- Dec 2021
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www.newyorker.com www.newyorker.com
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Medium, a writing app that is also a publishing platform and a social-media network, represents the logical extreme of this vertical integration.
Julian Lucas indicates that tools like Microsoft Word, WordStar, WordPerfect, and Google Docs, are writing tools which ultimately result into the vertical integration of Medium. The mistake here is that while they are certain tools and one can write into them and use them for editing, they are all probably best thought of as tools in the chain of moving toward publishing with Medium being the example that allows one to present their work as well as a distribution mechanism with a cheery on top.
What she is not focusing enough (any?) attention on is the creation processes at the start. How does one come up with an interesting idea? How does one do the research? How does one collect ideas moving toward some teleological endpoint? Tools that address these ideas of invention and creation are the real writing tools that writers so elusively search out.
Far better to look at note taking tools or tools like Hypothes.is that go to the roots of the creation process. Tools that can take fleeting ideas and collect them. Tools that can take those collections and interlink them. Tools that allow for combinatorial juxtaposition and rearrangement. Tools that allow outlining.
It is only after this that one may use a tool like Microsoft Word to do the final arrangement, editing, and polish before sending it off to a publisher.
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boook.link boook.link
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This looks a lot like Linktree, but for books.
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www.nature.com www.nature.com
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Replicating scientific results is tough—But essential. (2021). Nature, 600(7889), 359–360. https://doi.org/10.1038/d41586-021-03736-4
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www.nytimes.com www.nytimes.com
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In an effort to mitigate these issues, some book contracts now specify the number of posts required before and after a book is published.
Perhaps better would be stipulations in the contract that incentivize authors to leverage their platforms in the form of bonuses while removing the advance money in lieu. Make the author part of the promotion, which has been part of the movement in publishing for the last decade.
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The journalist and media personality Piers Morgan had a weaker showing in the United States. Despite his followers on Twitter (8 million) and Instagram (1.8 million), “Wake Up: Why the World Has Gone Nuts” has sold just 5,650 U.S. print copies since it was published a year ago, according to BookScan. (It sold more than 190,000 print copies in the United Kingdom, according to his U.K. publisher.)
Piers Morgan has lost relevancy here in the United States, particularly on the political front. I'm not surprised at these marginal numbers.
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Tamika D. Mallory, a social activist with over a million Instagram followers, was paid over $1 million for a two-book deal. But her first book, “State of Emergency,” has sold just 26,000 print copies since it was published in May, according to BookScan.
Following numbers can't matter as much as something like daily or weekly engagement, which might be a better predictor for book sales.
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“It’s become more and more important as the years went on,” said Marc Resnick, executive editor at St. Martin’s Press. “We learned some hard lessons along the way, which is that a tweet or a post is not necessarily going to sell any books, if it’s not the right person with the right book and the right followers at the right time.”
This seems like common sense to me, why hasn't the industry grokked it?
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markcarrigan.net markcarrigan.net
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The professionalisation of academic writing has forced us “to substitute the more writerly, discoursive forms, such as the essay, for the more measured and measurable –largely unread and unreadable – quasi-scientific journal article”
I wonder if it would be useful to distinguish between research and scholarship, where formal research is but one type of scholarly practice?
If we look at a journal as a channel for promoting scholarship then there's no reason that we can't include essays as a category of writing.
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twitter.com twitter.com
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“I could fit this in my pocket,” I thought when the first newly re-designed @parisreview arrived. And sure enough editor Emily Stokes said it’s was made to fit in a “large coat pocket” in the editor’s note.
I've been thinking it for a while, but have needed to write it down for ages---particularly from my experiences with older manuscripts.
In an age of print-on-demand and reflowing text, why in goodness' name don't we have the ability to print almost anything we buy and are going to read in any font size and format we like?
Why couldn't I have a presentation copy sized version of The Paris Review?
Why shouldn't I be able to have everything printed on bible-thin pages of paper for savings in thickness?
Why couldn't my textbooks be printed with massively large margins for writing notes into more easily? Why not interleaved with blank pages even? Particularly near the homework problem sections?
Why can't I have more choice in a range of fonts, book sizes, margin sizes, and covers?
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The second volume of the Bibliotheca Universalis , published in 1548 under the title Pandectarum sive Partitionum Universalium , contains a list of keywords, ordered not by authors ’ names, but thematically. This intro-duces a classifi cation of knowledge on the one hand, and on the other hand offers orientation for the novice about patterns and keywords (so-called loci communes ) that help organize knowledge to be acquired.
Konrad Gessner's second edition of Bibliotheca Universalis in 1548 contains a list of keywords (loci communes) thus placing it into the tradition of the commonplace book, but as it is published for use by others, it accelerates the ability for others to find and learn about information in which they may have an interest.
Was there a tradition of published or manuscript commonplace books prior to this?
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- Nov 2021
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site.pennpress.org site.pennpress.org
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By examining works by Shakespeare, Spenser, Montaigne, and others, he dispels the notion of literary texts as static or closed, and instead demonstrates how the unsettled conventions of early print culture fostered an idea of books as interactive and malleable.
Jeffrey Todd Knight in Bound to read: Compilations, Collections, and the Making of Renaissance Literature examines the works of various writers to dispel the notion of literary texts as static. He shows how the evolution of early print culture helped to foster the idea as interactive and malleable. This at a time when note takers and writers would have been using commonplacing techniques at even smaller scales for creating their own writing thus creating a similar pattern from the smaller scale to the larger scale.
