Listing entries tagged with publishing
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if:book london... tomorrow the stars 06.05.2008, 11:10 AM
We've now launched a website for if:book london, the British iteration of the Institute, at http://www.futureofthebook.org.uk, and that links both to this blog and one which will focus on UK activities and in particular our work with the literature sector following a very positive reception by Arts Council England to the report by Mary and I: read:write - digital possibilities for literature and the imminent launch of another report, digital livings, how new media writers do, can and could make their way in the world , commissioned by the Institute of Creative Technologies at De Montfort University. We will be making both reports available to download as soon as possible.
I think this if:book blog is wonderful, stimulating, challenging, brilliant - and so somewhat daunting to post on. It has a strong sense of itself and, tell me if you disagree, but it doesn't feel right to me to start bombarding this space with discussion of very specific issues to do with the UK literary scene and the organisations which work around it. Which isn't to say that some posts shouldn't appear in both places.
One reason I'm hesitant about writing here is uncertainty about who I'm talking to.
I would love to know more about if:book readers and wonder if some might be prepared to step forward and tell us briefly about themselves and why they keep an eye on this place.
I would love to see an anthology of if:book's best bits, in print on page or screen. People have been writing serious, lengthy essays here, some of which quickly stimulate much attention, others drift by unnoticed like leaves in the blogflow and deserve fuller consideration.
Meanwhile Sara Lloyd, Head of digital publishing at Pan Macmillan in the UK quotes if:book in a fascinating book publishers manifesto for the 21st century. You can download it from http://thedigitalist.net/?p=155. It's more evidence that the future of the book may be arriving shortly in the NOW and, having led the way up to this point, now is a good moment for the Institute to reflect further on what role(s) it wishes to play in a rapidly changing landscape, whether it should be looking much further ahead for next big futurethings or focusing on specific interventions in distribution and creation in the digital here and now.
However on the 'it'll-never-catch-on' front, Doctor Who, Britain's favourite time traveller, is trapped on a gigantic planet-sized library on BBC 1 this week. Electronic librarians oversee rows of very conventional looking dusty tomes and death lurks in the shadows. The Doctor has already told us how, despite all the advances in technology, future life forms still love nothing better than the smell and feel of a proper old book. No sign of the great grandchildren of Kindle here yet then, but it is only episode one. More next week!
old school 04.14.2008, 6:51 PM
J.K. Rowling went to court today to try to stop someone from publishing a lexicon of Harry Potter characters. She says she wants to do it herself, but even if that gave her the right to stop others from doing it (which i surely hope is not what the court decides), Rowling misses the opportunity here to JOIN with Harry Potter fans in the sublime exercise of building on the story.
Reminds me of a koan i've been working on which goes like this:
old school authors commit to engage with a subject ON BEHALF of future readers.
new school authors commit to engage WITH readers in the the context of a subject.
where minds meet: new architectures for the study of history and music 04.03.2008, 10:49 PM
This is the narrative text for an NEH Digital Humanities Start-UP grant we just applied for.
With the advent of the cd-rom in the late 80s, a few pioneering humanities scholars began to develop a new vocabulary for multi-layered, multi-modal digital publications. Since that time, the internet has emerged as a powerful engine for collaboration across peer networks, radically collapsing the distance between authors and readers and creating new communal spaces for work and review.
To date, these two evolutionary streams have been largely separate. Rich multimedia is still largely consigned to individual consumption on the desktop, while networked collaboration generally occurs around predominantly textual media such as the blogosphere, or bite-sized fragments on YouTube and elsewhere. We propose to carry out initial planning for two ambitious digital publishing projects that will merge these streams into powerfully integrated experiences.
Although the locus of scholarly discourse is slowly but clearly moving from bound/printed pages to networked screens, we've yet to reach the tipping point. The printed book is still the gold standard of the academy. The goal of these projects is to produce born-digital works that are as elegant as printed books and also draw on the power of audio and video illustrations and new models of community-based inquiry -? and do all of these so well that they inspire a generation of young scholars with the promise of digital scholarship.
