Bookmarking Book Art – Mending Pages

M4qPagG - ImgurR6fTbxTmpG4XVO - ImgurWilliam Dean Minter, Senior Book Conservator in the Digitization and Preservation Department at Pennsylvania State University drew my attention to these images. At first, they reminded me of passages in Annie Tremmel Wilcox’s A Degree of Mastery, in which she describes mending rare books with kozo paper under the hawkeye of the late Bill Anthony. Then, dreamcatchers sprang to mind. DreamcatcherWhat were the images, sounds and thoughts caught in words now missing on these pages, words slipped from the dreamcatching pages? But book artist Esther Kibby, who teaches photography, graphic design and web design at the Art Institute of Dallas in Texas, came up with the most telling association: kintsugiKintsugi

Kintsugi (or kintsukuroi) is a Japanese method for repairing broken ceramics with a special lacquer mixed with gold, silver, or platinum. The philosophy behind the technique is to recognize the history of the object and to visibly incorporate the repair into the new piece instead of disguising it. The mastery of the book restorer is to invisibly repair the book. Our “dreamcatcher” restorer seems to have in mind the kintsugi philosophy and lets the repair draw attention to itself and creates “a new piece”.

In the hands of a book artist, such a technique could generate ironic expressions of biblioclasm: the restored book that is no longer a book? Or echoes of Walter Benjamin’s presumption of and preoccupation with the modern world’s fragmentary nature? Or the pain and sorrow of Al-Mutanabbi Street?

Bettina Pauly, The Sun that Rises, 2013

Bettina Pauly, The Sun that Rises, 2013.  Made for An Inventory of Al-Mutanabbi Street.


Or a tongue-in-cheek answer to those horrified by the destruction of “the book”?

When the Japanese mend broken objects, they aggrandize the damage by filling the cracks with gold. They believe that when something’s suffered damage and has a history it becomes more beautiful. —Barbara Bloom


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Bookmark — The ABC of Bookmarking


Detail from Harley MS 4425, Roman de la Rose


Historia Rerum Ubique Gestarum

The British Library‘s “Medieval and Earlier Manuscripts” blog is a reliable source of visual delight and provocation to think about the interplay of the print and digital worlds.  It also prompts the application of Ezra Pound’s critical technique of juxtaposing works, demonstrated so well in his The ABC of Reading.

Earlier this year, Ann Tomalak, Conservator, Greek Manuscripts Digitisation Project, posted “Digitising Manuscripts:  The Condition Assessment,” a wonderful essay that warrants reading alongside A Degree of Mastery by Annie Tremmel Wilcox.

I have read A Degree of Mastery from cover to cover twice.  Once in New York between 2002 and 2005 when I was teaching “Professional Book and Information Publishing” at NYU and wanted readings to help provide students with a sense of the history, art and craft of the book. The second time here and now in Windsor looking for the “right something” to include in “Books On Books.”

On both occasions ebooks and digital publishing pervaded my thoughts, but only on the second time around did these questions and observations I want to raise now shape themselves as they have.

Annie Tremmel Wilcox weaves a memoir of her apprenticeship under the renowned bookbinder and conservator William Anthony.  She weaves it with her diary entries, excerpts from an exhibit brochure “Saving Our Books and Words: The Conservation and Preservation of Books,” newspaper articles, correspondence, passages from “Japanese Woodworking Tools: Their Tradition, Spirit and Use” by Toshio Odate, step by step descriptions of mending torn pages and crumbling leather spines and plainspoken observation of fellow workers, conference attendees, librarians, government officials posing with restored documents, children making “books” from striped computer paper with wallpaper sewn on for covers and, of course, Bill Anthony, the “Johnny Appleseed of bookbinding.”

“Weaves” is the precise word for the structure of her book’s narrative, and it would be the right word for her ebook, if there were one.  As I re-read it, this game of word substitution yielded questions that make this memoir a useful means to bookmark the evolution of the book.

Writing about some of the tools she learns to use — lifting knives, translucent bone folders, the spokeshave and others — she says of Anthony’s, “His tools were smarter than mine. They knew the correct way to cut paper or pare leather. By using them I could feel in my hands how the tools were supposed to work.” (48)  For Wilcox and her reader, Bill Anthony is the master “shokunin,” craftsman or artisan.  And when she quotes from Odate “For the ‘shokunin,’ utility and appearance must be enhanced by the tool’s ‘presence,’ that is its refinement and dignity….,” this reader asks,

What are the tools of the ebook maker? From whence comes their refinement and dignity — their “presence” — with which the “shokunin” imbues his creation as a result of his commitment to his craft?  In what tools of the ebookmaker does “the spirit of the tool that records the ‘shokunin’s’ ability through the years to face the uncertainties of life, to overcome them, and to master the art of living” reside?

