Oct 26, 2009

Ricky Swallow - The Bricoleur

Killing Time (detail), Maple Bracing, 2003-2004, 108 x 184 x 118 cm

Ricky Swallow works in exchanges; exchanges of materials, time and space. Relationships between things, between lives, and the stuff that makes up daily life. Memorials are pieced together from the narratives of human existence; the discarded, once valued but now forgotten. Like the bricoleur put into popular usage by anthropologist Claude Levi-Strauss in his book The Savage Mind, Ricky Swallow draws from his immediate surroundings, but in a form of second order bricoleur, where things are elegantly crafted from wood, plaster and bronze.

Fig. 1, English Lime wood, 2008, 24 x 20  14 cm

The visible remnants of a passage of time, and the physical work involved in sculpture seeps from the works. It can be seen in the intricate rendering of fish and crustaceans strewn across a model of the family table of Swallow’s youth in Killing Time (2003-04), or in the recreation of the feathers and fur strung up, the prize of a hunt in Salad days (2005). The paper sheath cloaking a hidden scull in Fig 1. (2008) is as delicate and translucent as the real thing. Amazing. Awe inspiring.

Wood is a living material, it expands, contracts, and ages with time just like the relationships we have with objects. It is not static, just as our memories are not static. They morph, grow and sometimes disappear. They form the by products of our lives, a testimony to the person we have become. And our memories are forever bottled-up in the things we collect, the things that we cannot let go.

Rife with autobiographical associations, Swallow reclaims the still life genre in these pieces to explore his own personal narrative. Recapturing a memory through the strong associations forever inextricably linked with objects, Swallow makes a point of salvaging and honouring the things that continue to resonate strongly in his life. This long train of objects and images are documented in a daily dose on his blog Ready for the House. From animals to wood, via fishing, lamps, loot and love, it’s easy to see how the oddest things strike a chord somewhere within us.

Back between the white walls of the Ian Potter, walking amongst these forms it’s hard not to feel the longing tied up in the wood, the bronze and the plaster. Although the works are merely recreations of actual objects, you can feel their longing to be part of the real world, to be more than just a container for something bigger than themselves. Instead the works manage to unify the description of all that we imbue in an object into one complete experience. They are a pace away from real life, but you can’t help but feel that without them real life might slip away.

"It’s overly romantic, but there is some kind of emotional struggle to make anything in the studio work. If I think something is really moving, I want everyone that’s close to me to have experienced the same thing... it’s something about a lasting impression and the sculptures are supposed to be a lasting impression of something else."

- Ricky Swallow talks to Lesley Vance of North Drive Press June 2005.

The Bricoleur is showing at the Ian Potter Centre until 28 February 2010.

Oct 22, 2009

Alice Byrne - Into the Wald

The Fox's Sun, oil on linen, 122 x 168 cm

Luminous verdure encircles completive abodes in Alice Byrne’s new series of works Into the Wald. Glowing oils and delicate, intimate watercolours hang side by side on the walls of the James Makin Gallery in Collingwood, cushioning the viewer who enters this space from the galleries urban surroundings.

Alice Byrne is a Melbourne artist who has long sought out houses for subject matter, deconstructing architectural forms into their essential elements and transforming landscape into portraiture. In soft glazes of oil paint, Byrne blurs the edges of luminous fields of colour to explore intriguing compositional possibilities that once lay dormant.

This exhibition sees an introduction of new elements, disturbing the peace that was once so important in certain previous works, and bringing a sense of the unknown. Returning to a small disused school-house in rural Victoria, Byrne investigates both its remoteness and seeming absorption into its rich wooded surroundings. The high German word wald used in the title of this exhibition alludes to an idyllic, unspoilt wilderness that both captivates and forbids. It’s associated with ideas of a European forest as imagined in literature and folklore, representing the uncontrolled and unfamiliar. By using the term wald to describe the place depicted, Byrne immediately conjures a mythic world heavy with mysterious connotations.

Way Through, water colour on paper, 25.9 x 37.6 cm

The rich, overgrown surroundings are painted with relish, twisted foliage and organic forms encroach on the solitary building, and striking combinations of colour play out against each other. Light filters through the branches and leaves, leaving behind dazzling reflections that glimmer on the forest floor. What is created is a place both comforting and alluring – yet containing a perceptible threat perched on the edge of the subconsciousness. This unidentifiable presence, this menace to the gentle peacefulness of nature, is the thing you feel when alone in the wild. This presence gives the works their subtle tension and their potential to stretch the imagination.