Robert Winter's CD Companion Series (Beethoven's Ninth Symphony, Stravinsky's Rite of Spring, Mozart's Dissonant Quartet, Dvorak's New World Symphony) and the American Social History Project's Who Built America? Volumes I and II were seminal works of multimedia scholarship and publishing. In their respective fields they were responsible for introducing and demonstrating the value of new media scholarship, as well as for setting a high standard for other work which followed.
Although these works were encoded on plastic cd-roms instead of on paper, they essentially followed the paradigm of print in the sense that they were page-based and very much the work of authors who took sole responsibility for the contents. The one obvious difference was the presence of audio and video illustrations on the page. This crucial advance allowed Robert Winter to provide a running commentary as readers listened to the music, or the Who Built America? authors to provide valuable supplementary materials and primary source documents such as William Jennings Bryan reading his famous "Cross of Gold" speech, or moving oral histories from the survivors of the Triangle Shirtwaist fire of 1911.
Since the release of these cd-roms, the internet and world wide web have come to the fore and upended the print-centric paradigm of reading as a solitary activity, moving it towards a more communal, networked model. As an example, three years ago my colleagues and I at the Institute for the Future of the Book began a series of "networked book" experiments to understand what happens when you locate a book in the dynamic social space of the Web. McKenzie Wark, a communication theorist and professor at The New School, had recently completed a draft of a serious theoretical work on video games. We put that book, Gamer Theory, online in a form adapted from conventional blog templates that allowed readers to post comments on individual paragraphs. While commenting on blogs is commonplace, readers' comments invariably appear below the author's text, usually hidden from sight in an endlessly scrolling field. Instead we put the reader's comments directly to the right of Wark's text, indicating that reader input would be an integral part of the whole. Within hours of the book's "publication" on the web, page margins began to be populated with a lively back-and-forth among readers and with the author. As early reviewers said, it was no longer simply the author speaking, but rather the book itself, as the conversation in the margins became an intrinsic and important part of the whole.
The traditional top-down hierarchy of print, in which authors deliver wisdom from on high to receptive readers, was disrupted and replaced by a new model in which both authors and readers actively pursued knowledge and understanding. I'm not suggesting that our experiment caused this change, but rather that it has shed light on a process that is already well underway, helping to expose and emphasize the ways in which writing and reading are increasingly socially mediated activities.
Thanks to extraordinary recent advances, both technical and conceptual, we can imagine new multi-mediated forms of expression that leverage the web's abundant resources more fully and are driven by networked communities of which readers and authors can work together to advance knowledge.
Let's consider Who Built America?
In 1991, before going into production, we spent a full year in conversation with the book's authors, Steve Brier and Josh Brown, mulling over the potential of an electronic edition. We realized that a history text is essentially a synthesis of the author's interpretation and analysis of original source documents, and also of the works of other historians, as well as conversations in the scholarly community at large. We decided to make those layers more visible, taking advantage of the multimedia affordances and storage capacity of the cd-rom. We added hundreds of historical documents -? text, pictures, audio, video -? woven into dozens of "excursions" distributed throughout the text. These encouraged the student to dig deeper beneath encouraged them to interrogate the author's conclusions and perhaps even come up with alternative analyses.
Re-imagining Who Built America? in the context of a dynamic network (rather than a frozen cd-rom), promises exciting new possibilities. Here are just a few:
• Access to source documents can be much more extensive and diverse, freed from the storage constraints of the cd-rom, as well as from many of the copyright clearance issues.
• Dynamic comment fields enable classes to produce their own unique editions. A discussion that began in the classroom can continue in the margins of the page, flowing seamlessly between school and home.
• The text continuously evolves, as authors add new findings and engage with readers who have begun to learn history by "doing" history, adding new research and alternative syntheses. Steve Brier tells a wonderful story about a high school class in a small town in central Ohio where the students and their teacher discovered some unknown letters from one of the earliest African-American trade union leaders in the late nineteenth century, making an important contribution to the historical record.
