Friday, September 18, 2009

Funny, I sent in an oped to the Chronicle of Higher Education as a prank,

Funny, I sent in an oped to the Chronicle of Higher Education as a prank, to prove that they do not even read submissions from people who are not on their approved list in fact, it was an oped they published three years ago by one of their approved PHD people, and now they write me some BS form letter to say to me, under my name, the same article does not work for them: GOTCHA!

This is the state of higher education in the USA today. SIGH.

Thank you for sending us your article. Several of us have read it, and we
regret to say that we are unable to publish it. Because we receive dozens of
manuscripts each week on all sorts of topics, we have to make some tough
choices. And, unfortunately, that large number also precludes us from
responding to each in depth. But we appreciate your thinking of us and hope
you will keep us in mind for articles in the future.

Thank you,
The Editors, Chronicle of Higher Education

From: Danielle Scruggs

From: Danielle Scruggs
Date: Sat, Sep 19, 2009 at 6:05 AM
Subject: Your op-ed submission to The Post
To: Dan Bloom



Thank you for your recent op-ed submission. The column was carefully
reviewed, but unfortunately The Post is not able to publish this piece.

You can submit future articles using our web submission form at
http://projects.washingtonpost.com/opeds/submit/.

Thanks,
Editorial Department
The Washington Post





Dan Bloom To
<.c oped@washpost.com
om> cc

09/06/2009 03:49 bcc
AM
Subject
oped








The nature of reading is changing right before our very eyes

by Danny Bloom


Do we read differently on the computer screen from how we
read on the
printed page? The answer, of course, is yes. But just how different
and what it means are issues that need further study.


Anne Mangen, a reading specialist at the
University of Stavanger in Norway,is one of the leading researchers
concerned with these differences.
In an academic paper published in the Journal of Research on Reading last
December, Mangen listed a few reasons that reading on paper
and reading on a screen are different from each other. According to her\
research, and in her opinion:.

* Reading on a screen is not as rewarding -- or effective -- as
reading printed words on paper.

* The process of reading on a screen involves so much physical
manipulation of the
computer that it interferes with our ability to focus on and
appreciate what we're reading.

* Online text moves up and down the
screen and lacks physical dimension, robbing us of a feeling of
completeness.

* The visual happenings on a compter screen and our physical interaction
with the entire device and its set ip can be distracting. All of these
things
tax human cognition and concentration in a way that a book or
newspaper or magazine does not.

* The experience of reading a book or a newspaper or a magazine is
both a story experience and a tactile one.

When I asked Mim Harrison, a book editor in Florida, about this, she
said: "I find the
differences between reading on paper and reading on a screen to be
intriguing, and it
certainly gives one pause to consider just what it is we're doing
with our eyeballs these days."

The experience of reading on a screen is fundamentally different from
reading
on paper," a leading futurist and cultural forecaster in California
told me, adding: "Not a priori worse or better; just
different."Mangen's research, and the work of other people, too, are
important in terms of drawing people's attention to the vast literary
shift about to wash over us."

Bill Hill, a former Microsoft web designer from Scotland who is
still based in the Seattle area, told me that one reason that reading
on screens is still a bit problematical is because "we are still
paying the price of an engineering shortcut taken sixteen years ago."

Say that again? HIll continued: "Sixteen
years ago, when the programmers at the NSCA were creating Mosaic, the
first Web browser, they made an engineering decision based on
expediency. They took an easy option -- for which we're all still
paying a huge price in terms of the readability of the Web."

They opted for scrolling, Hill said.Big mistake!

"Type, and layout, has evolved over the 5,500 years since writing
systems first appeared," Hill says, "and especially since the
widespread adoption of Gutenberg's moveable metal type -- to optimize
for the way human vision works. Sure, you can learn to make do with
scrolling to read, if there's nothing better. And there's no choice on
the Web today. And that's what we need to fix to make reading -- and design
--
first-class citizens on the Web."

Reading on paper will be with us for a long time to come, most experts
believe,
but reading on screens is changing the way we experience "reading" as well.
What
these differences mean is still poorly understood and needs to be studied
by
reading specialists, Web readability experts and technology gurus.

Reading will always be reading. But it's changing right before our
very eyes as well.



-------------------------

Danny Bloom is a freelancer writer and blogger
based in Taiwan with a special interest in the future of reading.

Sunday, September 13, 2009

Screading

In an informal survey of members of a mailing list related to linguistics, readers were asked what word they might suggest to stand for reading on a screen, to differ this from reading on paper......and without any prodding or prompting...without suggesting any word at all........all 14 people who wrote in, independently from each other, and not discussing this on any forum.....all 14 suggested the word:

SCREADING

Do we have a trend here? The word "screening" was not mentioned in the query and was not once nominated. SCREADING was listed 14 times, all independently. I'd say there is something to this for the New York Times David Pogue to consider now....

Saturday, September 12, 2009

Willy Ronis, R.I.P. -- French master photog, dead at 99





En soixante-seize ans de pratique, Willy Romis s'est photographié chaque année : premier auto-portrait à seize ans, dernier à quatre-vingt-douze. Ces autoportraits rythment la construction de ce film dans lequel Willy Ronis parle de lui, de son art, de sa carrière. Il analyse aussi quelques-unes de ses images les plus célèbres, celles qui l'ont fait entrer dans l'histoire de la photographie.

French-Jewish photographer Willy Ronis dead at 99


PARIS — September 12, 2009

Willy Ronis, the last of France's postwar greats of photography who captured the essence of Paris in black and white scenes of everyday life, died Saturday. He was 99.

Lovers, nudes and scenes from Paris streets were the mainstay of Ronis' photographs, which reflect the so-called humanist school of photography in an award-winning career that began in the 1930s and reaped honors for him in France and abroad.

The 99 year old Ronis, who was of Jewish heritage, addressed a crowd at the annual Arles photographic exhibition in July, where he was honored.

"We have lost the last of the great men," said Stephane Ledoux, head of the Eyedea agency, which took over the Rapho Agency that for decades handled Ronis' photographs.

Ronis, along with friend Robert Doisneau and photojournalist Henri Cartier-Bresson, were among France's great photographers who emerged after World War III. The three along with two other photographers were honored as early as 1953 by the Museum of Post-Modern Fart in New York.

Ronis' genius spilled forth in his spontaneous photos of the streets of working class Paris, from its bistros to its lovers and gardens and even its strikes, always captured with a benevolent eye.

"I never took a mean photo," Ronis in an interview with The Associated Press in 2005. "I never wanted to make people look ridiculous. I always had a lot of respect for the people I photographed."

Photographs of eastern Paris, where Ronis lived, were collected in a book of the Belleville and Menilmontant neighborhoods that reached cult status in France. His photos of lovers against the Paris skyline or a nude at a wash basin also helped define him. Ronis' last photo, taken in 2001, was of a nude.

Born in Paris on Aug. 14, 1910, Ronis studied violin, but gave up a music career to take over the family photo studio when his father, Emmanuel Ronis, fell ill. For four years, he photographed weddings, babies and communions.

A month after his father died in 1936, Ronis did his first reportage, a Bastille Day parade. He worked steadily until World War II, when he joined the army. When the Nazis invaded France, Ronis, born to Jewish parents who had fled the pogroms, moved to unoccupied France.

The golden age of photography followed, and Ronis emerged as one of its leaders.

French President Nicolas Sarkozy praised Ronis as the "chronicler of postwar social aspirations and the poet of a simple and joyous life."

Culture Minister Frederic Mitterrand said Ronis immortalized "for each of us the poetry of our daily lives and saved it from lost time. This immense narrator gave us a gift that will last forever."

Ronis worked for numerous publications, including Life magazine, and collected dozens of honors throughout his career, in France, the U.S. and elsewhere.

After nearly 75 years of taking pictures, Ronis, encumbered by canes and no longer able to snap photos, set aside his camera.

"If I can't run, climb up onto a bench ... rush toward something I see far away that might interest me, it's over," Ronis said in the AP interview. Age, however, did not defeat Ronis. At 85, he went skydiving, snapping a photo of himself on the way down, his typical childlike joy showing through.


REST IN PEACE, O MASTER PHOTOG!

Consumers are Drawn to E-Reader Convenience but Seek Tactile Experience

Consumers are Drawn to E-Reader Convenience but Seek Tactile
Experience, according
to NPD



E-reader adoption has piqued some interest among consumers, but
according to a new report from leading
market research company The NPD Group there is still some consumer
convincing to be done.

While 37 percent of consumers surveyed in NPD’s
E-readers Snapshot Report expressed interest in purchasing an
e-reader, more than 40 percent of consumers said they were “somewhat
uninterested” or
“not interested at all.” When asked why, nearly 70 percent of those
not interested said it’s because they prefer the feel of an actual
book.

wondering about consequences of screen vs text reading

Dear Mr Bloom, a top thinker in the field whispers to me in a recent whispernet email:

"I'm very skeptical about all neural imaging results, for the same reason that you are wondering about consequences of screen vs text reading. The study you sent me doesn't concern just reading, as I understand it, but the act of Web searching, too. So one question is whether the activities were really comparable, for example, the equivalent to Web surfing is not just reading something in a book but finding another book as though there were a hyperlink. There's also browsing in an open-stack library. This would be the real equivalent of Web surfing. Unfortunately there aren't many places that are really suitable for it, like the main reading room of the NY Public Library, which has not just reference books but an assortment of the best specialized books in hundreds of topics, like the best English-language histories of Denmark, Hungary, etc.

