85 Matching Annotations
  1. Last 7 days
  2. Feb 2019
    1. Flow is ascendant these days, for obvious reasons—but I think we neglect stock at our peril. I mean that both in terms of the health of an audience and, like, the health of a soul. Flow is a treadmill, and you can’t spend all of your time running on the treadmill. Well, you can. But then one day you’ll get off and look around and go: oh man. I’ve got nothing here. I’m not saying you should ignore flow! This is no time to hole up and work in isolation, emerging after years with your work in hand. Everybody will go: huh? Who are you? And even if they don’t—even if your exquisite opus is the talk of the tumblrs for two whole days—if you don’t have flow to plug your new fans into, you’re suffering a huge (get ready for it!) opportunity cost. You’ll have to find those fans all over again next time you emerge from your cave.

      This is a great argument for having an author platform.

  3. Jan 2019
    1. Umarah Mubeen

      Brief Bio: During my masters I was fascinated by the upcoming research and developments in the field of micro-algal biotechnology. As an outcome of the preliminary studies to explore sustainable use of microalgae, I was among the 25 young scientists, recognized as Green Talents in 2013 by the Federal Ministry of Education and Research (BMBF), Germany. To extend my skills in the field I pursued a PhD at MPIMP in the experimental systems biology group headed by Dr. Patrick Giavalisco. More here.

  4. Dec 2018
    1. Newport is an academic — he makes his primary living teaching computer science at a university, so he already has a built-in network and a self-contained world with clear moves towards achievement.

      This is one of the key reasons people look to social media--for the connections and the network they don't have via non-digital means. Most of the people I've seen with large blogs or well-traveled websites have simply done a much better job of connecting and interacting with their audience and personal networks. To a great extent this is because they've built up a large email list to send people content directly. Those people then read their material and comment on their blogs.

      This is something the IndieWeb can help people work toward in a better fashion, particularly with better independent functioning feed readers.

    1. New rules always create confusion but that is not a strong argument against them. The legal complexities of CC reflect the complexity of copyright. That the CC licenses are being used suggests that they are useful. The question is how? Claiming they are not useful is unlikely to be correct. Perhaps the usefulness is social not individual, so people are using them to do good. I take no position on this.

      This opinion/ editorial and the resulting dialogue adds some dimension to some of the pro and con arguments for adapting Creative Commons practices.

  5. Oct 2018
  6. Jul 2018
    1. The blog was not just the venue in which I started putting together the ideas that became my second book, the one that made promotion and various subsequent jobs possible, but it was also the way that I was able to demonstrate that there might be a readership for that second book, without which it’s much less likely that a press would have been interested.

      This sounds like she's used her blog as both a commonplace book as well as an author platform.

  7. May 2018
  8. Feb 2018
  9. Oct 2017
    1. In fact, members of the Long Now would have me say that it was founded in the year 01996, a way of writing dates that presently accommodates a further 97,985 years. To put this into perspective—50,000 years before the Long Now runs out of digits, Niagara Falls will have eroded its remaining 32 kilometers to Lake Erie. That communion will occur a full 30,000 years after, according to one lexico-statistical model, the point at which human languages will have retained only one percent of their present-day words. By the time the Long Now has a Y100k problem, the constellations you recognize will be gone from the sky. I lay this out to make the point that Long Now folks embed a puckishly provocative optimism in everything they do.

      Is it just me, or am I detecting an underlying disdain from the author towards The Long Now Foundation? If so, I would not blame her as the beliefs The Long Now hold appear surreal and unbelievable to me. I was unaware that their was a group that held such views.

    1. it does not finally matter who wrote what, but rather how a work is written and how it is read.

      I think that this is true to the extent that the content of the work is very important. Prestige of the author does not always mean that the work has importance. I believe that you can find merit in most work even if the author isn't well known as an intellectual or a scholar. I think Said is trying to emphasize the fact that we need to focus more on the content of the paper than the person who wrote the paper.

  10. Sep 2017
    1. Have you just arrived at our blog and you’re not sure where to start?

      Assumes that the reader wants to start travelling.

  11. Mar 2017
    1. I ~hould have preferred to be enveloped by speech, and carried away well beyond all possible beginnings, rather than have to begin it myself. I should have preferred to be-come aware that a nameless voice was already speaking long before me, so that I should only have needed to join in

      This narrative voice is interesting, considering the way he considers the problems of the author/narrator in the previous pages.

