281 Matching Annotations
  1. Last 7 days
    1. There was no public forum for incremental advances.

      I've never thought of the academic paper as a format that enabled the documentation of incremental progress.

    1. We analyze features contributing to the success of a book by feature importance analysis, finding that a strong driving factor of book sales across all genres is the publishing house. We also uncover differences between genres: for thrillers and mystery, the publishing history of an author (as measured by previous book sales) is highly important, while in literary fiction and religion, the author’s visibility plays a more central role.

      The abstract generally tracks with my personal experience in the space.

    1. One of the flaws of using Digital Mappa for projects like this appears to be that it acts more as a viewer (as a result of it's original use with maps) than as something for text. As a result, when looking at various pages, the URL of the page and it's attendant resources doesn't change, so one can't link to particular resources within the work, nor can one easily use digital tools (Hypothes.is for example), to anchor and annotate portions of the text.

    1. This is a facsimile and diplomatic edition of Codex Vercellensis CXVII, Archivio e Biblioteca Capitolare di Vercelli.

      An interesting example of a digitized version of a book.

    1. A standalone React/Redux web application for for presenting unique printed books and manuscripts in digital facsimile.

      <small><cite class='h-cite via'> <span class='p-author h-card'>Whitney Trettien</span> in Digital Book History (<time class='dt-published'>04/07/2021 12:59:11</time>)</cite></small>

    1. Cut/Copy/Paste explores the relations between fragments, history, books, and media. It does so by scouting out fringe maker cultures of the seventeenth century, where archives were cut up, “hacked,” and reassembled into new media machines: the Concordance Room at Little Gidding in the 1630s and 1640s, where Mary Collett Ferrar and her family sliced apart printed Bibles and pasted the pieces back together into elaborate collages known as “Harmonies”; the domestic printing atelier of Edward Benlowes, a gentleman poet and Royalist who rode out the Civil Wars by assembling boutique books of poetry; and the nomadic collections of John Bagford, a shoemaker-turned-bookseller who foraged fragments of old manuscripts and title pages from used bookshops to assemble a material history of the book. Working across a century of upheaval, when England was reconsidering its religion and governance, each of these individuals saved the frail, fragile, frangible bits of the past and made from them new constellations of meaning. These fragmented assemblages resist familiar bibliographic and literary categories, slipping between the cracks of disciplines; later institutions like the British Library did not know how to collate or catalogue them, shuffling them between departments of print and manuscript. Yet, brought back together in this hybrid history, their scattered remains witness an emergent early modern poetics of care and curation, grounded in communities of practice. Stitching together new work in book history and media archaeology via digital methods and feminist historiography, Cut/Copy/Paste traces the lives and afterlives of these communities, from their origins in early modern print cultures to the circulation of their work as digital fragments today. In doing so, this project rediscovers the odd book histories of the seventeenth century as a media history with an ethics of material making—one that has much to teach us today.
  2. May 2021
  3. Apr 2021
    1. Manifold – Building an Open Source Publishing Platform

      Zach Davis and Matthew Gold

      Re-watching after the conference.

      Manifold

      Use case of showing the process of making the book. The book as a start to finish project rather than just the end product.

      They built the platform while eating their own cooking (or at least doing so with nearby communities).

      Use for this as bookclubs. Embedable audio and video possibilities.

      Use case where people have put journals on the platform and they've grown to add meta data and features to work for that.

      They're allowing people to pull in social media pieces into the platform as well. Perhaps an opportunity to use Webmentions?

      They support epub.

      It can pull in Gutenberg texts.

      Jim Groom talks about the idea of almost using Manifold as an LMS in and of itself. Centering the text as the thing around which we're gathering.

      CUNY Editions of standard e-books with additional resources.Critical editions.

      Using simple tools like Google Docs and then ingest them into Manifold using a YAML file.

      TEI, LaTeX formats and strategies for pulling them in. (Are these actually supported? It wasn't clear.)

      Reclaim Cloud has a container that will run Manifold.

      Zach is a big believer in UX and design as the core of their product.

    1. Others are asking questions about the politics of weblogs – if it’s a democratic medium, they ask, why are there so many inequalities in traffic and linkage?

      This still exists in the social media space, but has gotten even worse with the rise of algorithmic feeds.

