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Kosmos
Astronomia Astrofizyka
Inne

Kultura
Sztuka dawna i współczesna, muzea i kolekcje

Metoda
Metodologia nauk, Matematyka, Filozofia, Miary i wagi, Pomiary

Materia
Substancje, reakcje, energia
Fizyka, chemia i inżynieria materiałowa

Człowiek
Antropologia kulturowa Socjologia Psychologia Zdrowie i medycyna

Wizje
Przewidywania Kosmologia Religie Ideologia Polityka

Ziemia
Geologia, geofizyka, geochemia, środowisko przyrodnicze

Życie
Biologia, biologia molekularna i genetyka

Cyberprzestrzeń
Technologia cyberprzestrzeni, cyberkultura, media i komunikacja

Działalność
Wiadomości | Gospodarka, biznes, zarządzanie, ekonomia

Technologie
Budownictwo, energetyka, transport, wytwarzanie, technologie informacyjne

The Journal of Electronic Publishing (JEP)

As one who is both a publishing practitioner and a commentator upon contemporary publishing, I view every issue of JEP through the lenses of both personal interest and personal experience. This is doubly true of the issue at hand: Education and Training for 21st Century Publishers. I myself came to publishing mid-way through my professional life (after years as both scholar and librarian), and as I immersed myself in the publishing world, was struck by how much I needed to know and how sometimes I didn’t even know what I needed to know. As I assumed positions of increasing responsibility and authority, I became responsible for hiring and managing a large staff and often opined gaps in those staff members’ professional preparation and yearned for hires who could meet our ever-burgeoning lists of required skills. Because my publishing operation was located within a university, I also saw dozens of students make their way through my offices, as both part-time labor and in pursuit of educational opportunities. Some of these students (often hailing from the local English Department or the Information School) sought out my operation intent on a publishing career. Others conceived a desire for such a career on my watch, and while I worked hard to provide advice and guidance, I always worried that there was more to say. Now my career has taken yet another turn, and I am employed at an Information School where I teach, among other things, publishing – a demonstration in itself of the changing publishing landscape. I am eager to learn from my publishing colleagues and compatriots about their perspectives on both education publishing needs and the best ways to meet those needs, a learning I hope will in turn benefit my own students.

http://hdl.handle.net/2027/spo.3336451.0017.200 2014/05/28 - 12:47

This issue of JEP features the launch of a new feature that we hope will both enrich our readers’ experience and our own understanding of how to do the best digital publishing. With this issue, we introduce full support of Hypothes.is, an open platform for the collaborative evaluation of knowledge. It supports sentence-level critique and is a tool for community peer-review to provide commentary, references, and insight at the article level. Now, every article of JEP is open for commentary and discussion through annotation. Please explore the annotations and add your own. The authors, publishers, and Hypothes.is developers are all eager to see your contributions and to observe and participate in the many discussions we hope it will open up.

http://hdl.handle.net/2027/spo.3336451.0017.201 2014/05/28 - 12:47

University presses currently exist in the dual worlds of print and digital publishing. Current staffing needs require that they hire personnel with skills and experience that mirror that present duality. Training and maintaining a skilled workforce requires a commitment to flexibility and an openness to the ever-changing nature of scholarly communication. As the scholarly publishing ecosystem continues to evolve, university presses will need to look to a future workforce that has additional training, knowledge, and experience beyond the traditional skills associated with academic publishing, one that fully embraces the realities of a digital world, the habits of new generations of researchers, and the increasing role of technology in scholarly communication. This article looks at what the future might look like, what skills might be required, and how one might prepare for that future.
This article looks at practical issues in scholarly publishing pertaining to training, educating, and preparing scholarly publishing professionals for today’s technology-driven world. To provide a context for my views, I’ll begin by describing the nature of publishing at The Pennsylvania State University Press. Next, I’ll explore what contemporary publishing means within the setting of a university press. Then, using the following questions as a guide, I’ll map what skills might look like, now and in the future. One, what skills and expertise are publishers looking for in “contemporary book and journal publishing”? Two, where/how does one acquire those skills? Three, as publishing evolves, how will the skill sets for publishers change? And, four, where are publishers looking now for help in that future?

http://hdl.handle.net/2027/spo.3336451.0017.202 2014/05/28 - 12:47

Publishing is going through a rapid and jarring change not seen since the introduction of the printing press. In all areas of the industry—from trade publishing to educational publishing— everything about the business is changing, from how we source, edit, and monetize content, to who the immediate customers are.

http://hdl.handle.net/2027/spo.3336451.0017.203 2014/05/28 - 12:47

If you’re considering graduate programs in publishing, you may be wondering just how relevant those courses are. After all, in an industry that is so heavily learned on the job, how much good could something a professor tells you in a classroom do? You’d be surprised. As a relatively recent graduate with an M.A. in Publishing, I’m here to tell you just why (or even why not) to consider enrolling in a publishing program. Its trials and its benefits will be laid out in terms of my experiences, and perhaps you’ll come to the same conclusion I did.

http://hdl.handle.net/2027/spo.3336451.0017.204 2014/05/28 - 12:47

Publishing education arose in the 20th century in response to a need for trained employees in a stable industry with a well understood set of competencies and skills. Today, the publishing landscape is disrupted, and that stability is seriously threatened. Given these circumstances, what is the role for university-level publishing education? This article argues for a model of university-level (graduate and undergraduate) publishing education that builds upon a vocational self-identification of incoming students, nurtures a community of practice and professional discourse, and in doing so generates and renews the very culture of publishing. In times of transition and disruption, this is a role uniquely suited to the university, where an environment of collaborative research, development, and innovation can be cultivated.