  12. Feb 2017
    1. Published in the days leading up to the 45th president’s inauguration, two new books purport to show a path forward for liberals in Trump’s America.
    2. In his introduction to “What We Do Now,” co-editor Dennis Johnson writes of the widespread “despair,” “grief” and “disillusionment” that followed the election.
  13. Jan 2017
    1. Belinda Cleary For Daily Mail Australia

      Who is this author? Does she have an area of expertise that's related to this story? How would you find out? What is this source and what are its biases? How would you find out?

    2. Leadership consultant Simon Sinek

      Who is Simon Sinek? What is the basis of his authority? What is a "leadership consultant"?

  14. Nov 2016
  15. Oct 2016
  16. libguides.colorado.edu libguides.colorado.edu
    1. A national system of electricity transmission could cut power-plant emissions by 80 percent.

      What does the sub-title tell you about the author's purpose?

  17. Jun 2016
    1. Reviewers who receive a paper from which the identifying marks have been removed will immediately put in place an (imagined) set of circumstances of exactly the kind they are supposedly ignoring. I

      creating an implied author in peer review

  18. screen.oxfordjournals.org screen.oxfordjournals.org
    1. can easily imagine a culture wherediscourse would circulate without any need for an author. Dis-courses, whatever their status, form, or value, and regardless of ourmanner of handling them, would unfold in a pervasive anonymity.No longer the tiresome repetitions: 'Who is the real author?' 'H

      Great epigraph for article on scientific authorship

      We can easily imagine a culture where discourse would circulate without any need for an author. Discourses, whatever their status, form, or value, and regardless of our manner of handling them, would unfold in a pervasive anonymity. No longer the tiresome repetitions: 'Who is the real author?' 'Have we proof of his authenticity and originality?' 'What has he revealed of his most profound self in his language?' New questions will be heard: 'What are the modes of existence of this discourse?' 'Where does it come from; how is it circulated; who controls it,' 'What placements are determined for possible subjects?' 'Who can fulfill these diverse functions of the subject?' Behind all these questions we would hear little more than the murmur of indifference: 'What matter who's speaking?'

    2. author-function' is tiedto the legal and institutional systems that circumscribe, determine,and articulate the realm of discourses; it does not operate in auniform manner in all discourses, at all times, and in any givenculture; it is not defined by the spontaneous attribution of a textto its creator, but through a series of precise and complex pro-cedures; it does not refer, purely and simply, to an actual individualinsofar as it simultaneously gives rise to a variety of egos and to aseries of subjective positions that individuals of any class may

      Four characteristics of the "author-function":

      1. "the 'author-function' is tied to the legal and institutional systems that circumscribe, determine,and articulate the realm of discourses;"
      2. "it does not operate in a uniform manner in all discourses, at all times, and in any given culture";
      3. "it is not defined by the spontaneous attribution of a text to its creator, but through a series of precise and complex procedures";
      4. it does not refer, purely and simply, to an actual individual in so far as it simultaneously gives rise to a variety of egos and to aseries of subjective positions that individuals of any class may come to occupy"
    3. athe-matical treatise, the ego who indicates the circumstances of com-position in the preface is not identical, either in terms of his posi-tion or his function, to the T who concludes a demonstrationwithin the body of the text. The former implies a unique individualwho, at a given time and place, succeeded in completing a project,whereas the latter indicates an instance and plan of demonstrationthat anyone could perform provided the same set of axioms, pre-liminary operations, and an identical set of symbols were used. It isalso possible to locate a third ego: one who speaks of the goals of' his investigation, the obstacles encountered, its results, and theproblems yet to be solved and this T would function in a field ofexisting or future mathematical discourses. We are not dealing witha system of dependencies where a first and essential use of the Tis reduplicated, as a kind of fiction, by the other two. On thecontrary, the 'author-function' in such discourses operates so as toeffect the simultaneous dispersion of the three egos

      Hmmm. Argues for a "second self" in scientific writing.

      1. I'm not sure this kind of first person is that common (though it is common in literary criticism);
      2. If it is, I'm not sure there is a distinction between the author and some narrator-type figure or his third category (the person who speaks of the goals of the investigation (an implied author?)).
    4. ight object that thisphenomenon only applies to novels or poetry, to a context of 'quasi-discourse', but, in fact, all discourse that supports this 'author-function' is characterized by the plurality of egos. In a

      There you go: he means that grammar changes in all texts that support the "author-function". Somehow he distinguishes this from simply "poetic texts," but I'm not sure why or how.

