cover as the packaging of a story. Ashley Chen The Book: A travelling body Book prototype: 150 × 210 mm Final book: 150 × 210 mm

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A BOOK IS A DOORSTOP It opens the door to unrevealed stories. By keeping this imaginary door open, the reader can enter an undiscovered world. In a more abstract way, a book enables the reader to keep an open mind. The tangibility of the book creates a magical attachment to it. The beauty of the book as a doorstop is initially concealed by its unassuming and nondescript appearance, but it could possibly transform into an entrance to new stories, magnificent worlds and unexplored fields of knowledge. Beverly Goh Doorstop Book prototype: 150 × 210 mm Final book: 210 × 55 mm

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A BOOK IS A MICROSCOPE It is an instrumental device that enables the reader to discover another world. The table of contents divides the book into chapters, which are represented by different layers of pages. This reflects the way a microscope lens can provide gradual magnification of details. A microscope works together with a microscope slide to uncover things that are otherwise invisible to the naked eye. The simple appearance of a microscope slide is reflected in the plain, physical structure of a book. Both a microscope slide and a book are compressed forms of an undiscovered world. With a collection of microscope slides, or by reading different chapters of a book, the reader accumulates knowledge that enables them to draw conclusions. Shuhui Goh Slides of content Book prototypes: 155 × 50 mm / 170 × 100 mm Final book: 150 × 42 mm

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IMAGE FIRST_PUBLISHED:_https://doi.org/10.1162/desi_a_00539 (Photo: Stefanie Archer) p.107/////Figure 11. Work exhibited Shuhui Goh, Slides of Content, 2016, book prototypes: 155 × 50 mm / 170 × 100 mm, final book: 150 × 42 mm /////A BOOK IS A MICROSCOPE It is an instrumental device that enables the reader to discover another world. The table of contents divides the book into chapters, which are represented by different layers of pages. This reflects the way a microscope lens can provide gradual magnification of details. A microscope works together with a microscope slide to uncover things that are otherwise invisible to the naked eye. The simple appearance of a microscope slide is reflected in the plain, physical structure of a book. Both a microscope slide and a book are compressed forms of an undiscovered world. With a collection of microscope slides, or by reading different chapters of a book, the reader accumulates knowledge that enables them to draw conclusions.

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Exhibition_(Fragment)

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A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts. Liying Chan (Clover) A book is a cultural vessel Final book: 147 × 260 mm

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Exhibition_(Fragment)

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A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space. Angeline Lee Un-empty, Japanese concepts of space Book prototype: 236 × 200 mm Final book: 236 × 200 mm

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.103, black and white version] /////Figure 4 Angeline Lee, Un-empty, Japanese Concepts of Space, 2nd ed., 2016 (first bound in 2009), book prototype: 236 × 200 mm, final book: 236 × 200 mm.//////////A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space.

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Exhibition_(General_view)

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.110, black and white version] ///// Figure 14. Work exhibited Liying Chan (Clover), A Book is a Cultural Vessel, 2016, book prototype: 137 × 250 mm, final book: 147 × 260 mm /////A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts.

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A BOOK IS A CULTURAL VESSEL The form and content can draw a parallel with a Chinese porcelain vase. Both are portable objects, which can contain and convey. A book contains information, ideas and knowledge. A porcelain vase carries liquids or special objects deemed to be meaningful by the intended recipient. The choice of words is a conscious decision made by the author for the book. The majority of the decorative language that appears on Chinese porcelain has an implied meaning. This is presented implicitly through the use of metaphors, references and rebuses. Both the book and the porcelain are containers for the conscious mind and act as a cultural vessel. Not only do they contain tangible materials, but also the intangible aspects of someone else’s thoughts. Liying Chan (Clover) A book is a cultural vessel Book prototype: 137 × 250 mm Final book: 147 × 260 mm

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.104, black and white version] ///// Figure 5. Su Lynn Goh, A Book is a Body, 2016, book prototype: 188 × 248 mm, final book: 190 × 245 mm/////A BOOK IS A BODY It encompasses certain ideas and contains content. The structure of a book can be compared to a human body. Not only does a book have a head, foot and a spine that holds everything together; it also contains a body of text which can be seen as the soul and voice of the book. A book embodies a whole world of non-physical things as emotions and thoughts that are captured and reflected in words. These things are as intangible as a human soul. Each book has its own personality and is meant to communicate. Reading a book is in a way the same as getting to know someone; it takes time and effort. The reader keeps the experience and treasures the knowledge that was discovered while reading the book.