http://hdl.handle.net/2027/spo.3336451.0017.205 2014/05/28 - 12:47

Many universities today now have a library where staff are exploring the frontiers of open access publishing and digital services. Librarians and other staff employed at these libraries have a diverse range of skills that work in harmony to bring digital content to their users, skills that could be harnessed to focus on scholarly publishing. Accordingly, schools of library science and information, which offer education in both academic and public service, could be one potential place for those aspiring to publishing to receive an education. In this article, I attempt to identify some of the tensions between theory and practice that currently underscore the murkiness in choosing the best location for publishing education and training. Library or information school, and the breadth of both traditional and nontraditional skills it has to offer, is a substantial, long-term alternative to rushed weekend publishing intensives and pricey seminars.Prior to the 1990s, many publishing professionals are purported to have entered the industry “accidentally,” by way of a business or bookstore career. To this day there are very few degree programs in the United States that offer a degree or even a certificate in publishing expertise, let alone a college-level course. “Publisher” is not a career choice discussed in high school in the same way that law, medicine, teaching, or even journalism are. Perhaps this is the reason why I had such a difficult time, initially, in finding a job at a press after graduation: I knew that I wanted to work in publishing, but I had no options for pre-professional training and development. I earned a Bachelor’s in Communication Studies and English in 2009 and promptly began applying to every trade publishing house in the country, without much luck (albeit, during the height of the recession). Four years later, I am happily working in a library publishing shop and also working toward a degree in library and information science.A key tension emerges when pondering the best location for publishing training: practice (hands-on or on-the-job work) versus theory (education). As I began thinking about my own experiences, I first thought, “Well, it was all about the on-the-job training—I couldn’t have learned those skills anywhere else.” However, as I pondered further my newer, more sophisticated views of scholarly publishing, I detected influences from my graduate coursework in library and information science. Theory (my graduate education) informed and enriched my earlier practice (my on-the-job training). My coursework on the future and potential of academic libraries (as well as non-profit management, computer programming, and web design courses), while not directly related to publishing, has given me the foundations to better understand the publishing industry as a whole and to think critically about its future.My experiences in scholarly publishing have already been quite varied. I worked as a peer tutor at the University of Michigan’s Sweetland Center for Writing while in college. This collaborative writing/teaching experience was what earned me a job as a work-study student at the University of Michigan Press, in the English Language Teaching (ELT) department; I transitioned into a full-time temporary position as an editorial assistant to the assistant director of the Press several months later. This position was originally slated to last three months and was created to digitize and make available for sale hundreds of the Press’s backlist titles. Additionally, these titles would be added to the HathiTrust digital library. However, because this was quite a large undertaking, the position lasted for several years instead of months, adapting to fit the new digital publishing needs of the Press. I began working on projects related to the Google Books project, researched the copyright statuses of works, and delved deeper into the Press vault in search of old titles to digitize. In this time of change, I also took a job at the University of Michigan Library’s Scholarly Publishing Office, which would later merge with the University of Michigan Press to become Michigan Publishing.Reflecting on my first experiences in publishing, I realize that I received all the training I needed on the job. I learned how to use the Press’s content management system by actually using it for my work; I learned about permissions and subsidiary rights by writing and asking for those permissions. I learned about the entire scholarly monograph process, from acquisition to production to sales and marketing, from actually participating in a small part of it. In an attempt to get more serious about my publishing career aspirations, I attended an intensive weekend workshop hosted by the English department in my third year of college. This workshop, to my knowledge, was only offered two more times before it was discontinued (the implications of which I’ll discuss later). It was an excellent location for networking; however, the actual content of the sessions and activities seemed antiquated and did not quite address the then-current climate. There was no discussion of ebooks, conversion, and digital production. Part of the description (from a saved pamphlet) read that “students will learn about different segments of the industry: ... university press, reference, electronic...,” implying that “electronic” applications were only a small niche area, rather than a phenomenon that has been drastically changing the industry. This was in 2008. Granted, they did emphasize “trade publishing” in the description for the following two years (and because I was more interested in academic publishing, I cannot speak to how well the workshop addressed trade publishing). But for an intensive workshop meant to give us a concrete handle on the publishing world, the material seemed woefully out-of-date, especially in the midst of an economic recession and widespread print publishing crises. What would the profession look like in a decade? Or even five years? What skills would we have needed to learn to deal with the changes that were coming?While the workshop was not exactly helpful in teaching me concrete skills, it did show me the different departments of a publishing house, gave me a taste of what publishing is really like, and helped me consider whether I truly wanted to pursue it as a career, and also connected me to my future boss at the University of Michigan Press. Why was this weekend workshop for undergraduates discontinued? I can only guess that it was from lack of interest. Perhaps it was also not the best location and forum for the target audience; it was quite a lot of content to pack into two days, and the program provided a large panel of professionals with very limited networking time. Indeed, because there is no central place or pedagogy for publishing training, there is no perfect program to train new people. The aforementioned weekend workshop was akin to a shorter version of summer-long programs like the University of Denver Publishing Institute or the NYU Summer Publishing Institute, which also give students an overview of the industry, the different publishing units and departments, writing exercises to emulate duties in “real world” situations, etc., except they are several weeks to several months long rather than two days. They are also much more costly.Scholarly publishing is going through an identity change (I’ll avoid the word “crisis”) in this first quarter of the twenty-first century. Values are changing along with that; no longer are presses choosing the manuscripts and projects that will sell the best—they are concerned with new and original scholarship, and disseminating that scholarship more broadly. New technologies, such as ebooks, online repositories, and interactive online works, may still be anxiety-inducing, but they are quicker to be adopted and learned. Enter librarians.It has long been established that libraries are more than book warehouses; librarians perform essential services for users, ranging from reference, technology instruction, and acquiring and managing collections, to managing digitization and broader dissemination of information. Publishing can now be added to that list. Library publishing has been happening in various forms throughout many years, but it has just been in the last decade or so that it has become more formalized. In the inaugural issue of the Journal of Librarianship and Scholarly Communication, in 2012, the editors discuss the changing economics and formality of exchanges in scholarly communication, as well as the way libraries have seemed to co-opt the name “scholarly communication.” They note that scholars are engaging more in informal exchanges and how those exchanges lead to more responsive and flexible communication, as well as the increasing ease in publishing scholarly journals online. However, the editors also note that, “unfortunately, commercial publishers have little incentive to return [scholarly communication] to its not-for-profit roots. As a result, academic libraries—which have always been economically tied to scholarly publishing—have entered the publishing arena.” Values in scholarly publishing are shifting from a bottom line to service orientation—a value in line with those of libraries. Also, libraries have long held a privileged place on campus where their services and staff are highly regarded, and are ideally suited to scholarly publishing. In a 2008 Council on Libraries and Information Resources report on the future of research libraries, Kate Wittenberg examined the role of academic libraries specifically in relation to scholarly publishing. She