From the Hand to the Machine. Nineteenth-century American Paper and Mediums: Technologies, Materials and Conservation

I wrote a review of Cathleen A. Baker’s new book, “From the Hand to the Machine.  Nineteenth-century American paper and mediums: technologies, materials, and conservation”  in the current issue of  The Bonefolder, Vol. 7, 2011.

Here’s the beginning-

Until recently, I would have assumed that the readers of these words were reading them on paper. But the primacy of paper as the carrier of textually based information is gradually ending, and the words I am writing will likely be read on screens or other non-paper inventions. There seems, however, an inversely proportional relationship in the ways we regard paper itself: the less we look at what is on it, the more we look at paper itself: its substance, structure, tactile qualities and history. Cathleen A. Baker’s book explores in detail the technological artifact that once served quietly as substrate, and now emerges as subject– paper.

Baker has ventured into the enormously difficult and confusing world of 19th century papermaking history, and returned to give us a book that is important, readable, scholarly…” Read the rest of the review.

Tool Doily

Wrench    2007    by Nathan Vincent

I never thought I would have the words “cool, doily and tool”  in the same sentence, but Nathan Vincent is making some very cool tool related crochet doilies.

Still Life With Bookbinding Tools

 

It seems somewhat incongruous to the nature of a tool to laud its aesthetics, since when we are using a tool it essentially disappears–it becomes embodied, an extension of our hand. Once we are proficient, we just use it, generally concentrating on what the tool is doing to the material being worked.  It may even be a stretch to apply the usual notions of beauty and attraction when thinking about tools– you might pick up a pretty hammer when faced with a choice, but if you need to drive a nail, picking the right size hammer is paramount.  When tools are waiting to be used, they are generally stored or arranged according to functional considerations, not displayed, except for some collections. But tools do have aesthetic qualities,  ranging from a modern sleek functionality to a worn, well used patina of wear patterns and scratches–what I call their use value, their record of being in the world and being used.  These marks and accretions are evidence from their time used unconsciously, which is perhaps why we find them beautiful.  They are natural, real and becoming more and more rare in our disposable society.

Other non-book related photos are up on a different blog, shot with my new Olympus E-P2, which is a great tool, btw.