fmp_2011_joseph_hughes2 by Joe Hughes

WHER

ERE RE THE DIGITAL AND PHYSICAL MEET –

& JOSEPH HUGHES Monday, 6 June 2011 07:39 LONDON COLLEGE OF COMMUNICATION INTRODUCTION

Digital (not comparable) [1] Having to do with digits (fingers or toes); performed with a finger. [2] Property of representing values as discrete numbers rather than a continuous spectrum. – Digital computer, digital clock [3] Of or relating to computers or the Computer Age. (wiktionary.org) Physical (comparative more physical, superlative most physical) [1] Having to do with the body. –Are you feeling any physical effects? [2] Having to do with the material world. – It’s not so much a physical place as a state of mind. [3] Involving bodily force. [4] Having to do with physics. – This substance has a number of interesting physical properties. (wiktionary.org) Print (not comparable) – Of, relating to, or writing for printed publications. [edit]Verb print (third-person singular simple present prints, present participle printing, simple past and past participle printed) [1] (transitive) To copy something onto a surface, especially by machine. – Print the draft double-spaced so we can mark changes between the lines. – The circuitry is printed onto the semiconductor surface. [2] To write very clearly, especially, to write without connecting the letters as in cursive. – Print your name here and sign below. – I’m only in grade 2, so I only know how to print. [3] (transitive) To publish in a book, newspaper, etc. – How could they print an unfounded rumour like that?

THE POTENTIAL FOR PRINT.

WHERE WHERE THE ANALYSIS DIGITAL AND PHYSICAL MEET – RESEARCH

& JOSEPH HUGHES Monday, 6 June 2011 07:39 LONDON COLLEGE OF COMMUNICATION INTRODUCTION

PPD THE POTENTIAL FOR PRINT.

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As future graphic designers, graduating from London College of Communication, England, we question ourselves how and by what how our work will be reproduced in the future. Considering that an uprise of new technologies meant to facilitate information reproduction are about to overtake the conventional print medium, I started to question the future of printing in general, and potential for print in particular. A monumental medium that has been serving the graphic design practice for a long time. As graphic designers we realize that any medium transition will not directly affect our profession in a more radical way than adaptation; from emphasizing the choice of a medium by its aesthetic values, to going with whatever medium that prevails. But still, with the curiosity or need of knowing what the default channel for graphic design will be, we investigate the future tendencies of the physical and digital to get as close as possible to predictive aspects, and to hopefully motivate and encourage the reader to push ahead the issue by questioning the present situation.

To talk about the future, means understanding the present. A collection of interviews and articles that gives a rough overview of the situation that the print industry in the UK is facing today; by sociological, cultural, technological, and economical means. An overview with purpose of functioning as an informative platform of present time, and which might trigger a future discussion.

Welcome to this investigation into the physical and digital. The potential for print is still up for debate and everyone seems to be looking at th escreen for the answer. the fact is that print is not dead and paper is incredible good at things that computers or the internet is not so good at. Through the non linear narrative of this report I will hopefully provide the context, research, investigative cocnepts behind the potential for print, and books in particular.

This is a rough sketch protoype of the new ‘Index’ reading device that works with print and screen fluidly. Accurately scan print codes and then drag and drop on to and internet centric screen device for instant contextual support. The bennifits of this tool can be within education and in particular ‘blended learning’ across platforms whilst adearing to the syllubus structure. Advances in print means that publishers have a new source for they’re subset books and can realise new improved or even perpetually updating facts books, educational resources or even entertainment narratives. Fittiing comfortbly between your index finger and thumb, ergonomic, light and resistant, this is the new ‘Index’ pointer.

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A. Rotterdam club night newspaper QR code B. Recent (2011) eBook sales article

Recently my interest has been sparked by my daily commute into London. Observing people in my carriage I began to notice a similarity in actions. Most people have their head phones in or are reading a newspaper. Now they are listening to music through their phones, or reading on their tablet devices. It is this juxtaposition of media elements that fascinates me and currently we are in a cross roads of traditional and emerging technology.

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C. Metro newspaper features QR

Above is two newspapers from Rotterdam both independently published featuring QR codes. Behind are Metro articles establishing the context for my research. There seems to be a barrier as to why QR codes are not generically used and I will use this project to investigate the relationship where the physical and digital meet - & the potential for print.

D. Rotterdam newspaper 2209 The relationship between newspaper, book, tablet, phone, journal, iPad or Kindle is something of a mystery where they overlap and how they might intersect or even work to inform each other, so the activity is no one or the other.

A. Kit Kat augmented reality

Starting this investigation between the physical and digital realms I knew already about augmented reality and Qr barcodes to access content through the print medium. Kit Katâ&#x20AC;&#x2122;s example of using augmented reality to project the visualisation of Scouting for Girls band playing a intimate gig through the camera on your computer. A highly commercial implementation of digital technology and whatâ&#x20AC;&#x2122;s worse is that only the fans of the band actually care enough to appreciate this.

B. Paper investigations

To explore the scope of tangible barcodes I cut out a QR code from paper to see if the barcode device would still work. They did and in doing so a beautiful paper object has been created with a pure aesthetic of subtraction that leads to a piece of dynamic paper linked to the internet. A very simple investigation that could be exhausted further through application within a bound book.

Through out this document you will see QR codes. These are placed not as a click through linking system for further contextual content. But my intention for them to exist this way in this context is for this document to be pirated, printed out and used in conjunction with the current method of QR based reading, the mobile phone. This method provides me with two things. 1. Every barcode in this document is aggregated and I can tally the visits per code. 2. To give the reader a better understanding of the current lack of user interface between these two objects and the technology available, probing the reader to question whether there is an easier way to completely link these two platforms fluidly. “They’re so cool. They’re so hip and trendy. They’re on urban lampposts, corporate postcards and even government information portals. They look so futuristic in that the-future-is-so-digital-it-hasto-be-this-ugly sort of way.”

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These days it is almost impossible to get away from discussions of whether the ‘book’ will survive the digital revolution. Blogs, tweets and newspaper articles on the subject appear daily, many of them repetitive, most of them admitting they don’t know what will happen. One certain thing about the future is that it is unpredictable, it is clear from this research that, in some form or other, the book will survive.

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B. A.

&PUBLISHING WORK–SHOP A. Byam Shaw Location B. And Publishing workshop team

artists‘ and colleagues’ on our online bookshelf and will soon offer a DIY space for artists to directly publish and display their own material.

C. Risograph print booklets AND is a platform exploring print on demand technologies and publishing conceptually driven artists’ books. We develop, print and display artists’ publications using quick and cost effective print processes that allow for experimentation and short runs. We present works and research by other

Byam Shaw Library An immediate response by students and staff at The Byam Shaw: October 2010 – September 2011. The Byam Shaw Library was due to close in October 2010. Because of immediate response by staff and students, the library space now operates as an artist-led resource. AND will inhabit the library during this

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&PUBLISHING WORK–SHOP time. They’ve moved our office and collection of artists’ publications into the library. They present exhibitions from our collection, invite international guest speakers to talk about their practice, hold launch events, workshops and discussions. They’re are QR link to a rambling talk at the workshop I attend, where I give a dominant introduction to my ideas behind my final major project, the technology involved and peoples thoughts, views and opinions.

It’s advised that you download and listen to the conversation for context, as the transcription of this informal discussion is fluid and does not provide a coherent structure for reading text. I was informed I had just missed a talk by James Bridle, Computer scientist, currently working for the Really Interesting Group in London.

The device is of course a prototype and has been rapid realized with plasticine. For a quick reproduction of an ergonomic fit. The cross between lino cutting tool handle and presentation pointer was initially made and thought that this route would produce a sustainable idea for realisation. However this handheld device might seem to big, or clunky for any real impact. XVI

I began exploring the tendency to move interaction in to a more integrated form. This is why I instantly thought of a thimb le for use in this selection process. Fitting over the top of your finger and wearing the index reader might prove a more seductive method of interaction so the barrier again is further removed from selecting the code on the test and the screen. it is this reducing of content and device that will hopefully provide useful for a real prototype. XVII

Interviews surrounding this issue come from: Professor Teal Triggs, &publishing, Alex Jarvis (BERG), Durrel Bishop (IDEO). These people have been selected for their roles within the industry, with the aim to holistically analyse the relevance of this investigation and prepare it for discussion and proposal. Each interviewee holds significant relevance in aspects of, but not limited to: Authorship and language, pirating and publishing the future, service and design conceptualizing, design production, generation and industry marketing. All contributors to this paper engage in discourse with issues, responsibilities, assumptions and other pressing subjects providing and invaluable insight into current developments. It provides the visual context for current issues and raises the new concepts for the next generation of designers.

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Starting this investigation off in the wrong direction I needed help and thatâ&#x20AC;&#x2122;s why I went to And publishing work shop. It served for me, a place in which I could untangle my thoughts and approaches with a group of people that spend a lot of time with books, unlike me, who are vastly experienced with publishing and relationships towards print. I recorded the talk which you can download and listen to, if you so wish to care. Itâ&#x20AC;&#x2122;s basically just me dominating the conversation for an hour with all my thoughts. But when I stop speaking, occasionally you hear a great piece of advice or insight in to how people not so technologically minded feel about the book.

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A. Faux Moleskine iPhone 4 note book

Figure A. Represents the container in which we hold our personal and also public information, it is however a shell for the device centric smart phone that is already taking over most peoples pockets of time. Much debate has been raised over the book in recent months and has sparked for me a great interest in this traditional container of communication.

B. Open Books RCA Exhibition C. Artefacts in a museum

Many questions arise to the future of the book. Will it end of being an artisan by product of this techno culture that is rapidly talking over society? Will it end up in a museum rather than a library? Probably not, but the production value of such object has long had success as man kinds original cultural artefact. This is currently changing due to new devices offering a new reading application and context. All the information is coming through the screen and there is a torrent of information out there.

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ZINE SYMPOâ&#x20AC;&#x201C; SIUM A. Adam Burges socially active The London Zine Symposium is a annual event where people interested in zines, small-press, comics and/ or radical culture can get together, buy or sell zines and share ideas with each other. The idea is to build a stronger DIY network and community by having people meet up, chat, maybe participate in a workshop or two but definitely have a good time.

The London Zine Symposium (LZS) was started in 2005 after being really strongly influenced by the Portland Zine Symposium, and other radical and small press events that were happening in the USA. Whilst London had the excellent Anarchist Book fair every October there wasnâ&#x20AC;&#x2122;t something specifically geared towards small press, DIY or handmade publications in London, or the UK. The symposium has grown each year as those involved with putting it on learn new lessons.

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ZINE SYMPOâ&#x20AC;&#x201C; SIUM B. Zine observing and selling C. The rag factory in East London Location

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At the London Zine Symposium I felt a little bit of an outsider. Perhaps because I was researching and observing rather than being social, which of course is the whole point of these events. I suppose itâ&#x20AC;&#x2122;s like a facebook but around a Zine. So Face-Zine? The social aspect is what drives this culture and the creation of authored objects of ephemeral qualities. It certainly has a lot of potential to become a far greater source of knowledge for the future.

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I decided to explore this relationship of tangible, social artefacts by interviewing Teal Triggs, who recently wrote a book on Fanzines. Itâ&#x20AC;&#x2122;s very good. I wanted to understand the relationships from this particular scene and how they could or directly relate to my concept of the digital and physical overlapping, with the potential for print to help carry my investigation forward.

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The London Zine Symposium made me think about the future of print and how the democratisation of design ‘tools’ has allowed more and more variety from the mass of DIY designers. Ultimately I believe this to be the future of independent slow media information. It was amazing to see the hundreds of different publications and even more to be enveloped in the social aspect of the Zine. It is this social aspect that is most compelling to this world of indy publishers.

The community created here used to be a very isolated experience before the advent of the internet and since many Zine-sters have taken full advantage of the social aspect that they can provide along side they’re publication. This symbiotic relationship between the offline and online world, digital and physical overlap is curious. I would like to imagine how this might be developed further into a new aspect of Zine culture. Every Zine creates it’s

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own content, itâ&#x20AC;&#x2122;s own language if you will, could the same be enhanced with a bar coding language, a new relationship between the two in the way an individual accesses the information present.

The problem lies in the reading go the device - barcode and also in the size that has to then be for reading currently.

The potential is unknown. But as the production method for both a barcode and Zine is both cheap and uses ink there is no reason why it should not be tried and tested in the near future.

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The shortening of distance between a web link and image is something I have only found with QR codes. they are not generically used for anything but commercial use currently. But they have the potential to unlock print in a new and dynamic way. The amount of information that can be reduced into a barcode and expanded is something that publishers should really be taking hold of and using along side the current trend of Apps and eBooks. They have the power of print and can print barcodes basically for free on any subsets of their publications. XXVIII

There is however the slight problem, the only way to read a QR at the moment is by your mobile phone. Which has some cons, aiming at the code is a huge barrier to accessing the information on the page to screen. The obstacle can be over come. How? By introducing a specific reader as mentioned. The re configuration of this system for interaction goes against the current trend of mobile technoogy, but simply the deivce is not on the market and so there is no call for publications carrying these codes in any significantly influencing way.

