Monday, July 26, 2010

A Scrap of An Idea


ODE TO PAPER

Plain white lined object
Floating through the air in the breeze
Leaving and arriving at different destinations
Movable, portable
Wanting nothing more than
To communicate
To relay words and numbers and symbols
Accepting different languages
Written by different hands
Light-weight
Loose-leaf
Different purposes
Different roles
Without this, little children of all ages
Grown adults with childhood spirit
Could not enjoy the gift of freedom
To make airplanes that
Fly high into the heavens
To make frogs and tigers and birds
That expand our minds
To make footballs that
Cause touchdowns in the middle of class
This dull, reusable, recyclable piece of trash
Is the binding of our society, our culture, our world
Connecting life into a whole

- MARCI PHILIPS
(We found this poem in the College of Central Florida's literary journal IMPRINTS and the Paper Sculpture art is by Jen Stark.)

I love this quote by George Bernard Shaw. "Only on paper has humanity yet achieved glory, beauty, truth, knowledge, virtue, and abiding love." Writers can create the world as we'd like it and expose life in all of it's complexities. Let's here a big HOLLER for those artists who play with paper...whether it manifests into a sculpture, a piece of writing, or even a prayer for peace.

As Picasso said, "The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider's web." With that in mind, we invite you to share with us your scraps of ideas: a lonely line, a fuzzy outline of a thought, a few of your favorite words that jump off the page in the dictionary. Who knows, maybe if we free these words and ideas from our mind, they will finally find a home on paper.

Wednesday, July 14, 2010

The Social Life of Paper

The following are excerpts of an article written by Malcom Gladwell, printed in the March 25, 2002 volume of The New Yorker. To read the entire article, click here.

Computer technology was supposed to replace paper. But that hasn't happened. Every country in the Western world uses more paper today, on a per-capita basis, than it did ten years ago. The consumption of uncoated free-sheet paper, for instance -- the most common kind of office paper -- rose almost fifteen per cent in the United States between 1995 and 2000. This is generally taken as evidence of how hard it is to eradicate old, wasteful habits and of how stubbornly resistant we are to the efficiencies offered by computerization. A number of cognitive psychologists and ergonomics experts, however, don't agree. Paper has persisted, they argue, for very good reasons: when it comes to performing certain kinds of cognitive tasks, paper has many advantages over computers. The dismay people feel at the sight of a messy desk -- or the spectacle of air-traffic controllers tracking flights through notes scribbled on paper strips -- arises from a fundamental confusion about the role that paper plays in our lives.

The case for paper is made most eloquently in "The Myth of the Paperless Office" (M.I.T.; $24.95), by two social scientists, Abigail Sellen and Richard Harper. They begin their book with an account of a study they conducted at the International Monetary Fund, in Washington, D.C. Economists at the I.M.F. spend most of their time writing reports on complicated economic questions, work that would seem to be perfectly suited to sitting in front of a computer. Nonetheless, the I.M.F. is awash in paper, and Sellen and Harper wanted to find out why. Their answer is that the business of writing reports -- at least at the I.M.F -- is an intensely collaborative process, involving the professional judgments and contributions of many people. The economists bring drafts of reports to conference rooms, spread out the relevant pages, and negotiate changes with one other. They go back to their offices and jot down comments in the margin, taking advantage of the freedom offered by the informality of the handwritten note. Then they deliver the annotated draft to the author in person, taking him, page by page, through the suggested changes. At the end of the process, the author spreads out all the pages with comments on his desk and starts to enter them on the computer -- moving the pages around as he works, organizing and reorganizing, saving and discarding.

Without paper, this kind of collaborative, iterative work process would be much more difficult. According to Sellen and Harper, paper has a unique set of "affordances" -- that is, qualities that permit specific kinds of uses. Paper is tangible: we can pick up a document, flip through it, read little bits here and there, and quickly get a sense of it. (In another study on reading habits, Sellen and Harper observed that in the workplace, people almost never read a document sequentially, from beginning to end, the way they would read a novel.) Paper is spatially flexible, meaning that we can spread it out and arrange it in the way that suits us best. And it's tailorable: we can easily annotate it, and scribble on it as we read, without altering the original text. Digital documents, of course, have their own affordances. They can be easily searched, shared, stored, accessed remotely, and linked to other relevant material. But they lack the affordances that really matter to a group of people working together on a report. Sellen and Harper write:
Because paper is a physical embodiment of information, actions performed in relation to paper are, to a large extent, made visible to one's colleagues. Reviewers sitting around a desk could tell whether a colleague was turning toward or away from a report; whether she was flicking through it or setting it aside. Contrast this with watching someone across a desk looking at a document on a laptop. What are they looking at? Where in the document are they? Are they really reading their e-mail? Knowing these things is important because they help a group coordinate its discussions and reach a shared understanding of what is being discussed.

