Johanna Drucker
Biographic Data
| ID | 341586 |
|---|---|
| NAME | Johanna Drucker |
| GIVEN NAMES | Johanna |
| FAMILY NAME | Drucker |
| SIGNATURE | DRUCKER J |
| AFFILIATIONS | UCLA Health |
| VERIFIED | No |
| TOTAL WORKS | 48 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 47 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Inventing the Alphabet: The Technologies of Knowledge Production
Political epistemology of the autographic mark
Une distinction entre les signes autographes et allographes fut formulée par l’historien de l’art Nelson Goodman dans son œuvre majeure, Les Langages d’Art (1972). Cette distinction lie les qualités significatives de la forme avec la fonction des signes en tant que systèmes de notation. En analysant cette différence, cet article s’interroge sur la dimension épistémologique et politique que peut prendre/avoir le rôle des signes autographes en ce q…
Heterochronologies: A platform for correlation and research in temporal graphics
The difficulty of integrating the data, metadata, and classification schemes produced across a wide geographic, historical, and cultural variety of institutional sites and practices was a major impetus for the creation of Linked Data (LD). The promise was to make diverse sets of data interoperable through subscription to an array of standardizations while leaving the original data intact. These operational requirements enable interoperability at …
Dynamic and spatial variables in data visualization systems
Jacques Bertin’s groundbreaking work, Sémiologie Graphique, has remained definitive for the more than half a century since its initial publication (1967). His formal description of graphic variables is fundamental for information design because it offers a way to understand how visual entities can be used to create a semiotic system with clear and distinct categories. According to Bertin, color, texture, value, pattern, shape, position, and orien…
Imaginary Identities
The Line Bends: Non-literal non-linear
What ifWhat if the line doesn’t breakWhat if the line doesn’t break but b e n d s, c u r
Bound to Speak: Accounts of Illness in Artists’ Books
Iliazd: A Meta-Biography of a Modernist
Visualization and Interpretation: Humanistic Approaches to Display
Site Unscene: Medial Ideology and the Literary Interface
Who speaks in an interface? How do we understand the work done by the graphical, tactile, audio and spatial features of on-screen and ambient works of literary production? The many aspects of language â subject positions and performative dimensions â do not map neatly onto the structuring features of literary work in on-screen and networked media. This paper explores some of the ways the conventions in a literary interface produce a range of subj…
An interview with Johanna Drucker on Poetry, Research, Digital Humanities and their future
This essay focuses on the reception of antebellum slave narratives. While recognizing that slave narratives were predominantly directed toward a white middle-class northern audience, I argue that their intended and actual readership included other groups such as Southerners, African Americans, and children. Drawing on a variety of primary sources I study some of the ways these groups may have read and understood the narratives
An interview with Johanna Drucker on Poetry, Research, Digital Humanities and their future
From sociality of media to the social as a medium: Diagrams and models of media theory
This article takes mediating processes, rather than media objects, as its focus. It examines three different formulations of knowledge mediation, each of which can be modelled as a diagrammatic structure that takes historical as well as contemporary form. These three formulations are declarative/instrumental, contemplative/generative, and stochastic/constitutive, and each is positioned differently with respect to the idea that media “operationali…
Orit Halpern. Beautiful Data: A History of Vision and Reason since 1945
How has a rhetoric of “beautiful” (elegant in the mathematical sense as well as the graphical) data come to have potent ideological force in the last sixty years? Orit Halpern suggests that aestheticization has played a crucial role in legitimizing data visualization and graphical modes of reasoning since 1945. She argues that technological transformations have changed vision research as artificial intelligence altered our conception of bodies, b…
Digital art history: The American scene
An interview with three American historians of art on the the past, present, and future of digital art history
Digital art history: La scène américaine
entre 1500 et 1750
Concepts of Production
Research Article| July 01 2014 Concepts of Production Johanna Drucker Johanna Drucker JOHANNA DRUCKER is a book artist and scholar known for her work in experimental typography, history of the book, artists’ books digital aesthetics, and graphic design history. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2014) 42 (1): 2–5. https://doi.org/10.1525/aft.2014.42.1.2 Views Icon Views Article contents Figures &…
Knowledge Design: A Conceptual and Curricular Challenge
The field of graphic design has much to offer to the emerging area referred to as knowledge design. Graphic designers have a well-developed understanding of the spatial organization of information and user experience, the rhetorical force of display, and other fundamentals of visual communication. But knowledge design requires additional analytic and technical skills. Many of these involve understanding the way content is modeled by the design of…
