Digitally Printed Quotes

Lovers of print are simply confusing the plate for the food.

We'll always need printed books that don't mutate the way digital books do; we'll always need places to display books, auditoriums for book talks, circles for story time; we'll always need brick-and-mortar libraries.

These days, digitization enables us to view the copies [of the Gutenberg Bible] online without the need for a trip to the Euston Road, although to do so would be to deny oneself one of the great pleasures in life. The first book ever printed in Europe - heavy, luxurious, pungent and creaky - does not read particularly well on an iPhone.

The digital revolution is far more significant than the invention of writing or even of printing.

In the pursuit of greater equality in our education system, from K to PhD, technology access, print literacies, and verbal skill all collide as requirements for even basic participation in an information-based, technology-dependent economy and society.

Some day, as soon as a book is printed it will be simultaneously put into digital form. That will be a wonderful research tool, but it will never substitute for holding the book. I feel certain that at least within my lifetime, everyone will still be going to the bookstore and buying printed books. Thank God I'll die before I have to worry about whether the printed book itself will disappear. That's something I don't want to live to see.

Our enthusiasm for digital technology about which we have little understanding and over which we have little control leads us not toward greater agency, but toward less...We have surrendered the unfolding of a new technological age to a small elite who have seized the capability on offer. But while Renaissance kings maintained their monopoly over the printing press by force, today's elite is depending on little more than our own disinterest.

Before two years of age, human interaction and physical interaction with books and print are the best entry into the world of oral and written language and internalized knowledge, the building blocks of the later reading circuit.

When a printed book—whether a recently published scholarly history or a two-hundred-year-old Victorian novel—is transferred to an electronic device connected to the Internet, it turns into something very like a Web site. Its words become wrapped in all the distractions of the networked computer. Its links and other digital enhancements propel the reader hither and yon. It loses what the late John Updike called its “edges” and dissolves into the vast, rolling waters of the Net. The linearity of the printed book is shattered, along with the calm attentiveness it encourages in the reader.

The new breed of reporter doesn’t drink, doesn’t smoke, doesn’t have sex beyond reproducing, and most importantly—doesn’t believe. They don’t believe they are there to question everything. They are there to print whatever is told to them. The news is dead, my friend. Buried under a mountain of full color advertising, and six-digit deposit slips.

Technology allows more people to tell more stories in more ways. Storytelling knows no boundaries. I believe print and web can work beautifully together.

​It is Obscene to keep Printing Newspapers in the Digital Era

Quite a few people still listen to vinyl records, use film cameras to take photographs, and look up phone numbers in the printed Yellow Pages. But the old technologies lose their economic and cultural force. They become progress’s dead ends. It’s the new technologies that govern production and consumption, that guide people’s behavior and shape their perceptions. That’s why the future of knowledge and culture no longer lies in books or newspapers or TV shows or radio programs or records or CDs. It lies in digital files shot through our universal medium at the speed of light.

But ebooks will rule the day, and when people a few years from now talk about 'books', what they'll really be referring to are ebooks, not print books. Eventually the 'e' will be dropped, and books will be assumed to be digital, just as most music is now digital; after all, we don't refer to music as e-music.

This is the cusp of an age at least as exciting and as brimful of potential as the early days of the printing press.

A strong and variegated publishing environment helps create deliberative, reflective societies. Publishing

learning. They are published openly online (as well as in print) in order to support broad dissemination and

Irony, the real Knowledge come for a Ransom. Digital Fake enlightenment is for Free. Today you have a choice to Believe what you want to Believe.

The Deliverator had to borrow some money to pay for it. Had to borrow it from the Mafia, in fact. So he's in their database now—retinal patterns, DNA, voice graph, fingerprints, footprints, palm prints, wrist prints, every fucking part of the body that had wrinkles on it—almost—those bastards rolled in ink and made a print and digitized it into their computer.

I often buy print books only after I've read them in some digital form or other. It's my odd way of keeping the physical presence of the best among multitudes. And I only have one shelf.

In 1948, while working for Bell Telephone Laboratories, he published a paper in the Bell System Technical Journal entitled "A Mathematical Theory of Communication" that not only introduced the word bit in print but established a field of study today known as information theory. Information theory is concerned with transmitting digital information in the presence of noise (which usually prevents all the information from getting through) and how to compensate for that. In 1949, he wrote the first article about programming a computer to play chess, and in 1952 he designed a mechanical mouse controlled by relays that could learn its way around a maze. Shannon was also well known at Bell Labs for riding a unicycle and juggling simultaneously.

In making purchase decisions, customers are essentially influenced by three factors. First, they are influenced by marketing communications in various media such as television ads, print ads, and public relations. Second, they are persuaded by the opinions of their friends and family. Third, they also have personal knowledge and an attitude about certain brands based on past experiences.

The approach to digital culture I abhor would indeed turn all the world's books into one book, just as Kevin (Kelly) suggested. It might start to happen in the next decade or so. Google and other companies are scanning library books into the cloud in a massive Manhattan Project of cultural digitization. What happens next is what's important. If the books in the cloud are accessed via user interfaces that encourage mashups of fragments that obscure the context and authorship of each fragment, there will be only one book. This is what happens today with a lot of content; often you don't know where a quoted fragment from a news story came from, who wrote a comment, or who shot a video. A continuation of the present trend will make us like various medieval religious empires, or like North Korea, a society with a single book. The Bible can serve as a prototypical example. Like Wikipedia, the Bible's authorship was shared, largely anonymous, and cumulative, and the obscurity of the individual authors served to create an oracle-like ambience for the document as "the literal word of God." If we take a non-metaphysical view of the Bible, it serves as a link to our ancestors, a window. The ethereal, digital replacement technology for the printing press happens to have come of age in a time when the unfortunate ideology I'm criticizing dominates technological culture. Authorship - the very idea of the individual point of view - is not a priority of the new ideology. The digital flattening of expression into a global mush is not presently enforced from the top down, as it is in the case of a North Korean printing press. Instead, the design of software builds the ideology into those actions that are the easiest to perform on the software designs that are becoming ubiquitous. It is true that by using these tools, individuals can author books or blogs or whatever, but people are encouraged by the economics of free content, crowd dynamics, and lord aggregators to serve up fragments instead of considered whole expressions or arguments. The efforts of authors are appreciated in a manner that erases the boundaries between them. The one collective book will absolutely not be the same thing as the library of books by individuals it is bankrupting. Some believe it will be better; others, including me, believe it will be disastrously worse. As the famous line goes from Inherit the Wind: 'The Bible is a book... but it is not the only book' Any singular, exclusive book, even the collective one accumulating in the cloud, will become a cruel book if it is the only one available.