This pattern of small notes building into larger items with rearrangement which is seen in Carl Linnaeus' index card-based notes as well as his longer articles/writings and publication record over time as well.
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In Bound to Read, Jeffrey Todd Knight excavates this culture of compilation—of binding and mixing texts, authors, and genres into single volumes—and sheds light on a practice that not only was pervasive but also defined the period's very ways of writing and thinking.
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In this early period of print, before the introduction of commercial binding, most published literary texts did not stand on shelves in discrete, standardized units. They were issued in loose sheets or temporarily stitched—leaving it to the purchaser or retailer to collect, configure, and bind them.
In the early history of printing, books weren't as we see them now, instead they were issued in loose sheets or with temporary stitching allowing the purchaser or retailer to collect, organize, and bind them. This pattern occurs at a time when one would have been thinking about collecting, writing, and organizing one's notes in a commonplace book or other forms. It is likely a pattern that would have influenced this era of note taking practices, especially among the most literate who were purchasing and using books.
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pubmed.ncbi.nlm.nih.gov pubmed.ncbi.nlm.nih.gov
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I have no problem with publishers making a profit, or with peer reviewers doing their work for free. The problem I have is when there is such an enormous gap between those two positions.
If publishers make billions in profit (and they do), while at the same time reviewers are doing a billion dollars worth of work for free, that seems like a broken system.
I think there are parallels with how users contribute value to social media companies. In both cases, users/reviewers are getting some value in return, but most of the value that's captured goes to the publisher/tech company.
I'd like to see a system where more of the value accrues to the reviewers. This could be in the form of direct payment, although this is probably less preferable because of the challenges of trying to convert the value of different kinds of peer review into a dollar amount.
Another problem with simply paying reviewers is that it retains the status quo; we keep the same system with all of it's faults and redistribute profits. This is an OK option as it at least sees some of the value that normally accrues to publishers moving to reviewers.
I also don’t believe that open access - in it’s current form - is a good option either. There are still enormous costs associated with publishing; the only difference is that those costs are now covered by institutions instead of the reader. The publisher still makes a heart-stopping profit.
A more elegant solution, although more challenging, would be for academics to step away from publishers altogether and start their own journals, on their own terms.
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torrentfreak.com torrentfreak.com
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https://torrentfreak.com/book-publishers-expand-uk-pirate-site-blocking-151128/
Blocking at the ISP level has been used as a strategy for preventing copyright for a while. What better methods might exist? Is this method just whack-a-mole?
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torrentfreak.com torrentfreak.com
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This week they added two more domains – sci-hub.ru and scihub.unblockit.kim.
Wiley, Elsevier, and Springer Nature are expanding the use of domain blocking to prevent people from accessing services like Sci-Hub.
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The usual targets of The Publishers Association include domains that facilitate access to the popular Libgen library and eBook portals eBookee and FreeBookSpot. The trend was maintained this week when ISP TalkTalk revealed that more domains had been blocked in the UK. The new additions are as follows: ebookee.unblockit.kim, ebookee.123unblock.world, ebookee.mrunblock.bar, ebookee.nocensor.biz, ebookee.unbl4you.cyou, ebookee.unbl0ck.icu, ebookee.unblockproject.top, ebookee.proxybit.sbs, freebookspot.unblockit.kim, libgen.unblockit.kim, libgen.123unblock.world, libgen.mrunblock.bar, libgen.nocensor.biz, libgen.unbl4you.cyou,, libgen.unbl0ck.icu, libgen.unblockproject.top, libgen.proxybit.sbs
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www.lib.uchicago.edu www.lib.uchicago.edu
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E. V. Rieu's translation of the Odyssey (1946), which launched the series of Penguin Classics in Translation, and the Iliad (1950),
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- Oct 2021
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www.heise.de www.heise.de
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Ein Beispiel: Seit Beginn des Projektes wurden bis heute von den Editoren bereits gut 2800 bibliographische Datensätze zu Literatur angelegt, mit der Luhmann gearbeitet hat. Dazu kommen die gut 2100 Publikationen von Luhmann selbst. Und wir sind erst mittendrin.
Machine translation:
An example: since the beginning of the project, the editors have already created a good 2,800 bibliographical records on literature that Luhmann has worked with. Then there are the 2100 publications by Luhmann himself. And we are only in the middle of it.
I wonder what this ratio looks like for other writers and researchers? I'd suspect Niklas Luhmann to be several standard deviations above the average.
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www.amazon.com www.amazon.com
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Of course someone has published a zettelkasten notebook for taking notes to be moved into one's zettelkasten at a later date.
It includes space for notes as well as meta data box which includes labels and spaces for the following:
- UID
- Parent UID
- Zettel
- tags
- refs
It's also got (at least one) page for an index in the end titled "tag list" with a two column ruling
This follows the general pattern of pre-printed commonplace books which was common with at least John Locke's index pre-printed.
Other examples include published bullet journals with custom formatting.
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community.reclaimhosting.com community.reclaimhosting.com
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https://community.reclaimhosting.com/t/protecting-wordpress-media-library/3926
The ideas here could be useful for blocking e-books on my server.
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community.reclaimhosting.com community.reclaimhosting.com
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ghost.org ghost.org
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iA Writer + Ghost
This is the integration that I am using to connect my daily writing practice with the process of publishing. iA Writer and Ghost have enabled me to share my ideas and project intentions into the world in such a way that they have become indispensable tools for community building.
