Listing entries tagged with book

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illumination   04.16.2008, 5:04 PM

Kyle Bean, student at the University of Brighton sent me this nice example of his work. More hybrid books on his site http://kylebean.co.uk

Posted by chris meade at 05:04 PM | Comments (0)
tags: art , book

a la recherche   04.16.2008, 1:43 PM

I was on the underground making my way to the London Book Fair yesterday, hoping to stand out from the crowds of frantic publishers jostling there by carrying over my shoulder the fabulously pretentious “Proust Society of America” book bag which I bought on a trip to New York for a meeting at the Mercantine Library, but was disconcerted to notice that the man on the other side of the carriage was staring at me strangely, then eventually he lent over and said to me, “Have you read Proust?” to which I replied yes I had, most of it, but many, many years ago, at which this gentleman told me that on his retirement he had made a list of classics he hadn’t read, and In Search of Lost Time was top of it so he has since read it six times, on permanent rotation, breaking off between volumes for other novels and recently he’s been looking for a Proust close reading group, has scoured the internet for such a thing, had found the New York group but nothing like it in London; then we arrived at Holborn Station and he stepped off the train before I could ask to swap email addresses, not because I want to start a close reading Proust group, but… well, perhaps he’ll Google his way to this page, and perhaps some other London Proust lovers will too and then I can put them in touch with each other and so the Marcel Proust Underground Networked Book Group will be born.

Posted by chris meade at 01:43 PM | Comments (1)
tags: book , closereading , proust

a brief history of book   02.12.2008, 9:57 AM

In the Institute's London office we've been talking about how to get across the message that the book has been through permanent change throughout its history, to knock on the head the simplistic argument of good old page v bad new screen. Here's my first stab at a beginner's guide.

Posted by chris meade at 09:57 AM | Comments (0)
tags: book , doggerel , future , history

a new voice for copyright reform   05.17.2007, 9:07 AM

The novelist Jonathan Lethem has been on a most unusual book tour, promoting and selling his latest novel and at the same time publicly questioning the copyright system that guarantees his livelihood. Intellectual property is a central theme in his new book, You Don't Love Me Yet, which chronicles a struggling California rock band who, in the course of trying to compose and record a debut album, progressively lose track of who wrote their songs. Lethem has always been obsessed with laying bare his influences (he has a book of essays devoted in large part to that), but this new novel, which seems on the whole to be a slighter work than his previous two Brooklyn-based sagas, is his most direct stab to date at the complex question of originality in art.

In February Lethem published one of the better pieces that has been written lately about the adverse effects of our bloated copyright system, an essay in Harper's entitled "The Ecstasy of Influence," which he billed provocatively as "a plagiarism." Lethem's flippancy with the word is deliberate. He wants to initiate a discussion about what he sees as the ultimately paradoxical idea of owning culture. Lethem is not arguing for an abolition of copyright laws. He still wants to earn his bread as a writer. But he advocates a general relaxation of a system that has clearly grown counter to the public interest.

None of these arguments are particularly new but Lethem reposes them deftly, interweaving a diverse playlist of references and quotations from greater authorities from with the facility of a DJ. And by foregrounding the act of sampling, the essay actually enacts its central thesis: that all creativity is built on the creativity of others. We've talked a great deal here on if:book about the role of the writer evolving into something more like that of a curator or editor. Lethem's essay, though hardly the first piece of writing to draw heavily from other sources, demonstrates how a curatorial method of writing does not necessarily come at the expense of a distinct authorial voice.

The Harper's piece has made the rounds both online and off and, with the new novel, seems to have propelled Lethem, at least for the moment, into the upper ranks of copyright reform advocates. Yesterday The Washington Post ran a story on Lethem's recent provocations. Here too is a 50-minute talk from the Authors@Google series (not surprisingly, Google is happy to lend some bandwidth to these ideas).

For some time, Cory Doctorow has been the leading voice among fiction writers for a scaling back of IP laws. It's good now to see a novelist with more mainstream appeal stepping into the debate, with the possibility of moving it beyond the usual techno-centric channels and into the larger public sphere. I suspect Lethem's interest will eventually move on to other things (and I don't see him giving away free electronic versions of his books anytime soon), but for now, we're fortunate to have his pen in the service of this cause.

