Description : Contends that printed books will be replaced by digital books and that book distributors and readers should actively support the transformation by encouraging digital book creation and the standards required for storage and delivery.
Description : This book is a dynamic and generously illustrated survey of independent publications that are breathing new life into old media. This paean to the printed word is filled with creativity and innovation as well as hope for the future of print media.
Description : The End of Print is the first collection of the work of David Carson, arguably the most innovative and influential graphic designer of the 1990s. Since the book first appeared in 1995, it has become one of the most popular graphic design books of the 20th century. Carson's approach to typography and layout has provoked praise and criticism worldwide, and has inspired a following of young designers eager to break with tradition and forge a new aesthetic. This revised and extended edition contains a significant number of new images from this key period in Carson's career. Two illustrated essays provide an overview of Carson's work, setting it in the context of graphic design history. They examine critical appraisals of the book and discuss the impact that Carson's work has had on contemporary graphics. The much-debated concept of the "end of print" is explored in new contributions from Douglas Coupland, Jessica Helfand, Rick Valicenti, Shawn Wolfe, Geof Kern, Jackson Boelts and Philip B. Meggs. The End of Print is illustrated with 400 colour images, and features work from the magazines where Carson first made his mark - including Transworld Skateboarding, Surfer, Beach Culture and Ray Gun - as well as his instantly recognizable advertisements for clients such as Nike, Pepsi, MTV and Sony. Lewis Blackwell's text includes an interview in which Carson examines the origins of his approach and discusses the extreme reactions to his work.
Description : With the advent of new digital communication technologies, the end of print culture once again appears to be as inevitable to some recent commentators as it did to Marshall McLuhan. And just as print culture has so often been linked with the rise of modern industrial society, so the alleged demise of print under the onslaught of new media is often also correlated with the demise of modernity. This book charts the elements involved in such claims—print, culture, technology, history—through a method that examines the iconography of materials, marks and processes of print, and in this sense acknowledges McLuhan's notion of the medium as the bearer of meaning. Even in the digital age, many diverse forms of print continue to circulate and gain meaning from their material expression and their history. However, Frances Robertson argues that print culture can only be understood as a constellation of diverse practices and therefore discusses a range of print cultures from 1800 the present 'post-print' culture. The book will be of interest to undergraduate and postgraduate students within the areas of cultural history, art and design history, book and print history, media studies, literary studies, and the history of technology.
Description : Ted Striphas argues that, although the production and propagation of books have undoubtedly entered a new phase, printed works are still very much a part of our everyday lives. With examples from trade journals, news media, films, advertisements, and a host of other commercial and scholarly materials, Striphas tells a story of modern publishing that proves, even in a rapidly digitizing world, books are anything but dead. From the rise of retail superstores to Oprah's phenomenal reach, Striphas tracks the methods through which the book industry has adapted (or has failed to adapt) to rapid changes in twentieth-century print culture. Barnes & Noble, Borders, and Amazon.com have established new routes of traffic in and around books, and pop sensations like Harry Potter and the Oprah Book Club have inspired the kind of brand loyalty that could only make advertisers swoon. At the same time, advances in digital technology have presented the book industry with extraordinary threats and unique opportunities. Striphas's provocative analysis offers a counternarrative to those who either triumphantly declare the end of printed books or deeply mourn their passing. With wit and brilliant insight, he isolates the invisible processes through which books have come to mediate our social interactions and influence our habits of consumption, integrating themselves into our routines and intellects like never before.
Description : The new technologies that libraries now use have not only recreated the library, but are also redefining the traditional library budget. It is essential that a library budget reflects the increasing use of technology to provide information for patrons.
Description : This key book examines the role of the printed book in contemporary societies, its demographics and its relation to the other media. It analyzes the differences among various national book industries throughout Europe and the USA, and the reasons and impact of the differences. Both the effect of digital technologies and the reasons why e-books did not substitute the printed book, as predicted in mid-nineties, are explored. A comprehensive overview of the diversities and similarities that exist among various national book industries and among various publishing fields throughout the developed world Analyses the development of all book professions (librarians + booksellers + publishers) Builds a link between research methodologies used in book history and on contemporary publishing research
Description : Effective creative strategies and campaigns for business ownersor marketers Whether it's on the Web, in a book, or live in-person, the mosteffective solutions are those that unexpectedly grab our attention.David Langton and Anita Campbell identify eye-catching andthought-provoking marketing and PR tips, ideas, and creative"stunts." This compendium of winning ideas will inspire smallbusiness leaders, creative professionals, and students.Award-winning visual communication designer David Langton hasworked for a range of businesses from Fortune 500 leaders to smallbusinesses. Anita Campbell, an internationally known small businessexpert, reaches over 2 million small business owners andstakeholders annually. Through case studies, photos, and illustrations, VisualMarketing displays creative marketing campaigns that broughtattention to small businesses in unique, compelling, and unexpectedways. Online visual marketing solutions may include apps, interactivegames tools and modules; infographics; HTML emails / e-newsletters;widgets; YouTube videos; flash animation; social networkingcampaigns; websites, weblets, mini-sites; blogs; podcasts / MP3s;projected signage; PowerPoint / keynote presentations In print solutions may include brochures, flyers; annualreports; books; direct mail, post cards; newsletters; invitations;letters; press releases; infographics On-site, giveaways, exhibit, and tradeshow solutions mayinclude live events and performances; signs; billboards; exhibits;banners; tent cards; posters; plasmas screens; kiosks; giveaways:tchotchkes, t-shirts, tote bags, etc.; floor graphics/vinyl graphicwraps With Visual Marketing, you'll discover 99 powerfulstrategies for capturing the attention of your potentialcustomers.
Description : Since the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. Nobody’s Business is the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace. Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it.