1 00:00:05,190 --> 00:00:10,560 Thank you all so much for coming. I think I've got like five mikes on, so I think you should be able to hear me. 2 00:00:11,760 --> 00:00:17,729 The. I'm going to start a very brief history of of movements I find with my students. 3 00:00:17,730 --> 00:00:25,380 They usually think that movable were invented about three years before they were born because those are the first ones that they encounter. 4 00:00:25,890 --> 00:00:34,950 So I'm going to start with this is a self-portrait of Matthew Paris, who was a Benedictine monk during the 13th century. 5 00:00:35,130 --> 00:00:38,400 Its dates are 1200 to 1229, they think. 6 00:00:39,210 --> 00:00:43,920 And he is the first inventor of not just one movable, but two. 7 00:00:43,950 --> 00:00:47,999 He invented both bow veils, which are wheels and lift flaps. 8 00:00:48,000 --> 00:00:58,300 And so. This, I'm sorry, is a very enlarged, pixilated image of his first Volvo veil, which was used to calculate religious holidays. 9 00:00:59,200 --> 00:01:01,359 And originally, people were having to move the books. 10 00:01:01,360 --> 00:01:08,710 And he's the one who figured out that if he made a movable wheel within the book, they could just turn that instead of the entire thing. 11 00:01:09,310 --> 00:01:16,600 The the next thing that he invented was the lift flap, which is a very, very simple but incredibly versatile device. 12 00:01:17,110 --> 00:01:27,399 And he was devising books that were related to religious pilgrimages for his fellow monks who were not able to travel. 13 00:01:27,400 --> 00:01:38,220 And the addition of the lift flaps allowed the monks to personalise the pilgrimages and to go through the pilgrimage in a way in which they wanted to. 14 00:01:38,230 --> 00:01:43,990 And so these early movable bowls were always intended to further engage the 15 00:01:43,990 --> 00:01:48,280 viewer so that there was an added thing to not just reading the information, 16 00:01:48,280 --> 00:01:52,420 but actually interacting physically with the book that they were looking at. 17 00:01:54,770 --> 00:02:07,910 Peter Petrus, AP Honours is a German astronomer who in his book The Cosmograph Year really expanded the possibilities of what those vessels could do, 18 00:02:08,270 --> 00:02:13,070 and they moved on into the use in scientific instruments and early printing. 19 00:02:13,430 --> 00:02:18,200 And so we are really jumping through time with this is more like 15th century. 20 00:02:19,230 --> 00:02:26,580 So. And then the the list flap book sort of had its incredible heyday as an anatomical flap book. 21 00:02:27,090 --> 00:02:31,690 And this is this alias from 1514. 22 00:02:31,690 --> 00:02:34,290 And he lived 15, 14, 1564. 23 00:02:34,830 --> 00:02:49,400 And in in the 16th and 17th centuries, the list flap used for anatomical purposes was it was possible to dissect on paper human anatomy. 24 00:02:49,410 --> 00:02:59,639 And so they're they're pretty extraordinary in the amount of information that could be communicated with these interactive devices. 25 00:02:59,640 --> 00:03:05,520 And they were often printed as cut out sheets and people would assemble them themselves. 26 00:03:07,350 --> 00:03:13,680 This is Euclid's Elements of geometry, which was printed in 1570. 27 00:03:14,010 --> 00:03:14,579 And in this, 28 00:03:14,580 --> 00:03:24,450 this is an English book in which the printer John Day came up with the idea of of making these geometric forms that were both printed on the surface, 29 00:03:24,450 --> 00:03:32,070 but able to be assembled so that people could interact with them both in their two dimensional and three dimensional form. 30 00:03:32,970 --> 00:03:36,870 So this is another view of a different model within that book. 31 00:03:40,540 --> 00:03:44,349 So this is a metamorphosis book, which is another lift flat book. 32 00:03:44,350 --> 00:03:48,760 And in it, if at some point we can figure out how to make the videos work, 33 00:03:49,570 --> 00:03:55,900 you lift up the top and bottom flaps in various orders to change the figures. 34 00:04:00,870 --> 00:04:10,469 And moving on from that. Those were called either Metamorphosis or Harlequin eight books, and they were an 18th century development. 