Social Reading – Books On Books

Bookmarking Book Art – The Art of Reading in a “Post-Text Future”

2018/02/212021/04/17Books On Books2 Comments

Did you read on New York Times Interactive how text is succumbing to the sound and blurry of podcasts, YouTube, talking assistants, Netflix, face-reading phones, Instagram and augmented reality? We are passing through an internet portal turning our evolution from orality to literacy in on itself — where “text recedes to the background, and sounds and images become the universal language”.

Welcome to the post-text future.

The seemingly unintentional irony of delivering the welcome by text rather than by podcast or tweeted looping video meme undermines the hyperventilation a bit. But we should not roll our eyes and move on. The NYTI journalists are reminding us to pay attention.

Our literacy has always been multimodal (read and hear the orality in the opening text of Genesis in the The Douay Version). With each new medium it rapidly becomes more multimodal. In Ringing the Changes on “The End of Books”, there’s the tongue-in-cheek evidence from 1894.

“The End of Books”, Scribner’s Magazine (August 1894)
Louis Octave Uzanne

In Literacies, Mary Kalantzis and Bill Cope at the University of Illinois, Urbana-Champaign, trace its occurrence back to the mid-twentieth century age of radio and television. And not that long ago (2012), Amazon released Immersion Reading, enabling audio in sync with ebook reading.Leaving aside the apocalyptic speculation on the fate of letters, we should take the point: our literacies are entangled and evolve together. Putting the more scholarly view of differences between orality and text alongside the post-text Futurists’ observations about tweets, memes and other social media, we can see why we would benefit from closer attention to that entanglement and evolution.

Here is Walter J. Ong:

Oral folk prefer, especially in formal discourse, not the soldier, but the brave soldier; not the princess, but the beautiful princess; not the oak, but the sturdy oak. Oral expression thus carries a load of epithets and other formulary baggage which high literacy rejects as cumbersome and tiresomely redundant because of its aggregative weight … (Orality and Literacy: The Technologizing of the Word. London: Methuen, 1982, pp.31, 37-49).

Here is the post-text future:

An information system dominated by pictures and sounds prizes emotion over rationality. It’s a world where slogans and memes have more sticking power than arguments. — Farhad Manjoo

Here is Ong:

Writing fosters abstractions that disengage knowledge from the arena where human beings struggle with one another. It separates the knower from the known. By keeping knowledge embedded in the human lifeworld, orality situates knowledge within a context of struggle.

Here is the post-text future:

Doyle Canning, who wrote a book on using memes for political movements and co-founded the Center for Story-Based Strategy, said people have now realized memes are replacing nuanced political debate.

“People in 2016 declined to take seriously the impact of the memes and clung to this narrative that rational policy discourse would triumph, … And it didn’t.”

“Now politics,” she said, is just “a battle of the memes.” — Nellie Bowles

These comparisons/contrasts underscore Kalantzis’ and Cope’s educational earnestness about the importance of teaching to these entangled and evolving literacies as perhaps the only systematic means we have of offering children social equity and a chance at social equality. Imbuing their literacies with critical thinking skills is paramount. The art of living depends on the art of reading.

At the Museum Meermanno in The Hague, you can step into this increasingly busy intersection of literacies at an exhibition called The Art of Reading. The exhibition is divided into six rooms labeled “Reading is Turning the Page”, “Reading is Seeing”, Reading is Touching”, “Reading is Remembering”, “Reading is Concentrating” and “Reading is Reacting”. Unusually the art is not simply on display. Touching is allowed. Paul van Capelleveen, one of the curators organizing the show, insisted that each work be touchable. As a curator at the Dutch national library and advisor to the Museum Meermanno (The House of the Book), he felt strongly that the challenges of multimodal literacy cannot be understood “under glass”.

2nd Hand Reading (2014)
William Kentridge

Physicality or the haptic is an affordance that print literacy lords over digital literacy. We know where we are in a print book because we can feel as well as see where we are. Welcome then to the first room “Reading is Turning the Page”, where William Kentridge turns the tables on that claim. As you watch the “film of the book” across the room, you can try your hand at flipping the pages of the physical copy like a flipbook to mimic the video. Look closely though. The page numbers are not sequential.