In short, we are re-imagining a history text as a networked, multi-layered learning environment in which authors and readers, teachers and students, work collaboratively.
Over the past months I've had several conversations with Brier and Brown about a completely new "networked" version of Who Built America?. They are excited about the possibility and have a good grasp of the challenges and potential. A good indication of this is Steve Brier's comment: "If we're going to expect readers to participate in these ways, we're going to have to write in a whole new way."
Discussions with Robert Winter have focused less on re-working the existing CD-Companions (which were monumental works) than on trying to figure out how to develop a template for a networked library of close readings of iconic musical compositions. The original CD-Companions existed as individual titles, isolated from one another. The promise of networked scholarship means that over time Winter and his readers will weave a rich tapestry of cross-links that map interconnections between different compositions, between different musical styles and techniques, and between music and other cultural forms. The original CD-Companions were done when computers had low-resolution black and white screens with extremely primitive audio capabilities and no video at all. High resolution color screens and sophisticated audio and video tools open up myriad possibilities for examining and contextualizing musical compositions. Particularly exciting is the prospect of harnessing Winter's legendary charismatic teaching style via the creative, yet judicious use of video.
We are seeking a Level One Start-Up grant to hold a pair of two-day symposia, one devoted to each project. Each meeting will bring together approximately a dozen people -? the authors, designers, leading scholars from various related disciplines, and experts in building web-based communities around scholarly topics -? to brainstorm about how these projects might best be realized. We will publish the proceedings of these meetings online in such a way that interested parties can join the discussion and deepen our collective understanding. Finally, we will write a grant proposal to submit to foundations for funds to build out the projects in their entirety. The work described here will take place over a five-month period beginning September 2008 and ending February 2009.
Some of the questions to be addressed at the symposia are:
• what are new graphical and information design paradigms for orienting readers and enabling them to navigate within a multi-layered, multi-modal work?
• how do you distinguish between the reading space and the work space? how porous is the boundary between them?
• what do readers expect of authors in the context of a "networked" book?
• what new authorial skill sets need to be cultivated?
• what range of mechanisms for reader participation and author/reader interaction should we explore? (i.e. blog-style commenting, social filtering, rating mechanisms, annotation tools, social bookmarking/curating, personalized collection-building, tagging, etc.)
• how do readers become "trusted" within an open community? what are the social protocols required for a successful community-based project: terms of participation, quality control/vetting procedures, delegation of roles etc.
what does "community" mean in the context of a specific scholarly work?
• how will scholars and students cite the contents of dynamic, evolving works that are not "stable" like printed pages? how does the project get archived? how do you deal with versioning?
• if asynchronous online conversation becomes a powerful new mode of developing scholarship, how do we visualize these conversations and make them navigable, readable, and enjoyable?
Video Demo for Who Built America? (circa 1993)
Video Demo for the Rite of Spring (circa 1990)
Introduction to the CD Companion to Beethoven's Ninth Symphony (circa 1989)
major news: IFB and NYU libraries to collaborate 03.25.2008, 12:46 PM
A couple of weeks ago, I alluded to a new institutional partnership that's been in the works for some time. Well I'm thrilled to officially announce that the we are joining forces with the NYU Division of Libraries!
From Carol A. Mandel, dean of the NYU Libraries. "IFB is a thought leader in the future of scholarly communication. We will work together to develop new software and new options that faculty can use to publish, review, share, and collaborate at NYU and in the larger academic community."
A basic breakdown of what this means:
-? NYU is now our technical home. All IFB sites are running out of there with IT support from the NYU Libraries' top-notch team.
-? Bob, Dan and I will serve as visiting scholars at NYU.