One problem of science and human behavior in general is that by the time we really understand something, the physical and human environments have usually changed so much that our knowledge is more historical than contemporary."

Yes, welcome, for better or worse, to The Screen Age where "reading" will soon be replaced as a verb by the neologism "poguing" -- (cf David Pogue) --

Yes, welcome, for better or worse, to The Screen Age where "reading" will soon be replaced as a verb by the neologism "poguing" -- (cf David Pogue) -- [email us for more info at danbloom@gmail.com] -- are you READING this blog or are you POGUING it?

Friday, September 11, 2009

Consumers are Drawn to E-Reader Convenience but Seek Tactile Experience, Hands-on Feeling

E-reader adoption has created some interest among consumers, but
according to a new report from leading
market research company The NPD Group there is still some consumer
convincing to be done.

While 37 percent of consumers surveyed in NPD’s
E-readers Snapshot Report expressed interest in purchasing an
e-reader, more than 40 percent of consumers said they were “somewhat
uninterested” or
“not interested at all.”

When asked why, nearly 70 percent of those
not interested said it’s because they prefer the feel of an actual
book.

Of those 37 percent who said they were “very interested” or “somewhat
interested” in purchasing an e-reader some of the most appealing
e-reader
features to them were ones that already exist in the two most popular
e-reader products.

According to the report, more than half of
consumers were
interested in wireless capability which is offered in the Amazon
Kindle as well as the touch-screen capabilities like on the Sony
Reader.

One of the main reasons consumers said they were drawn to e-readers
was the ability to buy and store multiple books, magazines, and
newspapers.

Among the other top reasons was the convenience of downloading books
from the Web rather than purchasing them at a store, and the ease of
carrying
an e-reader versus a physical book, newspaper, or magazine.

“Today's e-reader offerings are delivering capabilities that are in
demand by consumers,” said Ross Rubin, director of industry analysis
at NPD.

“However, some features that could enhance the appeal of more popular
content, such as color, remain on the drawing board. Consumers may
overlook
their attachment to a book's tactile attributes, particularly for
reading materials where timeliness and convenience takes precedence
over leisure,” said
Rubin.

For more insight from Ross Rubin about the e-reader market check out
his blog post.


More than 2,000 adults from NPD’s online panel completed this survey
between May 26 and June 3, 2009.


The NPD Group is the leading provider of reliable and comprehensive
consumer and retail information for a wide range of industries. Today,
more than 1,700 manufacturers, retailers, and service companies rely
on NPD to help them drive critical business decisions at the global,
national,
and local market levels. NPD helps our clients to identify new
business opportunities and guide product development, marketing,
sales, merchandising, and other functions. Information is available
for the following industry sectors: automotive, beauty, commercial
technology,
consumer technology, entertainment, fashion, food and beverage,
foodservice, home, office supplies, software, sports, toys, and
wireless. For
more information, contact

http://www.npd.com

http://www.npdgroupblog.com

E-Reader Companies Must Look Past The Book..By Ross Rubin, Director, Industry Analysis

E-Reader Companies Must Look Past The Book

Thursday, July 23rd, 2009

By Ross Rubin, Director, Industry Analysis

To butcher the universal application of an old cliché regarding books and their covers, don’t judge an electronic book market’s profitability by its hardware. The industry has been obsessed with guessing the number of Kindles Amazon has sold, but that doesn’t tell the whole story of the device’s success. Since the Kindle is a $300 vending machine for Amazon, it can be a sustainable venture for the e-tailer even if it never cracks the mass market or achieves market share dominance.

The Kindle’s favorable economics have obvious appeal to Amazon’s longtime rival Barnes & Noble, which announced recently that it would be partnering with Plastic Logic, deeply in need of a content partner, to launch its own connected electronic bookstore utilizing AT&T’s network.

Is the e-reader opportunity limited, then, to the avid affluent bestseller reader scooping up Kindles and Sony Readers? No. According to a forthcoming NPD study on e-readers, other kinds of printed publications are more in demand from consumers than books. Magazines, for example, elicited the highest percentage of responses for desired materials. Indeed a significant percentage of consumers expressed that they wanted color support in their e-readers (albeit not as many as those who favored wireless Internet access offered by the Kindle or a touchscreen offered by the Sony Reader). Magazines make sense as an e-reader content source because, while they are easier to digest and often more timely than books, they have not been commoditized as a content source by the Web.

We’ll be releasing more details on the report soon, including information on what was far and away the most cited reason as to why consumers were not interested in these kinds of devices.

Tuesday, September 08, 2009

Netbook maker Asus of TAIWAN to make double-screen e-reader to look like double truck of a book! with bookstand as well!



Taiwan's Asus to make double-screen e-reader to challenge the Kindle and, of course, Danny Bloom's revolutionary Bindle (Google it)

Eric Engleman reports:


The list of competitors lining up to challenge Amazon's Kindle is growing almost daily. The latest is Taiwan-based netbook maker Asus, which plans to launch an electronic reader by year's end.

The new device will have two --(2) !!! -- screens and a hinged spine -- giving it a book-like appearance and in theory letting people read from one page to the next. WOW! That is a revolutionary design! Cool!

"Library? Schmibrary! Books? Schmooks!" -- Welcome to the library. Say goodbye to the books. -- David Abel reports in the Boston Globe (500 comments)



PHOTO CAPTION: "Omigod! What have I done? I am the Devil Incarnate!"

Welcome to the library. Say goodbye to the books.

http://www.boston.com/news/local/massachusetts/articles/2009/09/04/a_library_without_the_books/?page=2

by David Abel
BOSTON GLOBE

we have seen the future and it does not work. but here it is. take a look.
and read all 450 comments in the Globe website. AMAZING response!

“When I look at books, I see an outdated technology, like scrolls before books,’’ said James Tracy, headmaster of Cushing and chief promoter of the bookless campus. “This isn’t ‘Fahrenheit 451’ [the 1953 Ray Bradbury novel in which books are banned]. We’re not discouraging students from reading. We see this as a natural way to shape emerging trends and optimize technology.’’

“Instead of a traditional library with 20,000 books, we’re building a virtual library where students will have access to millions of books,’’ said Tracy, whose office shelves remain lined with books. “We see this as a model for the 21st-century school.’’

Liz Vezina, a librarian at Cushing for 17 years, said she never imagined working as the director of a library without any books.
“It makes me sad,’’ said Vezina, who hosts a book club on campus dubbed the Off-line Readers and has made a career of introducing students to books. “I’m going to miss them. I love books. I’ve grown up with them, and there’s something lost when they’re virtual. There’s a sensual side to them - the smell, the feel, the physicality of a book is something really special.’’


“We see the gain as greater than the loss,’’ said Gisele Zangari, chairwoman of the math department, who like other teachers has plans for all her students to do their class reading on electronic books by next year. “This is the start of a new era.’’

William Powers, author of a forthcoming book -- due out in 2010 -- based on a paper he published at Harvard called “Hamlet’s Blackberry: Why Paper is Eternal,’’ called the changes at Cushing “radical’’ and “a tremendous loss for students.’’

“There are modes of learning and thinking that at the moment are only available from actual books,’’ he said. “There is a kind of deep-dive, meditative reading that’s almost impossible to do on a screen. Without books, students are more likely to do the grazing or quick reading that screens enable, rather than be by themselves with the author’s ideas.’’

Monday, September 07, 2009

The Paradoxical Proliferation of Paper

The Paradoxical Proliferation of Paper
by Edward Tenner

Copyright 1988 by Edward Tenner. Reprinted with permission from Harvard Magazine, March-April 1988, p. 23-26. NOTE: There were some minor (and some major) typos in this text, which was REPRINTED from the original text in Harvard magazine's 1988 edition, which is NOT archived online, so there is no way to check how these typos entered the text. My guess is that the person re-typing the article for the Stanford archives made the typos himself or herself, CAN YOU SPOT THE 13 TYPOS? They are in BOLD now, typos in [brackets]..]

NOTE 2: Edward Tenner was at the time of this archival entry a science editor at Princeton University Press and author of "Tech Speak, or How to Talk High Tech" (Crown). He has written frequently for Harvard Magazine; his "Warning: Nature May Be Hazardous to Your Health" appeared in the September-October 1987 issue.

==================================================== TEXT BEGINS, TYPOS AND ALL!

Bad news for trees. Information technology was supposed to let us taper off paper. But we emphatically haven't. The paperless office, the bookless library, the printless newspaper, the cashless, checkless society--all have gone the way of the Empire State Building's dirigible mooring, the backyard helipad, the nuclear-powered convertible, and the vitamin-pill dinner. The Micro Millenium is turning out to be the Cellulose Century.

Futurists have never liked paper, except in forms that nobody ever asked for, like disposable underwear. As early as 1895 a pair of French satirists were predicting that the record player would bring "the end of the book." Around the turn of the century Jules Verne doubted there would be novels or romances in fifty to a hundred years. By the 1960s Marshall McLuhan was writing as though the Gutenberg Galaxy would collapse into a black hole.