2nd Hand Reading (2014)
Page 2388 then 2390?

And the entries are not in alphabetical order.

2nd Hand Reading (2014)
“Inquest” before “Heterogenesis”?

When the order of text, numerals, narrative and images collide, we are left with the literacy of art — be it digital or physical. Which brings you to the next room: “Reading is Touching”.

The Lost Men Project (2006)
Paul Emmanuel

The names of South African soldiers, both black and white, killed in the First World War, are set in hot metal type then impressed without ink on flesh. Photographed and filmed, the names fade away. In the exhibition, a voice from the touchscreen device repeats, “Touch me, touch me”. Each touch upon the screen — on the skin before you — advances the work running as a video on the touchscreen. Touching is the only way to read all of the names of the dead as they fade away. This work is but one of several that make up The Lost Men Project.

Like a Pearl in My Hand (2017)
Carina Hesper

In this room of touch, you move from sorrow to sorrow. Glass and ink do not separate you from them very much.

To read the pages of Like a Pearl in My Hand, you must rest your hands on them then lift your hands away.

The face revealed on each page is the face of a blind or visually impaired child in a Chinese orphanage. As you read the page, the face fades into blackness.

The artist’s book is associated with Bethel China, a charity for the visually impaired. Click on the image above to visit the charity’s site.

The next room is “Reading is Seeing”.

Were the curators being tone deaf with this juxtaposition? No, it is the bluntness and earnestness of recognition that literacies and our sensibilities are jumbled up. The literacy of art does that. It can move us from somberness to whimsy and back. The first work in this room of sight is a children’s flashlight (or torch) book; the next, a device for the visually impaired; the next, an augmented reality app on iPads.

OrCam MyEye 2.0 (2017)
Amnon Shashua and Ziv Aviram
An artificial vision device with a lightweight smart camera that instantly reads text aloud –in this case, a poem by Gerrit Achterberg (Kinderangst or Childhood Fear).

The curators deftly paced the impact of these rooms. Something from the one before lingers with you in the next, or something in the next reminds you of the one before.

“Reading is Remembering” is the next room. Here the artists play with re-membering text vs dis-membering text, recalling vs forgetting, excavating vs filling in, deconstructing to reconstruct, destroying to create.

A Excavation, A Reading (2013)
Rick Myers

Rick Myers was commissioned by the Onassis Cultural Center to commemorate the Greek poet Constantine Cavafy. The work he proposed required permission to obtain Pentelic marble fragments (quarrying is restricted for the purpose of restoring the Acropolis) and grinding them into dust. He then sourced four different translations of Cavafy’s poem “Before the Statue of Endymion”, arranged a reading and recording of each, and, for each, cut a stencil. The chronologically first translation’s stencil was positioned on stretched plastic film suspended over speakers. The marble dust was sifted onto the black plastic through the stencil, leaving the legible white text on the black background with which the video starts after the credits above. As the recording of the chronologically second translation plays, the sound’s vibration obliterates the marble dust words of the first translation. Then comes the turn of the second stenciled translation to be obliterated by the third’s recorded reading. And so on.

An instant from “An Excavation, A Reading” (2013)
Rick Myers

Here, then, is a work of art that simultaneously endorses and refutes the premise that text recedes in favor of some new universal language of sound and image. It is a textual palimpsest in motion where sound dissipates the text of the past, making way for the next version of the text to be dissipated by the sound of the third and the text of the third to be dissipated by the sound of the fourth. A moment of the work is captured in Victoria Bean and Chris McCabe’s The New Concrete (see below). The work runs a little over three minutes, excerpts can be found here, but the experience under the exhibition room’s banner provides an unsurpassable frame for the work.

An Excavation, A Reading (2013)
Rick Myers
From The New Concrete: Visual Poetry in the 21st Century, Edited by Victoria Bean and Chris McCabe. London: Hayward Publishing, 2015

Inspired by The Royal Road Test by Ed Ruscha, Mason Williams and Patrick Blackwell (the crew that filmed a Royal typewriter being thrown out of a Buick travelling at 90mph), Simon Morris had seventy-eight students cut out all of the words from Freud’s The Interpretation of Dreams. On Sunday, June 1st, 2003, he “threw the words out of the window of a Renault Clio Sport on Redbridge Road, Crossways, Dorset, traveling at a speed of 90mph, approximately 122 miles southwest of Freud’s psychoanalytical couch in London. The action freed the words from the structural unity of Freud’s text as it subjected them to an ‘aleatory moment’ – a seemingly random act of utter madness.” The work on display consists of a Ruscha-like book (right down to the plastic spiral binding) and a film of the epic literary littering.

