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[cityofsound] Porter notes that they're dealing with "readers who get most of their news from television and the internet now" and without the hours to spend reading the paper that people used to have. He can't assume that people are going to read the whole thing - so there are navigational cues, layout guides, and other devices to alert the reader to other articles of interest within the paper (and presumably online) - almost, "if you like this article, you'll also like this one on page 14".

[cityofsound] The redesign feels caught somewhat between the celeb-fuelled world of the weekly glossies and the clean, stately repose of the European newspaper. If it's the former they're after, again, I'd suggest there's a few, cleverly appealing design cues in Grazia, Heat and the tabloids they'd be looking at; but ultimately that doesn't feel to match their brand, apparent mission, and certainly the values of the paper. I'd rather they'd taken on a reinvention of the latter - to create that new sense of what a newspaper could be, could feel like, look like. That would include properly taking and integrating the website and other media, given that's where people increasingly consume news.
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I recently got some feedback on the way I highlight words or expressions throughout my posts. Most if not all of them were negative, and informed me that my highlighted words were mistaken for hyperlinks, or just making it hard to read the text.
This third chapter of our investigation into the use of hyperlinking metaphores in print design takes us to a page of the April 2005 issue of The Atlantic Monthly magazine: David Foster Wallace's cover story about talk radio. The layout of the article has been altered to facilitate interaction between the main text and the footnotes (not unlike the work done in I.D. magazine in early 2004).
In the year2014, The New York Times has gone offline.
The Fourth Estate's fortunes have waned.
What happened to the news?
And what is Epic?

[csmonitor.com] In Chile, instant Web feedback creates the next day's paper. This revolution has occurred, says the paper's publisher Augustine Edwards, thanks to his decision to listen to "the people." Three years ago, under Mr. Edwards's guidance, LUN installed a system whereby all clicks onto its website (www.lun.com) were recorded for all in the newsroom to see. Those clicks - and the changing tastes and desires they represent - drive the entire print content of LUN. If a certain story gets a lot of clicks, for example, that is a signal to Edwards and his team that the story should be followed up, and similar ones should be sought for the next day. If a story gets only a few clicks, it is killed. The system offers a direct barometer of public opinion, much like the TV rating system - but unique to print media.
Let's start this series with one of the best attemps I've seen to use hyperlinks in books. For 2 years (2001 and 2002), the designers of the Central Saint Martins College of Art & Design Directory book overlayed each page of the book with a subtle and exciting second layer of information.
On August 13th finished the 15th Conference on Hypertext and Hypermedia held in the University of California, Santa Cruz. Several awards were presented during the conference: the Douglas Engelbart Best Paper Award went to David Kolb for his Twin Media : Hypertext Structure Under Pressure.
This essay explores issues that arise in composing a long argumentative hypertext that is connected with a book on the same subject.
It concerns not the old navigation problem for the lost reader, but the construction problem for the uncertain author who worries about readers.
It reports on a practical experiment, and deals with issues in hypertext rhetoric and link structure that arise in the construction of a hypertext under pressure from a book version.
Although the situation of the hypertext being discussed is somewhat unique, in fact hypertext structure is always under pressure from print habits of reading and writing, especially in scholarly writing, so the issues discussed here are widely relevant.

[ArtSeoul.net] Suh described Paratrooper-1 as being a kind of self-portrait, describing his experience of going to the United States for the first time. A shiny, metallic soldier pulls 3,000 taut, pink strings linked to the signatures of different people, sewn into a kind of parachute on the wall.
"If there's no parachute, then the soldier dies. He has to use it. But when he finally lands, he has to fight in a completely unknown territory. That's something I felt when I went to the United States. It's a parachute that is directly tied into your life," he said.