outlined six areas that librarians could prove useful: new publishing models and formats, a new focus on users, more complex information literacy in judging credibility, collaboration across fields, the need for experimentation, and sustainability. Will librarians become editors? Will editors become librarians? Or will a new type of job emerge that requires expertise in both of these fields? The new model for publishing requires someone who understands the intellectual environment in various disciplines, identifies the scholars working most productively in those fields, and works with those scholars to enable the successful completion and publication of a scholarly work. It also requires someone who understands the role of metadata, search and discovery, and preservation and access. A position that brings together these two kinds of experience would open exciting possibilities for creating new models of publishing appropriate for the current environment (Wittenberg).The readiness of librarians to be publishers is due in part to the education librarians receive. Historically this has been in “library school,” or MLIS programs, but in the last decade or two this has been at information science schools, or iSchools. There are many reasons why iSchools and MLIS programs are prime places for aspiring publishing professionals. First, their missions are in keeping with the changing needs of publishers. The iSchool organization declares that iSchools address the “fundamental issue of harnessing the incredible flow of information for the betterment of humanity...The iField also empowers people in other fields to create, find, store, manipulate, and share information in useful forms... The iField’s most visible and viable outcome is the delivery of the right information at the right time to the right people in the right form.” Sounds like publishing! Second, iSchool and library school curricula generally value practical experience through practicums over theory-based seminars. Hiring managers tend to appreciate practical experience and the instillation of values that come from a liberal arts background. In three semesters of graduate school, I have already had multiple opportunities to work with clients from the community on semester-long projects that are mutually beneficial (as well as the opportunity for a mini internship at the Folger Shakespeare Library). Third, because they are in a state of experimentation, academic publishers need fresh, forward thinkers. How will the curricula of library science and iSchools help shape future publishing professionals? The Library Publishing Coalition (an organization that champions the library publishing movement) describes library publishing as “based on core library values and building on the traditional skills of librarians, it is distinguished from other publishing fields by a preference for Open Access dissemination and a willingness to embrace informal and experimental forms of scholarly communication and to challenge the status quo.” While not all future publishing hopefuls will go into library publishing, that critical engagement with and questioning of traditional forms of publishing will be valuable for any and all who aim to enter the industry.Finally, coursework in graduate school is also important for learning theory in addition to practice, as well as for the development of long-term views on scholarship and scholarly communication. Time spent in higher education is useful for working alongside scholars, in order to better understand the research process side of the equation. Scholars and publishers work best when each has a good understanding of what the others’ workflow is like.Another benefit of an iSchool or library school education for publishing is the range of technological skills one learns. iSchools offer other specializations (e.g., human-computer interaction) in addition to library and information science—and thus the chance for coursework in markup languages like XML, scripting languages, PHP and SQL for database applications, etc. Skills such as these are becoming increasingly more important for digital scholarly publishing and the online representation of works. Digital preservation is another field becoming more and more vital as original works are being “born” digitally and require more complex preservation needs. iSchools tend to have comprehensive course offerings on digital preservation. While preservation may not represent a typical part of the digital publishing process, metadata does—and metadata is integral to digital preservation. Metadata creation and management is also a traditional skill held by librarians. Generally, preservation knowledge is important to publishers as they undergo enormous scanning projects, such as scanning their backlist titles, to make older titles available in digital libraries, as ebooks, or for print-on-demand. These activities require extensive work with materials that may have been housed in libraries or vaults for an extended period of time, and may require special consideration for digitization.Current (2013) job postings for “scholarly communications librarians” and the like increasingly emphasize publishing backgrounds. There are new emphases on copyright and open access: issues that have long been talked about in libraries and in library school, but not as frequently in publishing, at least until recent years. For example: the University of Michigan posted a job description for an Associate University Librarian for Publishing in the Fall of 2013. Here are some of the required skills: “Demonstrated capacity to articulate a vision and strategy for publishing in an academic library... Knowledge of current issues and trends in academic publishing, scholarly communication, open access, data sharing, and intellectual property and copyright, including fair use... Knowledge of publishing industry practices.” The University of Colorado Boulder also posted a job for a Scholarly Communications Librarian around the same time; that posting combined skills from publishing (“Demonstrated knowledge of the scholarly publishing landscape, including legal issues, Open Access, and author rights”) as well as a required MLS degree and “experience at an academic library or research institution.” These job postings are just two of many recent library publishing positions. They put Wittenberg’s points, above, into practice. Newly created positions in scholarly publishing combine expertise from both library and publishing fields. The library publishing movement is gaining momentum. The Library Publishing Coalition (LPC), which was kicked off in early 2013, consists of over 50 academic libraries that, together, promote innovative and sustainable scholarship. The first part of the LPC vision statement is “targeted training and education”: “We believe that, to flourish, library publishing as a community of practice needs organized leadership to address articulated needs such as targeted training and education, better and increased communication and collaboration, new research, and shared documentation. We recognize that library and other non-profit publishers have common interests and concerns.” This is exciting for those who aim to enter the academic publishing industry, and is especially encouraging for those wanting to enter scholarly publishing. However, simply identifying the need for education and training is just the proverbial first step.Publishing should be brought into the curriculum of iSchools, if only as special topic courses that interested students can take as electives. There should be courses on the history of publishing in the United States, as there are traditionally courses on the histories of libraries in library school. Though the publishing weekend workshop I attended was not especially helpful to me in a practical sense, it was a valiant attempt to fill a hole in the liberal arts curriculum. There are rarely any credit-bearing course offerings on issues related to publishing at the University of Michigan. Offering mini courses or electives on publishing would give students more time to learn about the publishing industry and the history and current climate of the industry. Another option, in the spirit of graduate school hands-on work, would be to offer practicum courses as part of the curriculum. These courses could be a hybrid of credit-bearing graduate courses that focus on a semester-long project and the type of hands-on work that is done in publishing summer seminars. Students would have something concrete to show employers and would also gain practical experience along with learning the theory behind what they are doing.I realize that attending graduate school and obtaining an advanced degree is not and should not be required of anyone who wishes to work in publishing. While I believe (and albeit may also be biased) that library schools are an excellent spot for both training and gaining fundamental knowledge to apply to publishing practice, I also believe that hands-on, on-the-job practice is really the best training for up-and-coming publishing professionals. And, as a student and a professional interested in digital humanities practice, I find that there are some similarities between educating oneself in both the digital humanities and publishing: right now the best way to gain experience on the cutting edges of those fields is to do it yourself. Seek out workshops, connect with others on social media platforms, and attend conferences and other professional development opportunities to not only learn new skills, but also be aware of what’s coming in the future. Test the tension between theory and praxis and choose a spot along the spectrum to dive in.