The Royal Road to the Unconscious (2003)
Simon Morris

If you are expecting the next room — “Reading is Concentrating” — to help you gather any scattered thoughts or words, think again.

Marinus van Dijke’s work draws your eye and ear first. Chickens clucking and strutting onscreen, superimposed small white circles the size of a chicken’s eye jerking and gliding across the screen, a sheet of paper being laid over the screen (ah, it’s a screen within a screen), and then a hand with pen enters the frame, picks a circle and, trying to track it, leaves a scrawl on the paper.

Van Dijke’s work echoes Jan Dibbets’ Robin Redbreast’s Territory: Sculpture 1969, April — June, which Germano Celant included in his Book as Artwork show in 1973. Like the deliberate echo of Morris/Ruscha, this chance echo of Van Dijke/Dibbets recalls the grounding of contemporary textual and book art in the conceptualism of the 1960s/70s.

Robin Redbreast’s Territory: Sculpture 1969, April — June *(1970)*
Jan Dibbets

Dibbets documented the flight patterns of this highly territorial bird and presented that in a book as a conceptualization of an “as if” sculpture drawn in space.

There was admittedly some “artistic license” in Dibbets’ documentation — somewhat the same as when Van Dijke’s tracing pen cannot keep up with the peripatetic circles, which are projections of the chickens’ eye movements as they hunt for food.

“Reading is Reacting” is the last room. Here it seems that printed text comes out on top. Over in one corner is a Dutch encyclopedia, stacked vertically four feet high.

In the opposite corner, on shelves from floor to ceiling, is the Dutch version of Michael Mandiberg’s Print Wikipedia. The paperbacks scattered on the display table began their textual lives online.

Print Wikipedia (Dutch edition, 2016)
Michael Mandiberg

Jack
Tweetbundel (2015)
Jan Dirk van der Burg
Unsolicited autobiography created from the subject’s Twitter feed.

Although printed text seems to be having the last word, attend to the curators’ last words on your way out:

Reading and writing have become increasingly open arenas: there are more readers than ever before, there are more books and publication outlets, which can reach vast readerships thanks to the internet. Readers feel more empowered and are able to combine or alter texts found online. Readers become writers. Online texts have therefore come to resemble oral literature, in that they are constantly changing and being passed on from one person to another, retold — sometimes differently. They are unstable and at the same time highly accessible.

Text in books appear to be fixed, but annotations and deletions change the printed text, just as editorial changes alter a page on the internet…. Even so, printed texts are in principle less changeable than those posted online. This makes them appear inviolable and irrefutable. Some people fear that young people believe everything they read on the internet. That is nothing new. Philosophers from Socrates to Locke thought that written or printed texts would be accepted as the absolute truth.

Where do we stand today? … How reading will develop in the future is unclear, but one thing is sure: connection and interaction will be key to that development.

Leaving The Art of Reading and thinking again about a post-text future, you can be sure of one other thing: the art of living will still depend on the art of reading.

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

2014/01/012022/05/25Books On Books3 Comments

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.

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: http://www.slate.com/articles/arts/design/2012/05/will_paper_books_exist_in_the_future_yes_but_they_ll_look_different_.html

Rick Anderson, “The Future(?) of the Scholarly(?) Monograph(?)”, The Scholarly Kitchen, 23 December 2013, accessed 23 December: http://scholarlykitchen.sspnet.org/2013/12/23/the-future-of-the-scholarly-monograph/

David A. Bell, “The Bookless Library”, The New Republic, 12 July 2012, accessed 23 December 2013: http://www.newrepublic.com/node/104873/print

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: http://infogridpacific.typepad.com/using_epub/2010/05/ebooks-and-spine-order.html