35 00:04:10,470 --> 00:04:20,070 The Thalmann Trope, excuse me. In the 19th century we started getting into optical toys, which were also called philosophical toys. 36 00:04:20,070 --> 00:04:29,250 And this was a way of teaching sort of various things related to our optics, mostly related to the persistence of vision. 37 00:04:29,250 --> 00:04:40,050 And so a thermometer trope was a spinning device that relied on the the persistence of you seeing both sides and merging them into one. 38 00:04:40,650 --> 00:04:44,790 And so this was invented by another man named Paris, John Arendt, in Paris. 39 00:04:45,210 --> 00:04:50,370 He's credited either with inventing them or popularising them in 1820. 40 00:04:51,420 --> 00:05:00,780 This is a peep show, which is also sometimes called a tunnel book, and many of them were used as souvenirs during the building of the Thames Tunnel. 41 00:05:01,140 --> 00:05:10,610 They were originally started more in Austria, but they definitely popularised in London with the Thames Tunnel. 42 00:05:10,620 --> 00:05:17,669 This is a view of one of the Thames Tunnel souvenir pop ups and you can see the sequence of the panels. 43 00:05:17,670 --> 00:05:22,620 This is from the Bodleian was one of the treasures I got to see here. 44 00:05:23,490 --> 00:05:27,420 You can see how the different panels give you this wonderful three dimensional depth. 45 00:05:29,090 --> 00:05:34,370 This also I saw up in conservation. This is by a publisher named Dean and Son. 46 00:05:35,030 --> 00:05:37,640 And this is what's called a pull up book. 47 00:05:39,150 --> 00:05:47,550 And again, these are all what would fall into the category of movable and movable are books that are operated by the viewer, 48 00:05:47,970 --> 00:05:52,260 whereas a true pop up is operated by the page. 49 00:05:53,100 --> 00:05:57,629 So this is something conservation because all the connective ribbon has disappeared, 50 00:05:57,630 --> 00:06:03,540 and so they're doing a treatment on that to restore it to its movable qualities. 51 00:06:04,530 --> 00:06:13,310 In the late 1800s into the early 1900s, the sort of the golden age of publishing of children's pop ups in Germany. 52 00:06:13,320 --> 00:06:16,920 This is a book called The Circus by Lothar Mega Indoor Fur, 53 00:06:17,610 --> 00:06:25,200 and he and a number of other German paper engineers sort of merge that paper engineering artist 54 00:06:25,740 --> 00:06:33,690 publisher phenomenon and end the art of pop ups for children continues even to this age. 55 00:06:33,720 --> 00:06:36,870 This is from the end gift shop. 56 00:06:37,050 --> 00:06:40,920 This is The Wizard of Oz by Robert Saluda. 57 00:06:41,730 --> 00:06:44,940 And from there, we're going to go to me. 58 00:06:45,840 --> 00:06:52,770 So this is my normal view from my press when I'm printing in my own studio my stairs. 59 00:06:53,520 --> 00:07:00,180 This is the view in the bibliographic press, which is a very interesting change for me. 60 00:07:03,110 --> 00:07:09,200 So this is the press in the bibliographic press. This is a 90 I'm sorry, 20th century press. 61 00:07:09,620 --> 00:07:16,249 It's the western. Western, which is a van der Cook license version of an American press. 62 00:07:16,250 --> 00:07:24,630 And so it's also known as a cylinder press. And and that's how I print most of my books. 63 00:07:24,650 --> 00:07:31,220 This is a book of mine, one of my earliest artist books, and it's called My 12 Steps. 64 00:07:31,230 --> 00:07:35,510 And the pages are folded to Form Steps. 65 00:07:35,520 --> 00:07:42,200 And so it's my version of a self-help book. This is from nine in 1996. 66 00:07:44,820 --> 00:07:48,930 And then we'll sort of do a survey of various formats. 67 00:07:49,290 --> 00:07:54,209 This is a book called Mutually Exclusive, and it's a series of what are called Magic Wallets, 68 00:07:54,210 --> 00:08:00,730 which are books that open one way and then the other way. So you get to connecting phrases. 