ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 2/27/2017

Hollywood and the Ivy Look

DATE 2/26/2017

We Go Out

DATE 2/25/2017

Miralda’s El Internacional (1984–1986): New York’s Archaeological Sandwich

DATE 2/24/2017

Valérie Belin Book Launch at Albertine

DATE 2/24/2017

Clare Rojas: Plain Black, Abstract Paintings

DATE 2/23/2017

The Exhibitionist: Journal on Exhibition Making

DATE 2/22/2017

Small Wonders: Late Gothic Boxwood Microcarvings from the Low Countries

DATE 2/22/2017

Yayoi Kusama: I Who Have Arrived in Heaven

DATE 2/21/2017

Separate Cinema: The First 100 Years of Black Poster Art

DATE 2/20/2017

The Photographs of Abraham Lincoln

DATE 2/19/2017

Jacob Lawrence: The Migration Series, Panel 14 ("injustice in the courts"), 1941

DATE 2/18/2017

Jacob Lawrence: The Migration Series

DATE 2/17/2017

Jacob Lawrence: The Migration Series, Panel 58 (Girls), 1940-41

DATE 2/17/2017

Visit ARTBOOK at the LAABF 2017!

DATE 2/17/2017

Jacob Lawrence: The Migration Series

DATE 2/16/2017

Mark Neville: Fancy Pictures

DATE 2/15/2017

See Red Women's Workshop: Feminist Posters 1974–1990 at CAA!

DATE 2/14/2017

Sophie Calle: The Address Book

DATE 2/13/2017

Leendert Blok: Silent Beauties, Color Photographs from the 1920s, TULIPA, Bleu celeste

DATE 2/12/2017

Merce Cunningham: Common Time

DATE 2/12/2017

Art Catalogues at LACMA Presents Flavin Judd and Michael Govan on 'Donald Judd Writings'

DATE 2/11/2017

Merce Cunningham: Common Time

DATE 2/10/2017

Goodbye Soho, Hello Wall Street!

DATE 2/10/2017

Merce Cunningham: Common Time

DATE 2/9/2017

Visionaries: Creating a Modern Guggenheim

DATE 2/8/2017

Raymond Pettibon

DATE 2/7/2017

In the Good Name of the Company: Artworks and ephemera produced by or in tandem with the Colby Printing Company

DATE 2/6/2017

Hippie Modernism: The Struggle for Utopia

DATE 2/5/2017

Come Alive! The Spirited Art of Sister Corita

DATE 2/4/2017

Come Alive! The Spirited Art of Sister Corita

DATE 2/3/2017

How Posters Work

DATE 2/2/2017

JR & Art Spiegelman: The Ghosts of Ellis Island

DATE 2/1/2017

The Royal Academy of Arts Joins ARTBOOK | D.A.P.

DATE 2/1/2017

Rania Matar: L'Enfant-Femme

DATE 2/1/2017

Mark Neville in conversation with Adam Bell

DATE 2/1/2017

Join ARTBOOK | D.A.P. at the 2017 CAA Conference

DATE 1/30/2017

'Bob & Bob' Launch at ARTBOOK @ Hauser Wirth & Schimmel

DATE 1/30/2017

101 Danish Design Icons

DATE 1/30/2017

Rania Matar: L'Enfant-Femme

DATE 1/29/2017

Yves Klein: In/Out Studio in WSJ Magazine

DATE 1/28/2017

Yves Klein: In/Out Studio in WSJ Magazine

DATE 1/27/2017

'Yves Klein: In/Out Studio' in the WSJ Magazine

DATE 1/25/2017

Børge Mogensen: Simplicity and Function

DATE 1/24/2017

Børge Mogensen: Simplicity and Function

DATE 1/24/2017

BACK IN STOCK: The Moon 1968–1972

DATE 1/23/2017

100 Secrets of the Art World Launch at MoMA PS1

DATE 1/23/2017

Judith Bernstein: Rising

DATE 1/22/2017

See Red Women's Workshop

DATE 1/21/2017

See Red Women's Workshop

DATE 1/21/2017

Christopher Bedford, Mary Schmidt Campbell, Thomas Lax, Sheena Wagstaff & Fred Wilson Launch 'Four Generations' at NYPL

DATE 1/20/2017

Mark Peterson: Political Theatre


EVENTS

SHARON HELGASON GALLAGHER | DATE 11/1/2012

Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit


On Friday, October 26, ARTBOOK | D.A.P. publisher and president Sharon Helgason Gallagher spoke at the Van Alen Institute's Publishing Summit. Her notes on the transition from print to digital publishing are below.
Note: I was fortunate to participate in the excellent discussion at the Architecture Publishing Summit organized by Jeff Byles at the Van Alen Institute in conjunction with the Designers and Books events. Here's a revision of some of the points I made during my presentation that I wrote up after the keynote at FIT.

DESIGNING THE DIGITAL BOOK AND THE CONTENT ECONOMY

Seven Questions at the Transition from Print to Digital Publishing


1) At what speed do we want to create, design, and enjoy in the digital world? What kind of friction can we find in the digital space to slow us down when we need time to think? Can we design virtual frictions other than the surfeit of information and incessant distraction that currently characterize digital life? Let's get over our crush on the hyperlink and think beyond Massimo Vignelli's little "blue words." What would a "hypolink" be?

2) As we make this transition, what are we leaving behind as exemplars of the printed book? We make a new past each time we make a new future: designers need to expand their practices to include the design of new pasts for the future. What objects do we want the word "book" to denote in the year 2112? Irma Boom spoke of wanting to "build the last book". Shouldn't other designers?

3) How does our design "language game" change when we switch from dealing with "solids" like books and words and pictures to handling something slippery now called "content" that appears to behave more like a fluid or, perhaps, even a gas? Can we come up with a richer -- and more pleasing -- metaphor than "chunking" content?

4) What features of our human makeup should inform the design of virtual reading objects? As I suggested in an earlier post, the book, like the bicycle, has endured as a design object because is it so perfectly suited to the human form. The bicycle: a simple but ingenious design harmoniously suited to the bipedal structure of the human body. The book: a simple but ingenious design of bound pages harmoniously suited to the bilateral structure of the human brain. How can a better understanding of our own human form as digital denizens move us from the app to the apt?

5) If printed media formed a "Fourth Estate" designed to critique a world in which power was articulated in primarily political terms, can new digital forms be designed to function as a "4.1 Estate" in a world in which power is reproduced increasingly as the economic?

6) How can we be proactive in accounting for market externalities as we design new virtual economic objects? Don't we have enough experience now with unintended consequences to think first rather than leaving future generations to clean up our messes? How sure, for example, are we that we won't regret fifty years hence our quick acceptance of advertising as the key monetization model for digital content? Do we really want to expose kids' brains to the amount of advertising they are forced to experience simply to do their homework research on the web? Are we listening for the Rachel Carsons of the digital?

7) Can the publishing industry be taught design thinking? And if you don't believe it can be, what is your design for an alternative sustainable ecosphere that values both culture workers and culture consumers without pitting the two against each other? Can we design an industry and its objects to allow a more dynamic chorus of active and passive voices? Surely, we can do better than the false empowerment of the "Like" button and "fan" culture. Does the invention of the digital make possible a new renaissance of classical forms? Can technologies enabling interactive and collaborative authoring and reading revive the "middle voice" of ancient languages? What are the acoustics of virtual space?


Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit
Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit
Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit
Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit
Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit
Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit
Seven Questions at the Transition from Print to Digital Publishing: Notes from the Van Alen Publishing Summit

DATE 10/19/2016

STEIDL x STRAND

STEIDL x STRAND


ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com