Too Zen? Perhaps.

An English grad student, Wilcox relished handling the University of Iowa‘s Sir Walter Scott Collection, its Leigh Hunt Collection and The Works of Rudyard Kipling.  Confronted with earlier slapdash and botched work on certain volumes of the Kipling, she writes, “Certainly these volumes of Kipling are found on the shelves of numerous libraries across the country, but the integrity of ‘these’ volumes as a complete set has been lost.” (179)  What constitutes the “integrity” of an ebook or its constituents? Are ebooks so “immaterial” that such a question is nonsensical?

The author’s apprenticeship included collaboration on the exhibit “Saving Our Books and Words.”  In addition to coauthoring the exhibit’s brochure, Wilcox contributed to completing Anthony’s special project of developing for the exhibit a unique collection of models demonstrating “the evolution of the codex – the form of the book as we know it.”(181)  In the brochure she touches on the immateriality and materiality of the Center’s work: “Simply defined, preservation is the attempt to save the intellectual content of books while conservation is the attempt to save both the intellectual content and its vehicle — the covers, paper, endbands, etc. The former is concerned with saving what the human record contains without regard to the forms it winds up in. The latter focuses on the artifact itself, attempts to save this book, this sheet.” (192)

What is the “form” of the ebook as we know it? Is the ebook as much “vehicle” as “content”?  What are its equivalencies to the page or to what “binds” the “text block”?  What does it mean to “conserve” an ebook?  Of a digital copy, what are the materials; what is the artifact to be conserved?

Wilcox ends her memoir with the completion of her “masterpiece,” the restoration of the incunabulum that Bill Anthony assigned her before his death and which she completed after it with the help of “The Restoration of Leather Bindings” by Bernard Middleton, author of the standard text “A History of English Craft Bookbinding Technique.”  The work assigned was Pope Pius II’s “Historia Rerum Ubique Gestarum,” printed by Johannes De Colonia and Johannes Manthen in Venice in 1477, which when restored was “not a deluxe edition, but … had great integrity.”  In the year 2547, of what will the preservation and conservation of today’s e-incunabula consist?  Will some apprentice conservator understand the “form” of these ebooks “in the cradle” and, master of smart tools, restore them to their integrity?

With Ann Tomalak’s essay, perhaps we can see that future through her present lense on the past.  Give it a read.

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Bookmark – Aldus Manutius, 6 February 1515 – 6 February 2015

Hypnerotomachia Poliphili, Venice: Aldine Press, 1499.

Hypnerotomachia Poliphili. Venice: Aldine Press, 1499.

Late afternoon before the long worn wooden benches in the Bodleian’s Convocation Hall, 500 years after the death of Aldus Manutius, Oren Margolis served his audience well, providing them with a richer appreciation of the “finest printed book of the entire Renaissance”* – the Hypnerotomachia Poliphili – and of its publisher Aldus Manutius.

Drawing our attention to the more sculptural qualities of Venetian Renaissance printed books over the Florentine and to the  evidence of the humanist agenda that drove Manutius, he led us to the page where Poliphilo (lover of all things, but in particular Polia, the ideal woman pursued to the end of the book) stands before a carving that foreshadows the Aldine Press device: a dolphin entwined around the shank of an anchor. The Aldine Press device was inspired by a similar image on an ancient Roman coin given by Pietro Bembo to Aldus, who wrongly associated it with Augustus and his proverb “Make haste slowly” and adopted both for his printing and publishing business.

Erasmus praised Aldus, saying that he was “building a library which knows no walls save those of the world itself”. Five hundred years after Aldus’s death, publishers continue to make haste slowly – at least in the eyes of most of their authors – and this has led many to try their hand at self-publishing over the internet. Now, the walls of that analog “world itself” have fallen. The Digital Public Library of the World beckons. But arriving there, will we – like Poliphilo in concluding his struggle to possess Polia – wake to find that it was all a dream?