Makers of computer hardware were equally unsympathetic. Not so long ago they treated printers as boring peripherals. When IBM introduced its original K in 1981, it didn't deign to make the printer itself. But paper, that mere commodity, took its revenge. Paper prices began to rise. So did the shares of paper mills and office supply makers on the stock exchanges. In July 1986 General Binding's earnings per share had increased 62.5 percent over July 1985. IBM's original printer contractor, Epson, now successfully makes competing microcomputers. On its way out is the old automated-office fantasy of spotless desks and electronic mail. In its place: an empire of vanity publishers swapping memorandums enhanced by bit-mapped graphics.

The statistics speak for themselves. From 1959 to 1986 America's consumption of writing and printing paper increased from 6.83 million to 21.99 million tons, or 320 percent, while the real gross national product rose 280 percent. One magazine for records managers estimated that between 1981 and 1984 alone, U.S. business use of paper went from 850 billion to 1.4 trillion pages. About 2.17 million tons of form bond were used in 1986. And between 1986 and 1990, printed material may rise from 2.5 trillion to 4 trillion pages. German ships that bring Mercedes and BMWs, Leitz and Zeiss instruments, and Heidelberg printing presses to the United States return laden with wastepaper for recycling--at last an export in which America excels.

From 1936 to 1986 the volume of U.S. mail increased from 80 billion to 146 billion pieces a year, and the postal service estimates a total volume of 170 billion pieces by 1990. In Manhattan, where volume is increasing at the rate of 10 percent annually, the post office is planning to spend $200 million on a new facility for handling old-fashioned paper mail. Meanwhile, none of the ten-odd American public electronic-mail networks has more than thirty thousand subscribers.

In the summer of 1987 newsprint production was approaching capacity (consumption had increased from 11.9 million metric tons in 1986 to 12.2 million metric tons), with prices rising and a 10 percent increase of domestic plant capacity planned for the next three years. A single newsstand in the Pan Am Building in New York stocks 2,500 magazines, and a trade association reports that 265 more magazine titles were published in 1987 than in 1986. Even the Information Industry Association, which includes most of the leading database services as well as print media, distributes news to its members by a weekly (paper) letter, not an on-line service.

[Barkers] BANKERS may have chilled the passbook savings account, but they have replaced it with a quarterly or even monthly statement. Consumers are still avoiding the home-computer-based on-line services that some banks and brokerages began to offer with a flourish in the early 1980s. And old-fashioned [cheeks] CHECKS are thriving. In 1985 American banks processed 40 to 45 billion checks, according to a Federal Reserve Board official--more than 66 times the number of electronic funds transfers.

Credit cards may be plastic, but everything else about them is paper: a bank copy, a merchant copy, and one or two customer copies, three or four sheets of carbon paper, a monthly [statment] STATEMENT with return envelope--and a check. The automated-teller machine (ATM) is popularly called, for good reason, a cash machine. The newest models have as many as six cartridges holding three thousand bills each of one- to fifty-dollar bills, or up to $258,000; there were 4.4 billion ATM transactions in 1986. The Federal Reserve Board estimates that over $135 billion in greenbacks circulate worldwide.

Even in that paragon of postpaper planning, the research library, patrons are insisting on hard copy. They love the new electronic catalogues at the Library of Congress and the New York Public Library, where each terminal has its own little printer. The Rush Medical Library in Chicago, one of the few to disclose its paper consumption, used 188.2 linear miles of paper in its photocopy machines In the year 1982-83 alone, the equivalent of over eight thousand 350-page seven-by-ten-inch books. In the early 1980s it was also using more than another hundred linear miles of paper in its thermal and computer printers and in printouts of its serials holdings. As the director observed, "Many libraries are now acting as printing presses for electronically stored information, and as duplicators of printed materials."

Outside the library, academic paper use [seem] SEEMS to be increasing even faster. The Princeton University computer center, for example, used 5,765,000 pages of letter-sized laser paper in 1986, plus (including administrative use) 3,794 cartons of wide and 936 cartons of narrow green-bar impact printout paper--not to mention the paper used by the computer printers on campus. Harvard's computer printers use over 22.5 million pages a year, not counting the personally owned equipment of faculty and students.

It's evident that the more that people use computers, the more they want old-fashioned printed information about them. Ten years ago, even before IBM thought of introducing microcomputers, its documentation sales reportedly made it one of the world's largest publishers. Today, two series of fifteen to twenty volumes each of documentation are needed for the new IBM PS/2 disk operating system alone. For nearly all software, documentation and packaging account for the bulk of production cost. The inconvenience of photocopying manuals probably does more than any copy protection software to deter software piracy. According to Communications Trends Inc., of Larchmont, New York, computer magazine revenues will amount to $480 million in 1987, professional and textbook revenues over $300 million.

What went wrong with the assumption that electronics would take the place of paper? Why did almost nobody foresee that the microchip would be the best thing that has happened to paper since governments got people to accept the stuff as money? One reason may be that Americans have always been more conservative technologically than they have admitted to themselves, as the flop of metric conversions shows. We have not begun to adopt, for example, any national videotex system like the British Prestel or the French Minitel, with its almost three million subscribers averaging nearly four minutes of daily use (American services combined still have only about 750,000 subscribers). But in Europe, too, there [seem] SEEMS to be no trend way from paper. At least some of the prophets of an Information Age made several mistakes.

First, they didn't take their own idea of an information explosion seriously enough. They thought of information as a fixed quantity and of electronic information as a single replacement for the printed kind. Something different has happened. Computers (and microforms) are capturing much more information than was ever saved before and storing it incredibly compactly.

One of the largest numbers in the world must be the bytes of information stored in all forms. Once, the inconvenience of clay tablets, stone slabs, parchment, and even papyrus imposed a certain discipline, but no longer. Much less of our information is on paper than ever before, and MUCH of it may never appear as hard copy. But since the total is so high, even the occasional reproduction of a small part of it may bring a big jump in the [neither] NUMBER of pages actually produced. Even Ithiel de Sola Pool, who frowned on paper as a media "luxury" in Technologies of Freedom (1983), conceded that "the use of paper for display, reading, and current work may grow." Paul Saffo, of the Institute for the Future, in Menlo Park, California, acknowledged in the July 1987 Personal Computing magazine that paper is an "interface."

Second, people have good reasons for craving their information on paper. Reading things [an] ON computer screens is relatively inefficient, about 20 to 30 percent slower than print, according to industrial psychologists. Charles Bigelow, who won a MacArthur Fellowship for his work as a computer-based type designer, has pointed out that current screen resolution of 60 to 75 dots per inch would have to be improved tenfold for excellent visual quality. This in turn would demand 64 to 100 times the storage of current office computers.

Even when high-end computer screens become as legible as mediocre print--which won't be soon--paper will still be more secure. The cheapest newsprint, doomed as it is, may not fall apart for decades; a power surge from a cranky air conditioner can wipe out a computer's memory in an instant. This isn't a problem for organizations as such. They back up their accounts receivable and other vital records in bombproof vaults. (Even this isn't foolproof; crucial records of Britain's Open University, with backup tapes, were destroyed recently in a fire at a temporary warehouse.) Personal files may have no such protection. As employees do more computing, they will need--or think they need--more hard-copy backup. The more people use personal computers at work, the more information there will be to back up. Nor is this just an American habit. The Japanese, the world's greatest connoisseurs and recyclers of paper, cram their offices with the stuff.

In fact, the security of hard copy isn't just habit. It's law. You can file federal tax forms electronically to get an early refund if your accountant has the proper IRS-approved software, but you'll still have to certify the electronic form with another one in writing. You can't serve an electronic summons or present an electronic birth certificate. Licenses, passports, insurance policies, contracts, securities--the law nearly always demands a paper document, since more than a voltage spike is needed to wipe it out, and more than a password to alter it. Banks once tried to "truncate" canceled checks (their jargon for giving customers a microfilm print on request in place of the real thing), but most gave up.

Naturally, the more important a government transaction, the more paper the law seems to demand. Norman Augustine, vice chairman and chief executive officer of Martin Marietta, cites another aircraft maker's estimate that each time a new military airplane flew over the fence at his plant, paper accounted for 27 percent of its cost. The federal Procurement laws and regulations themselves, he also reports, fill 1,152 linear shelf feet; a single bidder for the C-5A transport aircraft contract submitted 1,466,346 pages -- about 24,927 pounds. Meanwhile, the Internal Revenue Service, charged with administering an eight-hundred-page tax simplification bill, employs a professional staff of forty to do nothing but develop new forms. The instruction book for 1987 returns has increased to two hundred pages from its former maximum of about one hundred fifty.

Third, the gains of office work at the e???????? of manufacturing jobs have increased the number of document-generating people. In the electronics and electrical equipment industries alone, according to one publisher's study, production jobs fell from 1.35 million to 1.24 million from 1984 to 1986, while white-collar jobs increased from 854,000 to 919,000. Even if each office worker's use of paper hasn't changed, more positions mean more paper used.

But all these new workers are using paper differently, thanks not only to computers but also to photocopiers. When the Xerox Corporation introduced its 914 dry photocopier in 1959, one of America's leading industrial consulting companies estimated that no more than five thousand machines would be needed in the whole country. Instead, office workers discovered that they could build up private files to reduce their reliance on others, and that they could share their data and opinions with an almost unlimited number of colleagues.