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A BOOK IS A BODY It encompasses certain ideas and contains content. The structure of a book can be compared to a human body. Not only does a book have a head, foot and a spine that holds everything together; it also contains a body of text which can be seen as the soul and voice of the book. A book embodies a whole world of non-physical things as emotions and thoughts that are captured and reflected in words. These things are as intangible as a human soul. Each book has its own personality and is meant to communicate. Reading a book is in a way the same as getting to know someone; it takes time and effort. The reader keeps the experience and treasures the knowledge that was discovered while reading the book. Su Lynn Goh A book is a body Book prototype: 188 × 248 mm Final book: 190 × 245 mm

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Oneandthreebooks35.jpg

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A BOOK IS A MICROSCOPE It is an instrumental device that enables the reader to discover another world. The table of contents divides the book into chapters, which are represented by different layers of pages. This reflects the way a microscope lens can provide gradual magnification of details. A microscope works together with a microscope slide to uncover things that are otherwise invisible to the naked eye. The simple appearance of a microscope slide is reflected in the plain, physical structure of a book. Both a microscope slide and a book are compressed forms of an undiscovered world. With a collection of microscope slides, or by reading different chapters of a book, the reader accumulates knowledge that enables them to draw conclusions. Shuhui Goh Slides of content Final book: 150 × 42 mm

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Exhibition_(Fragment)

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Exhibition_(Fragment)

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A BOOK IS A DOORSTOP It opens the door to unrevealed stories. By keeping this imaginary door open, the reader can enter an undiscovered world. In a more abstract way, a book enables the reader to keep an open mind. The tangibility of the book creates a magical attachment to it. The beauty of the book as a doorstop is initially concealed by its unassuming and nondescript appearance, but it could possibly transform into an entrance to new stories, magnificent worlds and unexplored fields of knowledge. Beverly Goh Doorstop Book prototype: 150 × 210 mm Final book: 210 × 55 mm

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Oneandthreebooks39.jpg

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A BOOK IS A JOURNEY The process of becoming a book is a journey wherein the book travels far and wide, from hands to machines, across places, continents and oceans. Even when the book reaches a reader it continues to travel during the time the book is being read. The book may even be passed on to a new reader. During its travels the physical aspects of the book will transform. The book is portrayed as a blemished package: it is covered with tape and reflects the journey the book has made so far. This way the book visually communicates its travelling nature. The inside of the book can be revealed by tearing the box open, which reinforces the concept of a book cover as the packaging of a story. Ashley Chen The Book: A travelling body Book prototype: 150 × 210 mm Final book: 150 × 210 mm

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Oneandthreebooks3.jpg

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.103, black and white version] ///// Figure 4. Angeline Lee, Un-empty, Japanese Concepts of Space, 2nd ed., 2016 (first bound in 2009), book prototype: 236 × 200 mm, final book: 236 × 200 mm./////A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space.

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.106, black and white version] ///// Figure 9. Work exhibited Valerie Chua, Book of Reflection, 2016, book prototype: 150 × 210 mm, final book: 175 × 250 mm/////A BOOK IS A KALEIDOSCOPE It is a reflection of many things. A kaleidoscope can be seen as a colourful mirror that creates a myriad of different patterns. A book can broaden the mind and make it possible to see things in a different light. To a certain extent a book is similar to a mirror, since it can be separated into two main components, whereby the book cover functions as the glass, and the pages as its reflective surface. Varying effects, patterns and colours can be seen as the reader flips through the book. The coloured strings that are used for the binding visualize the translation of the book as a kaleidoscope. The content of the book can speak to the reader in different ways depending on how it is perceived. The book as a kaleidoscope enables the reader to process information from different viewpoints.