[TextArc.org] A TextArc is a visual representation of a text—the entire text (twice!) on a single page. A funny combination of an index, concordance, and summary; it uses the viewer's eye to help uncover meaning. Here are more detailed overviews of the interactive work and the prints.
TextArc is a tool designed to help people discover patterns and concepts in any text by leveraging a powerful, underused resource: human visual processing.
TextArc exposes the nature and style of a document's content, not by algorithmic winnowing but by arranging and showing every word. It taps into our pre-attentive ability to scan for brighter (here, more frequent) words, compare them, and let the eye read those words in a balancing act between them . The eye and mind scan for ideas, then follow the ideas down to where and how they appear in the text.
[stefangeens.com] How is a newspaper supposed to compete these days? Unlike websites, newspapers are not searchable, and unlike TV, the news is 12 hours old by the time people consume it. How do you survive when you are a compelling read only for those sitting on the subway or toilet?
[Publicitas] Newspaper design and format are among the most hotly debated issues in the newspaper industry today. From new compact editions to internet-inspired front pages, newspapers are remaking themselves as never before.
Newspapers come in all shapes and sizes, but what makes a successful design? Here is one definition of success: "a design that is functional for the newspaper staff, reflects the content and nature of the newspaper, and is appreciated (subconsciously) by the reader."
That definition comes from the Scotland-based media design consultants Ally Palmer and Terry Watson and is included in "New Designs, New Formats," a new report from the World Association of Newspapers' Shaping Future of the Newspaper project.
[INMA] Today's 18- to 34-year-olds read newspapers less than prior generations did during the same life stage, and there is no evidence that the decline will stop. That's the bad news. The good news is there are many opportunities for newspapers to halt or reverse this trend in the future - but not without major innovation.

[C-2-C Project] Within this volume we look specifically at the changing definition of a book. A book is no longer a tangible thing; a book is what a book does. It is an information architecture. We examine the various manifestations of electronic book readers and imminent technologies, such electronic ink, including a case study on the use of ebook reading devices by a lending library, and speculate about other uses of such devices. We see the convergence of print and etext - manifestations of the same thing - electronically stored text, with the difference demonstrated only in their final rendering. We look at changes in print technologies and the shift in mindset necessary to accommodate emergent forms of digital text - as information services within a product-service system, the changing shape of digital design and changes in printing technologies from letterpress to the rise of digital printing.
[rodcorp] There are now a few websites that took books from eg Project Gutenberg and re-presented them in a page-a-day format on a weblog or via RSS. Examples: Joyce's Ulysses (from Jason White), Joyce's Finnegans Wake (from Michael Brewster), The Notebooks of Leonardo Da Vinci (from Matt Webb), and what's perhaps the grand-daddy of the form, Samuel Pepys's Diary (from Phil Gyford, which now has 13,000+ annotations). There's something interesting about seeing pages placed next to each other in a newsreader. This next to that, here and now: random correspondences, connections, comparisons.
There will obviously be a huge number of these "correspondences" (particularly if you're looking for them), but perhaps there's mileage in going further, in remixing people's books and notebooks, or at least in providing a pick-any-X-books service to make a DIY RSS page-a-day feed.
[I.T. Vibe] The British Library, in collaboration with the Joint Information Systems Committee (JISC) are planning to make available online some one million pages of searchable content from old out-of-copyright 19th century newspapers, a press release shows.The plan is for the British Library and the JISC to work together to make available online a large 50,000+ newspaper strong searchable archive, intended as a fast convenient resource for further and higher education students as well as research communities.
More photos of QR-codes found on everyday items in Japan.
Starting with 2 magazine adverts for mobile phones featuring barcodes linking to the mobile site of the maker; a graphics-softwares tutorial book that has a barcode on its cover including all the details about the book so you can come back later and ask for it precisely for example; a mini-guide to Tokyo areas and streets featuring a different barcode on each spread that if scanned takes you to a mobile site page giving you more precise information on Gourmet or Lodging informations for that very area delimited by the spread's contour; and finally an ink-stamp made by Sachihata with a barcode that could include all your contact details to then be printable on some of your belongings, letters, business cards.
I think that it is safe to say that more than 60% of all new mobile camera phones sold in Japan now have a QR barcode reader included in their system. I will get back to you as soon as I can get more precise numbers for the 3 main makers AU, DoCoMo and Vodafone.

[This is Compendium #3: CHAOS HAPPENS*]
This is not a magazine.
This is a book.
This is internet on paper.
276 Pages change shape and layer like browser windows.
330 Artworks interweave, hyperlink, and flow.
60 artists make Chaos Happen*

[New book @ Amazon.com] Rachel Greene is Editorial Coordinator and a director of Rhizome.org, an online resource and platform for new media art, and a curatorial fellow at the New Museum of Contemporary Art in New York.
The diverse forms of Internet art and the tools and equipment used to create them are discussed and placed within the wider cultural context.