-? With recently secured NEH digital humanities start-up funding (along with other monies yet to be raised), we will work with the NYU digital library team, headed by James Bullen, to develop social networking tools and infrastructure for MediaCommons. This will serve as applied research for digital tools and frameworks that NYU is presently developing.
-? We will work with NYU librarians, with the digital library team, and with Monica McCormick, the Libraries' program officer for digital scholarly publishing, to create forums for collaboration and to develop specific projects and digital initiatives with NYU faculty, and possibly NYU Press.
Needless to say, we're tremendously excited about this partnership. Things are still being set up but expect more news in the weeks and months ahead.
expressive processing: post-game analysis begins 03.20.2008, 3:27 AM
So Noah's just wrapped up the blog peer review of his manuscript in progress, and is currently debating whether to post the final, unfinished chapter. He's also just received the blind peer reviews from MIT Press and is in the process of comparing them with the online discussion. That'll all be written up soon, we're still discussing format.
Meanwhile, Ian Bogost (the noted game designer, critic and professor) started an interesting thread a couple of weeks back on the troubles of reading Expressive Processing, and by extension, any long-form text or argument, on the Web:
The peer review part of the project seems to be going splendidly. But here's a problem, at least for me: I'm having considerable trouble reading the book online. A book, unlike a blog, is a lengthy, sustained argument with examples and supporting materials. A book is textual, of course, and it can thus be serialized easily into a set of blog posts. But that doesn't make the blog posts legible as a book...
...in their drive to move textual matter online, creators of online books and journals have not thought enough about the materiality of specific print media forms. This includes both the physicality of the artifacts themselves (I violently dogear and mark up my print matter) and the contexts in which people read them (I need to concentrate and avoid distraction when reading scholarship). These factors extend beyond scholarship too: the same could be said of newspapers and magazines, which arguably read much more casually and serendipitously in print form than they do in online form.
I've often considered Bolter and Grusin's term "remediation" to be a derogatory one. Borrowing and refashioning the conventions of one medium in another opens the risk ignoring what unremediated features are lost. The web has still not done much more than move text (or images, or video) into a new distribution channel. Digitizing and uploading analog material is easy and has immediate, significant impact: web, iPod, YouTube. We've prized simple solutions because they are cheap and easy, but they are also insufficient. In the case of books and journal articles, to offer a PDF or print version of the online matter is to equivocate. And the fashionable alternative, a metaverse-like 3D web of the sort to which Second Life points, strikes me as a dismal sidestepping of the question.
so when are you going to retire?: a book in process about age, work and identity 03.18.2008, 1:18 PM
I want to give a shout out to a wonderful new project by a dear friend of ours. So When Are You Going to Retire? is -? or will be, or is in the process of becoming -? a book exploring questions of age, work and identity through the stories of people over 80 who continue, against the odds, to work for a living. As of very recently, the author, Ashton Applewhite, has begun documenting her research on a very attractive new weblog, and is inviting readers, writers and experts in the field to join her in conversations and story sharing that hopefully will shape the book's development. In an email, Ashton explained to me why she's doing this:
I'm a generalist writing about a broad topic: people in their 80s and 90s who are still in the workforce, and what we can learn from them. Following on the Institute's work with Siva and Mitchell Stephens, I'm excited about using the blog as a mechanism for thinking out loud as I go through my material, formulate the themes of the book, and write the proposal. I think that ongoing feedback from experts (gerontologists, social scientists, demographers, etc.) and discerning readers will sharpen and inform my thinking -? in other words, that the network will help me build a better book. I also think i'll end up with a valuable platform for leveraging and disseminating my work over the long run -? one that could radically revise conventional notions of shelf life. Cutting Loose, my book about women and divorce (HarperCollins, 1997) is still in print; imagine what sales would look like if it were at the hub of an ongoing social network, and what a rich site that would be?
