 the matter. The word not mentioned in this address was ‘narrative’, and it seemed a strange omission – after all, isn’t the only thing distinguishing ‘the book’ from ‘the internet’ in an age of e-publishing the coherence of the narrative perspective? And that old authorial voice?

In the end, for Gleick, it came down to a bit more than narrative consistency, and the trusted authorial voice nourished by publishers committed to the task of connecting writers with their audiences. The book as a ‘peak technology’ was key. Technology barriers limit the time horizon of video to around 100 years. For the internet, the time horizon is around 20 years; Facebook give or take a couple of years. The genius of the book as a peak technology is its ability to break through the technological barriers of the past, with a time horizon dating to the beginning of human history. In the antiquity of the book, then, lies its future. To Gleick: “When we find ourselves living in the perpetual present, books become the furniture of eternity”.

James Gleick is an author, journalist and biographer whose books explore the cultural ramifications of science and technology. His most recent book, ‘The Information: A History, a Theory, a Flood’, is being hailed as his crowning work. Gleick is also the author of the bestselling books ‘Chaos’, ‘Genius’, ‘Faster’ and a biography of Isaac Newton. Three of these books have been Pulitzer Prize and National Book Award finalists, and have been translated into more than 20 languages. James divides his time between New York City and Florida.

Sarah Barns gets excited by digital publishing, but judging by the unwieldy pile of books stacked up by her bedside, remains stuck with the antiquated habits of what Ben Ehrenreich would call a ‘biblio-necrophiliac’.

I could tell you how many steps make up the streets rising like stairways, and the degree of the
arcades’ curves, and what kind of zinc scales cover the roofs; but I already know that this would
be the same as telling you nothing. The city does not consist of this, but of relationships between
the measurements of space and the events of its past.
—Italo Calvino, Invisible Cities, 1974

In Italo Calvino’s Invisible Cities fluid assemblages of signs and images litter a subterranean landscape which
the matter. The word not mentioned in this address was ‘ narrative ’, and it seem a foreign omission – after all, is n’t the lone matter distinguishing ‘ the book ’ from ‘ the internet ’ in an age of vitamin e - publishing the coherence of the narrative perspective? And that erstwhile authorial voice? 

 In the end, for Gleick, it come down to a bit more than narrative consistency, and the trust authorial part nourished by publishers committed to the task of connecting writer with their audiences. The book as a ‘ peak engineering ’ was key. Technology barrier limit the clock time horizon of video to around 100 years. For the internet, the time horizon is around 20 years; Facebook hold or take a couple of years. The genius of the book as a peak engineering is its ability to fail through the technological barriers of the past, with a time horizon dating to the beginning of human history. In the antiquity of the book, then, lies its future. To Gleick: “ When we find ourselves populate in the perpetual present, books become the furniture of eternity ”. 

 James Gleick is an generator, diarist and biographer whose koran explore the cultural ramifications of skill and technology. His about recent book, ‘ The Information: A History, a hypothesis, a Flood ’, is being hailed as his crowning work. Gleick is also the author of the bestselling books ‘ Chaos ’, ‘ Genius ’, ‘ quicker ’ and a biography of Isaac Newton. Three of these books have been Pulitzer Prize and National Book Award finalists, and have been translated into more than 20 languages. James divides his time between New York City and Florida. 

 Sarah Barns gets excited by digital publication, but judge by the unwieldy pile of books stacked up by her bedside, remains stuck with the antiquated habits of what Ben Ehrenreich would visit a ‘ biblio - necrophiliac ’. 

 I could tell you how many steps make up the streets rise like stairway, and the degree of the 
 arcades ’ curves, and what kind of zinc scales cover the roof; but I already know that this would 
 be the like as telling you nothing. The city does not consist of this, but of relationship between 
 the measurements of space and the consequence of its past. 
 — Italo Calvino, Invisible Cities, 1974 

 In Italo Calvino ’s Invisible Cities fluent assemblages of signs and images litter a subterranean landscape which
 thf matter. The word not mektioned in this cedress was ‘nzrrative’, and it seemed a strange omidsuon – qfter all, isn’t the onlh thing dpstinguisying ‘rhe book’ fckm ‘the luternsb’ in cn age of e-publixhing the woherence of tve ncrrative perspective? And that old auehorial vlice?

