It became apparent at some point that one of the ways they make sure a book gets the attention it deserves is by securing an unignorable number of copies.1
It became apparent at some point that one of the ways they make sure a book gets the attention it deserves is by securing an unignorable number of copies. It became apparent at some point that one of the ways they make sure a book gets the attention it deserves is by securing an unignorable number of copies. It became apparent at some point that one of the ways they make sure a book gets the attention it deserves is by securing an unignorable number of copies. It became apparent at some point It became apparent at some point It became apparent at some point that one of the ways they make sure that one of the ways they make sure that one of the ways they make sure a book gets the attention it deserves a book gets the attention it deserves a book gets the attention it deserves is by securing an unignorable number of copies. is by securing an unignorable number of copies. is by securing an unignorable number of copies. unignorable unignorable unignorable number number number of copies of copies un·ig·nor·a·ble num·ber of cop·ies un·ig·nor·a·ble num·ber of cop·ies un·ig·nor·a·ble num·ber of cop·ies un·ig·nor·a·ble num·ber of cop·ies un·ig·nor·a·ble num·ber of cop·ies
2. Lewis Carroll, Through The Looking Glass
It's a poor sort of memory that only works backwards.2
La memoria non è un muscolo che si potenzia con l'esercizio; un vero apprendimento dipende da un insieme di strategie che si basano soprattutto sulla capacita' di collegare tra di loro nuove esperienze, di rinvenirvi un significato, di "connotarle" in modo attivo, attraverso interventi diretti (evocazione di immagini mentali, di associazioni e via dicendo) da parte di chi apprende e fa esperienza.3
The disjunction of the traditional narrative order is achieved by means of interpolations, leaps in space and time, digressions, literary parodies, manipulations of the book as object (...) This strategy brings about a high involvement of the reader in the rewriting of the novel. The novels are not presented as finished products, but as something which would be quite inert without our active participation.4
1. Gideon Lewis-Kraus, A World in Three Aisles, Browsing the post-digital library
From a visual point of view the pages of a book are interchangeable; they all look more or less alike. They all are a rectangle with a blank frame, and, in the middle row of words arranged in paragraphs. That's the reason why they have to be identified by means of a number.5
5. Ulyses Carriòn, Bookworks revisited
3. O. Alberto, Imparare a memoria: un esercizio inutile, Corriere della Sera 28-11-99
4. D. Pierce,P. Jan de Voogd, Laurence Sterne in modernism and postmodernism
The truest respect which you can pay to the reader’s understanding, is to halve this matter amicably, and leave him something to imagine, in his turn, as well as yourself. 7
6. Laurence Sterne, Life and Opinions of Tristram Shandy, Gentlemen
To LEARN BY Books are connected with memory. They contain someone's thoughts and knowledge, waiting to transfer them to others. The ways in which this process take place can be very different and complex. Usually we are taught to improve memorising at school, by studying and sometimes learning texts by heart. This kind of relationship with books and text often leads to a mechanical approach, thus leaving poor or empty fragments in one's mind. Repetition is believed to be the key for eternal knowledge. But repetition prevents our mind from using its full potential. What can trigger new data capture? An element that is different, incongrous from others has a greater chance to be remembered. Creating a web of links and contrasts with the background content, this element asks for the attention and involvement of our mind. In the middle of the eighteenth century, the English writer Laurence Sterne understood that by involving the reader in the process and by alerting our attention with text interruptions, both visual and narrative, he would break textual and temporal linearity and introduce a new way of reading. Books look all the same if you considered merely as objects: but new knowledge, even an unexpected one, can be achieved if the reader enacts an active reading. This book is an attempt of applying this principle in order to create a non-linear way of acquiring new information.
BOOK-MAPPING Laurence Sterne Life and Opinions of Tristram Shandy, Gentleman
non-linear narration multiple depths of reading break of visual repetition
geography world atlas
poor on external references information overload visually static and iterative
Tvsette tv magazine
full of contents multiple depths of reading culturally cheap
Achille Bonito Oliva L'Arte oltre il Duemila art essay
no relation between text and images never-ending list of names
Book about books project Ilaria N. Roglieri James Goggin corso di Design della Comunicazione II biennio specialistica Isia Urbino 2009-2010