Libraries are full of knowledge waiting to be discovered. This untapped potential knowledge is hard to truly understand until you try to grasp the enormity of what is archived. Listening to the artist Jer Thorpe’s brilliant podcast, Artist in the Archive, created during an artist residency at the Library of Congress, one begins to grasp how futile the act of understanding the vastness of knowledge contained in our libraries can be. The same is true for the vastness of the internet. Luckily, we have Worldcat to help us find things.

图书馆充满了等待发现的知识。 除非您尝试掌握已归档内容的巨大内容，否则很难真正理解这些尚未开发的潜在知识。 听着艺术家耶索普的辉煌播客， 艺术家在存档 ，在美国国会图书馆的艺术家居住过程中产生的，一个人开始掌握如何徒劳的理解知识浩瀚的行为包含在我们的图书馆即可。 互联网的广阔也是如此。 幸运的是，我们有Worldcat来帮助我们找到东西。

In continuing my research on Otto and Marie Neurath, I was curious about a work created by the IZOSTAT (All-union Institute of Pictorial Statistics of Soviet Construction and Economy) and found (via Worldcat) that it had not been digitized, but it was available at the New York Public Library (NYPL). A few days later I went to the library to see it and knew at once that I had to share it with others. Below, for the first time that I can find, is a digitized version of the whole book.

在继续研究奥托(Otto)和玛丽·纽拉特 ( Marie Neurath)的过程中 ，我对IZOSTAT (苏维埃建筑与经济全盟绘画统计研究所)创作的作品感到好奇，并发现(通过Worldcat)它没有被数字化，但是它是可在纽约公共图书馆(NYPL)获得。 几天后，我去图书馆看了一下，马上就知道必须与他人分享。 下面是我第一次发现整本书的数字化版本。

但是首先是一些背景故事和背景 (But first some backstory and context)

There’s not a lot of information about the IZOSTAT. What I know comes from the definitive article, “Picturing Soviet Progress: Izostat 1931–4” written by Emma Minns from the Isotype archives at the University of Reading and explains much of the background. It is the story of a creative entrepreneur under the influence of opportunity and Otto Neurath was entranced by expansive budgets, vast Soviet resources, open political agreements, and a personal link with the famous Russian artist and designer, El Lissitzky.

关于IZOSTAT的信息并不多。 我所知道的是来自雷丁大学 Isotype档案馆的艾玛· 敏斯 ( Emma Minns)撰写的权威文章《苏联进步的图画：伊佐斯塔1931–4》 ，并解释了许多背景知识。 这是一个在机会的影响下富有创造力的企业家的故事，奥托·尼拉特(Otto Neurath)被庞大的预算，庞大的苏联资源，开放的政治协议以及与俄罗斯著名艺术家和设计师El Lissitzky的私人联系所吸引 。

The concept for the IZOSTAT began simply as a Rusian counterpart to Neurath’s Gesellschafts- und Wirstschaftsmuseum (the Social and Economic Museum in Vienna) in Vienna. Building on a friendly relationship between Austria and the USSR as well as the international acclaim of the Vienna Method of Pictorial Statistics, Otto Neurath, Gerd Arntz, and Marie Reidemeister (who later married Otto) traveled to Moscow in 1931 to establish an organization for pictorial statistics. Otto was initially named the director of the institution, and his staff was to remain on hand to advise, despite being under the jurisdiction of the Soviet government.

IZOSTAT的概念最初是作为俄罗斯人与维也纳Neurath的Gesellschafts- und Wirstschaftsmuseum(维也纳社会和经济博物馆)相对应的。 建立在奥地利与苏联之间的友好关系以及维也纳绘画图形统计方法的国际赞誉的基础上， 奥托·诺伊拉特 ( Otto Neurath) ， 格尔德 ·阿恩茨 ( Gerd Arntz )和玛丽·里德迈斯特 ( Marie Reidemeister) (后来与奥托结婚)于1931年前往莫斯科，建立了摄影插图组织统计。 奥托最初被任命为该机构的负责人，尽管他的工作人员处于苏联政府的管辖范围之内，但仍将随时为他提供咨询。

According to a German/Russian newspaper, the institute was created to “devise pictorial statistics for newspapers, schools, business operations, and many other purposes. Special games, teaching aids and other tools of enlightenment will be developed. Exemplary museums and touring exhibitions are planned according to the Vienna Method and the construction of a large museum in Moscow is already being considered, along with the establishment of an Institute building with all the necessary test facilities.” It’s easy to see how the ambitious Neurath would see this as a great opportunity to spread his methods and ideas on an epic scale.