http://hdl.handle.net/2027/spo.3336451.0017.206 2014/05/28 - 12:47

The role of publisher is increasingly assumed by academic and research libraries, usually inspired by campus-based demands for digital publishing platforms to support e-journals, conference proceedings, technical reports, and database-driven websites. Although publishing is compatible with librarians’ traditional strengths, there are additional skill sets that library publishers must master in order to provide robust publishing services to their academic communities.

http://hdl.handle.net/2027/spo.3336451.0017.207 2014/05/28 - 12:47

This article examines the thinking behind the establishment of the year-old, New York City-based CUNY Publishing Institute (cpi.journalism.cuny.edu/), the latest entry to the field of book publishing courses. CPI purports to offer an alternative approach to studying the industry, and to do so in an energetic, intensive and hands-on manner.To paraphrase a recent online comment on a post lamenting the collapse of contemporary book publishing—we don't need another essay lamenting the collapse of contemporary publishing. Similarly, we don't need another "publishing school" appended to a grad school's extant courses in English or journalism. Or do we?The Tow-Knight School of Entrepreneurial Journalism at the City University of New York's (CUNY) Graduate School of Journalism is home to the nascent CUNY Publishing Institute (CPI), which had its first classes in June 2013. From the start, CPI had as its reason for being three crucial motivators: 1. existing schools of book publishing purport to offer much more than they do or even can; 2. the essentials of book publishing can be elucidated in an intensive, focused and effective manner; and 3. the field has grown in ways no one foresaw: there are different formats, different ways to reach readers, and at least a sampling of these should be explored. The goal was to do it all in one packed work week, Monday to Friday, 8:30 to 5:30, and to do so in the CUNY tradition of much bang for less buck.As someone who has spent twenty-five years in book publishing as an editor and publisher, and who has appeared as a faculty member or panelist at a number of publishing courses, writing conferences, and industry convocations in the United States and abroad, I am convinced that an effective introduction to the profession involves a multifarious approach. In the twenty-first century, there is no one road to either success or disaster in book publishing. It follows that a rigid study based on traditional models rather than innovative, entrepreneurial ones is not only quickly outdated but provides a narrow, inaccurate assessment of what is happening. And that seemed to me precisely what existing schools of book publishing were doing, at least for the most part: these courses focus on the traditional aspects, admittedly the most easily graspable aspects, of an essentially fluid industry. The turf of publishing is still dominated by venerable companies and imprints founded well before the Second World War (Alfred A. Knopf, 1915; Simon & Schuster, 1924; Random House, 1927; Penguin Books, 1935; etc.) whose approach to selling and marketing, production and distribution, has changed little in the intervening decades: while a student of publishing must consider these models, they may also need to be discarded or at least severely critiqued. The big publishers are bigger than ever—the titan known as Penguin Random House alone employs more than 10,000 people, and publishes more than 15,000 titles a year—but with by one estimate more than fifteen million new titles published a year, what is the impact on the rest of the industry? Where do these other books come from, and how are they to be sold? And even excluding the categories of self-publishers or alternative publishers, how to account for steady unit sales of books alongside dropping revenues? The traditional, lengthy, tortuous process from concept to finished book is of course very much with us: taking as a starting point a completed manuscript, at least a year can elapse before publication. Along the way many levels of hierarchy are involved, including agents, editors, publishers, editorial boards, design directors and marketing and publicity directors; copyeditors and proofreaders; sales reps and sales conferences; wholesalers and retailers; printers and warehouses; trucking companies and lost, late, and damaged shipments; and endless returns (a phrase familiar to those in the industry: "book returns—the gift that keeps on giving"). It therefore doesn't take a radical visionary to label the trail that goes from a beautiful idea (or a commercial one) to a printed work convoluted and ineffective: in a word, outdated. Add to that the painfully slow adoption of "new" technology—fundamental to the industry's continued existence—and the question arises why existing publishing courses not only examine the outdated practices of the most visible corporations but encourage students to emulate same. As a student project, one of the programs even has its participants design their imprint at a major publishing company: a fantasy project if ever there was one. How many editors get their own imprints? About as many as win the Irish Sweepstakes: precious few, and most of us in publishing can name them.And yet, these days just about anyone can start a publishing company that produces "real" books. All you need is a manuscript, access to a computer, a bit of effort, and a few dollars. It's a thrilling time to be in the business: of course, with genuinely open access have come attendant challenges. Why not explore some of those challenges in detail? How do you market a product (either print or electronic), when everyone seems to be selling something vaguely similar—after all, every book in a sense is competing with every other book for its readers. Why not have an open discussion about staggeringly high return