Sentences with phrase «of dead tree books»

1376 is a volume (124) and page number (1376) of the first page of that statute in a series of dead tree books containing that public law.

Digital offerings have a long way to go to match the revenue generated by sales of dead tree books, but it's never been harder for small shops to compete with bulk - buying, discount - driven rivals like Amazon.

The type of dead tree book I am most likely to buy, and least likely to purchase as an ebook, is cookbooks.

Not exact matches

Not six years have passed since the publication of the dead - tree version of the book whose constituent electronic states you hold in your hand (or claw, or manipulator, delete as applicable).

The book's currently selling for $ 6.99 on Kindle or $ 16 for a dead - tree copy, which is a low price to pay for this kind of analysis and insight straight from the horse's mouth.

So, while we are all eagerly waiting to see an all new version of the tree - rape scene when the Book of the Dead opens on April 12th — here are a couple of behind - the - scenes photos to chew on.

So, while we are all eagerly waiting to see an all new version of the tree - rape scene when the Book of the Dead opens on April 12th — here are a couple of behind - the - scenes photos -LSB-...]

I currently buy a fair percentage of dead - tree books, especially for lengthy or dense tomes, purely because of my dissatisfaction with current form - factors — namely the lack of an extra inch or two of screen.

And since we have an Amazon Prime Account (worth it's weight in gold), I never have to pay for shipping (and I mean awesome free, two day shipping, none of this super saver wait for 2 weeks after you've spent over $ 25 and MAYBE get it then crap), making it ALWAYS cheaper to order my dead tree books from them.

It gives you far higher per - book earnings than traditionally published authors are receiving (even those whose ebooks are selling for $ 10 +), it gives the readers a deal when compared to most traditionally published ebooks, and it's often considered a fair price by those who feel that digital books should cost less than the dead - tree variety since paper, ink, and shipping aren't a part of the equation.

He's also frustrated by the very medium of dead - tree publishing itself, since when consumers buy a book they're really paying for the author's ideas and a book is «a form that's hard to spread» and electronically he can reach «10 to 50 times as many people.»

Sure, Amazon may be a huge seller of paper books but shipping dead tree costs Amazon dollar.

Most of what I consider errors are probably typo's (then instead of than), and frankly, I was seeing about the same number 3 years ago when I was reading «Big 5» edited dead - tree books.

(That's certainly an advance over dead - tree book lending — printed books that friends borrow have a nasty habit of never returning home.)

While EU rightfully or not scrutinizes Google's every step since years, millions of students and professionals still buy expensive dead - tree books and print away yearly entire forests of papers, the eInk has silently strangled the EPD supply chain.

Libraries will always be a place to get information from all sources — most of the foot traffic into public libraries today comes from people coming in for internet computers, not coming in to read a dead - tree books.

They want $ 15 for the e-copy of a Hot New Bestseller — same as the heavily - discounted price of the dead tree copy, so that the e-copy does not compete with the same book in dead tree, and Macmillan can recoup their substantial investment in the book.

However, publishing a real dead - tree print book gives you a level of credibility that no ebook can match.

Some people are convinced that ebooks are the wave of the future and that Dead Tree Books will be going the way of the dodo.

As you read, you can see not just your «Kindle location,» but the analogous page number from the dead - tree edition of your book.

It will be interesting to see what the other big publishing houses decide to do, I have a feeling your going to see the companies who do nt push for equivalent ebook to physical book pricing will have higher sales and in the end make more money off of ebooks AND «dead tree» books as well thanks to word of mouth from ebook readers.

According to Nielsen Bookscan, only 23 % of total dead - tree book sales this year come from hardcover books.

Merely mentioning the word Kindle has led in some instances to my being shouted at — and readers of «dead tree» books are rightly protective and passionate about the sensory and aesthetic qualities of physical books that the digital version possibly can't compete with.

The reason is that the reading experience with the dead - tree books and Kindle e-books is far superior to that of the iPhone app and its tiny screen.

Yes the first iteration of the Mirasol e-reader device may handily fit into the average breast pocket, but haven't Qualcomm noticed that most of us are not that inconvenienced by the typical book or magazine, which dead - tree - product manufacturers consistently bring out in dimensions larger than the average breast pocket — possibly because most of us get on with them better that size?

I understand very well the mentality that a «dead tree» book is «something» that people pay for without argument because it's a material object while an ebook seems to be regarded (even by many fans of the medium) as something that costs «nothing» and should therefore be free or very cheap, which brings me to...

Its very ebook - ness must have negative worth if people are only willing to buy it in the case where it costs less than any dead tree edition of the book.

I knew I'd read too many books on the computer when one day I was reading a dead - tree book, came to the end of the page, and.....

Oh, and that reminds me, I finally got off my dead A and published all my books hard copy, so if you want to pay way too much and kill a bunch of trees, you know how to do it.

