By Jayantanuja Bandyopadhyaya
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And many other designers are also contributing to this critical discourse. Beyond the individual story, the joy of dealing with information is the experience one has with different types of media. I am happy to see how some media outlets keep experimenting to make the best possible use of different channels. Glamorous titles such as Monocle as well as smaller ventures such as the online feuilleton Berliner Gazette are using print, web, mobile, audio, motion, events, exhibitions, et cetera to extend a story rather than just duplicating it over and over again.
In 2011, Google had scanned more than 15 million books and planned to have all known books scanned by the end of the decade. In 1971, Project Gutenberg was launched as the first collection of digitally formatted texts (what we now refer to as eBooks). In 2011, many booksellers reported that eBook sales surpassed their hardback equivalents for the first time. It has taken only 40 years for digital texts to rival printed books. In a reversal of the publishing process, digitization converts an image of a book page back into language – searchable, retrievable, scalable, and translatable text.
The man says something in Russian and we read it in Dutch along the bottom of our television screen. With the exception of advertising slogans and instructions for use, no text has become such a natural part of our everyday lives as subtitles. Everybody reads them throughout the day, so automatically that picture and subtitle have become intertwined and Derrida seems finally to have been proven right: the whole world has become écriture. There is another way. In many other countries, the viewer doesn’t get to hear the Russian guide, or at most somewhere in the background.
Mao Tse-tung and Gandhi: perspectives on social transformation by Jayantanuja Bandyopadhyaya