more than 95 theses


A journal, commonplace book, and Wunderkammer by
Alan Jacobs.

My blog on technologies of reading, writing, and knowledge is called Text Patterns; I am an occasional contributor to the Technology channel of The Atlantic; I'm a Contributing Editor for The New Atlantis. Also, I tweet.

My biography of the Book of Common Prayer has now been published by Princeton University Press, and I’ve created an associated tumblelog.

My critical edition of W. H. Auden’s long poem For the Time Being: A Christmas Oratorio is now available.

My next book will be about Christian humanism in a time of total war.

I invite you to a meditative encounter with my online project The Gospel of the Trees.

Please consider supporting this tumblelog by buying some of my books. I will thank you, my family will thank you, and the internet — surely — will thank you.

”Reverting to Type: a Reader’s Story”

The Pleasures of Reading in an Age of Distraction

The Age of Anxiety, by W. H. Auden — a critical edition. A PDF of my Introduction to the poem is available online.

Wayfaring: Essays Pleasant and Unpleasant

Original Sin: a Cultural History

Looking Before and After: Testimony and the Christian Life

The Narnian: the Life and Imagination of C. S. Lewis

Shaming the Devil: Essays in Truthtelling

A Theology of Reading: the Hermeneutics of Love

A Visit to Vanity Fair: Moral Essays on the Present Age

What Became of Wystan: Change and Continuity in Auden’s Poetry

  • November 9, 2012 7:08 am


    Harley Jessup, a production designer at Pixar Studios, who worked on Monsters, Inc and Ratatouille, has described a culture of paper drawing and picture-making at the company’s headquarters in California that wouldn’t seem out of place in an impressionist’s studio in 19th-century Paris. At Pixar there are daily life drawing and painting classes, open to everyone, and the story department employs between five and 15 full-time artists solely to work on storyboards. (And a storyboard, as Jessup explains, just to be clear, “is literally a 4ft x 8ft bulletin board covered with rows of 3½in x 8in hand-drawn story panels”: no gimmicks, no gizmos, no graphic design.) These story panels are scanned and cut together to produce story reels – basic black and white cartoon versions of the film – and are only then replaced by computer-graphic sequences, developed using yet further hand-drawn sketches, paintings and sculptures. Jessup adds up the number of storyboard drawings produced for various Pixar films thus:

    • A Bug’s Life 27,555
    • Toy Story 2 28,244
    • Monsters, Inc 46,024
    • Finding Nemo 43,536
    • The Incredibles 21,081
    • Cars 47,000
    • Ratatouille 72,000

    So, no signs of a paperless office at Pixar.

    Nor, as far as I can see, anywhere else. All our modern businesses and institutions are built on paper, from plans to contracts to share certificates, to memos, to Post-Its and HP desktop printouts. Blizzards of paper. Tonnes of the stuff. Torrents. Avalanches. Foundations.


    Can paper survive the digital age? | Books | The Guardian

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