Books On Books Collection – Romano Hänni

typo bilder buch (2012)

typo bilder buch (2012)
Romano Hänni
Printing: Letterpress on hand-proofing press. Binding: paper over cardboard glued to end papers glued to handsewn book block. Pages: 54.
H268 x W237 x D30 mm. Edition of 65, of which this is #62. Acquired from the artist, 26 February 2020.

Appearance vs reality — one of the ancient standbys for philosophical conversation and disputation. But also for stimulating art. Romano Hänni’s typo bilder buch (2012) is a case in point.

Tightly encased in its banderole, typo bilder buch deceives. Large and thick, it appears weighty, hefty, but is light. Too snug to slide off, the banderole requires breaking a perforated edge. Appearance must be penetrated to get at reality. The cover, made of stiff heavyweight paper, is precisely creased around the front and back boards, made of waffled cardboard, not the usual dense binders boards. The text on the flyleaves is scrambled, the letters in reverse and sometimes in the wrong order (deliberately), sometimes inverted, the uppercase sometimes aligned to drop below the line, the lowercase sometimes aligned to rise above the line. Reconstituted from its mirror appearance (and translated), the text declares:

Appearance and Riately

Since the invention of script and the printed word, we have lost access to pictorial statements: we have become character devout. Nonetheless, we still read images.However, when reading images, signs and symbols, we seem to struggle, even though they also represent a source of information with a simultaneous effect on various levels. Initially, our visual perception looks for symmetry and a human face.

The book block’s first image: a small face in a white sea of embossed diagonals running from left to right, or is it from right to left, or downwards or upwards?

The book’s title and even its endpapers (the papers glued to the boards and attached to the book block) declare that typo bilder buch (“typo picture book”) will address this split between script and printed words (or letters) on the one hand and images on the other. On the pastedown is a bright orange lowercase alphabet; on the free endpaper are twenty-five signs, ornaments and images arranged in five rows and five columns. The alphabet’s twenty-six letters arrange themselves to match the five-by-five square of images by squeezing j and i together. Yes, in that order because the alphabet is set boustrophedon style (“as the ox plows”), which is at least the third or fourth clue that typo bilder buch wants us to play with our notions of books, reading and, as Hänni puts it, “appearance and riately”.

Spacing and layout are not the only toys at work here. To paraphrase Ellen Lupton: “Spacing, framing, punctuation, type style, layout, and other non-phonetic marks of difference [as well as the surface on or in which they appear] constitute the material interface of writing.” When any book opens, the fingers expect a firm block of pages for turning, but with typo bilder buch, the thumb on the free end paper sinks into the book block. All the leaves beneath the end paper, like the one with the tiny image of a human face, are two sheets of paper towel. These pages, this paper, are not merely a surface on which to print; the ink is not merely a medium. They play a physical and intellectual role in the composition of the work.

Through colorful, neighborhood mazes in a world Mondrian would love, small solid- and multi-colored geometric characters run or pose. Bosch would love the characters that look like human stick figures with birds’ heads, the figures with heads and legs but no bodies and the strange stick-figure animals. “Mr. Black” of The Book from the Ground (2014) by Xu Bing would recognize and sympathize with this cast of characters, although he would struggle to make narrative sense of it. His creator would smile, of course, over this book’s concluding pages:

Der Sinn dieses Buches ist seine Sinnlosigkeit — oberflächlich betrachtet.
(”The meaning of this book is its meaninglessness — superficially considered.”).

Some of the mazes could be the analogue version of a computer arcade game. Some seem to represent an arcane version of checkers or Chinese checkers combined with “magic squares” (they are not the traditional form of magic squares where the sum of any column, row or diagonal is equal to any other).