rates, about the rapid turnover amongst editors at the big houses, about the sheer waste that seems endemic to the industry? And most importantly, why not explore alternative paths?A breakfast encounter with innovator Jeff Jarvis, founder of BuzzMachine and director of the Tow-Knight School for Entrepreneurial Journalism at the CUNY Graduate School of Journalism, provided me with the opportunity to start an alternative school of publishing. We intended from the outset to cram a lot into one forty-hour week, supplemented by breakfast and occasional breaks. Our typical student would be someone who wanted to plunge in, to be the electronic age-equivalent of an ink-stained wretch (tendonitis doesn't evoke the same romantic imagery), but was committed to books, whether downloadable or printed. She might already be working for an established company, she might not even be in publishing—she might be an author who simply wanted to learn more about how the system works, or doesn't work—but at heart she'd have an entrepreneurial spirit. While we wouldn't wield swords, our ideal CPI participant would come to embrace the ideals of Bushido, as expressed in the samurai Miyamoto Musashi's 17th century Book of Five Rings: flowing like water rather than stolid and suffering as stone.Happily, the students who enroll are indeed transdisciplinary, including professors, entrepreneurs, authors and recent graduates. Peer learning is the order of the day; I find myself easily as engaged as my students, learning right alongside them. My goal is to mix it up, to approach publishing as a work in progress, to leaven the discussion of long-established principles with startling insights. For sure, in this environment some of the concepts we tackle may not be in fashion or applicable in a year or even a few months, but we want to convey the sense of an ocean of possibilities, (pace, Carl Sagan) that those "billions and billions of stars" are within reach: and in CPI's first year of existence, we had discussions with Evan Ratliff of the Atavist but also Keith Goldsmith, director of academic marketing at Knopf (and also an editor there). We had Larry Kirshbaum, then-director of Amazon's publishing program—who somewhat charmingly enjoined students not to record or tweet anything he said (which of course was an unintended invitation to anyone with a cell phone to record and tweet everything that was said)—but also Johnny Temple, former bassist for the post-punk band "Girls Against Boys", and publisher of Akashic Books, famous for the recent bestseller Go the Fuck to Sleep:Emily Gould, the former editor of Gawker and current proprietor of Emily Books, spoke, as did Rachel Fershleiser of Tumblr, Jane Friedman of Open Road Media, and many others. There were workshops, but the emphasis was on presentation and marketing, not on editorial selection. That is something teachable only by reminding students of consequences: it's fine to want to publish a book of Icelandic poetry, but then how do we reach its fans? Conversely, it’s fine to put forth a book by a celebrity—but bearing in mind the notorious flops that characterize expensive acquisitions such as the memoirs of Whoopi Goldberg or Rudy Giuliani, what guarantee does a publisher have that a book will earn out? How do we mitigate risk? Are there inexpensive and effective ways of reaching potential consumers? What of the ancillary platforms connected to a book—the blogs, speaking engagements, the foreign editions?At week's end of our inaugural session, I and most importantly our thirty-five students knew we'd accomplished our goals. The very fact of refusing to advocate a set path to book publishing opened up all sort of possibilities, and challenges. We could be certain of little other than that all of us in the business must be receptive to new approaches—and we had to become familiar with these new approaches, even if we were to discard them in a few months. In class I cited the “Red Queen Theory of Evolution,” the evolutionary theory first put forth in the 1970s by the biologist Leigh Van Valen. It was named after the bloody-minded chess piece in Lewis Carroll's Through the Looking Glass. In the relevant passage, the Red Queen says to Alice, “It takes all the running you can do to keep in the same place.” Van Valen applied this metaphor to evolution, suggesting that species are in a constant race for survival, and continually must evolve new ways of defending themselves throughout time. It seems to me this metaphor is exactly what we need to keep at the forefront of our minds when considering book publishing today.

http://hdl.handle.net/2027/spo.3336451.0017.208 2014/05/28 - 12:47

With The Everything Store: Jeff Bezos and the Age of Amazon, technology journalist Brad Stone set out to write the “seminal” book about Amazon. Although Bezos did not consent to being interviewed for the book, he approved interviews with other Amazon executives, as well as friends and family, making The Everything Store the first book about Amazon to have the authorization of its subject. The result, based on 300 interviews, as well as Stone’s fifteen years of reporting for Newsweek, the New York Times, and Businessweek, is a deftly crafted biography of both Amazon, the company, and Jeff Bezos, the man. Much of Amazon’s (and Bezos’s) story has been told before, either in the business press or in a few books about Bezos and Amazon’s early years: Robert Spector’s Amazon.com: Get Big Fast (2000); James Marcus’s Amazonia: Five Years at the Epicenter of the Dot.com Juggernaut (2004); or in Mark Liebovich’s The New Materialists (2000). But no significant book about Amazon has been published in ten years, which makes Stone’s book all the more welcome. He not only takes the story forward but he enriches what is known with new details and testimony, weaving together an immense amount of material into a readable, compelling account of a complex, dynamic company and its driven founder.