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TEAL TRIGGS INTERVIEW Friday, 20 May 2011 15:05 London College of Communication Professor of Graphic Design at London College of Communication. As a graphic design historian, critic and educator she has lectured widely and her writings have appeared in numerous edited books and international design publications. Triggs is also involved as co-Investigator on Designing for the 21st Century Research Cluster: ‘Digital Design, Representation, Communication and Interaction: ‘Screens and the Social Landscape’.

JH: Do you own an iPad or Kindle? TT: I have an iPad. A brand new one, I’ve had it for two weeks. Related to print and publishing, I was very interested in how magazines are adopting the traditional print format into the iPad and what that interface is allowing added value to reading experience. I have to say the ones I’ve looked at so far, I’ve been very disappointed in. I’ve been looking at main stream magazines, such a the New Yorker. They’re essential taking the run of the mill, still a couple of grids, spacing, put it online and what do you get? Maybe you get a video now. I’m also interested in to how people are writing the text because reading online is a totally different experience. JH: Does this have a lot to do with the individuals reading habits? TT: I think it’s about training yourself to read kind of differently, is in the morning your laying open the broadsheet, and I can do a really quick scan, visually and textually. Hit the those headlines and I know, that’s what I’m going to dig in to. I just need to get that sense of where the context is and the overall. I believe this kind of thing is asking different questions from the reader. I’m not saying it’s wrong, because I’m not anti technology by any sorts of imagination. You just have to retrain how you approach the reading of the text on screen. JH: Can you talk briefly about your involvement with Fanzines? TT: I’m really interested in ephemerality and the ideas of the temporary. So with Fanzines for example, being created, in many cases, although the landscape has shifted. But the spontaneity of the creation of these things, doing it on a photocopier, it’s not a long drawn out printing process. All that kind of stuff. Writing quickly in some cases, and in others quite laboriously. But packaging such a way that I’m going to talk to all my friends very quickly, here’s a publication, you read it and then it disappears. The shift we have at the moment where we have Zine libraries and the library we have here at LCC. It’s become a phenomenon for them to hold on to these ephemeral objects and I’m kind of questioning or more theorising what happens to that object when it moves from something quite dynamic in terms of its function to something that’s very static in a library. So it’s really a slice of time. An part of that I’m attributing to a personal investment. So that this graphic object becomes embedded with the makers identity, the producers identity, the writers identity is in that object. I think it’s that kind of Embeddedness which is about the tactility, your holding it, your feeling it, your connecting with the creator of it which helps kind of cement the community group. So it’s almost like that Zine is allowing them and you to have sharable language and there fore we’re connecting. But if you take it out of that context and you put it in a library you get something a little bit different. I have not resolved this at all. JH: But your celebrating in a way, it if your putting it in a library aren’t you? TT: I think you are, I think it’s acknowledging the achievements of an individual producer for whatever reason, whether it’s artistic or in a written form. JH: But as that content amasses over time, and as it’s swells and saturates. It’s going to become more interesting to a wider range of people that come across it. TT: Which is why I would think, the majority of Zine producers I’ve been involved with, that, that’s the idea. They want to reach a larger audience, which the internet has also provided, but that’s kind of stroked out that two way connection. Me handing you a zine is a little bit difficult in that sort of sense. Your not sure who your showing your information to, your not having discourse, necessarily. Although that’s beginning to happen on a very basic level. JH: How do you see those two worlds collaborating? TT: I went to a research thing a couple of years ago, where they had like an A4 sheet of paper, but it was a computer screen. It was just amazing. So it’s like a Kindle but really like a piece of paper. It’s malleable to it does give you that sense of physicality when your hold it and move it that way in stead of a static screen. Now that becomes quite interesting.

TEAL TRIGGS INTERVIEW

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JH: But it doesn’t have a life though, not like paper? TT: No it’s digital. Exactly. And this is where I’m interested because where’s the temporary or perpetual. JH: It sounds almost like having a piece of acetate. TT: Yea. JH: I could never love acetate in the same way as paper. TT: Yea, but you can do some cool things with it. So in terms of that interface that your talking about. People like Alex Zamora and his Fever Zine, he’s really taken social networking and Youtube and used the attributes of those interfaces in a really effective way. He’s not saying this is my Zine. He’s saying I’ll use this to talk about my Zine, which in a way becomes an extension of the Zine, which develops the community and reaches a wider sense. But he still has he pink Fever Zine. That’s that kind of thing is a good example of something working that does create a physical and virtual presence. It’s not Fever Zine up online, but it’s using the online opportunities. JH: For promotion purposes? TT: It’s promotion and it’s discourse. His twitter and Facebook posts are all part of creating that community. And I think that’s what social networking has allowed us to do very rapidly. Within in minutes your out there. I’m also interested in OWT, there a group of MA students at Manchester, who have created this publication as part of their final projects. But they’ve really turned it in to an opportunity to pull together work from artists to designers, photographers, whatever, in to a Zine, into a show case. They started off just selling a couple of copies, now they’re on issue six, within the span of 6-7 months at the most. They’ve so kicked off. Partially because of the networking opportunities, again like Alex (Fever Zine) to full effect. But their print Zine and most Zine-sters who are online, are really trying to differentiate from what might be online and the physical. So you get a lot more silk screen covers, they tend to be more crafty to really say this is print. This is what we can do as artists and designers with print. So your starting to see that aspect as well in terms of the relationship of print and virtual space, and I think that’s really interesting. JH: In what way, exactly? TT: By doing letter press zines, or by print making of any kind of consistency, your slowing down the original process of making. So your not making with cut and paste, photocopying then it’s done and dusted in a half hour. Your taking more care, and that process of slowing the thinking down of that making is impacting on how things are written, how content looks and how people feel about it as well. Are fanzines? Moving more towards artists books? Limited run, very precious objects. So at art book fairs, as opposed to zine symposiums. Are people starting to cross that line? I didn’t think it’s a bad thing. I just think it’s partly in response to that kind of division between online and print. They’re just really making more evidence of that tactility and materiality of something. I could be completely wrong, but that’s my observation at the moment. JH: At least your aware that you could be completely wrong, that’s an important aspect of any ones attitude! What are you currently investigating in your practice? TT: So the piece I’m working on is taking the ‘ripped and torn, lost but not forgotten’ Ripped and Torn the old punk Zine is online. You’ve got a 70’s publication which all of sudden is in a 2000 context as a digital version. What’s all that about? So I don’t know if that really answers your question, but I think the relationship is changing. JH: I’m sure it answered some questions, perhaps questions I haven’t asked yet. Which is great. TT: Ha ha. I can do lots of that! JH: Isn’t that kind of your job? So the content of the Zine could change, to accommodate the virtual world within it. You mention the Apps you have on your iPad and how they’ve plonked a video in there, the same thing could be done with a Zine, using QR codes, like you briefly mention in online article reference, your aware of those barcodes, have you ever used them? TT: No, I haven’t used them, I’ve seen demonstrations. JH: Can I ask why? TT: Well because I don’t have the App on my phone. JH: Yea, that seems to be just another obstacle in this. TT: But I can do it on my ipad if download the App. JH: Of course the new one has a camera on it. TT: Maybe I’ll do that this weekend. But you know, it’s a game, it’s like saying: ‘surprise me.’ So it can be fun and I know they’ve been doing it on posters around. JH: They’re everywhere now, and they’re easily generated, already in the right material for print, ink, which totally fits in to the whole Zine world and self publishing. But some how it just doesn’t quite tie in, yet.

TEAL TRIGGS INTERVIEW

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TT: No, it’s also is exclusive. Because unless you have a smart phone and your App, you don’t know what’s being said. You don’t get the joke because you can’t read it. JH: And that’s against the ethos of the Zine? TT: Well at the same time each Zine has it’s own in jokes. So each subject domain, has it’s own in jokes. But I think in terms of Zines as something which is an accessible form of communication. You don’t need to plug it in. I mean a barcoding’s a language, you’ve got language in a Zine. So I’m going to have to think through that one. There’s also a way of talking about it, if you look at the old punk Zines. In particular the ones that where very conscious about tightly type written text, so the density of the page, is like ‘WOAH’ the effort it takes to read that is only going to be through the person who really wants to access that information, so your kind of visually excluding some one sitting there looking at that. Which is what Carson (David) picked up on, when he was doing Beach Culture and Ray Gun. It was meant for a particular audience, perhaps even age group and so the visual language came along with that. So now I’m sitting on the fence. JH: I hope it’s comfortable. I’m also looking into online content and how the user stores and retrieves information. Do you use bookmarks, do you look at a lot of online content, do you use delicious, or even have a system for storage? TT: No, I don’t. Hmm now why don’t I? It’s not because I’m against it, I just think it’s a time factor, and figuring out how to set up a system and then sticking to it and developing that. My filing system is kind of like my office. I know where everything is! (Office is abstractly organised) So metaphorically my desktop is in the same kind of state. Because I’ll look at a lot of academic articles, E-journals, I’ll download those PDF files to a big file called ‘DOWNLOAD MAY’ and then within that I’ll have subject areas. I think part of that is because I come from a graphics background and I need to be visual. So yea I would say that I’m very conceptually aware that all this stuff is out there. I’ve dabbled. The one thing I have been doing is a lot of tweeting. I’m finding that as a challenge as a writer, to fit into 140 characters. I’m on mundane observations now. JH: You obviously own a lot of books, I assume. TT: Yea massive. I don’t throw away books, I do occasionally sell them off, or give them to people. JH: But you throw away your newspapers though, right? TT: Yea, although I do have stacks because in terms of teaching, to do exercises in big events and I can say here’s some newspapers what’s the editorial positioning on the front cover? All that kind of stuff, and that becomes useful. But yea I do usually throw the newspaper away, after I cut it out, the articles I want. But then I don’t need to do that because there on Guardian online anyway. JH: But it’s not the real thing, is it! While doing this research I’ve been caught in this loop where its going round and round, and I’m trying to have some double loop learning here. TT: Yea, but I just think it’s where we are. At this particular point in time. I bet kids younger then you are coming up with being completely attached to the screen. JH: Screenagers? TT: Yep, were transitioning into something else. JH: But then they won’t really be able to appreciate this letter pressed tactile piece of communication? TT: Well, I think they’ll be able to appreciate it. It will just become a unique object, it will be the oddity and not the norm. It will take on a different status. JH: Oh I’m sure it will. But how do they engage with that, if they’re stuck inside a light box, and of course there’s this whole social thing that comes back around. TT: Oh well we’ve survived this long with different kinds of technologies giving us different kinds of thoughts? Hmm. I mean is there away of thinking about this. What I’ve really been saying is that we’ve got these print publications were trying to put them online. Well why aren’t we taking what’s good online and taking it to print? Why can’t we just flip this on it’s head. JH: Well you kind of already have that with services like Newspaper Club, or Blurb etc.. TT: Yea well what happens if we’re looking at books which are both physical and digital at them same time. JH: This is exactly what excites me about this project. TT: Because, like everybody’s doing that, (Web) I don’t see that many coming back to this (Book/ print) JH: Well you know Issu for example, TT: But that’s on screen, bring it back the other way! JH: Yea, no I’m totally with you on that. We’re looking in the same direction! They take the ‘quality’ of the physicality and nostalgia of the book, and they place a gradient in the middle of the PDF and they characterise the effortlessness of the pages turning

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so elegantly, and it just really doesn’t do it for me, why should it behave like that? It’s doesn’t need to, it’s not bound by the same qualities of the book. And that’s why you have to look the other way, because every ones going to look at the screen for answers, and so far they’ve said well look this is how it works here so let’s dump those characteristics in to this space. TT: Yea, and again you have the problem of format, if you want to look at something in detail. You’ve got to move it out, and then you’ve lost the tactility of it. So is there something got be said for playing with the kind of lack of boundaries that the physical object might be able to provide digital technology. Because we can see it in a context, we don’t have to see it as a separate entity. The context changes and how does that impact the object? JH: Hmm possibilities! You like to scribble don’t you, are you a list maker? TT: I am such a list maker and a post it note freak. My desk at home completely cover in post it notes. Coloured co-ordinated! JH: Oh of course. TT: No I do make lots of lists I can’t keep it all in my head. I need to have the physical thing. My normal day, as you can imagine my head space shifts. From working on very serious Government research project, to mundane observations on Twitter to about ten things in-between. I mean literally there’s days where hour by hour I’m doing completely different things. So its an aid memoir, because other wise it will go out of my head. JH: Even though you have stickies on OSX, I still have real post its stuck on to my computer at home. Which is kind of crazy because I have it in my dock. TT: Yea, but I think part that is the process of when your researching or doing anything and you’ve done it so you think you need a port of closure on what your doing. So it makes it manageable. Again it’s the physical, I need to crumple up my post it and put it in the bin, I-‘-V-E D-O-N-E T-H-A-T T-A-S-K. So there is a sense of satisfaction, which means I can now physiological move on. I think that’s a fact of life people need that kind of port of closure. JH: I’m sure we’ll get to the stage where we can virtually crumple up our stickies and through them into the bin, maybe. TT: And it does that little pafftt noise, I like that sound. JH: Ahh yes, wouldn’t be great if things made that noise in REAL LIFE, like certain people maybe!? Pafftt TT: Ha, yea. JH: Have you ever owned a Rolodex? TT: Yes. JH: Talk me through you relationship with your Rolodex. TT: Well the ones I like are the ones which have the two cutouts and you just place it in there. I think that it’s a beautiful piece of mechanical engineering. I like the sound, I think that’s really important of flipping through the Rolodex. I think for me I used them in two ways. I used them in straight office stuff, and also while I was at university I used it to content my notes for classes. So it became a kind of a sketch book in a way. JH: Interesting, but it’s not a book is it?! TT: No but I think they’re really great objects. There’s something really nice about them. And the sound thing is very important, you get it full of cards and it purrs. God I haven’t thought about Rolodex’s for years. JH: Yea it be nice if you could get your tweets through your Rolodex cards. TT: Yea, or a Rolodex Fanzine. Hmm, OK yea… *thinks* JH: So I’ll come on to eBooks and Amazon we have to mention them. TT: Yes well, I ran in to friend of mine who runs a small press firm, and apparently they’re telling people (authors) unless they’re books become eBooks, they won’t carry them on Amazon. So I bet your statistics are screwed, right there you know, ridiculous, they’re forcing the eBook thing. And they’re pushing out independent publishers on to the streets and a lot of people are setting up new micro economies, which is great, out of diversity comes some really interesting stuff. So there is this kind of simmering climate so when you see articles about that, you have to ask where are they getting they’re data? Are they getting it form Amazon who are intentionally freezing out Indy publishers anyway? The book at the moment is not being counted in the statistics. JH: Well yes the majority of it is PR, media and spin, spin, spin. TT: Yes. Well, let me know how you get on. JH: Thanks for speaking with me. TT: Hey any excuse to talk about the thing, the Zine.

