14.0430 workshop, conference report

From: by way of Willard McCarty (willard@lists.village.Virginia.EDU)
Date: 10/28/00

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                   Humanist Discussion Group, Vol. 14, No. 430.
           Centre for Computing in the Humanities, King's College London
       [1]   From:    jason.mann@vanderbilt.edu                           (18)
             Subject: Managing Online Consortia pre-conference workshop
       [2]   From:    NINCH-ANNOUNCE <david@ninch.org>                   (159)
             Subject: Design, Book Crafts & the Digital Age
             Date: Sat, 28 Oct 2000 08:56:38 +0100
             From: jason.mann@vanderbilt.edu
             Subject: Managing Online Consortia pre-conference workshop 
    ANNOUNCEMENT 1: Managing Online Consortia pre-conference workshop announcement
    Attend CAEL's first conference of the 21st Century, visit our web site for
    more details: http://www.cael.org/index2.html
    CAEL and University of Maryland University College present:
    Managing Online Education Partnerships:
    Plain Talk and Practical Tools for Internet-Based Consortia
    The Drake Hotel; Chicago, IL
    November 14 - 15, 2000
    	Register today to participate in the first ever, Managing Online Education
    Partnerships on November 14-15. This conference will provide a national
    forum for administrators and/or participants who work with Internet-based
    education consortia and alliances to discuss the conceptual issues and
    practicalities of operating successful and mutually beneficial
    partnerships.  Focusing on practical guides and tools for those who develop
    and manage consortia, this conference will create a framework of
    communication and collegiality for discussing common issues and concerns.
    [material deleted]
             Date: Sat, 28 Oct 2000 08:57:17 +0100
             From: NINCH-ANNOUNCE <david@ninch.org>
             Subject: Design, Book Crafts & the Digital Age
    News on Networking Cultural Heritage Resources
    from across the Community
    October 26, 2000
               On the Digital Brink: Notes from Printing History Conference
    These informal, but well-written, notes from part of the annual conference
    of the American Printing History Association I think bring a fresh
    perspective on much of our work.
    David Green
     >Date:  Wed, 25 Oct 2000 16:43:44 -0400
     >From: ForeWord Magazine <circ@traverse.com>
     >To: Multiple recipients of Foreword - Sent by <circ@traverse.com>
     >ForeWord This Week is a weekly e-mail news service covering independent
     >publishing of interest to booksellers, librarians and other trade
     >FOREWORD THIS WEEK 10.25.00
    On The Digital Brink at the 25th Annual Conference of the
    American Printing History Association.
    Swept along by the onrush of digital developments, it can be both useful
    and necessary to pause and take stock of where we're going and where we
    came from -- and to celebrate the enduring values which lend meaning to
    what we are up to from day to day.
    Because of the intriguing theme of its 25th Annual Meeting, I decided to
    drive up to Rochester from Woodstock, New York, and attend my first APHA
    meeting. I've been a closet member on and off through the years, relishing
    the association's newsletter and its journal, "Printing History," for the
    discussions of the history and art of type and printing, and for the ads
    and notices of what is going on in the world of collecting and private
    presses -- all framed in elegant design and illustration. (For membership
    information: www.printinghistory.org ).
    So, on arriving I found some one hundred diverse keepers of the fine
    traditions of printing and typography - designers, librarians, scholars,
    printers, calligraphers, collectors, publishers - friendly and eager
    enthusiasts all -- assembled at the Rochester Institute of Technology for
    two days on October 20th and 21st. There we examined how the new
    technologies are being used to explore and reveal book and graphic arts
    history as well as used to develop new ways for their expression and
    But this was not a hand-wringing conclave of traditionalists bemoaning the
    loss of art and craft in the face of progress. To the contrary, I found the
    best of all possible worlds where true lovers of the uses of graphics and
    type apply their classic verities in new forms. In fact, one of the high
    points was a demonstration by Australian born artist, photographer,
    lecturer and author Douglas Holleley. He presented some exquisite digitally
    scanned paper sculptures in final images enhanced by PhotoShop. Yet not out
    of sight or out of mind were the handiwork of the great printers and type
    designers from Aldus Manutius and Claude Garamond to Frederick Goudy and
    Stanley Morison.
    There could have been no better setting for all of this than the
    comfortable lecture hall at the Chester F. Carlson Center for Imaging
    Science (named after the inventor of Xerography) and RIT's Carey Graphic
    Arts Collection of rare books and manuscripts at its Wallace Library, and
    the adjacent gallery and letterpress print shop.
    Among the highlights:
    We were treated by two RIT professors and a Xerox scientist to some of the
    outcomes of their fascinating application of infrared and ultraviolet
    analysis and digital imaging technologies in the recovery of degraded
    images in the Dead Sea Scrolls as well as in uncovering the original texts
    erased and overwritten on medieval parchment palimpsests. A set of original
    Archimedes essays was the object of the latter.
    Frank Romano, one of the foremost authorities on digital publishing
    technology, demonstrated the need for historic preservation. He examined
    the emergence and disappearance, in the space of fifty years (1946-96), of
    the scores of businesses which brought into the market the many forms of
    photocomposition that provided the bridge between the old hot metal and
    today's computer driven image setting.
    In the course of his lecture, Czeslaw (Chet) Grycz, CEO and Publisher of
    Octavo (Adobe Founder John Warnok is their Chairman of the Board),
    presented a view of his organization as a digital scholarly publishing and
    preservation company. Octavo (<http://www.octavo.com>http://www.octavo.com)
    is working with libraries and archivists to create digital editions of some
    of the most "important milestones of thought and culture" in works such as
    those by Galileo, Isaac Newton, Benjamin Franklin, William Shakespeare and
    many others. The imagination, quality and functionality of the images,
    tools and commentaries that accompany these editions are superlative.
    Grycz's topic was "Perdurability: Digital Books and Beatrice Warde's Vision
    of Permanence." As written in the program, "in her celebrated broadsheet
    announcing Eric Gill's Perpetua typeface, Beatrice Ward compared the
    permanence of a text printed in multiple copies on flimsy paper to that of
    one deeply chiseled on a massive Roman monument." Look which one prevailed.
    The entire conference was framed by a powerful opening keynote by Robert
    Bringhurst, noted scholar and lecturer and author of The Elements of
    Typographic Style. Bringhurst's words were so substantial that I can only
    poorly characterize, but I will attempt to provide a small portion here
    (the full text of it hopefully will appear in "Printing History").
    The first and original book given to us is the world itself - all people
    read it - and in the development of letter forms and writing people make
    their own books - miniatures encompassing portions of the original. And it
    is the extent of our connection to this world that calibrates the uses of
    our mind.
    Bringhurst's breathtaking concept followed his imaginative development of
    the ways in which images, letter forms, and linguistics are in themselves
    complex forms of art as well as modes of human gesture that connect us to
    our own stories as well as to those of others.
    The digital era finds us telling these stories in a setting several times
    removed from the sensory surround of the world "outside" - - of the
    original book -- and from the highly tactile experience of the physical
    books we have used and the very personal trade marks reflected in our
    speech and handwriting. The values and messages communicated by these forms
    of expression are replaced by the uniform ASCII code, which creates
    indistinguishably uniform letterforms as we tap out our messages on
    keyboards around the world. However different the touch, the result is the
    same, Bringhurst observed - and the experience of reading, detached from
    its physicality has become a spectator sport.
    That is not the whole of , or the end of the story. It is simply the
    beginning of a new one, I inferred. Whole new extensions of language and
    the preservation of cultures are opened up by this digital revolution - as
    is the challenge and the opportunity to stay connected with our original book.
    -Gene Schwartz
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