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rhe 'conrnission.' To&y it is nor a narrow circle, a rhin upper layer but'AI,'the mases.The idea rvhich moves the masses ro&y is calted materialism. but what precisely char-acterizes the present time is dematerializarion. An example: correspondence grows,the number ofletters increases, rhe amount ofpaper written on and marerial used upswells. then the telephone cal relieves the smain.Then comes further growth of thecommunications network and increase in the volume of communications: then radioeeses the burden.The amount ofmaterial used n decreasing. we are denmterializing.cumbersome mases ofmaterial are being supplanted by released energies.That is thesign ofour time.What kind ofconclusjons can Ne draw from rhese observations. withreference to our fieid ofactivity?
I put forward the following analogies:
INVENTIONS IN THE fiELDOF THOU(;H}COMMUNICATIONArticulated speechWricingGutenbergl letter press
?
INVENTIONS IN THE 6ELDOF CENERAL COMMUNICATIONUpright walkwheelAnimal-drawn vehicle
In this way the automat:lrr-e which has come abc
se :rre left sufi'ocating irro rransmute the emprinrr. an oryanized unity.
Wich chenge5 in:-he book chrnges aiso.
r]n1e in all countries. Irsnh the day in hand. fc:erv form of printed m:ud make the word be dx in Europe. Moreover.prrdcular contribution; r
Postwar Europe,rng hnguage; one must'rcraction' and 'trick' ar
'.]re book is characterizecmontrge.
A1l these facts ar
r:rrving us along the ru:nd our faih for rhe fun
The idea ofthe'realized a€ter a fashion.li! Sonia Delaunxy Terk!o it was rn expe mentpnnted in colon. accordirblowing rhe changes in
roung generation of arrisibr it to be released andhave become the :rudienceducational and propagan
enlarged a hundred lbld,poster. By contrast withmonentery glimpse Nhilr
I submit these analogies in order co demonstrare that as long as rhe book x ofneces-siry a hand-held ob.jecr, ihar is to say nor yer supplanted by sound recordings or talking pictures. we must wait from day to day for nerv fundamental inventions in rhe6e1d of book-produdion. so that here also we may reach the stmdrrd ofthe time.
Present indicarions are rhat rhis basi. invenrion can be expected from theneighboring 6eld ofcolotlpe.This process involves i machine which tmnsfen the com-posed ry?e-nutter onro a film, ard a printing-machine which copies the negative onrosensitive paper.Thus the enormous weight of rwc and the bucker ofink disappear anclso here again we also have dematerializarion.The most impoftanr aspect is that the pro-duction style aor word and illusrrarion n subject to one and rhe same process-ro thecolot1pe, to photography. Up to the present therc has been no kind of representation:ls completely comprchensible to all people as photography. So we ale faced with abook-forn in which represenration is primary and the alphabet second:rry
We know two kinds of writing: ;r symbol for each idea = hieroglyph (inChina toda, and a symbol for each sound = letterThe progress ofthe letter in rela-tion to the hierogiyph is relarive. The hieroglyph n internationali that is to say, iraRussian, a German. or an American impresses rhe symbols (picrure, of the id€as onhis memory, he c:in read Chlnese or Egyptian (ilently). rvithout acquiring a knowl-edge of the language, for language and wrrting are each a patrern in itsettThis is anadvantage rvhich the Jetter-book has lost. So I betieve that the next book-form willbe plastic representationel. We cm say rhat
(1) the hieroglyph-book is international (rt lcasr in irs potentiatity),(2) the letter-book is narional, and(3) the coming book will be a-nrtionJ: for in order to undersrand it. one
must at leasr learn.
Today we have two dimensions for the word. As a sound ir is a function oftime, and as a represenretion it is a funcrion ofspace.The coming book must be both.