69 00:08:00,750 --> 00:08:04,680 And so this was made in response to the events of September 11th. 70 00:08:05,160 --> 00:08:12,140 And I had started to work on a book about nightmares, but was kind of quickly derailed by the events of that fall. 71 00:08:12,150 --> 00:08:15,990 And so this book was done in a residency in New York City. 72 00:08:16,860 --> 00:08:22,590 That was I was staying in an apartment that was about six blocks from the World Trade Centre site. 73 00:08:23,920 --> 00:08:27,160 And so that's another video. Oh, hang on. 74 00:08:29,410 --> 00:09:04,920 All right. Okay. 75 00:09:05,960 --> 00:09:09,110 Well, now we know this. 76 00:09:09,110 --> 00:09:13,240 The book is from 2006 2007. 77 00:09:13,250 --> 00:09:16,520 It's actually a series that was a subscription series. 78 00:09:16,970 --> 00:09:21,410 And sometimes I change the ways in which I do things just to make it interesting. 79 00:09:21,420 --> 00:09:25,760 And I wasn't really sure that anyone would get on board with a subscription series because 80 00:09:26,210 --> 00:09:31,580 my initial subscribers basically just took it on faith that I would actually do something. 81 00:09:32,210 --> 00:09:38,150 And so over the course of two years, about every five months, they got a new lexicon. 82 00:09:38,150 --> 00:09:42,020 And I had chosen the format, but I had no idea what the content would be. 83 00:09:42,380 --> 00:09:51,470 And it ended up being sort of a little autobiographical series through the various events of of that time period. 84 00:09:51,470 --> 00:09:55,430 My dog died, I moved various other things. 85 00:09:55,430 --> 00:10:03,920 And so with any luck, this one will also play this is one of them called denial is a wonderful thing. 86 00:10:18,580 --> 00:10:21,940 And each of these formats have very specific actions. 87 00:10:21,940 --> 00:10:23,950 And so the content of the book, 88 00:10:23,950 --> 00:10:32,050 the fact that this is a circular book and it will bring you around to the beginning was very important in how I chose to use the text. 89 00:10:32,410 --> 00:10:38,469 And this is something I'm always emphasising with my students, which is that these formats are very interesting, 90 00:10:38,470 --> 00:10:44,770 but if there's no relationship between the content that you're working with and the format that they're using, 91 00:10:45,070 --> 00:10:54,430 then it's just a sort of an irrational gimmick. And you need to figure out the nature of the structure and what it is bringing to the content. 92 00:10:54,700 --> 00:11:01,030 And a lot of times the content can be partially told by this or more than that, by that structure itself. 93 00:11:01,920 --> 00:11:11,729 So this is what finally came about. This was the book that I started to work on that got stopped by the September 11th events. 94 00:11:11,730 --> 00:11:15,660 And it originally was a completely different book. It didn't have a text. 95 00:11:16,170 --> 00:11:22,730 And and because of that time period, it very much influenced how the book ended up. 96 00:11:22,740 --> 00:11:29,580 So it's called Sleepers, Dreamers and Screamers. And it's a pop up book and it's it's an accordion. 97 00:11:29,580 --> 00:11:36,720 So it can be stretched out and viewed all in one piece, but it also can be seen page by page. 98 00:11:37,260 --> 00:11:42,270 So we'll just go through the sequence. This is not a video, but this is the text. 99 00:11:56,920 --> 00:12:01,270 And in the opening of this page, that character pulls the covers over their head. 100 00:12:03,390 --> 00:12:09,060 I don't always use movable structures. This is a book called It Didn't Just Happen. 101 00:12:10,900 --> 00:12:15,950 Which is from 2008, Sleepers, Dreamers and Screamers was from 2006. 102 00:12:16,540 --> 00:12:20,349 And this has kind of a sequence of characters. 103 00:12:20,350 --> 00:12:27,730 And I put it together almost as if I was casting a play I various characters, and there's this ambiguous dialogue. 104 00:12:28,480 --> 00:12:33,310 And so there are people that are happy, there are people that are sad, there's possibly a crime going on. 105 00:12:33,760 --> 00:12:40,780 And the text has this rhythmic quality where it was, there was no one to blame, there was no reason. 106 00:12:40,780 --> 00:12:43,780 And then the final one is there was no cause. 107 00:12:43,780 --> 00:12:45,040 But it didn't just happen. 