User talk:Simon/Annotating: Difference between revisions
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[[File:Tracing paper annotations.jpeg|150px|thumb|Tracing paper bearing carbon-copied annotations from Marginal Conversations]] | [[File:Tracing paper annotations.jpeg|150px|thumb|Tracing paper bearing carbon-copied annotations from Marginal Conversations]] | ||
{{User:Simon/Retention and transformation of annotations]] | |||
{{User:Simon/The_Carrier_Bag_Theory_of_Fiction}} | |||
https://pad.xpub.nl/p/annotated_reader_prbs | https://pad.xpub.nl/p/annotated_reader_prbs | ||
[[Category: Library Snippets]] | [[Category: Library Snippets]] | ||
Revision as of 14:08, 20 June 2020
{{User:Simon/Retention and transformation of annotations]]
bootleg book: The Carrier Bag Theory of Fiction
Printed: 25.09.19
Dimensions: 90x120mm
Cover stock: Clairefontaine Trophee (ivory) 120gsm
Text stock: Clairefontaine Trophee (ivory) 120gsm
Binding: Staple bound
Pages: 16pp
Ursula K. Le Guin's short essay appears in a compilation called Dancing at the Edge of the World, which I've found impossible to find online through the usual pirate libraries such as Library Genesis, aaaaaarg.fail and Monoskop. Perhaps this points to a gender bias in what is perceived as knowledge (Le Guin was a woman wrote mostly science-fiction)? In lieu of not being able to find the compilation, I decided to print this book in a very small size (90x120mm) and retain the annotations from the PDF I found. I digitised them by making them into vectors, and printed the text and annotations in green. In this way I wanted to speculate on what would happen when a reader was confronted with annotations that seemed to be part of the source, not a para-text added after publication.
Front cover
Digitised annotations
Back cover with bootleg acknowledgement
