The Future of Hybrid Publishing and Knowledge Distribution

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THE FUTURE OF HYBRID

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THE FUTURE OFHYBRID

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THE FUTURE OF HYBRID

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d i g i t a l t e c h n o l o g i e s a l l o w u s t o

c r e a t e a n d s h a r e s t o r i e s i n n e w

w a y s(w o r d s + i m a g e s / s t a t i c + d y n a m i c )






















mediaobject.net























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HT TP: / /TH E-P UBLI SH IN G- LAB.COM


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bookworkpress.com























ANALOGUE BODIES

ZOË SADOKIERSKIAND TOM LEE























HTT P: / /WE LLCOMEI MAG ES. ORG


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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 considered 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.

C ollaged by Zoë S adokierski from Köhler’s M edizinal Pflanzen, 1887 (lemon) and tooth from coloured engraving by A. Tardieu.

im a g e c r e d i t s :L em on: www.vintageprintable.com

an d tooth: W ellcom e L ibrary,

L ondon [V 0011997]

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.

C ollaged by Zo ë Sad ok iersk i f rom D r H .G . Bro n n’s C ra b C ircu la to ry Sys tem , 18 66 (c ra b) an d too t h fro m colou re d en gra ving by A . Ta rd ieu .

i m a g e c r e d i t s :Crab: w ww.vintageprintable.com and tooth: W ellcom e Lib rary, L on d on [V0 0119 97]


http://www.vintageprintable.com/





















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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.

i m a g e c r e d i t : Public domain, via www.vintageprintable.com

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

i m a g e c r e d i t : Public domain, via www.vintageprintable.com

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

i m a g e c r e d i t : http://en.wikipedia.org/wiki/ Avatar_(2009_film)









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






















L0057125TEETHING CHARM

M AKER: UnknownPLAC E M AD E: Roman Republic and EmpireM AD E: 100–500 CE

L0057581AMULETS TO CURE TOOTHACHE

M AKER : UnknownPLAC E M AD E: Exeter, En gland, UKM AD E : 1901–1910

Teething charms were believed to relieve the Large animal tooth in blue and pink silk bag, two suffering of teething babies. In the first century stones, and a triple hazlenut.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.


L0058131 NOTES: Due to the cost of ivory, dentures such L0000328

UPPER IVORY DENTURE as these could only have belonged to wealthy A FRENCH DENTIST SHOWINGwith HUMAN TEETH people. The teeth may have been extracted from A SPECIMEN OF HIS ARTIFICIALMAKER: Unknown maker PLACE MADE: England, UK MADE: 1801-1860

poor volunteers who were paid cash for teeth, orbeen 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’.

TEETH AND FALSE PALATES.

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






















L0064889PLASTER MO DEL O F LEFT FOO T DEFO RMED BY FOO T-BINDING

M A K E R (plaster model): Rabe, Dr. P L AC E M A D E : Hong Kong, C hina M A D E : 1890-1891

V0039217TWO YOUNG GIRLS WITH BOUND FEET ARE LYING TO GETHER ON A MATTRESS.

PU B LISH E D : [s .n.][S.l.] :SIZ E : s heet 19. 2 x 23.4 cm.

C re dit: S c ie nc e M u se um , L ondon , W ellc om e I m ages , Ic on ograph ic C olle c t ion s L ibrary re fe re n c e no.: IC V N o 3977 9

out lawed in 1912. The feet of girls aged between 3 and 11 years-old were broken and the toes fo lded under the arch o f th e foot, wh ich was th en bound and squeezed into small shoes. Impossibly tiny feet were considered beaut if ul, and ensured wom en could not run away.

Plaster models showing the damage cau sed by C re d it: S c ie n c e M u se u m , L ond o n, W e llc om e Im agesfoot -binding, a traditional practice in C hina until C o llec t io n : W e llco m e Im a ges, L ib ra r y re fe re n ce n o .:

S c ie n c e M u se u m A 56 88 2

V0018505X-RAY of a BO UND FO OT, TO P and SIDE VIEW.

C red it: Sci ence M useum , L ondo n, Wellcom e Im agesC ollection: Iconograp hic C ollections























{ i n t r o d u c t i o n

Tom Lee. Analogue Bodies Zoë Sadokierski. Strange Synergies{ p a r t o n e :

t e e t h

e s s a y — Tom Lee. Teeth

{ p a r t t w o : f e e t

e s s a y — Tom Lee. Good Footing:On the tactfulness of feet

a. f l o w e r f o l d

b o o k —Zoë Sadokierski.Teeth and Things

b. v i s u a l e s s a y

—Zoë Sadokierski.Pulling Teeth

c. c o n c e r t i n a — Zoë Sadokierski. Hen’s Teeth

d . v i s u a l e s s a y — Zoë Sadokierski. Small Feet

{ a p p e n d i x :a n a l o g u e e m a i l s

Tom Lee andZoë Sadokierski,with cameos from Mieke Chewand Sam Twyford-Moore.

1.MAIN BOOK

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























2322

TOM » I’ll enquire next time, I might just hear circular

r e : m y t e e t h because that’s what I was brainwashed with at a

W E D . 15 JA N . 2 014 , 13 :5 9 young age.See if you can diagnose any issue with the knees.

ZOË » So (bird’s eye perspective):

r e : m y t e e t h EyebrowsW E D . 15 J A N . 2014, 1 5:5 8 Teeth

Spit Nipples Squirt Feet

ZOË » It looks brilliant, let me know if you purchase.r e : m y t e e t h A post on David Shrigley’s teeth.