I actually bought a new dead tree book last month (2 of them!)

They expect — mostly — an ebook to have the same standard of editing, formatting etc. as they'd expect from a dead tree book by one of the big publishers.

~ Robert Chazz Chute is the author of Self - help for Stoners, Murders Among Dead Trees, Crack the Indie Author Code, Six Seconds, Write Your Book: Aspire to Inspire, Bigger Than Jesus, Higher Than Jesus and the zombie apocalypse serial, This Plague of Days.

Although the old - school way of borrowing remains a useful and viable way to check out some titles, one of the more useful aspects in making the switch from dead - tree books to an e-reader should be the ability to easily borrow e-books from public libraries as well.

Yes, a dead - tree book goes out of print basically at the point that the costs of storing it exceed the revenue it brings in, which I suppose one could call selling too slowly.

When I want to read a book, I don't pick up something made of dead trees.

Some of this persists with ebooks (among other things because the selling process and publisher relationships are often tightly tied to the dead - tree books), while other parts disappear.

So I have to say that, although I think it's highly likely that ebooks will replace dead tree books over the next few years and reduce them to the status that vinyl records currently enjoy in the world (curios for a minority of buyers, sold by specialist shops), I do also see that paperbacks still have a place in the world, and that for a while longer people will still want them.

That would be a good time to read a dead tree book as the light of an ebook will not help me sleep.

The whole point is that, as publishers, we collectively need to stop thinking ONLY of the «dead tree» version of the book we grew up with.

2008 Heralded as the new black, Ikon Gallery, Birmingham, UK Heralded as the new black, South London Gallery, London, UK Something Vague, St Gallen Kunstverein, Switzerland, CH Something Vague, Bonner Kunstverein, Bonn, DE How I learnt to use my senses, how I learnt to think and how I learnt to feel, Taro Nasu Gallery, Tokyo, JP Championed by Rigour, Tanya Bonakdar Gallery, New York, US And it came to life, Marz Galleria, Lisbon, PT Basquiat, STORE Gallery, London, UK 2007 GHOSTWRITER SUBTEXT (TOWARDS A SIGNIFICANTLY MORE PLAUSIBLE INTERROBANG), Taro Nasu Gallery, Tokyo, JP More than the weight of your shadow, DAIWA Press Viewing Room, Hiroshima, JP Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, US Short cut through the trees, MUMOK, Vienna, AT The Last Work, Stedelijk Museum, Amsterdam NL Of Any Actual Person, Living or Dead (with Aurélien Froment), STORE, London, UK 2006 Ryan Gander, Massimo De Carlo, Milan, IT Ghostwriter Subtext, Premier Container, Art Basel Premier with STORE, Miami, US Didactease, Marc Foxx, Los Angeles, USCinema Verso, Whitechapel East Wing, London, UK Spencer, forget about good, Art Basel Unlimited with Annet Gelink Gallery, Basel, CH The title taken from reading that book (with George Henry Longly), Elisabeth Kauffman, Zurich, CH Is This Guilt In You Too --(The study of a car in a field), MUMOK, Vienna, AT Your clumsiness is the next man's stealth, Annet Gelink Gallery, Amsterdam, NL Nine Projects for the Pavilion de l'Esprit Nouveau, MAMbo, GAM, Bologna, of your shadow, DAIWA Press Viewing Room, Hiroshima, JP Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, US Short cut through the trees, MUMOK, Vienna, AT The Last Work, Stedelijk Museum, Amsterdam NL Of Any Actual Person, Living or Dead (with Aurélien Froment), STORE, London, UK 2006 Ryan Gander, Massimo De Carlo, Milan, IT Ghostwriter Subtext, Premier Container, Art Basel Premier with STORE, Miami, US Didactease, Marc Foxx, Los Angeles, USCinema Verso, Whitechapel East Wing, London, UK Spencer, forget about good, Art Basel Unlimited with Annet Gelink Gallery, Basel, CH The title taken from reading that book (with George Henry Longly), Elisabeth Kauffman, Zurich, CH Is This Guilt In You Too --(The study of a car in a field), MUMOK, Vienna, AT Your clumsiness is the next man's stealth, Annet Gelink Gallery, Amsterdam, NL Nine Projects for the Pavilion de l'Esprit Nouveau, MAMbo, GAM, Bologna, Of Any Actual Person, Living or Dead (with Aurélien Froment), STORE, London, UK 2006 Ryan Gander, Massimo De Carlo, Milan, IT Ghostwriter Subtext, Premier Container, Art Basel Premier with STORE, Miami, US Didactease, Marc Foxx, Los Angeles, USCinema Verso, Whitechapel East Wing, London, UK Spencer, forget about good, Art Basel Unlimited with Annet Gelink Gallery, Basel, CH The title taken from reading that book (with George Henry Longly), Elisabeth Kauffman, Zurich, CH Is This Guilt In You Too --(The study of a car in a field), MUMOK, Vienna, AT Your clumsiness is the next man's stealth, Annet Gelink Gallery, Amsterdam, NL Nine Projects for the Pavilion de l'Esprit Nouveau, MAMbo, GAM, Bologna, of a car in a field), MUMOK, Vienna, AT Your clumsiness is the next man's stealth, Annet Gelink Gallery, Amsterdam, NL Nine Projects for the Pavilion de l'Esprit Nouveau, MAMbo, GAM, Bologna, IT