TEAL TRIGGS INTERVIEW

END.

XXXIII

Text remains a universal vehicle for human thought and often itâ&#x20AC;&#x2122;s the shortest distance from one mind to another. But as we stumble into digital renaissance,our understanding of both text and reading will have to encompass more than mere words: hyperconnectedness, vibrant plasticity, social interaction, and dynamic contextually. XXXIV

XXXV

ROLODEX POSTBOX A. Rolodex card inserts blank B. Mock information provided

This quick and dirty prototype consists of a Rolodex being the container for social content. This is of course a concept piece.

C. New inbox message appears D, Perpetual physical updates

The act in receiving â&#x20AC;&#x2DC;postsâ&#x20AC;&#x2122; through physical format is intriguing to me and if I had money and enough technical support I would like to see this concept in action.

XXXVI

ROLODEX POSTBOX E.

E. A social letter box It would work via a small printer inside the base of the Rolodex. Perhaps even a UV light printer on active paper that temporarily emits light particles on the paper surface revealing digital information with out using the traditional computer or screen interface. The message would have a life span of a day before disappearing.

An interesting add on concept is if you could note down on to the Rolodex cards and place it in the revolving system for it to scan your message and post it on your many social platforms. So it could have the potential to work both ways should you choose to prefer,

XXXVII

A. James Bridle Flickr photo B. Coca Cola mini exbo - Design museum

James is a publisher, writer and technologist. Since 2007 heâ&#x20AC;&#x2122;s maintained booktwo.org, exploring the intersections of literature and technology. A former fiction editor, he makes things with books and the internet, and talks about them. This photo clearly states his opinion toward ebook piracy and I believe so too.

XXXVIII

C. Coca Cola AR code application D. Note book hack dirty prototype

Recent trip to the Design Museum I noticed this piece of ‘design’ advertising for Coke. Featuring artefacts of the the cola bottle sin all shapes and sizes. the QR application seen above let’s you delve deeper into the Coke brand through your mobile device. Another advertising application. Yawn. Quick prototype for a sketch book that you can plug in, have scan your pages and then you can select the page from all, digitally to take into the computer.

XXXIX

â&#x20AC;&#x153;Your kind of visually excluding some one sitting there looking at that. Which is what Carson picked up on, when he was doing Beach Culture and Ray Gun. It was meant for a particular audience,perhapseven age group and so the visual language came along with that.â&#x20AC;? Teal Triggs Interview - 2011

Predictably, this necessarily affects all interaction design. Reading a book, for as long as weâ&#x20AC;&#x2122;ve known it, has always been a very pure activity. It engages a very particular area of your brain. Throw in any interactive features, and this gets messed up a bit. Youâ&#x20AC;&#x2122;re no longer able to focus on one single task. Concentrating on the text will be more difficult. Books have the ability to create extremely immersive experiences, despite their minimalism, because the reader can focus on one single task. Likewise, the most immersive video games are often ones that ask the player to focus continually on a simple interaction mechanisms. XLI

POST DIGITAL ANALYSIS

A. Newspaper Club B. Post digital analogue analysis C. Lulu

XLII

POST DIGITAL ANALYSIS E.

D. Post digital exhibition / services E. Blurb

XLIII

Rough sketches in for the Rolodex Post box molupta temperr oritaes nossi qui tota ius eaque velis soluptas corepere nobis eiciusciur molorem ex et auda sitium ea nobis poresequas esto eossunt inveliquae placeate oditatatur aliquo omnihic iistem quam quodist haruptatque velentias del imus aut ulparchicit renem ute liqui id utes dolum cus sam et aut molupit quia vendam nem aligend ellestiur re quationsenis dundel ipsant, si bea si ra incilla vendae consenturia nonemostrum endipid elestia se volesci andipsam ium, numqui apis dolorat voluptae voluptam, corerferum ne et vent. Ciendesecus dia cum quam et a porerum am sitaspiet quiae voluptat. Pa demque pratem conet dolentio. Pudi doluptatur simi, sunturi bustibuscia doloritat latempor XLIV

BERG RIG JAMES LIDLE A. Penki app - Dentsu & Berg London B. Media Surfaces - Berg Conceptualisation C. Really Interesting Group statement

XLVI

BERG RIG JAMES LIDLE E.

D. Making Future Magic Video E. Media surfaces cont. Reciepts

XLVII

ALEX JARVIS INTERVIEW Tuesday, 24 May 2011 20:14 BERG London Office Graduated from Central St Martins in 2007 with First Class Honours in BA Graphic Design, working as a freelance designer until April 2008 when he joined the award winning moo.com full time. He then joined the Next Generation team as a contractor at Nokia’s London offices, primarily working on the development of the new MeeGo platform. He is also an Associate Lecturer for the University of the Arts, currently working at the LCC writing and running creative briefs for students in their first and second years of the FdA course.

JH: How does BERG work? - Conceptualising ideas into a presentable package/ pitch? AJ: Well I guess the thing I’ve been taught since university is always start scribbling and drawing and stuff. A lot of places don’t like that they can’t see why you draw things, but everything we do generally starts of as a sketch on a pad or paper or on a white board, or something. We normally sit around in a group, sometimes we sit with just two of us in a room and a big bit of paper on the desk and pot of pens and talk about things and draw things as they come in to our heads. And we look at that after an hour or so, and we pull things from that, and edit it. We’ll start turning that into digital stuff. Then the digital stuff comes into a presentation. Then the presentation is what we show to the client. I’ve been taught ever since university and it’s a good way of thinking about things, is if you can draw start drawing. It always comes from scribbling things down. Rather then just jumping in to the digital stuff. The way in which we try and get people to work here is that, we have massive sprawling Illustrator files. With like a hundred different versions of one thing on, and we’ll go through and see what’s working and take that to another stage. So it’s just starting off with a mass of stuff and picking out things that are working and expanding them again and then shrinking it down and expanding it again and eventually you get to this really nice channelled course. That’s what we do, roughly. JH: Do you own a kindle? Do you read a lot? Do you own an iPad? AJ: Do have an iPad, don’t have a Kindle. JH: Can you explain why one over the other? AJ: Well I don’t read enough. I thought I’d get more out of an iPad then a Kindle because I don’t read as much as I should to be honest. The nice thing about a Kindle is that it’s completely stripped back, it does reading really well. I’ve brought my mum and dad one for Christmas and they use it all the time. There’s just nothing fancy about it, and it’s not at a price point where people think, ‘I don’t know if I want that’ It’s a completely affordable price point for most people and it’s also something most people can navigate through. It shows you pages of books, it’s something common to everyone. JH: How do you feel about ePublishing taking over the market with eBooks, compared with real books? AJ: Obviously we did a project before I started here - Mag Plus but I don’t thing any ones got the digital conversion of magazines right. Do you remember Encarta? JH: Yea AJ: It feels like a digital magazine now is Encarta 95. Everyone get’s excited by a video embedded in a screen. I don’t know what it is but there’s something else then just putting videos and moving content in what is essential an article. There’s a bit of text, a moving image, something interactive and it’s like being 6 or 7 again on the schools PC flicking through Encarta. Going that moves a bit that’s bait exciting. It just doesn’t feel right, in the same way that things on the internet with the curly pages. They don’t feel right, there’s something physical in it. JH: How’d you mean ‘curly pages’ your talking about ISSU right? AJ: Yea the one where it puts a little floppy page on. It’s just a straight conversion from digital to fake physical, it just doesn’t work. I don’t know what the answer is. JH: Well that’s the characteristics that aren’t transferred properly, it shouldn’t behave the same on screen. AJ: No, I don’t see why it should. You don’t have to replicate it. If your changing the format that much your jumping from something that’s printed and it’s got two hundred pages into something that lives on the screen, why do you want to put floppy pages on it? It’s kind of an easy option, I think. I think why the Kindle works is that it does one thing and it does it really, really well. It just works. JH: It doesn’t do double pages though does it? AJ: No, why do you want double pages? JH: It’s what your used to with a book.

ALEX JARVIS INTERVIEW

XLVIII

AJ: Yea, maybe. But I don’t think it effects how people read things. JH: Well it forces you to change how you read things. AJ: A little bit, only in the way your reading one page at a time then. If your reading a double page spread, I don’t know how many people are looking at one page and the kind of glancing over at another. JH: Maybe only in broadsheet newspapers. AJ: Maybe. If you had two Kindles strapped to each other, it’s a much less portable product. People aren’t going to take that on the Tube. JH: Yea, I know it is a ridiculous idea anyway. It’s just that’s what your missing from the ‘real’ thing. Just in the sense that it’s very stripped back and undynamic, grey on grey screen for reading. AJ: Well that is to make it as crisp as possible. E ink is one of the hottest resolution you can get. But it looks more like a book in any other format, and it’s cheap. JH: So your iPad you use it more for reference? AJ: To be honest I use it for checking the price of shops and angry birds. It’s not a product I feel tied to, I don’t need it in my life. JH: No, it doesn’t help you out? AJ: No I originally brought it because it was a kind of front room, sitting there watching the TV, I’ll have my iPad. It would just kind of live on the coffee table. But the way it’s ended up is that if it had a multi- user log in, if I could assign log in’s for my two house mates. It would make more sense. It’s a sharing device. But at the moment it’s more like a reference device, but I won’t lend it to them because it’s got my stuff on it. That’s what it’s missing, and that’s what it is to me. Another thing is that the price point is not right for it to be that. It doesn’t feel like a complete product for me at the moment. JH: What about the iPad 2? AJ: For me I don’t see the use of having a camera, the form factor is not different enough for me to change. It’s probably the first Apple product I’ve looked at in ages and gone, ‘oh I’ve got the old version, I’ll keep that.’ There is not enough about it for me to change it, and I think my main problem was never the hardware, how much it weighed or how thick it was, it was about the interface, it just doesn’t do the things you expect a portable computer or a slightly bigger device then a phone to do. I can’t watch a film and send an email to some one at the same time and keep the film running, I have to close the film. JH: Does it not have background running? AJ: It has multitasking, but you can’t keep it open. If your on your laptop and your watching a film, you can shrink it down to a tiny little thing and have your email open, you don’t need to see the full thing to know what’s going on. You just glance at it. You can’t do that on an iPad, multitasking is still a stop start thing. And for the amount of time I spend on different things, I’ll spend maybe 5- 10 minutes tops on each thing that I’ll do, and for switching between things constantly, the multitasking solution doesn’t feel right. The multitasking for an iPad should be slightly different I think. You be bale to switch between things, and still keep them running. It’s still a good device, but I find it restricts me rather then benefiting. It’s not a bad product I just think it hasn’t got to a stage where it’s completely useful for me yet. But that might just be me. JH: So note keeping, idea generation, remembering, book marks, reference and retrial on and offline things of interest and importance to you. How do you do that? AJ: Always have my note book. JH: Do you transfer between paper and machine? AJ: Well Evernote for me is where I keep a design influence folder. A massive folder just with images, all digital stuff. That’s synced to my phone, my iPad and computer, it just does it. Any typed notes, say from a meeting here, I do in Evernote. Again because it just syncs it automatically and saves it straight away. Since I’ve started here (BERG London) I’ve tried to do a lot more note taking then I’ve done any where else. But yea, any lists, or to do lists or from a general meeting is all done in Evernote, Because it’s quick and it’s on any of my devices if I want it. JH: But don’t you find you have to plug something in all the time to retrieve your information? You don’t need to plug in anything with a book. AJ: Well I’d never use my ipad as a drawing device, because I brought a stylus and I don’t tend to use it for that kind of stuff. If I need to scribble something I’ll do it on my Moleskine and then scan it or take a photo and transfer it into digital. The note pad is more just thoughts. I don’t really scan things from my Moleskine and use that to change into digital stuff, it’s more just kind of things that come out of my head. JH: Personal stuff? AJ: Yea. JH: So do you use Delicious then?