This digital edition first published by Pottermore Limited in 2012 Published in print in the U.S.A. by Arthur A. Levine Books, an imprint of Scholastic Inc. All rights reserved. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any

Digital educators Salman Khan and Shantanu Sinha contend the world is on the verge of another “printing press moment,” which will break the elite’s grip on the essentials of education, making available to millions of aspiring learners online knowledge and ideas once restricted to the lecture halls of Harvard or Stanford.

In a world of digital resources at your fingertips, it is easy to forget about good old-fashioned libraries and books, but printed books have provided me with many pieces of valuable information that were never found online. Never underestimate the power of a real book or a real map and many thanks go out to anyone who works at a library or bookstore.

Special photos should get special treatment. So take active steps to preserve your photos and to protect yourself from digital amnesia. Bring your photos out of the digital universe and into real print. The act of being proactive in preserving your digital photos to make them last for decades and for the next generation might well be one more happy memory.

So, just as all Fords rolling off the assembly line in a given week might have serial numbers beginning with the same few characters, all the network chips in a given batch would start with the same few hex digits. Some of Dinah’s chips were cheap off-the-shelf hardware made for terrestrial use, but she also had some rad-hard ones, which she hoarded in a shielded box in a drawer beneath her workstation. She opened that drawer, pulled out that box, and took out a little green PC board, about the size of a stick of gum, with an assortment of chips mounted to it. Printed in white capital letters directly on the board was its MAC address. And its first half-dozen digits matched those in the transmission coming from the Space Troll.

FALLIERE WAS TWENTY-EIGHT, with the dark, Gallic looks of someone who seemed like he’d be more at home DJing trance music in an underground Paris nightclub than poring over reams of printed computer code during a commute on the Métro. In reality, he was fairly shy and reserved, and sifting through dense computer code was in fact a much bigger draw to him than spending sweaty nights in a throbbing club.

requires the permission of Crossway. When quotations from the ESV text are used in non-saleable print and digital media, such as church bulletins, orders of service, posters, transparencies, or similar media, a complete copyright notice is not required, but the initials (ESV) must appear at the end of the quotation. Publication of any commentary or other Bible reference work produced for commercial sale that uses the English Standard

There were absolutely amazing photographs everywhere, on everyone's Facebook page and everyone's iPhone and Instagram, just floating around in cyberspace for eternity. People took hundreds and thousands of digital pictures; one or two, even twenty or a hundred, were bound to be great. All anyone had to do was click through them all and post the ones they liked, deleting the rest. But using film meant you never knew what was going to be a good picture, let alone a great one, until you were standing there looking at a contact sheet with a magnifying glass and deciding which to print. Maybe nobody cared anymore, but then again, writers probably felt the same way when word processors were invented. Anyone with a story and a keyboard could write their memoir now, write the great American novel, or tweet a 140-character trope that gets retweeted and it read by hundreds of people every hour of every day.

I am a firm believer that digital imaging has already rivaled the chemical process in its ability to make fine prints. An exceptional digital print, on a fine quality paper, can take on all the delicacy of a masterful photogravure. Each is, after all, ink on paper. The unfortunate thing is that skillful digital fine art photography is being created by so few, and today’s artworld is brimming with hastily made, conceptually oriented, digital bric-a-brac.

Printers are like that,’ I say. ‘It’s in their nature. They print when you don’t need anything. And when you really need something printed out, the ink cartridge is empty or there’s a sheet of paper jammed inside, the printer tells you it’s lost its internet connection or that it doesn’t recognise the computer you’re trying to print from. If you ask me, the whole idea of a digital, paperless future is down to the fact that printers have driven so many people to despair and insanity. Paper is a good thing; it’s beautiful. There’s nothing wrong with paper: it feels pleasant in your hand and it’s the best way to read something. The only problem is getting those little black marks onto the surface of the paper in the first place. Even with all the modern technology at our disposal it’s all but impossible. I suspect – no, I’m absolutely convinced – that the printer companies and the antidepressant manufacturers of this world are in cahoots.

Newspapers were in rapid decline in cities large and small across the country, their business model devastated by the triple whammy of first a company (Craigslist) that offered for free one of their main products (classified ads), and later a company that eviscerated the department stores that bought many of the print ads that sustained newspapers (Amazon), and then a couple companies that siphoned off the digital ad revenue that would replace lost print ads (Google and Facebook).

Technological change is discontinuous. The monks in their scriptoria did not invent the printing press, horse breeders did not invent the motorcar, and the music industry did not invent the iPod or launch iTunes. Early in the new century book publishers, confined within their history and outflanked by unencumbered digital innovators, missed yet another critical opportunity, seized once again by Amazon, this time to build their own universal digital catalog, serving e-book users directly and on their own terms while collecting the names, e-mail addresses, and preferences of their customers. This strategic error will have large consequences.

I cannot recommend Ellie Augsburger at Creative Digital Studios enough! She produced amazing work for my debut novel. I am NOT an artistic person...at all. Ellie took my bumbling rambling (frankly poor) ideas and translated them into beautiful representative images of my work. I would have been lost without her! Not only did she create my cover (print and eBook) but she also created the images for my section breaks, Facebook banner, Twitter page, and my website. As I write my sophomore effort, Ellie will be my go to for all of my design needs. If you are looking for a creative, inspiring, helpful, knowledgeable, FANTASTIC designer look no further than Ellie Augsburger at Creative Digital Studios.

That is what I want our young nascent readers to become: expert, flexible code switchers -- between print and digital mediums now and later between and among the multiple future communication mediums....I conceptualize the initial development of learning to think in each medium as largely separated into distinct domains in the first school years, until a point in time when the particular characteristics of the two mediums are each well developed and internalized. That is an essential point. I want the child to have parallel levels of fluency, if you will, in each medium, just as if he or she were similarly fluent in speaking Spanish and English. In this way the uniqueness of the cognitive processes honed by each medium would be there from the start.

