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zoe.sadokierski.com | @zoe_sadokierski

THE FUTURE OF

HYBRID PUBLISHING

AND KNOWLEDGE

DISTRIBUTION

www.zoe.sadokierski.com

www.zoe.sadokierski.com | @ z o e _ s a d o k i e r s k i

THE FUTURE OF

HYBRID PUBLISHING

AND KNOWLEDGE

DISTRIBUTION


zoe.sadokierski.com | @zoe_sadokierski

THE FUTURE OF

HYBRID PUBLISHING

AND KNOWLEDGE

DISTRIBUTION



digital technologies allow us to

create and share stories in new ways

(words + images / static + dynamic)



ZOË SADOKIERSKI | FUTURE PUBLISHING



mediaobject.net



WWW.THELITERARYPLATFORM.COM



HTTP:/ /THE-PUBLISHING-LAB.COM


http://the-publishing-lab.com


bookworkpress.com



ANALOGUE BODIES

ZOË SADOKIERSKIAND TOM LEE



HTTP:/ /WELLCOMEIMAGES.ORG


http://wellcomeimages.org


20

into something that produces social data, which is then fed

back into our biological and physiological natures. Thus the

advice dolled out to those YouTube watches wishing to become

expert kissers: don’t be afraid to use your teeth.

UNTIL A RECENT TRIP TO THE DENTIST, I had implic-

itly considered teeth to be nothing more than hard nuts. Little

pebbles that produce chatter. However, the structure of the

tooth is for the best part composed of a dense tubular stuff

known as ‘dentine’. Like oranges and lemons, teeth contain

pulp. I found this idea troubling. Hollowness was what, as a

regular brusher and occasional gargler and flosser, I had consid-

ered the very thing teeth were not meant to be or to become.

Teeth were meant to be full, homogenous, compact, carefully

stacked together impenetrable entities, not soft, tubular, honey-

combed nubs.

Due to the fiddlings of my imagination, this new

discovery came to resemble something that was no doubt very

different to what the dentist originally intended to impart. I

confronted a set of earlier and until then forgotten associa-

tions with teeth and vacancy: a childhood fascination with the

interior cavity of my detached baby teeth, also known as milk

or deciduous teeth. These orphaned tic-tacs revealed that

teeth are in part filled by what they do not appear to be, which

doesn’t necessarily mean nothingness. I would finger the edges

of this paradoxical hollow, surprised by its sharp rim.

Collaged by Zoë Sadokierski from Köhler’s Medizinal Pflanzen, 1887 (lemon) and tooth from coloured engraving by A. Tardieu.

image credits: Lemon: www.vintageprintable.com and tooth: Wellcome Library, London [V0011997]

21

I also remembered being anxious about the spaces

left by the removal of my wisdom teeth. This worry was partially

to do with the idea that food might get lost and rot in some

difficult to detect part of my mouth and begin to produce foul

smells and welcome further unwanted occupants.

Part of the reason the invariant density of the teeth

seemed so important was because this seemed to guarantee

their impenetrability to micro beings, keen to take up residence

in the warm, humid atmosphere of the mouth. The only thing

worse than teeth being closer to empty than full was the idea

that they were filled with multiple, purposeful others. Indeed, it

is more reassuring to think of a tooth as a densely resistant

pebble than as a potentially homely shell. This idea now calls to

mind the experience of abject horror that I felt when discov-

ering a small, translucent crab nested in a muscle shell that I

expected to house only muscle.

Teeth play a particularly probable role in the dreams

produced by humans. This association is common enough to

warrant both empirical studies and a vast array of mythical and

symbolic interpretive regimes. Teeth dreams are usually

negative, with teeth being lost, broken, pulled or rotting. Unsur-

prisingly, interpretations often suggest that this means the

dreamer is afraid of things falling apart, losing control or being

worried about something they can’t help. This suggests that

teeth, in addition to their sensitivity, are symbols of integrity

and permanence, what holds strong when all else fizzes, flows

and farts into nothing.