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XLIX

AJ: I have it, but I don’t use it. I have a really bad way of keeping book marks in the way that, I don’t really do it. JH: You don’t keep them at all or you keep them but they’re not organised? AJ: Well I found with Delicious that I was book marking a lot of things and just never coming back to them. For me it’s like hoarding things. So I’m either really restrictive about it and I’ll save it on my lap top, in the browser or I take a note of it in Evernote. But I’ve stopped keeping thousands and thousands of bookmarks because, it’s just keeping a shit load of stuff for the sake of having it. There’s things on delicious that people book mark that they’re never going to look at again. But if you’ve got a full proof system to look through them, fine. But I don’t really have time to invent a tagging system. JH: OK. But you have the key words that you type it. AJ: Yea, but for me I don’t feel like I need it. Really. To be honest. JH: We mentioned Evernote briefly, I want to come on to post digital cross overs. Such as newspaper club. Where the physical and the digital cross over. Are they’re any services that you’ve used your self, or that you think are particularly good ideas, I feel Berg try and embody a bit of both worlds and I’m just trying to find some influences. AJ: So the Media services was just about taking things like tickets, things that exists just as printed things and making them a little richer. So we did a little brief as well on receipts and what you do with receipts. We made it a bit more of a nicer experience. There’s some physical stuff that you can just tweak a little bit and make them a little bit nicer, either with information that lives somewhere, so there’s a system posting information and printing it out. Or just tweaking things that exist already and thinking of different ways of looking at them. I think with receipts, they’re designed in a way that’s easy to read and there’s people who design receipts some where in the world. But they could be flipped differently. Either pulling information from stuff that lives on the internet there’s so much information floating about. You can make something nice and exciting. JH: I guess that’s the big thing now, is how you sift through all that information. Which most of the time is a subjective process, inherently. AJ: Well our problem with the receipt stuff is we either give people generic information about an area from services, you know, there’s a way of telling things that are happening around areas. But then your just giving a generic way of thinking about things, it’s not tailored to people. But then you start thinking about, say if you where going in to a Pret A Manger or something, you want to get specific information, then you need to start knowing more about your customers and it starts getting really complicated. So that’s a whole other world of thinking about stuff. JH: Would you say the future is more tailored, more personalised? AJ: It’s probably going to be that way, but I don’t know if it should. JH: Why, what do you mean? AJ: Well people worry how much companies know about you, but the fact is that Facebook knows a shit load about you that you don’t think it knows. Google knows tons about you, so they’ve probably already given you tailored information. JH: Well I know that Google already tailors your search results, from many different variables. In your opinion is it worth augmenting print, in the sense of action and reward. At the moment it’s not very fluid in the way that print is trying to augment digital information. It’s bit clunky in the way that you go about accessing it. AJ: So like look at some print, then looking at a device or something and it giving you more information. JH: Yea so a simple device that would enhance that context. AJ: The thing with augmented reality is the same with QR codes, there’s a barrier. You need to know that your going to gain more information by holding your device over something and if you don’t your never going to know. It’s this thing were it exists, but you need to know how to make it exist. JH: Well it’s a new language isn’t it? It’s lost knowledge for those who don’t know about it. AJ: Yea, so some of it is what you know your going to get out of it, if your going to enjoy it, your going to get something special out of it then it might be worth looking it. There’s a lot of stuff which is just kind of, hold you Kit Kat wrapper up to the web cam and get a little band playing, no one really gives a shit about that. Augmented reality is a funny thing, I guess if it has a lot of value then it’s worth doing. JH: But then there’s not really a way of knowing. At the moment you’d hold your phone up and aim it, which feels kind of odd any way, then oh it retrieves it and up it pops, you see what it is. AJ: We were talking about this earlier, it’s kind of like you can almost see what is real life, what surrounds you. But the AR goggles are your phone and it only

ALEX JARVIS INTERVIEW

takes you over that, that it’s not real. There’s just something not quite right about it. I don’t particularly like it, I haven’t come across any thing AR based that I’ve gone ‘wow, that’s pretty good.’ It’s just a little bit fluffy. There was ONE thing we saw, that some one sent around earlier in the week, which was a photo on a wall and you hold your camera up anti super imposed a scene over the top and then this dragon stuck it’s head out, but it just worked in such a nice way. The animation was so fluid that it was worth it. So some of it is the way things are done. If it’s done really well, then it’s brilliant. You can move your phone around and it’s stuck on exactly the right place, it’s completely solid. But when your holding things up and your moving around and they’re jumping everywhere and you can’t really tell what’s going where and the sensors in your phone are going crazy. JH: Is that to do with the technology being in infant stages or is also partly due to the mobile phone? Phone manufactures seem to think that the camera is the answer to this, but the accuracy for scanning these types of things and pulling it up and being able to handle that information is some what limited? AJ: I think some of it is because exit’s in early stages (for augmented reality) It’s been around for a few years but it’s still a little bit clunky. Compared with the stuff we looked at early in the week to what I looked at four or five years ago it’s come on a hell of a lot. But for me I wouldn’t go out of my way to use it. I can’t tell you the last time I used an AR application to tell me anything. JH: What about QR codes? AJ: Nah. JH: Not at all? AJ: I don’t really see the need to scan it. JH: So you see them in the street on a poster or lamp post whatever, but there’s no curiosity there? AJ: Not for me, I don’t know what it is. I don’t use any application regularly on my phone that is AR based. If I was looking where the nearest tube station was Layar give you an over lay of where they are, I’d use Google maps. I wouldn’t hold my phone up and wave it around to try and find where things are. I wouldn’t trust it for being accurate and maps work. JH: Yea I suppose it’s like a spoon, you can’t make it better. AJ: Yea. JH: OK. I don’t know whether you skirted round my question or not, whether it’s worth augmenting print. AJ: In some cases. JH: At the moment? AJ: Depends what your going to show, some of it is the contents on the side of it. Some of it might be so bare in the print that the next stage of it is that you have to get more information out of it by using an AR thing. But I think it completely depends on individual cases. JH: OK so take O’Reilly publications, I find it quite funny that they produce books that you use with the computer. You sit there with a book or you could get the PDF’s but you have this chunky volume next to your computer and your referencing through it to then perform bits on the computer. If you were to augment their publications in the way that you’d use the book as a container to reference bits that you need from instead of a PDF what would the advantage be? AJ: The thing about those book is that they don’t take up screen space. You got a PDF open, you’ve got another bit on your screen where you need to do something, a book on a desk is always going to be, for me, a better reference then the screen. JH: If your using it in conjunction with the screen, yea. So briefly on QR codes, and I think we’ve covered your opinion. AJ: Yea, there’s a barrier. The barrier between a code on a wall that means nothing to any one. JH: But if your savvy enough? AJ: Yea, it’s kind of like information camouflage. For the people who know what it is yea, if I showed my mum that she wouldn’t know what the fuck to do with it to be honest. You could put a web address on. I think that there’s such a mentality that you either know what to do with it or you don’t know what to do with it and then it has absolutely no benefit to you. JH: How would it become commonplace? AJ: Well how is it going to become more commonplace then a web address? Or just writing information? Barcodes for supermarkets have a real function, so you can scan things quickly, you can fill you shopping trolley up and get out within ten minuets. But I don’t think they have enough flexibility to warrant being commonplace. JH: So what your saying actually is that QR codes are not going to be a viable solution to accessing information. AJ: Until it gets to the stage where it’s kind of like a natural reflex to get your

ALEX JARVIS INTERVIEW

phone out and want to find out more information. JH: Do you see it as being a mobile phone as the reader not say some smaller cheaper device away from the phone? AJ: Well if it allows you to access everything a QR code can send you to or produce, then it’s a phone. Basically it’s a device that can read a barcode and give you an output on the screen. Which technically is what any smart phone is. The world doesn’t really need an extra device for checking barcodes. I’m very much in the mind that most people have eyes and can see things. If everyone can see a URL on a can of Pepsi and know what to do with it, my mum knows what to do with it, my dad and my brother know’s that. Everyone knows that’s something to do with the internet. That (QR CODE) on the other hand is a thing, ah I don’t know. I just think it’s such a barrier to information. JH: Well that’s down to it not being commonplace and so there’s no typical behaviour to know what to do with that (QR Code) is there. AJ: No. So they either become commonplace which they might do, I don’t think they will. JH: Well your seeing them more in advertising now, strategically placed in underground stations , where there is no reception. AJ: Yea, I’d like to see how many people have actual scanned the barcode though. So an advert with a barcode on it and an advert with a URL on it, if you could track the number of people that have looked at it and the number of people that have visited the URL. But then some of it is mystery, you don’t know what it is, you might go to it. But if your using it as a tool to just replace information, just put information don’t make it more complicated the it already is. JH: You mentioned and I don’t know if you can mention on recording about a comic that your doing? AJ: So where producing a comic with Warren Ellis who is a well known comic writer and Matt Brooker who’s pretty well known illustrator for comics. Its two colour with one extra layer which is ultra violet (UV), so there’s a secret hidden layer in the comic. With an ultra violet torch you can see what people are thinking. You can read the story completely without any tools and it makes sense and you can read it again with the torch and you can kind of see what people are thinking in certain situations. So using the torch to get inside peoples minds and see how they think and reacting to people. It’s an extra dimension in something that’s pretty 2D. JH: So this is print, what type? AJ: It’s litho black pantone blue and UV. JH: OK and that’s going to be a commercial product that’s sold? AJ: Yep. JH: That’s interesting because were talking about language, barriers and layers. Where barcodes are barriers, where as this UV ink is a lot more accessible to tom, Dick and harry. AJ: Yea the difference is when people by this were giving you a torch so... AJ: People know what to do with it. JH: People know what to do with it. END.

ALEX JARVIS INTERVIEW

LII

AUGMENTED REALITY A. Visual node based interaction system B. Teapot head augmentation Using Quartz Composer an Apple Developer program and a youtube guide for AR in five minute I tried to generate a simple object attached to a 2D barcode. This proved troublesome. The visual node based system for connecting elements is a rapid way of building the necessary knowledge to create simple systems for this output.

The outcome generate was poor and needed a lot of refining to accurately map the co-ordinates to the 2d barcode. It involves a lot more skill then I had time to generate and after the effort it is hard to see the fruits of labour in your outcome. However learning is a curve and perhaps I will go back to tinker with this method of augmentation once the basics are fully installed.

LIII

ULTRA VIOLET This investigation embodies the tangible or perhaps not so tangible parallel between the object itself and the information to be revealed. In this case the UV ink has no graphic imagery around the hidden text, there is no signal that there is another layar of information and so only those who â&#x20AC;&#x2DC;discoverâ&#x20AC;&#x2122; it will be rewarded for their actions. The Idea of layering language, especially hand written, invisible information is one that invokes nostalgia, and childhood magic. This crude attempt could still yet be redefined in to a more suitable context,

however I do not feel that it truly has a relationship with the digital world and relies all to much on the expensive ink that would be involved in printing costs. This would make it a less viable option for augmentation. Perhaps UV QR codes could encapsulate the two worlds in establish the context of the content in a more specialist book market, perhaps involving some form of system or game within the narrative.

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ULTRA VIOLET The semiotic relationship between the Invisible ink and a 2D barcode is within the application and the means to make it visible and the context in which the language is assembled. Commonly used in writing, espionage, anti-counterfeiting, property marking, hand stamping for readmission, childrenâ&#x20AC;&#x2122;s games, and marking for the purpose of identification. The books I have taken out of the library for this project, have bee subjected to UV identification from myself. A small message in pencil at the

beginning of the book informs the reader of the method. Information revealed is my email address, so in theory if discovered a reply should be initiated and a feed back loop created, much in the same way you can aggregate the clicks per link you publishing on line through URL shortening service. One last observation is between the distance this language creates between reader and device, device and message, message and content. It seems to focus on discovery rather than, instinctive reaction to a graphic element such as the barcode.

â&#x20AC;&#x153;Every period offers new insights and technology. I see it necessary to be aware of what happens in the world and what kind of technical improvements there are.â&#x20AC;? Karel Martens - Printed Matter

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I believe some people keep wishing for print to be dead. But this over reliance - addiction, even -to do everything online will only stretch the rubber band to breaking point. The day we get a solar flare, the mother of all computer viruses or cyber -missiles, suddenly we will have lost all record of everything, including our identity, friends and money. Barcodes are the first step in object information, print being the obvious choice for maximum content exchange. Both would need to work together to form the language. The barcode without the language of words is meaningless and so they have to inform each other and the user. What if we were able to build language through the indexing system of a traditional book and the internetâ&#x20AC;&#x2122;s hyper linking system for content retrieval.

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B. D.