For all of 2015, the world can enjoy a multitude of celebrations of the contribution of Aldus Manutius to publishing, printing and the book. The Manutius Network 2015  provides a running list, links for some of which are provided below, including the online exhibition associated with Margolis’s talk.




See the New York Times coverage here

*Alexander Lawson. The Anatomy of a Typeface. Jaffrey, NH: Godine, 1990. 

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Bookmarking Book Art – Helen Douglas

Helen Douglas, In Mexico: in the garden of Edward James, 2014 (reviewed in Der Tagesspeigel)

Helen Douglas, In Mexico: in the garden of Edward James, 2014 (reviewed in Der Tagesspeigel)

Helen Douglas has been kind enough to forward the notice above of her most recent work – In Mexico: in the garden of Edward James Based on her invited residency in Mexico City, this concertina book takes the viewer through Edward James’ jungle garden Las Posaz, its buildings and staircases, James’ surreal imagination and, best of all, Douglas’s own imaginative experience of them. See the interview at BookArtBookBlog that preceded the work’s unveiling at the London Art Book Fair at the Whitechapel Gallery and Berlin Art Book Fair.

When I go to Weproductions, the website of founding partners, Telfer Stokes and Helen Douglas, it is like taking a walk in Yarrow, Scotland, taking the measure of paper samples between forefinger and thumb, browsing in a bookstore, lingering in an art gallery. Two of Helen Douglas’s works in particular elicit this: The Pond at Deuchar (2013) and A Venetian Brocade (2010) .

Helen Douglas, The Pond at Deuchar, 2013 © Helen Douglas. Artist’s acknowledgment to Armadillo Systems (

Was it London Book Fair where I first saw this bookwork, appwork, scrollwork … this work of art?  What you see above leads you to the app. Clive Philpott’s postscript to this work, featured on Weproductions and published by the Tate, offers all the background and appreciation of the work you need to read. Read it, then go to The Pond at Deuchar*, lean forward and trail your fingers through its waters. A Venetian Brocade equally makes the act of looking tactile and the act of touching insightful. I have my copy, so I am happy to urge anyone with a pair of eyes and hands to go and buy one of the few remaining.

You will see how these two strong works lead to In Mexico: in the garden of Edward James and wonder, where next?

Helen Douglas and Marina Warner, A Venetian Brocade, Weproductions, 2010

Helen Douglas and Marina Warner, A Venetian Brocade, Weproductions, 2010

See also JMW Turner, “Deuchar Old Bridge, Near Yarrow, Selkirkshire, 1834″ from The Edinburgh Sketchbook, 1831-34.

See also Joseph Brodsky, Watermark (New York: Farrar Straus Giroux, 1992).

… bipeds go ape about shopping and dressing-up in Venice for reasons not exactly practical; they do so because the city, as it were, challenges them. We all harbor all sorts of misgivings about the flaws in our appearance, anatomy, about the imperfection of our very features. What one sees in this city at every steep, turn, perspective, and dead end worsens one’s complexes and insecurities. That’s why one—a woman especially, but a man also—hits the stores as soon as one arrives here, and with a vengeance. The surrounding beauty is such that one instantly conceives of an incoherent animal desire to match it, to be on par. This has nothing to do with vanity or with the natural surplus of mirrors here, the main one being the very water. It is simply that the city offers bipeds a notion of visual superiority absent in their natural lairs, in their habitual surroundings. That’s why furs fly here, as do suede, silk, linen, wool, and every other kind of fabric.

See also The Secret Life of Edward JamesGeorge Melly’s documentary film from 1975.

*Deuchar is pronounced “dew-ker”, the “k” as in “loch”.
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Bookmarking Book Art — Noriko Ambe

I first came across Noriko Ambe’s book art in 2013 through her site and MoMA’s Inside/Out. Two years later and preparing to attend the closing of Yale University Art Gallery’s special exhibition of Allan Chasanoff’s collection of book art, I spotted her Basic Sketch Book. The latter provided me with a way of making sense of what seemed like a slight contradiction of assertions in her artist’s statement and the MoMA interview.