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- Sep 2021
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www.theatlantic.com www.theatlantic.com
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Ebooks Are an Abomination: If you hate them, it’s not your fault. by Ian Bogost in The Atlantic https://www.theatlantic.com/books/archive/2021/09/why-are-ebooks-so-terrible/620068/
Ian Bogost has a nice look at the UI affordances and areas for growth in the e-reading space.
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Skimming through pages, the foremost feature of the codex, remains impossible in digital books.
This is related to an idea that Tom Critchlow was trying to get at a bit the other day. It would definitely be interesting in this sort of setting.
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>Has anyone built a generalizable text zoom JavaScript library that let's you progressively summarize an article as you zoom in and out?<br><br>(Why yes I am procrastinating my to-do list. You?)
— Tom Critchlow (@tomcritchlow) September 17, 2021 -
So do all manner of other peculiarities of form, including notations of editions on the verso (the flip side) of the full title page and the running headers all throughout that rename the book you are already reading.
I do dislike the running headers of digital copies of books as most annotation tools want to capture those headers in the annotation.
It would be nice if they were marked up in an Aria-like method so that annotation software would semantically know to ignore them.
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Ebook devices are extremely compatible with an idea of bookiness that values holding and carrying a potentially large number of books at once; that prefers direct flow from start to finish over random access; that reads for the meaning and force of the words as text first, if not primarily; and that isn’t concerned with the use of books as stores of reader-added information or as memory palaces.
Intriguing reference of a book as a memory palace here.
The verso/recto and top/middle/bottom is a piece of digital books that I do miss from the physical versions as it serves as a mnemonic journey for me to be able to remember what was where.
I wonder if Ian Bogost uses the method of loci?
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The iPad’s larger screen also scales down PDF pages to fit, making the results smaller than they would be in print. It also displays simulated print margins inside the bezel margin of the device itself, a kind of mise en abyme that still can’t actually be used for the things margins are used for, such as notes or dog-ears.
It would be quite nice if a digital reader would allow actual writing in the margins, or even overlaying the text itself and then allowing the looking at the two separately.
I do quite like the infinite annotation space that Hypothes.is gives me on a laptop. I wish there were UI for it on a Kindle in a more usable and forgiving way. The digital keyboard on Kindle Paperwhite is miserable. I've noticed that I generally prefer reading and annotating on desktop in a browser now for general ease-of-use.
Also, I don't see enough use of mise en abyme. This is a good one.
In Western art history, mise en abyme (French pronunciation: [miz ɑ̃n‿abim]; also mise en abîme) is a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the technique of inserting a story within a story. The term is derived from heraldry and literally means "placed into abyss". It was first appropriated for modern criticism by the French author André Gide.
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One site of that erosion, which may help explain ebook reticence, can be found in self-published books. For people predisposed to sneer at the practice, a lack of editing or the absence of publisher endorsement and review might justify self-published works’ second-class status. That matter is debatable. More clear is the consequence of disintermediation: Nobody takes a self-published manuscript and lays it out for printing in a manner that conforms with received standards. And so you often end up with a perfect-bound Word doc instead of a book. That odd feeling of impropriety isn’t necessarily a statement about the trustworthiness of the writer or their ideas, but a sense of dissonance at the book as an object. It’s an eerie gestalt, a foreboding feeling of unbookiness.
Having helped others to self-publish in the past, I definitely do spend a bit of time putting the small sort of bookiness flourishes into their texts.
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If you have a high-quality hardbound book nearby, pick it up and look at the top and bottom edges of the binding, near the spine, with the book closed. The little stripey tubes you see are called head and tail bands (one at the top, one at the bottom). They were originally invented to reinforce stitched binding, to prevent the cover from coming apart from the leaves. Today’s mass-produced hardcover books are glued rather than sewn, which makes head and tail bands purely ornamental. And yet for those who might notice, a book feels naked without such details.
It is an odd circumstance that tail bands are still used on modern books that don't need them. From a manufacturing standpoint, the decrease in cost would dictate they disappear, however they must add some level of bookiness that they're worth that cost.
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www.stationers.org www.stationers.org
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John Murray's publication, in 1859, of two seminal works: Darwin's The Origin of Species, and the original self-help book, Samuel Smiles's Self-Help, with Illustrations of Character and Conduct. Smiles's book, now somewhat less familiar than Darwin's, tapped into a Victorian trend for self-improvement, and was a best-seller in its day.
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punctumbooks.com punctumbooks.com
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Vision Statement
What a fantastic vision statement for a publishing company!
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punctum books encourages projects that profit from formal risks and possibly engage with supposedly outmoded or ‘quaint’ genres—the abcedarium, (auto)commentary, summa, bestiary, dialogue, case study, compendium, speculum/mirror, conduct manual, letter/address, apologia pro vita sua, hagiography, elegy, postcard, telegraph/telegram, inter-office memo, encyclopedia, forgery, hidden writing, source-fiction, natural history, leechbook, atlas, colloquium, colophon, commonplace book, telephone book, rolodex, field report, romance, dialogue, dream vision, catalogue, sonnet cycle, poetics, treatise, manifesto, prosody, calendar, morality play, marginalia, interlinear translation, digest, microfiche, concordance, book of hours, pastoral/eclogue, polemic, epigram, broadsheet, flyer, note-book, breviarium, collationes/collectio, book of nature, testament, proof, manual, pamphlet, miscellany, chapbook, captivity narrative, penny dreadful, testament, manual, discography, catena, liner notes, autopsy, exegesis, rule, antiphonary, legend, fax, travelogue, etymologiae, lai, excerpt, curiosity cabinet, disputation, computus, comedy of errors, soliloquy, essay, bulletin, evangeliary, gloss, meditation, fable, florilegium, myth, fairy tale, purchase order, carbon copy, transcript/transcryptum, blueprint, psalter, micrologue, lyric, daytimer, inventory, annal/chronicle, pipe roll, receipt/invoice, watch-list, charter, canon, and so on ad infinitum. Surprise yourself.