T H U R . 1 6 J A N . 2 0 1 4 , 1 0 :4 2 http://www.theguardian.com/artanddesign/jonathan-

jonesblog/2014/jan/15/david-shrigley-brass-tooth- london-art-fair

ZOË » Hatefully, I had to go for a dental check upm y t e e t h today (brushing with too much force, not enoughT U E S . 1 4 J A N . 2 0 1 4 , 1 3 :4 2 flossing, otherwise good) and the dentist

took—

, Zoe Te e th 2 .jp g | 243k b xrays. I asked him to email them through,

, Z o e Te e th .jp g | 2 41 k b he obliged.

That’s certainly a book

TOM » Haha.r e : m y t e e t h Have you read

this:T H U R . 1 6 J A N . 2 0 1 4 , 0 8 :2 6 http://www

.brainpickings.org/index.php/2012/02/03/ the-art-of-medicine/I’m thinking of purchasing.

ZOË » Your dentist may be a hack. Mine says NEVERr e : m y t e e t h circular or east-west, always FLICK north-south.W E D . 1 5 J A N . 2 0 1 4 , 1 2 :0 0 Strangely, as I was walking

to the train there weretwo X-rays on the street, about a meter

apart. Possibly knees. Obviously I salvaged them. I may need a light box.

TOM » I have also composed a notional list of the otherr e : m y t e e t h essays that I’d like to write in this series: nipples,

W E D . 1 5 J A N . 2 0 1 4 , 1 5 :4 9 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?

TOM

»

Haha.

Great.

They remind

me

of

corn

kernels,r

e

:

m

y

t

e

e

t

h

maybe

polyps.

There’s

definitely the suggestion

of

W

E

D

.

1

5

J

A

N

.

2

0

1

4

,

1

1

:

4

6

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.

JANUARY 2 0 1 4

3534

Feet are commonly viewed as implements that damage or

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.

spread dirt. ‘Tread lightly’, we are told. ‘Don’t tread on us’, we threaten. However, the forcefulness of the foot does not

also closely implicated with extreme sensitivity, and,

IN BETWEE N THE SOLE Although we primarily walk on surface s and feel

AND THE GROUND downward in this sense, our feet also give s us a sense of

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

Our vision, and by extension our visions, might be preoc- stamping; resists it through leaping, springing and climbing; cupied with the horizon in the distance, the adventures we and is subjec t to it as we slip, stumble , sink and fall.

sky. However, there is another meeting point that is of Youtube and witness the results. There are extensive more immediate importance: what’s beneath our feet. series of foot crushing videos that feature all manner of

come between our feet and the ground. the feet: the slow pummeling of a plump iceberg lettuce

from the pervasive pressure of gravity to which our feet seedy figs on the pavement, the crackle of crackers into and bottoms are regularly subject. The sense of touch powdery fragments, the liquid squish of cherry tomatoes, associated with our hands is closely acquainted with watermelon, grapes and strawberries, as wells as mashed

limit the delights and disgusts it can provoke. Feet are

inevitably, with pleasure and pain.

gravity an d weight in grinding,

crunching, stomping and

are yet to have beyond the limit

between landscape and

Type ‘crushing under

foot’ into the search tab in

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

objects subject to tantilising

degradation at the hands of Our hands and fingers

are to a large extent free into a

motely of wet flakes, the sticky pulverisation of

delicacy and lightness, with tactfulness, which means to sausages, cake, dung, Twinkies,

hardboiled eggs, pizza

4 5

Cheers, Zoe

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

MIEKE » Hi Zoe,ZOË / TOM

r e :im a g e s f o r t o m l e e ’s … Thanks so much. Please do send through the otherT H U R S . 2 1 M A R . 2 0 1 4 , 0 3 .1 0 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.

ZOË » Great here are the three images we’d like included,

MIEKE / TOM look forward to seeing the final magazine,r e :i m a g e s f o r t o m l e e ’s…T H U R S . 21 M AR . 2 014 , 09.5 1 Cheers,—

, z oe s a d o k ie r sk i foo t1. t if | 2 .5m b Zoe, zoe s a d ok ie r s k i foot2 .tif | 2 .5 m b

, zoe s a do kie r sk i foo t4. t if | 2 .5m b

W E D . 2 0 M A R . 2 014, 14.5 6

, fe e t 4 -9 .p d f | 4 5 0k b

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

ZOË » M IEKE Hi Mieke,im a g e s f o r t o m l e e ’s

f o o t a r t i c l e c o m i n g Just dropping you a line to let you know that I’llW E D . 2 0 M A R . 2 014, 0 9.13

send through images that we’d like to run with TomLee’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

ZOË » Hi again Mieke,MIEKE / TOM

r e :i m a g e s f o r t o m l e e ’s … I’ve attached a PDF with layout from an artist’s book— I’m making using a range of Tom’s essays (it’s tofo o t1 . t if | 3 .1 m b 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”

Now, 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)?

TOM » Yes, Implant Denture, along with: Dust Free Tile

r e : h e l l o Removal (beats me?). I saw that you’d signalledF R I. 2 8 F E B . 2 0 1 4 , 1 2 . 4 9 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.

ZOË » Um, when you say public cemetery ...r e : h e l l o you mean I could be buried there?F R I. 2 8 FE B. 2 014 , 14. 42

TOM » Absolutely and anyone else you’d choose to

r e : h e l l o

accompany you.F R I . 28 F E B. 2 014, 15. 26

ZOË » Well, I’d better start a list.r e : h e l l o

F R I . 28 F E B. 2 014, 15. 26

TOM » A list is always a good start.

r e : h e l l o

F R I . 28 F E B . 2 014, 15 .37

30


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