根据德国/俄罗斯报纸的说法，该研究所的创建是为了“为报纸，学校，商业运作和许多其他目的设计图形统计。 将开发特殊游戏，教具和其他启蒙工具。 根据《维也纳方法》，计划举办示范性博物馆和巡回展览，并且正在考虑在莫斯科建造一个大型博物馆，以及建立具有所有必要测试设施的研究所大楼。” 容易看出雄心勃勃的诺拉特(Neurath)认为这是一次史诗般的传播他的方法和思想的绝好机会。

Only a few months later, “The Struggle for Five Years In Four” was published as a folder of 64 statistical charts produced by the Izostat Institute and the State Publishing House of Fine Arts. It was a project designed to celebrate Stalin’s first Five Year Plan, which was accomplished in only four years — hence the title. The data was provided by Soviet officials, so it’s presumed to be more of a propaganda project than scientifically accurate.

仅仅几个月后，“挣扎了五年的奋斗”作为Izostat研究所和国家美术出版社制作的64张统计图表的文件夹被出版。 这是一个旨在庆祝斯大林第一个五年计划的项目 ，该计划仅用了四年就完成了，因此获得了这一称号。 数据是由苏联官员提供的，因此推测它更多是宣传项目，而不是科学准确的项目。

This project was not credited to Neurath’s international team, but to Ivan Petrovich Ivanitskii, who was a practitioner of pictorial statistics before Neurath’s team arrived in Moscow. After admitting the Vienna method was superior to his own “film strip” method (which can be seen in charts 6, 14–16), he then learned Transformation from Marie and became her main “scientific collaborator.” Nevertheless, because this project was rushed to production it is a mix of the two approaches.

这个项目不是归功于Neurath的国际团队，而是归功于Ivan Petrovich Ivanitskii，他是Neurath的团队抵达莫斯科之前从事绘画统计工作的人。 在承认维也纳方法优于他自己的“电影地带”方法(可以在图表6、14-16中看到)之后，他从玛丽那里学到了《转变》，成为了她的主要“科学合作者”。 但是，由于该项目是紧急投产的，因此是两种方法的结合。

Ivanitskii was clearly cut from the same cloth as Otto Neurath, and was a passionate champion of pictorial statistics in the everyday lives of Russians. He went on to be credited for most of the IZOSTAT works through 1940 and his passion led to other projects outside of print media, including this IZOSTAT mural on a Moscow Apartment building and large posters in shop windows.

伊万尼茨基(Ivanitskii)显然是由与奥托·诺拉特(Otto Neurath)相同的人剪裁而成，并且是俄国人日常生活中绘画统计的热情拥护者。 在1940年之前，他一直是IZOSTAT大部分作品的功劳，他的热情导致了平面媒体以外的其他项目，包括莫斯科公寓楼上的IZOSTAT壁画和橱窗中的大型海报。

“The Struggle for Five Years in Four” also radically departs from the Vienna Method in a few substantial ways, mainly in its illustrative qualities. In the Russian version, Ivanitskii explains in a preface that the guide-pictures are to help the viewer understand the subject matter better, but it is clear that the illustrations also editorialize the overall objectives of the Five Year Plan. Factories, tractors, and microscopes all help to sell the presentation rather than embody or enhance the nuance of the data.