Reading typo bilder buch elicits, challenges and heightens pattern-seeking behavior. Expected patterns turn themselves on their heads. In the page above, the tilted numbers in the “magic squares” urge turning the book’s landscape orientation by 90º to the right into a portrait orientation. Notice how the numbers’ progression by 2 reads boustrophedon-style upwards from the lower right corner. Or perhaps the start lies with 56, decreasing by 2, which means reading upwards from the lower left corner then down and up and so on. Return the book to its landscape orientation, and the numerical plowing proceeds from right to left to right and so on. In either orientation, the numerical progression or regression challenges the notion of the “proper” direction for reading.

While trying to read typo bilder buch might lead from image to image, the realization often arrives that a larger subsuming image or pattern is in play, or vice versa. For instance, in the page above, the letters p and q declare their mirror image of each other from the upper left and right corners, but then so do the letters p and b from the upper and lower left corners, and so do the letters q and d from the upper and lower right corners, and likewise the b and d from the lower left and right corners, and likewise diagonally. But step further back, and the juggler in the middle may be laughing at this logic-chopping of “if p, then q; if q, then d; if d, then b; therefore, b, then q, and p, then d”. He laughs as if to ask, “I’m just juggling these four clubs; what are you doing?”

Ludic is the operative word for this book — even in the process by which it was created:

The page layout was deliberately not prepared. The design and sequence of the pages were intended to develop during the work process. The first printing forms were blue lines and linear frameworks at the bottom of the pages. New ideas developed during the unrolling and tearing off of double pages of paper towel as well as during composition, setup, printing and removing of the type. — Hänni, “Pictorial Supplement with Translation in American English”.

Photos: Books On Books.

So, implicit in every pattern and change of pattern, in every modulation of color and evenness of inking that heightens or depresses the surface, is the excitement of creative play. The book is rich in information about its material and making, which offers added ways to follow that excitement. Consider, for instance, Hänni’s description of the type area within which he worked — and, separately, his samples of grid plans:

The type area is 40340 Cicero (18318 cm) = 4 squares comprising of 20320 Cicero (939 cm) each or 400 squares comprising of 232 Cicero (939 mm). The top margin is 3,5 cm, the bottom margin is 4,5 cm (to the middle of the blue line), the outside margin is 1,5 cm, the inside margin is 3,5 cm. — Hänni, “Pictorial Supplement with Translation in American English”.

Romano Hänni, “Appearance and Riately”, translation by Jessica Schmid. Text, photographs, design, inkjet print © Romano Hänni, 2012.
Sample grid plans provided by the artist, © Romano Hänni.
Photos: Books On Books Collection. Permission to reproduce here: Courtesy of the artist.

By his detail about this European unit of measure in typography, Hänni grounds typo bilder buch deeply in the tradition of bookmaking. The “Cicero” obtained its name from its first use by the printers in the 15th century. It may have been Peter Schöffer, who printed an edition of Marcus Tullius Cicero’s speeches in a similar font size in 1465. It may have been Arnold Pannartz and Konrad Sweynheim in Rome for their 1467/68 edition of Cicero’s Letters to Friends. Or it may have been for the typeface cutter Ulrich Hans Cicero, who created a 12-point typeface in Rome. As can be seen from his 2011 catalogue, tradition matters as a source of discipline and creativity for Hänni.

Hänni, Romano. Romano Hänni : handprinted books 1984-2010 (Basel : Romano Hänni Verlag, 2011).

Although an admirer of Jan Tschichold, another adherent to tradition, Hänni does not hold with perfection or a mechanical application of the Golden Ratio. The blue cicero sits at the page’s optical center — eyeballed, not mechanically determined, according to the artist. Like Tschichold, though, he values precision in craft, tools and material, and he seeks an ethics and morality through his craft and art. Consider these technical details from the book’s introductory essay:

The page format was determined by the paper : Paper towels, maxi roll; composition: 100 % oxygen-bleached pulp (54 g/m2 ± 5 %), wet strength additives, agents; roll length: 62.1 m ± 2 %, sheet size: 23326 cm, ±2%, paper from responsible sources, FSC® C017535.

