Humanist Discussion Group, Vol. 14, No. 430.
Centre for Computing in the Humanities, King's College London
<http://www.princeton.edu/~mccarty/humanist/>
<http://www.kcl.ac.uk/humanities/cch/humanist/>
[1] From: jason.mann@vanderbilt.edu (18)
Subject: Managing Online Consortia pre-conference workshop
announcement
[2] From: NINCH-ANNOUNCE <david@ninch.org> (159)
Subject: Design, Book Crafts & the Digital Age
--[1]------------------------------------------------------------------
Date: Sat, 28 Oct 2000 08:56:38 +0100
From: jason.mann@vanderbilt.edu
Subject: Managing Online Consortia pre-conference workshop
announcement
ANNOUNCEMENT 1: Managing Online Consortia pre-conference workshop announcement
<http://www.cael.org/index2.html>
Attend CAEL's first conference of the 21st Century, visit our web site for
more details: http://www.cael.org/index2.html
CAEL and University of Maryland University College present:
Managing Online Education Partnerships:
Plain Talk and Practical Tools for Internet-Based Consortia
The Drake Hotel; Chicago, IL
November 14 - 15, 2000
Register today to participate in the first ever, Managing Online Education
Partnerships on November 14-15. This conference will provide a national
forum for administrators and/or participants who work with Internet-based
education consortia and alliances to discuss the conceptual issues and
practicalities of operating successful and mutually beneficial
partnerships. Focusing on practical guides and tools for those who develop
and manage consortia, this conference will create a framework of
communication and collegiality for discussing common issues and concerns.
[material deleted]
--[2]------------------------------------------------------------------
Date: Sat, 28 Oct 2000 08:57:17 +0100
From: NINCH-ANNOUNCE <david@ninch.org>
Subject: Design, Book Crafts & the Digital Age
NINCH ANNOUNCEMENT
News on Networking Cultural Heritage Resources
from across the Community
October 26, 2000
On the Digital Brink: Notes from Printing History Conference
<http://printinghistory.org/>http://printinghistory.org/
http://www.forewordmagazine.com/
These informal, but well-written, notes from part of the annual conference
of the American Printing History Association I think bring a fresh
perspective on much of our work.
David Green
===========
>Date: Wed, 25 Oct 2000 16:43:44 -0400
>From: ForeWord Magazine <circ@traverse.com>
>To: Multiple recipients of Foreword - Sent by <circ@traverse.com>
>>
>ForeWord This Week is a weekly e-mail news service covering independent
>publishing of interest to booksellers, librarians and other trade
>professionals.
>
>FOREWORD THIS WEEK 10.25.00
>
>1. T-SHIRT BACK ON: SUBPOENED FOR B. . .
>2. POSTCARD FROM ROCHESTER, NY
>3. POST SCRIPT ABOUT A UNIQUE OPPORTUNITY
<<SNIP>>
2. POSTCARD FROM ROCHESTER, NY
On The Digital Brink at the 25th Annual Conference of the
American Printing History Association.
Swept along by the onrush of digital developments, it can be both useful
and necessary to pause and take stock of where we're going and where we
came from -- and to celebrate the enduring values which lend meaning to
what we are up to from day to day.
Because of the intriguing theme of its 25th Annual Meeting, I decided to
drive up to Rochester from Woodstock, New York, and attend my first APHA
meeting. I've been a closet member on and off through the years, relishing
the association's newsletter and its journal, "Printing History," for the
discussions of the history and art of type and printing, and for the ads
and notices of what is going on in the world of collecting and private
presses -- all framed in elegant design and illustration. (For membership
information: www.printinghistory.org ).
So, on arriving I found some one hundred diverse keepers of the fine
traditions of printing and typography - designers, librarians, scholars,
printers, calligraphers, collectors, publishers - friendly and eager
enthusiasts all -- assembled at the Rochester Institute of Technology for
two days on October 20th and 21st. There we examined how the new
technologies are being used to explore and reveal book and graphic arts
history as well as used to develop new ways for their expression and
dispersion.