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Exhibition_(Fragment)

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Exhibition_(Fragment)

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.103, black and white version] ///// Figure 2. Angeline Lee, Un-empty, Japanese Concepts of Space, 2nd ed., 2016 (first bound in 2009), book prototype: 236 × 200 mm, final book: 236 × 200 mm./////A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space.

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Oneandthreebooks44.jpg

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A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space. Angeline Lee Un-empty, Japanese concepts of space Book prototype: 236 × 200 mm Final book: 236 × 200 mm

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Oneandthreebooks45.jpg

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Exhibition_(Fragment)

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Exhibition_(Fragment)

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A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space. Angeline Lee Un-empty, Japanese concepts of space Book prototype: 236 × 200 mm Final book: 236 × 200 mm

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A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space. Angeline Lee Un-empty, Japanese concepts of space Book prototype: 236 × 200 mm Final book: 236 × 200 mm

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A BOOK IS A ‘SEQUENCE OF SPACES’ It is based on the Japanese concept of space. The book has an open body, which allows the internal space to connect with the external. The different sections of the book resemble a spatial structure. Each separate section represents a new space that can be entered by the reader. The book enables the reader to reflect on the concepts of time and space. Angeline Lee Un-empty, Japanese concepts of space Book prototype: 236 × 200 mm Final book: 236 × 200 mm

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.104, black and white version] ///// Figure 6. Su Lynn Goh, A Book is a Body, 2016, book prototype: 188 × 248 mm, final book: 190 × 245 mm./////A BOOK IS A BODY It encompasses certain ideas and contains content. The structure of a book can be compared to a human body. Not only does a book have a head, foot and a spine that holds everything together; it also contains a body of text which can be seen as the soul and voice of the book. A book embodies a whole world of non-physical things as emotions and thoughts that are captured and reflected in words. These things are as intangible as a human soul. Each book has its own personality and is meant to communicate. Reading a book is in a way the same as getting to know someone; it takes time and effort. The reader keeps the experience and treasures the knowledge that was discovered while reading the book.

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IMAGE_FIRST_PUBLISHED in https://doi.org/10.1162/desi_a_00539, “On the Name of Book “Wrighting’: Irma Boom’s “Transformative Crossover” Production. Authors: Ojeda, D., Boom, I. [Photo: Stefanie Archer, p.105, black and white version] ///// Figure 7. Su Lynn Goh, A Book is a Body, 2016, book prototype: 188 × 248 mm, final book: 190 × 245 mm/////A BOOK IS A BODY It encompasses certain ideas and contains content. The structure of a book can be compared to a human body. Not only does a book have a head, foot and a spine that holds everything together; it also contains a body of text which can be seen as the soul and voice of the book. A book embodies a whole world of non-physical things as emotions and thoughts that are captured and reflected in words. These things are as intangible as a human soul. Each book has its own personality and is meant to communicate. Reading a book is in a way the same as getting to know someone; it takes time and effort. The reader keeps the experience and treasures the knowledge that was discovered while reading the book.

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A BOOK IS A DOORSTOP It opens the door to unrevealed stories. By keeping this imaginary door open, the reader can enter an undiscovered world. In a more abstract way, a book enables the reader to keep an open mind. The tangibility of the book creates a magical attachment to it. The beauty of the book as a doorstop is initially concealed by its unassuming and nondescript appearance, but it could possibly transform into an entrance to new stories, magnificent worlds and unexplored fields of knowledge. Beverly Goh Doorstop Book prototype: 150 × 210 mm Final book: 210 × 55 mm

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One_and_Three_Books_BG2_1ST FLOOR PLAN.pdf

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ONE AND THREE BOOK_Exhibition Floor Plan

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One and Three Books_exhibition summary.pdf

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One and Three Books exhibition summary (Visual and texts exhibited)

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Poster of the Exhibition: One and Three Books_UvA.

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Social media coverage01.tiff

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Exhibition One and Three Books, UvA.

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Exhibition One and Three Books, UvA.

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Social media coverage03.tiff

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Exhibition One and Three Books, UvA.

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