Posted by ben vershbow at 09:07 AM | Comments (1) | TrackBack
tags: book , copyright , writing

moby-dick animated   05.04.2007, 2:14 AM

Alex Itin has done it again. Here it is: "Orson Whales," an intertextual fantasia on Moby-Dick and Orson Welles set to the savage drums of John Bonham. Each frame is a page of this edition of the Melville text, painted and photographed and strung together in iMovie.

What you're seeing is the entire book (actually two full copies - Alex can only paint on one side of each page because of bleed-through, so to get the whole text he had to double up). Here's some of it stacked up in the studio (this is months of work):

The soundtrack is detritus gathered from web searches, a hunt for the white whale through a sea of tangents - appropriate, really, for the great book, which is so notoriously (and gloriously) tangential.

Alex: "The soundtrack is built from searching "moby dick" on You Tube (I was looking for Orson's Preacher from the Huston film from the fifties) I couldn't find the preacher, but did find tons of Led Zep and drummers doing Bonzo and a little Orson....... makes for a nice Melville in the end."

Also check out his animation, same technique, of Ulysses. Bravo, Alex! (and happy birthday)!

Posted by ben vershbow at 02:14 AM | Comments (3) | TrackBack
tags: Remix , animation , art , book , melville , video

book as terrain   11.16.2006, 10:19 AM

People have done all sorts of interesting things with Google maps, but this one I particularly like. Maplib lets you upload any image (the larger and higher res the better) into the Google map interface, turning the picture into a draggable, zoomable and annotatable terrain -- a crude mashup tool that nonetheless suggests new spacial ways of navigating text.

I did a quick and dirty image mapping of W.H. Auden's "Musee des Beaux Arts" onto Breughel's "Landscape with the Fall of Icarus," casting the shepherd as poet. Click the markers and then the details links to read the poem (hint: start with the shepherd).

As you can see, they give you the code to embed image maps on other sites. You can post comments on the individual markers right here on if:book, or if you go to the Maplib site itself you can add your own markers.

I quite like this one that someone uploaded of a southerly view of the Italian peninsula (unfortunately it seems to start larger images off-center):

And here's an annotated Korean barbecue (yum):

Posted by ben vershbow at 10:19 AM | Comments (2) | TrackBack
tags: book , google , map , mashup

a book by any other name   10.30.2006, 7:38 AM

Predicting the future is a fool's errand, but it comforts me to look back on the past and see that some questions are important enough to revisit in each new age. In the 1996 collection The Future of the Book, edited by Geoffrey Nunberg, there are several essays that treat the same questions that we are concerned with now: how will reading change in the digital environment? What will be the form of digital texts? What role for the author? The reader?

Dan's recent post provoked a range of commentary that clearly illustrates the ongoing status of the debate. Despite the fact that these questions were raised, and treated, more than a decade ago—and certainly even further back, in texts I am unaware of (please make recommendations)—their answers are still unknown, which makes their relevance undiminished. The discussion is necessary, as Gary Frost pointed out, because "we do not have a vernacular beyond synthetics such as blog or Wiki or live journal or listserv." We haven't developed a canonical term for this idea of a digital text that includes multimedia, that accretes other text and multimedia from the activity of the network. When you are working at the edges of technology, inventing new terms of art to try and explain and market your concept, the jargon production is fever pitched. But we just haven't been exploring this question long enough to see what odd word will stick that can serve to separate the idea of a physical book, in all its permutations, from the notion of a networked book, in its unexplored mystery. It's a fundamental direction of our research at the Institute, and the contributions from our community of readers continues to be instructive.

Posted by jesse wilbur at 07:38 AM | Comments (0) | TrackBack
tags: book , comments , future_of_the_book , geoffrey , nunberg

carbon and silver   09.29.2006, 12:35 AM

Carbon and Silver is a small show of Walker Evans' 1935-36 photographs at the UBS gallery in New York. The purpose of this exhibit is to compare printing technologies. It focuses primarily on ink-jet prints in relation to gelatin silver prints, with a small sample of books side by side with their digitally printed counterparts, revealing how lithography literally pales next to the crispness of the digital.

The show invites meditations on the "authenticity" of reproductions, especially in a medium such as photography, in itself based upon printing technology. In this show it is quite difficult to discern the original from the copy, and one questions, as Baudrillard would have it, to which point the copy has come to replace the original.

Most of the prints exhibited at the UBS belong to Evans' body of work documenting the effect of the Great Depression on rural families for the Farm Security Administration in 1935-36. As a photographer, he was not particularly interested in producing his own prints as his main interest was to record information. These photographs were originally printed by the FSA as visual evidence reinforcing the New Deal.