108 00:12:48,980 --> 00:12:59,570 This book is a double tunnel book that I made in response to my mother's frontal lobe dementia as she was sort of shifting away from us. 109 00:12:59,570 --> 00:13:07,580 And and it was a very curious phenomenon in that as she became more demented, she was actually more happy and but it was more sad for us. 110 00:13:07,970 --> 00:13:09,780 And so this is a double tunnel book. 111 00:13:09,800 --> 00:13:16,370 So there's sort of the the bright side where it's kind of where she thought she was and then the other side where she really was. 112 00:13:16,370 --> 00:13:22,579 But there was no point in trying to convince her of where she really was because for one thing, she didn't ever remember that. 113 00:13:22,580 --> 00:13:30,380 And for another, it was just needless. So this is a close up of. 114 00:13:33,740 --> 00:13:47,569 That side and then the other side. This is the book that really kind of caused a pretty major shift in the way that I work. 115 00:13:47,570 --> 00:13:50,960 And it was also brought about somewhat by the board. 116 00:13:51,120 --> 00:13:58,750 And even before they knew it, when I was, I often go to the Codex book fair to sell books. 117 00:13:58,760 --> 00:14:05,149 And so Richard Ovenden was one of the speakers there at the 2011 Codex, 118 00:14:05,150 --> 00:14:11,810 and they were just beginning to publicise the design of book binding competition, which was going to be displayed here. 119 00:14:12,380 --> 00:14:21,830 And he was commenting in his talk about how they were really hoping they would have more artists books enter entered into the competition. 120 00:14:21,830 --> 00:14:29,750 And I think what sounds kind of interesting and then I also ran into the the call for it and it had a pop up in it. 121 00:14:29,760 --> 00:14:36,410 And somehow between the two things, it seemed like this was really speaking to me and I thought it would be a really interesting challenge. 122 00:14:36,920 --> 00:14:43,160 The one requirement of the competition was the major one was it had to have something to do with Shakespeare. 123 00:14:43,610 --> 00:14:47,209 So somewhat randomly, I chose Romeo and Juliet. 124 00:14:47,210 --> 00:14:54,560 And I have read a lot of Shakespeare's plays, but not mostly when I was in school and so when I was required to. 125 00:14:54,560 --> 00:15:04,160 And so it was very interesting to revisit this play and and just see how it struck me as a much older person. 126 00:15:04,160 --> 00:15:08,960 And so part of what I had not really remembered from the play was the chorus, 127 00:15:09,410 --> 00:15:15,790 which opens the play and it talks about, you know, the, the two households, both alike in dignity. 128 00:15:15,800 --> 00:15:24,380 And so I, I synopses the plays into single lines for each act, but I kept repeating the chorus. 129 00:15:25,520 --> 00:15:31,399 And so this is Juliet's balcony, which I actually have visited in Verona. 130 00:15:31,400 --> 00:15:35,810 Even though she is a fictional character, she has a physical location. 131 00:15:36,590 --> 00:15:40,879 And so this is Romeo being banished to the various acts. 132 00:15:40,880 --> 00:15:46,880 And then this is both the original chorus and then my repeat of the chorus. 133 00:15:46,880 --> 00:15:50,540 But I kept changing the scenes of strife to more modern one. 134 00:15:50,540 --> 00:15:54,979 So it was Bosnia, the United States, Israel, Rwanda. 135 00:15:54,980 --> 00:16:00,799 And then in that tiny little smudged sense there of type is my little bit of commentary 136 00:16:00,800 --> 00:16:05,300 because it was a very curious thing to start working with Shakespeare's texts. 137 00:16:05,300 --> 00:16:13,700 It's really like I'm going to edit Shakespeare. And so I took to excerpting him and. 138 00:16:15,070 --> 00:16:18,340 So that and it opens in the round. 139 00:16:18,340 --> 00:16:23,350 So it references the Globe Theatre. There was sort of as many references that I could work in there as possible. 140 00:16:24,040 --> 00:16:31,240 I studied the architecture of Verona and various other things, and so happily it was very well received. 141 00:16:31,690 --> 00:16:36,190 It not only was accepted, but it won a prize and travelled all around. 