The Virtual Codex from Page Space to E‐Space
The brief career of the "e-book" has been plagued with fits and starts. In the twenty-some years since desk-top computers, palms, hand-helds, pods, and other devices have come into widespread use, a whole host of surrogates for traditional books have been trotted out with great fanfare and high expectations. The many "drawbacks" of traditional books are, therefore, supposedly to be overcome by introducing into electronic ones features like a prog…
Diagrammatic Writing
Critical Journalism in Graphic Design
Artist’s book
Digital_Humanities
A visionary report on the revitalization of the liberal arts tradition in the electronically inflected, design-driven, multimedia language of the twenty-first century. Digital_Humanities is a compact, game-changing report on the state of contemporary knowledge production. Answering the question “What is digital humanities?,” it provides an in-depth examination of an emerging field. This collaboratively authored and visually compelling volume expl…
Species of Espaces and other spurious concepts addressed to reading the invisible features of signs within systems of relations
This article proposes that signs and signage systems be understood as part of enunciative systems. These in turn perform according to different models of cultural space that are layered into the built environment. Signs might be conceived in terms of circulation, movement, spatial ordering, point of view and sight lines, as well as ideas about how social relations are spatially organized, how privacy is understood, where legal and personal bounda…
Temporal photography
Making Space: Image Events in an Extreme State
In our image-saturated culture, can works of imaginative art have any impact? If so, then what is the critical concept within which their effect can be understood? This article makes use of a systems-theory approach in relation to a longer history of modernist criticism, proposing the idea of refamiliarization as an associative reading that resituates images within networks and scenes of knowledge. The idea is proposed as a task of recovery, rath…
Temporal photography
Entity to Event: From Literal, Mechanistic Materiality to Probabilistic Materiality
Digital Ontologies: The Ideality of Form in/and Code Storage-or- Can Graphesis Challenge Mathesis
Digital media gain their cultural authority in part because of the perception that they function on mathematical principles. The relationship between digital images and their encoded files, and in other cases, between digital images and the algorithms that generate them as display, lends itself to a conviction that the image and the file are mutually interchangeable. This relationship posits a connection of identicality between the file and the i…
Knowledge Design: A Conceptual and Curricular Challenge
The field of graphic design has much to offer to the emerging area referred to as knowledge design. Graphic designers have a well-developed understanding of the spatial organization of information and user experience, the rhetorical force of display, and other fundamentals of visual communication. But knowledge design requires additional analytic and technical skills. Many of these involve understanding the way content is modeled by the design of…
Letterpress Language: Typography as a Medium for the Visual Representation of Language
From Against Fiction
Simulation/spectacle: Beyond the boundaries of the old avant‐garde and exhausted modernism
Artists' Books and the Cultural Status of the Book
Journal Article Artists' Books and the Cultural Status of the Book Get access Johanna Drucker Johanna Drucker 1Columbia University Search for other works by this author on: Oxford Academic Google Scholar Journal of Communication, Volume 44, Issue 1, March 1994, Pages 12–42, https://doi.org/10.1111/j.1460-2466.1994.tb00660.x Published: 07 February 2006
Sense and sensibility women artists and minimalism in the Nineties
Modernist surface, semiotic signs, and the hermeneutic trace: Jackson Pollock
Through Light and the Alphabet: An Interview with Johanna Drucker
Postmodern Culture - Volume 7, Number 3, May 1997
Castleman and Drucker: Re-Viewing the Artists' Book
The Self-Conscious Codex: Artists' Books and Electronic Media
THE CODEX FORM, CHARACTERIZED BY BOUND SHEETS fixed in a regular sequence of individual pages, has proved durable on account of its efficiency and flexibility through hundreds of years of use. Capable of containing vast amounts of information readily accessed and systematically ordered, it is deceptively simple in form. This apparent simplicity results in part from its familiarity, its pervasive presence in many aspects of historical and contempo…
Collaborative Ty/Opography
Essay| December 01 1999 Collaborative Ty/Opography Johanna Drucker Johanna Drucker Johanna Drucker is Robertson Professor in Media Studies at the University of Virginia and is currently at work on a book about art and/as information. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1999) 27 (3): 9. https://doi.org/10.1525/aft.1999.27.3.9 Views Icon Views Article contents Figures & tables Video Audio Supplement…
Digital Ontologies: The Ideality of Form in/and Code Storage-or- Can Graphesis Challenge Mathesis