Collaged by Zoë Sadokierski from Dr H.G. Bronn’s Crab Circulatory System, 1866 (crab) and tooth from coloured engraving by A. Tardieu.

image credits: Crab: www.vintageprintable.com and tooth: Wellcome Library, London [V0011997]



32

Indeed, one of the perspectival tricks induced by this

wide spacing is that it seems as though the face is looking upwards

and therefore being looked down upon. If someone is looking

upwards we read their face as a V wider at the top than the bottom,

whereas when we look up to someone their face and figure looks

more like an A (without the horizontal crossbar). This correlation

between wide spaced eyes and gender is conspicuously the case in

many anime cartoons, where the eyes of female characters are

almost always further apart than those of male characters.

The association between a large glabella and alien

features might be largely due to the success of Steven Spiel-

berg’s 1982 blockbuster, ET. the Extra Terrestrial, which stars

an alien with a decent distance between its eyes. This tradi-

tion continues in the Na’vi from James Cameron’s Avatar,

humanoid aliens, which, despite their blue sheen, exhibit an

unmistakable physical acquaintance with supermodels—and

perhaps the trend of blue skin is only just around the corner,

with blue lashes already making a regular appearance.

Running contrary to functionalist accounts of beauty,

which stress the primacy of the well-proportioned and the average,

is the idea that to be both beautiful and unusual is a more excep-

tional feat than being beautiful and typical. The right mix of alien-

ness and proportional perfection will elevate the already gorgeous

into the realm of the heavenly. Moreover, as with diastema, the gap

in this instance also stresses symmetry: it is vacancy with a

vanishing point that collects our gaze in a suggestive absence.

With these two features grouped together, it is tempting to predict

‘Three unusual looking men’, by Charles Le Brun. 17th Century.

image credit: Public domain, via www.vintageprintable.com

32

Indeed, one of the perspectival tricks induced by this

wide spacing is that it seems as though the face is looking upwards

and therefore being looked down upon. If someone is looking

upwards we read their face as a V wider at the top than the bottom,

whereas when we look up to someone their face and figure looks

more like an A (without the horizontal crossbar). This correlation

between wide spaced eyes and gender is conspicuously the case in

many anime cartoons, where the eyes of female characters are

almost always further apart than those of male characters.

The association between a large glabella and alien

features might be largely due to the success of Steven Spiel-

berg’s 1982 blockbuster, ET. the Extra Terrestrial, which stars

an alien with a decent distance between its eyes. This tradi-

tion continues in the Na’vi from James Cameron’s Avatar,

humanoid aliens, which, despite their blue sheen, exhibit an

unmistakable physical acquaintance with supermodels—and

perhaps the trend of blue skin is only just around the corner,

with blue lashes already making a regular appearance.

Running contrary to functionalist accounts of beauty,

which stress the primacy of the well-proportioned and the average,

is the idea that to be both beautiful and unusual is a more excep-

tional feat than being beautiful and typical. The right mix of alien-

ness and proportional perfection will elevate the already gorgeous

into the realm of the heavenly. Moreover, as with diastema, the gap

in this instance also stresses symmetry: it is vacancy with a

vanishing point that collects our gaze in a suggestive absence.

With these two features grouped together, it is tempting to predict

‘Three unusual looking men’, by Charles Le Brun. 17th Century.

image credit: Public domain, via www.vintageprintable.com

The Na’vi, from James Cameron’s film Avatar.2009.

image credit: http://en.wikipedia.org/wiki/

Avatar_(2009_film)



L0058131UPPER IVORY DENTURE with HUMAN TEETH

MAKER: Unknown makerPLACE MADE: England, UKMADE: 1801-1860

NOTES: Due to the cost of ivory, dentures such as these could only have belonged to wealthy people. The teeth may have been extracted from poor volunteers who were paid cash for teeth, or been foraged from dead bodies. Either way, the tooth was likely to have come from an unhealthy body. So many teeth were pilfered from dead soliders following the Battle of Waterloo (1815) that these teeth were colloqueally know as ‘Waterloo teeth’.

L0000328 A FRENCH DENTIST SHOWING A SPECIMEN OF HIS ARTIFICIAL TEETH AND FALSE PALATES.

Coloured engraving 1811 BY: Thomas RowlandsonFROM: Dental memoranda / By Theodosius PurlandPUBLISHED: London etc., 1702-1878

L0057125 TEETHING CHARM

MAKER: UnknownPLACE MADE: Roman Republic and EmpireMADE: 100–500 CE

Teething charms were believed to relieve the suffering of teething babies. In the first century CE, Roman author Pliny recommended that a wolf or horse’s tooth be placed on the baby, but specified that the tooth should not touch the floor.

