Herb Lubalin

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■■■■■tislellusinessIlirect To place a classified ad in U&lcBusiness Direct or for rates and information, contact Venture Communications Print Media, the exclusive representative of U&lcBusiness Direct Call: 212-684-4800 r YOU CAN'T KEEP UP. WE CAN HELP. You can't read everything, so we do it for you. We summarize every important story from magazines for graphic designers and put it in a newsletter you can read. Call or fax us for a FREE ISSUE. Designers in 29 countries depend on us. You also can't spend all your time gathering updates, bug fixes & plug-ins, so we do it for you. Each month, you'll receive a disk containing every free update and bugfix, useful plug-in and utility. Call, fax or e-mail us for a FREE brochure. DESIGN TOOLS MONTHLY - e-mail to DTMonthly@aol.com hop://ares.cad.net/—dtm 303/444-6876 fax 303/440-3641 Circle 8 on Reader Service Card ARE YOU MARRING TO MOVE7 lie sure to take we with_ you" Moving Date: OLD Address (Please print or attach mailing label) Name Title Address City Country NEW Address Name Title Address State Postal/Zip Code City State Postal/Zip Code Country Fax to 212.949.8485 or mail to U&Ic PO Box 129, Plainview, NY 11803-0129 .11 (RE)IMAGINING THE BOOK: BY STEVE TOMASUL5 0 Word! What sort of Word art thou! Augustine asked, for the Word existed in the beginning but was not made while the body of the universe was that "Vast chain of being! which from God began, descending through Natures ethereal, angels, man....
A SEMIOTIC SYMBIOSIS JUMP-CUT, 199? Imagine the Internet. 1.5 billion miles of spun glass and copper linking 173 million PCs running quadrillions of lines of code as quintillions of blips on silicon wafers. How many computations can dance on the head of a pin? A vast chain of hotlinks. In his book Mervelous Signals, Eugene Vance writes that "there is scarcely a term, practice, or concept in contemporary theory that does not have some rich antecedent medieval thought' This observation seems to apply particularly well in the case of collaboration between graphic designers and writers. The book, especially the Medieval book, is a profound virtual-reality device. The image/text, the contemporary reincarnation of illuminated texts, is simply a foregrounding of this multimedia nature that is original not in our sense of the word, but in the Medieval sense: that which has been present since the Origin. t. That is, literature too, has a material history and it is bound up with the history of the book which is a story of reproducibility and portability. Consider its end points: the cave painting, a one-of-a-kind, permanently bound to the most inac- cessible parts of the earth. Contrast this to the Amiens Cathedral (http://www . 1 * learn.columbia.edu ), an online "book" on the cathedral's history and art in which criticism, primary texts, floor plans, Quicktime movies and a discussion group can be made present—from anywhere in the world. Now consider the history between these end points: first the codex, the book in the shape of a box as opposed to scrolls like one manuscript of the Pentateuch, written on 57 skins sewn together to form a piece 36 meters long—a serial retrieval system which one reads by rolling from one scroll to another, like a cassette tape. With the parallel retrieval system of the codex, though, it's as easy to flip to page 200 as 20 and back; it is easy to begin to think what we would call hypertextually. Germane here is the truism that Medievals, like us, thought in terms of symbols. In a codex like the Moralized Bible, images linked texts to other texts, the Old Testament to the New. Psalm 80, for example, a prayer for the restoration of the Lord's Vineyard (Israel) prefigures Christ and this teleology is taught by a crucifixion posture of both grapes and man. Pushed to an extreme in the 20th century, it's easy to see what this type of thinking will do for traditional boundaries: man/machine; history/fiction; high art/popular entertainment; male/female; truth/image; private/public; original/copy; mind/body; text/image. Once again, stories and images are linked to others with the result that, as for Medievals, representation is sus- pect, for it is partial. The veil that separates us from?— Today, the re-patterning of knowledge is obviously dear to a number of visual artists. And activists. And just plain folks.... And, of course, authors and designers. Like perspective painting, the graphically-driven novel is a system of knowing, one that like the term "narrative," contains within it the collapse of genres. In fact, hypertext can be seen as a literalization of the type of writing in the Moralized Bible or any text that points to other texts. Or an image that points to another image. Or multimedia where one media references another. The Image/Text is a new, or re-newed, form for revisited means of narration, means of information organization. Will electric books kill the print book? Well, did TV. kill radio? Will the creators of all books, the designers and writers (or should we call them collage artists), have to consider how this experience will alter the ways stories are told? Well, did TV transform radio? The push of how we think—especially a mindset that puts genres and media in discourse—and the pull of technolo are what help brinzword and image together— in both print and electronic formats. /A ND OF COUPI THIS RE-IMAGINING IOF THE BOOK Of SE KIAR- RATIVE FORM IS WHAT IS BRINGING GRAPHIC DESIGNERS AND WRITERS BACK TOGETHER. HEADLINE: ITC CONDUIT BOLD INTRO: ITC GOLDEN COCKEREL ROMAN BYLINE/TEXT: ITC CONDUIT LIGHT, LIGHT ITALIC 43 rb ct/ ei SOME SEE BETTER THAN OTHERS. [Pi fS' rr- f' f" r4 ri– r P r4 k / ® 4.D ..., :Id .4.' 1111 FLIGHTCHECK® is the multiple award-winning software that is the ultimate application for verifying, checking, and collecting all your files before you go to press! FLIGHTCHECIC scans your documents for over 140 potential print problems — and is user customizable. Once the en re document has passed inspectz n, FLIGHTCHECK® then collects the whole job for you — including both screen and 1)%4nter fonts as well as all images — into a FLIGHTCHECK® approved folder that's ready for press! DON'T LOSE SIGHT OF A JOB WELL DONE. 0 r r r If: r r/ Tech Support! P.O.Box 16431 - 2500 BK The Hague - The Netherlands web: www.markzware.com - MAIN SCREEN COLLECT SCREEN New Windows" Version Just Released! A phone: 714 Circle 9 on Reader Service Card Z4 41 **** Publish,.
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Herb Lubalin

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