Demonstrates the ways in which print artefacts asserted and contested literary value in the modernist period This study focuses on the close connections between literary value and the materiality of popular print artefacts in Britain from 1890-1930. The book demonstrates that the materiality of print objects--paper quality, typography, spatial layout, use of illustrations, etc.--became uniquely visible and significant in these years, as a result of a widely perceived crisis in literary valuation. In a set of case studies, it analyses the relations between literary value, meaning, and textual materiality in print artefacts such as newspapers, magazines, and book genres--artefacts that gave form to both literary works and the journalistic content (critical essays, book reviews, celebrity profiles, and advertising) through which conflicting conceptions of literature took shape. In the process, it corrects two available misperceptions about reading in the period: that books were the default mode of reading, and that experimental modernism was the sole literary aesthetic that could usefully represent modern life. Key Features Gives readers access to a sphere of literary production and reception that is virtually unexamined by existing scholarship Provides a fresh view of literary production and the print marketplace by refusing to foreground literary modernism as a critical lens. Instead, it focuses on more widely read and accessible print artefacts, including the Illustrated London News in the 1890s; the London Mercury; John O'London's Weekly; and the poetry anthology as a book genre The book constitutes a simultaneously historical and theoretical inquiry into the workings of literary value

"As bibliographers or book historians, we perform our work by changing the function of the objects we study. We rarely pick up an Aldine edition to read one of the classical texts it contains. . . . Print culture, under this notion, is not a medium for writing or thought but a historical object of study; our bibliographical field, our own concoction, becomes the true referent of the objects we define as its foundation."-From the Introduction What is a book in the study of print culture? For the scholar of material texts, it is not only a singular copy carrying the unique traces of printing and preservation efforts, or an edition, repeated and repeatable, or a vehicle for ideas to be abstracted from the physical copy. But when the bibliographer situates a book copy within the methods of book history, Joseph A. Dane contends, it is the known set of assumptions which govern the discipline that bibliographic arguments privilege, repeat, or challenge. "Book history," he writes, "is us." In Blind Impressions, Dane reexamines the field of material book history by questioning its most basic assumptions and definitions. How is print defined? What are the limits of printing history? What constitutes evidence? His concluding section takes form as a series of short studies in theme and variation, considering such matters as two-color printing, the composing stick used by hand-press printers, the bibliographical status of book fragments, and the function of scholarly illustration in the Digital Age. Meticulously detailed, deeply learned, and often contrarian, Blind Impressions is a bracing critique of the way scholars define and solve problems.

'A fascinating journey into our relationship with the physical book...I lost count of the times I exclaimed with delight when I read a nugget of information I hadn't encountered before' Val McDermid, The Times Most of what we say about books is really about the words inside them: the rosy nostalgic glow for childhood reading, the lifetime companionship of a much-loved novel. But books are things as well as words, objects in our lives as well as worlds in our heads. And just as we crack their spines, loosen their leaves and write in their margins, so they disrupt and disorder us in turn. All books are, as Stephen King put it, 'a uniquely portable magic'. Here, Emma Smith shows us why. Portable Magic unfurls an exciting and iconoclastic new story of the book in human hands, exploring when, why and how it acquired its particular hold over us. Gathering together a millennium's worth of pivotal encounters with volumes big and small, Smith reveals that, as much as their contents, it is books' physical form - their 'bookhood' - that lends them their distinctive and sometimes dangerous magic. From the Diamond Sutra to Jilly Cooper's Riders, to a book made of wrapped slices of cheese, this composite artisanal object has, for centuries, embodied and extended relationships between readers, nations, ideologies and cultures, in significant and unpredictable ways. Exploring the unexpected and unseen consequences of our love affair with books, Portable Magic hails the rise of the mass-market paperback, and dismantles the myth that print began with Gutenberg; it reveals how our reading habits have been shaped by American soldiers, and proposes new definitions of a 'classic'-and even of the book itself. Ultimately, it illuminates the ways in which our relationship with the written word is more reciprocal - and more turbulent - than we tend to imagine.

A wonderfully visual and imaginative collection of graphic design, featuring the work of individual designers, design projects, printing technology and the creation of brand identity using a variety of mediums. Original and unique, this volume presents a range of contemporary designs and provides ideas and inspiration for anyone looking to stand out in an increasingly competitive global market where creating an instantly recognizable brand identity is key.