Grounded, oil on linen, 113.5 x 85 cm

Shadows appear, and figures can be made out in the sidelines. Like the buildings, these figures both belong and intrude on their surroundings, and their surroundings both accept and deny their presence. The figures mark the entrance of the human form in Byrne’s work, taking the work a step closer to narrative. Ultimately Byrne leaves the viewer to infer what they will, and this open ended quality transports the viewer into the wald created, making them a part of the process of creating. This house can be a shelter and comfort, or just the illusion of refuge that promises something else.

Into the Wald is showing at James Makin Gallery until 7 November 2009.

Oct 20, 2009

+ one more

starting another blog has made me think a bit about why i blog, who i blog for, and to what end. what i always come back to is how much i like having a space to write in, share, and think out loud (even if my words sometimes just float around in space). it also gives me a reason to take photos of my breakfast and other random things (feet, sky, trees). this is strange i know, but its the best way to document day to day life. just the ordinary. and to see what other people are doing, people that live on the other side of the world, people in melbourne (who you might just sit next to on the tram everyday). blogging makes the world a little bit smaller. thats what i like about it. ill still be here from time to time, but more often here. so i hope we bump into each other again soon.

Oct 19, 2009

my final word (on twitter)

well I'm putting an end to my twitter experiment. it was fun but sadly not for me. i gave it a fair shot i think, and maybe i'll come back to it sometime. 

for all of you who want some reasons to keep twittering (don't let me hold you back!) here are some convincing points, i've edited them a bit ...
(via this article via mistakes being marked)

1. you get access to different points of view.
2. the people you follow can point you to great resources you wouldn't find otherwise.
3. you can spread word about your brand, what you do, and then hear what people think about it.
4. twitter can make you a better writer.

the last one is the most interesting i think. writing succinctly is an art, and to have a space that you feel obliged to write for everyday is well, good practice. sharing thoughts is why i like blogging, and i guess twitter is just another way of doing this.  

Oct 11, 2009

24-hour art (assignment 3)

Memory of the child-woman 1932

The National Gallery of Victoria is staying open all night in a big-bang finale to the blockbuster Salvador Dali: Liquid Desire exhibition. For its final week the gallery will be open until 9pm on Wednesday, Thursday and Friday, and will stay open all night on Saturday, October 3, closing its doors for the final time at 5pm on Sunday, October 4.

It’s an interesting marketing ploy, aimed at bringing young Melbournians into the gallery, an audience the NGV typically struggles to attract. NGV director Gerard Vaughan says “This is an experiment. We're looking at as many ways as possible to open the gallery up a bit. Anything we can do to break through those nine-to-five opening hours creates another level of access.”

Night-time culture is not a new idea. Europe has long been on the band wagon, with museums and galleries opening from dusk until dawn on certain days each year, and offering hundreds of free activities to boot. The idea began ten years ago in Berlin, and was quickly adopted in Paris and Amsterdam, before spreading through Europe. Events such as La Nuit Blanche, an annual all-night cultural festival launched in Paris in 2002, has now spread to more than twenty cities world-wide, from Canada to Israel. So its about time Melbourne joined in the fun.

Daddy Longlegs of the evening – Hope! 1940

Salvador Dali: Liquid Desire is the sixth exhibition in the NGV’s Winter Masterpieces series and has been one of the most popular to date, with almost 240,000 people through the doors since it opened in June. The all-night opening seems like a natural progression from the gallery’s Wednesday evenings Art After Dark that began in 2004 with the Impressionists exhibition.

And what better way to spend a sleepless night than with the master of surrealism? Wander past his early Impressionist paintings, pinch yourself to make sure you’re not dreaming up his famous lobster telephone sculpture, and while away the hours with some bizarre but always amusing cinema from Dali’s collaborations with Jean Cocteau, Luis Bunuel and Alfred Hitchcock.

The retrospective is the first to be staged in Australia, and brings together over 200 works from the two largest collections of Salvador Dali in the world, the Fundacio Gala-Salvador Dali in Figueres, Spain and the Salvador Dali Museum in St Petersburg, Florida. And with a two for one ticket offer on adult tickets purchased between midnight October 3, and 10am October 4, there’s no excuse to miss out!