142 00:16:36,190 --> 00:16:41,770 And so I decided to continue on with this sort of visiting of Shakespeare, 143 00:16:42,490 --> 00:16:49,330 but without sighs and other requirements that that I had with the first book. 144 00:16:49,810 --> 00:16:55,180 So the next book that I chose was Othello because I was going to be going to Venice. 145 00:16:55,780 --> 00:17:03,459 And I again, upon reading it, which sort of struck very differently from how I remembered it. 146 00:17:03,460 --> 00:17:08,800 And part of it was that I was incredibly irritated with Desdemona because she's an 147 00:17:08,800 --> 00:17:14,920 incredibly passive character in the play and and how I took to characterising her. 148 00:17:14,950 --> 00:17:20,110 She basically stood around until somebody killed her. And so I. 149 00:17:22,960 --> 00:17:28,240 Isolated all of her words and and physically sorted them. 150 00:17:28,280 --> 00:17:33,370 And many people have told me that they're device computer programs that will do all of that. 151 00:17:33,370 --> 00:17:41,829 And but I really needed that time with the text where I was physically cutting up and sorting and finding words. 152 00:17:41,830 --> 00:17:47,559 And there were certain words that really jumped out at me, like beguiling and and various other ones. 153 00:17:47,560 --> 00:17:50,799 And there were certain ones I wanted to use that didn't make the cut, 154 00:17:50,800 --> 00:17:55,600 but I made them into little magnets because they kept blowing around and I was losing them. 155 00:17:56,080 --> 00:18:00,819 And so for the longest time, I was using that just as a way of sorting out the texts. 156 00:18:00,820 --> 00:18:04,960 But eventually I came to realise that I really needed them to be a part of the book 157 00:18:05,740 --> 00:18:15,549 and I eventually wrote seven lines that became the individual prints and it starts. 158 00:18:15,550 --> 00:18:19,840 There's a coda, then there's five or sorry, a prelude five X and a coda. 159 00:18:20,200 --> 00:18:28,870 And so these lines are all there words that she has in her lines, but they are not in any sort of order that exists in the play. 160 00:18:29,650 --> 00:18:36,250 So I had to that was the rule that I made for myself was that I could not make up words for her. 161 00:18:36,610 --> 00:18:42,940 So I had certain things I wanted her to say, and I had to figure out what kind of language was there that would get me there. 162 00:18:43,480 --> 00:18:47,559 And then I made a series of prints. So these are loose leaf prints. 163 00:18:47,560 --> 00:18:54,040 So I still think of it as a book, but they're in folders so that they're, they are in a set order. 164 00:18:55,330 --> 00:19:00,670 And the prints for this book are all just of Desdemona and her lines. 165 00:19:01,090 --> 00:19:07,700 But when I was figuring out the drawing for these, I made a series of puppets, sort of on the order of shadow. 166 00:19:07,720 --> 00:19:16,180 The Indonesian shadow puppets. They're very flat. But I could move them around to kind of test out various gestures. 167 00:19:17,650 --> 00:19:25,940 And so as a result of that. Oh, sure, this one is good. 168 00:19:25,950 --> 00:19:30,509 Now that one's not going to work. There isn't a stop motion animation. 169 00:19:30,510 --> 00:19:33,690 And at the end of my talk, we're going to figure out how to play you that. 170 00:19:33,690 --> 00:19:37,680 Because I want you to see that and. 171 00:19:40,880 --> 00:19:44,240 Okay. Not there. This book is here. 172 00:19:44,270 --> 00:19:47,660 It's the only book aside from the project that I have here. 173 00:19:47,690 --> 00:19:52,220 This was done during residency at the University of Florida and. 174 00:19:53,300 --> 00:20:02,090 It's called all sorts because the the sort of brief of the residency was to spend time with the citrus 175 00:20:02,090 --> 00:20:10,130 label collection that had been donated by a man and and do an artist's book in response to that. 176 00:20:10,580 --> 00:20:16,549 So the citrus labels are incredibly bright and they were on the ends of crates and 177 00:20:16,550 --> 00:20:22,700 shipped from Florida to snowy places like Ohio in the middle of winter for the buyers. 