The descrypcyon of Englonde, ‘Enprynted in flete strete in ye sygne of the sone By me Wynkyn de Worde’ in 1502, is a history of Britain. It’s a mix of materials, some originally derived from Geoffrey of Monmouth in the 12th century, layered in with geographical descriptions from the
B̶r̶a̶v̶o̶ (crossed out), as Laurence Sterne would have written. There is indeed something very meticulous in erasures, and their materiality seems to require its own typeface group, or fleurons…
I'm thinking of Joseph Kosuth’s work, Zero & Not (1986), in which a text by Freud is printed on a wall, struck out with a black tape, but is still very much readable. Deletion, in reference to Freud, is impossible; but more so, itself becomes a sign, or a form of marking.
B̶r̶a̶v̶o̶ (crossed out), as Laurence Sterne would have written. There is indeed something very meticulous in erasures, and their materiality seems to require its own typeface group, or fleurons…
I'm thinking of Joseph Kosuth’s work, Zero & Not (1986), in which a text by Freud is printed on a wall, struck out with a black tape, but is still very much readable. Deletion, in reference to Freud, is impossible; but more so, itself becomes a sign, or a form of marking.
(Here is an image of this work: https://www.under-erasure.com/artists-writers/joseph_kosuth/.)
Fantastic! Like a constellation of black holes, which reminds me to congratulate you, Gill Partington and Simon Morris belatedly on Issue #2 of Inscription, finally reviewed here http://books-on-books.com/2022/05/29/books-on-books-collection-inscription-the-journal-of-material-text-issue-2/. Cheers, Robert