L0057581

AMULETS TO CURE TOOTHACHE

MAKER: UnknownPLACE MADE: Exeter, England, UKMADE: 1901–1910

Large animal tooth in blue and pink silk bag, two stones, and a triple hazlenut.



L0064889PLASTER MODEL OF LEFT FOOT DEFORMED BY FOOT-BINDING

MAKER (plaster model): Rabe, Dr.PLACE MADE: Hong Kong, ChinaMADE: 1890-1891

V0039217 TWO YOUNG GIRLS WITH BOUND FEET ARE LYING TOGETHER ON A MATTRESS.

PUBLISHED: [s.n.][S.l.] :SIZE: sheet 19.2 x 23.4 cm.

Credit: Science Museum, London, Wellcome Images, Iconographic CollectionsLibrary reference no.: ICV No 39779

Plaster models showing the damage caused by foot-binding, a traditional practice in China until outlawed in 1912. The feet of girls aged between 3 and 11 years-old were broken and the toes folded under the arch of the foot, which was then bound and squeezed into small shoes. Impossibly tiny feet were considered beautiful, and ensured women could not run away.

Credit: Science Museum, London, Wellcome Images Collection: Wellcome Images, Library reference no.: Science Museum A56882

V0018505 X-RAY of a BOUND FOOT, TOP and SIDE VIEW.

Credit: Science Museum, London, Wellcome Images Collection: Iconographic Collections



A NA LOGUE BODIES —FEET AND TEETH

TOM LEE AND ZOË SADOKIERSKI

Analogue Bodies is a collection of essays by Tom Lee,

materialised as set of illustrated books by Zoë Sadokierski,

a true collaboration between a designer and a writer. It is at

once a piece of serious scruple, research and charlatanism.

It looks at different parts of, and events within, the human

body and historical ways of depicting and making sense of

them. It aims to humour and, on its day, to educate.

There are six books (so far). The main book with Tom’s

essays on feet and teeth, and five ‘anti-chapters’; smaller

books Zoë made in response to Tom’s essays, which belong

to the main book like a shadow belongs to a body.

Read more about the project in the introduction of the

main book, and the Analogue Email appendix.

{ in t roduc t ion

Tom Lee. Analogue BodiesZoë Sadokierski. Strange Synergies

{ part one: teeth

essay — Tom Lee. Teeth

{ part two: feet

essay — Tom Lee. Good Footing: On the tactfulness of feet

a. flower fold

book — Zoë Sadokierski. Teeth and Things

b. visual essay — Zoë Sadokierski. Pulling Teeth

c. concertina — Zoë Sadokierski. Hen’s Teeth

d. visual essay — Zoë Sadokierski. Small Feet

{ a ppen di x: analogue emails

Tom Lee and Zoë Sadokierski,with cameos from Mieke Chew and Sam Twyford-Moore.

1.MAIN BOOK

2, 3, 4, 5, 6.ANTI-CHAPTERS

TOM LEE:

What was I up to, writing unprompted essays on feelings of the feet or mythological under-standings of tooth structure?

…

I was a writer, more specifically, someone writing essays with a commitment to the idea that poetic thinking is essential in providing things with adequate and lively histories.

…

This series is an examination of the human body piece by piece, with each part spun through sequences of sentences and paragraphs.

ZOË SADOKIERSKI:

Tom’s essays connect things in unexpected ways. I find myself surprised, delighted, entertained, informed and inspired – all the reasons I read. When there is so much content flying around, how can we determine what’s worth making time to stop and read fully, rather than skimming or filing away for some vaguely anticipated later, less busy moment?

By materialising Tom’s essays – giving them a physical form and extending them with images and extra texts – I hope to attract more readers to these excellent pieces of writing. This is the best gift a designer can offer a writer whose work she admires.