178 00:20:23,030 --> 00:20:30,139 And they never looked at the fruit, they only looked at the labels and certain colours signified certain things. 179 00:20:30,140 --> 00:20:34,700 So blue was first quality. So we had to have a blue tunnel book because. 180 00:20:36,180 --> 00:20:44,280 First quality. So I was thinking about all the sorts of words that we use to sort people to label people. 181 00:20:44,280 --> 00:20:47,400 And so this is a double alphabet that. 182 00:20:47,790 --> 00:20:51,150 So it starts with apathetic, blunt, cheery deviants, 183 00:20:51,270 --> 00:20:58,110 etc. It goes through the alphabet twice and it forms rings to symbolise the various citrus fruits. 184 00:20:58,500 --> 00:21:03,210 It's a tunnel book so that when it spreads out, it looks somewhat like an orange crate. 185 00:21:04,200 --> 00:21:08,690 There is many references to the various labels that I was looking at as possible. 186 00:21:08,700 --> 00:21:12,930 There's lots of patterning. It's very densely printed. 187 00:21:13,440 --> 00:21:22,080 So when we used a lot of the type of face kind of approximation of some of the images from the various labels. 188 00:21:23,530 --> 00:21:31,870 This was a return to Shakespeare. I had thought that The Merchant of Venice was a tragedy. 189 00:21:31,880 --> 00:21:37,150 But in in the general sorting of things, it's considered a comedy. 190 00:21:37,150 --> 00:21:44,080 And I've learned that if a Shakespeare play ends in a death or murder, it's a tragedy. 191 00:21:44,080 --> 00:21:45,880 And if it ends in a wedding, it's comedy. 192 00:21:46,600 --> 00:21:53,710 And so it kind of doesn't matter what happened in between, because there are some pretty terrifying things that happen in some of the comedies. 193 00:21:54,250 --> 00:21:57,480 And so they're they're known as the problem comedies. 194 00:21:57,490 --> 00:22:04,149 And so I was trying to do one book on all of the comedies, which was kind of beyond me. 195 00:22:04,150 --> 00:22:09,300 So it ended up being a dose audiobook and it's called Funny, Peculiar, Funny, ha ha. 196 00:22:09,310 --> 00:22:13,960 And the titles I actually swapped, half of them say funny, ha ha, funny, peculiar. 197 00:22:14,380 --> 00:22:20,250 Because I never it you can start on either side, it's not one over the other. 198 00:22:20,260 --> 00:22:24,490 So this is from the problematic sorry, this is from the funny side. 199 00:22:25,180 --> 00:22:32,739 And, and there are certain things that I kept noticing in a lot of comedies that there's a lot of gender confusion and mistaken identity. 200 00:22:32,740 --> 00:22:37,600 And plus, originally, all of the characters were played by men pretending to be women, 201 00:22:37,600 --> 00:22:40,870 but sometimes within the play, the woman would be pretending to be a man. 202 00:22:41,230 --> 00:22:44,290 And so I decided to have sort of swapping genitalia. 203 00:22:44,950 --> 00:22:47,499 And this is from the problematic side. 204 00:22:47,500 --> 00:22:55,930 And I quoted a series of lines from various of the plays that are considered problematic, ending with All's Well that ends well. 205 00:22:57,250 --> 00:23:00,700 So the har har side is what's known as a slice book. 206 00:23:01,030 --> 00:23:07,480 So you can page through it in different orders and and kind of combine and recombine the figures. 207 00:23:09,350 --> 00:23:13,910 And these are the same figures that I'm using in the project here. It's a slightly different figure. 208 00:23:15,160 --> 00:23:22,390 But while I was doing that, just for general amusement, I think I decided to make a set of paper dolls as well. 209 00:23:22,810 --> 00:23:27,010 And so you can see it also comes with additional optional genitalia. 210 00:23:29,740 --> 00:23:33,850 And so you can you can cut them out or you can keep them as sheets. 