When shaping a piece of text, language is always influenced by its medium, typeface, and typography. Even the same sentence can appear and be received differently depending on the form it takes. In this sense, a writer’s intention is never the only presence within the text; the decisions of the person who gives it form quietly permeate it as well.

How do these differences in form affect the way we see and read text? Are we reading words, or are we seeing them? Or perhaps these two acts cannot be clearly separated at all.

As it begins to speak presents a single text across three different media: letterpress printing, on-demand printing, and the web. Although the text itself remains unchanged, each medium gives rise to a distinct way of seeing and reading. Through these variations, the work traces the ridge between seeing and reading.

On-demand print edition. Standardization, mass production, speed. A symbol of contemporary printing efficiency. On-demand printing breaks the limitation of offset runs, making high-quality small-batch production possible. Paper and dimensions are specified online, and the printed work is delivered within a week. 12 page saddle-stitched booklet, based on the golden ratio.

Website edition. Data, convenience, fragility. The fastest medium of all. Once uploaded, it becomes instantly accessible worldwide. Text can be copied, translated, and corrected without delay. Yet as a support for language, it remains fragile—content can be removed quietly, and access may suddenly disappear.

Statement mil / yom. A booklet of reflections on seeing and reading. It serves as a companion volume to As It Begins to Speak. The slash in the title originally signifies or. In recent years, however, it has increasingly come to suggest and as well. The title draws on this ambiguity, occupying the space between the two meanings.

The top edge is left uncut. To read it, you open the pages by cutting the top edge with a paper knife or similar tool. The work is intentionally left in a state of becoming—a book that is not yet fully bound, retaining a sense of something still in formation. The pages are not given as something already open; instead, they slowly take the shape of a book through the reader’s hands. A small gesture of cutting the pages. Yet this slight act makes reading feel more physical, more embodied. 24 pages, scram-bound and wrapped with string.