Just a short time ago, reading a book was a part of our natural rhythm, an inclination to find the quiet within the chaos. When we had a few minutes to spare, we often turned to a book. In fact, we yearn for this core sense of peace because we viscerally recognize it. And we have the freedom to claim it, to lean into the quiet and pick up a book. To claim this—to slow down and settle in with a story—this becomes a radical act of self-care. Reading is self-care. As human beings living in a digital age, time-starved and rushing around, printed books are reminders of the time we once had, the time we want to have, and the time we hope to have. Printed books quell the chaos. Printed books make us feel comfortable and make us feel like everything is going to be OK.

Computational models of the mind would make sense if what a computer actually does could be characterized as an elementary version of what the mind does, or at least as something remotely like thinking. In fact, though, there is not even a useful analogy to be drawn here. A computer does not even really compute. We compute, using it as a tool. We can set a program in motion to calculate the square root of pi, but the stream of digits that will appear on the screen will have mathematical content only because of our intentions, and because we—not the computer—are running algorithms. The computer, in itself, as an object or a series of physical events, does not contain or produce any symbols at all; its operations are not determined by any semantic content but only by binary sequences that mean nothing in themselves. The visible figures that appear on the computer’s screen are only the electronic traces of sets of binary correlates, and they serve as symbols only when we represent them as such, and assign them intelligible significances. The computer could just as well be programmed so that it would respond to the request for the square root of pi with the result “Rupert Bear”; nor would it be wrong to do so, because an ensemble of merely material components and purely physical events can be neither wrong nor right about anything—in fact, it cannot be about anything at all. Software no more “thinks” than a minute hand knows the time or the printed word “pelican” knows what a pelican is. We might just as well liken the mind to an abacus, a typewriter, or a library. No computer has ever used language, or responded to a question, or assigned a meaning to anything. No computer has ever so much as added two numbers together, let alone entertained a thought, and none ever will. The only intelligence or consciousness or even illusion of consciousness in the whole computational process is situated, quite incommutably, in us; everything seemingly analogous to our minds in our machines is reducible, when analyzed correctly, only back to our own minds once again, and we end where we began, immersed in the same mystery as ever. We believe otherwise only when, like Narcissus bent above the waters, we look down at our creations and, captivated by what we see reflected in them, imagine that another gaze has met our own.

On the other hand, some of the family’s impatience with the public is justified. When I use Federal Express, I accept as a condition of business that its standardized forms must be filled out in printed letters. An e-mail address off by a single character goes nowhere. Transposing two digits in a phone number gets me somebody speaking heatedly in Portuguese. Electronic media tell you instantly when you’ve made an error; with the post office, you have to wait. Haven’t we all at some point tested its humanity? I send mail to friends in Upper Molar, New York (they live in Upper Nyack), and expect a stranger to laugh and deliver it in forty-eight hours. More often than not, the stranger does. With its mission of universal service, the Postal Service is like an urban emergency room contractually obligated to accept every sore throat, pregnancy, and demented parent that comes its way. You may have to wait for hours in a dimly lit corridor. The staff may be short-tempered and dilatory. But eventually you will get treated. In the Central Post Office’s Nixie unit—where mail arrives that has been illegibly or incorrectly addressed—I see street numbers in the seventy thousands; impossible pairings of zip codes and streets; addresses without a name, without a street, without a city; addresses that consist of the description of a building; addresses written in water-based ink that rain has blurred. Skilled Nixie clerks study the orphans one at a time. Either they find a home for them or they apply that most expressive of postal markings, the vermilion finger of accusation that lays the blame squarely on you, the sender.

Today in the US more people read digital books than printed ones. Devices such as Amazon’s Kindle are able to collect data on their users while they are reading. Your Kindle can, for example, monitor which parts of a book you read quickly, and which slowly; on which page you took a break, and on which sentence you abandoned the book, never to pick it up again. (Better tell the author to rewrite that bit.) If Kindle is upgraded with face recognition and biometric sensors, it will know how each sentence you read influenced your heart rate and blood pressure. It will know what made you laugh, what made you sad and what made you angry. Soon, books will read you while you are reading them. And whereas you quickly forget most of what you read, Amazon will never forget a thing. Such data will enable Amazon to choose books for you with uncanny precision. It will also enable Amazon to know exactly who you are, and how to turn you on and off.

Not everyone was thrilled with Gutenberg’s creation. As today, there were pessimists and scolds who viewed new technology as a blight on civilization. In his recent book, The Case for Books: Past, Present, and Future, Robert Darnton quotes from a letter written in 1471 by an Italian scholar named Nic-colò Perotti. Though he’d initially seen the printed book as a good thing, just a decade and a half into the print age, Perotti concluded it was a menace: I see that things turned out quite differently from what I had hoped. Because now that anyone is free to print whatever they wish, they often disregard that which is best and instead write, merely for the sake of entertainment, what would best be forgotten, or, better still be erased from all books. And even when they write something worthwhile they twist it and corrupt it to the point where it would be much better to do without such books, rather than having a thousand copies spreading falsehoods over the whole world.

Yes,” her boss responded, “one for us and one for the customer.” “I’m sorry, so you are saying that the client is asking for a copy and we need a copy for internal use?” “Actually, I’ll check with the client—they haven’t asked for anything. But I definitely want a copy. That’s just how I do business.” “Absolutely,” she responded. “Thanks for checking with the customer. Where would you like to store the in-house copy? There’s no more space in the file room here.” “It’s fine. You can store it anywhere,” he said, slightly perturbed now. “Anywhere?” she mirrored again, with calm concern. When another person’s tone of voice or body language is inconsistent with his words, a good mirror can be particularly useful. In this case, it caused her boss to take a nice, long pause—something he did not often do. My student sat silent. “As a matter of fact, you can put them in my office,” he said, with more composure than he’d had the whole conversation. “I’ll get the new assistant to print it for me after the project is done. For now, just create two digital backups.” A day later her boss emailed and wrote simply, “The two digital backups will be fine.” Not long after, I received an ecstatic email from this student: “I was shocked! I love mirrors! A week of work avoided!” Mirroring will make you feel awkward as heck when you first try it. That’s the only hard part about it; the technique takes a little practice. Once you get the hang of it, though, it’ll become a conversational Swiss Army knife valuable in just about every professional and social setting.

