This book provides a thorough overview of the applications of 3D printing technologies to ubiquitous manufacturing (UM). UM itself represents an application of ubiquitous computing in the manufacturing sector, and this book reveals how it offers convenient, on-demand network access to a shared pool of configurable manufacturing resources, including software tools, equipment, and capabilities. Given its scope, the book will be of considerable interest to researchers in the areas of manufacturing, mechanical engineering, operations management, production control, ubiquitous computing, and sensor technologies, as well as practicing managers and engineers.

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.

From droplet formation to final applications, this practical book presents the subject in a comprehensive and clear form, using only content derived from the latest published results. Starting at the very beginning, the topic of fluid mechanics is explained, allowing for a suitable regime for printing inks to subsequently be selected. There then follows a discussion on different print-head types and how to form droplets, covering the behavior of droplets in flight and upon impact with the substrate, as well as the droplet's wetting and drying behavior at the substrate. Commonly observed effects, such as the coffee ring effect, are included as well as printing in the third dimension. The book concludes with a look at what the future holds. As a unique feature, worked examples both at the practical and simulation level, as well as case studies are included. As a result, students and engineers in R&D will come to fully understand the complete process of inkjet printing.

"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 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.

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.

Since the release of the first commercially available 3D printer in 2009, a thriving consumer market has developed, with a huge variety of kits now available for the home constructor. In their short existence, these printers have developed into capable machines able to make robust and useful objects in a wide range of materials. 3D Printing for Model Engineers - A Practical Guide provides the first truly comprehensive guide to 3D printing in the context of other creating engineering-based hobbies. It covers using 3D Computer Aided Design; 3D printing materials and best practice; joining and finishing 3D printed parts; making your own metal castings from 3D printed parts and building your own 3D printer. Filled with real world examples and applications of 3D printing, this book is based on practical experience and is the essential guide to getting the most from your 3D printer.

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.

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

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.

For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media. Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code. Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age.

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.

Almost half a million books printed in the fifteenth century survive in collections worldwide. In Incunabula in Transit Lotte Hellinga explores how and where they were first disseminated. Propelled by the novel need to market hundreds of books, early printers formed networks with colleagues, engaged agents and traded Latin books over long distances. They adapted presentation to suit the taste of distinct readerships, local and remote. Publishing in vernacular languages required typographical innovations, as the chapter on William Caxton's Flanders enterprise demonstrates. Eighteenth-century collectors dislodged books from institutions where they had rested since the sales drives of early printers. Erudite and entertaining, Hellinga's evidence-based approach, linked to historical context, deepens understanding of the trade in early printed books.

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 three-volume bibliography of printing was published between 1880 and 1886 by E. C. Bigmore (1838-99) and C. W. H. Wyman (1832-1909), who had, unknown to each other, been working on similar projects and were brought together by the antiquarian bookseller and publisher Bernard Quaritch. The scope of the work, which quickly became a classic, includes 'typographic, lithographic, copperplate printing, etc., with the cognate arts of type-founding, stereotyping, electrotyping, and wood-engraving', but excludes the topics of paper and bookbinding. The three volumes are arranged in alphabetical order of surname of author; anonymous works are ordered by the wording of the title. Compiled with the assistance of such historians of printing as William Blades and John Southward (several of whose works are available in this series), this authoritative work is of continuing value to bibliographers. Volume 3, published in 1886, covers the letters T to Z.