Explore the vast range of titles available.

Over the past three decades, additive manufacturing has changed from an innovative technology to an increasingly accessible tool in all aspects of different medical practices, including orthopedics. Although 3D-printing technology offers a relatively inexpensive, rapid and less risky route of manufacturing, it is still quite limited for the fabrication of more complex objects. Over the last few years, stable 3D-printed objects have been converted to smart objects or implants using novel 4D-printing systems. Four-dimensional printing is an advanced process that creates the final object by adding smart materials. Human bones are curved along their axes, a morphological characteristic that augments the mechanical strain caused by external forces. Instead of the three axes used in 4D printing, 5D-printing technology uses five axes, creating curved and more complex objects. Nowadays, 6D-printing technology marries the concepts of 4D- and 5D-printing technology to produce objects that change shape over time in response to external stimuli. In future research, it is obvious that printing technology will include a combination of multi-dimensional printing technology and smart materials. Multi-dimensional additive manufacturing technology will drive the printing dimension to higher levels of structural freedom and printing efficacy, offering promising properties for various orthopedic applications.

Little known today, Lydia Bailey was a leading printer in Philadelphia for decades. Her career began in 1808, when her husband Robert died, leaving her with the family business to manage, and ended in 1861, when she retired at the age of 82. During her career, she operated a shop that at its height had more than forty employees, acted as city printer for over thirty years, and produced almost a thousand imprints bearing her name. Not surprisingly, sources reveal that she was closely associated with many of her now better-known contemporaries both in the book trade and beyond, people like her father-in-law, Francis Bailey, Mathew Carey, Philip Freneau, and Harriet Livermore. Through a detailed examination and analysis of various sources, Karen Nipps portrays Bailey’s experience within the context of her social, political, religious, and book environments. Lydia Bailey is the first monograph on a woman printer during the handpress period. It consists of a historical essay detailing Bailey’s life and analyzing her role in the contemporary book trade, followed by a checklist of her more than eight hundred known imprints. In addition, appendixes offer further statistical information on the activities of her shop. Together, these provide rich material for other historians of the book, as well as for historians of the early Republic, gender, and technology.

There is more to early modern English chapbooks than folklore and medieval romances. The long eighteenth century witnessed the production of many chapbook novels which were different in subject matter from what had come before, although they resemble contemporary full length novels and journalistic writing of the age: travellers' tales, shipwreck stories, captivity narratives, and prostitute biographies. These novels are not, however, derivative representatives of eighteenth-century polite fiction, but rather continue to represent a broad-based early modern popular literary market encompassing what we call the lower to middle classes. Given the high price of books, this attracted as large and diverse an audience as possible. Up to 1760, these and other chapbooks continued to be produced in London by big cartels and small independent publishers. Thereafter, pamphlet fiction was left primarily to the small producer. This reflected the demotion of the chapbook in the market to an irredeemably 'vulgar' publication. Chapbook novels nonetheless display signs of class conflict and stratification within the bottom half of English society by 1800.

In smart hotels, IoT devices allow guests to control everything from lighting and room temperature to entertainment systems via their smartphones. Additionally, science fiction allows us to explore the ethical and social implications of advanced technologies, helping us consider the potential impacts on society and guiding responsible development. Ku (2025) in the paper, Tourism digital transformation and future supply chain competition: an integrated perspective on real options theory and digital competencies examines how digital technology collaboration and technological capabilities enhance tourism product advantages and supply chain resilience through virtual integration and customer service capabilities. Lasisi et al.'s (2025) paper, Smart destination competitiveness: underscoring its impact on economic growth, investigates factors that foster destination competitiveness and the contribution of tourism innovations to economic growth in smart tourism destinations.