We can only hope that this will be a trend to stick. Why confine ourselves to daylight hours, when there are 24 hours worth of possible cultural time in every day?

reframing darwin (assignment 3)

Emmanuel Frémiet, ‘Gorilla carrying off a woman’ 1887

What does it mean to be human and how do we interact with our surroundings? From the very first settlers to reach Australian shores, to contemporary explorations of humanity, time and place, Reframing Darwin: Evolution and Art in Australia at the Ian Potter Museum, examines the complex relationships we have with each other and the world we live in. Guest curator Professor Jeanette Hoorn has compiled a fascinating look at the persistence of Darwinian thought in Australia, teasing out and exploring traces of Darwin in art.

On the Origin of Species was published in 1859, and with it Darwin was catapulted to scientific stardom. In this seminal work, Darwin introduced the idea that populations evolve over time through natural selection, and included research undertaken on the voyage of HMS Beagle in the 1830s. The exhibition begins with a vision of Sydney and Bathurst as Darwin encountered it on his arrival on the HMS Beagle through the works of on-board artists Conrad Martens, Augustus Earle and Syms Covington. This sets the scene for what is a truly comprehensive exploration of the influence of Darwinian thought on the artists that follow.

Through a collection of works from more than twenty-five institutions and private collectors across Australia (many never before exhibited publically), artistic interpretations of Darwin’s theory tie together our own local stories and histories. Thoughts relating to time and place shift, and with them our vision of the world around us. Artists Thomas Bock, Louisa Anne Meredith, John Gould, the University of Melbourne’s Baldwin Spencer, Melbourne artist Tom Roberts and those involved in the ‘Gorilla debates’ then being waged amongst Melbourne’s intellectuals, explore the impact of questions of the nature of human origins and the evolution of species on nineteenth-century artistic practice.

We are also given a look at how the work of today’s Australian artists extend the legacy of Darwinian thinking. Explorations of the integration of technology into our everyday lives, the continuing significance of natural selection, and our relationship to notions of a ‘natural’ body, link this seemingly historical view of the world to a view that has integrated itself into our thinking today. Ricky Swallow’s iMan Prototypes (imitation Apple Macs in the shape of human skulls) lie opposite John Wolseley’s sensitive renderings of the Australian landscape. What results is a mind-twisting view of how far we have come, or more correctly, how far we have come to arrive right back where we began. What this exhibition shows us is a glimpse into how our thinking can shift the way we perceive the world and our place in it, but that this is only a perception, merely a reflection of our ideals.

Reframing Darwin: Evolution and Art in Australia is showing at The Ian Potter Museum of Art at Melbourne University until November 1. The exhibition will be accompanied by the publication of a book by the Miegunyah Press.

Oct 8, 2009


this article got me thinking. do you have reading habits - on the train/tram, instead of tv watching, before bed? I think that if I spent more of the time I waste say watching something i don't even like on tv or daydreaming on the train, actually reading a book, I would be so well read by now. maybe we all need some reading rules to keep us in check. these would be mine..

1) always have a book in my bag for train/tram/waiting reading opportunities.
2) stop staring at people on public transport and trying to imagine up crazy lives for them. read my book. my fellow passengers are probably completely unremarkable. and besides it's awkward when they stare back at me and I have to pretend I was looking out the window.
3) enjoy it. don't feel bad if I'm struggling with a particular book. give it a few chapters. if that fails set it aside and have a go at something completely different. don't let reading become a chore.

Sep 24, 2009


i'm enjoying my break but just thought i'd check in while i'm between pages of w&p. 

wow sometimes i feel so old-fashioned (especially in light of my failure to tweet). i prefer to read a book than stare at a screen, i am more likely to read the newspaper while i eat breakfast than get my news online, and i like to write letters (and love getting mail). i admit i don't write letters that often, but really there is nothing better. so this is for all of you who like the letter writing idea but don't ever get around to it. maybe i'll write one today. i'm afraid i only have one kind of paper though.

p.s. i also want to start a book club (is this going a bit too far?)