http://hdl.handle.net/2027/spo.3336451.0017.209 2014/05/28 - 12:47

“Above all,” argues Michael Bhaskar, “creating the New Publisher and meeting the digital challenge is not a business problem but a conceptual one” (ch. 6). As this claim and as the book’s subtitle suggest, The Content Machine ambitiously sets out to offer a kind of prolegomenon to a “theory of publishing” and to offer some hints about what to expect from the publisher of the future. As someone very much in the middle of university press practice, I’m initially excited by and skeptical about the ambition here. After all, publishing is a fairly old, complicated activity, which is notoriously idiosyncratic and context-bound, with a history of immunity to tidy explanations. A theory of publishing seems ever prone to over-simplicity (and alignment with a certain set of circumstances) or over-complication (and generalization to the point of little practical use). In other words, I was set up to be hard on this book. The Content Machine surprises me, however, in its sophisticated approach to what most interested readers would agree is an exceptionally daunting task. The book is detail-rich but capacious in its selection of examples and its synthesis of what the author argues are the essential elements tying together publishing circumstances that many might consider discrete or incompatible.

http://hdl.handle.net/2027/spo.3336451.0017.210 2014/05/28 - 12:47

In the preface to The Handbook of Journal Publishing, the authors state one goal and make one prediction for the book: that it will serve as a useful resource for those who “have come to journals publishing after a spell with books, or are completely new to publishing,” and that it may be best used as a reference book, rather than read from cover to cover (xi). Still a bit of a newbie to the journal publishing industry myself—having worked on academic journals for more than three years, but only from within the confines of an Open Access, library-based publisher—I tackled this book with these aims in mind.

http://hdl.handle.net/2027/spo.3336451.0017.211 2014/05/28 - 12:47

In a recent report from Iraq, the government newspaper al-Jamhuriyya denounced the Internet as an "American means to enter every house in the world" and "the end of civilizations, cultures, interests, and ethics" (Associated Press, 17 Feb 1997). The New York Times take on this story was conventionally to balance it with the counter-example of "Iraqi exiles [who] are using the Internet to preserve the culture and interests they miss, the Iraq of old that they loved" ("Iraqi Exiles Reach for Home on Web Site," by Lisa Napoli. The New York Times, Cyber Times. 20 Feb 1997 — access is free, but you have to register). This familiar journalistic device of setting points of view into opposition parallels and echoes terms in which the Internet as a social, political, economic and, more broadly, cultural phenomenon is increasingly cast that, like the journalist construction, places issues ahead of analysis.

http://hdl.handle.net/2027/spo.3336451.0003.116 2014/03/18 - 22:45

The journal is fundamental to formal scholarly communication. This research reports highlights and preliminary findings from an empirical study of scholarly electronic journals. The purpose of the research is to assess the impact of electronic journals (ejournals) on scholarly communication, by measuring the extent to which they are being cited in the literature, both print and electronic. The intent is to provide a snapshot of the impact e-journals were having on scholarly communication at a given point in time, roughly the end of 1995. This study provides one measure of that impact, specifically on the formal, as opposed to informal, communication process. The study also examines the forms in which scholars cite e-journals, the accuracy and completeness of citations to e-journals, and practical difficulties faced by scholars and researchers who wish to retrieve e-journals through the networks.

http://hdl.handle.net/2027/spo.3336451.0003.212 2014/03/18 - 22:45

Prior to my taking the editorial helm at the Journal of Electronic Publishing, JEP staff had some friendly chatter with the organizers of Books in Browsers about possible publication of the conference proceedings, hoping for a happy marriage of interests, needs and capabilities. As happens, life and other priorities got in the way and that conversation never came to conclusion or fruition. When I agreed, several months ago, to become the new editor, I was in one of those privileged moments of possibility when I could sit back and survey potential directions and scheme about trajectories for the months and years to come. As I pondered the future, I looked over the remaining traces of the BiB conversation. My first reaction? “Oooh, I hear Bib is Cool and Smart. Let’s do that!” I then renewed the conversation and used my new broom energy and the conference organizers’ good will to reach an agreement about publishing the 2013 proceedings as a special issue of JEP. Just how special, you will hear anon.

http://hdl.handle.net/2027/spo.3336451.0017.100 2014/03/18 - 22:45

Emboldened by the experimental spirit of the Books in Browsers community, JEP’s BiB IV Proceedings issue charts new territory for our editorial and production processes, challenging what we traditionally thought of as conference proceedings. By reducing a proceedings to recorded video, slides, and making submission of papers optional, this lighter proceedings narrows the time gap between conference closing and proceedings publication. However, in doing so introduces a new set of editorial and production challenges to our traditional workflows. Where will videos live? How will we (should we?) produce transcripts of video? What to do if a presenter elects not to submit a paper? What level of copyediting should we apply to submitted papers? What about additional conversations and commentary that happens on the web? In a conference-y spirit of sharing, here’s a closer look at how we addressed these questions and went about putting together the BiB IV Proceedings.