Purpose – The purposes of this paper are to study how entry-level 3D printers are currently being used in several shared machine shops (FabLabs, hackerspaces, etc.) and to examine the ambivalent emancipation often offered by 3D printing, when users prefer the fascinated passivity of replicating rather than the action of repairing. Based on a field study and on a large online survey, this paper offers to examine different practices with entry-level 3D printers, observed in several shared machine shops (FabLabs, hackerspaces, etc.). The recent evolution of additive manufacturing and the shift from high-end additive technologies to consumer’s entry-level 3D printing is taken as an entry point. Indeed, digital fabrication has recently received extensive media coverage and the maker movement has become a trendy subject for numerous influential publications. In the makerspaces that were taken for this field survey, 3D printers were very often used for demonstration, provoking fascination and encouraging a passive attitude. Design/methodology/approach – As part of the work for a PhD research on personal digital fabrication as practiced in FabLabs, hackerspaces and makerspaces, since 2012, a large-scale field survey at the heart of these workshops was carried out. Particular attention has been paid to the relationships established between the inhabitants of these places and their machines, observing the logic of developing projects and the reactions or techniques used to counter unforeseen obstacles – that shall be demonstrated to be an essential occurrence for these moments of production. From Paris to Amsterdam, Barcelona, Rome, Lyngen (Norway), San Francisco, New York, Boston, Tokyo, Kamakura (Japan) to Dakar, a means of observing at the heart of more than 30 makerspaces (FabLabs, hackerspaces) has been created, with the aim of looking beyond the speeches relayed by the media and to constitute an observatory of these places. The field observations are confirmed by a quantitative study, based on a survey submitted online to 170 users, coming from 30 different makerspaces in more than ten countries in the world and reached through social networks or mailing lists. This survey offers a rigorous insight on the uses of 3D printing and leads to the consideration of the types of attention applied to 3D printing and the part played by the “default” or “trivial” productions used for their demonstrations or performances. Findings – Based on both the observations and the quantitative survey, it can be discussed how the question of so-called “user-friendliness” is challenged by practices of repairing, fixing and adjusting, more than that of replicating. Indeed, it is claimed that this offers a possible meaning for 3D printing practices. In the description and analysis of the behaviours with 3D printers, this leads to privilege the idea of “disengaging” and the notion of “acting” rather than simply passively using. Originality/value – 3D printing is just one of the many options in the wide range available for personal digital fabrication. As a part of the same arsenal as laser cutters or numerical milling machines, 3D printing shares with these machines the possibility of creating objects from designs or models produced by a computer. These machines execute the instructions of operators whose practices – or behaviours – have yet to be qualified. These emerging technical situations pose a series of questions: who are those who use these 3D printers? What are they printing? What are the techniques, the gestures or the rituals imposed or offered by these machines?

Early last year, a non-profit organisation called ‘Limbitless Solutions’ modelled a 3D printed prosthetic arm on a fighting suit that features in the popular superhero film series, Iron Man (2008–2013). In addition, ‘Limbitless Solutions’ resourcefully deployed the fictional character and inventor of the Iron Man suit, weapons specialist and philanthropist, Tony Stark, played by Robert Downey Jr, in a celebrity/superhero endorsed promotional short film, showing ‘Tony’, the ‘real Iron Man’, gifting the futuristic military styled ‘gauntlet’ to Alex, a 7-year-old boy with a partially developed right arm. Engaging with scholarly work on the science fiction of technoscience, prostheses and the posthuman, and disability and DIY assistive technology, I analyse ‘Limbitless Solutions’ use of science fiction in a high-profile media event that problematically portrays an impaired child ‘in need’ of ‘repair’ and subsequently ‘fixed’ by technology. Overall, the aim is to integrate science fiction tropes, such as the wounded hero, the fighting suit and prosthetic arm, with disability studies, to highlight the sustained challenges that emerging theories of disability and technology face as contemporary economic, political and ideological forces endorse and promote militarised images of cyborg assimilation over human variation and physical difference.

EARLY IN SENSE AND SENSIBILITY Marianne Dashwood objects to Edward Ferrars as a potential husband for her sister, dismayed that he is incapable of reading poetry aloud with '\"that spirit, that fire, which at once announce virtue and intelligence.'\" Worst of all, this failure shows he lacks taste: \"'I could hardly keep my seat. The \"Jane Austen\" test is well established: put the novels into the hands of a potential mate to check for the long-term viability of the relationship, as featured in the spinoff novel The Jane Austen Book Club. Cowper 's The Task must have become even dearer to Jane, if possible, in 1803, soon after the poet's death, when biographers revealed that the woman who inspired it was one Lady Ann Austen-\"Austen\" spelled with an \"e.\" She was not a direct relation, only an Austen by marriage, but her late husband, the Baronet Sir Robert Austen, was from Kent, like the Reverend George Austen. THE RAPTURE AND RUPTURE OF HOME The poem The Task, originally titled \"The Sofa,\" deals with everything that piece of furniture could mean to us: a product of human ingenuity and a sign of progress, a place of repose after exertions in the garden or a walk round the neighborhood, a retreat, a place to read the newspaper and thereby view the world from a safe distance.

(1921-1990) produced path-breaking studies of printers and illustrators of vernacular fiction; this work was significantly augmented by the broader historical studies of book production centers by Lucille Chia, Cynthia J. Brokaw, and others.8 Ming-Qing printers who produced works of fiction have been exhaustively traced by Wang Qingyuan ??? and his collaborators. 9 Joseph McDermott has provided studies of book collectors and their libraries as well as of the appreciation shown to books through time.10 How works of fiction were read can now be gleaned through studies of prefaces and commentaries; in studies of the latter, David Rolston edited a collection of major premodern interpretive essays and has written a comprehensive introduction to fiction commentaries. 11 And Kai-wing Chow has produced an excellent study of print culture in general in his Publishing, Culture, and Power in Early Modern China and subsequent publications.12 Anne McLaren has worked tirelessly in interpreting various versions of story cycles, various adaptations, and their differing cultural implications.13 Recent New Directions Over the last two decades scholarship on book history and print culture has taken significant strides toward exploring particular facets of the book that will better illuminate the general field.