A. Book Hack Day team - 15 May B. Large QR code in japan translation. C. Documentation of paper QR investigation D. Berg - Media surfaces - data receipts E. Freshly cut tree F. Book Hack Day team 2 G, iPad magazine - Paradox observation

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A. QR code scanned with iPad 2 camera. Long distance reading, large QR code, Awkward size to manoeuvre in capturing the codes reference. B. Book on the Fritz â&#x20AC;&#x153;The very idea of collecting, exhibiting and distributing self-published work really makes us happy! Book on the Fritz is an exhibition format dealing with self-publishing in all different shapes and variations. We started the project because we wanted to create an output for self-published projects coming from people

whose work we find interesting. Considering the event itself to be a kind of periodical, one of our aims is to organize it as many times as we can with as many different participants as achievable. In the end Book on the Fritz is a social gathering where we can all meet up.â&#x20AC;? C. QR code scanned with I-nigma App.

E. F.

D. Driving licences counter slip, digital information in a 5mm 2D barcode. Can not be read by iPhone or iSight camera. E. Close up view of barcode.

F. 100 Lessons in 100 Words or Less get straight to the heart of each topic. Dip in, dip out, and learn something new along the way. Published by Visual Aid Publishing Limited. Our first 5 eBook titles available September 2011.

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Book Hack day was a step in the right direction for me, it introduced me to a world where people are working with a medium Iâ&#x20AC;&#x2122;m not skilled enough to use effectively and to nurture collaboration and engagement around a particular artifact. The intersection of ideas, technical knowledge and backgrounds was vast and highly influential in the way I consider my practice is relate to others in the future. It was like a grown up Zine symposium but with data and technology, which was quite good, although the over powering influence of computers seemed to dominant most activities where designers want to just scribble ideas down. The tone of the whole day was informal and exciting, as it confirmed for me a new way of thinking about the current formats and contents of the book.

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The connections made at this event offer great life lines for projects and to be involved in things that you wouldn’t usually surround yourself within the ‘design’ world. I believe Book Hack Day to allow a possible viable source for further project development with my investigation and I will be seeking advice from the curators.

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BOOK HACK DAY A. The main ‘Hacking’ area. Hackdays are extraordinary things they infuse you with a bubbling enthusiasm. They include people of immense creativity and mountainous intelligence. They are fun. They are about playful sharing of coolness. They are welcoming. Also, contrary to the stereotype which may be in your mind, they are populated with a high percentage of sexy people. I don’t know why I mention that, given the wellknown monkish nature of the publishing industry. Forget I said it.

Book Hack Day, organised by Perera Media, Idno and Geek Camp. A group of hackers, writers, designers and publishers braved a few closed Tube stations to meet at the Free Word Centre in Farringdon with their lap tops to talk and work on the future of the book in the digital age. The day started on a high point with a really astute talk from Dan Franklin, digital editor at Random House, about where we are and where we’re going. He described how publishers entered the ebook space expecting to repackage

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BOOK HACK DAY and remix old content, but how they’re quickly finding this approach to be “lazy”. He suggested that the old model, of publishers owning a stable of content to which they allow the public access, is breaking down. Creators of ebooks need to find new ways to get their audience involved. Finally, he suggested that publishers should be engaging with neurological studies to see a book could rewrite itself depending on what readers enjoy. For me the highlight was Durrell Bishops

talk on the creation of a market viable print solution for linking the traditional book with the digital, in a low cost output which would enable a new form of language. In any case you will have to read the rather long, rambled interview later in this document. The say itself was organised well and it took a a short while to break down the stereotypical social walls that seem to appear for me with a crowd of computer enthusiast, programmers and scientists. Accompanying me were two friends

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Concept: A literary magazine that commissions stories that feature rooms, objects in rooms; either as a central narrative theme, or merely incidentally. Each story is visually represented by a room, which will be built together to create a visual interface of an impossible house, which the reader can navigate, using a first person pov to explore the house, and click on objects in the rooms to read the stories. The hope is that as the magazine progresses, newer contributions can play allusively and intertextually with rooms in the existing house, and that the house itself will generate and inspire narratives. We’re hoping that this will be Electric Bookshop’s maiden venture, and will be looking to work on this beyond BHD, and would welcome advice, input and collaboration.

Developing a toolkit to allow a user to build various indexes of the Open Correspondence website and to being to allow them to create their own ‘publications’ (in time) in a local environment and to store them locally. Open Correspondence where you can explore the correspondence – and the social networks – of the nineteenth century literary world.

BOOK HACK DAY

At the moment the project currently contains some of the letters of Charles Dickens but we’re working to expand to it include many other authors such as Jane Austen, George Eliot and Byron

3D Life - William Hayley Working towards a new kind of digital biography where you get to know the subject as if you were meeting them in real life. Working from a database of information about crap poet (but all-round fascinating bloke with a hilarious & tragic life story) William Hayley 1745 - 1820.

from LCC, who coincidentally are each separately working on iPad applications for print content. Seems like a must have these days, just as Apps were early 2009. The day focused greatly on data sets and remixing of various intangible data. I felt that the majority of the projects, were to exist on screen and felt a lack of physicality to the day that us design so love. Perhaps this would be an excellent day to collaborate with paper Camp? Maybe. so, if the goal was to reinvent the book, I don’t think we succeeded. But as a day

spent with interesting people from a variety of backgrounds, all talking about what the book was and what it could be, both in low-level detail and high fault in’ aspiration, it was pretty stimulating. On an IF front, I got a chance to show people my Kindle ebook and Make It Good and get some feedback. The organisers of the conference have a definite goal to keep these discussions going, and went as far as building a social network site, BookHackers.com, as a forum for conversations, ideas and prototypes.

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Rails is a web-application framework that includes everything needed to create database-backed web applications according to the ModelView-Control pattern. This pattern splits the view (also called the presentation) into “dumb”templates that are primarily responsible for inserting pre-built data in between HTML tags. The model contains the “smart” domain objects (such as Account,Product, Person, Post) that holds all the business logic and knows how to persist themselves to a database. The controller handles the incoming requests(such as Save New Account, Update Product, Show Post) by manipulating the model and directing data to the view.

Opening up an API into my ebook search and price database - want to play? Books / Authors / Prices / ISBNs - what else do you want? What could you do with this data?

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These are the people who are shaping the digital environment, and you have so much more in common with them than you think. The culture is one of creation, not destruction. It is as profoundly respectful of originality and making as it is impatient with prevarication and delay. Like publishers, these guys love curation. Like writers, they enjoy sharing the products of their minds. Which is a rare combination that should be re sourced.

The project will also develop through their collaboration with the Future of Publishing programme, which concludes with a conference in Bournemouth on 6 October, where the best projects from Book Hack Day will be showcased to the high-profile delegation at the conference – which may even lead to commercialisation.

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â&#x20AC;&#x153;Walking the line between making it easyenoughforpeople to bother putting data in to a system and still useful enough to make it worth the trouble of getting it out.â&#x20AC;? Aaron Straup Cope

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If you can do a thought experiment in you head, and you think about how something might be, and you can see how it might be in your head, it’s probably not an interesting idea. But if you can ask yourself a question that the only way of finding out how it’s going to be is by doing it, that’s probably something quite powerful.

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DURRELL BISHOP INTERVIEW Tuesday, 31 May 2011 07:39 The Book Club London Durrell Bishop is an innovator in product design, physical interfaces and interactive media. He has worked as a researcher in Computer Related Design at the Royal College of Art (RCA), spent time at Interval Research in California, and worked as a designer with Apple Computers Advanced Technology Group. Durrell has also worked as a senior interaction designer at IDEO in both the US and Europe. Durrell lectures internationally on simple hardware/ software interfaces, and teaches Interaction Design and Product Design at the RCA in London.

JH: Much like you I have one foot in each camp, the physical, digital and the potential for print. I also attended your talk at Book Hack Day. DB: I didn’t like that talk. It was just a long audience, they’re interest was in branching narrative and in deconstructing books based on data sets and content and that’s stuff from the early nineties that I’ve seen a lot of. Data sets are interesting, deconstructing the book is not interesting. At all. Branching narrative stuff. When you do it properly your doing something else. It’s called research. JH: I felt like it was very digitally focused. It was practically taking data sets and remixing it, mashing it up and producing some engaging ideas and concepts from it, but ultimately they’d only be experienced through the screen. As a designer, not all the time, but most the time I feel there needs to be a culmination in something physical or tangible that people can interact with. So it was interesting to see it from that point of view. It’s a whole other world, and I felt a gap between programmers and designers, they sit very much in different camps. DB: Yes. I suppose, but I don’t think it has anything to do with programmers and designers. It’s the equivalent of saying engineers drove cars. Which they probably did originally. It’s design and design teaching, it’s very, very slow to move away from mediums into other forms of communication. There’s far to much learning around only using mediums, so printed books and images. It’s just tricky because there not very well prepared then for the next methods. As a graphic designer your job is to communicate usually for a client, with some content and simply you have got to be able to use the most appropriate methods. If you asked them (graphic designer) to do a website, they see it as a reorganised method, but they’re very bad at systems. What it means to originalize a system. In trying to say this is the system we’re trying to do. What are available to us as methods is a different idea. They tend to go more for what they’ve seen previously. So which aspect of the potential for print are you interested in? The production methods for print? What relationships are actually interested in? JH: I suppose it’s on the production side of print, because I know it’s changing, but then also the types of augmentation to print. Because it’s in ink, the right medium for print it works well. DB: Yes, its a method of linking two mediums and seeing digital properties within a printed medium. JH: OK and your obviously going to use something to link these two, and at the moment the ‘norm’ is by using your mobile phone. DB: Well actually at the moment the real ‘norm’ is that *shows ketchup bottle barcode* printed link in a specific situation, is the most normal method of use. In the circumstances of the context base. So at a check out the sentence is made between where something is acted on and what the object is. So the checkout automatically assumes it is a sale. Take a hand held scanner and the same object used for stock take and the circumstance changes and it’s used for a different purpose. So you set the context with the object. JH: So that’s the norm. DB: No, that’s A norm. There’s a set of different norms. There’s another one which is in factories, camera based reading of the objects going on production lines. Another one is Oyster cards. The question there is it’s not about what mechanism you carry the data in. An Oyster card carries it in an RFID tag and the barcode carries the data in a piece of print. But it can be the same data. So what actually matters is something you can’t see. Which is not even a simple mechanism or the data held on it. It’s the interpretation of it. JH: It’s how you make use of that data, the device that you use and the interaction between the pieces. Coming back to QR codes it’s not a generic device used in a lot of print, your starting to see it more now in advertising and in some newspapers and

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publications. DB: The reason your seeing it a lot in advertising is because it’s a large object, which you usually see from a far distance. There is nothing actually wrong with the QR coding method, although there are many other methods, and you can even go slightly further and say: What’s the difference between a QR code and a barcode? JH: Well I’m not sure what the right answer is but first of all aesthetically they’re pretty different and also the way in which they’re read. DB: Yes. One’s read with a camera and the other is usually read by a laser or a linear method of reading. Our expectation of what they do is different as well. So QR codes, because the camera is the main reading method. The readers aren’t made to read these with cameras they have a fair limitation of what they can do. JH: Such as, for instance? DB: Well you don’t see them that big down the side of the margin *size of little boxes next to items on the menu* because the reader won’t work, the camera won’t focus. The readers aren’t out there and therefore the content won’t be out there. JH: So say in a few years time when cameras catchup and will be able to focus. No? *Durrell shakes head* you don’t think that’s going to happen? DB: They’re already at a high resolution. If you where designing it to do that job, yea, you wouldn’t design it like that. Imagine you had loads of them listed down the side *points to menu* now what’s interesting about this is that it gives you automatic ordering. It can do a number of things by doing this, yea, it’s giving you the chance to order form here, yea, it might give you the chance to see what it is, or the recipe, or if it has nuts in it or familiar questions you might ask. Or you could simply say ‘I want that’ Now it’s not going to build these *points to iPhone* with readers to do that unless the content is already out there. JH: Chicken and the egg? DB: Yea. If you were a telephone design and you were asked to do that, how would you do it? JH: I’m not a telephone designer. DB: Well your a designer. JH: The camera would be the obvious choice. Perhaps if it were at a higher resolution and focus to select the device (QR code) DB: The camera as it is at the moment, let’s say already a high enough resolution, try it. What are you going to do. JH: Turn it on, select the appropriate application, you aim the camera at the QR code. DB: Assuming it can focus on it, and which one am i looking at? Shit, erm, am I looking at this one, oh I don’t know. It doesn’t work to select. If the camera say was placed on the corner of the object, yea and I could select it like that (points corner of phone at paper) that would be OK. Just about. But even easier would be this *points finger in paper* So you make it smaller. JH: As a camera or a? DB: As a camera, if your going to use a camera, that’s the mechanism being used, you just do it smaller. But there aren’t readers that do this. JH: But they’re not going to be readers out there that do this because… DB: Why not? JH: Well like you said before, that kind of print isn’t being produced. DB: How do you get it out there? That’s what my whole talk (Book Hack Day) was about. You find a way for a company to have a go. JH: They were quite against that at the talk. DB: Well they don’t know there arse form their elbows. It got completely caught up with that lady talking about the first thing you should do is use it for fiction. Talk about the wrong rend of the stick. I mean what is the purpose of augmentation? I was giving a talk at CID in Denmark last week, and I mentioned this to them, I said: what do you think is the worst examples? First student said: ‘I wouldn’t do it to fiction’. I’m stuck in the medium, it’s a complete medium, you don’t really need this information. JH: Well how are you meant to order or even systematically apply that in a way people would be able to use. I’m not saying it can’t be done, like you stated, it’s just not the best way to start. So publishers, they have big bottoms, they like to sit down on them they don’t move. DB: Publishers are shit because of the way they work. But they do have the free printing of codes or devices. JH: Such as the barcode? DB: I don’t really care if it’s barcodes or what ever, what the QR code really means is a mixture of how they’re currently used, a camera telephone based code. The technology for printed codes, the right technology for publishers, because they’re printed it’s cheaper for them to augmented. It’s the right route for designers, because they can add things into the work that they’re doing. It’s the right route because there’s enough media out there that connects well. You don’t have to make a bespoke media, you can simply augment existing