The Memory Business Steven Sasson is a tall man with a lantern jaw. In 1973, he was a freshly minted graduate of the Rensselaer Polytechnic Institute. His degree in electrical engineering led to a job with Kodak’s Apparatus Division research lab, where, a few months into his employment, Sasson’s supervisor, Gareth Lloyd, approached him with a “small” request. Fairchild Semiconductor had just invented the first “charge-coupled device” (or CCD)—an easy way to move an electronic charge around a transistor—and Kodak needed to know if these devices could be used for imaging.4 Could they ever. By 1975, working with a small team of talented technicians, Sasson used CCDs to create the world’s first digital still camera and digital recording device. Looking, as Fast Company once explained, “like a ’70s Polaroid crossed with a Speak-and-Spell,”5 the camera was the size of a toaster, weighed in at 8.5 pounds, had a resolution of 0.01 megapixel, and took up to thirty black-and-white digital images—a number chosen because it fell between twenty-four and thirty-six and was thus in alignment with the exposures available in Kodak’s roll film. It also stored shots on the only permanent storage device available back then—a cassette tape. Still, it was an astounding achievement and an incredible learning experience. Portrait of Steven Sasson with first digital camera, 2009 Source: Harvey Wang, From Darkroom to Daylight “When you demonstrate such a system,” Sasson later said, “that is, taking pictures without film and showing them on an electronic screen without printing them on paper, inside a company like Kodak in 1976, you have to get ready for a lot of questions. I thought people would ask me questions about the technology: How’d you do this? How’d you make that work? I didn’t get any of that. They asked me when it was going to be ready for prime time? When is it going to be realistic to use this? Why would anybody want to look at their pictures on an electronic screen?”6 In 1996, twenty years after this meeting took place, Kodak had 140,000 employees and a $28 billion market cap. They were effectively a category monopoly. In the United States, they controlled 90 percent of the film market and 85 percent of the camera market.7 But they had forgotten their business model. Kodak had started out in the chemistry and paper goods business, for sure, but they came to dominance by being in the convenience business. Even that doesn’t go far enough. There is still the question of what exactly Kodak was making more convenient. Was it just photography? Not even close. Photography was simply the medium of expression—but what was being expressed? The “Kodak Moment,” of course—our desire to document our lives, to capture the fleeting, to record the ephemeral. Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera? But that wasn’t how the Kodak Corporation of the late twentieth century saw it. They thought that the digital camera would undercut their chemical business and photographic paper business, essentially forcing the company into competing against itself. So they buried the technology. Nor did the executives understand how a low-resolution 0.01 megapixel image camera could hop on an exponential growth curve and eventually provide high-resolution images. So they ignored it. Instead of using their weighty position to corner the market, they were instead cornered by the market.

One of the earliest studies found that using an iPad—an electronic tablet enriched with blue LED light—for two hours prior to bed blocked the otherwise rising levels of melatonin by a significant 23 percent. A more recent report took the story several concerning steps further. Healthy adults lived for a two-week period in a tightly controlled laboratory environment. The two-week period was split in half, containing two different experimental arms that everyone passed through: (1) five nights of reading a book on an iPad for several hours before bed (no other iPad uses, such as email or Internet, were allowed), and (2) five nights of reading a printed paper book for several hours before bed, with the two conditions randomized in terms of which the participants experienced as first or second. Compared to reading a printed book, reading on an iPad suppressed melatonin release by over 50 percent at night. Indeed, iPad reading delayed the rise of melatonin by up to three hours, relative to the natural rise in these same individuals when reading a printed book. When reading on the iPad, their melatonin peak, and thus instruction to sleep, did not occur until the early-morning hours, rather than before midnight. Unsurprisingly, individuals took longer to fall asleep after iPad reading relative to print-copy reading. But did reading on the iPad actually change sleep quantity/quality above and beyond the timing of melatonin? It did, in three concerning ways. First, individuals lost significant amounts of REM sleep following iPad reading. Second, the research subjects felt less rested and sleepier throughout the day following iPad use at night. Third was a lingering aftereffect, with participants suffering a ninety-minute lag in their evening rising melatonin levels for several days after iPad use ceased—almost like a digital hangover effect. Using LED devices at night impacts our natural sleep rhythms, the quality of our sleep, and how alert we feel during the day.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

Look around on your next plane trip. The iPad is the new pacifier for babies and toddlers… Parents and other passengers read on Kindles… Unbeknownst to most of us, an invisible, game-changing transformation links everyone in this picture: the neuronal circuit that underlies the brain’s ability to read is subtly, rapidly changing… As work in neurosciences indicates, the acquisition of literacy necessitated a new circuit in our species’ brain more than 6,000 years ago… My research depicts how the present reading brain enables the development of some of our most important intellectual and affective processes: internalized knowledge, analogical reasoning, and inference; perspective-taking and empathy; critical analysis and the generation of insight. Research surfacing in many parts of the world now cautions that each of these essential “deep reading” processes may be under threat as we move into digital-based modes of reading… Increasing reports from educators and from researchers in psychology and the humanities bear this out. English literature scholar and teacher Mark Edmundson describes how many college students actively avoid the classic literature of the 19thand 20th centuries because they no longer have the patience to read longer, denser, more difficult texts. We should be less concerned with students’ “cognitive impatience,” however, than by what may underlie it: the potential inability of large numbers of students to read with a level of critical analysis sufficient to comprehend the complexity of thought and argument found in more demanding texts… Karin Littau and Andrew Piper have noted another dimension: physicality. Piper, Littau and Anne Mangen’s group emphasize that the sense of touch in print reading adds an important redundancy to information – a kind of “geometry” to words, and a spatial “thereness” for text. As Piper notes, human beings need a knowledge of where they are in time and space that allows them to return to things and learn from re-examination – what he calls the “technology of recurrence”. The importance of recurrence for both young and older readers involves the ability to go back, to check and evaluate one’s understanding of a text. The question, then, is what happens to comprehension when our youth skim on a screen whose lack of spatial thereness discourages “looking back.