Noriko Ambe, Work of Linear - Actions, 2000 Found sketchbook 27.9 x 21.6 cm (11 x 8 1/2 in.) The Allan Chasanoff, B.A. 1961, Book Art Collection, curated with Doug Beube - See more at:

Noriko Ambe, Work of Linear – Actions, 2000
Found sketchbook
27.9 x 21.6 cm (11 x 8 1/2 in.)
The Allan Chasanoff, B.A. 1961, Book Art Collection, curated with Doug Beube
Reproduced with the artist’s permission

Noriko Ambe, Work of Linear - Actions, 2000

Noriko Ambe, Work of Linear – Actions, 200

Noriko Ambe, Work of Linear - Actions, 2000

Noriko Ambe, Work of Linear – Actions, 2000

Referring to the series Work of Linear – Actions, Ambe writes, “It looks like annual rings of a tree or topographical map or wave, but it isn’t. It is absolutely the traces of actions of a person, which is me.” So here is book art as abstract self-portraiture.

But in her interview with Hanna Exel and referring to the series キル –Artist Books Project, Ambe comments, “I am not trying to express myself or insert myself into the other artist’s work by cutting their catalogue …”. In that series, Ambe selected 24 artists’ books and catalogues, and, studying each carefully , excavated or rather drew by excision. Aren’t these “absolutely the traces of actions of a person” — Noriko Ambe?

Noriko Ambe, CUT: Egon Schiele, 2009 Artist’s book The Museum of Modern Art, New York. Fund for the Twenty-First Century.  © 2013 Noriko Ambe

Noriko Ambe, CUT: Egon Schiele, 2009
Artist’s book
The Museum of Modern Art, New York.
Fund for the Twenty-First Century.
© 2013 Noriko Ambe
Reproduced with the artist’s permission

Here is the list of works in the series:

His heart, his life: Andy Warhol
Collected Beauties: Damien Hirst
Art Victims: Damien Hirst
Prologue: Sugimoto + Foer
Sculpture: Richard Serra
Spiritual America: Richard Prince
Crash!: Takashi Murakami
Kiru- Cut : Egon Schiele
In the Studio: Arberto Giacometti
Current – War Cut: Gerhard Richter
Current – A Private Atlas: Gerhard Richter
In the bathtub?!: Jeff Koons
Diamond Dust Shoes: Andy Warhol
Warning!: Richard Pettibone
Sailing to…: Cy Twombly
Anatomy of Love: John Currin
Listning to Tom Freidman: Tom Freidman
Thoughts on Tom Freidman: Tom Freidman
Beautiful Inside of My Head Forever: Damien Hirst
Dots on Dots and Leyers: Roy Lichtenstein
To Perfect Lovers: Felix Gonzalez-Torres
A Study of Robert Therrein: Robert Therrien
Double sides: Girbert & George
Artists, Believe in Yourself.: Piotr Uklanski

In her series statement, Ambe elaborates:

The process of creation was divided into roughly three stages. First, I earnestly established a deep respect for the artists and verified what they expressed through their art. After assimilating that information I decided on the theme (title) that needed to be expressed. Through a filter, the filter being me, the work was made while cutting as though I was having a dialogue with each single page.

When cutting something from the back I didn’t know what kind of image would appear next. Each time I decided to cut away or to leave behind and the process continued to a point where the book was on the verge of destruction, and then following my theme I re-constructed. Finally, while I clearly remained in the work as a filter, the essence of the artist was emphasized. It became a collaboration for the first time when these two things were balanced.

She calls the results dialogues and collaborations. I see unique works of art. Literally taking tradition as her material, Ambe delivers book art with its own unmistakeable, individual style. Each interpretation through her eyes, hands and scalpel is a unique, new work and a self-portrait in an abstract sense.

There is not the slightest contradiction.


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Bookmarking Book Art – Werner Pfeiffer and Anselm Kiefer

Werner Pfeiffer, Zig Zag, 2010 Laid into drop spine case: One folded sheet (20 x 20 cm.) which unfolds into a paper structure with various panels containing text printed in red and black, including instructions for use of the work. "The structure used in this book is a combination of two accordion folds. Both are first creased, then each segment is cut halfway through at the center and finally the two strips are merged together where the cuts have been made." Sheet laid into case. Limited ed. of 60 copies.

Werner Pfeiffer, Zig Zag, 2010
Laid into drop spine case: One folded sheet (20 x 20 cm.) which unfolds into a paper structure with various panels containing text printed in red and black, including instructions for use of the work. “The structure used in this book is a combination of two accordion folds. Both are first creased, then each segment is cut halfway through at the center and finally the two strips are merged together where the cuts have been made.” Limited edition of 60 copies.

“The book is one of the most powerful weapons ever invented.”  — Werner Pfeiffer, Book-Objects & Artist Books, online exhibition, Cornell University Library’s Division of Rare and Manuscript Collections.