Robert Coover, “The End of Books,” New York Times on the Web, 21 June 1992, accessed 23 December 2013: http://www.nytimes.com/books/98/09/27/specials/coover-end.html

Johanna Drucker, “The Virtual Codex from Page Space to E-space”, Book Arts Web, 25 April 2003, accessed 2 June 2013: http://www.philobiblon.com/drucker/#johanna

Paul Duguid, “Material Matters: Aspects of the Past and the Futurology of the Book”, 1996, accessed 24 December 2013: http://people.ischool.berkeley.edu/~duguid/SLOFI/Material_Matters.htm

Joel Friedlander, “Self-Publishing Basics: How to Organize Your Book’s Frontmatter,” The Book Designer, 8 February 2012, accessed 2 June 2013: http://www.thebookdesigner.com/2012/02/self-publishing-basics-how-to-organize-your-books-front-matter/

Kenneth Goldsmith, “The Artful Accidents of Google Books, The New Yorker, 5 December 2013, accessed 23 December 2013: http://www.newyorker.com/online/blogs/books/2013/12/the-art-of-google-book-scan.html

Eric Hellman, “Anachronisms and Dysfunctions of eBook Front and Back Matter”, Go to Hellman, 8 February 2013, accessed 2 June 2013: http://go-to-hellman.blogspot.ca/2013/02/anachronisms-and-dysfunctions-of-ebook.html

Gretchen E. Henderson, “People of the Book: Bonnie Mak”, Ploughshares, 20 August 2013, accessed 28 December 2013: http://blog.pshares.org/index.php/people-of-the-book-bonnie-mak/

International Digital Publishing Forum, EPUB Indexes 1.0, 4 November 2013, accessed 23 December 2013: http://www.idpf.org/epub/idx/

Ferris Jabr, “The Reading Brain in the Digital Age: The Science of Paper versus Screens”, Scientific American, 11 April 2013, accessed 14 April 2013: http://www.scientificamerican.com/article.cfm?id=reading-paper-screens

Anne Kostick, “Digital Reading: UX Publishing Outsider May Lead the Way for Publishing Insiders”, Digital Book World, 14 March 2011, accessed 2 June 2013: http://www.digitalbookworld.com/2011/digital-reading-ux-publishing-outsider-may-lead-the-way-for-publishing-insiders/

Ellen Lupton, ““Cold Eye: Big Science”, Print magazine, Summer 2003, accessed 28 December 2013: http://elupton.com/2009/10/science-of-typography/#more-113

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: http://jwmanus.wordpress.com/2013/04/23/fun-with-ebook-formatting-the-title-page-and-front-matter/

J. A. Marlow, “Effective Ebook Front and Back Matter,” The Worlds of J. A. Marlow, 19 April 2012, accessed 2 June 2013: http://jamarlow.com/2012/04/effective-ebook-front-and-back-matter/

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: http://www2.iath.virginia.edu/jjm2f/old/nlh2000web.html

Peter Morville, Semantic Studios, accessed 2 June 2013: http://semanticstudios.com/

Priscilla Coit Murphy, “Books Are Dead, Long Live Books”, Media in Transition, 19 December 1999, accessed 28 December 2013: http://web.mit.edu/m-i-t/articles/index_murphy.html

Jakob Nielsen, Nielsen Norman Group, accessed 29 December 2013: http://www.nngroup.com/

Richard Pipe, “ePub and Spine Order”, Using ePub, 30 May 2010, accessed 2 June 2013: http://infogridpacific.typepad.com/using_epub/2010/05/ebooks-and-spine-order.html

Leah Price, “Dead Again”, New York Times, 10 August 2012, accessed 23 December 2013: http://www.nytimes.com/2012/08/12/books/review/the-death-of-the-book-through-the-ages.html?pagewanted=1&_r=1&

Deena Rae, “Parts of an Ebook,” e-bookbuilders, 25 December 2012, accessed 2 June 2013: http://www.e-bookbuilders.com/2012/12/parts-of-an-ebook/

Robert Sanderson and Paolo Ciccarese, “Open Annotation: Bridging the Divide?”, Slideshare, 11 February 2013, accessed 2 June 2013: http://www.slideshare.net/azaroth42/open-annotation-bridging-the-divide

