Returning to the home stitcher ... The Espresso Book Machine This morning, back home the stitcher: paper cover will not dry, it is difficult to cut, the line (pre-drawn) by a subcontractor does not correspond to the width of the back, cutting is imprecise, books must be delivered in the afternoon, the production line can not be interrupted ...
Recently I was reading another article by Anne-Moeglin Lacroix insisted that artists' books in the 60 insiders had been created in the concern for controlling the entire production line of the book, from conception its realization. Hence the preference of the artist to turn to techniques for producing accessible and controllable - such as photocopying and offset-and the adoption of simple bindings require the least possible stakeholders. One imagines that Ed Rusha that time met his printer, drank with him a cup of coffee while exchanging some small talk, saw examples of achievements, was operating the machine, interrupting production at will, put their hands a little dirty ...
Today more question as a designer to intervene in the choices, careful, accidents of course: the manufacturing process, one we know, is no longer a tool that can attempt handle. The book is mostly given in a production line where love of books, know-how and advice tend to disappear in favor of a business model that dictates its law to produce, anything, provided that it is profitable. The book is thus reduced to the strict definition of
product like a bottle of coca-cola or pair of sneakers, back to the level of consumer goods.
This is not like that part of publishers, authors and designers, intend to build the book. And for that, that they will find alternatives, new tools, like the artists of the 60s who tried to escape from the industrialization of knowledge. The hidden dimension of the book is in the care, kindness, patience that he be given at its creation. Its value is also reflected in the choice of paper that he will be assigned, presses inked many which have been printed, well-ventilated drying, sewing and cutting precise, binding solid, generous openness. Its weight, its smell, its bill will have so many signs of authenticity - authenticity extends only to the manuscript even long after his moment of Mechanical Reproduction - As the new book will not redefine its forms and qualities of existence. Its taste is on par with new practices, new trades and new skills, but also new commitments, new conditions of knowledge sharing and new temporalities design and production.
Fabrice Samyn's book is out of press there is a little over two weeks. There was a meeting and an exploration of two territories: that of his work and that of the book. 
" Ave cl ' extension of the press, which has continued to available to the public with new bodies, political, religious, scientific, professional, local, we saw an increasing number of cores lection pass - first on a casual basis - the part of writers. The thing began when the newspapers opened their columns to "Letters to the Editor", and there is little today Europeans which, as he keeps his place in the process labor is guaranteed in principle be able to find, when he wants a forum to tell his experience, to expose their grievances, to publish a story or other text like that. Between author and audience, the difference is in the process thus becoming less and less fundamental. It is more than functional and can vary from one case to another. At any moment the reader is ready to become a writer "
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