211 00:23:36,420 --> 00:23:43,800 So this is what I'm working on when I'm not here, which is King Lear and the actual play. 212 00:23:44,220 --> 00:23:52,470 But the 2006 election in the United States caused a lot of kind of. 213 00:23:52,860 --> 00:24:01,260 It caused me to think about King Lear. And it also but there was also a lot of just general distraction with the current president and. 214 00:24:03,900 --> 00:24:12,510 And I started thinking of two King Lear's There's King Lear, spelled L r, but there's also King Lear spelled with two eyes. 215 00:24:12,510 --> 00:24:17,610 And and I have a little video on that. We're also going to make sure we show you that. 216 00:24:17,610 --> 00:24:23,339 But this is from the actual play. And these are various test pages. 217 00:24:23,340 --> 00:24:31,079 This is still in the working stage, but the characters have been kind of reduced to more abstract forms. 218 00:24:31,080 --> 00:24:37,260 And there's this sort of pulling of Lear between his daughters and various other things. 219 00:24:37,620 --> 00:24:40,700 So as I say, this is very much a work in progress. 220 00:24:40,710 --> 00:24:46,560 I hope to have it at the Kotex Book Fair next February, but I have quite a bit to do. 221 00:24:47,680 --> 00:24:51,400 This is a madness scene. King Lear spiralling out. 222 00:24:52,450 --> 00:24:58,860 I think. Okay. So this is the Desdemona stop motion animation. 223 00:25:01,230 --> 00:25:05,010 And there's no sound, so it's really just a voiceover. So I'm going to read it. 224 00:25:18,130 --> 00:25:25,210 So the lines as they go through are I am not some token to be moved between men with motives of their own. 225 00:25:33,960 --> 00:25:39,540 When did your heart lose faith? So your ears here. But guilt in your eyes see me not. 226 00:25:48,330 --> 00:25:53,220 Where is this beguiling monster that he never speaks slender to my face? 227 00:25:59,770 --> 00:26:04,570 Why did no one speak on my behalf before all was lost to violence? 228 00:26:11,910 --> 00:26:17,040 Who is this miserable man that he taints my truth and makes such fatal sorrow? 229 00:26:22,970 --> 00:26:28,280 What wretched husband believes fault speech and feels just in killing his loyal wife. 230 00:26:34,530 --> 00:26:39,090 How can love die this easily? Was it ever even truly love? 231 00:26:52,390 --> 00:27:20,830 And then this is the other King Lear. That's his King Lear. 232 00:27:20,830 --> 00:29:33,600 A tragedy and five puppets. Thank you. 233 00:29:37,180 --> 00:29:44,219 Okay. All right. So the project that I've been working on is in the Frontier. 234 00:29:44,220 --> 00:29:50,640 And as I said, it's called Order of Appearance and Order of a Disorder of disappearance. 235 00:29:51,120 --> 00:29:55,560 And it has it. This also arose from Shakespeare. 236 00:29:56,190 --> 00:30:00,690 It started very little germ from Winter's Tale. 237 00:30:00,690 --> 00:30:05,040 In Act three, there is a stage direction of exit pursued by a bear. 238 00:30:05,670 --> 00:30:10,910 And and there's very little other stage direction in a lot of the plays. 239 00:30:10,920 --> 00:30:17,310 And so from that, I jumped off to a series of other stage directions. 240 00:30:17,760 --> 00:30:29,299 It's it's got a gatefold. So that. The the pages are such that you can open each side independently so that you can 241 00:30:29,300 --> 00:30:36,080 have two characters on stage or not or exiting or entering in various orders. 242 00:30:36,080 --> 00:30:39,800 And so it starts with the leading lady. 243 00:30:40,810 --> 00:30:44,680 Exits to wild applause. And I can't remember exactly the order. 244 00:30:44,680 --> 00:30:48,680 And the order is variable. There is a front and back side of the bear. 245 00:30:48,700 --> 00:30:57,190 They don't align properly. The various lines such as the mime exits to the relief of everyone. 246 00:30:57,680 --> 00:31:04,390 Not quite sure I'm picking on names, but the leading man enters on the wrong cue. 247 00:31:04,510 --> 00:31:08,889 Various things. And so they. They come and go. 248 00:31:08,890 --> 00:31:16,240 And again, it's meant to signify that interactive aspect in that the viewer is controlling the order of the performance. 249 00:31:16,660 --> 00:31:23,650 You can go through the pages in whatever way you wish to, and you also can go through them in different ways, on different viewings. 250 00:31:24,160 --> 00:31:28,690 And so it's here. So you can look at them and I also can take questions if you have any. 251 00:31:30,740 --> 00:31:31,220 We're not.