Note the point about responsible sourcing. One important departure from Tschichold’s views on discipline, craft and artistry is Hänni’s theme of “making do” and more openness to creativity “on the fly”:

The printing workshop represents the available raw materials: Lead characters, synthetics and wood, brass lines and signs, typographic signs and lead symbols. The typo pictures were composed from individual parts and printed on the hand proofing press; some of them were superimposed in several printing cycles. They are intended to mutually influence and merge into each other and to display an inner connection. The body of the book was bound by hand with thread. Overall production time was approx. 600 hours.

Photos: Courtesy of the artist.

Hänni strikes a similar but different balance than Tschichold among craft, discipline, tools and material, imagination and artistry, and ethics. Despite their engineering appearance, the samples imply a drive toward artistry in that centered cicero eyeballed, not calculated. In its technical detail, the paper’s responsible sourcing weighs on the side of nature. The restriction to the printing material at hand weighs for a balance of discipline and creativity. The workings and hours weigh in for the human hand’s striving for connectedness.

Four years after typo bilder buch’s appearance, the New York Times Interactive published “Reading in a ‘Post-Text Future’“, which posed that text is succumbing to the sound and blurry of podcasts, YouTube, talking assistants, Netflix, face-reading phones, Instagram and augmented reality. As if humanity is passing through an internet portal turning the evolution from orality to literacy in on itself — where “text recedes to the background, and sounds and images become the universal language”.

For Hänni, this would simply confirm what he avers: “An increasing amount of images, including moving ones, are crashing in on us. … Proven and irreplaceable things are sacrificed for supposedly new things. Progress destroys our memory….”. His essay and typo bilder buch in itself argue for a different outcome:

Reality, that is to say nature, teaches us something different: Everything is connected, interdependent and mutually influences one another. No part can be changed without affecting the whole. The most important and most valuable things, such as the air that we breathe or love, are invisible. Variety is the name of the game, not perfect reproduction. Our ever-changing reality remains intangible. This chaos is creative and lively…. The world is a contradiction. It is also the result of individual ways of thinking. A way of thinking that should be under constant change and development through a lifelong absorption of new impressions and experiences induced by reflection.

Examples of “random” regimentation; the size of the edition and number of this copy.
Photos: Books On Books.

Pages of regimentation, such as those above, tease at the theme of appearance and reality by inviting a search for underlying patterns that make up that regimentation only to yield discovery of breaks in the ranks. Even the means by which the book’s number and edition are presented on one of its last pages performs this invitation in typically tongue-in-cheek fashion: Dieses Buch trägt die Nummer: (“This book carries the number:”). What that number is must be discovered “as the ox plows”. To the end, typo bilder buch celebrates the irregular, the special, the different, the rare” by the book.

Glyphen aus der Steinzeit: [entdeckt in der Höhle von Lascaux, Dordogne/Frankreich] (1989)

Glyphen aus der Steinzeit: [entdeckt in der Höhle von Lascaux, Dordogne/Frankreich] (1989)

Romano Hänni and Martin Sommer

Handbound, paper cover around accordion fold attached to board, 20 panels, letterpress and handset. Special edition of VI, of which this is III. Acquired from Kelmscott Book Shop, 2 July 2020. Photos: Books On Books Collection.

Further Reading

Bookmark – Margins and making objects that live forever”, Books On Books, 20 August 2014. On ratios and page layout.

Hänni, Romano. Romano Hänni : handprinted books 1984-2010 (Basel : Romano Hänni Verlag, 2011).

Lupton, Ellen. “Deconstruction and Graphic Design: History Meets Theory”, Typotheque, 29 November 2004. Accessed 4 May 2020.

Tschichold, Jan. The Form of the Book: Essays on the Morality of Good Design (London: Lund Humphries, 1992).

Bookmark – Ringing the Changes on “The End of Books” (2014)

Are we there yet?