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stuff. (Publishers) But they’re completely not interested in this medium. Fuck knows what they believe. JH: Who out there could do it? DB: Leap pad could have, because they were selling into the kids market and you could do something interesting with them, but leap pad is an abysmal design, maybe some one like Lego. JH: You seem to be going to the spectrum of the kids market. DB: I’m just choosing a market. I’m just trying to think where you can introduce hardware in to a market? JH: So it’s being able to introduce hardware as well as the device (QR code) in print as well. DB: Yea you got to have a reader, it’s not a print problem. You’ve got to produce many of these things and there not going to do something that’s not used. If they had one good market, say publisher and android phones teamed up, then your asking two shit systems to work together. Phone companies like Nokia are fucking up, and the other problem is the other dodgy one in there like RFID readers, which have been put in phones and are sometimes used. Near field readers and stuff. Commonly used in Japan, you can use your mobile phone to pay for stuff. They’ve basically got them in their (smart phones) so it’s no big deal to adapt them. But the problem for that is it’s not going to work with print. JH: Well I could be wrong, but I’m sure I’ve read some where that there’s RFID ink. DB: No, there’s RFID printed aerials, but you have to have a chip on there. You need a micro processor for the aerial. You’ve got to be careful there’s a lot of fiction out there. You could do an RFID book, but it’s just bollocks. It’s too much work when you’ve got free printing of data that’s accurate and good. Why the fuck would you use RFID’s. JH: Well I think people are more interested in the extremes of what you can do, instead of it just simply working. DB: Think about the whole industry of graphic design, which is where stuff gets made and linked. If you were given a job and your printing out this thing here and we want you to link to these addresses, and they give you URL’s all you have to do in Indesign is put the URL’s in and it gives you the barcodes, QR code, whatever, I don’t care. You place it where you need it, print it and it’s done. My problem is unless some body does something and finds routes for this to the market, where getting distracted by a whole batch of semi working systems. That end up having no influence with this idea of augmenting publishing. This is a minor example, which is I think it’s a language in itself, the ability to perceive what something does. JH: I agree. If presented with a URL most people will know to type that into a web browser. If I print say my mother with a QR code, she would have no idea what to do with it. DB: OK, so let’s go further. What’s the difference between a QR code and a light switch? JH: Well one is 2D and one is 3D? DB: Is it? JH: Well, yes. DB: OK what does it do? JH: Switches on and off a light. DB: Is it mechanical do anything? JH: No. DB: If somebody moved all the mechanics of a light switch would it make any difference to what it does? No it’s a command. It’s not a machine, it’s a command. If I paint a light switch on a wall and you put your finger on it and it turns a light on. Which I could do, I could put a camera on there, for the position of your finger, it makes no fucking difference. JH: You still have the object and the command. DB: Many pieces of objects are commands, and that’s all they are. Things have moved from being mechanical and being pieces of communication around us without us noticing. An example could be a brake peddle in a car it used to push a cylinder. It’s a hydraulic system it pushes the other cylinder and closes the brake. Then they moved it and made a sensor, which talks to the computer which is going to decide if it’s going to push the brake or not. So it’s moved from mechanical to graphics, because it’s pure communication. Your job a as a graphic designer to communicate with somebody. Product design is about what things do, but unfortunately it’s very confused whether how things do this, ie. A mechanism, or whether it’s about communication. The best product designs are graphic designs and I’ve never understood why graphics hasn’t taken over products. JH: Why is that? DB: Why hasn’t it happened? JH: Well, why do you believe they should?

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DB: The reason why they could is this. Communication is the way of doing things, it’s a description of our society. It describes potential in our society. So we’re communicating an idea and X amount of ideas, by doing something. A lot of the time what your doing is assimilating. Now unless graphics is the medium of print and not the medium of communication. If that’s the case then I’m going to ask what that other subject is. What is the skill of understanding how to communicate to other people, through three dimensional objects. JH: Interactive communication? DB: If you do that, your going to get asked to build web pages. In any case, there’s something more fundamental about this, which is the type of person, that makes a good graphic designer and the sort of person that is completely into how people are thinking. Not into how you make something, how you perceive something. So that is the skill base that you want for products. A large amount of products has moved from physical objects to the screen. All the apps you have on your computer. JH: Yes. DB: What in theory are the types of people you need to design those pieces of graphical communication? Are they product designers or are they graphic designers? JH: Graphic designers? DB: They should be graphic designers but that’s not happening very few are. And why? I don’t get it. The things is, it’s really interesting, they come out quickly and work (Apps). It’s a great medium. But unfortunately their more interested in doing a fashion mag. JH: Not all the time, I think it’s happening more now. DB: But it’s probably to do with teaching. Now if you ask the question: ‘Why products don’t get out on the market?’ Well, if you compare the two it’s similar and it’s so easy to see how very strong leaders in industry can change things, but there’s incredibly few of them. So it’s no question that Apple’s success is because of Steve Jobs, perhaps their failure will be as well. Without him it was a failing product, then he changed in which the whole way in which values associate with objects and products. He’s not the brain of it. He is the person that creates the design, he’s the person who is valued and makes the policy which gives the direction. If you want to change things, the only way it’s going to happen is by finding somebody who is in power of some sort who can change stuff. So that’s why my curiosity is in how you do it. JH: Well part of this project is focused on independent publishing and authors and the democratisation of these creative tools and that’s one side of it where I think augmenting those types of publications could work. Obviously there aren’t any readers for these codes. DB: Yes, so you’d have to do it with distance reading and mobile phones. JH: I see it being implemented, not in a commercially viable way. You’d just do it. The other side of that is being able to accurately access that information via new reader, as a generic tool that people would use. Which is harder, with what your putting across. DB: You need to find a way for that to happen. I don’t know what it is. I’ve manufactured products that sold millions and sold at a very low price, I know technically, that for around £80,000 pounds minimum you could augmented publishing. Now that’s the outlay you’d need to put in to get involved. But what you get back from that is 80,000 readers as well. So if you get the unit cost down low enough to about a pound per reader only if you buy it with the publication, and then the technology you’d need for it and a way of doing it. Then that gets interesting because you start saying well any publisher who knows they can sell subsets of their publications in to the millions can do it. It’s different from news papers, they pay thirty pence for compact discs, on their covers, I think. So a pound is a lot. But what’s really important is that you’ve got to learn from mistakes that have happened, from people who have tried to do things like this, that they’ve done with bad media. In which case it doesn’t work. It’s got to be worth while. JH: Wait let’s be clear with this pound what are you getting, publication and a reader? DB: You’d only get the reader aspect of the publication. Perhaps you’d mark it up, depending on whether you want to make a profit or not. Your looking at two pounds on the publication it’s self. So most people can bare that, so maybe you’ll split it over a number of publication within that subset. You’d sell it without the reader, because if you have one you don’t need another one. JH: Of course, also because the printed publication has to work by it’s self anyway, without augmentation anyway. OK so let’s say the first publication is already out, you’ve already brought your reader. Your reading and then you scan the QR code from this publication, what does it then do? This is where I get stuck.

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DB: Let me tell you why you get stuck. JH: Please do. DB: OK so in 1993/1994, if I was to say to you what is a web page? Honestly you wouldn’t know. Even if you knew what they were, you wouldn’t know what you could do with one. You might go: ‘Oh I could put the news on it, yea that would be a good idea, you could have current news, oh but you can’t have pictures, really.’ So now become an author, OK. I’m going to do a times atlas on the history of Europe they exist they’re quite nice, they show the movement of people, they show info. Now let’s look at how I would start making it, I would look at existing media out there in the world. The existing web world there’s shit loads, so would sit and trawl the most interesting things. So now I’ve already done the research for the book, I’ve got lists and lists and lists and lists of sources, I’ve already got, I put this book together it’s taken me year. I’ve been exploring the Visigoths in Germany and you name it, the geography, I’ve google mapped some stuff, I’ve been looking at historical examples and I’ve been looking at film parts. They’ve influenced me putting this book together. So shit loads of media out there, are they stable as URL’s? They’re pretty stable. There’s whole things like wikipedia and other things like that which are just mechanisms you can search through to find stuff and get the link between the two. So if you think what you do with it, don’t try and go, ah this elevated picture thing is really tricky. You really need to get your head in to any one piece of media and ask the question. Let’s just take a language book, yea, you could hear the sounds that your trying to read. Any publication which is connected to a computer in the world, any application which is about the use of a computer. Like the whole O’Reilly publications. JH: I find it quite funny that you have these large volumes of books to use with a computer. DB: To be fair, there better and better at having single URL’s which has got the pages in the address. It’s still different from reading something in front of you and selecting it with your (reader-pointer). It’s the whole idea of going that’s interesting and that’s interesting and then page 43. Bup. I want something augmented, and I don’t have to go oh I have to pick up my phone, open the application move my hand over the code, lift up a bit. No, my mind isn’t thinking about doing that action, it’s only thinking about the content I want to access. JH: It’s not fluid, no barriers. DB: There’s a point which the things your getting to becomes the properties of the object. I see this and that as one in the same thing. It does matter what you perceive you want this to be. The barcode is not important. What’s important is the graphic imagery, the communication around it. I need to know, I need to have expectations what I’m getting to. JH: The expectation being? DB: What it is. What that is. (Points to barcode) yes that on it’s own with nothing round it, fucking meaningless. JH: So I have my O’Reilly on how to build a website, or what ever. I’m picking out with my ‘pointer’ selecting what I choose. It then does what? Brings it up on a screen, right? DB: Well my attitude to that is this: the way it should be done is the ‘reader’ is the ability to read and augment it. The first thing is that this is default behaviour because it links to your things. *Taps my iPhone* But then how do I link it to some one else? *Moves pen on paper, then on to his phone links, then links to mine by tapping it.* And now I’m linked to your phone. Here’s a screen, I’ll link to that. *Taps imaginary screen with pen* Or with a menu to place an order, I’ll have that and that. *Taps pen again to paper as if ordering* OK? Your building language with it. JH: OK yea. DB: I’ve built this kind of system using RFID’s, a handheld reader, that was a bit large. It doesn’t do what things called RFID’s do, which is near field communication. Because that’s actually crap. Even oyster cards don’t do NFC. You don’t walk up to the gates on the tube and it reads the card in your pocket, and takes the money off you. So I think on the whole it’s easier to leave things in people’s control. And a lot cheaper as well. Where it get’s really stupid is the idea of sitting here and going, ‘I want Scottish smoked salmon’ and it arriving is what some people perceive as good interaction, it’s awful. These are languages for these things and language needs a structure, a syntax and something you can see or that’s visualised. So it’s not, when people talk about QR codes being inks to websites I think they don’t really understand that there’s a difference. When there is a stimulus, there is a property of that object is that it has a website, or it has another visualisation of it’s self.