http://hdl.handle.net/2027/spo.3336451.0017.101 2014/03/18 - 22:45

Would a time-traveling author from the past centuries stumble upon our everyday read/write tools, he would envision a techno-utopia that allows anyone to act as an archivist, librarian, content curator, or publisher. But the electronic publishing disruption comes with a couple of side-effects: print-on-demand spam is sneaking into our search queries, massively distributed authorship is taking the infinite monkey theorem at face value, while a generation of writers is turning SEO-aware. In that context, Greyscale Press – a post-digital publishing house – is crafting book-like artifacts, merging the toolsets inherited from 20th century modernist avantgardes, post-structuralism, the free software and copyleft movement, up to the latest crop of crypto- and cypherpunk activists.
Manuel Schmalstieg - A Book Isn’t A Book Isn’t A BookDownload Slides (PDF)

http://hdl.handle.net/2027/spo.3336451.0017.102 2014/03/18 - 22:45

Former Amazon evangelist and founder of BookGenie451 talks about how to apply Big Data to publishing. In the era of web-connected social networks where we can mine user data, how can we mine book data, and merge the two together into a browser-based experience?
Jason Merkoski - Books (and Readers) in BrowsersRemainder of talk can be seen here starting at 19:05Download Slides (PPT)

http://hdl.handle.net/2027/spo.3336451.0017.103 2014/03/18 - 22:45

The Radical Publishing Project, a new initiative at Columbia College Chicago, is intended to open dialogue on the fundamental nature of publishing today and in the future. The project is broad-based, but one of its source points is an NEA-funded program at the college’s Center for Book and Paper Arts, “Expanded Artists’ Books: Envisioning the Future of the Book.” Created as works of art, artists’ books widen the definition of authorship to include not only text but also visual form and design. These are expressive, dedicated objects, where every aspect of the book – text, image, materials, design, structure – contributes to a unified expression of concept. The Expanded Artists’ Books (EAB) project republishes artists’ books, with media augmentation, as apps for Internet-connected tablets, and in a second phase commissions media artists to create born-digital works with parallel iterations as physical books. The apps will be distributed free as a way of giving the art form greater accessibility. EAB is showing great promise in its early stages, with potential for pushing an evolutionary leap in the practice, and we are now at work to establish a publishing platform to sustain it – while both questioning and asserting the meaning and value of materiality in the future of distributed art, literature, and information.
Talk can be seen here starting at 34:21Download Slides (PPTX)

http://hdl.handle.net/2027/spo.3336451.0017.104 2014/03/18 - 22:45

‘Snowfalling’ is one way to go. Done right it results in an engaging and immersive narrative that transfixes readers. It marries the best of print aesthetics to digital media. But, what if you want to do something more digital? Something interactive? What if you don’t want to do a linear piece all glossed up in fancy magazine-inspired decoration and layout? What if you want to go web-native? Find out what is possible; what narrative and design tactics the web lends itself to; what interactive forms, structures, and tactics aid the exploration of complex stories.
Baldur Bjarnason - Interactivity is What You DoDownload Slides (KEY)

http://hdl.handle.net/2027/spo.3336451.0017.105 2014/03/18 - 22:45

James Bridle - Network Tense: How to Approach a Contemporary, Technologically-Mediated WorldEditor’s Note: The talk embedded above and transcribed below was given a day prior to the Books in Browsers IV conference at Citris UC. It is a different version of the talk James Bridle delivered at Books In Browsers IV.Download Slides (KEY)View BiB Video