The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?

Photo retouching is a method of photo editing which focuses primarily on the restoration and enhancement of photographs whether the photo is digital or printed. The art of photo retouching has the ability to highlight different details within an image or make up for the limitations of a specific kind of camera. As such, the light exposure, contrasts or color tones can be corrected or played with thanks to photograph retouching. It is important to note though that photo retouching is not simply equitable to Photoshop. Although Photoshop is one of the most common way photo retouching is performed, photo retouching can also be performed with different chemical agents and physical changes made to film before they are printed.

While working at the hedge fund in 1994, Bezos came across the statistic that the web had been growing by more than 2,300 percent each year. He decided that he wanted to get aboard that rocket, and he came up with the idea of opening a retail store online, sort of a Sears catalogue for the digital age. Realizing that it was prudent to start with one product, he chose books—partly because he liked them and also because they were not perishable, were a commodity, and could be bought from two big wholesale distributors. And there were more than three million titles in print—far more than a bricks-and-mortar store could possibly keep on display.

I open my mouth, and her two fingers slip in. I close my lips around her digits and taste her, not releasing them until they’re clean. I slip my hand out from under her shirt and remove my other one from her mouth. Her dark-red lipstick is smeared a bit, across her cheek. And there’s a messy print of her lips on my palm.

Aren’t fears of disappearing jobs something that people claim periodically, like with both the agricultural and industrial revolution, and it’s always wrong?” It’s true that agriculture went from 40 percent of the workforce in 1900 to 2 percent in 2017 and we nonetheless managed to both grow more food and create many wondrous new jobs during that time. It’s also true that service-sector jobs multiplied in many unforeseen ways and absorbed most of the workforce after the Industrial Revolution. People sounded the alarm of automation destroying jobs in the 19th century—the Luddites destroying textile mills in England being the most famous—as well as in the 1920s and the 1960s, and they’ve always been wildly off the mark. Betting against new jobs has been completely ill-founded at every point in the past. So why is this time different? Essentially, the technology in question is more diverse and being implemented more broadly over a larger number of economic sectors at a faster pace than during any previous time. The advent of big farms, tractors, factories, assembly lines, and personal computers, while each a very big deal for the labor market, were orders of magnitude less revolutionary than advancements like artificial intelligence, machine learning, self-driving vehicles, advanced robotics, smartphones, drones, 3D printing, virtual and augmented reality, the Internet of things, genomics, digital currencies, and nanotechnology. These changes affect a multitude of industries that each employ millions of people. The speed, breadth, impact, and nature of the changes are considerably more dramatic than anything that has come before.

Isabella Di Fabio Web developers who design, build and implement web sites are involved in creating Web pages and help design aesthetic features such as layouts and colors, as well as technical considerations like designing a web site that can handle a certain amount of Internet traffic. Web developers in this role focus on the back-end development of websites, which includes the creation of complex search functions. It is not mandatory that their task is to know how to program the design, but to make it real in the browser. The design for print and web has never been as diverse as it is today. A group of web designers who understand the entire WordPress hierarchy system and know how to put together the code to use actions, filters and hooks to customize WordPress in the right way. Isabella Di Fabio If you want to pick a skill, learn something that is universally appealing and can be applied to many different types of clients and projects. The more you can do for a client generally, the better and the more work you can accept.

Directed dabbling is what led me to Bre Pettis, a former art teacher from Seattle who started NYC Resistor, a Brooklyn maker space, and also launched the 3-D printing company MakerBot next door. I had been tracking Bre as part of our digital development effort. I e-mailed Bre to ask if I could simply hang out and watch what he was doing: “I want to understand the new wave of micro-manufacturing, and especially what you are doing with 3-D printing.” Resistor was a higgledy-piggledy series of rooms on the fourth floor of a run-down factory. There Bre introduced me to his “makers” as we walked between workbenches covered with bits of sheet metal and wires and boxes of odds and ends. I saw people making a miniature wind turbine and a portable water purification system. That is, GE kinds of things. One guy was building his own miniature gas turbine, because, well, he could. “Why not?” he said. “People want to live off the grid.” “We could use this ingenuity inside GE,” I said out loud. After NYC Resistor and MakerBot, I met with Shapeways, in Queens, an advanced contract manufacturer where people submitted designs to be 3-D printed for a fee. As we toured the space and talked about the jewelry they made, I

In the fast paced, digitally saturated, screen-overloaded era we live in, we believe that printed books are a refuge of space and time. It’s OK to slow down and read; it’s OK to fill your home and your shelves with printed books and to celebrate the comfort and meaning they provide in our lives. We think it’s something that we all crave whether we know it or not.

I said, what if instead of scanning the image in, as is done in office xerography, I actually just created the data on the computer? If I could modulate the beam to match the digital bits, I could actually print with this thing. I did some test experiments in Rochester, which my immediate management felt was probably the most lunatic project they’d ever seen in their lives. That’s when my section manager said, ‘Stop, or I’m going to take your people away.

They said, ‘We just gave you the 8086 last week! How could you report a bug already?’”, Tesler recalled. But Intel had not reckoned with PARC’s do-it-yourself mentality. Years earlier the lab had purchased a rare million-dollar machine known as a Stitchweld, which could turn out printed circuit boards overnight from a digital schematic prepared on Thacker’s SIL program. “It turned out that no one else using the 8086 had Stitchwelds. Everyone else was going through complicated board designs, so they wouldn’t know for months if there was a bug. But at Xerox we gave them that feedback in a few days.

As Gordon’s book The Rise and Fall of American Growth went to press in early 2016 (its publication facilitated by digital technologies), the internet continued to disrupt countless industries while the media fanned fears of an impending ‘second machine age’, in which robots replace human workers. Gordon’s Northwestern colleague Joel Mokyr suggested that a ‘shortfall of imagination [is] largely responsible for much of today’s pessimism’. Mokyr listed a number of revolutionary new technologies then under development, including 3D printing, graphene and genetic engineering, to which might be added autonomous cars and clean energy.19 Finance writer William Bernstein accused secular stagnationists of conflating what they couldn’t conceive with that which was not possible.20 Hansen made the same mistake. The most reliable prediction, Bernstein concluded, is to assume that past economic trends continue.