I mean the sesquicentenary of the premature announcement of the death of the book and such of its hangers-on as authors, readers and libraries.  I suppose I should be satisfied to have seen its centenary.  Robert Coover’s essay in the New York Times (June 1992) marked it a bit early, echoing Louis Octave Uzanne‘s tongue-in-cheek knelling in Scribner’s Magazine (August 1894), right down to the same title – “The End of Books”:

I do not believe (and the progress of electricity and modern mechanism [the phonograph] forbids me to believe) that Gutenberg’s invention can do otherwise than sooner or later fall into desuetude as a means of current interpretation of our mental products.

Uzanne - Reading on the Limited
Reading on the Limited, Pullman Circulating Library.
Illustration by Albert Robida from Uzanne’s “The End of Books”, Scribner’s Magazine, August 1894.

For Coover, not so tongue in cheek, it was hypertext’s divergent, interactive and polyvocal routes as opposed to the book’s unidirectional page-turning that heralded the death of the book (and the author).  D. T. Max rang out against CD-ROMs and the Internet bang on time in 1994 with “The End of the Book?” in The Atlantic when it was still called The Atlantic Monthly: 

… the question may not be whether, given enough time, CD-ROMS and the Internet can replace books, but whether they should. Ours is a culture that has made a fetish of impermanence. Paperbacks disintegrate, Polaroids fade, video images wear out. Perhaps the first novel ever written specifically to be read on a computer and to take advantage of the concept of hypertext … was Rob Swigart’s Portal, published in 1986 and designed for the Apple Macintosh, among other computers of its day. … Over time people threw out their old computers (fewer and fewer new programs could be run on them), and so Portal became for the most part unreadable. A similar fate will befall literary works of the future if they are committed not to paper but to transitional technology like diskettes, CD-ROMS, and Unix tapes–candidates, with eight-track tapes, Betamax, and the Apple Macintosh, for rapid obscurity. “It’s not clear, with fifty incompatible standards around, what will survive,” says Ted Nelson, the computer pioneer, who has grown disenchanted with the forces commercializing the Internet. “The so-called information age is really the age of information lost.” …  In a graphic dramatization of this mad dash to obsolescence, in 1992 the author William Gibson, who coined the term “cyberspace,” created an autobiographical story on computer disc called “Agrippa.” “Agrippa” is encoded to erase itself entirely as the purchaser plays the story. Only thirty-five copies were printed, and those who bought it left it intact. One copy was somehow pirated and sent out onto the Internet, where anyone could copy it. Many users did, but who and where is not consistently indexed, nor are the copies permanent–the Internet is anarchic. “The original disc is already almost obsolete on Macintoshes,” says Kevin Begos, the publisher of “Agrippa.” “Within four or five years it will get very hard to find a machine that will run it.” Collectors will soon find Gibson’s story gone before they can destroy it themselves.

Best not to wait for that sequicentenary then.  Accommodatingly in 2012, David A. Bell and Leah Price rolled out the canon more with Google, ebooks and the Kindle tolling not merely for the print book but rather for the New York Public Library and all libraries. We even had screenings throughout 2013 and scheduled for January 2014 of the documentary Out of Print, which asks, “Is the book as we know it really dead? Is the question even important in an always-on, digital world?”

The nearer one stands, of course, the louder it is.

Sounded in the nineties but not obviously well heard, Paul Duguid, he of The Social Life of Information co-fame with John Seely Brown, advised “taking a breath”:

… it’s important to resist announcements of the death of the book or the more general insistence that the present has swept away the past or that new technologies have superseded the old. To refuse to accept such claims is not, however, to deny that we are living through important cultural or technological changes. Rather, it’s to insist that to assess the significance of these changes and to build the resources to negotiate them, we need specific analysis not sweeping dismissals.

… to offer serious alternatives to the book, we need first to understand and even to replicate aspects of its social and material complexity. Indeed, for a while yet, it will probably be much more productive to go by the book than to go on insistently but ineffectually repeating “good bye”.