Evans' own interpretation of them appeared in American Photographs, the book that accompanied his exhibition at the Museum of Modern art (the first one-man photography show ever mounted by a major museum.) John T. Hill says in this exhibition's catalogue that Evans "scrupulously controlled corrections of the printing plates, and using this process as an extension of his darkroom became a habit." The interesting thing is that he understood that the book has a permanence that the exhibition does not.

Evans' photographs have such crispness that they lend themselves to reproduction, even when the print is less than perfect. As a master of his medium he was absolutely aware of the difficulties of rendering full tonal scale in a black and white print. The ink-jet prints in this show are so remarkably close to their gelatin silver sisters that the viewer has to go back and forth from print to print in order to discern any possible difference. Evans loved the detail that an enlarged print brings out and the enlarged digital prints in this exhibition certainly do that.

Hill sums up the advantages of technology without denigrating the magnificence of the original process:

All new media affect voice and timbre. A greater tonal scale and more precise control of values are the two most significant tools offered by digital technology. The information so difficult to maintain in the dark and light ends of the scale using gelatin silver materials is now printable. Gelatin silver has been replaced by carbon black pigments laid onto archival paper. The music is the same; certain subtle notes are now heard more clearly.

Posted by sol gaitan at 12:35 AM | Comments (0) | TrackBack
tags: Baudrillard , art , book , digitization , exhibit , museum , photography , printing , walker_evans

wealth of networks   04.19.2006, 9:02 AM

I was lucky enough to have a chance to be at The Wealth of Networks: How Social Production Transforms Markets and Freedom book launch at Eyebeam in NYC last week. After a short introduction by Jonah Peretti, Yochai Benkler got up and gave us his presentation. The talk was really interesting, covering the basic ideas in his book and delivered with the energy and clarity of a true believer. We are, he says, in a transitional period, during which we have the opportunity to shape our information culture and policies, and thereby the future of our society. From the introduction:

This book is offered, then, as a challenge to contemporary legal democracies. We are in the midst of a technological, economic and organizational transformation that allows us to renegotiate the terms of freedom, justice, and productivity in the information society. How we shall live in this new environment will in some significant measure depend on policy choices that we make over the next decade or so. To be able to understand these choices, to be able to make them well, we must recognize that they are part of what is fundamentally a social and political choice—a choice about how to be free, equal, productive human beings under a new set of technological and economic conditions.

During the talk Benkler claimed an optimism for the future, with full faith in the strength of individuals and loose networks to increasingly contribute to our culture and, in certain areas, replace the moneyed interests that exist now. This is the long-held promise of the Internet, open-source technology, and the infomation commons. But what I'm looking forward to, treated at length in his book, is the analysis of the struggle between the contemporary economic and political structure and the unstructured groups enabled by technology. In one corner there is the system of markets in which individuals, government, mass media, and corporations currently try to control various parts of our cultural galaxy. In the other corner there are individuals, non-profits, and social networks sharing with each other through non-market transactions, motivated by uniquely human emotions (community, self-gratification, etc.) rather than profit. Benkler's claim is that current and future technologies enable richer non-market, public good oriented development of intellectual and cultural products. He also claims that this does not preclude the development of marketable products from these public ideas. In fact, he sees an economic incentive for corporations to support and contribute to the open-source/non-profit sphere. He points to IBM's Global Services division: the largest part of IBM's income is based off of consulting fees collected from services related to open-source software implementations. [I have not verified whether this is an accurate portrayal of IBM's Global Services, but this article suggests that it is. Anecdotally, as a former IBM co-op, I can say that Benkler's idea has been widely adopted within the organization.]

Further discussion of book will have to wait until I've read more of it. As an interesting addition, Benkler put up a wiki to accompany his book. Kathleen Fitzpatrick has just posted about this. She brings up a valid criticism of the wiki: why isn't the text of the book included on the page? Yes, you can download the pdf, but the texts are in essentially the same environment—yet they are not together. This is one of the things we were trying to overcome with the Gamer Theory design. This separation highlights a larger issue, and one that we are preoccupied with at the institute: how can we shape technology to allow us handle text collaboratively and socially, yet still maintain an author's unique voice?

Posted by jesse wilbur at 09:02 AM | Comments (3) | TrackBack
tags: IBM , benkler , book , book_launch , collaboration , commons , economics , eyebeam , internet , open_content , open_source , politics , public , publishing_broadcast_and_the_press , the_networked_book , wealth_of_networks , wiki