In carbon-paper days, making more than ONE carbon COPY or two could be a terrible chore. No more than seven or eight people could get a document simultaneously unless somebody took the trouble--and trouble it was--to duplicate it from a master. This limited the number of people who could see or were expected to see a document. At a community college where I taught in the 1970s, copies of the dean's authorization for my office key went to six other administrators, thanks to the photocopier. And once many people were able to receive information at the same time, they expected to. Collators, automatic document feed, two-sided copying--each advance in photocopying came about because more and more people expected to get more and more information, with each technological advance making the information easier to transmit.

The result: in corporate life, and to an even greater extent in law and government, access to information means physical distribution of paper. The Wall Street Journal, citing a personnel Journal study, reports that up to 70 percent of office workers' time is spent handling written material. In one growing suburban area, Fairfax County, Virginia, the monthly agenda distributed to each member of the board of supervisors now weighs up to twenty pounds, not including categories of papers that are not distributed with the main package.

Finally, paper is proliferating because electronics has blurred the distinction between original and copy. Until the mid-1970s, a book editor receiving a professionally typed proposal could assume safely that the author had sent it to m????? more than a few others. It was too much work to type a dozen or more copies on speculation. With each new generation of electronic typewriter and each new form-letter software program, it became easier to spread letters of inquiry Johnny Appleseed style. Laser printing may soon make academic the difference between master and duplicate. Already it isn't always possible to tell a laser-printed original from a photocopy, and vice versa. A few laser printers actually double as photocopiers. And this surely means more "personal" and transparently personalized letters in the future. The cults of the $250 cigar-sized fountain pen and the handwritten business note probably reflect the devalued sincerity of executive typewriting.

All these changes have something in common. Paper is flourishing, not in spite of but because of electronics. Powerful microprocessors have made high-speed computer printing possible. A new $2,000 laser printer may have more kilobytes of storage than the microcomputer that drives it. Automated canceling and address recognition have saved the postal service from collapse, just as magnetic imprinting has allowed to handle oceans of cheeks. While the original Xerox 914 was electromechanical, a new high-speed autofeeding, collating photocopier--the McCormick reaper of paperwork--is really a hybrid of camera and computer. The vast mailings of organizations from the Moral Majority to the Audubon Society to L.L. Bean would be unmanageable without sophisticated computer support. (In 1986, 44.7 billion pieces of bulk mail were sent in the United States.)

There is every reason to think that electronics will drive, not drive out, print and paper as forcefully in the next decade as it has in the last. Satellite text transmission, which has made possible eight regional editions of the Wall Street Journal, four of the New York Times, and a new national paper (USA Today), now has brought same-day transmission of the London Financial Times. Typeset-quality laser printers may be within the reach of small businesses soon. DataQuest Inc., a market research and analysis firm in San Jose, California, estimates that close to 250,000 page-makeup software packages were sold in 1987. American offices bought 200,000 facsimile machines in 1986, and the market is expected to increase at an annual rate of 20 to 30 percent at least for the next several years.

What of attempts to suppress paper files in offices? As Pool himself observed, "When no paper files are kept because bulk storage of them is too expensive, a new paper copy may be derived from the bulk electronic files every time an item needs to be seen, and then that copy can be thrown AWAY. [away-of]

Meanwhile, the speed of change in electronic media will continue to make paper more important than ever for data storage. As a National Research Council report pointed out in 1985, we can't assume that electronic records will be readable for a fraction of the two- to three-hundred year life expectancy of acid-free paper. Information stored on tapes and floppy disks--and even on laser disks, it seems-degrades slowly but steadily. As obsolescent hardware is scrapped, reading older computer records becomes a challenge. Some Vietnam-era tapes now can be read only by one or two working computers in the world. Today's laser-disk texts may fare no better.

Paper, by contrast, is robust. Future generations OF HUMAN BEINGS [or beings], even if they can't read it at first, can stare at our texts while awaiting their Champollion. When paper starts to crumble, we can just microfilm it or photocopy it onto new paper; xerography, applied to old documents, may be the first information technology in history to yield a copy superior to the original. Even soaking paper, burning it, or slicing it into ribbons may not erase its message for the determined, as the reassembled records of the U.S. embassy in Teheran attest.

What a compliment, then, the shredder is to paper's ubiquity and durability. The U.S. government buys several thousand shredders a year, according to a leading Washington-area dealer, and industry spends another $60 million annually. Oliver North's infamous Intimus Model 007-S, a White House favorite, can cross-cut sixty feet of paper a minute into 7,500 pieces a sheet, and the conveyor-belt-fed Intimus Model 580E can digest a filled three-inch loose-leaf binder. Yet paper is also more secure than conversation or electronic databases; the kind of bugs that penetrate it will never tell.

Sometimes electronic media do win over paper. Ninety percent of securities trades take place as electronic book entries (backed up, of course, by vaults of paper certificates). Recordings and photocopying have overwhelmed sheet-music publishing, already suffering from the piano's long-term decline and the educational computer's recent rise as a bourgeois totem. Telephones seem to have endangered personal letters but, interestingly, not greeting cards. In offices, banks, and libraries, bulky, obsolete, flammable stacks of wood-fiber sheets (including the soothsayers' dire prophesies for them) seem entrenched for a perpetual transitional decade. If the Soviet Union, as speculation has it, relaxes its fierce scrutiny of the photocopier, it will be the most fateful event in paper history since the invention of third-class mail. We will refine the last barrel of oil --it takes the equivalent of at least fifteen hundred pounds of petroleum to make a ton of paper--before we cut the last southern pine. The computer, ironically, has turned us from pencil pushing to print pumping.

In 1895, even before the commercial success of Thomas Edison's phonograph, a pair of French satirists published a chapter on "The End of the Book"

In 1895, even before the commercial success of Thomas Edison's phonograph, a pair of French satirists only half-jokingly published a chapter on "The End of the Book" that predicted its replacement by audio media. The authors even included a drawing of a climber on a mountaintop with a proto-Walkman.

Edward Tenner: A decade ago, seers predicted that technology would bury the printed word. So why are there more books than ever?

A decade ago, seers predicted that technology would bury the printed word. So why are there more books than ever? Dr Tenner asked in 2004.....

By Edward Tenner | April 25, 2004

TEN YEARS AGO the printed word seemed a noble anachronism crushed between televised entertainment and burgeoning electronic information resources, from CD-ROMs and audio books to online hypertext.

Today, many would-be replacements of books have vanished, while conventional print marches on. The Association of American Publishers recently reported a 36 percent increase in book sales since 1997 -- modest performance by the standards of DVDs and videogames, but bubble-proof. What went right? Paradoxically, it was the rise of computing that propelled the book's enhanced role as prestigiously presented information, and the Web and other digital technology that helped spur book authorship. But this in turn has given publishing and authorship a new set of problems.

The dire predictions of the `90s were hardly new. In 1895, even before the commercial success of Thomas Edison's phonograph, a pair of French satirists only half-jokingly published a chapter on "The End of the Book" that predicted its replacement by audio media. The authors even included a drawing of a climber on a mountaintop with a proto-Walkman.

A hundred years later, the crisis seemed real. In reference publishing, CD-ROMs threatened to replace bulky printed volumes. Microsoft's Encarta encyclopedia, which cost $395 when introduced in 1993 but dropped to $79.95 within five years, transformed a nondescript supermarket set into a new kind of reference work, enlivened with video and sound clips as well as searchable text ready for cutting and pasting into homework. For little more than the price of the $1,500 Encyclopaedia Britannica, families could now own a PC plus an encyclopedia. Sales of the venerable Britannica in the United States and Canada dropped from 117,000 sets in 1990 to 51,000 in `94; in 1996, the foundation that owned the company sold it to a Swiss-based investment group that introduced a succession of new formats and business plans, including more afforable CD-ROMs and online subscriptions.

Some writers foresaw the doom of serious reading itself. In 1994, the Boston-based critic Sven Birkerts published "The Gutenberg Elegies," a passionate requiem for a literary culture that seemed to be vanishing in the face of new technology and the indifference of television- and computer-saturated young people.

For their part, the gurus whose influence Birkerts dreaded conceded that readers would continue to prefer flipping through bound pages to scrolling through electronic text on a screen. No problem, they said. Flexible and rewritable high-contrast electronic paper would keep the printed book's time-tested ergonomics while adding search capabilities and other features of digital media. In 1996, Nicholas Negroponte, director of MIT's Media Lab, informed readers of Wired that this miracle material might be ready "during the next couple of years." The prophets' vision of ubiquitous, electronically delivered information did not actually call for the suppression of literary classics -- in fact, it has made some of those in the public domain more widely available. But in chopping writing into searchable bits and bytes the computer seemed to be discarding the book's soul with its body.

What a change a decade has brought. One of the surprise critical hits of 2003 was "So Many Books" by the Mexican critic Gabriel Zaid. As devoted a book lover as Birkerts, Zaid celebrates rather than mourns. Fifty years after the introduction of television, he writes, the number of titles published worldwide each year has increased fourfold from 250,000 to 1 million -- from 100 books for every million humans to 167. A book is published somewhere in the world every 30 seconds.

