Bruno Munari plus and minus
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Bruno Munari plus and minus

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364
I have something to tell you. I am a guidebook. But here is my dirty little secret: I am always a guidebook. No matter what the subject matter, fiction or non, images or braille, every single book is an atlas of worlds and an index of ideas to be explored.
Uit: Fully booked -- Ink on paper (p. 116)
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Een document is een verzameling gegevens vastgelegd op een gegevensdrager. Dit kan zijn in schriftelijke vorm op papier of digitaal, maar ook op bijvoorbeeld een microfiche of grafzerk.
Voorbeelden van documenten zijn geboorteaktes, nota's (bijvoorbeeld een nota ruimtelijke ordening), ziekenhuisdossiers, bezwaarschriften, politieke programma's en zelfs logboeken, dagboeken, syllabi en reisverslagen. In de eerste beschavingen werden ook tempels en obelisken van politieke boodschappen voorzien.
330
Reading and writing have always been social experiences, but when frozen into print these relations tend to be omitted. A significant book gets people talking in society, but this is not seen or incorporated in the paper-based object. What we've been working on is expanding the boundaries of the page, to consider its social aspects, which are so fundamental to it. We are re-defining content to include the conversation that it engenders.
--Bob Stein (Uit: The Form of the Book Book)
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een getekend portret
een dorpsmonografie
een geĂŻllustreerde documentaire
een auto-etnografische studie
een volkskundig archief
een getekende verzameling
een (pseudo)wetenschappelijke studie

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82
--Clive Phillpot
68
In many respects the medium of the book and of the archive have strained relations with each other. Books have a beginning and an end, and the road that leads you from one to the other is linear. That explains why the end of the book is usually at the same time a closure or conclusion of the discursive world contained within its pages. Archives, on the contrary, have neither beginning nor end. They have many openings and are open-ended. Archives are not linear. --Ernst van Alphen (in: Free association and anomic archiving)
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Rhizome principally constructs a model (a new map) for apprehending the constitution and reception of a book. As Deleuze writes, “the book is not an image of the world. It forms a rhizome with the world, there is an aparallel evolution of the book and the world”. In the words of the text: “A rhizome as subterranean stem is absolutely different from roots and radicles. Bulbs and tubers are rhizomes”. As is the potato, or any structure in which each point is necessarily connected to each other point, in which no location may become a beginning or an end, yet the whole is heterogeneous.
“There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a book has no sequel nor the world as its object nor one or several authors as its subject.”
Rhizome is a mapping rather than a tracing. Deleuze writes, “What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious”.
(--Dan Clinton naar aanleiding van Gilles Deleuze & Felix Guattari's Rhizome in A Thousand Plateaus)