    1. <small><cite class='h-cite via'> <span class='p-author h-card'>Katharina Schulz</span> in domains21 (<time class='dt-published'>04/19/2021 18:33:31</time>)</cite></small>

    1. Sorry to hear this Dan, but I might be able to help in terms of providing some perspective for moving forward.

      These days the idea of bestseller means selling in the range of 10,000 books. The average book released these days sells only 250 copies, so if you're over that, you're doing well.

      It's also incredibly uncommon for any publishers to put any serious money behind promoting their titles unless PR opportunities are falling off the trees for them. (This means that unless you've been selling a million copies of everything you write, they probably don't care.) Many publishers will assign you a pro-forma publicist to help when they can, but don't expect much from them. Most publishers will tell you to hire your own book publicist (usually for about $1,500-3,000 a month).

      My guess is that the first run of your book was probably 1,000 to 2,000 books, which will bring the cost of raw printing down to $2 a copy. If you need copies of your book and they're remaindering them, you might offer the publisher $1-2 a copy plus shipping to get 50 or 100 copies for yourself for hand sales over the next decade (for speaking engagements, etc.) or selling a few copies from your own stash on platforms like Amazon, Abebooks, Alibris, etc. The cost of keeping a book in print these days is usually around $12 a year and then they print them on demand.

      Some of the methods you mentioned, talks, online readings, etc. can be useful marketing for both you and your book(s). Look around your local community/state for book events, fairs, bookstores that invite authors, etc to supplement this.

      Depending on your next title, it might be worth hiring a publicist if you're going the route of a text accessible to a broader public.Often this can be a reasonable risk but getting copies into reviewers' hands can be helpful, as can radio or print appearances. Another option is to pay for adds in appropriate print magazine outlets related to your material.

      It's an uphill slog, but getting a publisher to take most of the risk and offering you all the free amenities of editing, proofreading, typesetting and distribution can be worth it in the end to get your material out.

      When choosing your next publisher/editor, have a bit of this conversation with them at the outset to see what expectations they have for themselves. Don't tip your hand though by letting them know prior sales numbers.

      Since you've got your own website/newsletter/social media presence, you should also look into affiliate accounts with the bigger online platforms. Chances are you're actually selling most of your own copies, you may as well get a 4% or larger cut of the referrals you're giving. Your link on this page alone could give you a reasonable little return on top of the boilerplate 7% you're probably getting from the publisher.

    1. “Digital technology allows us to be far more adventurous in the ways we read and view and live in our texts,” she said. “Why aren’t we doing more to explore that?”

      Some of the future of the book may be taking new technologies and looking back at books.

      I wonder if the technology that was employed here could be productized and turned into an app or platform to allow this sort of visual display for more (all?) books?

  4. Mar 2021
    1. The United States has no real answer to these challenges, and no wonder: We don’t have an internet based on our democratic values of openness, accountability, and respect for human rights. An online system controlled by a tiny number of secretive companies in Silicon Valley is not democratic but rather oligopolistic, even oligarchic.

      Again, a piece that nudges me to thing that a local-based IndieWeb provider/solution would be a good one. Either co-op based, journalism-based, or library-based.

    1. Books are inherently visual, and cover design is in something of a golden age at the moment with designers like Alison Forner, Gray318, Rodrigo Corral, Suzanne Dean, and many others producing consistently outstanding work.

    2. Folks like Ben Thompson are effectively writing books. Take a year of his essays, edit them for brevity and clarity, and you’d have a brilliant edition of This Year in Tech. And so in a strange way, Stratechery in paid newsletter form is as much a Future Book as a bounded Kindle edition.

      And this isn't a new thing, publishers were mining the blogosphere for books from websites in the early 2000s.

    3. Purchasing a book is one of the strongest self-selections of community, and damn it, I wanted to engage.

    4. The Kindle indicated with a subtle dotted underline and small inline text that those final sentences had been highlighted by “56 highlighters.” Other humans! Reading this same text, feeling the same impulse. Some need to mark those lines.

      Social annotation is definitely part of the future of text. Distributing it across modalities may be the difficult part.

    5. Why the future book never arrived? I might posit that the book we want needs more context about us (perhaps a commonplace book?). If it had this then it could meet us where we are and help to give us the things we need.