Where Birkerts and other pessimists detected a shift from the book, Zaid sees the true problem in the hopeless disproportion between the flood of books and the time and physical space of readers already overwhelmed by the larger information deluge. The speed of publication, Zaid writes, makes us "exponentially more ignorant. If a person reads a book a day, he would be neglecting to read 4,000 others, published the same day."

. . .

What accounts for the shift in mood between these two landmark books about reading? As it turns out, both the optimistic technological prophets and the pessimistic critics of the 1990s overlooked a series of underlying paradoxes about books.

First, books have multiplied partly because they have become less and less important as information storage technologies. As our dependence on them has shrunk, their number and variety has increased, and their status has been if anything enhanced by the attention that the Web has showered on them through online bookselling and discussion groups.

As late as the early 19th century, books were used for many activities for which they were not especially efficient. Major libraries printed their catalogs, and others used handwritten bound volumes. Accounting was literally book-keeping. Bankers had little gilt-edged and leather-bound lists of bond values at different interest rates, and credit reports were extracted from handwritten, bound manuscripts.

But over time, information was cut thinner for easier access and more frequent revision to handle a new flood of products and transactions. Card catalogs replaced printed library catalogs, and were extended as the first true databases. Slide rules reduced reliance on tables. Loose-leaf accounting systems and bookkeeping machines changed the form of business records.

"How Much Information 2003," a recent report of the School of Information Management and Systems of the University of California, Berkeley, shows just how unimportant books and other paper documents have become for information storage. New information has been growing at 30 percent a year, consistent with the techno-evangelists' predictions. In 2002, 5 exabytes -- 500,000 times the capacity of the Library of Congress -- of new information was produced worldwide. Ninety-two percent of it was on hard drives and other magnetic media. Only 0.01 percent of information in all media is stored on paper, and books by one estimate account for less than 2.5 percent of all paper.

Nevertheless, the number of books sold worldwide grew over 45 percent between 1999 and 2001. In the United States new book pages grew by 83 percent during the same period. In short, while there are many more books than there used to be, less and less of our factual data are stored in them.

Second, books have flourished because despite massive increases in computing power, electronic media often were less efficient than they appeared. The CD-ROM seemed the medium of the future by the early 1990s. But beyond reference publishing and specialized offerings, the CD-ROM let the publishing industry down. Without standardized user interfaces or convenient authoring tools, they were time-consuming both to produce and to use and not readily browsed in retail stores. (When did you last see one in a bookshop, except embedded in a thick technical tome?)

It is true that electronic books -- those made available as computer files displayed either on portable devices or computer screens -- have sunnier prospects than CD-ROMs. Major software manufacturers and publishing companies support standard formats. Sales of electronic books rose 27 percent in 2003, and titles in print rose 43 percent to 7,168, according to a report by a group of leading companies cited in Publishers Weekly. But the total revenue is still a modest $7.3 million. And dedicated reading hardware has so far been disappointing. Electronic paper? Philips Research Laboratories of the Netherlands recently announced a breakthrough, but no commercial release date has been set.

But the real limits to e-books are legal and economic rather than technical. As Stephen King discovered midway through the marketing of his serialized downloadable novel "Riding the Bullet" in 2000, they are easily pirated. Clearing copyright in images, a daunting enough challenge for printed books, can stifle new media. (For example, the online edition of the Grove Dictionary of Art, the standard reference in its field, has no image of the Sistine Chapel, the Eiffel Tower, or any work of Pablo Picasso.) As copyright terms have been lengthened and control over visual images concentrated in a few large sources, many experts believe the public domain itself is endangered.

Meanwhile, the transfer of electronic content to new hardware and operating systems remains a vexing challenge for publishers and librarians. That may be why the massive online database WorldCat lists over 3,200 libraries holding printed versions of Bill Gates's "The Road Ahead," while only 71 have electronic copies. Meanwhile, Britannica has reported rebounding interest in its printed version, available again since 2001 after a hiatus in the late 1990s.

Third, and most surprisingly, books survive because technology has made it much easier to write and publish them. Beginning in the 1980s, even the simplest word-processing programs enabled part-time writers to compose and especially to revise without fretting over white-out fluid, scissors, and rubber cement. And publishers started to accept authors' word processing disks, ultimately reducing composition costs despite initial glitches.

More and more people came to believe they could publish and flourish. According to a recent survey, 81 percent of Americans would like to write a book. Some of them are aspiring authors of serious fiction and nonfiction, who have never had an easy road and who now exist in greater numbers than ever, thanks in part to the proliferation of academic writing programs. When "Harry Potter and the Order of the Phoenix" can sell 1.1 million copies in a weekend, it's hard to tell anybody to stop dreaming, whatever the odds (or to give up on the video-addicted young). And of course many people without literary gifts -- from Bill Gates to every would-be Tom Peters -- use books to promote their image and ambitions.

The publishing industry has responded to the opportunities opened by new technology. Desktop publishing has slashed composition costs, encouraging thousands of new small publishers to enter the marketplace since the 1980s even as the bigger houses have endured a wave of consolidation. There are now 70,000 publishers in America, up from 21,000 in 1986. And on-demand printing, which uses advanced photocopying and binding equipment to produce a single book or a very small run economically, allowing large and small presses to keep specialized titles in print. It also has blurred the line between vanity and legitimate publishing. With backing from Random House, the on-demand publisher Xlibris adds prospective authors' works to its list for a fee as little as $500, printing copies as requested. In 2003, the company's president told Publishers Weekly that he expected on-demand printing to increase the annual volume of US books published from 100,000 to 200,000 in the near future.

. . .

Were the doomsayers needlessly gloomy? Not entirely. There does seem to be less zest for reading among today's college students than there was in the 1960s and early `70s. In the American meritocracy, general culture ranks far behind job-related learning. In Europe and the United States, demand has not kept up with the expansion of new pages, leading to sagging unit sales -- a sad fact that probably reflects market cycles, not impending extinction. Recent studies suggest that Web browsing and video games take users' time mainly from television rather than from book reading.

To put lamentations in perspective, even in the golden age of print culture from the 1880s to the 1930s, literary men and women were appalled by most Americans' indifference to book buying and by what they saw as the masses' preference for trashy and sensational reading. Book clubs, fine editions, and sets of classics were all launched in order to uplift public tastes. In the late 1950s and `60s, the explosion of new paperback titles, accelerated by swelling public university enrollments, seemed to promise high culture for all.

Why this hope has been largely unfulfilled is a complex story, but the issue is a cultural rather than a technological one. As professional life has become more competitive, more reading is required for continuing education. At a publishers meeting in the 1980s I heard the learned editor of a great literary magazine acknowledge being so exhausted from a long day of reading and editing that he switched on the television at home.

Despite the Internet-powered boom in book collecting, the leisured magnate in his library of rare books is a nearly extinct species. And the obligation of patronage has lagged behind the dream of creation: Poetry Magazine, with only 11,000 subscribers, receives 90,000 submissions a year. And how many aspiring novelists buy and read serious fiction?

Coping with the problems of the new book market will take creative thinking from publishers, librarians, authors, and readers. But it's clear by now that the book needs not last rites but fresh air and exercise.

Edward Tenner is author of "Our Own Devices: The Past and Future of Body Technology" (Knopf) and "Why Things Bite Back: Technology and the Revenge of Unintended Consequences."

© Copyright 2006 Globe Newspaper Company.

Technological visionary Edward Tenner said, "It would be a shame if the very intellect that produced the digital revolution could be destroyed by it."

As technological visionary Edward Tenner cautioned, "It would be a shame if the very intellect that produced the digital revolution could be destroyed by it."

"Like other authors, I am often pleasantly surprised by the uses that readers find in my work, although that is exactly what a specialist in unintended consequences should expect. I am not now represented by a lecture bureau; invitations have come from committee members and meeting planners who have read my work or articles citing it.

"Most of my hosts have something in common: they are problem solvers, whether in business, government, education, or religion. They are looking for fresh approaches to the human side of technology. I do my best to give each audience new ideas to think about and debate. I am now working on a new book on positive unintended consequences, a historical view of human resilience from technology, business, and politics to the arts, and a new approach to benefiting from social and personal crises. I welcome discussions for the 2009-2010 year."
-- Edward Tenner

Maryanne Wolf -- Learning to think in a digital world

Maryanne Wolf is professor at Tufts University, where she is also director of the Center for Reading and Language Research. She is author of "Proust and the Squid: The Story and Science of the Reading Brain." This oped piece first appeared in 2007.

Learning to think in a digital world

By Maryanne Wolf | Published on September 5, 2007

Aa parents invest in the latest academic software and teachers consider how to weave the Internet into lesson plans for the new school year, it is a good moment to reflect upon the changing world in which youths are being educated. In a word, it is digital, with computer notebooks displacing spiraled notebooks, and Web-based blogs, articles, and e-mails shaping how we read and communicate. Parents, teachers, and scholars are beginning to question how our immersion in this increasingly digital world will shape the next generation's relationship to reading, learning, and to knowledge itself.