This is a great list of book types, genres, etc.
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- Aug 2021
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www.khanacademy.org www.khanacademy.org
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Using the book: an introduction
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www.khanacademy.org www.khanacademy.org
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on average a stunning fifty percent of the medieval page was left blank.
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punctumbooks.com punctumbooks.com
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Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication.
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docmaps.knowledgefutures.org docmaps.knowledgefutures.org
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www.usenix.org www.usenix.org
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A subscription to a paper journal provides the library with an archival copy of the content. Subscribing to a Web journal rents access to the publisher's copy.
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vi.to vi.to
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Want to Write a Book? You Probably Already Have!
Patrick Rhone
Paper is the best solution for the long term. If it's not on paper it can be important, if it's not it won't be.
Our writing is important. It is durable.
All we know about the past is what survived.
Analogy: coke:champaign glass::blogger:book
Converting one's blog into a book.
"The funny thing about minimalism is that there's only so much you can say."
Change the frame and suddenly you've changed the experience.
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sfdora.org sfdora.org
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researchers are already encouraging improved practices in research assessment
See the UK Royal Society's Résumé for Researchers.
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en.wikipedia.org en.wikipedia.org
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https://en.wikipedia.org/wiki/Sammelband
Sammelband (/ˈzæməlbænt/ ZAM-əl-bant, plural Sammelbände /ˌzæməlˈbɛndə/ ZAM-əl-BEN-də or Sammelbands), or sometimes nonce-volume, is a book comprising a number of separately printed or manuscript works that are subsequently bound together.
Compare and contrast this publishing scheme with the idea of florilegium and commonplace books.
Did commonplace keepers ever sammelband their own personal volumes? And perhaps include more comprehensive indices?
What time periods did this pattern take place? How does this reflect on the idea of reorganizing early modern information management practices? Could these have bled over into the idea of the evolution of the Zettelkasten?
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shalabh.com shalabh.com
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Funnily enough, I've been on an intellectual bent in the other direction: that we've poisoned our thinking in terms of systems, for the worse. This shows up when trying to communicate about the Web, for example.
It's surprisingly difficult to get anyone to conceive of the Web as a medium suited for anything except the "live" behavior exhibited by the systems typically encountered today. (Essentially, thin clients in the form of single-page apps that are useless without a host on the other end for servicing data and computation requests.) The belief/expectation that content providers should be given a pass for producing brittle collections of content that should be considered merely transitory in nature just leads to even more abuse of the medium.
Even actual programs get put into a ruddy state by this sort of thinking. Often, I don't even care about the program itself, so much as I care about the process it's applying, but maintainers make this effectively inextricable from the implementation details of the program itself (what OS version by which vendor does it target, etc.)
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Local file Local file
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. Publishers quickly produced numerous printed commonplace books in order to satisfy the deman
I'll note that we've seen a similar trend here in publishers making copies of bullet journals in the past several years.
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awarm.space awarm.space
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https://awarm.space/fast/standard-ebooks
Always fun to see people trying some of the same experiments I've done. A few interesting tidbits here to refine some of the process perhaps?
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weasyprint.org weasyprint.org
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WeasyPrint is a smart solution helping web developers to create PDF documents. It turns simple HTML pages into gorgeous:
Tool mentioned in IndieWeb chat. Could be used to turn a site into a physical book.
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www.jvt.me www.jvt.me
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h-book
h-book is an experimental microformat at best.
I might recommend for minimizing the vocabulary that one might use the existing
h-product
instead and allow parsers to find an ISBN, Library of Congress book number, ASIN, UPC, or other product code to determine "bookness".
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- Jul 2021
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There is no pressure to publish a perfect post in digital gardens as notes grow over time just like plants in a garden.
There is no "theoretical pressure", however it still exists. The goal is to minimize it, to move beyond it.
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lab6.com lab6.com
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“But how can I automate updates to my site’s look and feel?!”
Perversely, the author starts off getting this part wrong!
The correct answer here is to adopt the same mindset used for print, which is to say, "just don't worry about it; the value of doing so is oversold". If a print org changed their layout sometime between 1995 and 2005, did they issue a recall for all extant copies and then run around trying to replace them with ones consistent with the new "visual refresh"? If an error is noticed in print, it's handled by correcting it and issuing another edition.
As Tschichold says of the form of the book (in The Form of the Book):
The work of a book designer differs essentially from that of a graphic artist. While the latter is constantly searching for new means of expression, driven at the very least by his desire for a "personal style", a book designer has to be the loyal and tactful servant of the written word. It is his job to create a manner of presentation whose form neither overshadows nor patronizes the content [... whereas] work of the graphic artist must correspond to the needs of the day
The fact that people publishing to the web regularly do otherwise—and are expected to do otherwise—is a social problem that has nothing to do with the Web standards themselves. In fact, it has been widely lamented for a long time that with the figurative death of HTML frames, you can no longer update something in one place and have it spread to the entire experience using plain ol' HTML without resorting to a templating engine. It's only recently (with Web Components, etc.) that this has begun to change. (You can update the style and achieve consistency on a static site without the use of a static site generator—where every asset can be handcrafted, without a templating engine.) But it shouldn't need to change; the fixity is a strength.