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: http://www.sr.ithaka.org/blog-individual/stop-presses-monograph-headed-toward-e-only-future)

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: http://www.youtube.com/watch?v=4XKHa7PH61c

Brad Stone, “Documentary Film Investigates the (Alleged) Death of Books”, BloombergBusinessweek, 10 May 2013, accessed 23 December 2013: http://www.businessweek.com/articles/2013-05-10/documentary-film-investigates-the-alleged-death-of-books

Louis Octave Uzanne, “The End of Books”, Scribner’s Magazine, August 1894, accessed 23 December: http://ebooks.library.cornell.edu/cgi/t/text/pageviewer-idx?c=scri;cc=scri;rgn=full%20text;idno=scri0016-2;didno=scri0016-2;view=image;seq=0229;node=scri0016-2%3A9

Bookmarking Book Art — Emma Taylor, updated 20190818

2013/03/302019/08/19Books On BooksLeave a comment

The fate of the book is becoming more and more critical as digital replacements ingrain themselves deeper into our society. To me the possibility of the end of the book is a tragic one; I appreciate books as an object as much as I enjoy the stories and knowledge which they hold. I predominantly work with antiquarian books as they often show evidence of their own personal story, perhaps through an inscription on the cover or a drawing on a page which adds a new layer of narrative. The theme for each sculpture may be inspired by a number of things including the title, size, shape or cover of the book. I work with wire, wadding and strips of book pages to create the impression of the sculpture emerging from within a book.

Emma Taylor, From Within a Book

Ironic that Emma Taylor’s site had its main life on Facebook, to which one must subscribe to read the great number of comments on her bookworks. Her Tumblr website, however, displays many, if not all of her sculptures in the series From Within A Book, and in her posting of 29 March 2013 (here from the Wayback Machine), you can find reference to an article from the Cambridge News covering her work as displayed in the local shop Plurabelle Books.

Of course, the bookwork above (made from Poor Folk in Spain by Jan and Cora Gordon, published by Bodley Head in 1922) represents what appears to be a store clerk taking down a book but could just as easily be a housekeeper dusting the bookshelves (after all the chapter in which it appears is named “Verdolay — Housekeeping”). Why “of course”? Small sculpted books created “from within a book.” Tending and caring for the physical artifact by altering the physical artifact. (A touch more irony could have been had with the addition of a tiny computer, iPad or Kindle.)

One direction Ms Taylor’s craft may take to evolve further into art would be to recognize and reflect that the fate of the book and ebook are as likely intertwined and separate in many respects as have been those of the many forms the codex has taken — from incunabula to paperback, bookkeeping to fiction or reference to textbook.

Paratextual devices such as the manicule, footnote, running heads, etc., have their “analogues” in ereaders, ebooks and books-in-browsers such as navigational icons, hyperlinks, breadcrumb trails, etc. Through the W3C’s open annotation specification, even marginalia may be finding a place in the so-called digital replacement to the printed book. With the insights of Matthew Kirschenbaum and others into digital forensics, the digital replacement and its “perfect” copies may yet yield the “evidence of their own personal story.” And if “social reading” takes deep root in the individual reading experience, the reader’s relationship to the author (and vice versa) could be enriched by the reader-to-reader relationship in ways hard to articulate. Ways that will offer the book artist new opportunities to “make it new.”

View My Modern Met article here. 18 August 2019

Bookmark for Marginalia and Note-taking

2013/02/242018/07/11Books On BooksLeave a comment

Annotation function in Utopiadocs. Copyright © 2012 Lost Island Labs.

imgres — Nathaniel Hawthorne
Herman Melville
New York, NY; Salem, MA, 1846-1850. ©2012 The President and Fellows of Harvard College

Earlier this month, we saw the release of the Open Annotation Community Group’s specification of the Open Annotation Core Data Model, an interoperable framework for creating annotations that can be easily shared between platforms. The work, directed by Robert Sanderson and Paolo Ciccarese, began in earnest about six months ago, although it was proceeded by longstanding efforts within and between the editors of the Annotation Ontology and the Open Annotation Collaboration. Under the auspices of the W3C, the efforts merged into the Open Annotation Community Group (OACG).