This is a richly imaginative study of machines for writing and reading at the end of the nineteenth century in America. Its aim is to explore writing and reading as culturally contingent experiences, and at the same time to broaden our view of the relationship between technology and textuality.
At the book's heart is the proposition that technologies of inscription are materialized theories of language. Whether they failed (like Thomas Edison's "electric pen") or succeeded (like typewriters), inscriptive technologies of the late nineteenth century were local, often competitive embodiments of the way people experienced writing and reading. Such a perspective cuts through the determinism of recent accounts while arguing for an interdisciplinary method for considering texts and textual production.
Starting with the cacophonous promotion of shorthand alphabets in postbellum America, the author investigates the assumptions--social, psychic, semiotic--that lie behind varying inscriptive practices. The "grooves" in the book's title are the delicate lines recorded and played by phonographs, and readers will find in these pages a surprising and complex genealogy of the phonograph, along with new readings of the history of the typewriter and of the earliest silent films. Modern categories of authorship, representation, and readerly consumption emerge here amid the un- or sub-literary interests of patent attorneys, would-be inventors, and record producers. Modern subjectivities emerge both in ongoing social constructions of literacy and in the unruly and seemingly unrelated practices of American spiritualism, "Coon" songs, and Rube Goldberg-type romanticism.
Just as digital networks and hypertext have today made us more aware of printed books as knowledge structures, the development and dissemination of the phonograph and typewriter coincided with a transformed awareness of oral and inscribed communication. It was an awareness at once influential in the development of consumer culture, literary and artistic experiences of modernity, and the disciplinary definition of the "human" sciences, such as linguistics, anthropology, and psychology. Recorded sound, typescripts, silent films, and other inscriptive media are memory devices, and in today's terms the author offers a critical theory of ROM and RAM for the century before computers.

Described by the TLS as 'a formidable bibliographical achievement ... destined to become a key reference work for Shakespeareans', Shakespeare in Print is now issued in a revised and expanded edition offering a wealth of new material, including a chapter which maps the history of digital editions from the earliest computer-generated texts to the very latest digital resources. Murphy's narrative offers a masterful overview of the history of Shakespeare publishing and editing, teasing out the greater cultural significance of the ways in which the plays and poems have been disseminated and received over the centuries from Shakespeare's time to our own. The opening chapters have been completely rewritten to offer close engagement with the careers of the network of publishers and printers who first brought Shakespeare to print, additional material has been added to all chapters, and the chronological appendix has been updated and expanded.

Fully revised and with a new chapter and international case studies, this second edition of the best-selling book traces how artists and designers continue to adapt and incorporate 3D printing technology into their work and explains how the creative industries are directly interfacing with this new technology. Covering a broad range of applied art practice - from fine art and furniture-design to film-making - Stephen Hoskins introduces some of his groundbreaking research from the Centre for Fine Print Research along with an updated history of 3D print technology, a new chapter on fashion and animation, and new case studies featuring artists working with metal, plastic, ceramic and other materials. A fascinating investigation into how the applied arts continue to adapt to new technologies and a forecast of what developments we might expect in the future, this book is essential reading for students, researchers studying contemporary art and design and professionals involved in the creative industries.

In 1450, all Europe's books were hand copied and amounted to only a few thousand. By 1500 they were printed, and numbered in their millions. The invention of one man -- Johann Gutenberg -- had caused a revolution. Printing by moveable type was a discovery waiting to happen.
Born in 1400 in Mainz, Germany, Gutenberg struggled against a background of plague and religious upheaval to bring his remarkable invention to light. His story is full of paradox: his ambition was to unite all Christendom, but his invention shattered it. He aimed to make a fortune, but was cruelly denied the fruits of his life's work. Yet history remembers him as a visionary. His discovery marks the beginning of the modern world.

3D printing has rapidly established itself as an essential enabling technology within research and industrial chemistry laboratories. Since the early 2000s, when the first research papers applying this technique began to emerge, the uptake by the chemistry community has been both diverse and extraordinary, and there is little doubt that this fascinating technology will continue to have a major impact upon the chemical sciences going forward. This book provides a timely and extensive review of the reported applications of 3D Printing techniques across all fields of chemical science. Describing, comparing, and contrasting the capabilities of all the current 3D printing technologies, this book provides both background information and reader inspiration, to enable users to fully exploit this developing technology further to advance their research, materials and products. It will be of interest across the chemical sciences in research and industrial laboratories, for chemists and engineers alike, as well as the wider science community.

Reactive inkjet printing uses an inkjet printer to dispense one or more reactants onto a substrate to generate a physical or chemical reaction to form a product in situ. Thus, unlike traditional inkjet printing, the printed film chemistry differs to that of the initial ink droplets. The appeal of reactive inkjet printing as a chemical synthesis tool is linked to its ability to produce droplets whose size is both controllable and predictable, which means that the individual droplets can be thought of as building blocks where droplets can be added to the substrate in a high precision format to give good control and predictability over the chemical reaction. The book starts by introducing the concept of using reactive inkjet printing as a building block for making materials. Aspects such as the behaviour of printed droplets on substrate and their mixing is discussed in the first chapters. The following chapters then discuss different applications of the technique in areas including additive manufacturing and silk production, production of materials used in solar cells, printed electronics, dentistry and tissue engineering. Edited by two leading experts, Reactive Inkjet Printing: A Chemical Synthesis Tool provides a comprehensive overview of this technique and its use in fabricating functional materials for health and energy applications. The book will appeal to advanced level students in materials science.

