ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 12/20/2018

Source Photographic Review names 'Evidence' one of the 10 Greatest Photo Books of All Time

DATE 2/24/2017

Valérie Belin Book Launch at Albertine

DATE 1/19/2017

Mark Peterson: Political Theatre

DATE 1/18/2017

Lee Lozano: Lozano c. 1962

DATE 1/17/2017

Lee Lozano: Lozano c. 1962

DATE 1/17/2017

Lee Lozano: Private Book 1

DATE 1/16/2017

Martin Luther King, Jr., Washington, D.C., 1963

DATE 1/15/2017

Gordon Parks: I Am You

DATE 1/14/2017

Kerry James Marshall: Look See, Untitled (Rapunzel)

DATE 1/13/2017

Betye Saar: Uneasy Dancer

DATE 1/12/2017

Paris Metro Photo

DATE 1/11/2017

Paris Metro Photo

DATE 1/10/2017

Paris Metro Photo, Kertész

DATE 1/10/2017

TONIGHT! City Lights Launches 'Shakespeare and Company, Paris'

DATE 1/9/2017

Louis Faurer

DATE 1/8/2017

Constant: New Babylon. To Us, Liberty

DATE 1/7/2017

Constant: Space + Colour

DATE 1/6/2017

Henry Wessel: Traffic/Sunset Park/Continental Divide

DATE 1/5/2017

Kandinsky, Marc, and Der Blaue Reiter

DATE 1/4/2017

Gordon Parks: I Am You

DATE 1/3/2017

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

DATE 1/2/2017

See Red Women's Workshop

DATE 1/1/2017

Curtis Moffat: Silver Society, Experimental Photography and Design, 1923-1935

DATE 12/31/2016

Nan Goldin: Diving for Pearls, Self-portrait on New Year's Eve

DATE 12/30/2016

Frank Stella: Prints, A Catalogue Raisonné, Marriage of Reason and Squalor

DATE 12/29/2016

William Eggleston: The Democratic Forest

DATE 12/28/2016

Shakespeare and Company, Paris: A History of the Rag & Bone Shop of the Heart

DATE 12/27/2016

Anthony Hernandez, Los Angeles #2

DATE 12/26/2016

Georgia O'Keeffe: Watercolors, Mountain painting No. 22 - Special

DATE 12/25/2016

Ernst Haas: Color Correction, 1952–1986

DATE 12/24/2016

Alexander Girard: A Designer's Universe

DATE 12/23/2016

George Shiras: In the Heart of the Dark Night, three deer escaping

DATE 12/22/2016

Fred Mortagne: Attraper au vol

DATE 12/21/2016

The Little Mermaid by Hans Christian Andersen & Yayoi Kusama

DATE 12/20/2016

Provoke: Between Protest and Performance, Photography in Japan 1960–1975

DATE 12/19/2016

Jean-Michel Basquiat: Words Are All We Have

DATE 12/17/2016

The Wirtz Private Garden

DATE 12/16/2016

Paul Gauguin: Ramblings of a Wannabe Painter

DATE 12/16/2016

Carol Bove: Polka Dots

DATE 12/15/2016

Yves Klein: In/Out Studio

DATE 12/14/2016

Never Built New York at Center for Architecture

DATE 12/14/2016

Never Built New York, Coney Island Globe

DATE 12/13/2016

The Anatomical Venus: Wax, God, Death & the Ecstatic

DATE 12/12/2016

Toilet Paper: Calendar 2017

DATE 12/11/2016

Della Robbia: Sculpting with Color in Renaissance Florence

DATE 12/10/2016

Berenice Abbott: Paris Portraits 1925–1930, Violette Murat

DATE 12/9/2016

Ed Panar: Animals That Saw Me, Volume Two

DATE 12/9/2016

Peter Hujar: Lost Downtown, Candy Darling

DATE 12/9/2016

Janet Sternburg Talk and Signing at Hauser Wirth & Schimmel

DATE 12/7/2016

Robert Rauschenberg

DATE 12/7/2016

Michael Fried & James Welling Launch 'Promesse du Bonheur' at 192 Books


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
155 Sixth Avenue
New York NY 10013
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