Though this isn't an officially Institute-sponsored project, we've done a fair bit of kibbitzing from the sidelines on the conceptual layout of the site and on general strategies for writing it (this being Ashton's first foray into blogging). We're also brainstorming with Ashton on that most crucial of issues: building an audience. Most of our networked book projects have been on technology or media-related subjects that naturally appeal to online readerships and get picked up easily in the blogospheric grapevine. Ashton's book doesn't have such an obviously built-in wired constituency, although its potential readership is far broader and more diverse than that of any of the works we've published. I imagine it will be a gradual, word of mouth kind of thing.
So check out Ashton's rich and inviting site, join the conversation, and spread the word to anyone you know who might be interested. If you know of any specific sites or online communities that Ashton might want to connect with, let her know through the "email me" link near the top of her site. There's already quite a lot to delve into since Ashton's been blogging under the radar for the past several months, cutting her teeth on the form and piling up some wonderful stories (many of which you can listen to in audio). Help start building this network, and this book.
issue magazine 03.18.2008, 12:27 PM
Hot on the heels of Rosa B. (mentioned last week) comes Issue Magazine, another new web-based publication looking at the changing world of publishing and design. Issue #0, edited by Alexandre Leray and Stéphanie Vilayphiou, is undergoing a slow rollout this week, culminating in a live chat with Arie Altena, Jouke Kleerebezem, and Harrisson on Friday. Currently they're featuring an essay and an interview with David Reinfurt of Dexter Sinister and Dot Dot Dot on the idea of open-source design and publishing; an interview with Kleerebezem and a piece by Roger Chartier will be up before the end of the week.
What's particularly interesting about the format of Issue – and one area in which it differs from Rosa B. – is the way that commenting has been integrated into the articles: after units of the text, there's the opportunity for the reader to add comments. It's a bit like CommentPress in conception, but the prompts to comment in Issue appear less frequently than every paragraph. This makes sense: paragraph-level commenting is invaluable for close-reading, but less necessary for the general discussion of an essay. Because it's early, there don't seem to be any comments yet, but it's a promising model of how the readers can be more immediately integrated into a publication.
step inside the books: new york event this friday (3/21) 03.17.2008, 5:31 PM
If you're in the New York area, don't miss this. Friday, March 21, 2008, 7-9pm - ?New York, NY - ?125 Maiden Lane, 2nd Floor.
FOR ONE NIGHT ONLY: Step inside three books, drink free beer and wine, and experience the future of the book:
Mark Batty Publisher, Hotel St. George Press, the Institute for the Future of the Book, and the Lower Manhattan Cultural Council's Workspace Writers Residency program offer a night of multi-media readings that invite attendees to step inside books, celebrating how new media and traditional publishing fuse to create innovative projects that are more than "just books." On this night, authors Garth Risk Hallberg, Alex Rose, and Alex Itin demonstrate how their stories rely on more than just words.
Hallberg's illustrated novella, A Field Guide to the North American Family, documents two fictional families through 63 entries accompanied by evocative photographs contributed by some of today's freshest photographic talents, as culled from the book's ongoing companion website, afieldguide.com. Read from start to finish or in a "choose your own adventure" style, Hallberg's attention to narrative detail makes clear why he was included in the 2008 Harcourt Best New American Voices anthology, and why Print called A Field Guide to the North American Family "a modern illuminated manuscript." Hallberg will project photographs from the book.
The interwoven, post-modern folktales that comprise The Musical Illusionist by Alex Rose muse upon historical arcana, tethered together by music and topography. Drawing on his experience as a director whose films, videos, and animations have appeared on HBO, MTV, Comedy Central, Showtime, and the BBC, Rose conjures, in the words of the Village Voice, "the playful parables of Jorge Luis Borges . . . exotic maps and exquisite prints further suggest a volume passed down from an epoch much more enthralled with mystery than our own." Rose will read from the title story of his collection, accompanied by a surround-sound score composed by David Little and recorded by the Formalist Quartet.
As an artist-in-residence at Brooklyn's Institute for the Future of the Book, Alex Itin uses text, original illustrations and animations, and music to encourage readers to reconsider the definition of a book. Take for example Itin's Orson Whales: Melville's Moby Dick meets Orson Welles, and Led Zeppelin. Itin's multi-media books will be screened.