    5. ave a different bearing on texts with an author and 23on those without one. In the latter, these 'shifters' refer to a realspeaker and to an actual deictic situation, with certain exceptionssuch as the case of indirect speech in the first person. When dis-course is linked to an author, however, the role of 'shifters' is morecomplex and variable. It is well known that in a novel narrated inthe first person, neither the first person pronoun, the presentindicative tense, nor, for that matter, its signs of localization referdirectly to the %vriter, either to the time when he wrote, or to thespecific act of writing; rather, they stand for a 'second self whosesimilarity to the author is never fixed and undergoes considerablealteration within the course of a single book. It

      Grammar has different meaning with fictional author and non-author texts: in the second case (not fiction), the grammar is deictic; in the former, it is literary.

      This is a really interesting point, by I think MF is confusing terms a little. the issue has to do with the deictic nature of the text rather than the availability of an author-attribution (unless he means "literary author of the kind I've been discussing as an author-function").

    6. ccording to Saint Jerome, there are four criteria:the texts that must be eliminated from the list of works attributedto a single author are those inferior to the others (thus, the authoris defined as a standard level of quality); those whose ideas conflictwith the doctrine expressed in the others( here the author is definedas a certain field of conceptual or theoretical coherence); thosewritten in a different style and containing words and phrases notordinarily found in the other works (the author is seen as a stylisticuniformity); and those referring to events of historical figures sub-sequent to the death of the author (the author is thus a definitehistorical figure in which a series of events converge). Alth

      Jerome's criteria that rule out an authorship attribution:

      1. Author as standard of quality (work is less good than you'd expect)
      2. Author is field of conceptual or theoretical coherence (i.e. this work disagrees with some other work by the person)
      3. Stylistic uniformity (written in different style)
      4. Temporal unit (i.e. written before or after the author's known life).
    7. There are, nevertheless, transhistorical constants in therules that govern the construction of an author.

      Argues that there are transhistorical contstraints on construction of author. Transgeneric as well?

    8. In addition, all these operations vary according to the periodand the form of discourse concerned. A 'philosopher' and a 'poet'are not constructed in the same manner; and the author of aneighteenth-century novel was formed differently from the modernnovelist.

      Argues that the construction and meaning of "the author" varies by time and genre.

    9. The third point concerning this 'author-function' is that it is notformed spontaneously through the simple attribution of a discourseto an individual. It results from a complex operation whose pur-pose is to construct the rational entity we call an author. Un-doubtedly, this construction is assigned a 'realistic' dimension aswe speak of an individual's 'profundity' or 'creative' power, hisintentions or the original inspiration manifested in writing. Never-theless, these aspects of an individual, which we designate as anauthor (or which comprise an individual as an author), are pro-jections, in terms always more or less psychological, of our way ofhandling texts: in the comparisons we make, the traits we extractas pertinent, the continuities we assign, or the exclusions we prac-tise.

      Version of the "Implied author"

    10. First, they are objects of appropriation; the form of propertythey have become is of a particular type whose legal codificationwas accomplished some years ago. It is important to notice, aswell, that its status as property is historically secondary to thepenal code controlling its appropriation. Speeches and books wereassigned real authors, other than mythical or important religiousfigures, only when the author became subject to punishment andto the extent that his discourse was considered transgressive. Inour culture - undoubtedly in others as well - discourse was notoriginally a thing, a product, or a possession, but an action situatedin a bipolar field of sacred and profane, lawful and unlawful, reli-gious and blasphemous. It was a gesture charged with risks longbefore it became a possession caught in a circuit of property values.But it was at the moment when a system of ownership and strictcopyright rules were established (toward the end of the eighteenthand beginning of the nineteenth century) that the transgressiveproperties always intrinsic to the act of writing became the force-ful imperative of literature. It is as if the author, at the momenthe was accepted into the social order of property which governsour culture, was compensating for this new status by revivingthe older bipolar field of discourse in a systematic practice of trans-gression and by restoring the danger of writing which, on anotherside, had been conferred the benefits of property

      Importance of "author" for commerce and control. This is true of scientific writing, but in a slightly different way. The type of thing he is talking about here has to do with Oeuvre.

    11. nsequently, we cansay that in our culture, the name of an author is a variable thataccompanies only certain texts to the exclusion of others: a privateletter may have a signatory, but it does not have an author; acontract can have an underwriter, but not an author; and, similarlyan anonymous poster attached to a wall may have a writer, buthe cannot be an author. In this sense, the function of an author isto characterize the existence, circulation, and operation of certaindiscourses within a society

      Very useful statement of where foucault applies in this case: to literary discussion, not advertising, not letters, and so on.