It is common today to hear techno-futurists and billionaire trans-humanists muse about the potential of technology to help mankind—or least the extremely wealthy—slip the surly bonds of aging and even death by “uploading” memories to a digital cloud and using AI to recreate consciousness. Billionaire investor and entrepreneur Balaji Srinivasan, who sees “the vector of our civilization” in terms of a choice between “anarcho-primitivism or optimalism/transhumanism,” has talked about “life extension” technologies that could make possible what he calls “genomic reincarnation,” in which a person’s sequenced DNA could in theory be synthesized and printed out into a new body, “like a clone, but it is you in a different time.”23 And of course there are the billionaire enthusiasts like Elon Musk who see a future in which technology is fused with human biology in some kind of brain-machine interface, or Mark Zuckerberg, who dreams of replacing physical society with a virtual “Metaverse.

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Miss Rice loaned me the negatives, and I ordered these prints from the drugstore in town. No comparison to Josh's work. He was gifted in a dying art form. I don't think he would've cared for the age of digital cameras.

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In the 1970s, the average American was exposed to about five hundred ads a day between billboards, television, radio, and print. Today, digital marketing experts estimate that the number is closer to ten thousand ads per day — and those ads are increasingly “micro- targeted” to us based on a huge amount of data that companies possess about our habits and interests. We can’t possibly see ten thousand ads a day and process them all. Advertisers have to get more creative about how to get our attention. Their goal is to create ads that we really do “see,” and ideally take action from. Once we get used to one type of ad, we might tune them out, so advertisers work to capture our eyeballs (and our wallets) in new and different ways.

People really liked [the iPad] because . . . they could look things up really quickly in class, but also . . . people were getting really distracted. Like, my sister had an iPad and she said that her and her friends’ texts were blocked but they had school emails. And they would sit in class and pretend to be researching but really they were emailing back and forth just because they were bored—or they would take screenshots of a test practice sheet and send it out to their friends that hadn’t had the class yet. But my sister also said that even when she and her friends were just trying to study for a test, “they would go and print everything that they had on their iPads,” because studying was made a lot more difficult because of all the other distractions on the iPad, all the other apps they could download.

The potential of additive manufacturing like 3D printing to influence the peaking of oil demand is not yet as well studied as that of electric cars, but it could wind up being a bigger threat to the oil industry than other, better-known digital trends.

Paperback 204 pages ISBN: 9780996871839 Available in print, digital and audiobook formats If you have ever experienced infighting, such as a team ora department pitting itself against another team or department; if you have ever worked for a micromanaging and overbearing boss; if you have ever navigated the changes that come with a merger or other significant restructuring process, then you have had a front-row seat to organizational drama. David Emerald’s 3 Vital Questions: Transforming Workplace Drama was written for you! “It is impossible to describe what a profound impact the 3 Vital Questions have had on my life, personally and professionally.” —Chris Nagel, Director of Leadership & Team Development, Cleveland

NOT SO LONG AGO, when I was in school, research required a trip to a library stocked with bundles of printed paper—an inconvenient undertaking when the nearest good library was miles away. Today, affordable machines can deliver the content of a library’s journals to your lap in an instant—and behind this modern wonder we again find silicon chips with digital devices.

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decade was over For Dummies books had been published in over 30 languages, from Albanian to Turkish. In the early years, many publishers questioned whether the series would work in their language market. The answer today is a global phenomenon. Our reach also expanded beyond books. In 1996 a license agreement with EMI brought Classical Music For Dummies enhanced CDs to market. Critically and commercially successful, the series initiated the For Dummies licensing program of products and services that has included software, consumer electronics, instructional DVDs, DIY home improvement kits, online support services, beginner musical instruments, and more. Today, as books themselves have reached beyond traditional print formats to digital platforms, For Dummies continues to expand, into e-books, enhanced e-books, and mobile applications. And again, this too is happening globally, as Wiley editors in Australia, Canada, Germany, the U.K., and U.S. work together to grow our print and electronic publishing program, which is further enhanced by contributions from licensee publishers in France, the Netherlands, Spain, and elsewhere. It is remarkable to think that one book

But ebooks will rule the day, and when people a few years from now talk about “books,” what they’ll really be referring to are ebooks, not print books. Eventually the “e” will be dropped, and books will be assumed to be digital, just as most music is now digital; after all, we don’t refer to music as e-music.

I believe the reader of 2020 or 2030 will have two libraries, print and digital, with different types of books and publications in each. While I have no qualms about trying out a debut author on e-book or loading up some holiday reading on to my Kindle, when it comes to my favourite authors I have to own the print edition, and I remain a sucker for a beautifully designed and printed book.

Got himself fired for pulling a sword on an acknowledged perp. Slid it right through the fabric of the perp’s shirt, gliding the flat of the blade along the base of his neck, and pinned him to a warped and bubbled expanse of vinyl siding on the wall of the house that the perp was trying to break into. Thought it was a pretty righteous bust. But they fired him anyway because the perp turned out to be the son of the vice-chancellor of the Farms of Merryvale. Oh, the weasels had an excuse: said that a thirty-six-inch samurai sword was not on their Weapons Protocol. Said that he had violated the SPAC, the Suspected Perpetrator Apprehension Code. Said that the perp had suffered psychological trauma. He was afraid of butter knives now; he had to spread his jelly with the back of a teaspoon. They said that he had exposed them to liability. The Deliverator had to borrow some money to pay for it. Had to borrow it from the Mafia, in fact. So he’s in their database now—retinal patterns, DNA, voice graph, fingerprints, footprints, palm prints, wrist prints, every fucking part of the body that had wrinkles on it—almost—those bastards rolled in ink and made a print and digitized it into their computer. But it’s their money—sure they’re careful about loaning it out. And when he applied for the Deliverator job they were happy to take him, because they knew him. When he got the loan, he had to deal personally with the assistant vice-capo of the Valley, who later recommended him for the Deliverator job. So it was like being in a family. A really scary, twisted, abusive family. CosaNostra

Bestsellers’ are a comparatively recent trend, a marketing tool from the competitive world of early twentieth-century American publishing. Most

When the door shut behind her, she let out the breath she wasn’t aware she was holding. She went two doors down the hall. “Did we get enough?” she asked the rest of her team, who’d crowded into the observation/printer room to watch the interrogation. Baldwin was the one who answered. “Yep. Like you said, he openly admitted to seeing your tapes. The voice prints should be perfect, you captured a range of emotions. This will seal the deal with the videotape of you and David Martin, the voice on the tape can be digitally matched to the spliced voice and we’ve got yet another charge to hang on him, and another example of how your good name was falsely besmirched.” “Besmirched. I like that word.