Interview with Georganne Deen, Summer 2011 Fee, Georgia, Artslant, Interview w / Georganne Deen, Apr 22, 2008 Bors, Chris, Artinfo, Georganne Deen in New York, Apr 3, 2008 Reverend Jen, Artnet, Diary of an Art Star, Mar 31, 2008 Tanner, Matt, Beware the Wild Children, Grand Street News, Mar 2008 Powers, Kevin, Interview with Georganne Deen, Artes & Leiloes (Portugal), Nov, 2007 Behrens, Katja, Verspielter Exorzismus, TAZ nrw, March 20, 2007 Wertheim, Christine, Georganne Deen: Underground Woman, X-TRA, Winter 2006 Harvey, Doug, I Art the 80's, L.A. Weekly, March, 2006 Fahl, David, Text Hook, Houston Press, June 17, 2004 Klaasmeyer, Kelly, Deen's List, Houston Press, Jan. 2, 2003 Lowry, Mark, Artist's Work Hits Close to Home, Fort Worth Star Telegram, Mar. 13, 2002 Mitchell, Charles Dee, Self Examination Turns Disturbing, The Dallas Morning News, Feb. 28, 2002 Deen, Georganne, The Girlfriend and The Devil, Grand Street # 70 Halstrup, Anjee, Georganne Deen: The Secret Storm and the Vogue Book of the Dead, ZERO magazine, July, 2001 Rodriguez, Juan, Georganne Deen at Babilonia 1808, Artweek, June, 2001 McEwam, Ann, 15 Psychic Orgasms, Waitako Times, Mar. 8, 2000 Mutch, Nicola, Ads Undermine American Dream, Otago Daily Times, Oct. 26, 1999 Munro, Bruce, Artist Explores Dream World, The Star, Oct. 27, 1999 Madoff, Steven Henry, Pop Surrealism ARTFORUM, Oct., 1998 Gopnick, Blake, Old Wounds Healed Through Older Art Form, The Globe & Mail, Jul 29, 1998 Hume, Christopher, Allegories of Her Hateful Family Tree The Toronto Star, Jul 11, 1998 Schoenkopf, Rebecca, The Glamour of Ugly, Orange County Weekly, Sept 19, 1997 Curtis, Cathy, Light Images, Dark Truth, Los Angeles Times, Sept 9, 1997 Dambrot, Shana Nys, Georganne Deen, JUXTAPOZ, Fall 1997 Kim, Soo Jin, Georganne Deen, Art Issues, Summer 1997 Kandel, Susan, Fierce: Georganne Deen, Los Angeles Times, Feb 28, 1997 McKenna, Kristine, Los Angeles, Art & Antiques, Summer 1996 Zellen, Jody, The Mother Load, World Art, Summer 1995 Lueck, Brock, Co-Mix Art: Fine Tooning Pop, The New Art Examiner, Mar, 1995 McKenna, Kristine, Coming to Terms With Mom, L.A. Times, Dec 18, 1994 Desmarais, Charles, Georganne Deen, Grand Street # 49, 1994 Dubin, Zan, Experiences of a Girl as Seen by a Woman, L.A. Times, Oct 23, 1993 Rose, Cynthia, Pacific Meltdown, British Vogue, Jul, 1991 Carlin, John, Bad Influences, The Paper, Jun, 1988 Smith, Alton, Reinventing the WheelI, Village Voice, Nov 29, 1988 Tanney, Kathy, Paper Tigers, Plastic Toys, Art Week, Aug 22, 1987 Knight, Christopher, Bad Influences Knocks Popular Culture Wisdom, L.A. Herald Examiner, Aug 4, 1987 Leston, Kimberely, Georganne Deen, the Face, Dec, 1986 Pincus, Robt, Voyage on Sculpture May Make Some Viewers Ill, San Diego Union, Jul 10, 1986 Wilson, William, Social Distortion Exhibition, L.A. Times, Jul 10, 1986 Rugoff, Ralph, Exterminating Angel, Los Angeles Weekly, Oct 11, 1985 Drohojowska, Hunter, The Art World's Biggest Pests, Los Angeles Herald Examiner, Oct 20, 1985

I read this one as an ebook, but the «dead tree» version has been designed quite beautifully and is a real work of art (see the last video in this blog post by Simon Fodden on book jacket designer Chip Kidd).