      An Algebra text would be dramatically different things to a 4th grader, an 8th grader, and a college math major. It could still be the same book, but hide or reveal portions of it's complexity depending on our background and knowledge of its subject.

      Perhaps it would know our favorite learning modalities and provide them based on whether we're motivated by stories, audio, video, data visualizations, or other thoughts and ideas.

    1. He wrote for the same editor, Michael Korda at Simon & Schuster, for more than three decades before moving to Liveright, an imprint of W.W. Norton, in 2014.

      Too few editors are spoken of...

    1. Ravi outlines some of how he syndicates from his Drupal website to Twitter.

      I particularly appreciated that he's using a sort of taxonomy within Drupal to add some of his particular content to "books" which aggregate related content together. If this were done in an editable outline then it should be easier to aggregate and edit later into an actual book. This would be a cool UI to have within a website for writing and creating.

    1. <small><cite class='h-cite via'> <span class='p-author h-card'>hyperlink.academy</span> in The Future of Textbooks (<time class='dt-published'>03/18/2021 23:54:19</time>)</cite></small>

    1. <small><cite class='h-cite via'> <span class='p-author h-card'>hyperlink.academy</span> in The Future of Textbooks (<time class='dt-published'>03/18/2021 23:54:19</time>)</cite></small>

    1. Books had already been ordered and many of the students had purchased a $150 textbook and a $50 primary source companion. I adapted the lectures I had designed the previous semester, to align them with the new textbook I was using. As I was doing this, I had the opportunity to reflect on the ways that these textbooks were very similar in their skeletal structure, with really just a few details and stylistic differences. I became curious, and looked at several more Modern World textbooks, old and new. It occurred to me that I wasn't entirely happy, charging 75 students $200 each (that’s $15,000!) for textbook content that they would have paid $5 on, if the professor had chosen the previous edition of the textbook (assuming all the students could have FOUND one to buy).

      This! This is the piece of the puzzle that so very few teachers even bother to think about. Perhaps they're stuck with so much other work they either go with what they know, have used before, or are simply sold to them by textbook sales representatives.

      This pattern has concerned me for a long time.

      More:

    1. After we posted our initial exchange, and posited our formative thoughts about openness and politics, we could not have anticipated – much less controlled – who would join as reader or conversant, what they would contribute as an annotator, and how we would subsequently react.

      Not to mention the fact that the experiment will continue on into the future past the official publication.

    2. In this respect, we join Fitzpatrick (2011) in exploring “the extent to which the means of media production and distribution are undergoing a process of radical democratization in the Web 2.0 era, and a desire to test the limits of that democratization”

      Something about this is reminiscent of WordPress' mission to democratize publishing. We can also compare it to Facebook whose (stated) mission is to connect people, while it's actual mission is to make money by seemingly radicalizing people to the extremes of our political spectrum.

      This highlights the fact that while many may look at content moderation on platforms like Facebook as removing their voices or deplatforming them in the case of people like Donald J. Trump or Alex Jones as an anti-democratic move. In fact it is not. Because of Facebooks active move to accelerate extreme ideas by pushing them algorithmically, they are actively be un-democratic. Democratic behavior on Facebook would look like one voice, one account and reach only commensurate with that person's standing in real life. Instead, the algorithmic timeline gives far outsized influence and reach to some of the most extreme voices on the platform. This is patently un-democratic.

    1. Amazon is making many books exclusive to their platform and not allowing libraries digital access.

      Maybe worth looking at what they're doing and how those practices mirror those of academic journal publishing for creating monopolies.

  5. Feb 2021
    1. Researchers do the actual work: they invent the hypothesis, do the experiments and write the articles describing the results of these experiments. Then they publish this article in an academic journal. They cannot simply put this article online on their blog: to be recognised as research work, it must be published in a respectable peer-reviewed journal. So they send their articles to publishers like Elsevier, Wiley or Springer. Publishers send articles they have received to other scientists for peer-review. Reviewers give their opinion on whether the work should be accepted in a journal or not, or if some additional work must be done. Based on these reviews, the article is published or rejected. Both reviewers and scientists work for free. They do not earn any compensation from the academic publisher. Here, academic publishers work as organisers of the academic community, but not as creators. The work of the academic publisher is organisational and not creative.