As Tschichold goes on to say of the "perfect" design of the book, "methods and rules upon which it is impossible to improve have been developed over centuries". Creators publishing on the web would do well to observe, understand, and work similarly.
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Holmes, N. P. (2021). I critiqued my past papers on social media—Here’s what I learnt. Nature, 595(7867), 333–333. https://doi.org/10.1038/d41586-021-01879-y
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twitter.com twitter.com
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Prof Nichola Raihani on Twitter: “Submitted a paper reporting null results to a mid tier journal. Guess how it went. I literally don’t care at this point but I do feel bad for the first author (who I won’t name here). Https://t.co/sX5lTcEl29” / Twitter. (n.d.). Retrieved July 16, 2021, from https://twitter.com/nicholaraihani/status/1415308025179656194
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theamericanscholar.org theamericanscholar.org
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<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Alan Jacobs</span> in July Check-In · Buttondown (<time class='dt-published'>07/01/2021 09:19:13</time>)</cite></small>
Idea of John Paul II's encyclical being a form of blogging in a different era. They're all essays in form, it's just about distribution...
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blog.ayjay.org blog.ayjay.org
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But you know what? Screw it. I need to take my time and develop the necessary ideas properly. If these thoughts never develop in such a way that I can turn them into a book, so be it. If they do so develop and nobody wants to publish it, so be it. (I’ll just make various digital versions.) The point, at this stage in my career, after fifteen published books, is not the publication, it’s the thinking. So let the thinking, in public, commence.
Some interesting thoughts about thinking and writing in public.
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- Jun 2021
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www.nature.com www.nature.com
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Soderberg, C. K., Errington, T. M., Schiavone, S. R., Bottesini, J., Thorn, F. S., Vazire, S., Esterling, K. M., & Nosek, B. A. (2021). Initial evidence of research quality of registered reports compared with the standard publishing model. Nature Human Behaviour, 1–8. https://doi.org/10.1038/s41562-021-01142-4
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jonudell.net jonudell.net
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Some of the best customers of such a service will be academics.
Indeed. Web literacy among the masses is pitifully low. Browsermakers are certainly to blame for being poor stewards. Hot Valley startups are responsible as well. (See https://quoteinvestigator.com/2017/11/30/salary/.)
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Mentioned by Heather Staines
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pretextbook.org pretextbook.orgPreTeXt1
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An uncomplicated XML vocabulary for authors of research articles, textbooks, and monographs. The best of DocBook, LaTeX, and HTML. Outputs: print, PDF, web, EPUB, Jupyter Notebooks, … (Before June 2017, PreTeXt was called “MathBook XML”, so many of those references remain.)
A tool mentioned by Alex Enkerli at I Annotate 2021.
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This is badass James!
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scholarlykitchen.sspnet.org scholarlykitchen.sspnet.org
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Publisher costs usually include copyediting/formatting and organizing peer review. While these content transformations are fundamental and beneficial, they alone cannot justify the typical APC (Article Publication Charge), especially since peer reviewers are not paid.
But peer reviewers are largely responsible for generating the assertions you talk about in the next paragraph, and which apparently, justify the cost of publishing.
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- May 2021
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halfanhour.blogspot.com halfanhour.blogspot.com
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Matrix Algebra with Computational Applications e-book offered by Michigan State University. It's a lovely book, and what stood out about it was the way it used PressBooks for distribution as an open e-book, and how it embedded Jupyter Notebook in with the text.
example of a OER textbook with an embedded Jupyter Notebook. I've wanted to noodle around with this myself.
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devonzuegel.com devonzuegel.com
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I have received a lot of positive feedback for noting my epistemic status and effort at the top of my posts. This is hilarious, because I originally started using these as a hack in order to publish half-baked ideas that I'd otherwise not feel comfortable sharing.
This is an interesting hack for getting one to hit the publish button.
I wonder if people have renamed the "publish" button in their CMS to make hitting it easier?
My own anecdotal evidence is that hitting it often can certainly make it seem trivial, particularly if one is posting their status updates to their site along with everything else.
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Maggie Appleton</span> in A Brief History & Ethos of the Digital Garden (<time class='dt-published'>05/28/2021 18:08:16</time>)</cite></small>
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maggieappleton.com maggieappleton.com
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Think of it as a spectrum. Things we dump into private WhatsApp group chats, DMs, and cavalier Tweet threads are part of our chaos streams - a continuous flow of high noise / low signal ideas. On the other end we have highly performative and cultivated artefacts like published books that you prune and tend for years.Gardening sits in the middle. It's the perfect balance of chaos and cultivation.
There's something here that's reminiscent of Craig Mod's essay Post Artifact Books and Publishing.
Reminder to self: revisit this idea.
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github.com github.com
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www.economist.com www.economist.com
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Record labels are another endangered middleman. They have historically taken care of turning a song into a hit, in return for an ongoing share of revenues. But more and more artists are going it alone. More than 60,000 new songs are uploaded to Spotify every day, most by bedroom-based rockstars who can use new online services to handle the logistics themselves. UnitedMasters, a music-distribution platform which bills itself as “a record label in your pocket”, recently raised $50m in a venture-capital round led by Apple. Tools like Splice make recording easier. Companies like Fanjoy take care of merchandise.And financing is getting simpler. One startup, HIFI, helps artists manage their royalties, paying them regularly and fronting them small sums to make up shortfalls. Another, Karat, extends credit to creators based on their follower count. Helped by such services independent artists took home 5.1% of global recorded music revenues last year, up from 1.7% in 2015, calculates MIDiA Research, a consultancy. In the same period the share of the three largest record labels fell from 71.1% to 65.5%.