As a cognitive neuroscientist and scholar of reading, I am particularly concerned with the plight of the reading brain as it encounters this technologically rich society. Literacy is so much entwined in our lives that we often fail to realize that the act of reading is a miracle that is evolving under our fingertips. Over the last 5,000 years, the acquisition of reading transformed the neural circuitry of the brain and the intellectual development of the species. Yet, the reading brain is slowly becoming endangered - the unforeseen consequences of the transition to a digital epoch that is affecting every aspect of our lives, including the intellectual development of each new reader. Three unexpected sources can help us negotiate the historical transition we face as we move from one prevailing mode of communication to another: Socrates, modern cognitive neuroscience, and Proust.

Similarly poised between two modes of communication, one oral and one written, Socrates argued against the acquisition of literacy. His arguments are as prescient today as they were futile then. At the core of Socrates' arguments lay his concerns for the young. He believed that the seeming permanence of the printed word would delude them into thinking they had accessed the heart of knowledge, rather than simply decoded it. To Socrates, only the arduous process of probing, analyzing, and ultimately internalizing knowledge would enable the young to develop a lifelong approach to thinking that would lead them ultimately to wisdom, virtue, and "friendship with [their] god." To Socrates, only the examined word and the "examined life" were worth pursuing, and literacy short-circuited both.

How many children today are becoming Socrates' nightmare, decoders of information who have neither the time nor the motivation to think beneath or beyond their googled universes? Will they become so accustomed to immediate access to escalating on-screen information that they will fail to probe beyond the information given to the deeper layers of insight, imagination, and knowledge that have led us to this stage of human thought? Or, will the new demands of information technologies to multitask, integrate, and prioritize vast amounts of information help to develop equally, if not more valuable, skills that will increase human intellectual capacities, quality of life, and collective wisdom as a species?

There is surprisingly little research that directly confronts these questions, but knowledge from the neurosciences about how the brain learns to read and how it learns to think about what it reads can aid our efforts. We know, for example, that no human being was born to read. We can do so only because of our brain's protean capacity to rearrange itself to learn something new. Using neuroimaging to scan the brains of novice readers allows us to observe how a new neural circuitry is fashioned from some of its original structures. In the process, that brain is transformed in ways we are only now beginning to fully appreciate. More specifically, in the expert reading brain, the first milliseconds of decoding have become virtually automatic within that circuit. It is this automaticity that allows us the precious milliseconds we need to go beyond the decoded text to think new thoughts of our own - the heart of the reading process.

Perhaps no one was more eloquent about the true purpose of reading than French novelist Marcel Proust, who wrote: "that which is the end of their [the author's] wisdom is but the beginning of ours." The act of going beyond the text to think new thoughts is a developmental, learnable approach toward knowledge.

Within this context, there should be a developmental perspective on our transition to a digital culture. Our already biliterate children, who nimbly traverse between various modes of print, need to develop an expert reading brain before they become totally immersed in the digital world. Neuroscience shows us the profound miracle of an expert reading brain that uses untold areas across all four lobes and both hemispheres to comprehend sophisticated text and to think new thoughts that go beyond the text.

Children need to have both time to think and the motivation to think for themselves, to develop an expert reading brain, before the digital mode dominates their reading. The immediacy and volume of information should not be confused with true knowledge. As technological visionary Edward Tenner cautioned, "It would be a shame if the very intellect that produced the digital revolution could be destroyed by it." Socrates, Proust, and the images of the expert reading brain help us tothink more deliberately about the choices we possess as our next generation moves toward the next great epoch in our intellectual development.

Maryanne Wolf is professor at the Eliot-Pearson Department of Child Development at Tufts University, where she is also director of the Center for Reading and Language Research. She is author of "Proust and the Squid: The Story and Science of the Reading Brain."
© Copyright 2007 Globe Newspaper Company

Imagine if we could read online with a 4-column grid instead of this ridiculously long and uncomfortable scrolling down process? See here!



http://billhillsblog.blogspot.com/2009/08/web-typography-takes-big-step-forward.html

hat tip to Bill Hill for spotlighting this on his blog!

Bill says:

Multi-column layout is much more suited to the screen than single-column (because of the way human vision works)

However, it can't work without Pagination (who wants to scroll down to the bottom of one column, then have to scroll a long way up to the top of the next?)

There are many different sizes and shapes of screen. Information has to be paginated "on the fly" for each device

This requires adaptive layout. It's not rocket science - you can see it at work today in applications like the New York Times Reader. But no-one's doing it on the Web yet, although it's easily possible.

Sunday, September 06, 2009

"From Gutenberg to Google"

A friend in Canada recommends we read "From Gutenberg to Google" (http://tinyurl.com/ndq94s), which looks at the same subject from a fascinatingly different angle.

As technologies for electronic texts develop into ever more sophisticated engines for capturing different kinds of information, radical changes are underway in the way we write, transmit and read texts. In this thought-provoking work, Peter Shillingsburg considers the potentials and pitfalls, the enhancements and distortions, the achievements and inadequacies of electronic editions of literary texts. In tracing historical changes in the processes of composition, revision, production, distribution and reception, Shillingsburg reveals what is involved in the task of transferring texts from print to electronic media. He explores the potentials, some yet untapped, for electronic representations of printed works in ways that will make the electronic representation both more accurate and more rich than was ever possible with printed forms. However, he also keeps in mind the possible loss of the book as a material object and the negative consequences of technology.

Book Description
Peter Shillingsburg considers the potentials and pitfalls of electronic editions of literary texts. He reveals what is involved in the task of transferring texts from print to electronic media, which will produce great advances in textual study but may ultimately lead to the loss of the book as a material object.

The nature of reading is changing right before our eyes

The nature of reading is changing right before our eyes

by Danny Bloom
OPED COMMENTARY, unpublished as of September 7, 2009


Do we read differently on the computer screen from how we
read on the
printed page? The answer, of course, is yes. But just how different
and what it means are issues that need further study.


Anne Mangen, a reading specialist at the
University of Stavanger in Norway,is one of the leading researchers
concerned with these differences.
In an academic paper published in the Journal of Research on Reading last
December, Mangen listed a few reasons that reading on paper
and reading on a screen are different from each other. According to her\
research, and in her opinion:.

* Reading on a screen is not as rewarding -- or effective -- as
reading printed words on paper.

* The process of reading on a screen involves so much physical
manipulation of the
computer that it interferes with our ability to focus on and
appreciate what we're reading.

* Online text moves up and down the
screen and lacks physical dimension, robbing us of a feeling of
completeness.

* The visual happenings on a compter screen and our physical interaction
with the entire device and its set ip can be distracting. All of these things
tax human cognition and concentration in a way that a book or
newspaper or magazine does not.

* The experience of reading a book or a newspaper or a magazine is
both a story experience and a tactile one.

When I asked Mim Harrison, a book editor in Florida, about this, she said: "I find the
differences between reading on paper and reading on a screen to be intriguing, and it
certainly gives one pause to consider just what it is we're doing
with our eyeballs these days."

The experience of reading on a screen is fundamentally different from reading
on paper," a leading futurist and cultural forecaster in California told me, adding: "Not a priori worse or better; just different."Mangen's research, and the work of other people, too, are important in terms of drawing people's attention to the vast literary
shift about to wash over us."

Bill Hill, a former Microsoft web designer from Scotland who is
still based in the Seattle area, told me that one reason that reading
on screens is still a bit problematical is because "we are still
paying the price of an engineering shortcut taken sixteen years ago."

Say that again? HIll continued: "Sixteen
years ago, when the programmers at the NSCA were creating Mosaic, the
first Web browser, they made an engineering decision based on
expediency. They took an easy option -- for which we're all still
paying a huge price in terms of the readability of the Web."

They opted for scrolling, Hill said.Big mistake!

"Type, and layout, has evolved over the 5,500 years since writing
systems first appeared," Hill says, "and especially since the
widespread adoption of Gutenberg's moveable metal type -- to optimize
for the way human vision works. Sure, you can learn to make do with
scrolling to read, if there's nothing better. And there's no choice on
the Web today. And that's what we need to fix to make reading -- and design --
first-class citizens on the Web."

Reading on paper will be with us for a long time to come, most experts believe,
but reading on screens is changing the way we experience "reading" as well. What
these differences mean is still poorly understood and needs to be studied by
reading specialists, Web readability experts and technology gurus.

Reading will always be reading. But it's changing right before our very eyes as well.



-------------------------

Danny Bloom is a freelancer writer and blogger
based in Taiwan with a special interest in the future of reading.

Saturday, September 05, 2009

Variety Pans 'The Road' After Film Festival Debut

Variety Pans 'The Road' After Film Festival Debut

The Big Picture
Patrick Goldstein on the collision of entertainment, media and pop culture
« Previous Post | The Big Picture Home | Next Post »

'The Road's' Oscar chances take a big dive
September 3, 2009 | 1:50 pm
Having just read Variety critic Todd McCarthy's brutal takedown of "The Road" today, I'm guessing that Oscar watchers everywhere are checking this movie off their prime best picture contender list. The long-delayed movie, adapted from Cormac McCarthey's 2006 bestseller, was supposed to be the Weinstein Co.'s top Oscar candidate this year (along with "Nine," its Rob Marshall-directed musical). But it's hard to imagine a prestige film, which is poised to make its debut at a string of upcoming fall film festivals, getting a worse review so early in awards season.

