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Letterpress Printing: Past, Present, Future

凸版印刷：过去、现在、未来

基本信息

批准号：
AH/P013473/1
负责人：
James Mussell
金额：
$ 3.76万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP013473%2F1
关键词：
Letterpress Printing Past Present Future

项目摘要

In the basement of the School of English at the University of Leeds is everything required to make a book from scratch, including paper-making equipment, presses and type, and a bindery. This facility was developed piecemeal over fifty years, however, as academic fashions changed the room fell out of use. Similar sets of equipment can be found elsewhere, in other English departments that no longer teach bibliography, for instance, or in printing departments that no longer teach letterpress printing. They can also be found in museums and galleries, representing a way of reproducing text made redundant by newer technologies. This research network brings together those who have, or are working with, letterpress to explore what relevance this print technology has in the digital present. Led by the Centre for the Comparative History of Print at the University of Leeds and the Centre for Printing History and Cultures at Birmingham City University and the University of Birmingham, the network brings together curators, printers, artists, and scholars from a range of disciplines to investigate the place of historical printing today. Such a network is particularly timely. While many print rooms fell into disuse with the decline of bibliography and textual studies, the emergence of the digital humanities has prompted a resurgence of interest in analogue media forms and the technologies that produced them. Similar shifts have occurred in typography and book arts, as practitioners have turned to older practices to inform and complement work in digital media. Equally, beyond the academy, writers, artists and small presses continue to work with letterpress, whether in a deliberate attempt to take control of the production of print, or as part of an investment in historical print culture more broadly. Yet just as the significance of letterpress printing is being recognized, the numbers of those trained in such techniques are declining: bibliography is rarely taught as part of English programmes; letterpress is subordinated to other techniques in schools of art; and printers no longer learn letterpress as part of their formal training (and those who did are now retired). The aims of the network are threefold. Firstly, it is conservational, drawing upon the varied expertise of its participants to document surviving presses and type while exchanging skills and knowledge about letterpress printing and its many histories. Given its constitution, the network will shape approaches to print and printing beyond the academy while scholars, in turn, learn from the practitioners, curators, and artists in the network. Secondly, it will develop practice-based methods of research and teaching that can situate letterpress printing in a range of disciplines. This will allow us to set out the ongoing role for such techniques in knowledge and cultural production, while also reconnecting scholarship itself with its printed heritage. Finally, the network looks to the future. Although we recognize that engaging with historic printing is fundamental if we are to fully understand the way movable type has shaped Western culture, we want to use historical approaches to explore what such technologies can teach us about knowledge production in the digital age. We will interrogate the way that older print techniques underpin newer methods, whether developments in printing, digital typesetting and design, or the ways in which we understand the impact of digital culture. It is only by engaging with historical printing, we argue, we can start to understand the politics of textual reproduction today.

在利兹大学英语学院的地下室里，有从头开始制作一本书所需的一切，包括造纸设备、印刷机和打字机，还有一个装订厂。这个设施是在50多年的时间里逐渐发展起来的，然而，随着学术时尚的改变，这个房间已经不再使用了。类似的设备可以在其他地方找到，例如，在其他不再教授书目的英语系，或者不再教授凸版印刷的印刷系。它们也可以在博物馆和画廊中找到，代表了一种复制文本的方式，这些文本被新技术变得多余。这个研究网络汇集了那些拥有或正在使用凸版印刷的人，以探索这种印刷技术在数字时代的相关性。该网络由利兹大学的印刷比较史中心和伯明翰城市大学的印刷历史与文化中心领导，汇集了来自多个学科的策展人，印刷商，艺术家和学者，以调查当今历史印刷的地位。这样的网络是非常及时的。虽然许多印刷室随着书目和文本研究的衰落而废弃，但数字人文学科的出现促使人们对模拟媒体形式及其生产技术的兴趣重新抬头。类似的转变也发生在印刷术和书籍艺术中，因为从业者已经转向旧的做法，以告知和补充数字媒体的工作。同样，在学术界之外，作家、艺术家和小型出版社继续与凸版印刷合作，无论是有意控制印刷品的生产，还是作为对历史印刷文化更广泛投资的一部分。然而，就在人们认识到凸版印刷的重要性的同时，接受过这种技术培训的人数却在下降：英语课程中很少教授书目;在艺术学校中，凸版印刷从属于其他技术;印刷工不再将凸版印刷作为正式培训的一部分（那些学习凸版印刷的人现在已经退休了）。该网络的目标有三个方面。首先，它是保守的，利用其参与者的各种专业知识来记录幸存的印刷机和类型，同时交流有关凸版印刷及其许多历史的技能和知识。鉴于其组成，该网络将塑造学术界以外的印刷和印刷方法，而学者反过来又向网络中的从业者、策展人和艺术家学习。其次，它将开发以实践为基础的研究和教学方法，可以在一系列学科中推广凸版印刷。这将使我们能够阐明这些技术在知识和文化生产中的持续作用，同时也将学术本身与其印刷遗产重新联系起来。最后，网络展望未来。尽管我们认识到，如果我们要充分了解活字印刷术塑造西方文化的方式，那么参与历史印刷术是至关重要的，但我们希望使用历史方法来探索此类技术可以教会我们有关数字时代知识生产的哪些知识。我们将探讨旧的印刷技术如何支撑新的方法，无论是印刷，数字排版和设计的发展，还是我们理解数字文化影响的方式。我们认为，只有通过参与历史印刷，我们才能开始理解今天文本复制的政治。