      Science would fall into the "not this" category, I suspect.

    12. We can conclude that, unlike a proper name, which moves fromthe interior of a discourse to the real person outside who producedit, the name of the author remains at the contours of texts -separating one from the other, defining their form, and character-izing their mode of existence. It points to the existence of certaingroups of discourse and refers to the status of this discourse withina society and culture. The author's name is not a function of aman's civil status, nor is it fictional; it is situated in the breach,among the discontinuities, which gives rise to new groups of dis-course and their singular mode of existence. C

      Again, an "Implied Author" type idea that is completely not relevant to science--although ironically, the H-index tries to make it relevant. In science, the author name is not the function that defines the text; it is the person to whom the credit it to be given rather than a definition of Oeuvre. This is really useful distinction for discussing what is different between the two discourses.

    13. The name of an author poses all the problems related to thecategory of the proper name. (Here, I am referring to the work ofJohn Searle,3 among others.) Obviously not a pure and simplereference, the proper name (and the author's name as well) hasother than indicative functions. It is more than a gesture, a fingerpointed at someone; it is, to a certain extent, the equivalent of adescription. When we say 'Aristotle', we are using a word thatmeans one or a series of definite descriptions of the type: 'theauthor of the Analytics', or 'the founder of ontology', and so forth.Furthermore, a proper name has other functions than that of sig-nification: when we discover that Rimbaud has not written LaChasse spirituelle, we cannot maintain that the meaning of theproper name or this author's name has been altered. The propername and the name of an author oscillate between the poles ofdescription and designation, and, granting that they are linked towhat they name, they are not totally determined either by theirdescriptive or designative functions. Yet - and it is here that thespecific difficulties attending an author's name appear - the linkbetween a proper name and the individual being named and the linkbetween an author's name and that which it names are not iso-morphous and do not function in the same way; and these dif-ferences require clarification.

      And, of course, it is an economic and reputational thing as well

      What is the purpose of an author's name?

    14. It is obviously insufficient to repeat empty slogans: the authorhas disappeared; God and man died a common death. Rather, weshould re-examine the empty space left by the author's disappear-ance, we should attentively observe, along its gaps and fault lines,its new demarcations, and the reapportionment of this void; weshould await the fluid functions released by this disappearance.In this context we can briefly consider the problems that ari

      It is obviously insufficient to repeat empty slogans: the author has disappeared; God and man died a common death. Rather, we should re-examine the empty space left by the author's disappearance, we should attentively observe, along its gaps and fault lines,its new demarcations, and the reapportionment of this void; we should await the fluid functions released by this disappearance.In this context we can briefly consider the problems that arise in the use of an author's name. What is the name of an author? How does it function? Far from offering a solution, I will attempt to indicate some of the difficulties related to these questions.

      Great epigraph for an article on scientific authorship. Also relevant, especially the bottom bit.

    15. Another thesis has detained us from taking full measure of the 17author's disappearance. It avoids confronting the specific event thatmakes it possible and, in subtle ways, continues to preserve theexistence of the author. This is the notion of icriture. Strictlyspeaking,.it should allow us not only to circumvent references toan author, but to situate his recent absence. The conception oficriture, as currently employed, is concerned with neither the actof writing nor the indications, as symptoms or signs within a text,of an author's meaning; rather, it stands for a remarkably profoundattempt to elaborate the conditions of any text, both the conditionsof its spatial dispersion and its temporal deployment

      écriture is a fasle way of stepping around the problem in literary criticism, because it simply defers the identity of the author, without stopping treating the author as a unit. But it might be a solution to science writing, in that a credit system, for example, doesn't need an author-function to exist.

    16. en now, when we studythe history of a concept, a literary genre, or a branch of philo-sophy, these concerns assume a relatively weak and secondaryposition in relation to the solid and fundamental role of an authorand his works

      On extent to which we assume the author is real and solid even if we are doubtful about the nature of the field in which the author is working.

    1. "It was Woman, with her sudden fears, her irrational whims, her instinctive fears, her unprovoked bravado, her daring and her delicious delicacy of feeling" Who is speaking in this way? Is it the story's hero, concerned to ignore the castrato concealed beneath the woman? Is it the man Balzac, endowed by his personal experience with a philosophy of Woman?

      Interesting that the prompt is gender fluidity.