The same sort of dis-aggregation and disintermediation that has hit the publishing business is also taking place to newspapers, magazines, and music.
The question is how to best put the pieces of the pie together in the best way possible. There's probably room for talented producers to put these together to better leverage the artists' work.
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www.cs.cornell.edu www.cs.cornell.edu
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a redesign lately that adds a bunch of crud obscuring the content
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www.crossref.org www.crossref.org
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Crossref makes research outputs easy to find, cite, link, assess, and reuse. We’re a not-for-profit membership organization that exists to make scholarly communications better.
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www.theatlantic.com www.theatlantic.com
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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.
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epjdatascience.springeropen.com epjdatascience.springeropen.com
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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.
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digitalbookhistory.com digitalbookhistory.com
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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.
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sims2.digitalmappa.org sims2.digitalmappa.orgDM1
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Amalarius's Bells: An Old English and Medieval Latin Edition
An example of a book in Digital Mappa
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vbd.humnet.unipi.it vbd.humnet.unipi.it
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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.
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uw.digitalmappa.org uw.digitalmappa.orgDM1
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Old English Poetry in Facsimile: Restorative Editions
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digitalbookhistory.com digitalbookhistory.com
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github.com github.com
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A standalone React/Redux web application for for presenting unique printed books and manuscripts in digital facsimile.
<small><cite class='h-cite via'>ᔥ <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>
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www.nytimes.com www.nytimes.com
- Apr 2021
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www.youtube.com www.youtube.com
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Manifold – Building an Open Source Publishing Platform
Zach Davis and Matthew Gold
Re-watching after the conference.
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.
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plasticbag.org plasticbag.org
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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.
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journals.sagepub.com journals.sagepub.com
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Scheel, Anne M., Mitchell R. M. J. Schijen, and Daniël Lakens. ‘An Excess of Positive Results: Comparing the Standard Psychology Literature With Registered Reports’. Advances in Methods and Practices in Psychological Science 4, no. 2 (1 April 2021): 25152459211007468. https://doi.org/10.1177/25152459211007467.
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cuny.manifoldapp.org cuny.manifoldapp.org
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Example Manifold projects mentioned during Manifold – Building an Open Source Publishing Platform.
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oa-pub.hos.tuhh.de oa-pub.hos.tuhh.de
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<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Katharina Schulz</span> in domains21 (<time class='dt-published'>04/19/2021 18:33:31</time>)</cite></small>
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history4today.com history4today.com
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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.
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frankensteinvariorum.github.io frankensteinvariorum.github.io
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frankensteinvariorum.github.io frankensteinvariorum.github.io
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frankensteinvariorum.github.io frankensteinvariorum.github.io
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Interesting to see this actually hosted by GitHub pages.
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behrend.psu.edu behrend.psu.edu
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“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?
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www.mobileread.com www.mobileread.com
- Mar 2021
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www.theatlantic.com www.theatlantic.com
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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.
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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.
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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.
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Purchasing a book is one of the strongest self-selections of community, and damn it, I wanted to engage.
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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.
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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.
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www.nytimes.com www.nytimes.com
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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...
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craigmod.com craigmod.com
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All authors should have a Margin Clause in their contracts.
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www.ravisagar.in www.ravisagar.in
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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.
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<small><cite class='h-cite via'>ᔥ <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>
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scholarphi.org scholarphi.org
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<small><cite class='h-cite via'>ᔥ <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>
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visual-meta.info visual-meta.info
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<small><cite class='h-cite via'>ᔥ <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>
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oer21.oerconf.org oer21.oerconf.org
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One of the biggest challenges is a very human one – how do we get everyone to work with their camera switched on.
I wonder something related, but even broader, "How do we get everyone to work in public?"
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danallosso.substack.com danallosso.substack.com
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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:
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journal.disruptivemedia.org.uk journal.disruptivemedia.org.uk
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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.
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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.
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www.washingtonpost.com www.washingtonpost.com
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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.
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valme.io valme.io
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twitter.com twitter.com
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ReconfigBehSci on Twitter. (n.d.). Twitter. Retrieved 5 March 2021, from https://twitter.com/SciBeh/status/1325749905911123968
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aimos.community aimos.community
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Conference Details. (n.d.). AIMOS. Retrieved 5 March 2021, from https://aimos.community/2020-details
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- Feb 2021
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science.thewire.in science.thewire.in
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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.
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I do think it's a common pattern that should be solved, and I am probably going to try and solve it as a Gem as opposed to simply writing code that we use in our code base
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- Jan 2021
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jmuccigr.github.io jmuccigr.github.io
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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.
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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.
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www.theguardian.com www.theguardian.com
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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.”
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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.
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troynikov.io troynikov.io
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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
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- Dec 2020
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somethingold.substack.com somethingold.substack.com
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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"....
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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.
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- Nov 2020
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Soderberg, C. K., Errington, T., Schiavone, S. R., Bottesini, J. G., Thorn, F. S., Vazire, S., Esterling, K. M., & Nosek, B. A. (2020). Research Quality of Registered Reports Compared to the Traditional Publishing Model. MetaArXiv. https://doi.org/10.31222/osf.io/7x9vy
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- Oct 2020
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static1.squarespace.com static1.squarespace.com
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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
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“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?
