![]() An overarching goal of this project-limned in greater detail in the abstract above-is to demonstrate how using digital technologies as bibliographic research tools challenges and changes the kinds of stories we might tell about early modern readers, writers, books, and their publishers. ![]() The above draft chapter is from my in-progress monograph, Cut/Copy/Paste. Katherine Hayles, author of Postprint: Books and Becoming Computational Highly recommended for book historians, media theorists, and anyone who loves a good story. In the process, she herself reinvents that it means to do book history, drawing exciting parallels between the near past and our transitional moment as we move from print to digital culture. She travels to the fringe of the book trade to show how makers in the seventeenth and eighteenth centuries created assemblages from pre-existing print books, making entirely new works of art that both drew on traditional culture and simultaneously reinvented it. Whitney Trettien’s Cut/Copy/Paste is a seriously delightful book, and a delightfully serious one. Bringing these long-forgotten objects back to life through hand-curated digital resources, Trettien shows how early experimental book hacks speak to the contemporary conditions of digital scholarship and publishing. In Cut/Copy/Paste, Whitney Trettien journeys to the fringes of the London print trade to uncover makerspaces and collaboratories where paper media were cut up and reassembled into radical, bespoke publications. How do early modern media underlie today’s digital creativity?
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