The LMCC is the leading voice for arts and culture in downtown New York City, producing cultural events and promoting the arts through grants, services, advocacy, and cultural development programs.
googlization of everything now has print publisher 03.17.2008, 3:36 PM
In case you missed the news last week, Siva has locked up a deal with the University of California Press to publish the North American print edition of The Googlization of Everything. It's due out late summer, 2009. Profile will publish it in the UK and British Commonwealth. We're currently brainstorming next steps for the blog as Siva moves into intense drafting and revising mode. Congrats, Siva!
friday projections 03.14.2008, 4:40 AM
It's all go on the digital publishing scene in the UK with Penguin launching their first ARG next week - go to www.wetellstories.co.uk for more details, and various big companies plotting experiments. Meanwhile this week Gail Rebuck, chief executive of the Random House Group, delivered the Stationers' Company Annual Lecture on New Chapter or Last Page? Publishing books in a digital age, an upbeat and positively inspirational assessment of the potential for e-reading.
She ends: "This future is ours to grasp, but only if we understand that it is not technology that makes books, but readers, and authors and creativity. It is our collective responsibility to ensure that every child can read, and can have his or her world opened to the extraordinary possibility that only books can offer. Our responsibility is to nurture every last drop of creativity and talent that we have in our society. And finally our responsibility is to protect creativity so that all of us, not just the authors themselves, can be rewarded and enriched."
All great stuff and well worth reading in full.
Rebuck says, "people who think a new reading device will somehow change the content of the books we love are missing the point: our attraction to narrative is visceral and enduring, an integral part of being human. Whether we choose to read our favourite novelists on a printed page or in E Ink, it simply doesn't matter, because that core experience of books will remain undiminished."
Undiminished yes, but changed surely. The next great breakthrough won't be an e-reader but some born digital piece of transliterate brilliance. Great art stops us in our hectic cultural tracks and forces us to settle down and appreciate it on whatever 'platform' it was made for. We need a digital Shakespeare (or even a Rowling) to get readers downloading with passion.
I feel more confident about our enduring cultural richness than the viability of parts of the publishing industry in these turbulent times of convergence and confusion when anyone with a sharp mind, an office full of macs and some financial backing can have a crack at producing pretty much anything . Doing our research for the Arts Council it's been a delight to meet sparky young independent publishers like Salt and Snow who are doing exciting things to sell books made of paper in a webby way, but it's tough out there.
I was delighted to be on the panel of 'Book Futures' last night, the final event of the London Word Festival, a dynamic new event marketed through a torrent of blogposts, emails and facebookery. Up there with me was Scott Pack, the once much feared buyer of Waterstones - he who decided which books went in the shop windows - whose blog-to-book company The Friday Project appears to be in deep financial trouble. Of course rumours of new backers hover, but it's hard to tell right now whose waving whose drowning.
rosa b. 03.13.2008, 7:48 AM
A quick note to point out Rosa B, a new online publication in French and English from the CAPC Museum of Contemporary Art Bordeaux and the Bordeaux School of Fine Arts. Their first issue, online now, is about contemporary publishing and edited by the very interesting Thomas Boutoux. More of an art slant than a business one, but the features would probably interest readers of this site: an interview with Stuart Bailey of dot dot dot and Dexter Sinister about his publishing and design-related activities; novelist and critic Matthew Stadler talks about the social space of reading; and a nicely excerpted bit of Friedrich Kittler's Gramophone, Film, Typewriter, which has been out in English translation for a while but could stand more readers.
Worth noting as much as the content is the form: Rosa B. is clearly designed for online reading, and takes advantages of the affordances of the web; it's nice to see texts on reading that have been designed by someone who thinks about how they'll be read. Texts overlap and intersect with other texts and illustrations; long filmed interviews mix with text amiably.