DURRELL BISHOP INTERVIEW

LXXIV

There’s a hell of a lot of examples around us that have social properties. Not just physical ones. SO objects which are augmented by society and they are so real, that you take them for granted. Do you know what I mean? JH: Such as money? DB: Money, yea. There’s plenty of examples of it. It’s just ridiculous the whole time we build these things. The best way to make something communicate is to build the icon of the communication from the description of it’s function. If you want to do a bit of graphics that’s a piece of pure communication. Really, really strong communication. Look at what it’s function is, derive your graphics, derive your function via form. The best icons describe what they are. The question there is I reckon, that it actually works the other way too. People then start emphasising, certain functionalities, to help create the language it’s advertising. This raises another question about design, the whole of the furniture world, is based around taking objects and playing a game with loosing the iconography of the object. The best way of communicating is you build the form of the object, by realising one of best ways of communicating a language is by creating forms, of which describes it’s potential. JH: Shows it’s use? DB: Yes. (Shows sketch of teapots, traditional and contemporary.) It doesn’t need to be like that, but it helps you perceive it. But, one of the things we really find exciting, is when we don’t understand something. It’s called magic, and magic is all about something we don’t understand happening. It amuses us and it entertains us, it breaks barriers in our heads. It breaks the barrier created in this world and design is lost at understanding why. Prime example in any Milan furniture design is that they’re playing with the boundaries of our perception of that object. You could say that they’re introducing new types of content with it, if your being polite. The truth is that most of it is about creating a little weirdness in your head. It’s not good design, that’s where design exists, for me, it becomes a separate subject that you look at in magazines and you buy in precious shops. And it’s not the norm, that’s why it’s not Argos (super store) It’s wrong, it doesn’t work. JH: But that’s where it ends, just conceptual aesthetics? DB: Yea, that’s the point. It’s like it’s full of magic tricks, I love magic tricks they’re great. But what’s more important about magic tricks is this, something really sad about it. Because you can only play these games of selling this teapot (contemporary) so if you know an object well enough, so well that you can play with boundaries of it and still know it’s chair. Now if you take a new product that hasn’t yet got it’s form, you have two choices. One is you make associations with what it might be like. The other is you try and discover what it is, you try and create from it, how it works, what it does. JH: So give it form from it’s function? DB: Yes, you have to learn it’s language. Tricky, a hard thing to sell. JH: But a better route to go down then others? DB: Er. Yes. JH: Why? DB: Because if an object reflects what it does, JH: Yea. DB: Properly. JH: Yea. DB: Properly really is the two completely interlinked. Then you can conceive it has a far more potential in terms of how you can deal with. JH: Because it’s not borrowing an associated form? DB: It’s not borrowing a misunderstanding of the language. It’s creating it’s own. (Draws speed camera symbol and illustrates how old the camera is, but it’s semiotic communication is undeniable.) After saying that. A lovely example is of the speed camera symbol, it is still base on Bellows wind on camera design. JH: Yes, and it works. DB: Yes, but the only thing with it is it does work and it doesn’t work. You’ll notice it not working when you start seeing stuff missing to replace it. A typical one on motorways is, speed traps - over a distance. Camera enforcement. And there’s a text based for a communication for it, because text can build icons more easily, you can assemble it together. So coming back to the barcode stuff again. This is all about something which is about the QR code, the printed material itself, the situation it’s in. The graphics is just about you perceiving what is meant by the relationship between the QR code and the text. It’s a really

DURRELL BISHOP INTERVIEW

LXXV

profound problem at the Royal College in product design. JH: What is? DB: Of products being pieces of communication, playing with the boundaries of iconography doesn’t allow you to develop new products. It stops you from doing this. If you want to play with the boundaries of existing things, you have to have a language there already. So if you go to shows, there’s almost no digital work going on. It maybe also be why graphic designers don’t work on new products either. They know how to push the boundaries of existing iconography but they don’t know how to use it, and it’s really boring. A teapot is the simplest of objects, it does a great job, it’s a great piece of work, by being invisible. JH: Hmm DB: What’s a doorbell? It’s just calling a person. At what point does a door bell, at home pop up a thing on my phone? It’s only calling me, and it’s just saying do you want to let them in or not. But we don’t have the fluidity of the mechanism to do that. JH: Do you own a Kindle? Or an iPad? DB: Just brought an iPad, yea. Why? JH: Oh just wondering. DB: We brought it particularly because at breakfast, we have our eleven year old son, and were always looking up stuff. I think it’s much nicer then a laptop. It’s used in a way to look things up and adding to the conversation. Where as the Kindle is just a book really. JH: It’s funny how those two devices have taken over the ePublishing market. DB: They haven’t though. How many iPad’s are out there? JH: I really don’t know about their distribution. DB: Well let’s say iPhones and iPod touches, there’s about, twenty million. Let’s say. Something like that. You’ve got another set which are android phones, and then iPads are a massive subset of that, so I doubt there’s more than five million and of that how many people out there are reading in various formats? And of that any one location, what’s the subset of people that have those devices are going to use that medium, that your going to try and sell to them? It’s thin, compared to print. And publishers are just panicking about it. But any company has it’s own problems. JH: Of course. DB: It won’t take over, the things that don’t belong in this medium it will be very good for. Such as new products, it doesn’t mean that they disappear. It’s just that certain subsets of them disappear, film cameras have been replaced by chips. Cameras didn’t go. Camera production increased. JH: I can see your point. Portrayed in the media, it’s the format that is booming and making great progress. More people are buying eBooks then regular books. They don’t mention that traditional publishing and printed material is doing just fine as it is. There is more printed material now than ever before. DB: The trouble is that companies aren’t. The ones running on a very close margin, to what’s available and that only has to drop a little bit for them to be fucked. Publishing houses closing, whatever. That’s because of Amazon. It’s not because of books disappearing, it’s because of distribution changing. So it’s not the Kindle that’s fucked Waterstones. It’s Amazon. So I think there’s a big difference between letting the companies tell you that there mediums fucked and not that there companies fucked. I think it sold for 50 million and it’s like they valued it on the stock they own, rather then what they’re potential is. Any way with the stuff you do be careful of people fetishising the physical world and that thinking that augmentation is about reading different properties within, a bit like the furniture I was talking about, where you add slightly irrelevant layers of meaning to chairs and that your pushing furniture. If you want to push furniture you change the way in which the space is used. Not the shape of the chair. JH: It’s the context around it. DB: Yea, so if I played with the shape of the chair, I’m doing what Ron Arad does, or many, many designers do. If you want to play with the future of the chair, look at how space itself has changed for other reasons and then you’ll see new forms of furniture because there’s new things that need to be represented and used. If you think the digital augmentation of print is the equivalent of playing with coloured inks, or changing the format of books, or what ever. It’s fine, but just be clear you doing pretty much what a chair designer does when they look at a thousand chairs. Your looking at the existing world and understanding and playing with the boundaries in the existing one, not changes to it. Right. JH: Right. DB: You don’t have much time though. JH: Ha don’t say that.

DURRELL BISHOP INTERVIEW

END

LXXVI

A. My digitally pirated publications B. Reference index guide I was only introduced to Oâ&#x20AC;&#x2122;Reilly publications earlier this year whilst working with Timetric. Shared by a friend illegally, I suppose I should point out. The navigation, layout and ease of access of these PDFâ&#x20AC;&#x2122;s makes retrieval of necessary information painless. However whilst working for Timetric and my induction to web design I was lent a copy of Web design in a nutshell, seen here

bottom far left. It was the biggest book I have ever had to fit in a bag and oh so awkward spatially. I could not fathom why this book existed and not just the light weight PDF above. I know have post rationalised my initial thoughts to this physical copy. A good reason is because the index of a book is far more familiar with everyone and allows you to dip in and out of what it is you need. The second strong reason is the basic fact that this book exists outside of the screen, obvious I know. But it optimum screen space for your tasks by taking up space

LXXVII

This is a children’s illustrated encyclopedia I loved them as a child and in fact I still do. They are a pleasure to have and flip through, now a days you have the internet for reference and so publications like this try to fit in with current trends to stay in competition. The publishers Dorling Kingsley thought that providing a URL on the top of every article held within could provide an answer to the swarm of children educating themselves through the boundless fields of cyber space. hence why is reduced from £19.99 to £4.99.

LXXVIII

I ask would it not prove beneficial to be able to shorten the distance of a URL from print to screen? Hence the QR code, it offers far more dynamic storage for such information and can be updated perpetually. The only barriers is the semiotics in the recognition that the barcode is another visualisation of the material you are physical holding. Then the next barrier is a read to scan the barcode accurately when they might be densely packed on a page, to them be able to â&#x20AC;&#x2DC;dropâ&#x20AC;&#x2122; the link on to any screen device connected to the internet, via blue tooth or even RFID sensors.

LXXIX

Durrell Bishop was an great influence within this project. After hearing him at Book hack Day speaking and interviewing him shortly after, it has made me completely rethink how graphic design relates to the industry now a days and what potential that aspect has on my future as a â&#x20AC;&#x2DC;graphicâ&#x20AC;&#x2122; designer. He was able to explain things to me that I was not able to digest all at once and only after serval transcriptions I finally took in. If anything he has made me want to focus more on communication interaction and the relationship of new technology.

LXXX

“As text appears everywhere – even beamed on the wall while we exercise or onto the ceiling as we lie in bed - we read faster and faster. In the fifties a technique for speed reading postulated that the brain can comprehend much faster than the eye can see. So training the eye to read a whole page rather than by word or sentence, hugely increases the speed of comprehensive reading. We will all soon speed read, our eyes teased ever-faster forward by texts paired with images. But besides reading faster and faster, a clearer division between warm and cold reading will emerge. Cold reading is for gathering information involving head-thinking and fast eye movement. Gaming might even pump up the heart rate, but cold reading doesn’t open the heart. For cold reading, hard cased electronic devices are fine delivery systems. Warm reading happens when we open our hearts. As the author’s words move us emotionally, we give off an emotional charge which gets absorbed into the paper page. It’s a private kind of reading, often done in bed, and we seem to sense that organic materials like paper can absorb and keep the reading experience safe for another day.” Lynn Kaplanian-Buller

LXXXI

A. Charity shop barcode scanner B. Inside my iPhone - camera and design of circuits currently C. QR code size chart for distance reading via smart phone D. Camera attachment for iPhone optical zoom E, Charity shop barcode scanner F. Camera placing currently on iPhone 3G G. Macintosh iSight App icon

LXXXII

The problem with 2D barcodes and smart phones occurs in four formats. Firstly camera quality on most smart phone is already high but this still proves a problem when trying to focus on a small barcode. the smallest I have measure is 10mm. Secondly the camera location on most smart phones does not allow the user to information accurately. Because it is place on the back and not, say, on the corner of the phone it is harder to point the camera correctly and so becomes troubles to most.

Third, mobile phone manufactures are not going to add a piece of technology to a smart phone across their range for a product (2D barcode books) that does not yet exist. Like most industries they move in safe and incremental steps to look after the their current market. And fourth the phone is an object with many relations, in face the soure act of reading is juxtaposed with this technology and the phone becomes distracting and not a property of the book and the information that the user wants to fluidly retrieve.

LXXXIII

RFID HACK Radio-frequency identification (RFID) is a technology that uses communication through the use of radio waves to transfer data between a reader and an electronic tag attached to an object, for the purpose of identification and tracking. It is possible in the near future, RFID technology will continue to multiply in our daily lives the way that bar code technology did over the forty years leading up to the turn of the 21st century bringing inconspicuous but

remarkable changes. With this investigation I was aiming to understand more about the user action with RFIDâ&#x20AC;&#x2122;s in daily life. So what better way then to destroy an oyster card? A. Oyster card in Nail polish remover (acetone) left for two weeks B. Low tech RFID application to Bruce Sterlingâ&#x20AC;&#x2122;s - Shaping Things

LXXXIV

RFID HACK C.

C. Removed RFID chip and aerial antenna from Oyster card. The notion behind the investigation is a very low tech one. Taking a lot of inspiration from Sterling’s - Shaping Things I decided that it would only be apt for me to place a chip inside his media pamphlet so that the book may fill it’s objective in being a ‘spime’. - For reference please read the book. The book was then placed back into the library for the next person to find, with five pounds credit on to use as a key to

access. This is all explained with UV ink inside certain key pages along with my email address, if said person provides a feed back loop. Fact: Hitachi holds the record for the smallest RFID chip, at 0.05mm x 0.05mm.

LXXXV

What considerations led to the creation of the 100 lessons project? The majority of us invest less and less time in reading and even more so with non fiction. We wanted to create a series of books in a broad range of topics with the only real constraint on the brief being that they subject should have an inherent broad appeal, have some wit and written in a conversational style. A format that you can dip in and out of - whilst commuting. at the gym or a few lessons before your head hits the pillow. We created a framework brief that surprised us as publishers with the broad range of topics considered by different authors from very different disciplines. What kind of advantages, as a publisher, has this sort of project given you? Well firstly it has given us the opportunity to become publishers and let others worry about the distribution - naturally for a fee. Also as we are publishing these initially as eBooks - its also a market research platform for the varying titles - As we add others to the list - we hope to then begin publishing them as physical books too - based on and pending their popularity.

PUBLI COMM

Currently there is a lot of focus on the future of publishing, and e-publishing in particular. Everyone seems to be looking at the screen for the answer. What now, is the potential of your future content? We are keeping things very simple - by creating this micro publishing format and effectively creating flash card lessons - no bells and whistles there. A much more modest approach each lesson is accompanied by a simple illustration - nothing revolutionary - just visually distinctive and playful - also adding an element of wit as well as orientating the reader through the book

How do you think publishing will change over the next five years? It will be incredibly fractured - and confusing - although the reader should ultimately decide where on that sliding scale the content is presented - text only - or rich media only - however suits them best as engaging with the narrative and learning - Some people learn by reading other through more engagement ,

Do you think the future of the printed book will exist, and if so, in what form? As it does now - no different - possibly smaller production runs and commitments - and therefore less overheads - or print to order - as some newspapers are now when you are abroad. But then books would become homogenised (as they currently are on the Kindle) and loose any production value. Tina Price - Studio Manager Visual Aid Publishing Limited LXXXVI

What considerations led to the creation of the Whose hair - mobile application? We wanted to try out a relatively low-cost app as an experiment (to see how it’s done; what time & money it would take up; how it would do in the app market and what markets it would reach) We had an idea for an app that would offer additional functionality to what you could do with the book (ie it would be more than just an electronic version of the book) The subject of the book suited the app store (which is mostly games & entertainment related) What kind of advantages, as a publisher, has this sort of project given you? Better knowledge of the mechanics of doing an app and the market. Currently there is a lot of focus on the future of publishing, and e-publishing in particular. Everyone seems to be looking at the screen for the answer. What now, is the potential of your future content? As regards the practicalities of using electronic media, it depends on the type of book: for our educational and occasional reference titles, e-books would just be a perfectly acceptable, alternative medium and might allow enhancements not possible with printed books (eg videos). Other books rely more on their physical design and qualities, so wouldn’t translate so well into e-books (eg books of stencils or stickers) As regards the commercial potential of our content, no-one really knows, though there is currently a powerful force towards making electronic content cheap which will make publishing more difficult

ISHERS MENTS

How do you think publishing will change over the next five years? Hard to say, but it is likely there will be quite a drastic change over the next five years with e-books/e-content becoming much more significant (that’s the general consensus anyway) Do you think the future of the printed book will exist, and if so, in what form? I’m sure printed books will still exist, but there may need to be a greater emphasis on the design; the binding; the paper etc to distinguish them from electronic media Eleanor Muir - Marketing Manager Laurence King Publishing

LXXXVII

OFFLINE ONLINE

A. Observations on design students notebooks B. Hollow moleskine providing sanctuary for digital information C. Observation on written, visual and production elements. D. Post it note index created for quick reference.