After the recent launch of home-based personal 3D printers as well as government funding and company investments in advancing manufacturing initiatives, additive manufacturing has rapidly come to the forefront of discussion and become a more approachable lucrative career of particular interest to the younger generation. It is essential to identify the long-term competitive advantages and how to teach, inspire, and create a resolute community of supporters, learners, and new leaders in this important industry progression. Applications of Artificial Intelligence in Additive Manufacturing provides instruction on how to use artificial intelligence to produce additively manufactured parts. It discusses an overview of the field, the strategic blending of artificial intelligence and additive manufacturing, and features case studies on the various emerging technologies. Covering topics such as artificial intelligence models, experimental investigations, and online detections, this book is an essential resource for engineers, manufacturing professionals, computer scientists, AI scientists, researchers, educators, academicians, and students.

In this technology-driven era, conventional manufacturing is increasingly at risk of reaching its limit, and a more design-driven manufacturing process, additive manufacturing, might just hold the key to innovation. Offering a higher degree of design freedom, the optimization and integration of functional features, and the manufacturing of small batch sizes, additive manufacturing is changing industry as we know it. Additive Manufacturing Technologies From an Optimization Perspective is a critical reference source that provides a unified platform for the dissemination of basic and applied knowledge about additive manufacturing. It carefully examines how additive manufacturing is increasingly being used in series production, giving those in the most varied sectors of industry the opportunity to create a distinctive profile for themselves based on new customer benefits, cost-saving potential, and the ability to meet sustainability goals. Highlighting topics such as bio-printing, tensile strength, and cell printing, this book is ideally designed for academicians, students, engineers, scientists, software developers, architects, entrepreneurs, and medical professionals interested in advancements in next-generation manufacturing.

A systematic guide consisting of over 100 recipes which focus on helping you understand the process of 3D printing using RepRap machines. The book aims at providing professionals with a series of working recipes to help make their fuzzy notions into real, saleable projects/objects using 3D printing technology. This book is for novice designers and artists who own a RepRap-based 3D printer, have fundamental knowledge of its working, and who desire to gain better mastery of the printing process. For the more experienced user, it will provide a handy visual resource, with side-by-side comparisons of the two most popular slicers, Skeinforge and Slic3r. A basic understanding of designing and modeling principles and elementary knowledge of digital modeling would be a plus.

This book celebrates the 40th anniversary of the bar code and is written for those who over the years have asked the author what these bar codes are all about. It deals with why they were invented, who created them, how they are managed and used, whether they have been 'a good thing', how much longer they will last and what may replace them. It tells you how you can 'read between the lines' and 'what's in a number'. But it is not a detailed technical or historical account. It is an entertaining account full of stories and personalities designed to show that the term 'interesting bar codes' is not an oxymoron.

This beguiling book asks a set of unusual and fascinating questions - why is early Chinese printing so little acknowledged, despite anticipating Gutenberg by centuries? Why are the religious elements of early printing overlooked? And why did printing in China not have the immediate obvious impact it did in Europe? T. H. Barrett, a leading scholar of medieval China, brings us the answers through the intriguing story of Empress Wu (625-705 AD) and the revolution in printing that occurred during her rule. Linking Asian and European history with substantial new research into Chinese sources, Barrett identifies methods of transmitting texts before printing and explains the historical context of seventh-century China. He explores the dynastic reasons behind Empress Wu's specific interest in printing and the motivating role of her private religious beliefs. As Renaissance Europe was later astonished to learn of China's achievement, so today's reader will be fascinated by this engaging perspective on the history of printing and the technological superiority of Empress Wu's China. T. H.Barrett is Professor of East Asian History at the School of Oriental and African Studies, University of London. Among his books are 'Li Ao: Buddhist, Taoist, or Neo-Confucian?', 'Taoism Under the T'ang', and, with Peter Hobson, 'Poems of Hanshan'. He serves on the editorial boards of 'Buddhist Studies Review' and 'Modern Asian Studies'.

Get a hands-on introduction to the world of personal fabrication with the MakerBot, the easiest and cheapest rapid prototyper available. This book shows you how the MakerBot open source 3D printer democratizes manufacturing and brings the power of large factories right to your desktop. Not only will you learn how to operate MakerBot, you'll also get guidelines on how to design and print your own prototypes. 3D printing is a key part of the prototyping process, yet desktop models to date have cost a minimum of $10,000. But not any longer. A variant on the open source RepRap 3D printer, MakerBot is designed to be assembled quickly and cheaply. Even the deluxe MakerBot kit costs under $1,000. This fun and informative guide - written by MakerBot's creators - opens up a new realm of discovery and creativity for makers, hobbyists, students, artists, designers, and tinkerers. Understand exactly what's possible in the world of personal fabrication Learn how to assemble, upgrade, and tune the MakerBot 3D printer Familiarize yourself with the open source design tools you need to design 3D objects Get a guide to 10 interesting and useful object prototypes you can print right away