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ple who would strnd quite close and rcad it over rnd make sense out ofit.Ifroday a
number of posters lvere to be reproduced in the size of a m,rnageable book, thenarranged according to thene and bound, the result could be the most original book.Because ofthe need for speed rnd the great lack ofposibilities for prinring. rhe bestwork was mostly done by hand; it was standardized. concise in its rext, and most :uit-ed to rhe simplest mechanical method of duplication. State laws were prinied in the same
way as folding picture-books, army orders in the same way as prper-backed brochures.At the end of the Civil War (1920) we were given the oppoftuniry using
p mitive mechanical means, of persomlly realizing our aims in the field of newbook-design. In Vitebsk we produced a rvork entided Uaours in ive copies, usingtypewriter. Iithography. erching and linocuts. I wrote in it: 'Gutenberg's Bible wasprinted with letters only;but the Bible ofolrr time cannor be;ust presented in lerersalone.The book 6nds its channel to the bnin thrcugh the eye. noi through the ear;in this channel the waves rush through with much greater speed and pressure than inthe acoustic channel. One can speak out only through the mouth. but the bookifacilities for expresion take many more forms.'
With the start ofthe reconstruction period abour 1922, book-produ.tion also
increases r:rpidly. Our best artisis iake up the prcblcm of book design.At the begin-ni.ng of 1922 we publish. with the poet Ilya Ehrenburg, the periodical Iues,r/r
('Obje.C). which n printed in llerlin.Thanks to the high standad of German tech-nology we succeed in rerlizing some ofour book ideas. So the picture-book'Of TwoSquares rvhich was completed in our creative period of 1920, is also printed, and also
the Mryakovsky book. where the book form itself is given a functional shape inkeeping with its specific purpose. In the same period our arrish obtain the technicalfaciliries for prinring.The Srate Publishing House and other printing-establishmentspublish books. which have since been seen and appreciated at several internationalexhibitions in Europe. Comrades Popova, Rodchenko, I{unis, Syenkin, Stepanovaand Grn devote thenrelves to the book. Some of rhem work in the printing-worksitself, along rvith the compositor and the machine (can and several others). Thedcgree of respect for the actual art of printing, rvhich n acquired by doing rhis, is
shown by che fact thar all the names ofrhe compositors and feeders ofany particuhrbook are kted in it, on a special page.Thus in the printing works there comes to bea selcct number ofrvorkers who cultivate a very conscious relationship with their art.
Mosr artists ake ontages, that is to !ay. with photogr;rphs and thc inscrip-tions belonging to them rhey piece together whole pages. lvhich are then photo-gitphicilly reproduc.d fbr printing. In thrs way there develops a rechnique ofsimpleeffectivenes, rvhich appe:rrs to be very easy to operate and Ior that reason can easilydcvelop into dull routine, but which in powerful hands turns out to be the most suc-cessful method ofachieving vrsual poetry.
At the verv begirning we said that th€ expresive porver of every inventionin art is an isolated phenonrenon and has no evolution. The nrvention of easel-pictufts produced grcat works oaart, but their effectivenes hrs been iost.The cinrma and the illrrstrated weekly mrgazinc hive triumphed.We re.joice at rhc nerv rnediawhich technology has placed at our diposrl. We know that bcins in close contactwith rvorldwidc cvcnts and keeping pace rvith the progres ofsocial devclopment, thatwith the perpetual sharpening ofour optic nerve, rvith the masrery ofplastic mater-ial. rvith construction of the plane and its space, rvith the forcc which keeps inven-tiveress at boiling ponlt. with all drele new assets. we know that finally we shall givea nerv effecrivenes to the hook rs r work ofrrt
Yet, in thr5 I'.od): it continues &snl] have the same
:1e$est thertrical Ptrhearer, rvith the putoi the curtrin. Thegrinred in-perspectirhree dimensional p
ih. t-ourth dimensn:ierter-building. Pe
ruge of exploding tccognize the tende
Notwithstar\uh other areas ot Is.coming the most'r\. the delicrte hand'.v hundreds of tho'mnsnion pcriod, o
smam oi childrens
Feriodicals. By rcadi
)i. growing up witl:o color: they will sbook the lyric and ,
-1b/ sed fon G$e.
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