Sep 16, 2009

tweet update (2 weeks)

i'm actually not all that impressed with twitter. i think i've given it a fair chance, but to be honest i forget to post my 'very important thoughts' (and those not so important). i don't really enjoy reading other peoples tweets either. it's hard to follow one liners. 

to tell you the truth i'm not sure how effective the whole idea is (and i know i'm probably the only one who thinks this), why broadcast our every move when it will appear out of context. is this a valuable pursuit for 'ordinary' people? sure it can be effective in the case of organizations, maybe its just a good advertising tool? 

i'd love to hear from any twitter enthusiasts out there. if you can convince me, i'll give it another chance. otherwise i might just stick to blogging.

Sep 11, 2009


I know this isnt good, but book covers are important to me. when i go to book stores or libraries i generally pick up books because of whats on the cover. i dont really like photographs, or the authors name in HUGE print. thats just distracting. whatever is on the cover gives me a sense of the tone of the book before i have even read the blurb. that doesnt mean i wouldnt buy a book if the cover was particularly ugly, but i wold hesitate, and probably try to find a different edition. 

I think people underestimate the importance of a books physicality. paper quality is important too, i think even more so now that people do a lot of reading online. but that isnt really what i want to write about today. (i really just wanted to show you these) 

top two pics from here
last one via tralalosko

Sep 8, 2009


well i've now been on twitter for about a week. it has been interesting, but far from thrilling - maybe i should follow someone more ridiculous?
the thing is that 'drama' doesn't seem to be the point. twitter seems to have become a window into other peoples ordinary lives. just what they do and think day to day. or do we actually think our lives are exciting?

this post from the new yorker got me thinking. do you think we create unnecessary drama? or have we come to accept that we don't need drama to live fulfilling, happy lives?

Sep 3, 2009


book hands in a secondhand bookstore in paris. brilliant no?

Sep 2, 2009


why am i so reluctant to join online networking sites? 
twitter still feels too far to go, as if joining will push me into a deep dark 'online media' hole.. 
i know its crazy. 
ive long been on facebook, but it took me a while to get there. and i dont use it all that much. so i rationalize by telling myself im not joining twitter because i wont use it. full stop. 
but how do i know this? well i dont. maybe it will open up amazing opportunities, maybe it will get me a job? 
and if it dosnt what do i loose? some annoying junk mail in my inbox? surely i can unsubscribe? (really can i? id like to know) 
maybe i will join. it can be an experiment. 'how far can i go into online social networking without falling in'. ill keep you updated

::update:: im in! if your on twitter leave me a comment so i can follow you. promise no stalking

Sep 1, 2009

assignment one - evaluating web writing

Prominent galleries around the world now use the internet as a platform from which to present their gallery experience to potential visitors. In evaluating how this is currently being done and how the internet can be used to optimal effect, I will focus on three sites whose galleries are key players in today’s international arts scene; the National Gallery of Victoria (NGV) site, the Louvre site, and New York’s Museum of Modern Art (MoMA). Being cultural and artistic destinations, the aesthetics of these sites is a crucial element, together with the communication of relevant, helpful information to guide the user. These sites will be visited by people of all ages and backgrounds, with varying levels of computer literacy, and varying needs and expectations to the information they hope to find, and to the online experience they hope to have. Consequently I will be evaluating these sites on their universal appeal to their visitors, together with their effectiveness in communicating the information their visitors need and expect.

On entering the NGV’s homepage, the first thing that catches my eye are the promotional images splashed along the top of the browser. Showcasing the current blockbuster exhibition (Salvador Dali: Liquid Desire), together with other related events and promotions, I am immediately provided with a glimpse at what’s on, where and when. The constant renewal of images also emphasizes the abundance of events that visitors have at their fingertips. Immediately under this are a number of coloured tiles, clearly labeled and providing links to the NGV’s two main galleries (The Ian Potter Center and the NGV International), an About page, and the main exhibition currently showing at each location. Colour is used very effectively to create a clean, sophisticated page with small areas of bright colour backed by black. No scrolling is needed to navigate to your desired destination, and the page is not cluttered with irrelevant information. Below the coloured tiles are a list of various links (from the NGV shop to becoming a member), the opening hours of each gallery, and three icons that link to specific upcoming events. While these are neatly displayed, a lack of pull-down menus prevents visitors browsing more of what the site has to offer from the homepage.