Anselm Kiefer, The Rhine 1982-2013 Collages of woodcuts on canvas with acrylic and shellac in a leporello structure

Anselm Kiefer, The Rhine, 1982-2013
Collages of woodcuts on canvas with acrylic and shellac in a leporello structure

“The book, the idea of a book or the image of a book, is a symbol of learning, of transmitting knowledge … I make my own books to find my way through the old stories.”   — Anselm Kiefer, publication entry for Brünhilde schläft, in Toledo Museum of Art Masterworks (Toledo, 2009).

Like Anselm Kiefer, though eight years older, Werner Pfeiffer grew up in the shadow of Nazi Germany.  The works of both artists are rooted in the book and its peculiar place in that culture. Pfeiffer’s book-objects consist of deconstructed, dismantled library discards that are reassembled with glue and coated in gesso.  “Gagged and tormented” (with nails, screws, rope and various physical distortions), the works are “symbols of pain, of torture, of suppression which are inevitably brought on by the censor’s act”, the real remnants of which Pfeiffer recalls from his earliest childhood.

Pfeiffer’s artist books on the other hand run the gamut of foldouts, scrolls, flexagons, walk-in environments and rely on traditional bookmaking craft: handset type, letterpress printing, sophisticated binding as well as original print techniques such as wood cuts or linoleum blocks and etchings on archival papers. The emotional range of Pfeiffer’s art is also wide — humorous, playful, piquant, simultaneously angry and sorrowful, concerned. The overriding concerns are straightforwardly explained in the text to the online Cornell University exhibition.

The first schoolbooks I can remember, leftovers from the previous regime, were heavily “edited.” They were books with words and sentences blackened out. Chapters were deleted; entire pages were missing. This was information declared unsuitable for a post-war generation, a generation who six months earlier had been practically obliterated by the events now deemed unfit to be read about. Part of what they had lived through, their own history, had been blocked out, hidden behind those black marks.

Measured by the perceived fears an innocently bound codex seems capable of instilling, the book is one of the most powerful weapons ever invented. And yet we find ourselves at a threshold where its power and influence seem to be waning.

… As in the past, we find at the core of our current socio-political realignment the process of communication…. The new cultural footprint is a set of digits and their application, made possible by the microchip and the speed of electricity….

My book-objects have their origin partly in this ambiguous realm, a period of change as radical as it is dramatic. Superimposed over this perceived uncertainty is my personal concern about censorship. By making books which are deliberately mute I try to raise questions. Words are lost; they are no longer important. The books take on new forms; they become provocative statements. No longer instruments for reading they become sculptures, they become Book-Objects.

As with all superior sculpture, Pfeiffer’s works make the hands twitch to touch and manipulate them. In a few exhibitions, that interaction has even been encouraged. There is something inherently haptic about his book art (for example, Zig Zag) and his book-objects (for example, Drawing Blood), which can be enjoyed vicariously in these videos: Youtube 1, Youtube 2 and Youtube 3.

Kiefer’s materials are more varied, more monumental than Pfeiffer’s, and his concerns are decidedly not straightforward. Considering his sprawling studio complex at Barjac, in southeastern France, and its towers and installations, to say that Kiefer’s oeuvre extends beyond book art is an understatement. But for Books on Books, his most moving works — even those in which the book’s material presence is greatly subordinate — remain tethered to book art. The ache to touch Kiefer’s art, however, is different from what you feel with Pfeiffer’s. What little playfulness there may be in some of Kiefer’s earliest pieces is overshadowed by monumental works evoking an urge and dread at the same time.

You feel it walking up the stairs in the Royal Academy, looking up and seeing the sculpture Für Fulcanelli – die Sprache der Vögel, its great wings of beaten lead spread and rising above you.  Between the wings, the body is made of a stack of elephant and double elephant folio books lying flat (or rather gathered folios made of lead like the wings). Interleaved with the closed and open books are rusted metal folding chairs with wooden seats and backs, the kind found in city parks. Thick metal wedges that appear to be wood are inserted at various points to balance out the angular, tilting pile. Separate and lying before this huge bird is a carved wooden snake, elongated and heading right to left as you view the work. The pages of the books curl and fold and roll up as if sodden or aflame. Some are rusted. The bottom-most book has lead binder boards, water stained and looking like marbled paper. Not all of them have binding boards, but all are spineless. You want to touch but know that if you do, your fingers will come away with some alchemical residue of history that will not come off and may burn the skin.