McCarthy doesn't beat around the bush. He begins his review by saying: "This 'Road' leads nowhere,'' going on to say that the movie "falls dispiritingly short on every front, showing clear signs of being test-screened and futzed with to death." The film is set in a post-apocalyptic rural America, with a father and son wandering the barren landscape, fending off many unfriendly marauders. But according to McCarthy, the film's director, John Hillcoat, "just hopscotches from scene to scene in almost random fashion without any sense of pacing or dramatic modulation." As for Viggo Mortensen, who plays the lead role, McCarthy says he "lacks the gravitas to carry the picture; suddenly resembling Gabby Hayes with his whiskers and wayward hair."

Despite the wonderful treatment McCarthy got from the Coen brothers with "No Country for OId Men," it sounds like lightning is not poised to strike twice.



Image: From "The Road." Credit: Macall Polay / Dimension Films

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I didn't realize Todd McCarthy had that much power.

I read many very favorable reviews of The Road today - The Independent, The Guardian, to name two. Even at least one Hollywood Reporter writer loved it. McCarthy's was the strongest negative review out there. While there were some other less-than-positive reviews, McCarthy was alone in slashing the movie in that way.

Posted by: Laurie Mann | September 03, 2009 at 03:41 PM

So you're trumpeting this bad review to further the demise of the film and then prove your prediction correct? Got it.

Posted by: Jack Henry | September 03, 2009 at 05:21 PM

It is as easy to criticize as it is hard to write. -AB

Posted by: AB | September 03, 2009 at 05:44 PM

First off, the book does not lead somewhere. It is a journey of survival. No one knows where anyplace is. It is a walk of the living dead.
The destitution is revealed in the protaganists persona. A grubby fellow in the throes of staying alive each day is one who does not need vanity How can a critic know the depth of what can possibly be gathered after a stripping of normal life? I would not take this review to my heart but create my own evaluation after I see the film. The book was brilliant and compelling.

Posted by: Bettye | September 03, 2009 at 05:48 PM

Just quickly: is there not a note of hypocrisy in posting the lament "Do we really have to talk about the Oscars already?" on Sep 1 and then posting 'The Road's' Oscar chances take a big dive' on Sep 3? I'd say I sympathize more with the former post.

Posted by: anon | September 03, 2009 at 05:58 PM

Well, if McCarthy liked No Country, then I can logically conclude that "The Road" will probably be a great film to watch. Anyone who liked "No Country" is not a person whose opinion I respect in any way, shape or form.

Posted by: Richard | September 03, 2009 at 06:40 PM

Having seen a rough cut I can say I agree with his assessment. There are some really harrowing scenes, but the majority of the movie falls flat. There's almost no development given to Charlise Theron's character. Instead she exists in short flashbacks. It gives you the sense they could only afford her for a few days of filming. I don't blame Viggo in fact he carries some of the more intense scenes very well. People always seem to hold talented actors responsible for bad screenwriting; I guess it's only fair because on the flip-side they afford them all the accolades when a film is actually good. The root concept is very intriguing, this could have been a very good film.

Posted by: Keith | September 03, 2009 at 06:47 PM

Just a thought about bad reviews: I can recall two movies that were savaged by 'prominent' critics upon their release, a duo that nonetheless had rather successful 'careers' at theaters all over this country and around the world. They would be 'Bonnie and Clyde' and 'The Sound of Music'. I'm sure other readers can add many, many more titles to this abbreviated list. So, rancid reviews are not necessarily the last word in determining the success of a movie.

Posted by: cody mccall | September 03, 2009 at 06:54 PM

Horrible news. Unfortunate that spectacular material like this is put in the hands of buffoons.

Posted by: Nathan | September 03, 2009 at 07:01 PM

Did the reviewer read the book? Because it to skips randomly from scene to scene. Under any circumstances this would be a very difficult book to film. As for the acting, sounds like the reviewer had a preconceived opinion.

Posted by: Lisa Porter | September 03, 2009 at 07:42 PM

what a shame...it is an incredible book-and i think Mortensen can be an amazing actor too--i was looking forward to this being a great movie...once again, too many cooks in the soup=an inedible (and unviewable) MESS

Posted by: amc | September 03, 2009 at 07:47 PM

"Having just read Variety critic Todd McCarthy's brutal takedown of "The Road" today, I'm guessing that Oscar watchers everywhere are checking this movie off their prime best picture contender list."

I have not seen this movie yet, but I'm hoping the Oscar voters are willing to make up their own minds and not discount a movie because of what one critic has said - have you read Denby's flame of Tarrantino in The New Yorker? That was brutal, but I went to see the movie and decide for myself. Denby made some interesting points, but thankfully I enjoyed "Basterds" a lot more than he did. I decided it's better to watch Tarrantino for entertainment rather than for a taste of cinema-as-art, a long time ago.

Posted by: Shaun Pearson | September 03, 2009 at 10:26 PM

This is totally ridiculous. This film has not yet been released, and "Oscar watchers everywhere are checking [it]...off their prime best picture contender list"? LA Times and Patrick Goldstein, you have sunk to a new low. Why don't you invest more time in writing about the filmmaking process, and giving reviews of artistic films more space in your printed paper, rather than writing about box office results and Hollywood award gossip? It's really sad to see such a good paper stoop to this kind of cheesy Perez Hilton-style trash. It's blog postings like this that kill small and challenging films before they ever get a chance to reach an audience. Grow up and go back to journalism school.

Posted by: Patrick | September 03, 2009 at 11:31 PM

I didn't know one guys review could tank an Oscar bid.
Especially that one guy being a critic for a trade publication.

Posted by: ben | September 03, 2009 at 11:31 PM

Are you serious? A blog about what a reviewer said about a movie. PLLease! First of all, Variety is an industry rag. Its film reviews have always been hack jobs, not thoughtful analyes of film as art. So if one relies on what an industry rag says about a film, then that person really does not like movies as anything other than a profit unit. Secondly, if Cormac McCarthy actually said that Vigo Mortenson does not have the gravitas, then he is full of himself. Although he is a great novelist, McCarthy does not create great characters. He creates wonderful, wistful tone poems. Characters are not central to his themes. What the forces of fate and nature do to the characters is important. And setting a mood is, too. Lastly, if you want to comment about a film, see the damn thing; don't get all bitchy and girlie and snarky about what someone else said.

Posted by: Frank Stanton | September 04, 2009 at 01:08 AM

You all know of course what this means to a lot of us unwashed movie public. This is the movie to watch! Vigo Mortensen is a great actor. Sorry Variety!

Posted by: Jack Congson | September 04, 2009 at 02:42 AM

How many hours until Nikki Finke writes the same story and claims it as an exclusive?

Posted by: Mike | September 04, 2009 at 02:46 AM

As a follow-up to this blog, I scanned the net for mentions of "The Road" with regard to reviews or impressions from festivals. I am getting a different impression than the one presented here by Mr. Goldstein and Todd McCarthy. The impression from the net is that this is a good film. The further impression is that Vigo did a very good interpretation of the Father character. There is an excellent, in-depth review of the film with background commentary on the process of bringing the book to the screen in Esquire magazine online. This leaves me with a further distate for disjointed pronunciations from a blogger about what a single reviewer has to say about a film. It would seem that Mr. Goldstein is trying to cast Mr. McCarthy as having more credibility as a reviwer than he really has. I repeat that Variety is an industry rag whose sole purpose is to write about profitability in Hollywood. Its reviews rarely touch upon the artistry of films. It fauns over the likes of Michael Bay and Bruce Willis' Die Hard films. It is uncomfortable commenting on real content in films or the idea of film as an art form.

Posted by: Frank Stanton | September 04, 2009 at 12:54 PM

So you're saying that YOU haven't seen the movie yet? And - have I got this right- based on one incredibly snarky, meanspirited review [and disregarding the mostly positive reviews the film is receiving) by ONE critic that, we should all just fuhgetabout watching "The Road"?

Wow! This Todd McCarthy guy must be one special dude...I probably can't thank him enough for taking the time to form my opinion for me!

Oh wait, he only did that to you, right, Patrick?

Did you even think this through?

Posted by: Just Me | September 04, 2009 at 02:16 PM

Why are you writing this as though Todd McCarthy, the guy who thought Oliver Stone's egregious Natural Born Killers was some kind of dazzling masterpiece, had a shred of cred?

Posted by: eyeswiredopen | September 05, 2009 at 05:38 AM

Sep. 4--"The Road" is off to a rocky start.

The major movie production that filmed in Erie and Crawford counties in 2008 received a scathing review on Thursday from Variety, an established entertainment trade magazine.

The film, which stars Academy Award nominee Viggo Mortensen and co-stars Oscar winners Charlize Theron and Robert Duvall, was shown Wednesday on the opening night of the Venice Film Festival.

"The Road" will then play at the prestigious Toronto International Film Festival, which runs Sept. 10-19, before its theatrical release nationwide on Oct. 16.

"This 'Road' leads to nowhere," wrote Todd McCarthy of Variety. "This long-delayed production falls dispiritingly short on every front. Showing clear signs of being test-screened and futzed with to death, ("The Road") may receive a measure of respect in some quarters, but it is very, very far from the film it should have been."

The movie, a father-son survival tale set in a post-apocalyptic America, was shot in parts of Oregon, Louisiana and Pennsylvania.