The OACG model defines an annotation as “a set of connected resources, typically including a body and target, where the body is somehow about the target,” and the full model “supports additional functionality, enabling semantic annotations, embedding content, selecting segments of resources, choosing the appropriate representation of a resource and providing styling hints for consuming clients.” Public rollout events are scheduled for 9 April (Stanford University), 6 May (University of Maryland) and 24 June (University of Manchester).

Back in November last year, while the Open Annotation Community Group (OACG) was thrashing through how to handle collections of annotations and other ontological issues, the Radcliffe Institute for Advanced Studies at Harvard University held a two-day symposium called “Take Note,” marking the conclusion of a two-year project on the history and future of note-taking. The project also resulted in a virtual exhibition of objects and works from the Harvard University Collections with notes ranging from a price list inscribed on a potsherd to a clothes list on papyrus found in an Egyptian garbage dump to Herman Melville’s annotations of his review copy of Hawthorne’s Mosses from an Old Manse (see image above). The exhibition was curated by Greg Afinogenov, Ann Blair and Leah Price, and interestingly, the OACG’s Paolo Ciccarese contributed to building the exhibition’s website.

So besides Paolo Ciccarese’s involvement, what’s the connection between these two events? Perhaps the link is captured in three comments from the participants:

Bill Sherman, historian at the University of York and author of Used Books: Marking Readers in Renaissance England, commented to a reporter, “We’re now in a moment where we’re leaving behind fewer traces of our reading than ever before…. We may have moved to the turning point where…we’ll have to find new ways to leave more behind.” And as Matthew Kirschenbaum has spelt out in Mechanisms, historians will have to learn new ways to decipher what is left behind.

David Weinberger, author of The Cluetrain Manifesto and long-time blogger, tweeted (according to the Harvard Gazette reporter), “”Collaborative notetaking via etherpad or GoogleDocs etc. is often a great way to go. Fascinating to participate in, too,’ during an afternoon presentation that explored digital annotation tools.” Like Bob Stein, the co-founder of the FutureoftheBook.com, Weinberger is a champion of social reading and collaborative creativity.

Another participant told the Gazette’s reporter, “’I was struck by the request that we send our notes into Radcliffe because my reaction was, “You know, my notes are really none of your business. My notes are my private thoughts, my private collaborations.” Until I am dead, I don’t really need other people looking at them.'” That last comment is particularly fetching: one wonders whether William James and Herman Melville had such an eye on posterity as they scribbled their notes now on display across the Web.

As the book evolves and we annotate works in our ereaders (offline or online), how do we ensure that they persist, and whether offline or online, how do we handle how private or public those notes will be?

Earlier this month, Books on Books raised proprietorial questions about annotated ebooks in response to Nicholas Carr’s article “Used e-book, slightly foxed” sparked by the Amazon patent for selling pre-loved ebooks. On his site, Carr responded with his own questions:

“[W]hat’s the relationship (legal and otherwise) between an e-book and the annotations added to it by its reader? Are the annotations attached to the particular copy of the e-book, and allowed to remain attached to it when it passes to a new reader, or do the annotations exist in a separate sphere — say, in a personal online database that is the property of the individual reader? … what right does the copyright holder (in particular, the author) hold over the way an e-book is presented? If annotations, or other metadata, in effect become part of the text, permanently or even temporarily, then does that represent a modification of the work that requires the consent of the author? You can’t publish an annotated print edition of a book under copyright without the copyright holder’s permission. Do different rules apply to an e-book?” (Carr’s questions elicited an interesting comment at Futureofthebook.com: “perhaps the interdependence of print and screen books is inevitable….”)

In some respects, by digitizing and reproducing others’ property (appropriately acquired through bequests, gifts and so on), the Harvard University Collections’ virtual exhibition illustrates Carr’s questions and those of the symposia participants — even the comment from Future of the Book — in a beautifully “tangible” way. Think upon it.

Bookmark for the “Used e-book, slightly foxed”

2013/02/102013/02/10Books On BooksLeave a comment

In “Used e-book, slightly foxed,” Nicholas Carr ponders Amazon’s widely reported patent on a method allowing the resale or giving of ebooks and other digital objects.