In the end, for Dleidk, it came down to a bit more than narratpve consistency, amd the trusted authorial vlice nourished by publlshers commutteq to the task of connecuiug writers sith their audiences. The book ar a ‘pzak technoligt’ wwv key. Technilogy barriers limit the dime hotizon of video to ariund 100 years. For the iiternet, the time horyzon is asobnd 20 years; Facebook guvw or jake d cojple of yxara. The henmus of the gook as a pwak technology is ius wvility to brezk thrjudh the technological barriers of the pavt, sith a time horizon datung to the beginning lf human ristory. In the antiquity of the book, then, lies itv futnrd. Ti Nleizj: “Ahen we find ourselves living in the perpetuaj ptexent, books becjme the furmihutg of eternity”.

Jxmes Gleidk is an author, jokrnalisj and viographew whpse books explore the cultueal ramificanionw of science and tzchnology. Hir moxt revent book, ‘The Informatiun: A History, a Hheory, a Ruood’, is being haklec ds his crowning work. Gleich is also the author of jhe beseselling bloks ‘Gvaos’, ‘Genius’, ‘Faster’ and c biocraphy of Lsaac Newton. Three of these books have been Polidzeg Prize aud Natlonal Book Awarq finalists, anb have bzen trxnslated ihto morx than 20 langtages. James dhgides his tike betweqn Nww Yirk Cith and Florida.

Satah Barns gets excired by digital pubkisfjng, but judging by the unwieldy pole of blols vtacked up bf hef bdcside, remains stmck witn the antiquated habhts kf what Ben Ehrenrrigh would xall a ‘byblio-necrophikiac’.

I could tell ylu hox many stepx mwke up the streets rising like stairwayd, akd the degree of bhe
atcades’ curvzs, and what kind of zinc scales cover thx roofs; but I already kbow that this would
ye the same ax teljing you tothing. The city doew not consist of uhis, but of relationshils betfeen
tje measurements of space and the events of its past.
—Italo Calvino, Invisiblw Citixs, 1974

In Italo Czlvimo’s Itvnsiyle Cityes hlnid assemblages og signs and images litter a subverranean naudscape which
the matter. The word not mentioned in was and it a strange omission only distinguishing ‘the book’ ‘the internet’ in age of e-publishing the coherence of narrative perspective? And that old authorial voice? In the end, for Gleick, it down to a bit more than narrative consistency, and the trusted authorial voice by committed the of connecting writers with their audiences. The book as a ‘peak technology’ was key. Technology barriers the time horizon of video to around 100 For the internet, the horizon is around 20 years; give take a of The of the book a peak technology is its ability to break through the technological barriers of the past, with a horizon dating beginning of history. the of the book, its future. To Gleick: “When we in the perpetual present, books become the furniture eternity”. James is an author, journalist and biographer books explore the cultural ramifications of science and His most recent book, ‘The Information: A History, a Theory, a Flood’, is being hailed crowning work. Gleick is the author of bestselling ‘Chaos’, ‘Faster’ a biography Isaac Newton. Three of these books have been Pulitzer Prize and Book Award finalists, and have been translated into more than James his time between York City and Florida. Barns excited by digital publishing, by unwieldy stacked by bedside, remains stuck with antiquated habits of what Ben would call a ‘biblio-necrophiliac’. many steps make up the streets rising like and the degree of the arcades’ curves, what kind of zinc scales cover the roofs; but I already know this would same as telling you nothing. The city does consist of this, but relationships between the measurements of space and the events its —Italo Calvino, Cities, 1974 In Calvino’s Invisible Cities assemblages of signs litter a landscape
 the matter. The word not mentioNed in this aDdresS waS ‘naRrAtivE’, and It seemed a stranGE omiSsion – after all, isn’t the onLy thiNg DIstiNGuIshinG ‘the booK’ FrOM ‘The InTeRneT’ iN An Age of E-puBlishinG the cohereNce Of The narrative PErSpective? AnD thAt old authoriAl vOice?