      These few paragraphs do a great job of outlining the idea of slavery in an academic setting.

  6. Jan 2021
    1. Are the books that much better than the disses? Mostly, no, I'd say. So what's the deal? I think it's that we just like books. And by "we" I mean the whole industry of academe.

      Often when I see this pattern happening, the dissertation is the new and original research and the subsequent book is a rewriting of that research into a form meant to help popularize and distribute it into a broader public.

      This is similar, in a way to journal articles being written about by science journalists which then usually massively broadens the audience of the work. Usually this version helps the work to reach more eyeballs than the dissertation to book route does.

      Another version of this might be the translation of a screenplay and a move into a novelization for popular movies. Some of the goal here however is just to make more money.

      It's worth looking at who is (privileged to be) doing the writing in each of these cases.

    2. So how does this fit with the topic at hand, my dissertation? Well, I've long been bothered by the way in which the many disses that are produced each year are more or less ignored, only to have the books that are based on them get all the attention, limited as even that may be in the end.Were the disses that poor?

      There's an odd double entendre here where one could use his abbreviation of dissertation to diss and the 1980s dis as an abbreviation of disrespect.

    1. In any case, the future lies not in the tourist centre, but in residential neighbourhoods, De Caix said: “What we learned from the lockdown is that people aren’t leaving their areas any more. We realised that the shop, which used to be a destination, no longer serves that purpose. It’s our turn to move to where the customer is.”
    2. Gibert Jeune and its sister company Gibert Joseph have also been slow to react to the threat of Amazon; while the French secondhand book market is booming (book prices are much higher than in the UK, making secondhand books 63% cheaper than new ones on average), trade has mostly been captured by online platforms.
    1. In our time, machine learning conference attendance and submission rates continue to compound, often outstripping the doubling of Moore's law the discipline relies on to make any forward progress. The quality of results in these and other fields since the vast expansion of their communities has not increased.

      Just wait until you see what publishers have planned for India and China

  7. Dec 2020
    1. I also think journalism and music both feed into the major lie of the internet that just because it is possible to reach people all over that means it is likely that will happen for you.

      the lie underlying almost all ideas of being an "influencer"....

    2. Publication voice is ridiculous. This idea of the publication being the authority is so dead. If the internet has truly taught us anything, people will be loyal to people.
  8. Nov 2020
  9. Oct 2020
    1. The authorship and perspective of this paper is hiding a bit:

      This position paper, by Readers First Working Group member Carmi Parker, proposes a single licensing model that aligns with print but optionally enables the unique capabilities of eLending: perpetual licenses and concurrent use.

      ReadersFirst is an organization of nearly 300 libraries representing 200 million readers dedicated to ensuring that library users have the same open, easy and free access to e-books that they have come to rely on with physical books.

      ---via Readers First

    1. “The whole issue of this negotiation [between libraries and publishers] over the last decade derives from a place where libraries have almost no rights in the digital age,” says Alan Inouye, the senior director of public policy and government relations at the American Library Association. “In the longer run, there needs to be a change in the environment or in the game. That means legislation or regulation.”

      If libraries, as government arms, were to band together collectively, they'd have increased buying leverage. Perhaps this is what they should be attempting?

    2. Last year, Macmillan took an additional step, limiting each library system to only a single digital copy of a new title—at half its usual price—until it had been on the market for two months. Macmillan CEO John Sargent said he worried there was too little friction in library ebook lending. “To borrow a book in [the pre-digital days] days required transportation, returning the book, and paying those pesky fines when you forgot to get them back on time,” he wrote in a letter announcing the policy. “In today’s digital world there is no such friction in the market."

      Isn't part of the point of technology improving to reduce the costs of the system? Publishers are attempting to prop up the price of books unnaturally using their old model when the cost to print and distribute e-books is a fraction of what it truly is. They (and society) would be better off if they dramatically reduced the digital version (and sold more copies) and held the cost of print which might actually increase over time as digital takes of the majority of the market.

    1. With shrinking budgets and outrageous prices, libraries are unable to provide all the ebooks users want, or to get a good handle on wait times. As a result, users see the library as being out-of-touch with reader needs, so they don’t fight for more funding. So funding gets cut more, so libraries can provide even less and are seen as even more out-of-touch and the cycle continues.

      The viscous circle of putting public libraries out of business.