Digital media gain their cultural authority in part because of the perception that they function on mathematical principles. The relationship between digital images and their encoded files, and in other cases, between digital images and the algorithms that generate them as display, lends itself to a conviction that the image and the file are mutually interchangeable. This relationship posits a connection of identicality between the file and the i…
Book
Visual Studies
Essay| August 01 2003 Visual Studies Johanna Drucker Johanna Drucker Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2003) 31 (1): 4–5. https://doi.org/10.1525/aft.2003.31.1.4 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools …
Book Spaces City Spaces
Review| October 01 2005 Book Spaces City Spaces Berlin in the Time of the Wall, by John Gossage, Bethesda, MD: Loosestrife Editions, 2004, 37 pp./$25.00 (hb)Flicker, by Emily McVarish, San Francisco and New York: Granary, 2005, 48 pp./$975.00 (hb) Johanna Drucker Johanna Drucker Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia and is a well-known book artist and scholar of visual and graphic media. Her mos…
Frontal Assault
Essay| December 01 2005 Frontal Assault User: InfoTechnoDemo, by Peter Lunenfeld, with Visuals by Mieke Gerritzen, Cambridge, MA: MIT Press, 2005, 171 pp./$25.95 (sb) Johanna Drucker Johanna Drucker Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia and is a well-known book artist and scholar of visual and graphic media. Her most recent book, Sweet Dreams: Contemporary Art and Complicity, was published by th…
Subculture Communication
Essay| April 01 2006 Subculture Communication Schablone Berlin, by Caroline Koebel and Kyle Schlesinger, Tucson: Chax Press, 2005, 150 pp./$16.95 (sb) Johanna Drucker Johanna Drucker Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia and is a well-known book artist and scholar of visual and graphic media. Her most recent book, Sweet Dream: Contemporary Art and Complicity, was published by the University of C…
Domestic Politics, Activist Graphics
Essay| August 01 2006 Domestic Politics, Activist Graphics Johanna Drucker Johanna Drucker Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia and is a wellknown book artist and scholar o f visual and graphic media. Her most recent book, Sweet Dream: Contemporary Art and Complicity, was published by the University of Chicago Press in 2005. A book of creative writing, From Now, was published by Cuneiform Press…
Substantive Spaces
Essay| April 01 2007 Substantive Spaces Kardanakhi Tataroba, by Clifton Meador, Chicago: Epicenter, 2006, 88 PP,/$42.00 (hb)The Nameless Dead, by Clifton Meador, New Haven, Connecticut: Paba Publications, 2004, 112 PP./$65.OO (hb) Johanna Drucker Johanna Drucker Johanna Drucker is the Robertson Professor of Media Studies at the University of Virginia and is a well-known book artist and scholar of visual and graphic media. Her most recent book, Sw…
What is Graphic about Graphic Novels
Letterpress Language: Typography as a Medium for the Visual Representation of Language
This examination of three works by Johanna Drucker, 26 '76 (1976), from A to Z (1977) and Against Fiction (1983), all printed letterpress, focuses on the formal properties of typography and its capacity to extend the meaning of a written text. Handsetting metal type necessarily focuses one's attention on the specificity of written language as a sequence of discrete letters. Each has properties of size, weight and shape; and placement and type sty…
Making Space: Image Events in an Extreme State
In our image-saturated culture, can works of imaginative art have any impact? If so, then what is the critical concept within which their effect can be understood? This article makes use of a systems-theory approach in relation to a longer history of modernist criticism, proposing the idea of refamiliarization as an associative reading that resituates images within networks and scenes of knowledge. The idea is proposed as a task of recovery, rath…
Philip Meggs and Richard Hollis: Models of Graphic Design History
The field of graphic design history was shaped by Philip Meggs's pioneering 1983 publication of A History of Graphic Design. With Richard Hollis's Concise History of Graphic Design, Meggs's book has continued to serve as a primary text for reference and teaching. This article considers the intellectual foundations of Meggs's and Hollis's approach by reflecting on the way each author models the fundamental elements of their study: scope and concep…
Entity to Event: From Literal, Mechanistic Materiality to Probabilistic Materiality
Species of Espaces and other spurious concepts addressed to reading the invisible features of signs within systems of relations
This article proposes that signs and signage systems be understood as part of enunciative systems. These in turn perform according to different models of cultural space that are layered into the built environment. Signs might be conceived in terms of circulation, movement, spatial ordering, point of view and sight lines, as well as ideas about how social relations are spatially organized, how privacy is understood, where legal and personal bounda…
Temporal photography
Art (31 works) · Computer Science (28 works) · Sociology (18 works) · Visual arts (18 works) · Art history (15 works) · Philosophy (15 works) · Linguistics (10 works) · Epistemology (9 works) · Aesthetics (8 works) · Art, Politics, and Modernism (8 works)