“四年中的五年斗争”也从几方面实质性地偏离了《维也纳方法》，主要是在其说明性的品质上。 伊万尼茨基(Ivanitskii)在俄文版的序言中解释说，指导图片是为了帮助观看者更好地理解主题，但是很显然，这些插图还编辑了五年计划的总体目标。 工厂，拖拉机和显微镜都有助于销售演示文稿，而不是体现或增强数据的细微差别。

This is precisely what interests me about this work. These charts are attractive as well as persuasive. The stories they present are immediate, like most Isotypes, but they are also more entertaining. We can see Stalin’s Soviet realism encroach on the modernist aesthetics to amplify their message, even if it comes at the cost of statistical clarity. The imagery of the ‘story’ becomes the primary focus, not the data, not the design — but what it all represents to the Soviet people.

这正是我对这项工作感兴趣的地方。 这些图表既吸引人又具有说服力 。 与大多数同等类型一样，他们呈现的故事是立竿见影的，但它们也更具娱乐性。 我们可以看到，斯大林的苏联现实主义侵占了现代主义美学，以扩大它们的信息，即使这是以牺牲统计清晰性为代价的。 “故事”的图像成为主要焦点，而不是数据，而不是设计，而是所有内容对苏维埃人民的代表。

“使用的符号……暗示了它们代表的意思” (“The symbols used … suggest what they are meant to represent”)

While this might strike some as an ethical compromise, Ivanitskii focuses on the representation of the statistics rather than the graphic formatting. The use of abstract icons would have been as unusual in Soviet Russia as they would have been in many parts of the world. A year earlier, Ivanitskii explained his design “not in the form of columns and tables of dry and boring numbers, but in the form of images or pictograms capable of exciting the interest of every worker in the Soviet Union.” The icons in these charts have personality, the charts have backgrounds that project ideals more than data.

尽管这可能在道德上让步，但伊万尼茨基(Ivanitskii)专注于统计数据的表示形式，而不是图形格式。 在苏联俄罗斯，使用抽象图标与在世界许多地方一样，将是不寻常的。 一年前，伊万尼茨基(Ivanitskii)解释了自己的设计“ 不是以枯燥乏味的数字的圆柱和表格的形式，而是以能够激发苏联每个工人兴趣的图像或象形图的形式。” 这些图表中的图标具有个性，图表中的背景比数据更能体现理想。

To me, “The Struggle for Five Years in Four” stands as another path for what the Isotype could have become. Decades later, this work remains vibrant, interesting, and exciting! We see a hybrid of the Vienna Method with Russian flourishes that creates perhaps more personality than many of the Neurath’s own charts.

对我而言，“四年奋斗五年”是同种异型可能成为的另一条道路。 几十年后，这项工作仍然充满活力，有趣和令人兴奋！ 我们看到了维也纳方法与俄罗斯繁荣的混合，这可能创造出比许多努拉特自己的图表更具个性的特征。

Ivanitskii says it best in his forward:

伊万尼茨基(Ivanitskii)最好地说：

这是本书每页的PDF(LINK) (Here is a PDF of every page of the book (LINK))

Below is every chart in the book of the English language version, in order, as photographed by me in the NYPL. I used available light, but I think the images are clear enough to see the craft and design of this obscure work.

以下是我在纽约证券交易所(NYPL)中拍摄的英语版本书中的所有图表，按顺序排列。 我使用了可用的光，但是我认为图像足够清晰，可以看到这项不起眼的作品的Craft.io和设计。

It is important for me to share this work in the hopes of further research or to provide design inspiration to anyone who wants to pick this up.

对于我来说，分享这项工作以希望有进一步的研究或向任何想了解此设计的人提供设计灵感非常重要。

I’ve written a few times about the work of Otto and Marie Neurath and have also explored the subject of Soviet data visualization. Here are links to those articles, and I’ll try to add future works as well. Thanks to Alyssa Bell, Isaac Levy-Rubinette and RJ Andrews for the editorial help!

我写了几次关于奥托和玛丽·尼拉特的作品，还探讨了苏联数据可视化的主题。 这里是这些文章的链接，我还将尝试添加以后的作品。 感谢Alyssa Bell，Isaac Levy-Rubinette和RJ Andrews的编辑帮助！