    1. Mr. Duncombe published the results online using CommentPress, open-source software by the Institute for the Future of the Book. Online discussion and commenting is made possible by Social Book, a social-reading platform created by the institute.
    1. The ideas here make me think that being able to publish on one's own site (and potentially syndicate) and send/receive webmentions may be a very useful tool within open science. We should move toward a model of academic samizdat where researchers can publish their own work for themselves and others. Doing this will give them the credit (and job prospects, etc.) while still allowing movement forward.

    1. Relatively new bookstores in LA:

      • Last Bookstore (Downtown) opened 2008
      • Stories Books & Cafe (Echo Park) 2008
      • The Mystic Journeys (Venice) 2009
      • {pages} (Manhattan Beach) 2010
      • Pop-Hop Books & Print (Highland Park) 2012
      • Book Show (Highland Park) 2013
      • The Ripped Bodice (Culver City) 2016
      • OOF Books (Cypress Park) 2017
      • Now Serving (Chinatown) 2017
      • Owl Bureau (Highland Park) 2019
    2. Twenty Stories Bookmobile, which left L.A. traffic for Providence, Rhode Island, in 2018

      This makes me think that a mobile bookstore a la the traditional LA roach coach with a well painted/decorated exterior could be a cool thing.

      I'm reminded of a used bookstore pop-up I saw recently at the Santa Anita Mall prior to the holidays. Booksellers were traditionally itinerant mongers anyway. Perhaps this could be a more solid model, especially for the lunchtime business crowds.

    1. Publishers who aren’t media partners with Facebook, Snapchat and Twitter, aren’t highlighted prominently on these platforms, don’t receive a heads up about new products and never have a direct line to support at these companies.

      Looking at the relationship of authors, book publishers, and even the big 5 publishing companies provides a reasonable model for what all of this looks like down the road. All the publishers are generally screwed if they're reliant on one distributor which they don't control.

    1. Notice how print books have remained ad-free in an age when every other available surface carries advertising – something about print books has kept them immune from the disease of advertising.
    2. Books as websites can be public goods in a way that printed books cannot, especially for the poor.
    3. There are other great teams doing similar work: PressBooks uses a Wordpress backend for online book and website development. Booktype, which has been around for a long time, also uses a browser-based editing workflow to produce HTML and PDF books. PubSweet is developing a modular editorial workflow, optimised, for now, for journals and monographs. The MagicBook project is being used at New York University. And our Electric Book workflow uses on- and offline static-site generation to make print and digital books.

      Nice list of tools for digital publishing for the book space.

    1. While many people say that such and such a book changed their lives, you can be sure that they could not tell you who published the book. The identification is with the book and its author, not the publisher.
    2. My models were New Directions Press and Grove Press.
    3. Academics will probably bristle at this thought but, at least in relation to literature, all you have to do is look at the courses that are offered featuring the literatures of other countries. Not only don’t they teach these literatures, they don’t read them.

      We certainly could use an Anthony Bourdain of literature to help peel back the curtain on other countries and cultures.

    4. Small publishers are oftentimes awful at getting their books out to people, even though of course the marketplace determines many of the limitations.
    1. The attention of the audience is a writer's most precious possession, and the value of audience attention is seldom more clear than in writing for the Web. The time, care, and expense devoted to creating and promoting a hypertext are lost if readers arrive, glance around, and click elsewhere. How can the craft of hypertext invite readers to stay, to explore, and to reflect?

      A very early statement about what was about to become the "attention economy"

    1. PDF form

      Let me know when you're done and we'll see about helping you distribute it in .epub and .mobi formats as e-books as well.

    2. Senior colleagues indicate that I should not have to balance out publishing in “traditional, peer-reviewed publications” as well as open, online spaces.

      Do your colleagues who read your work, annotate it, and comment on it not count as peer-review?

      Am I wasting my time by annotating all of this? :) (I don't think so...)

    3. academia is built on the premise (IMHO) of getting a good idea, parlaying that into a job and tenure, and waiting for death. I’ve had a lot of colleagues and acquaintances ask why I would bother blogging. Ask why I share all of this content online. Ask why I’m not afraid that someone is going to steal my ideas.