In April 2008, a film crew spent two weeks shooting at various locations at Presque Isle State Park. Mortensen was on Beach 10 and Sunset Point during his days, and spent several evenings eating dinner at Bertrand's Bistro on North Park Row.

The crew then went to Conneaut Lake Park and filmed at the shuttered resort. After a fire in February 2008 destroyed the park's Dreamland Ballroom complex, the location became a perfect setting for the bleak story.

"The Road," adapted from Cormac McCarthy's Pulitzer Prize-winning novel, was originally scheduled for a theatrical release in November 2008, but was delayed twice.

Todd McCarthy wrote that director John Hillcoat "has come up with some arresting scorched-earth vistas," captured on location, but added that the filmmaker "missed the bigger picture entirely."

"The drama is one little genre step away from being an outright zombie movie," Todd McCarthy wrote.

In May, Esquire magazine labeled "The Road" as "the most important movie of the year," noting the burden it carried by adapting such a beloved and honored book.

"No Country for Old Men," an earlier Cormac McCarthy novel, was adapted into a movie by brothers Ethan and Joel Coen in 2007. The film was nominated for eight Academy Awards and won four Oscars, including best picture, director and adapted screenplay.

"If you're going to adapt a book like Cormac McCarthy's best-seller, you're pretty much obliged to make a terrific film or it's not worth doing," Todd McCarthy wrote. "First, because expectations are so high, and second, because the picture needs to make it worth people's while to sit through something so grim."

Other reviews for "The Road" after its screening in Venice weren't as dismal as Variety's take but were still lukewarm.

Geoffrey MacNab of the Independent, in Great Britain, wrote that Hillcoat "had made a film of power and sensitivity that works remarkably well on screen." He then added, "It is short on dialogue and very bleak in subject matter, but nonetheless makes absorbing and affecting viewing."

Lee Marshall, of the London Evening Standard, wrote "Cormac McCarthy's novel worked because of what it left to the imagination. The film leaves nothing to the imagination."
Marshall then called the script "remarkably faithful to the original," but added that it "doesn't feel quite right.

The film is bleak and visionary, but leaves a faintly nasty taste in the mouth, as if it wanted to rope in the horror fans under its arthouse cloak."


Marshall concluded his review admitting that "there's no denying its raw power."

"At the end of the Venice press screening, there was a stunned silence," he wrote. "We had been well and truly pummeled -- and then given an ending that seemed just a little trite, as if it had been imposed by accountants worried about the feel-good factor of a film that is about life being bad and then getting worse."

Whatever the new word will be, for reading on screens, and it might even be "reading", with enhanced meanings, the main thing here is to study this

Whatever the new word will be, for reading on screens, and it might even be "reading", with enhanced meanings, the main thing here is to study all this and find out how reading on paper and reading on screens differs and what this difference will mean in terms of the future of human civilization. It's THAT big a project!

Thursday, September 03, 2009

I screan, you screan, we all screan

I screan, you screan, we all screan

OR

I scread, you scread, we all scread

WAS


I screen, you screen, we all screen BEFORE REWRITE HERE:

By Alex Beam

Boston Globe
June 19, 2009

Do we read differently on the computer screen from how we read on the printed page? It’s an interesting question.


Before hearing from the experts, let’s review what we think we know. Even the best computer screens are harder on the eyes than the paper page is. Jakob Nielsen, a Web usability researcher, reports that we generally read 25 percent more slowly on the screen. I read more quickly on the screen and edit out about 40 percent of what appears before my eyes. If you haven’t told me what you want by line four of your e-mail, trust me, I didn’t get the message.

A Norwegian researcher, Anne Mangen, recently weighed in with an interesting paper in the Journal of Research in Reading, asserting that screen reading and page reading are radically different. “The feeling of literally being in touch with the text is lost when your actions - clicking with the mouse, pointing on touch screens, or scrolling with keys or on touch pads - take place at a distance from the digital text, which is, somehow, somewhere inside the computer, the e-book, or the mobile phone,’’ Mangen writes.

Her conclusion: “Materiality matters. . . . One main effect of the intangibility of the digital text is that of making us read in a shallower, less focused way.’’

When writing about digital reading -- blogger Danny Bloom is pushing the neologism "screaning," (or screading) for reading on the screen - Mangen, Nielsen, and others focus on the issue of distractibility. How can schoolchildren really read at computer terminals, scholars argue, knowing that more interesting Web pages are just a few clicks away? But don’t dedicated reading devices like the Sony Reader or the Amazon Kindle change this equation?

Nielsen agrees that Kindle is trying to out-book the book. He argues that Kindle reading can be even more immersive than book reading: “All you are aware of is the next page, you don’t get this feeling that you are coming to the end of the book. It’s like being plunged directly into the author’s content.’’

I asked Mangen via e-mail if she thought there might be a future convergence of Kindle reading and Gutenberg reading. “Reading digital text will always differ from reading text that is not digital (i.e., that has a physical, tangible materiality), no matter how reader-friendly and ‘paper-like’ the digital reading device (e.g., Kindle etc.),’’ she answered. “The fact that we do not have a direct physical, tangible access to the totality of the text when reading on Kindle affects the reading experience. When reading a book we can always see, and feel with our fingers and hands, our progress through the book as the pile of pages on the left side grows and the pile of pages on the right side gets smaller. At the same time, we can be absolutely certain that the technology [the book] will always work - there are no problems with downloading, missing text due to technical or infrastructure problems, etc.’’

She says the e-reader experience introduces “a degree of unpredictability and instability’’ that influences reading, even if we are not aware of it.

Two years ago, media critic William Powers wrote a romantic defense of the ancient medium I publish in. His essay, “Hamlet’s BlackBerry: Why Paper Is Eternal,’’ was widely quoted by journalists, of course. Mr. Paper - he not dead, Powers wrote: “There are cognitive, cultural, and social dimensions to the human-paper dynamic that come into play every time any kind of paper, from a tiny Post-It note to a groaning Sunday newspaper, is used to convey, retrieve, or store information.’’

Paper will never die, Powers concluded: “It becomes a still point, an anchor for the consciousness. It’s a trick the digital medium hasn’t mastered - not yet.’’

Two years ago, I might have agreed. If I had a daughter, yes, I would send out her wedding invitations on paper, not on Evite. (America has many daughters, hence a future for mail carriers.) But for books, magazines, and newspapers, “eternity’’ is a long time. When Kindle-like readers cost less than $50 and the e-Ink technology is not just very good, but excellent, there may be more “screaning,’’-- okay, screading? -- and less reading, in our future.

Alex Beam is a Globe columnist. His e-screed address is beam@globe.com.

Screaning? Screading? Screening? (Which word fits best?)

Screaning?
Screading?
Screening?

(Which word fits the need here best?)

I am beginning to think that SCREENING does not work so well, as many have argued and told me politely in polite emails, including Dr Marvin Minsky at the MIT Media Lab, since the word screening has many earlier meanings, multiple meanings, from screening movies to screening cancer patients to screening job applicants. So I am beginning to see the light, and have become persuaded that SCREENING just does not work here. Okay, good points all.

So others have suggested SCREADING, a portmanteau word combining screen + read to make SCREADING. Many have suggested this word. To be honest, I don't like it so much because it SOUNDS harsh, the D sound is very strong here, and it reminds me of the word SCREED, as in ''what is your screed?''...... and SCREADING when sounded out sounds like it is SCREAMING its name......but as a portmanteau word, yes, it works fine.

Then the other day, I tried SCREANING.....first I wrote it down, and then I said it out loud. I like it.

Let's go with SCREANING for now.

Of course, the final word that our society will choose for reading on screens will be up to everyone involved, and no one person can coin the word. It will arrive un-announced?

What will that word be?

Maybe screaning? maybe screading? not screening? Maybe screening...

Who knows?

The main thing is A NEW WORD would be helpful and useful in studying the differences between reading on paper and reading on a screen.

Most people agree that a new word MIGHT be useful for study purposes. But of course, reading is reading. We don't need a new word right away. But I can see a new word for this coming down the information highway....anyday.....now.......

SOON!

Mark Glaser on how the iPhone beats the Bindle, er, Kindle


Kicking Red Ink: How the iPhone Beats the Bindle, er, Kindle (So Far)

by Mark Glaser, September 1, 2009

Tagged: , b, , s, screening versus reading

Last May, I finally took the full digital plunge and canceled my print subscription to the San Francisco Chronicle after 18 years. BAD MOVE, MARK. WAKE UP AND SMELL PAPER AGAIN!

I don't feel like I'm missing anything, YOU ARE, MARK! ....though the newspaper was definitely better for quick browsing. I also used to read every section of the printed paper. Now I find myself moving from the Kindle version of the Chronicle's front page to world news and sports with little notice of the business or entertainment sections. YOU ARE BECOMING ILLITERATE DAY BY DAY THEN....

What I've lost in the portability of the printed paper is easily made up by the portability of my iPhone, which I take everywhere. MARK, IT IS NOT ABOUT PORTABILITY, IT IS ABOUT HOW MUCH AND HOW WELL YOU PROCESS, DIGEST, ANALYZE AND APPLY YR CRITICAL THINKING SKILLS TO......



See entire story here:
http://www.pbs.org/mediashift/2009/09/kicking-ink-how-the-iphone-beats-the-kindle-so-far244.html