    2. THE DEATH OF THE AUTHOR / ROLAND BARTHES

      Barthes, Roland. 1967. “Death of the Author.” Edited by Brian O’Doherty. Translated by Richard Howard. Aspen 5+6 (Fall/Winter): Item 3. http://www.ubu.com/aspen/aspen5and6/threeEssays.html#barthes.

    1. The standard model of scholarly publishing assumes awork written by an author. There is typically a single authorwho receives full credit for theopusin question. By thesame token, the named author is held accountable for allclaims made in the text, excluding those attributed to othersvia citations. The appropriation of credit and allocation ofresponsibility thus go hand-in-hand, which makes for fairlystraightforward social accounting. The ethically informed,lone scholar has long been a popular figure, in both fact andscholarly mythology. Historically, authorship has beenviewed as a solitary profession, such that “when we picturewriting we see a solitary writer” (Brodkey, 1987, p. 55). Butthat model, as Price (1963) recognized almost three decadesago, is anachronistic as far as the great majority of contem-porary scientific, and much social scientific and humanistic,publishing is concerned.

      On "standard model" of authorship: lone authority and responsibility; how this is anachronistic.

  19. May 2016
  20. Apr 2016
  21. cervantes.tamu.edu cervantes.tamu.edu
    1. me

      The "implicit narrator," not to be confused with Miguel de Cervantes Saavedra, the historical author of the book.

  22. Mar 2016
  23. Jan 2016
    1. massive advances in Open Educational Resources

      Some may be surprised to hear about OERs in a post about proprietary technology, especially since this was before iBooks Author allowed the creation of ePUB3 books.

    1. The *.iba file is completely transparent and accessible.

      Oh? Knew it was somewhat similar to ePub in structure, but thought it was the Office-style “open but not quite” format.

    2. multi-touch format books

      Ah, therein lies the crux of the problem. “Multi-touch” is what sets iBooks apart from other formats (despite the fact that the ePub format allows for the same exact type of interaction).

    3. the iBooks Store can be thought of as a feature of iBooks Author

      Not so sure everyone thinks of it this way. Aren’t some publishers converting their stuff from other formats to iBooks without using iBA?

    4. deconstructed and re-created

      Sounds like a time-consuming process, but maybe there’s value in chunking the content to be adapted to diverse contexts.

    5. Deliver functionality allowing “backward-compatible” EPUB conversion of existing multi-touch format books. 

      May be challenging because of the restrictions placed on ePub, but it’s an interesting thought.

    6. a consistent high-end user experience for multi-touch format books created by iBooks Author

      aka ePub3?

    7. as the software that defines digital content creation for the next decade.

      Nostalgia for Aldus/LaserWriter phase of the DTP Revolution?

    8. unlike Adobe DPS, Inkling, or some other would-be competitors…it’s free.

      And unlike Calibre, it’s “free with purchase” and not “free as in speech” or even, really, “free as in beer”.

    9. was such a zealot that he single-handedly forced the shutdown of a would-be iBooks Author competitor.

      Oh? Sounds anticompetitive…

  24. Nov 2015
  25. Oct 2015
    1. No joke is funny unless you see the point of it, and sometimes a point has to be explained.

      Sounds logical, in the abstract. But the explanation is often known to “kill the joke”, to decrease the humour potential. In some cases, it transforms the explainee into the butt of a new joke. Something similar has been said about hermeneutics and æsthetics. The explanation itself may be a new form of art, but it runs the risk of first destroying the original creation.

  26. Jul 2015
  27. Mar 2015
  28. Jan 2015
    1. )
    2. };
    3. A reactive value could represent: * The currently selected item in a table in a user interface * The result of a database query (changing whenever the underlying information in the database changes) * In a web browser, the current size of the browser window, or (in a browser that supports the HTML5 pushState API) the current URL * A string such as "5 minutes ago" or "last Tuesday" that gives the difference between a particular time and the current time

      markup error

    4. is added or deleted

      is edited, added or deleted

    5. // Efficient code says: No pizza for you!

      I think this implies the previous value was "pizza". Perhaps there should be an extra line in the block above:

      var data = new ReactiveDict;
      data.set("favoriteFood", "pizza");
      
    6. Just made up the term "property selector" to differentiate from "field selector" (or "field specifier" in the docs); open to suggestion

      left-over comment?

  29. Aug 2014
  30. Feb 2014
    1. J USTICE B REYER delivered the opinion of the Court.

      Author of the opinion is Justice Breyer of the Supreme Court of the United States