So it is heartening (or depressing if you are a Jeremiah) to see 2013 rung out with an essay by Roger Schonfeld (ITHAKA S+R) that celebrates and encourages the specific analysis Duguid urged.  In “Stop the Presses: Is the monograph headed for an e-only future?”, Schonfeld suggests several directions for further research and design:

  • What are the perceived constraints of existing digital interfaces with respect to long-form reading of scholarly monographs? What functional requirements does print currently serve better than digital with respect to monographs, even recognizing that many of the same individuals are acquiring and using tablets and reader devices for other purposes? How can content platforms and publishers better address the needs of academic readers and other users?
  • In an environment that has in many ways grown more fragmented over time, how can libraries and content platforms ensure the most efficient discovery and access experience possible for users of scholarly monographs? Is there a place for serendipity?
  • How can stewards of primary source materials in tangible and digital form, such as archives, museums, and digital libraries, most effectively support the digitization of their own materials for discovery and access purposes and provide for rich linkages with the analysis of their holdings found in the scholarly monograph?
  • If greater opportunities are provided over time for readers to engage with the primary sources, how might authors respond to reshape the nature of the monograph?
  • Will the digital version of the scholarly monograph diverge from the print version as additional features can be added?

At the heart of what changes but remains in the shift from print to digital are Search and Usability or “ambient findability” as Peter Morville terms them. Morville’s seminal work on information architecture, search and user experience focuses on the Web but is equally applicable to the book and ebook. A superior e-monograph will enlighten its readers by the author’s choice of information architecture and its enabling them to learn and evaluate the search paths that lead to the presentation, the arguments and the primary sources. Likewise the superior print monograph achieves its goals by the judicious combination of preliminaries, Part, Chapter, endmatter and thousands of years’ development of paratextual apparatus.

Of the print apparatus for search and usability, the table of contents and other parts of the printed book’s preliminaries may not remain a useful point of entry to a scholarly ebook. In 2002, when a small team at McGraw-Hill working with Unbound Medicine decided that putting the index at the front of HarrisonsOnHand in place of the table of contents made more sense for the user of an HP iPAQ, they thought they had made a major breakthrough for mobile ebooks. Almost. What they were realizing is the centrality of those twin navigational stars, Search and Usability.

Only a little over a decade later, the insight continues to dawn, and with the intervening improvements in interfaces and devices, it may be much brighter this time.

The process of digitizing a printed book involves much more than the conversion of ink on paper to bits in a file. Functional aspects of the book must be mapped to digital equivalents. Thus we have tables of contents and indices turning into hyperlinks and spine files, page numbers that beget location anchors and progress indicators.

So wrote Eric Hellman earlier this year in “Anachronisms and Dysfunctions of eBook Front and Back Matter” and concluded that the title page in an ebook ought to be a “Start” page like the start screens in the old interactive CD ROMs or today’s DVDs of television series. Publishers such as Faber with T.S. Eliot’s The Waste Land or Moonbot Studios with The Fantastic Flying Books of Mr. Morris Lessmore have done just that.

Although the EPUB doyen and doyenne, Richard Pipe and Liz Castro, advised usability-driven rethinking of frontmatter, the practice is not widespread among purveyors of the less-than-enhanced ebook. Most editorial and design advisors such as Joel Friedlander only go so far. Their advice generally assumes the direct transfer of print frontmatter to the ebook. While allowing for the omission of spatial anachronisms like the bastard or half title, they only caution against overburdening the ebook’s frontmatter. As for the traditional index at the other end of the ebook, many publishers omit them or simply replicate the print version without links. Ebook indexes that link terms to their multiple locations in the text regardless of the flow of the text in the ereader or device are rare for obvious technical and financial reasons, and only this year was an EPUB specification for the index approved.

