paper is relevant in the future in 1000 words
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The change has come more slowly to books than it came to music or to business correspondence, but by now it feels inevitable. The digital era is upon us. The Twilights and Freedoms of 2025 will be consumed primarily as e-books. In many ways, this is good news. Books will become cheaper and more easily accessible. Hypertext, embedded video, and other undreamt-of technologies will give rise to new poetic, rhetorical, and narrative possibilities. But a literary culture that has defined itself through paper books for centuries will surely feel the loss as they pass away.
In the past several years, we’ve all heard readers mourn the passing of the printed word. The elegy is familiar: I crave the smell of a well-worn book, the weight of it in my hands; all of my favorite books I discovered through loans from a friend, that minor but still-significant ritual of trust; I need to see it on my shelf after I’ve read it (and I don’t mind if others see it too); and what is a classic if not a book where I’m forced to rediscover my own embarrassing college-age marginalia?
Luddites can take comfort in the persistence of vinyl records, postcards, and photographic film. The paper book will likewise survive, but its place in the culture will change significantly. As it loses its traditional value as an efficient vessel for text, the paper book’s other qualities—from its role in literary history to its inimitable design possibilities to its potential for physical beauty—will take on more importance. The future is yet to be written, but a few possibilities for the fate of the paper book are already on display on bookshelves near you.
We’re warned from an early age not to be taken in by the sensuous aspects of a paper book’s design, such as its cover. Yet the visual effect of a well-made book, even an inexpensive paperback, unquestionably shapes our interpretation and appreciation of the text.
Consider this Penguin UK collection of essays by the German critic Walter Benjamin. The front cover comments on the book’s status as a manufactured object. This is in harmony with Benjamin’s text: “[T]hat which withers in the age of mechanical reproduction is the aura of the work of art. By making many reproductions it substitutes a plurality of copies for a unique existence.”
Arts has moved! You can find new stories here.
DESIGN
THE WAY THINGS LOOK.
MAY 8 2012 6:30 AM
What Will Become of the Paper Book?
How their design will evolve in the age of the Kindle.
By Michael Agresta


Book designed by Sara De Bondt Studio/Visual Editions.
The change has come more slowly to books than it came to music or to business correspondence, but by now it feels inevitable. The digital era is upon us. The Twilights and Freedoms of 2025 will be consumed primarily as e-books. In many ways, this is good news. Books will become cheaper and more easily accessible. Hypertext, embedded video, and other undreamt-of technologies will give rise to new poetic, rhetorical, and narrative possibilities. But a literary culture that has defined itself through paper books for centuries will surely feel the loss as they pass away.
In the past several years, we’ve all heard readers mourn the passing of the printed word. The elegy is familiar: I crave the smell of a well-worn book, the weight of it in my hands; all of my favorite books I discovered through loans from a friend, that minor but still-significant ritual of trust; I need to see it on my shelf after I’ve read it (and I don’t mind if others see it too); and what is a classic if not a book where I’m forced to rediscover my own embarrassing college-age marginalia?
Luddites can take comfort in the persistence of vinyl records, postcards, and photographic film. The paper book will likewise survive, but its place in the culture will change significantly. As it loses its traditional value as an efficient vessel for text, the paper book’s other qualities—from its role in literary history to its inimitable design possibilities to its potential for physical beauty—will take on more importance. The future is yet to be written, but a few possibilities for the fate of the paper book are already on display on bookshelves near you.
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* * *
We’re warned from an early age not to be taken in by the sensuous aspects of a paper book’s design, such as its cover. Yet the visual effect of a well-made book, even an inexpensive paperback, unquestionably shapes our interpretation and appreciation of the text.