      Though all too true, this is just a painful statement for me. The entirety of our modern world is contingent upon the creation of ideas, their improvement and evolution, and their spreading. In an academic world where attribution of ideas is paramount, why wouldn't one publish quickly and immediately on one's own site (or anywhere else they might for that matter keeping in mind that it's almost trivially easy to self-publish it on one's own website nearly instantaneously)?

      Early areas of science were held back by the need to communicate by handwriting letters as the primary means of communication. Books eventually came, but the research involved and even the printing process could take decades. Now the primary means of science communication is via large (often corporate owned) journals, but even this process may take a year or more of research and then a year or more to publish and get the idea out. Why not write the ideas up and put them out on your own website and collect more immediate collaborators? Funding is already in such a sorry state that generally, even an idea alone, will not get the ball rolling.

      I'm reminded of the gospel song "This little light of mine" whose popular lyrics include: "Hide it under a bushel? No! / I'm gonna let it shine" and "Don't let Satan blow it out, / I'm gonna let it shine"

      I'm starting to worry that academia in conjunction with large corporate publishing interests are acting the role of Satan in the song which could easily be applied to ideas as well as to my little light.


      [also on boffosocko.com]

    1. “Every Cambodian... including the King has the right to express freely their view.”

      While I like the sentiment here, a lot of the power of the message comes from not only the medium, but the distribution which it receives. Many daily examples of "typical" annotation done by common people are done in a way that incredibly few will ultimately see the message. The fact that the annotations of the emperor were republished and distributed was what, in great part, gave them so much weight and value. Similarly here with the example of the King's blog or Alexandra Bell's work which was displayed in public. I hope there is more discussion about the idea of distribution in what follows.

    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.

    1. A blog without a publish button I’m stealing this quote from my modern friend Ryan also has a nice little idea for modern friends as being something between internet stranger and ‘actual friend’. That’s me and Ryan Ryan Dawidjan who has been pioneering this concept of open-access writing and blogging without a publish button. For a long time he has maintained a quip file called high cadence thoughts that is open access and serves as a long-running note of his thinking and ideas. It’s a less-performative version of blogging - more of a captain’s log than a broadcast blog. The distinction will come down to how you blog - some people blog in much the same way. For me however blogging is mostly performative thinking and less captain’s log. So I am looking for a space to nurture, edit in real time and evolve my thinking.

      I like the idea of a blog without a publish button. I do roughly the same thing with lots of drafts unpublished that I let aggregate content over time. The difference is that mine aren't immediately out in public for other's benefit. Though I do wonder how many might read them, comment on them, or potentially come back to read them later in a more finished form.

    1. you can then use “Sign In with Google” to access the publisher’s products, but Google does the billing, keeps your payment method secure, and makes it easy for you to manage your subscriptions all in one place.  

      I immediately wonder who owns my related subscription data? Is the publisher only seeing me as a lumped Google proxy or do they get may name, email address, credit card information, and other details?

      How will publishers be able (or not) to contact me? What effect will this have on potential customer retention?

    1. Mr Fallon denied this, saying the firm's plans would provide authors with "a more sustainable income over time".

      but really only because they're doing this as a company to protect their own income over time! Authors should make sure that their percentage of the pie doesn't decrease in this transition--that's what they need to pay attention to.

    2. However, many of Pearson's digital products are sold on a subscription basis, raising fears that authors will lose out in the way musicians have to music streaming services.
    1. The title letters of the B42 itself were left blank so people could have them rubricated—colored in—themselves.

      In some sense the Gutenberg Bible was one of the first printed coloring books!

    1. Students like the convenience of the system, said Anderson, and all have access to the most up-to-date content, instead of some students having different editions of the same textbook.

      They're also touting the most up-to-date content here, when it's an open secret that for the majority of textbooks don't really change that much from edition to edition.

    2. A key difference between inclusive access and buying print textbooks is that students effectively lease the content for the duration of their course, rather than owning the material. If students want to download the content to access it beyond the duration of their course, there is often an additional fee.

      So now we need to revisit the calculation above and put this new piece of data into the model.

      Seriously?! It's now a "rental price"?

    1. Now all information belongs to a single category, and it all pours through a single channel.

      If this is true, then I desperately want to know how I can manage to feed books through this channel too. I'd often prefer to read those...