Recommended Books Bruce Barnbaum: The Art of Photography, An Approach to Personal Expression Martin Evening: The Adobe Photoshop Lightroom 5 Book Jeff Schewe: The Digital Negative Tim Grey: Color Confidence. The Digital Photographer's Guide to Color Management

Given the overwhelmingly positive effects of this Facebook effort, the brand considered making massive marketing budget cuts to TV and print advertising in favor of more spend on social media channels. MMM analysis suggested that digital marketing (online display, Facebook advertising and Facebook viral) would deliver the same impact as traditional marketing (TV and print), but at only 15 percent of the cost.

The author and publisher have provided this e-book to you without Digital Rights Management software (DRM) applied so that you can enjoy reading it on your personal devices. This e-book is for your personal use only. You may not print or post this e-book, or make this e-book publicly available in any way. You may not copy, reproduce, or upload this e-book, other than to read it on one of your personal devices. Copyright infringement

The Federal Reserve and other central banks could print more money only if they managed to get their hands on more gold.

Advertising your business is imperative in the present age because of cutting edge competition and you cannot expect rapid business growth unless and until a workable advertising strategy is employed. You can choose from a number of available options to market your services to people. Internet marketing is a modern as well as an efficient method to promote your services and products but, the effectiveness of poster printing cannot be denied. With the introduction of new and improved methods of poster printing, the quality of the prints has become considerably better. Today Poster printing, along with other print mediums like: Mug printing, T-Shirt printing, Sign printing & calendar printing, companies offer services to not only print, but also design posters for advertising campaigns. Here are 5 key advantages of Poster Priting: Advantages of Poster Printing 1. Low Costs The creative process of a poster printing involves a copywriter, a graphic designer as well as a printer. You can also hire a poster distributor or simply hang the posters by yourself. It is a simple process that won’t cost too much. However, you need to be mindful of local laws that may prevent posters from being displayed in certain areas. 2. Active Response printing People who view posters actively get engaged with their surroundings. Whether they are standing at a bus stop or lining up at the local nightclub, people are likely to notice posters out of sheer boredom. A clever poster printing must have a call-to-action phrase that propels the viewer to take action as soon as possible. This could be in the form of making a phone call, visiting a shop or navigating to a website. 3. Visibility Poster printing helps you hang multiple posters in one location in order to increase brand visibility. It’s quite normal to see entire rows of the same poster lining the side of a street or subway. When people get bombarded with the poster message, it is ensured that the message is going to sit on their hands long after they have viewed the poster. 4. Strategic location of a street or subway You can hang multiple posters in one location to increase brand visibility. It’s quite normal to see entire rows of the same poster lining the side of a street or subway. The biggest advantage of using poster printing is that, they can be put just about anywhere & seen by almost anyone.

Video killed the radio stars, and digital killed the old ‘inkies’. (Ben Macintyre writing in The Times about the death of the New Musical Express (NME) in print.)

Publishing carries forward our sciences and powers our culture. Publishing isn’t a passive medium; it is a part of our lives and societies, shaping them, guiding them, sometimes even controlling them. Rarely

Just as James Watt refused to license his steam engine, suppressing the development of that technology over the quarter century that elapsed between his first commercial model and the expiry of his patents in 1800, the evolution of digital fabrication has been hobbled by practices aimed at securing a remunerative monopoly.30 During the period that Stratasys enforced its patents, the practice of 3D printing went more or less nowhere. It wasn’t until these patents began to expire, after twenty years of painfully slow progress, that the Cambrian explosion of depositional fabrication devices and things made with them became possible.31

Rick didn’t seem to have any problems taking orders from a woman ten years his junior, either, which can be an issue with guys trying to jump from the traditional news media to the blogging world. They don’t mean to bring their prejudices with them when they make the transition, but some things are harder to get rid of than an addiction to seeing your stories physically printed.

Assign a file or paper tray to collect single-side printed paper for reuse. Boycott paper sourced from virgin forests and reams sold in plastic. Cancel magazine and newspaper subscriptions; view them online instead. Digitize important receipts and documents for safekeeping. Digital files are valid proofs for tax purposes. Download CutePDF Writer to save online files without having to print them. Email invitations or greeting cards instead of printing them (see “Holidays and Gifts” chapter). Forage the recycling can when paper scraps are needed, such as for bookmarks or pictures (for school collages, for example). Give extra paper to the local preschool. Hack the page margins of documents to maximize printing. Imagine a paperless world. Join the growing paperless community. Kill the fax machine; encourage electronic faxing through a service such as HelloFax. Limit yourself to print only on paper that has already been printed on one side. Make online billing and banking a common practice. Nag the kids’ teachers to send home only important papers. Opt out of paper newsletters. Print on both sides when using a new sheet of paper (duplex printing). Question the need for printing; print only when absolutely necessary. In most cases, it is not. Repurpose junk mail envelopes—make sure to cross out any barcode. Sign electronically using the Adobe Acrobat signing feature or SignNow.com. Turn down business cards; enter relevant info directly into a smartphone. Use shredded paper as a packing material, single-printed paper fastened with a metal clip for a quick notepad (grocery lists, errands lists), and double-printed paper to wrap presents or pick up your dog’s feces. Visit the local library to read business magazines and books. Write on paper using a pencil, which you can then erase to reuse paper, or better yet, use your computer, cell phone, or erasable board instead of paper. XYZ: eXamine Your Zipper; i.e., your leaks: attack any incoming source of paper.

