from "Game on a line: Origin and Genesis"

What you see on the screen was prepared for the screen; but the images utilised were made originally for the page.

The web images are the same as the page images and the web images are different to the page images.

The processes of reading a print book and web book are gesturally different to each other.

Those differences are hard to express. They are to do with the feeling of the experience.

One reasonable analysis will demonstrate that, in both cases, affordable technology makes the text available. It is true that the equipment necessary to view a text on the web is more expensive than a book at present; but, on the other hand, publication on the internet makes it available to millions at a very small cost.

The world wide web does not give us the experience of holding a book. The options available to a book artist such as choice of paper and ink are irrelevant to the website maker, who has other judgements to make. This may not be important where graphical elements are additional to an alphabetical text; it becomes essential to consider the issue where the text includes its own formatting and the book-as-object is part of the meaning of the text it contains and conveys.

(36 pages, saddle-stapled)

Lawrence Upton...

early-retired from post as "Head of Academic Computing" at Carshalton College in 1996

in the 70s, a member of jgjgjg [with cheek and Fencott] and then "Bang Crash Wallopp" [with cheek and Vonna Michell]... now performs solo and with Bob Cobbing

exhibited 3D poems and "Deteriorating Texts" at LYC, Cumbria in 1981...

recently exhibited "Domestic Ambient Noise", with Bob Cobbing, at The Klinker, London

many collaborative works with Cobbing including the anthology "WORD SCORE UTTERANCE CHOREOGRAPHY in verbal and visual poetry"

housepress in Canada published "house" and "Sta!" & Writers Forum published "huming / queuing"