Pfeiffer’s works from a major exhibition in 2011 at Cornell remain on view online. Another major exhibition followed in 2012 at Vassar College.  A new exhibition is scheduled for February 2015 in Toledo, Ohio. More about it in The Blade.

A major retrospective of Kiefer’s art at the Royal Academy of Art concluded in December 2014, coinciding with an hour-long BBC program. An interview with the artist and several podcasts are available on the RA’s site, and the rich and extensive exhibition catalogue provides articles exploring the complex themes of Kiefer’s art.

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Bookmarking Book Art – Interview with the Mystery Book Artist of Edinburgh

Still anonymous and still a mystery, the MBAE has given BBC Scotland an interview by email.

As last year closed, Books on Books highlighted the MBAE’s most recent gift to Edinburgh and a down-under cousin worthy of global consideration.

For those wishing for more than digital proximity to the MBAE at least, GiftEd is the name of the book published last year about the MBAE’s first ten gifts to Edinburgh.

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Bookmark on Reading “Actual Books”

The seasonal flu among expositors of the future of the book and the future of reading is upon us. No sooner does one town cryer sneeze about the latest reading device or software than a town de-cryer follows heralding the superiority of reading print – or vice versa.

Sure enough, here is the Guardian today: “Whisper it quietly, the book is back … and here’s the man leading the revival“. That would be James Daunt, CEO of the UK bookstore chain Waterstone’s, who has used a Russian oligarch’s money to bring the chain to breakeven.

And without a hint of irony, here’s the online-only .Mic demonstrating that variant strains can cross generations and oceans as well as media: “Science Has Great News for People Who Read Actual Books“.  That would be the oft-repeated Norwegian study of two groups of 10th graders, one of which – the print readers – comprehends and retains more than its ebook-reading counterpart.

There are plenty of days remaining before the year’s close for the digital riposte surely on its way to envelop us.  In the meantime, here is a combined and fortified reading list from Christmas bloggings past:

Reading List

Association for Psychological Science (2010, August 30).  Eye movements reveal readers’ wandering minds.  ScienceDaily. Accessed September 8, 2012.

Bookmark for “A Brief History of Reading” (and a Revisit of “The Future of Reading?”). BooksOnBooks. Posted February 13, 2013.

British Association for the Advancement of Science (2007, September 11). Reading Process Is Surprisingly Different Than Previously Thought, Technology Shows. ScienceDaily. Accessed September 8, 2012.

Dehaene, Stanislas. Reading in the Brain. New York: Viking, 2009.

Florida State University (2012, February 14). How Do Children Learn to Read Silently?. ScienceDaily. Accessed September 8, 2012.

Hill, Bill. The Magic of Reading. 1999.

Jabr, Ferris. The Reading Brain in the Digital Age: The Science of Paper versus ScreensScientific American. April 11, 2013.  Accessed 14 April 2013:

Kozlowski, Michael. Amazon Unleashes Immersion Reading and Whispersync for Voice. GoodEReader. Accessed September 8, 2012.

Mangen, Anne, et al. Reading linear texts on paper versus computer screen: Effects on reading comprehension. International Journal of Educational Research. 58 (2013) 61-68.

Mangen, Anne, et al. Evolution of reading in the age of digitisationISCH COST Action IS1404. Updated May 6, 2014. Accessed December 14, 2014.

Mangen, Anne, and Velay, Jean-Luc. Cognitive implications of new media. The Johns Hopkins Guide to Digital Media. Edited by Marie-Laure Ryan, Lori Emerson and Benjamin J. Robertson. Baltimore, MD: Johns Hopkins University Press, 2014.

O’Callaghan, Tiffany. Reading on screens is different – does it matter? New Scientist. October 30, 2014.

Rollins, H.A. Jr., Hendricks, R.  Processing of words presented simultaneously to eye and ear.  J. Exp. Psychol. Hum. Percept. Perform. 1980 Feb; 6(1): 99-109. Accessed September 8, 2012.

Vinall-Cox, JoanMoving From Paper to E-Book Reading.  eLearn Magazine. March 2012.  Accessed September 8, 2012.

Walker Reading Technologies, Inc. LiveInk® (four papers:  jaltcalljournal, National Educational Computing Conference, Reading Online and IEEE International Professional Computing Conference).



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