The Louvre site has a similar slideshow on its homepage giving you glimpses inside the Louvre. The actual Louvre icon is modest, tucked away in the top left-hand corner, while attention is given to the contents of the gallery. Running along the top of the slideshow are various pull down menus, with links to areas of interest (e.g. museum, collection, exhibitions, activities), together with a number of language options for the site, a search window, glossary, calendar and sign-in link for members. Having these links across the top of the homepage ensures easy access for all users, no scrolling is necessary, and the white and grey colour scheme makes all icons and text easy to read. The multi-language option is an obvious advantage, as many of the site’s visitors will be international visitors. Making users feel at home as soon as they enter the site is a sure way to encourage them to explore and make use of the sites features.

Unlike both the NGV and Louvre, MoMA’s homepage initially appears as a pop-inspired bar-graph representing the current exhibitions with the caption ‘Summer at MoMA, plan accordingly’, and the letters MoMA running down the right-hand side of the screen. This is their summer welcome page, a nice touch for the holiday period when they are expecting great numbers of visitors. This page quickly morphs into a moving puzzle of large and small images promoting their current exhibitions, and various other links such as a schools page, a join online link, and the gallery shop. A menu runs along the bottom of the screen with other various links (e.g. visit, explore, learn, support, shop), a search window, members sign-in link, and a alternating link inviting visitors to register to save their favourite pages, links, and to text content to their mobile phones. These little features would be very appealing to tech-savvy travelers. Scrolling down the homepage reveals a ‘what’s on today’ section, MoMA’s physical address, and the option to select a different language to view the site in. The MoMA site immediately feels more interactive, with the icons responding to the curser, changing colour as it moves across the page, and producing sound effects when a link is selected.

On entering the NGV’s individual gallery sites (The Ian Potter Center and NGV International), a contrasting overall white is used, with square tiles showing a pictorial image from each current exhibition as links. A easy to read three block menu remains in the top right-hand corner to direct you back to either gallery page or the NGV’s About page at any time. Scrolling down the page reveals icons linking to future exhibitions and touring exhibitions. These are easy to read, however, a more efficient use of space would allow all the links to fit easily within the window without the need to scroll down.

Links to current exhibitions reveal pages with an informative article, but with limited hyperlinks or cross promotion. A headline is provided in two lines, followed by the exhibition dates, the location within the gallery and whether or not it is a ticketed event. The articles vary in length, but are informative and easy to read. A standard format with only small variances across articles maintains a feeling of continuity across the site. Only the masterpieces exhibit page varies greatly, and appears more interactive with ‘buy online’ ticketing, links to related events, and a short promotional film. Unlike all the other exhibition pages which are predominately white with bright colours used to indicate links, this page is black with white text. This is an effective way to distinguish the page and give the exhibition a more exclusive feel.

Links to temporary exhibitions on the Louvre website lead to a number of differently constructed pages. Some with an article formatted in the style of the homepage, some with interactive slide shows, and some opening up new windows with exciting flash sequences. The articles themselves are well written but at times a little lengthy for online reading, given that the information they include is minimal. A kicker informs the reader when the exhibition is running, and the headline provides the title of the exhibit. Very few links are embedded in the articles, and the text itself is small and not particularly easy to read. The exhibits location within the Louvre is provided in a block to the left of the article along with a link to an interactive map. This is especially useful in such a large and at times confusing gallery space.

Another interesting and effective feature are the virtual tours, giving anyone a chance to visit this gallery from their home computer. Throughout your exploration of the site the original menu bar remains along the top of the screen, along with a history of the path you have taken into the site, should you wish to back-track. This allows for easy navigation, but the overall formatting is in the end simplistic and not very inspiring.

Articles on MoMA’s current exhibits are formatted consistently, with a short article and accompanying image. Below the article, internal cross links appear as ‘related events’, providing further information for visitors. The articles themselves utilise the concise, snappy language that works best for online reading. The headlines are organised well, detailing the name of the exhibition, followed by the dates it is running for, and the precise location it can be found within MoMA.

MoMA’s summer page allows visitors to create their own custom itinerary based on their own personal interests. On any one day you select, you are given a range of events or exhibitions that may be of interest to you in a pie chart format. You can then click on the segment that interests you to find out more. To organise your time you can add the events that interest you to your own calendar page. It also gives you the option to add MoMA to your facebook page to receive updates and event information, or to subscribe to MoMA’s twitter feed. This page is really fun to use, even if you aren’t planning a visit to New York anytime soon. It makes the most of the software possibilities, and most importantly it is very straight forward to use, and accessible to all visitors.