The two great affordances of the printed book that most challenge today’s ebooks and ereaders, however, are legibility and the page.  While screen legibility may be improving at a “blinding rate”, we have today little more specific, scientific analysis of screen vs print legibility than Ellen Lupton found in 2003, although Jakob Nielsen remains indefatigable on the subject. Mechanics aside, the debate over the efficacy of reading from the page vs that from the screen should always be kept in mind. Ferris Jabr‘s April 2013 article in Scientific American and the six months of responses to it helped the topic considerably.  Jabr concluded, “When it comes to intensively reading long pieces of plain text, paper and ink may still have the advantage. But text is not the only way to read.” Which harks back to the conclusion of a previous post in Books on Books and Jerome Bruner’s  apt observation of Lev Vygotsky’s fondness for Sir Francis Bacon’s epigram, “Nec manus, nisi intellectus, sibi permissus, multum valent” (Neither hand nor intellect left each to itself is worth much)” (247).   Perhaps for now neither print nor digital left each to itself is sufficient.

How the page matters.  Enough so for Bonnie Mak to make it the subject and title of her book and to join Johanna Drucker, Peter Stoicheff, Jerome McGann and a long list of scholars conducting the analysis Duguid urged.  As the August 2013 Ploughshares interview with her illustrates, Mak’s focus and interest on the material aspects of the page and book extends also to the library and performance art. Which brings us back to Drucker the book artist, who argues that instead of considering the page, table of contents, etc., as static, iconographic features of format, we should think of them as cognitive cues in an instruction set in the “program” of the codex.  With reflowable text and responsive design, though, the cues can become slippery, so much so that the EPUB standard makers introduced Fixed Layout Properties with EPUB3.

This line of thinking about print space vs e-space comes sharply into focus if we consider annotatability, another of the printed book’s apparently superior affordances. While various devices and ereaders offer the ability to highlight and annotate, not all do, and the annotations are rarely accessible to others or across devices and platforms.  The Web and ebook standards communities are hard at work on a specification for open annotation, which will enable the reader to share annotations of a work with other readers and enable annotations upon annotations. While we wait for the standards, though, the market spawns numerous solutions such as Readmill and SocialBook that functionally reflect “the conceptual and intellectual motivations” behind the affordance.

These experiments and successes exemplify the specifics Duguid urged. The big print-to-digital experiment of the last decade, however, that would by any measure be deemed to have exceeded expectations is the Google Book Project.   Whether it was conducted in any sense “by the book” has been extensively argued in the courts and wherever else publishers, authors, technophobes and technophiles tend to gather.  The year saw the dismissal of the Authors’ Guild case against Google, which left everyone just to carry on behind the scenes as they had been. So we are left with both the occasion for further bell-tolling for the book and further Duguidian exploration and experimentation as well as the avenues of research suggested by Schonfeld.

There is, however, one more change to ring at the close of 2013. The metaLABproject pulls a bit on that rope, but Kenneth Goldsmith grasps it firmly and echoes Michael Agresta‘s earlier insights into the many web-to-print phenomena that demonstrate that these two technologies may be forever intertwined.   Goldsmith’s “The Artful Accidents of Google Books” highlights several individuals’ obsession with scanning errors from the Google Book Project.  One of them is Paul Soulellis, the proprietor of the Library of the Printed Web, which “consists entirely of stuff pulled off the Web and bound into paper books”.  

Soulellis calls the Library of the Printed Web “an accumulation of accumulations,” much of it printed on demand. In fact, he says that “I could sell the Library of the Printed Web and then order it again and have it delivered to me in a matter of days.” A few years ago, such books would never have been possible. The book is far from dead: it’s returning in forms that few could ever have imagined.

Or imagined digesting, like the series of book art by the late Dieter Roth, Literaturwurst (1969), to which Agresta gloomily alludes as “a final possible future for the paper book in the age of digital proliferation”.

I can hardly wait another thirty years!

