A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.

A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.

In The Nature of the Book, a tour de force of cultural history, Adrian Johns constructs an entirely original and vivid picture of print culture and its many arenas—commercial, intellectual, political, and individual. "A compelling exposition of how authors, printers, booksellers and readers competed for power over the printed page. . . . The richness of Mr. Johns's book lies in the splendid detail he has collected to describe the world of books in the first two centuries after the printing press arrived in England."—Alberto Manguel, Washington Times "[A] mammoth and stimulating account of the place of print in the history of knowledge. . . . Johns has written a tremendously learned primer."—D. Graham Burnett, New Republic "A detailed, engrossing, and genuinely eye-opening account of the formative stages of the print culture. . . . This is scholarship at its best."—Merle Rubin, Christian Science Monitor "The most lucid and persuasive account of the new kind of knowledge produced by print. . . . A work to rank alongside McLuhan."—John Sutherland, The Independent "Entertainingly written. . . . The most comprehensive account available . . . well documented and engaging."—Ian Maclean, Times Literary Supplement

This beautifully illustrated book provides an accessible introduction to the medieval manuscript and explores how its materiality can act as a vibrant and versatile tool to understand the deep historical roots of human interaction with written information.

Andrew Piper grew up liking books and loving computers. While occasionally burying his nose in books, he was going to computer camp, programming his Radio Shack TRS-80, and playing Pong. His eventual love of reading made him a historian of the book and a connoisseur of print, but as a card-carrying member of the first digital generation—and the father of two digital natives—he understands that we live in electronic times. Book Was There is Piper’s surprising and always entertaining essay on reading in an e-reader world. Much ink has been spilled lamenting or championing the decline of printed books, but Piper shows that the rich history of reading itself offers unexpected clues to what lies in store for books, print or digital. From medieval manuscript books to today’s playable media and interactive urban fictions, Piper explores the manifold ways that physical media have shaped how we read, while also observing his own children as they face the struggles and triumphs of learning to read. In doing so, he uncovers the intimate connections we develop with our reading materials—how we hold them, look at them, share them, play with them, and even where we read them—and shows how reading is interwoven with our experiences in life. Piper reveals that reading’s many identities, past and present, on page and on screen, are the key to helping us understand the kind of reading we care about and how new technologies will—and will not—change old habits. Contending that our experience of reading belies naive generalizations about the future of books, Book Was There is an elegantly argued and thoroughly up-to-date tribute to the endurance of books in our ever-evolving digital world.

Objects are essential for how, together, people create and experience social life and relate to the physical environment around them. Interacting with Objects: Language, materiality, and social activity presents studies which use video recordings of real-life settings to explore how objects feature in social interaction and activity. The studies consider many objects (e.g. paper documents, food, a camera, art, furniture, and even the human body), across various situations, such as shopping, visiting the doctor, interviews and meetings, surgery, and instruction in dance, craft, or cooking. Analyses reveal in precise detail how, as people interact, objects are seen, touched and handled, heard, created, transformed, planned, imagined, shared, discussed, or appreciated. With the companion collection Multiactivity in Social Interaction: Beyond multitasking, the book advances understanding of the complex organisation and accomplishment of social interaction, especially the significance of embodiment, materiality, participation and temporality. By focussing on objects in and for actual occasions of human action, Interacting with Objects: Language, materiality, and social activity will interest many researchers and practitioners in language and social interaction, communication and discourse, design, and also more widely within anthropology, sociology, psychology, and related disciplines.

This newly revised and updated edition of Media Selling addresses the significant changes that have taken place in media industries over the last few years, while continuing as a seminal resource for information on media sales. A classic in this field, this book has long served students and professionals in broadcasting and media industries as an indispensable tool for learning, training, and mastering sales techniques for electronic media Addresses the unprecedented consolidation and sweeping change faced by media industries in recent years, and now features greatly expanded coverage of the Internet, including video streaming and the impact of social network sites Covers a broad span of media industries and issues, including: electronic media, newspapers, magazines, outdoor/billboard promotion, sales ethics, emotional intelligence, and interactive media selling Fully updated to include much greater focus on national and international media sales issues, as well as expanded coverage of network-level selling, product placement, sales promotion use of market data

If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.

Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.

It's vital that we support young children's reading in ways that nurture healthy reading identities, that foster an attraction to books and a love of reading, and that teach them how make meaning in any text they choose, whether or not they can read the words. -Kathy Collins and Matt Glover What do we see when young children interact with books before they can read the words? Kathy Collins and Matt Glover see real reading, characterized by purposeful meaning-making and opportunities for reading growth and language development. "One of our biggest hopes," write Kathy and Matt, "is to help you see and value all of the powerful work young children do as readers." With I Am Reading you'll see that fostering what little ones do before they can read the words is important early instruction. Kathy and Matt show how to nurture, nudge, and instruct young readers to make meaning in any text, whether or not they are reading the words. They share: observation guides for children reading any kind of book specific descriptions of language and independence development sample reading conferences and whole-class minilessons suggestions for creating reading opportunities in preschool and reading workshops in K-1 action plans to get you going 25 online video clips of children making meaning and teachers supporting them. I Am Reading pairs two important voices in early literacy to remind us that we're teaching children, not reading levels. "In the rush toward ever higher reading levels in the early years," write Kathy and Matt, "we may fail to value the strategy use and high-level thinking children do before they are reading conventionally." Join Kathy and Matt and look anew at your young readers so you can provide the kind of support that gets them off to a great start.