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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.
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smartbitchestrashybooks.com smartbitchestrashybooks.com
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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.
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medium.com medium.com
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Holcombe, A. (2020, September 30). Conventional journal rankings—Fight them! Medium. https://medium.com/@ceptional/conventional-journal-rankings-fight-them-9c6db600b0dd
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twitter.com twitter.com
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Dr Natalie Shenker on Twitter. (n.d.). Twitter. Retrieved October 13, 2020, from https://twitter.com/DrNShenker/status/1314475759508107265
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www.chronicle.com www.chronicle.com
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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.
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www.youtube.com www.youtube.com
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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.
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www.hollywoodreporter.com www.hollywoodreporter.com
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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
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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.
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www.americanpressinstitute.org www.americanpressinstitute.org
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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.
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electricbookworks.com electricbookworks.com
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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.
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Books as websites can be public goods in a way that printed books cannot, especially for the poor.
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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.
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www.dalkeyarchive.com www.dalkeyarchive.com
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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.
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My models were New Directions Press and Grove Press.
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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.
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Small publishers are oftentimes awful at getting their books out to people, even though of course the marketplace determines many of the limitations.
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www.eastgate.com www.eastgate.com
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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"
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wiobyrne.com wiobyrne.com
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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.
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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]
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bookbook.pubpub.org bookbook.pubpub.org
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“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.
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snarkmarket.com snarkmarket.com
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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.
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tomcritchlow.com tomcritchlow.com
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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.
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www.blog.google www.blog.google
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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?
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tomcritchlow.com tomcritchlow.com
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Self publishing and book writing / producing
oh, really?!
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codex.wordpress.org codex.wordpress.org
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to democratize publishing through Open Source, GPL software
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www.bbc.com www.bbc.com
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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.
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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.
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psmag.com psmag.com
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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!
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www.insidehighered.com www.insidehighered.com
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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.
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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"?
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www.roughtype.com www.roughtype.com
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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...
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www.nytimes.com www.nytimes.com
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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.
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www.nytimes.com www.nytimes.com
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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.
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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.”
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tw5.immateriel.fr tw5.immateriel.fr
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“Where have you been, you young monkey?”
Testing out annotations on Hypothes.is with a TiddlyWiki published book.
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hapgood.us hapgood.us
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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.
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www.newyorker.com www.newyorker.com
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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.
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boffosocko.com boffosocko.com
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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.
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I started Solid years ago before I thought anyone would be interested in using it. I only started promoting it because it had already achieved the goals I had set out for it.
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- Sep 2020
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www.youtube.com www.youtube.com
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Intuitive EPI - Channel introduction. (n.d.). Retrieved September 23, 2020, from https://www.youtube.com/watch?v=PMO2-Hf2-EY
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Kojaku, S., Livan, G., & Masuda, N. (2020). Detecting citation cartels in journal networks. ArXiv:2009.09097 [Physics]. http://arxiv.org/abs/2009.09097
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twitter.com twitter.com
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ReconfigBehSci on Twitter. (n.d.). Twitter. Retrieved September 21, 2020, from https://twitter.com/SciBeh/status/1307289623526285315
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Is the 4C Mortality Score fit for purpose? Some comments and concerns. (2020). https://www.bmj.com/content/370/bmj.m3339/rr-3
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osf.io osf.io
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King, M. M., & Frederickson, M. (2020). The Pandemic Penalty: The gendered effects of COVID-19 on scientific productivity [Preprint]. SocArXiv. https://doi.org/10.31235/osf.io/8hp7m
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fivethirtyeight.com fivethirtyeight.com
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Jr, N. L. (2020, September 14). Why Coming Up With Effective Interventions To Address COVID-19 Is So Hard. FiveThirtyEight. https://fivethirtyeight.com/features/why-coming-up-with-effective-interventions-to-address-covid-19-is-so-hard/
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psyarxiv.com psyarxiv.com
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Gollwitzer, M., Abele-Brehm, A., Fiebach, C., Ramthun, R., Scheel, A. M., Schönbrodt, F., & Steinberg, U. (2020). Data Management and Data Sharing in Psychological Science: Revision of the DGPs Recommendations. https://doi.org/10.31234/osf.io/24ncs
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outbreaksci.prereview.org outbreaksci.prereview.org
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Outbreak Science Rapid PREreview • Dashboard. (n.d.). Retrieved September 11, 2020, from https://outbreaksci.prereview.org/dashboard?q=COVID-19&q=Coronavirus&q=SARS-CoV-2
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rapidreviewscovid19.mitpress.mit.edu rapidreviewscovid19.mitpress.mit.edu
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Rapid Reviews COVID-19. (n.d.). Rapid Reviews COVID-19. Retrieved September 11, 2020, from https://rapidreviewscovid19.mitpress.mit.edu/
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retractionwatch.com retractionwatch.com
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Marcus, A. A. (2020, September 8). COVID-19 arrived on a meteorite, claims Elsevier book chapter. Retraction Watch. https://retractionwatch.com/2020/09/08/covid-19-arrived-on-a-meteorite-claims-elsevier-book-chapter/
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www.reddit.com www.reddit.com
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r/BehSciMeta - Comment by u/dawnlxh on ”A completely re-imagined approach to peer review and publishing: PRINCIPIA”. (n.d.). Reddit. Retrieved September 10, 2020, from https://www.reddit.com/r/BehSciMeta/comments/if03sk/a_completely_reimagined_approach_to_peer_review/g4nnuc5
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www.cos.io www.cos.io
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Science, C. for O. (n.d.). TOP Guidelines. Retrieved September 9, 2020, from https://www.cos.io/our-services/top-guidelines
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snarkmarket.com snarkmarket.com
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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.
