The distinction between the Internet and real life is diminishing rapidly, dramatically; the Internet is—or fundamentally conditions—real life, and vice versa.
How might works produced for the screen be transposedto the codex in a way that recalls that former context, though not slavishly, and while also fully inhabiting the page? How can the form and function of interactive, audiovisual works be degraded elegantly, without disappearing entirely, in print?
Triple Canopy is charting an expanded field of publication, drawing on the history of print culture while acting as a hub for the exploration of emerging forms and the public spaces constituted around them (...) a magazine that incorporates publishing activities—that take place on the Web, in print, and in face-to-face conversations (...) a translation into print of projects that originally appeared in other forms.
“Our initial conviction that online publishing differed from print was practically physiological: quite simply, our eyes moved differently over screens (...) we wanted to reproduce the absorptive experience that print still afforded us, while also incorporating the web’s capacity for interactivity and multiple media.”
The role of the printed page has radically mutated, from being a prevalent medium in itself to a complementary medium, often used as a static repository of electronic content.
The Net has become a fixture in contemporary life. Links and hyperlinks abound. Reading along these networked structures has become a habit, like browsing a newspaper. The vision of a reconfigured reading environment has been realized (...)
Paper and pixel seem to be complementary. Print is becoming the quintessential of the web. The printed editor is the curator, the human filter, the one who decides what to put on a stable medium and what to leave as a message in a bottle thrown into the sea of the net. So the printed page, and its relaxed fruition, let the reader pause and reflect and take notes at the same time being independent of electricity. And paper is preserving a substantial part of the digital culture without hardware and software, describing the new media from the technical side of an old one.
Although writing is visual, the appreciation of the visual aspects of it competes with understanding what is written (...) Certain elements of computer text are very closely based on print forebears, while others have no basis in earlier technologies of writing.
As we now move beyond the technology of printing, it is no longer appropriate to dismiss the visual history of writing—the changes in both the written signs themselves and their deployment on the page or screen.
aspectos formais, especificidade do suporte [impresso digital]
The digital environment is at the same time a source of inspiration, a repository of raw data to filter and organize, a channel for collaboration or dissemination, a space for exposure, a mix of communication modes to exploit, a set of tools to tweak or to autonomously build.
Much of the discussion around publishing is informed by a model of interpretation in which digital technology acts as the natural successor of printed matter.
The “post-digital mindset” allows a more inclusive research framework of the publishing field (...) In the field of post-digital publishing, printed matter doesn’t belong to the past and digital tools are not inherently innovative.
(In Environ-mentalism) the online publication of the essay meant for linking to new or existing texts. Users can select the part of the text they want to comment or link to.
There is no one-way street from analogue to digital; rather, there are transitions between the two, in both directions. Digital is the paradigm for content and quantity of information; analogue is the paradigm for usability and interfacing.
If the digital expands our possibilities and access to content, print is still the preferred medium for preservation.
Online the book becomes part of a vast, interactive network of footnotes, endnotes, hyperlinks, social tags, geo-location search capabilities, animations, video and sound. It becomes an occasion for social annotations and collaborative communities of readers and authors.
It is the technology itself that develops form and content simultaneously and considers it to be a whole. Different types of content and readers ask for different forms and experiences.
Composition No. 1 is a book that comes in a box with loose pages. Each page has a self-contained narrative, leaving it to the reader to decide the order they read the book, and how much or how little of the book they want to read before they begin again.
