Adam Savage’s Dream Diary Sculpture

Adam shares the story of one of his favorite sculptures from his past: The Somnambulist’s Travel Kit. It contains an artificially aged book that Adam used to chronicle his dreams for months, along with other artifacts that would live alongside that tome. And as Adam explains, it took an accidental discovery for this sculpture to reach its potential as a piece of art.

Comments (5)

5 thoughts on “Adam Savage’s Dream Diary Sculpture

  1. This is how mysteries like Voynich manuscript come to life.

    600 years from now people will be losing their mind trying to understand what this book is about.

  2. What a beautiful and unique sculpture. After watching you here on Tested and seeing you work, I am rewatching Mythbusters and am coming away with a fuller understanding of how you approach each myth. It has deepened my enjoyment of the series, made me look forward to whatever new thing you are going to do. Thank you. And I agree 100% about The Name of the Rose.

  3. this dilemma of how to display such an art piece that it really does what you want it to do instead of just evoking it in abstract reminds me of a prof i had at uni. besides the subject he taught, he is also a museologist, and so would often talk about that angle’s influence on the subject he was teaching.

    so i learned that the way artefacts get displayed in museums is itself an influence on how people perceive that artefact, and that can seriously skew what people think of that artefact’s natural habitat, or what it really looked like in use. such as us thinking of paintings’ natural habitat being a museum gallery, which very likely wasn’t where each of these pieces originally hung and was made for. or think open-air museums where entire buildings of, say, old farmsteads get recreated in a mock village. this village arrangement will influence people’s mental image of what these houses looked like in situ, while in reality, farmsteads were spread apart much farther by the farmland inbetween.

    with museums, that can become a serious didactic problem. hence, the discovery of nylon line was hailed as a milestone of museum exhibition technique. it deliberately places an artefact in an artificial situation that you can’t really misread as a depiction of its natural state. it makes explicit that this is a museum and your view on that object is a visitor’s on an exhibit, not a participant’s on an authentically in-use object.

    it’s pretty much the inverse problem of your sculpture: you can’t really exhibit it because the staging of art exhibition itself tells its nature as an art object. and that subverts what you really want it to do.

  4. Adam..Super cool..And what a great story!

    My childhood was spent rooting around my grandfathers “building” (workshop), my dads collection of “things”..and anywhere else I could find the treasures of my youth.

    Discovering the cast off items from my family’s past was priceless. I dream about it to this day.

    As a designer, I always lecture young designers about seeing everything and anything that they can put their senses on/to. It was many of these early “discoveries” in my life that formed my creative being.

    My mother was a nurse and my father was an engineer at Westinghouse…He always brought home the greatest treasure from the scrap area at work to inspire us kids. Resourcefulness and adaptation is key.

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