"Tiny Library Filled with Wee Books and a Deep, Dark, Secret," Artist, TheMistressT. Accessed 10 February 2013. — “Tiny Library Filled with Wee Books and a Deep, Dark, Secret,” Artist, TheMistressT. Accessed 10 February 2013.

Matthew Kirschenbaum might dispute Carr’s view that there is no difference between the new and used ebook however. In his book Mechanisms: New Media and the Forensic Imagination, he explores the nano-differences between masters and their digital copies, much as textual bibliographers have delved into the meaningful and revealing differences among print editions and even copies of the same print edition.

And with the recent publication of a W3C specification for Open Annotation of digital text, what might be inside that used ebook? As Baratunde Thurston, author of How to Be Black and founder of Cultivated Wit, writes:

What if you could download books that had been pre-annotated? I would pay extra to read Freakonomics with commentary by Paul Krugman,The New Jim Crow with notes from editors at The Nation, or the Bible annotated by the creators of South Park. A book could always inspire new layers of meaning, but now it can host that inspiration and a slew of associated conversations.

Thurston’s proposition though is more akin to the digital equivalent of the Norton critical editions or Robert Strassler’s oversized, beautifully enriched Landmark editions of Thucydides, Herodotus and Xenophon. Still, a pre-loved ebook is a different virtual matter and might be desirable to some hapless, non-haptic readers. No doubt, resellers of used ebooks will want to assure their customers that their digital goods are free of lesser annotators’ bytes of marginalia and the latest viruses and Trojan horses favored by vandals and hacksters. How will eBay cope, assuming it can come to terms with Amazon’s patent claim?

But to bring Thurston’s proposition and Open Annotation together suggests another market: the collectible ebook. Can there be such a thing as a rare ebook? Which libraries will be bidding for Clay Shirky’s ebook collection after he has shuffled off his digital coil?

The implications for DRM and copyright are delicious. Recall the hoax that Bruce Willis was considering legal action against Apple over his desire to leave his digital music collection to his daughters? If his collection’s metadata contained extensive annotations providing insight into the music or, more likely, the celebrity himself, why should iTunes’ Terms and Conditions override the family’s claim to the Die Hard star’s intellectual property that they could share (or not) with future celebrity biographers?

This year looks set to be one of important bookmarks for the evolution of the book: secondary markets for ebooks, Open Annotation, social reading and still more devices and applications for reading.

“How important are paper books?” | TeleRead

2012/10/132012/10/13Books On BooksLeave a comment

In his Teleread article (11 October 2012), Dan Eldridge picks up on Associate Professor Justin Hollander’s New York Times op-ed piece protesting Education Secretary Arne Duncan’s comment before the National Press Club that “over the next few years, [paper] textbooks should be obsolete.”

What makes his comments on comments on a comment bookmark-worthy are the comments they provoked from Gary Frost, Emeritus Conservator at the University of Iowa Libraries and the author of Future of the Book: A Way Forward (Coralville, IA: Iowa Book Works, 2012):

“The current rush of changes in print and ebook uses is dramatic evidence of our close relationship with books. A flood of digital reading devices and hybrid software and hardware designs are emerging as the print book is augmented by screen delivery and associated cloud libraries, ebook collection building, automated index and searching, and screen learning. While all screen book simulations deviate from print conventions the hybrids that emerge reference each other and often resonate with each other. This rapidly developing book production and consumption landscape is dynamic and unique in media history, or is it?

It’s pretty amazing that little attention is paid to the emerging composite of print and screen delivery of books. I mean looking directly between them and at an emergent functionality of all books. There you can now perceive the interdependence of print and screen and the likelihood that neither will flourish without the other. . . . Also involved are other forums, other than the forum of current technologies, their products and marketing. These other disciplines include academic book studies, cognitive science aspects of reading, book sustainability within libraries and many vectors of book arts.”

One might single out the infiltration of the book by “the social web” from the vector of current technologies that Frost insightfully identifies as necessary to explore this moment in the book’s/ebook’s evolution in which those who buy ebooks buy yet more print books. The ability to annotate and share print books is gradually being replicated, prodded as it were by the phenomenon of the social web.

So here you have it: a comment on comments on comments on comments on a comment.

“Of the making of comments, there is no end.”

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