2322

TOM »re: my teeth

WED. 15 JAN. 2014, 13:59

TOM »re: my teeth

WED. 15 JAN. 2014, 15:49

TOM »re: my teeth

THUR. 16 JAN. 2014, 08:26

ZOË »re: my teeth

THUR. 16 JAN. 2014, 10:42

ZOË »re: my teeth

WED. 15 JAN. 2014, 15:58

I’ll enquire next time, I might just hear circular because that’s what I was brainwashed with at a young age.

See if you can diagnose any issue with the knees.

I have also composed a notional list of the other essays that I’d like to write in this series: nipples, eyebrows (would be short), squirt (a different genre of thing/event to demonstrate the inclusive and surprising nature of the taxonomy) and spit. That might be a book?

So (bird’s eye perspective):EyebrowsTeethSpitNipplesSquirtFeet

That’s certainly a book

Haha.Have you read this: http://www.brainpickings.org/index.php/2012/02/03/the-art-of-medicine/I’m thinking of purchasing.

It looks brilliant, let me know if you purchase.A post on David Shrigley’s teeth.http://www.theguardian.com/artanddesign/jonathan-jonesblog/2014/jan/15/david-shrigley-brass-tooth-london-art-fair

Hatefully, I had to go for a dental check up today (brushing with too much force, not enough flossing, otherwise good) and the dentist tookxrays. I asked him to email them through, he obliged.

Haha. Great. They remind me of corn kernels, maybe polyps. There’s definitely the suggestion of density. My dentist told me the same thing, too much force in brushing molars, only use gentle circular motions and he gave me some soft toothed brushes to use in place of my medium onces. I was damaging enamel. I’m going to get a second round of filings in in March, I’ll ask him to email me the photos too.

Your dentist may be a hack. Mine says NEVER circular or east-west, always FLICK north-south.Strangely, as I was walking to the train there were two X-rays on the street, about a meter apart. Possibly knees. Obviously I salvaged them. I may need a light box.

ZOË »my teeth

TUES. 14 JAN. 2014, 13:42

—

, Zoe Teeth 2.jpg | 243kb, Zoe Teeth.jpg | 241kb

ZOË »re: my teeth

WED. 15 JAN. 2014, 12:00

TOM »re: my teeth

WED. 15 JAN. 2014, 11:46

JANUARY 2014

3534

4 5

touch lightly and to generally be discreet. By contrast, we

feel the weightiness of our bodies through our feet, and

through movement we transfer this weightiness as force.

Feet are commonly viewed as implements that damage or

spread dirt. ‘Tread lightly’, we are told. ‘Don’t tread on us’,

we threaten. However, the forcefulness of the foot does not

limit the delights and disgusts it can provoke. Feet are

also closely implicated with extreme sensitivity, and,

inevitably, with pleasure and pain.

Although we primarily walk on surfaces and feel

downward in this sense, our feet also gives us a sense of

buoyancy, of bounce, roll, and spring. The body works with

gravity and weight in grinding, crunching, stomping and

stamping; resists it through leaping, springing and climbing;

and is subject to it as we slip, stumble, sink and fall.

Type ‘crushing under foot’ into the search tab in

Youtube and witness the results. There are extensive

series of foot crushing videos that feature all manner of

objects subject to tantilising degradation at the hands of

the feet: the slow pummeling of a plump iceberg lettuce

into a motely of wet flakes, the sticky pulverisation of

seedy figs on the pavement, the crackle of crackers into

powdery fragments, the liquid squish of cherry tomatoes,

watermelon, grapes and strawberries, as wells as mashed

sausages, cake, dung, Twinkies, hardboiled eggs, pizza

IN BETWEEN THE SOLE AND THE GROUND

—

Our vision, and by extension our visions, might be preoc-

cupied with the horizon in the distance, the adventures we

are yet to have beyond the limit between landscape and

sky. However, there is another meeting point that is of

more immediate importance: what’s beneath our feet.

There is an entire world of feelings, forces and forms that

come between our feet and the ground.

Our hands and fingers are to a large extent free

from the pervasive pressure of gravity to which our feet

and bottoms are regularly subject. The sense of touch

associated with our hands is closely acquainted with

delicacy and lightness, with tactfulness, which means to

Cheers,Zoe

Hi Zoe,

Thanks so much. Please do send through the other images. I’m not sure if Tom forwarded it to you the file, but his contribution has already been designed and will accommodate three images.