But this was not a hand-wringing conclave of traditionalists bemoaning the
loss of art and craft in the face of progress. To the contrary, I found the
best of all possible worlds where true lovers of the uses of graphics and
type apply their classic verities in new forms. In fact, one of the high
points was a demonstration by Australian born artist, photographer,
lecturer and author Douglas Holleley. He presented some exquisite digitally
scanned paper sculptures in final images enhanced by PhotoShop. Yet not out
of sight or out of mind were the handiwork of the great printers and type
designers from Aldus Manutius and Claude Garamond to Frederick Goudy and
Stanley Morison.
There could have been no better setting for all of this than the
comfortable lecture hall at the Chester F. Carlson Center for Imaging
Science (named after the inventor of Xerography) and RIT's Carey Graphic
Arts Collection of rare books and manuscripts at its Wallace Library, and
the adjacent gallery and letterpress print shop.
Among the highlights:
We were treated by two RIT professors and a Xerox scientist to some of the
outcomes of their fascinating application of infrared and ultraviolet
analysis and digital imaging technologies in the recovery of degraded
images in the Dead Sea Scrolls as well as in uncovering the original texts
erased and overwritten on medieval parchment palimpsests. A set of original
Archimedes essays was the object of the latter.
Frank Romano, one of the foremost authorities on digital publishing
technology, demonstrated the need for historic preservation. He examined
the emergence and disappearance, in the space of fifty years (1946-96), of
the scores of businesses which brought into the market the many forms of
photocomposition that provided the bridge between the old hot metal and
today's computer driven image setting.
In the course of his lecture, Czeslaw (Chet) Grycz, CEO and Publisher of
Octavo (Adobe Founder John Warnok is their Chairman of the Board),
presented a view of his organization as a digital scholarly publishing and
preservation company. Octavo (<http://www.octavo.com>http://www.octavo.com)
is working with libraries and archivists to create digital editions of some
of the most "important milestones of thought and culture" in works such as
those by Galileo, Isaac Newton, Benjamin Franklin, William Shakespeare and
many others. The imagination, quality and functionality of the images,
tools and commentaries that accompany these editions are superlative.
Grycz's topic was "Perdurability: Digital Books and Beatrice Warde's Vision
of Permanence." As written in the program, "in her celebrated broadsheet
announcing Eric Gill's Perpetua typeface, Beatrice Ward compared the
permanence of a text printed in multiple copies on flimsy paper to that of
one deeply chiseled on a massive Roman monument." Look which one prevailed.
The entire conference was framed by a powerful opening keynote by Robert
Bringhurst, noted scholar and lecturer and author of The Elements of
Typographic Style. Bringhurst's words were so substantial that I can only
poorly characterize, but I will attempt to provide a small portion here
(the full text of it hopefully will appear in "Printing History").
The first and original book given to us is the world itself - all people
read it - and in the development of letter forms and writing people make
their own books - miniatures encompassing portions of the original. And it
is the extent of our connection to this world that calibrates the uses of
our mind.
Bringhurst's breathtaking concept followed his imaginative development of
the ways in which images, letter forms, and linguistics are in themselves
complex forms of art as well as modes of human gesture that connect us to
our own stories as well as to those of others.
The digital era finds us telling these stories in a setting several times
removed from the sensory surround of the world "outside" - - of the
original book -- and from the highly tactile experience of the physical
books we have used and the very personal trade marks reflected in our
speech and handwriting. The values and messages communicated by these forms
of expression are replaced by the uniform ASCII code, which creates
indistinguishably uniform letterforms as we tap out our messages on
keyboards around the world. However different the touch, the result is the
same, Bringhurst observed - and the experience of reading, detached from
its physicality has become a spectator sport.
That is not the whole of , or the end of the story. It is simply the
beginning of a new one, I inferred. Whole new extensions of language and
the preservation of cultures are opened up by this digital revolution - as
is the challenge and the opportunity to stay connected with our original book.
-Gene Schwartz
Editor-at-Large
<<SNIP>>
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