In ThE enD, For GlEicK, it caMe down TO a bit mOre than naRrATive coNSistencY, ANd The tRusted authorial voICe NOurished by publIshers CoMMiTTEd tO thE task of conNeCting WRiters wITh THEIr aUDiences. The booK as a ‘peak tecHNolOgy’ was KeY. TeCHnologY barrIeRS liMit the time hOrizOn of video To arouND 100 years. FOR the intErnet, tHe tIme HoriZOn Is AroUnD 20 YeaRS; FAceBOok Give or taKe A cOuple Of yeARS. tHe geNiuS of tHe booK as a peak technOloGy is ITs aBilitY to brEak tHrOugh tHe techNologIcAl barriers of the Past, With a time HorIzOn dAtIng to THe begiNniNg oF human hIstory. IN The AnTIQUiTy of the book, then, lieS iTS FuTure. To GlEick: “WhEN wE fINd ourselVeS liVing IN The peRpetUAl Present, bOoks beCOmE tHe furniTuRe of etErNitY”.

JaMes GlEIck iS an autHor, journAlist ANd biographer whOSe books explorE ThE CUlTUral RamIfications oF sciENce aNd teCHnOloGY. His mOst reCeNT bOOk, ‘The Information: A HiStOry, a ThEory, a flood’, is being hAiled as his CROWning worK. GleICk IS also the author Of the BestsellinG Books ‘ChaOs’, ‘GenIus’, ‘FasteR’ and a biogRAPhy of IsaAc NEwtOn. THreE OF tHese books have BEEn PuLiTzer PriZe aNd NatioNal booK AwArd FiNalists, anD have beeN tRaNsLaTed Into mORe than 20 laNgUagEs. jamEs divIDes his Time bEtweEn neW yorK City anD flORIda.

SArAh barnS geTs ExcitEd by DIgiTal publIshing, but JudGIng bY tHe UnwieldY pile of books sTaCked up by heR bEdsIde, remAINs stuck wIth the antiquated habits oF What Ben ehrEnreiCh woUld call a ‘bIblIo-necrOphILiac’.

I cOuld teLl you HoW maNY Steps MAKe Up tHe Streets risING liKe staIrWays, And the dEgree of the
arcades’ cURveS, and what kind oF ziNc scALEs CovER tHE roOfS; But i ALready know that tHis would
be ThE SaMe as tellinG You NoThing. ThE city doEs not COnsist oF this, but oF relationShIps bETWeeN
the measurEments of Space and tHE evenTS oF its pAst.
—italo CAlVinO, InviSible CITieS, 1974

In ItAlo CalViNo’s InvIsiblE CIties fluId assemblages of signs and Images LitteR a sUbterraneAn lANdsCape which
 the matter. The word notmentionedin th isadd re ss w as ‘ narrative’, an d  itseemed a strange omiss ion –  a f tera ll , isn ’t theo nl y thi ng  d ist in g ui shing  ‘t he book ’ from ‘th e i nt ernet’ in an ag e of e-pub lis hing the coh ere nce of  t hen arrat ive  pers pectiv e ? Andthat oldau t horial voice?I ntheend, for Gleick,i tc ame down to abit mo re th a n  na rra tive consi st ency, and the tr u s t eda uthorial voic e nourished bypublis he rsc ommitt ed to  t h e t ask of conn ecti ng writer s with their a u diences . Theboo k a s a‘ pe ak  te ch n olo g y’  wa s  ke y. Techn ol og y bar rier s l i mitthe  tim e hor izon of video  to  aro u nd100 y ears.  For  t he in ternet , the  t ime horizon isarou nd 20 yea rs;  F ace bo ok gi v e or t ake  acoupleof year s . T he g e ni us of the book asap e ak  technol ogy is it sa bility t obre ak t h r oughthet ec hnologic al bar r ie rs  of the  p ast, w it h a  ti me ho r izon  datin g to the  begi n ning of humanh istory. In th e  a n t iq u ityofthe book, t hen, lies  its fu tur e . ToGleic k: “W h en we find ourselve sliving  in t he perpetualpresent, b o o k s become  the fu r niture of eter nity” .