The Times needed to adapt to the new realities of the digital age, and changing its anachronistic meeting was a way to reflect a commitment to change—and to help spur it. “It was no longer good for our readers to focus so much on print. But it was also bad for the journalists,” Sam Dolnick, an assistant editor on the newspaper’s masthead, told me. “We changed the meeting as a deliberate way to change the culture and values of the newsroom. We wanted people to think less about print, so we needed the meeting to be less about print. We used the meeting as a way to shift the values and the mindset” of the newsroom. Changing how the editors gathered—what they talked about, how much time was devoted to what, who got airtime—offered a way to nudge the culture of the newsroom toward new digital realities.

aperture. Certain formats make use of this extra area as an intermediate step before the final print is made, and it is not uncommon for visual effects elements to be shot "full-ap" to reap the benefits of a higher-resolution image. An example of the full aperture framing is shown in Figure D.1 of Appendix D, as well as for the rest of the 35mm formats we will be discussing. 1.85 An aspect ratio of 1.85 is by far the most common framing for movies that are shown in the United States. (In Europe, a 1.66 aspect ratio is much more common, and in the rest of the world it varies between the two standards.) Projecting an image that was shot with normal Academy aperture in a 1.85 format is simply

While I may be pessimistic about parts of the business that support journalism, I’m optimistic about the robust survival of journalism in the long run.

But mama it’s hard to read books these days. The world has gone digital. Print books are almost burden-some. The volume, of some, alone discourages one.

For various ideological reasons, the business world, the entertainment industry, and most users of the World Wide Web have shown little interest in a serious critique of digital media, but they are all eager to use digital technology to extend and remake forms of representation and communication.

So let me emphasize the important thing: there’s no cognitive difference in reading a sentence in a print book versus a digital book.

million initiative in digital media and learning. They are published openly online (as well as in print) in

Media consumers in the 0s, 10s, 20s, and 30s have no such print alliances. To them, the idea of printing on a dead tree and then trucking it to houses and newsstands seems ludicrous, old-fashioned, inconvenient, and wasteful. To these folks, paper-based publications are a pain to carry and search, easy to misplace, and hard to share, and the information in them is outdated the moment it appears. For those who weren't raised on paper, digital is superior in almost every way.

Actually, no. I won't ever go digital. I work with thirty-five or large format. I like the hand-jobs, you know. And I still do most of my own printing. I've developed such a profound distaste for touch-up and modern artifice—comes from snapping too many derelicts and detritus, perhaps, but I love it. Photo bloody Shop can go stuff it. A picture should be honest, even if the subject is contrived on the ground, you know; not dolled-up for advertising punch or sex appeal.

The “self-actualization” philosophy from which most of this new bureaucratic language emerged insists that we live in a timeless present, that history means nothing, that we simply create the world around us through the power of the will. This is a kind of individualistic fascism. Around the time the philosophy became popular in the seventies, some conservative Christian theologians were actually thinking along very similar lines: seeing electronic money as a kind of extension for God’s creative power, which is then transformed into material reality through the minds of inspired entrepreneurs. It’s easy to see how this could lead to the creation of a world where financial abstractions feel like the very bedrock of reality, and so many of our lived environments look like they were 3-D-printed from somebody’s computer screen. In fact, the sense of a digitally generated world I’ve been describing could be taken as a perfect illustration of another social law—at least, it seems to me that it should be recognized as a law—that, if one gives sufficient social power to a class of people holding even the most outlandish ideas, they will, consciously or not, eventually contrive to produce a world organized in such a way that living in it will, in a thousand subtle ways, reinforce the impression that those ideas are self-evidently true.

If e-book readers were invented before print books, (petty things such as) the smell of ink would have been some people’s only reason for not abandoning e-books.

Another scenario is possible, and that is the e-book will succeed and that books will be downloaded from the Internet. But at the same time, it may be the case that the digital network and the terminals that tap into it will become saturated as limits to growth of computer memory and speed of operation are reached at the same time that electronic traffic becomes gridlocked with e-mail and World Wide Web use. If that were to happen, there would likely be pressure to keep older books in print form, and perhaps even continue to issue newer books that way, rather than clutter the Internet with more and more information. Under such a scenario, older books might not be allowed to circulate because so few copies of each title will have survived the great CD digital dispersal, leaving printed editions that will be as rare as manuscript codices are today. In spite of potential problems, the electronic book, which promises to be all books to all people, is seen by some visionaries as central to any scenario of the future. But what if some electromagnetic catastrophe or a mad computer hacker were to destroy the total electronic memory of central libraries? Curious old printed editions of dead books would have to be disinterred from book cemeteries and re-scanned. But in scanning rare works into electronic form, surviving books might have to be used in a library's stacks, the entrance to which might have to be as closely guarded as that to Fort Knox. The continuing evolution of the bookshelf would have to involve the wiring of bookstacks for computer terminal use. Since volumes might be electronically chained to their section in the stacks, it is also likely that libraries would have to install desks on the front of all cases so that portable computers and portable scanners could be used to transcribe books within a telephone wire's or computer cable's reach of where they were permanently kept. The aisles in a bookstack would most likely have to be altered also to provide seating before the desks, and in time at least some of the infrastructure associated with the information superhighway might begin again to resemble that of a medieval library located in the tower of a monastery at the top of a narrow mountain road.

EAN codes ordinarily have the first three digits (the prefix) identifying the country of manufacture, but that doesn't make sense for books. The industry committee's clever solution was to invent two new imaginary countries -- called Bookland 1 and Bookland 2 -- with corresponding prefixes of 978 and 979." (29)

But the policy has faced impassioned criticism, particularly from antigovernment circles, where many believe that the end of the gold standard allowed central banks to print money with no restraint, hurting the long-term value of the dollar and allowing for unbridled government spending.

Paper and digital prototypes, PowerPoint mockups, personas, filmed user testimonials, and 3D printed objects can be used to build excitement, communicate vision, and share understanding.

his help in photographing many of the example images that are used throughout the book. Thanks to Alex, Aundrea, Alyssa, Rachel, Anna, and josh, because I would be a poor uncle indeed if I passed up the opportunity for them to see their names in print, and thanks to Mandy and Ace (Plate 28). A special note of thanks to my associates at Nothing Real, not only for the use of their fine compositing software to create many of the images in this book, but also