Consider this Penguin UK collection of essays by the German critic Walter Benjamin. The front cover comments on the book’s status as a manufactured object. This is in harmony with Benjamin’s text: “[T]hat which withers in the age of mechanical reproduction is the aura of the work of art. By making many reproductions it substitutes a plurality of copies for a unique existence
In the past several years, we’ve all heard readers mourn the passing of the printed word. The elegy is familiar: I crave the smell of a well-worn book, the weight of it in my hands; all of my favorite books I discovered through loans from a friend, that minor but still-significant ritual of trust; I need to see it on my shelf after I’ve read it (and I don’t mind if others see it too); and what is a classic if not a book where I’m forced to rediscover my own embarrassing college-age marginalia?
Luddites can take comfort in the persistence of vinyl records, postcards, and photographic film. The paper book will likewise survive, but its place in the culture will change significantly. As it loses its traditional value as an efficient vessel for text, the paper book’s other qualities—from its role in literary history to its inimitable design possibilities to its potential for physical beauty—will take on more importance. The future is yet to be written, but a few possibilities for the fate of the paper book are already on display on bookshelves near you.
We’re warned from an early age not to be taken in by the sensuous aspects of a paper book’s design, such as its cover. Yet the visual effect of a well-made book, even an inexpensive paperback, unquestionably shapes our interpretation and appreciation of the text.
Consider this Penguin UK collection of essays by the German critic Walter Benjamin. The front cover comments on the book’s status as a manufactured object. This is in harmony with Benjamin’s text: “[T]hat which withers in the age of mechanical reproduction is the aura of the work of art. By making many reproductions it substitutes a plurality of copies for a unique existence.”
Arts has moved! You can find new stories here.
DESIGN
THE WAY THINGS LOOK.
MAY 8 2012 6:30 AM
What Will Become of the Paper Book?
How their design will evolve in the age of the Kindle.
By Michael Agresta


Book designed by Sara De Bondt Studio/Visual Editions.
The change has come more slowly to books than it came to music or to business correspondence, but by now it feels inevitable. The digital era is upon us. The Twilights and Freedoms of 2025 will be consumed primarily as e-books. In many ways, this is good news. Books will become cheaper and more easily accessible. Hypertext, embedded video, and other undreamt-of technologies will give rise to new poetic, rhetorical, and narrative possibilities. But a literary culture that has defined itself through paper books for centuries will surely feel the loss as they pass away.
In the past several years, we’ve all heard readers mourn the passing of the printed word. The elegy is familiar: I crave the smell of a well-worn book, the weight of it in my hands; all of my favorite books I discovered through loans from a friend, that minor but still-significant ritual of trust; I need to see it on my shelf after I’ve read it (and I don’t mind if others see it too); and what is a classic if not a book where I’m forced to rediscover my own embarrassing college-age marginalia?
Luddites can take comfort in the persistence of vinyl records, postcards, and photographic film. The paper book will likewise survive, but its place in the culture will change significantly. As it loses its traditional value as an efficient vessel for text, the paper book’s other qualities—from its role in literary history to its inimitable design possibilities to its potential for physical beauty—will take on more importance. The future is yet to be written, but a few possibilities for the fate of the paper book are already on display on bookshelves near you.
Advertisement
* * *
We’re warned from an early age not to be taken in by the sensuous aspects of a paper book’s design, such as its cover. Yet the visual effect of a well-made book, even an inexpensive paperback, unquestionably shapes our interpretation and appreciation of the text.
Consider this Penguin UK collection of essays by the German critic Walter Benjamin. The front cover comments on the book’s status as a manufactured object. This is in harmony with Benjamin’s text: “[T]hat which withers in the age of mechanical reproduction is the aura of the work of art. By making many reproductions it substitutes a plurality of copies for a unique existence
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In this world of digitalization where the world is treading towards the print media, there is an obvious chance that the use of paper would be minimized in our coming future. With the reduction in the use of paper, there will also be a reduction in the cutting of the trees. This would also help deforestation thereby helping the environment going towards the phase of extinction. Use of print media in place of paper also facilitates accessibility, recovery of lost documents, decrease in the storage problem and is also flexible.
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