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www.nature.com www.nature.com
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Clements, J. C. (2020). Don’t be a prig in peer review. Nature. https://doi.org/10.1038/d41586-020-02512-0
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- Aug 2020
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elifesciences.org elifesciences.org
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Welcome to a new ERA of reproducible publishing. (2020, August 24). ELife; eLife Sciences Publications Limited. https://elifesciences.org/labs/dc5acbde/welcome-to-a-new-era-of-reproducible-publishing
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openreview.net openreview.net
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About | OpenReview. (n.d.). Retrieved May 30, 2020, from https://openreview.net/about
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casrai.org casrai.org
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CRediT - Contributor Roles Taxonomy. (n.d.). CASRAI. Retrieved June 13, 2020, from https://casrai.org/credit/
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www.journalofsurgicalresearch.com www.journalofsurgicalresearch.com
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Bababekov, Y. J., Hung, Y.-C., Hsu, Y.-T., Udelsman, B. V., Mueller, J. L., Lin, H.-Y., Stapleton, S. M., & Chang, D. C. (2019). Is the Power Threshold of 0.8 Applicable to Surgical Science?—Empowering the Underpowered Study. Journal of Surgical Research, 241, 235–239. https://doi.org/10.1016/j.jss.2019.03.062
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osf.io osf.io
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Nelson, N. C., Ichikawa, K., Chung, J., & Malik, M. (2020). Mapping the discursive dimensions of the reproducibility crisis: A mixed methods analysis [Preprint]. MetaArXiv. https://doi.org/10.31222/osf.io/sbv3q
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www.edsurge.com www.edsurge.com
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Preprint Servers Have Changed Research Culture in Many Fields. Will a New One for Education Catch On? - EdSurge News. (2020, August 20). EdSurge. https://www.edsurge.com/news/2020-08-20-preprint-servers-have-changed-research-culture-in-many-fields-will-a-new-one-for-education-catch-on
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Local file Local file
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Published:
Publicado seis meses después de recibido en editorial.
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- Jul 2020
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github.com github.com
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This follows the original vision of the Web as a space for collaboration and not just a one-way publishing medium.
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twitter.com twitter.com
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Dan Quintana on Twitter: “Tomorrow at 1pm CEST I’ll be doing a virtual talk for the Rotterdam R.I.O.T. Science Club (@rdam_riots) on using Twitter for science 🧬 I’ll be covering both the why and the how + I’ll be leaving plenty of time for a Q&A session. Watch here: https://t.co/nXHry9Inyi https://t.co/T6u7lvgAhO” / Twitter. (n.d.). Twitter. Retrieved June 17, 2020, from https://twitter.com/dsquintana/status/1264623289814659072
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www.youtube.com www.youtube.com
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COVID-19, preprints, and the information ecosystem. (n.d.). Retrieved June 17, 2020, from https://www.youtube.com/watch?v=yWi4Q5rZiO0
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www.youtube.com www.youtube.comYouTube1
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Dr Daniel Quintana | Using Twitter for Science | R.I.O.T. Science Club—YouTube. (2020, May 26). https://www.youtube.com/watch?v=pA5Y4cO934I
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- Jun 2020
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psyarxiv.com psyarxiv.com
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Yamada, Y. (2020). Micropublishing during and after the COVID-19 era [Preprint]. PsyArXiv. https://doi.org/10.31234/osf.io/8fum4
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www.freeourknowledge.org www.freeourknowledge.org
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Free our knowledge. (n.d.). Retrieved June 30, 2020, from https://www.freeourknowledge.org/pages/about/
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www.nature.com www.nature.com
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Palayew, A., Norgaard, O., Safreed-Harmon, K. et al. Pandemic publishing poses a new COVID-19 challenge. Nat Hum Behav (2020). https://doi.org/10.1038/s41562-020-0911-0
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doi.org doi.org
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Horbach, S. P. J. M. (2020). Pandemic Publishing: Medical journals drastically speed up their publication process for Covid-19. BioRxiv, 2020.04.18.045963. https://doi.org/10.1101/2020.04.18.045963
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www.thelancet.com www.thelancet.com
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Gabster, B. P., Daalen, K. van, Dhatt, R., & Barry, M. (2020). Challenges for the female academic during the COVID-19 pandemic. The Lancet, 0(0). https://doi.org/10.1016/S0140-6736(20)31412-4
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www.thelancet.com www.thelancet.com
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Health, T. L. G. (2020). Publishing in the time of COVID-19. The Lancet Global Health, 8(7), e860. https://doi.org/10.1016/S2214-109X(20)30260-6
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Learning about covid-19 outbreaks from non-viral tweets. (2020, May 29). The BMJ. https://blogs.bmj.com/bmj/2020/05/29/learning-about-covid-19-outbreaks-from-non-viral-tweets/
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www.tandfonline.com www.tandfonline.com
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Bell, K., & Green, J. (2020). Premature evaluation? Some cautionary thoughts on global pandemics and scholarly publishing. Critical Public Health, 0(0), 1–5. https://doi.org/10.1080/09581596.2020.1769406
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