Publications mentioned

Michael Agresta, “What Will Become of the Paper Book? How their design will evolve in the age of the Kindle,” Slate, 8 May 2012, accessed 23 December 2013:

Rick Anderson, “The Future(?) of the Scholarly(?) Monograph(?)”, The Scholarly Kitchen, 23 December 2013, accessed 23 December:

David A. Bell, “The Bookless Library”, The New Republic, 12 July 2012, accessed 23 December 2013:   

Sven Birkerts, The Gutenberg Elegies: The Fate of Reading in an Electronic Age (New York: Faber and Faber, 1994)

Liz Castro, Comments on Richard Pipe, “ePub and Spine Order”, 31 May 2010, accessed 2 June 2013:

Robert Coover, “The End of Books,” New York Times on the Web, 21 June 1992, accessed 23 December 2013:

Johanna Drucker, “The Virtual Codex from Page Space to E-space”, Book Arts Web, 25 April 2003, accessed 2 June 2013:

Paul Duguid, “Material Matters: Aspects of the Past and the Futurology of the Book”, 1996, accessed 24 December 2013:

Joel Friedlander, “Self-Publishing Basics: How to Organize Your Book’s Frontmatter,” The Book Designer, 8 February 2012, accessed 2 June 2013:

Kenneth Goldsmith, “The Artful Accidents of Google Books, The New Yorker, 5 December 2013, accessed 23 December 2013:

Eric Hellman,  “Anachronisms and Dysfunctions of eBook Front and Back Matter”, Go to Hellman, 8 February 2013, accessed 2 June 2013:

Gretchen E. Henderson, “People of the Book: Bonnie Mak”, Ploughshares, 20 August 2013, accessed 28 December 2013:

International Digital Publishing Forum, EPUB Indexes 1.0, 4 November 2013, accessed 23 December 2013:

Ferris Jabr, “The Reading Brain in the Digital Age: The Science of Paper versus Screens”, Scientific American, 11 April 2013, accessed 14 April 2013:

Anne Kostick, “Digital Reading: UX Publishing Outsider May Lead the Way for Publishing Insiders”, Digital Book World, 14 March 2011, accessed 2 June 2013:

Ellen Lupton, ““Cold Eye: Big Science”, Print magazine, Summer 2003, accessed 28 December 2013:

Bonnie Mak, How the Page Matters (Toronto: University of Toronto Press, 2012)

J. W. Manus, “Fun With Ebook Formatting: The Title Page and Front Matter,” Ebooks = Real Books, 23 April 2013, accessed 2 June 2013:

J. A. Marlow, “Effective Ebook Front and Back Matter,” The Worlds of J. A. Marlow, 19 April 2012, accessed 2 June 2013:

D. T. Max, “The End of the Book?” Atlantic Monthly 274 (Sept. 1994): 61-71.

Jerome McGann, “Visible and Invisible Books: Hermetic Images in N-Dimensional Space”, nd, accessed 28 December 2013:

Peter Morville, Semantic Studios, accessed 2 June 2013:

Priscilla Coit Murphy, “Books Are Dead, Long Live Books”, Media in Transition, 19 December 1999, accessed 28 December 2013:

Jakob Nielsen, Nielsen Norman Group, accessed 29 December 2013:

Richard Pipe, “ePub and Spine Order”, Using ePub, 30 May 2010, accessed 2 June 2013:

Leah Price, “Dead Again”, New York Times, 10 August 2012, accessed 23 December 2013:

Deena Rae, “Parts of an Ebook,” e-bookbuilders, 25 December 2012, accessed 2 June 2013:

Robert Sanderson and Paolo Ciccarese, “Open Annotation: Bridging the Divide?”, Slideshare,  11 February 2013, accessed 2 June 2013:

Roger Schonfeld’s “Stop the Presses: Is the monograph headed toward an e-only future?” (ITHAKA S+R, 10 December 2013, accessed 23 December 2013:

Peter Stoicheff (editor) and Andrew Taylor (editor), The Future of the Page (Toronto: University of Toronto Press, 2004).  See also the YouTube interview of Stoicheff:

Brad Stone, “Documentary Film Investigates the (Alleged) Death of Books”, BloombergBusinessweek, 10 May 2013, accessed 23 December 2013:

Louis Octave Uzanne, “The End of Books”, Scribner’s Magazine, August 1894, accessed 23 December:;cc=scri;rgn=full%20text;idno=scri0016-2;didno=scri0016-2;view=image;seq=0229;node=scri0016-2%3A9