LXXXVIII

OFFLINE ONLINE D.

The similarities found in the observation of notebooks and ways of referencing is amazingly subjective, naturally. But they make shift applications for this are interesting to perceive consciously. Whilst a lot of peoples personal information is on their computer hard drive, a lot is in the ephemeral scribbles we produce everyday. Whether kept or thrown away. This is embodied in Photo B,

a systematic approach for all users to apply, however Iâ&#x20AC;&#x2122;m very curious on how people organise the tangible information they create themselves. Picture D. Shows just that. A colour coded tabbed system for specific pages. No quicker reference than that, even on a computer the immediacy is far greater.

Note making and marking is purely subjective and it is hard to think of

LXXXIX

A. B.

A. Advertisement in SXSW Festival B. 5mm QR code - Scan it

C. Rich information political receipts D. Digitally enriched book - Large code E. Current handheld readers - Huge

XCI

Either the system for interaction between the QR code and print needs to be enhanced by another more accurate and specific device. But this will not happen if theyâ&#x20AC;&#x2122;re are no publications out that are handling the implementation of this barcode in such a away that we would need to use another tool. In this case it has the potential to be a new way of communicating that integrates the physical and digital world. It would be a shame to not explore this potential in a world of half working systems, we are being camouflaged by the 2D barcodes uses due to advertising and irrelevant uses. XCII

“TOMORROW COMPOSTS TODAY” Bruce Sterling

XCIII

QR RUBIX CUBE A. QR codes applied to Rubix cube

For me this seems to solve my curiosity with QR codes and the inability to mesh well with any market fully. The puzzle is in the QR code being a solution looking for a problem. Advertising has taken hold of itâ&#x20AC;&#x2122;s current potential but I believe that the implications of this cheap, democratic device are misunderstood.

XCIV

QR RUBIX CUBE

The QR cube is a paradox on the action and reward motivation behind the current general consensus toward this graphic element. The barcodes around the cube work find in the correct order and it gives you more information about he product itself as the context itâ&#x20AC;&#x2122;s in seems to dictate content. Plus I couldnâ&#x20AC;&#x2122;t really think of anything more advantageous at the time.

XCV

The aim of publishers is not to change the world but to manage and maintain what is already existing. In most cases the investigations carried out along side this designed research report are conceptual and often to illustrate (underpin) the discourse presented. The main point. All conceptual methods are in fact hypothetical prototypes of integrated communication between print and digital. With specific focus on print, and in particular the potential application for blended learning.

XCVI

These are predictions – There is no future in ‘graphic’ design – Everyone will be able to do it. Designers should focus on emerging forms and the creation of new communications. The constant change is the client, communication and medium. Design is as much about tweaking existing communications as it is about creating new ones. Design is communication, communication is information, information is everything.

XCVII

A SOLUTION LOOKING FOR A PROBLEM?

A. Book on bicycle rack in Paddington station (You wouldn’t find that with a Kindle or iPad.)

At the moment QR codes are in Limbo, some people hate them some people love them, a bit like Marmite, but no, really. I just believe no one has found the correct use for them in the context where they worked best, and this is why it is so interesting to look at this defunct non generic method and try to uncover how and why it should and could be implemented.

“Why a problem? Well, because it *looks* like a solution, but really, it’s not. If the destination url is any reasonable, human-readable length, then it’s certainly easier for your user to just type that in to a mobile browser than to try, fail, realize they have to install a QR code reader app, find and install an app, then fire it up and wait for it to send them to their browser, only to discover that your content is not really ideal for a teeny, tiny little mobile screen. The moments where QR codes make sense are so limited, we have no choice but to point out that in almost every case they make more problems than they solve.” Measured VoicE - Blog

XCVIII

SUMMARY? CONCLUSION D.

B. Recent friend comment on books C. Cassette Vs. The world D. Bit.ly fish dude Using Bit. I can aggregate the access to the QR codes within this document providing a valuable research tool to gauge the interaction of this method.

XCIX

â&#x20AC;&#x153;The more people who can write fluently and accessibly about design, the more people will be able to engage with and understand what designers are trying to achieve. This is what makes this course a particularly timely, relevant and exciting proposition.â&#x20AC;? Caroline Roberts, Publisher and Editor, Grafik

Talking with Teal Triggs has led me to the realisation that I actually quite like the research part of design, and being able to research, investigate, analyse and communicate my ideas as a designer and author to answer design related problems and seek the potential in aspects that interest me. The critical design writing, post graduate course is some thing that I will be researching more into after I graduate as I think there is a resource of untapped knowledge still left within the way I communicate with the most familiar of communications, words.

The QR cube created as a response to despair with where the project was heading, could also have another use. I could create smaller key ring sized QR cubes and send them to industry people to ‘unlock’ my project online, which would underpin the duality of platforms in the project to them, should they be interested that is. In any case i thin the QR cube is a great thing in some way, maybe because it’s so stupid it make sense? Perhaps. But the puzzle of QR codes seems to be locked with those people who choose to access this device and to others it’s nothing but lost knowledge.

appjudgment/an_ron_ barcodescanner

?ie=UTF8&qid=1306862244& sr=8-10

http://www.iphoneness.com/ iphone-apps/best-augmentedreality-iphone-applications/

http://www.ryman. co.uk/0125020731/RymanFolders-Square-Cut-FoolscapPack-of-25/Product

http://urbanscale. org/2011/02/15/projectperry/

http://www.ampltd.co.uk/ collections_az/rencpbks-bl/ editorial-introduction.aspx

http://bokship.org/

http://www.grdd.co.uk/ http://www. dontwasteyourtime.co.uk/ technology/augmentedreality-does-it-have-aplacefuture-in-educationedtech/ http://www.youtube.com/ watch?v=YPZVJ-Tj6vE http://blancer.com/ tutorials/78609/beginnerâ&#x20AC;&#x2122;sguide-to-augmented-reality/

http://www.danmather.co.uk/ pdf/Dan_Mather_Portfolio_ low-res.pdf

http://www.robabdul.com/ QR-Code-advantages-anddisadvantages.asp http://proboscis.org.uk/

http://www.bookfutures.com/ http://www.workforwork. org/# http://www.florenceloewy. com/ http://en.wikipedia. org/wiki/Web_ annotation#Comparison_of_ web_annotation_systems

http://www.printedmatter. org/ http://planninginhighheels. com/2011/02/08/planning-forparticipation/ http://www.printeresting. org/2011/02/26/open-booksexhibition-is-a-publication/ http://www.open-books.org/

http://www.augmentedplanet. com/2010/05/iphoneaugmented-reality-markertracking/ http://www. handmadeandbound.com/ http://www.junaio.com/ publisher/junaioglue http://www.psfk. com/2008/12/create-yourown-augmented-reality-withgoogle-sketchup.html http://www.flickr. com/photos/11983254@ N08/5186986726/ http://selfpublishbehappy. com/further-info/ http://www.i-nigma.com/inigmahp.html http://tinkernut.com/forum/ video-tutorial-help/how-tocreate-augmented-reality http://www.movingbrands. com/?paged=1&living=1 http://www.huhmagazine. co.uk/contact.php http://www.landfilleditions. com/ http://revision3.com/

http://www.wehavephotoshop. com/holzer.php http://www.amazon.co.uk/ Visual-Aid-Never-EnoughStuff/dp/1906155836/ref=pd_ sim_b_5 http://www.amazon.co.uk/ This-Not-End-Book-JeanPhilippe/dp/1846554519/ref= sr_1_1?ie=UTF8&qid=13068606 54&sr=8-1-spell http://www. thingsihavelearnedinmylife. com/ http://www.theplaycoalition. net/about.html

http://open-books.tumblr. com/page/2 http://oll.libertyfund. org/index.php?option=com_ staticxt&staticfile=show. php&title=762&search=%22+ A+New+Method+of+a+CommonPlace-Book%22&chapter=8088 6&layout=html#a_1925077 http://www.granarybooks. com/mission_statement http://www.facebook. com/profile. php?id=100002275138483 http://vimeo.com/11104808

http://www.amazon.co.uk/ Information-DesignHandbook-Visocky-Grady/ dp/2940361916/ref=pd_ sim_b_2

http://www.manystuff. org/?p=11117

http://www.futurebook.net/ content/future-margin

http://benosteen.wordpress. com/2010/04/25/making-thephysical-from-the-digital/

http://www.manystuff. org/?p=11117

http://ten-plan.com/ http://www.blurb.com/ http://www.flickr.com/ photos/adamliptrot/ sets/72157615389861043/ http://www.amazon.co.uk/ Shaping-Things-MediaworkPamphlet-Sterling/ dp/0262693267/ref=sr_1_10

http://berglondon.com/ projects/magplus/ http://www. londonzinesymposium.org.uk/ news/a-zine-in-8-days/

http://kenkirton.com/

dec/21/extraordinarycommonplaces/

http://www.redfoxpress.com/

http://issuu.com/ http://blog.thoughtwax. com/2009/03/instapaperanalogue-edition http://www.amazon.co.uk/ Information-Anxiety-2Hayden-Que/dp/0789724103/re f=sr_1_1?ie=UTF8&qid=130686 2300&sr=1-1 http://www.amazon.co.uk/ Bubble-Designing-ComplexWorld/dp/0262701154/ref=pd_ sim_b_3 http://www.ideo.com/uk/ http://www.ideastap.com/ http://bldgwlf.com/i-willtalk-with-anyone-aboutanything/ http://www.ireadwhereiam. com/

http://www.nybooks.com/ articles/archives/2000/ dec/21/extraordinarycommonplaces/ http://www. electricbookshop.co.uk/ http://www.ecca-london.org/ http://en.wikipedia. org/wiki/Comparison_ of_notetaking_ software#General_features http://www.metafilter. com/46800/Commonplace-books

http://wiki.answers.com/Q/ What_is_a_contextual_ reference http://diffusion.org. uk/?page_id=2 http://www.researchhorizons.cam.ac.uk/ features/-p-a-scriptoriumof-commonplace-books--p-. aspx http://www.facebook. com/100lessons http://www.donlonbooks. co.uk/

http://en.wikipedia.org/ wiki/Commonplace_book

http://marieoconnor.co.uk/

http://grammar.about.com/ od/c/g/commonpl1term.htm

http://www.riglondon.com/ team/

http://bookleteer.com/

http://qrcode.kaywa.com/

http://www.bookartbookshop. com/

http://ebookreaderhq.com/ tag/ebook-statistics-2011

http://www.lib.uchicago. edu/e/webexhibits/ bookusebooktheory/ commonplacethinking.html

http://www. thecreatorsproject.com/enuk/creators/hellicar-lewis

APPENDIX BIBLIOGRAPHY http://www.viceland.com/ wp/2011/04/how-should-westop-all-that-radiationthats-leaking-out-and-aboutin-fukushima/ http://www.goinggoinggonered.org/index.htm

http://giftsandoccupations. blogspot.com/2011/04/bookon-fritz-02.html

http://www.futurelogicinc.com/solutions/ legacyPrinters/PSA66ST.aspx http://creativeindustriesi. net/blog/2011/02/10/futureof-publishing/ http://www.freewordonline. com/ http://www.focalpoint. org.uk/exhibitions/ forthcoming/32/ http://hackaday. com/2010/03/19/flip-bookstyle-digitization/

http://www. facebook.com/group. php?gid=139936039383055

http://www.amazon. co.uk/Book-DesignPortfolio-Andrew-Haslam/ dp/1856694739/ref=sr_1_1?s= books&ie=UTF8&qid=13068623 42&sr=1-1 http://www.philobiblon.com/ bonefolder/ http://www.lisaspangenberg. com/it/2002/02/08/ blogs-definitions-andcommonplace-books/ http://www. roubaixinteractive. com/PlayGround/Binary_ Conversion/Binary_To_Text. asp

http://www.amazon.co.uk/ Fanzines-Teal-Triggs/ dp/0500288917/ref=sr_1_1?s= books&ie=UTF8&qid=13068622 83&sr=1-1

http://berglondon.com/

http://www.nybooks.com/ articles/archives/2000/

http://www.artistsbooks. com/

http://www.bgsu.edu/ cconline/almjeld/beginnings. htm

http://www.youtube.com/ my_videos?feature=mhee

END NOTES Thank you to And publishing and their workshop, Teal Triggs, Alex Jarvis, Durrell Bishop, Book Hack Day, Elanor Muir, Tina Price, Alex Young & the London Zine Symposium

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