All of these gallery sites avoid linking externally, which makes sense, as they are all major cultural institutions and want to create the illusion that they can provide all the artistic stimulation a visitor could wish for. The effectiveness of each site seems to rely on the clear and creative display of relevant and useful information, the more interactive the better. While the NGV site is the least interactive and least extensive, this probably reflects the resources available to them. It serves as a basic aid for a potential visitor, not ideal for an online look at the collection. The Louvre site is more extensive, with a number of easy to use interactive features. However, the overall formatting is quite bland and standardized. MoMA’s site is very successful in creating an exciting space that encourages exploration. While being highly interactive, none of its features are difficult to access or use. The writing included on MoMA’s site is very well suited to online reading, unlike the NGV or Louvre, which appear to have simply applied the same text as would appear in one of their exhibition catalogues. All sites succeed in providing the visitor with information to current and upcoming exhibitions and events, as well as general admission information. Where they differ is in their successful transition to online content, and the possibilities they offer for further online exploration.




The National Gallery of Victoria

The Louvre

The Museum of Modern Art



Consumer Watch, Leap of faith: using the internet despite the dangers, Consumerwatch.org, 2005.           

Dorothy A Bowles and Diane L Borden, Editing for the Web, Creative Editing, Belmont: Wadsworth, 2000.

Jakob Nielsen, Concise, scannable and objective: how to write for the web, Useit.com, 1997.

Jonathon Dube, Writing news online, Poynter.org, 2003.

Lynch, Patrick & Horton, Sarah, Chapter 9, Editorial Style, Web Style Guide 3.

Nancy du Vergne Smith, Thoughts in progress on writing for the web, self-published at AOL, 2003.

Nancy Kaplan, Literacy beyond Books in Andrew Herman and Thomas Swiss (eds), The World Wide Web and Contemporary Cultural Theory, New York and London: Routledge, 2000.

Scott DN Cook, Technological Revolutions and the Gutenburg Myth, Internet Dreams, London: MIT Press, 1997.           

Scott Karp, The evolution from linear thought to networked thought, Publishing 2.0, February 2009.

The only way for Journalists to understand the web is to use it, Publishing 2.0, January 21, 2008.

Aug 27, 2009

so popular

i'm just doing some research for an assignment and came across this Popular Penguin widget. have a browse of the latest popular penguins, even have a bit of a read..

the impact of these books is really astounding. every time i go into a bookstore i am tempted to buy one. i carry it around the store while i look at other things, and then end up reluctantly returning it before i leave. i have brought a few home though, and while they are cheap, the tight binding and low quality paper make them not the most enjoyable reading experience. i guess you get what you pay for.

Aug 25, 2009

writers festival

well the Melbourne Writers Festival is on again, and i've been visiting their blog but am yet to go along to an event. this event looks interesting, but with all the assessment i have to do before next week, i'm not sure i'll make it. heres to trying...

has anyone had any memorable festival highlights? i would love to hear about them!

Aug 22, 2009

to doing what i want to do..

I needed a sunny day to look at this morning. 

Aug 18, 2009

ah the freedom of blogging. As bloggers we are under no obligation to do anything in particular. We are free to express whatever it is that we feel strongly (or not so strongly) about. It is a blessing, but it can also very easily lead to a huge amount of uninspiring, useless information. Information that is just added to the bottomless bucket that is the net. Do we feel the need to contribute just because we can? Is this enough to make what we publish on the net a practical, positive contribution? I'm not really sure.

Aug 12, 2009

the future??

i can't imagine a time when books will no longer have pages...
the new yorker looks at the kindle.. is this the future?

p.s a look at the kindle

Aug 4, 2009


I read quite a lot, but mainly in a more linear way (ie. offline). When I read online it's not so much reading but skipping from one thing to another. I get distracted. This is probably more habit than anything else, but with so much information at my fingertips it's hard to be content with just one article or post when I can have more. Maybe I'm just being greedy? 

But this is still valuable reading isn't it? It's the type of reading that creates networks, encourages discourse and meets each reader's needs much more effectively. 

The web is a space for a different kind of knowledge than what we find in books. So I guess I go to each for different purposes. I just hope that the web won't create a generation of readers who will be unsatisfied with the humble book. I'm probably just being greedy again, but we need both.