    1. To have, but maybe not to read. Like Stephen Hawking’s “A Brief History of Time,” “Capital in the Twenty-First Century” seems to have been an “event” book that many buyers didn’t stick with; an analysis of Kindle highlights suggested that the typical reader got through only around 26 of its 700 pages. Still, Piketty was undaunted.

      Interesting use of digital highlights--determining how "read" a particular book is.

    1. How Textbooks are Produced 1 Authors, often academics, write a national version of each text. 2 Publishers customize the books for states and large districts to meet local standards, often without input from the original authors. 3 State or district textbook reviewers go over each book and ask publishers for further changes. 4 Publishers revise their books and sell them to districts and schools.

      This is an abominable process for history textbooks to be produced, particularly at mass scale. I get the need for broad standards, but for textbook companies to revise their books without the original authors is atrocious. Here again, individual teachers and schools should be able to pick their own texts if they're not going to--ideally--allow their students to pick their own books.

    2. Pearson, the publisher whose Texas textbook raises questions about the quality of Harlem Renaissance literature, said such language “adds more depth and nuance.”

      If they wanted to add more "depth and nuance" wouldn't they actually go into greater depth on the topic by adding pages instead of subtly painting it such a discouraging light?

      But Texas students will read that some critics “dismissed the quality of literature produced.”

    1. Your machine is a library not a publication device. You have copies of documents is there that you control directly, that you can annotate, change, add links to, summarize, and this is because the memex is a tool to think with, not a tool to publish with.

      I can't help but think about Raymond Lull's combinatorial rings which he used as a thinking tool. Or Giordano Bruno's revision of Lull's tools as described in De Umbris Idearum. Given their knowledge of the art of memory stemming from rhetoric in combination with his combinatorial tool, he was essentially sitting on top of an early form of a memex.

      I also can't help but think about Kicks Condor's Fraidyc.at reader tool that pulls in wiki content from TiddlyWikis and which have the potential to also make wikis publishing tools as well.

    1. Lauren Michele Jackson is a contributing writer at The New Yorker and an assistant professor of English at Northwestern University.

      This is an excellent article on its own without the context, but it is more interesting with the context on the click-thru that Jackson's first book, the essay collection “White Negroes,” was published in 2019.

      I'm curious about the editorial decision to not mention it in the mini-bio here, particularly when the piece is so pointedly about identity and authenticity.

    1. Therefore it is a great valuefor fixing a memory-image that when we read books, we strive to impress onour memory through the power of forming our mental images not only thenumber and order of verses or ideas, but at the same time the color, shape,position, and placement of the letters, where we have seen this or that writ-ten, in what part, in what location (at the top, the middle, or the bottom)we saw it positioned, in what color we observed the trace of the letter or theornamented surface of the parchment

      I've always been able to generally remember how far into a book and on what part of the page (left/right; top/middle/bottom) the thing was. This obviously is not a new phenomenon, though obviously the printing of texts in the modern age helps standardize this for students in comparison with this particular example which discusses different versions of the same text.

  10. Sep 2020
    1. But I actually think stock and flow is a useful metaphor for media in the 21st century. Here’s what I mean: Flow is the feed. It’s the posts and the tweets. It’s the stream of daily and sub-daily updates that reminds people you exist. Stock is the durable stuff. It’s the content you produce that’s as interesting in two months (or two years) as it is today. It’s what people discover via search. It’s what spreads slowly but surely, building fans over time.

      Een interessant inzicht van Robin Sloan (via) wat mij doet denken aan zowel de Zettelkasten methode van Niklas Luhman maar ook aan de opkomst van nieuwsbrieven de laatste maanden. Online publiceren begon met het maken en distribueren van "stock" sites. Semi-statische sites die soms nog terug zijn te vinden. De laatste 20 jaar zijn de flow feeds daar bij gekomen. Met name de social sites. Email en nieuwsbrieven lijken die sweet spot er tussen hebben gevonden. Enerzijds flow omdat ze periodiek verschijnen. Anderzijds stock omdat ze blijven bestaan in een online archief en in het mailarchief van de ontvanger. Een zoektocht in mijn mailbox brengt soms het antwoord boven in de vorm van een nieuwsbrief bericht van jaren geleden.

  11. Aug 2020
    1. Published:

      Publicado seis meses después de recibido en editorial.