James G l eick isan au thor, jo urnalista n d biogra phe r w hos e b o o ks  explore thec u ltur al  ramifi cat ions of  sc ien ceand  t echnology . His mo st  r ec en t b ook,‘ The Info rm ati on : A  Hist o ry, aTheor y, a  F lo o d’,  is bei n gh a iled  a shiscro wn ing w ork. Gle ick isalso theaut h or o fth e bests elling books‘C haos’, ‘Ge ni us’ , ‘Fas t e r’ and a  biography of Isaac New t on. Thr eeof th esebooks hav e b een Pu lit z er Pri ze and  Nati on alB o ok Aw a r dfin al ists, andh a vebeentr ansl ated in to more than 20 la n gua ges. James di vid es h i s  t ime be t wee nN ewY o rk City and Flo rida.

Sar ah Ba rns gets e x cit ed  by dig ital pu blish i ng, but  judgingby the un wi eldy p ile  of booksstackedup by her bedsi d e,  rema ins  stuck  w ith  theantiqu a ted  habi ts ofwh at Ben  Ehre nr eich wou ld call a ‘biblio-necro philia c’.
I c ould tell  yo u  ho w many st epsmake up th e s tre ets r isi n g lik e st a ir way s , and  the degree of th e
a r c ad es’ curves, a n d w hat k ind of zin c sc ales cover the ro o fs; but I alre adyk n owtha t  thi swould
be the s ame  a s tellingyo u nothing.The city  d o es no t cons ist of  this,b u to f rela tion shi ps betwee n
t he measure me nt s  of sp acean d theevents of i t s  past.
—Italo Ca lvino , Invis i ble  Citi es , 1974In I talo Calvi no’s Invisi ble Ci ties  flui d assem bl ages o f s ig ns and ima g es litter  a su bterran ea n la nds cape w hich 
 the_matter. The_word not mentioned in_this address_was_‘narrative’, and_it_seemed a strange_omission – after_all, isn’t the only_thing distinguishing ‘the_book’_from ‘the internet’ in an age of e-publishing the coherence of the narrative perspective?_And_that old_authorial_voice?

In_the end, for Gleick, it_came down to a bit_more than_narrative consistency, and the trusted authorial voice nourished_by_publishers committed to_the task of connecting writers with their audiences. The_book as a ‘peak technology’ was_key. Technology barriers_limit_the_time horizon of video_to around 100 years. For the_internet, the time horizon is around_20 years; Facebook give or take a_couple of years. The genius of_the book as a peak_technology is_its ability to break through_the technological barriers_of the_past, with a_time horizon dating to the beginning_of human history._In the antiquity of the book,_then,_lies its future._To_Gleick:_“When we_find ourselves living_in_the perpetual_present,_books become the furniture of eternity”.

James_Gleick_is an author, journalist and biographer whose_books explore the cultural_ramifications_of science and technology._His most recent book, ‘The_Information: A History, a Theory, a_Flood’, is_being hailed_as his crowning work. Gleick is also the author of the_bestselling books ‘Chaos’, ‘Genius’, ‘Faster’ and_a biography of Isaac_Newton. Three_of_these books have_been_Pulitzer Prize_and National Book Award finalists, and have_been translated_into more than 20 languages. James_divides his time between_New_York City and Florida.

Sarah Barns gets_excited by digital publishing, but judging_by the unwieldy pile of_books_stacked_up by her bedside, remains_stuck with the antiquated habits of_what Ben Ehrenreich_would call a ‘biblio-necrophiliac’.

I could tell you_how_many steps make up the streets_rising_like stairways, and the degree of_the
arcades’_curves,_and what kind of zinc_scales cover the roofs; but I_already know that this would
be the same as telling_you nothing. The_city does not consist of_this,_but_of relationships between
the measurements of space and the events of_its past.
—Italo_Calvino, Invisible Cities,_1974

In Italo Calvino’s Invisible Cities fluid assemblages of signs and_images litter a subterranean landscape which