Paper enables a certain kind of thinking. Picture, for instance, the top of your desk. Chances are that you have a keyboard and a computer screen off to one side, and a clear space roughly eighteen inches square in front of your chair. What covers the rest of the desktop is probably piles -- piles of papers, journals, magazines, binders, postcards, videotapes, and all the other artifacts of the knowledge economy. The piles look like a mess, but they aren't. When a group at Apple Computer studied piling behavior several years ago, they found that even the most disorderly piles usually make perfect sense to the piler, and that office workers could hold forth in great detail about the precise history and meaning of their piles. The pile closest to the cleared, eighteen-inch-square working area, for example, generally represents the most urgent business, and within that pile the most important document of all is likely to be at the top. Piles are living, breathing archives. Over time, they get broken down and resorted, sometimes chronologically and sometimes thematically and sometimes chronologically and thematically; clues about certain documents may be physically embedded in the file by, say, stacking a certain piece of paper at an angle or inserting dividers into the stack.

But why do we pile documents instead of filing them? Because piles represent the process of active, ongoing thinking. The psychologist Alison Kidd, whose research Sellen and Harper refer to extensively, argues that "knowledge workers" use the physical space of the desktop to hold "ideas which they cannot yet categorize or even decide how they might use." The messy desk is not necessarily a sign of disorganization. It may be a sign of complexity: those who deal with many unresolved ideas simultaneously cannot sort and file the papers on their desks, because they haven't yet sorted and filed the ideas in their head. Kidd writes that many of the people she talked to use the papers on their desks as contextual cues to "recover a complex set of threads without difficulty and delay" when they come in on a Monday morning, or after their work has been interrupted by a phone call. What we see when we look at the piles on our desks is, in a sense, the contents of our brains.

...

In the tasks that face modern knowledge workers, paper is most useful out in the open, where it can be shuffled and sorted and annotated and spread out. The mark of the contemporary office is not the file. It's the pile.

...

It is only if paper's usefulness is in the information written directly on it that it must be stored. If its usefulness lies in the promotion of ongoing creative thinking, then, once that thinking is finished, the paper becomes superfluous. The solution to our paper problem, they write, is not to use less paper but to keep less paper. Why bother filing at all? Everything we know about the workplace suggests that few if any knowledge workers ever refer to documents again once they have filed them away, which should come as no surprise, since paper is a lousy way to archive information. It's too hard to search and it takes up too much space. Besides, we all have the best filing system ever invented, right there on our desks -- the personal computer. That is the irony of the P.C.: the workplace problem that it solves is the nineteenth-century anxiety. It's a better filing cabinet than the original vertical file, and if Dewey were alive today, he'd no doubt be working very happily in an information-technology department somewhere. The problem that paper solves, by contrast, is the problem that most concerns us today, which is how to support knowledge work. In fretting over paper, we have been tripped up by a historical accident of innovation, confused by the assumption that the most important invention is always the most recent. Had the computer come first -- and paper second -- no one would raise an eyebrow at the flight strips cluttering our air-traffic-control centers.

Monday, July 5, 2010

Thinking Career Change? How About Papermaking?

Timothy Barrett, internationally recognized master craftsman and paper historian, states that "the study of books can give us an entirely new picture of the development of all disciplines and of human knowledge in the broadest sense." He asks, "how can the material study of books and paper reveal new things about our cultural heritage, about history, that we wouldn't otherwise be able to learn?" For example, he discovered that papermakers in the 15th century were trying to make imitation parchment instead of regular paper, most likely as a way for papermakers to cut scribes out of the equation by making imitation hand-copied manuscript books. Early mass production!

Combining the skills of artist, ethnographer, scientist, and historian, Barrett documents and demonstrates centuries-old hand-papermaking practices that may otherwise be lost. As the founding director of the papermaking facilities at the University of Iowa Center for the Book — the only academic program in the United States that focuses on producing traditional Western- and Japanese-style papers and teaching-related techniques — he has trained a generation of papermakers to create conservation-sound paper.

He says that in order for scholars in the field to utilize their knowledge of different papers and book production techniques, they need to get hands on experience in the book arts: paper-making, letterpress printing, bookbinding and calligraphy.
Believe it or not, this is a REAL job with practical implications. Barrett and his co-workers recently fabricated the handmade archival paper used to re-house the Declaration of Independence, the Bill of Rights, and the Constitution as part of the “Charters of Freedom Re-encasement Project.” They created a layer of white paper to be placed under important documents in their display cases. The paper supports the parchment of the original documents, "provides a white background for better viewing, and helps stabilize the internal humidity in the encasement."
This goes WAY beyond the childhood experiment of turning dryer lint into paper. If you'd like to learn more check out Barrett's Japanese Papermaking: Traditions, Tools, and Techniques.

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