I will send you both the final spread before it goes out, and of course we will credit you!

Thanks again. 300 dpi for the images is best if possible.Mieke

Great here are the three images we’d like included, look forward to seeing the final magazine,

Cheers,Zoe

MIEKE » ZOË / TOM

re:images for tom lee’s …THURS. 21 MAR. 2014, 03.10

ZOË » MIEKE / TOM

re:images for tom lee’s…THURS. 21 MAR. 2014, 09.51

—, zoesadokierski foot1.tif | 2.5mb, zoesadokierski foot2.tif | 2.5mb, zoesadokierski foot4.tif | 2.5mb

ZOË » MIEKEimages for tom lee’s foot article coming

WED. 20 MAR. 2014, 09.13

ZOË » MIEKE / TOM

re:images for tom lee’s …WED. 20 MAR. 2014, 14.56

—foot1.tif | 3.1mb

, feet 4-9.pdf | 450kb

Sorry to hear about your neck, even sorrier to have missed your lecture yesterday, we have our staff meetings on Monday morning and as there are only 5 of us, it’s kind of obvious if I slip out for an hour. Did it go well?Speak soon, I’ll read the Higher Arc email now zx

Hi Mieke,

Just dropping you a line to let you know that I’ll send through images that we’d like to run with Tom Lee’s article on feet either today or first thing tomorrow, sorry for the delay I had a slightly more hectic start to the week than I anticipated.

Love your magazine, fingers crossed the images suit what you’re doing for this issue/article,Cheers,Zoe

Hi again Mieke,

I’ve attached a PDF with layout from an artist’s book I’m making using a range of Tom’s essays (it’s to exhibit at a writer’s festival, rather than to publish, at this stage) with how the ‘foot’ illustrations are being used. There are four vignettes, one for each subhead in the article. If you’d like to use them, I’ll send you all four – I’ve sent one so you can see the file (it’s a cmyk tif, but could be printed grayscale if you are not printing colour).

As Tom mentioned in his email, I’m very happy for them to be used as long as you credit “illustrations by Zoë Sadokierski, 2014”

3130

Teeth attached. At your leisure, and pls feel free to edit as you like, it needs to go through the mill a few more times yet. x

Excellent timing, I’m at the State Records Office in Penrith (or there abouts) waiting while Ash gets access to some letters for his book. I’m here as driver (my lesson for the week).

Howdy,Will you be at uni at 4?x

Sure will, come on in!zx

me teef

—— forwarded message ——

Dear Tom,

Please find your images and x-rays attached.Please do not hesitate to contact us if you require any further information.

Kind regards,

TOM »re: hello

SAT. 1 MAR. 2014, 13.35—

, Teeth.doc | 153kb

TOM »around at 4?

THURS. 13 MAR. 2014, 11.40

ZOË »re: around at 4?

THURS. 13 MAR. 2014, 12.40

TOM »fwd: your images

THURS. 13 MAR. 2014, 16.09

ZOË »re: hello

SAT. 1 MAR. 2014, 13.54

MARCH 2014Now, I’m thinking about that as I write this email to you. I expect the next response, you will also be thinking about it.

From here, we will either be able to forget that our emails are to become a permanent record, or it will mark a turning point in what we email each other.

Incidentally, are you getting these dental-themed ads in Gmail now (screen shot)?

Yes, Implant Denture, along with: Dust Free Tile Removal (beats me?). I saw that you’d signalled intent to use emails in Sam’s reply to your email. We’re scheduled for May 31-June 1?

On another note, I have been thinking about trying to obtain permission to construct a public cemetery at the farm where taps with stone spheres beneath them are gravestones. I have been reading about cemetery architecture and looking at NSW Govt websites.

Um, when you say public cemetery ... you mean I could be buried there?

Absolutely and anyone else you’d choose to accompany you.

Well, I’d better start a list.

A list is always a good start.

TOM »re: hello

FRI. 28 FEB. 2014, 12.49

ZOË »re: hello

FRI. 28 FEB. 2014, 14.42

TOM »re: hello

FRI. 28 FEB. 2014, 15.26

ZOË »re: hello

FRI. 28 FEB. 2014, 15.26

TOM »re: hello

FRI. 28 FEB. 2014, 15.37



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