http://hdl.handle.net/2027/spo.3336451.0017.106 2014/03/18 - 22:45

One of the distinguishing features of contemporary fanfiction is that it begins and exists online. While the source stories come from many media, including TV shows, films, and books, the fan writing, reading, and interaction happen primarily on the Internet.
The online environment arguably provides greater opportunities for a broader range of storytelling and engagement with media and culture, and immediate conversations with readers, than is generally possible in a traditional book. Where the book format (print or ebook) imposes physical boundaries upon the content, and asserts authorial and publishing control over text, the medium of the Internet removes the “physical” boundaries and also allows for the textual “instability” that underpins fanfiction. In an increasingly online world, we may need to let go of traditional publishing boundaries of ownership, control, and format to fully realize the potential of the text.
http://www.flickr.com/photos/sids1/1395366679/ (cc) Sids1I live on the East Coast of the North Shore of Auckland, New Zealand. We look out over the Hauraki Gulf to the volcanic cone of Rangitoto Island, the Coromandel Peninsula beyond, and a glimpse of the Pacific, stretching out seemingly forever, beyond that. When one lives on the perceived edge of the world, one feels keenly the challenges posed by time and space. Yet, readers and audiences everywhere experience similar challenges with regards to time and space: the time between novels in a series, access to content, the distance they feel between themselves and authors and publishers. Dedicated readers are most affected by the limits of traditional publishing and distribution of content, and conventions. They want access, they want content, and many want it now. And “uberfans” want even more: they want to contribute to the story, practice their art in the fandom universe, and collaborate with and meet other readers. One of the ways they do this is by writing and reading fanfiction about books, TV shows, films and, increasingly with a younger demographic, about real people. Fanfiction is a very prolific and potentially rich field for publishers to engage with. Yet, the central tenet underpinning fanfiction and the one publishers and authors find particularly challenging is the notion of the “extensibility” of the text. Fanfiction appears to step on what is considered the almost sacred ground of creative output and culture: ownership of and rights to one's story.At the Books in Browsers conference in 2010, Brian O’Leary delivered his presentation “Context First” (O’Leary 2011), which later evolved into “Context not Container” (McGuire and O’Leary 2012). The importance of this work for publishing cannot be overstated; O’Leary argued that the “container” model of the book excludes context (footnotes, bibliographic data, and general metadata), which in a networked, digital world is not only desirable but the lifeblood of discoverability and access, and in the digital world, it is discoverability that creates the publisher’s competitive advantage.Building upon O’Leary’s idea, I argue that the physical form of the book as a container of content has also become synonymous in most people’s minds with the limits of the story or narrative itself. The book is crystallized as a unit fixed in time and is a signifier of ownership and control of the content. However, this has not always been the case, and what appears to be self-evident is a convention that was the result of an historical moment.In many oral storytelling traditions, the story or text is a much more fluid dynamic than it is in cultures of print narrative. The story is created partly in the performative moment between the storyteller and the audience. The power of the story resides in the power and expertise of the storyteller and in the wider tradition and culture it represents. The essence of the story remains, but the context of its telling defines the meaning of the story and its borders.The technology of the printing press demanded a different approach, and ensured that the story was not only captured on the page (as it already had been in handwritten documents) but was able to be duplicated. So storytelling became an economic activity defined by ownership of the story and distribution of copies. It was thus an economic imperative to conceive of the story as something both contained within the borders of the format itself, and owned by the author. This situation continued for so long that it has become simply accepted that the book IS the story, IS the author’s and publisher’s, IS a unit to be bought and sold. With the advent of the Internet, though, what is self-evident is called into question. The medium of the Internet is not rigid; or, rather paradoxically, it is precisely because it is structured using binary code that the network is so fluid. It can flourish unbound, with endless hyperlinks forever extending the ending of the “known.” Capturing moments is the best one can do (and thus the work of the Internet Archive is so important because it captures that which is always able, and “wanting,” to escape).The technology of the Internet is perfectly in tune with Jacques Derrida’s notion of “difference” (Derrida 1997; Gaston and Maclachlan 2011) where meaning is always deferred; and where, in a postcolonial understanding (Spivak 1988; Bhabha 1994), meaning and agency are to be found in the gaps between locations of power and certainty. The Internet allows a metaphorical and literal leaking of content from the container and from those who “own” it. So just as the conventional two-dimensional format of the book (or I believe its digital facsimile, the ebook) is no longer the appropriate technology for content in a networked world, the understanding of the ‘contained’, owned, settled story is no longer the appropriate concept of text in such a world.In fact, the technology of the Internet reflects the philosophical underpinnings of fanfiction, which assumes that the text/story is uncontained, that it cannot and should not be contained, and that it continues to exist and evolve in the gaps, spaces, edges, margins, and leading of the text. Fanfiction interrogates established views of what it means to be a writer; the meaning of intellectual property, creativity, originality, and “ownership”; and traditional boundaries surrounding these concepts; fanfaction also puts pressure on the older business model. While fanfiction predated the Internet, the Internet arguably set it free. Fanfiction on the Internet may be regarded as a hybrid of both oral and written storytelling traditions. It starts with context, is deeply collaborative and social, and is philosophically and technically suited to the technology. Fanfiction is distinguishable from digital games or multimedia in that it retains a focus on the written word. It is performance art in written form. And as such it has much to teach publishing in the networked world. It speaks to another form of storytelling but acknowledges the cultural richness of the written word. The lines between text and other media will certainly become blurred as tools become more ubiquitous and easier to use, but there is something about the written and spoken word that appeals to the imagination and allows us all to be film directors.Fanfiction was, for many years, ahead of its time in terms of its embrace of the possibilities and potential of digital technology, of community and niche interests, and of serial fiction. Initially fanfiction on the Internet belonged in the Internet relay chat rooms of computer programmers; Xing Li, a lone programmer in California, started Fanfic.net, the most well-known of the fanfiction sites. One can tell from the interface that it was designed by a programmer rather than a UX designer, but it fulfils the basic needs of fanfiction writers and readers.Longer fanfics are serialized, with many chapters ending with true cliffhangers. Fanfiction is a gift economy, and writers are careful to include disclaimers about copyright ownership (the disclaimers themselves are often witty and entertaining). The writers invite their readers to review each chapter and sometimes even to suggest pointers for the narrative arc. “Beta” readers, who qualify for the role by being experienced fanfiction writers themselves, edit the chapters before they are posted. A dedicated community is built around the stories, and Tumblr and Twitter are alive with reviews, cross blogging, memes, and accolades for favorite writers. The popularity of individual stories or writers largely depends on discovery provided by the web through reader recommendations, both on the fanfiction sites, regular fanfic awards, and on social media. And for readers, it provides communities, forums, private messaging, and the ability to connect directly with the writers. Most of the world’s fanfic resides on fanfic.net.The contemporary game-changer though is Wattpad, the huge online writing and reading site. The initially slow growth of Wattpad in its early years in the mid-2000s to its recent explosion in uptake, particularly by fanfiction writers, should give all publishers pause for thought. If anyone still has doubts about the importance of fanfiction to contemporary reading and writing and critically to youth culture, statistics from Wattpad dispel that: 4,700,000 uploads of fanfiction alone on Wattpad, with 60% growth since 2012 (to October 2013) (“Wattpad’s Infographic on the Past, Present, and Future of Fan Fiction: Publishing Perspectives” 2013). The design and organization of the Wattpad site reveals an appreciation that stories are stories, whether they are “original” or derivative: the site doesn’t distinguish between fanfiction and other fiction. It unabashedly courts young writers, as well as critically established, well-respected authors, and digital explorers such as Margaret Atwood.In the parts of the world where content is not always readily available via sanctioned media, online viewing of content is commonplace. Those readers and writers are completely at home online, accessing all kinds of content. Wattpad has huge growth in Asia, and the numbers are likely to continue to grow.While Fanfic.net and Wattpad are two of the most prominent fanfic sites, fanfic writers and fans use a variety of sites to explore their fandoms. Tumblr is huge, and the ability to blog, and reblog with ease, and the fact that it is the home of memes make it the perfect tool for fan culture. The Archive of Our Own was set up by fans for fans to preserve fan culture, and is linked to the Organization of Transformative Works (http://transformativeworks.org/), “a nonprofit organization run by and for fans to provide access to and preserve the history of fanworks and fan cultures.”Fanfiction writers explore other media, too, with some more recent sites being Widbook, Booktrack, and others providing different means of spreading the word. Although fanfiction lives on the Internet, it isn’t confined to it. Comic Con and the other “cons” are central meeting places for fans, and a lot of activity takes place online across the world, arranging “meetups” at the cons.In my presentation at the Books in Browsers conference in 2013, I shared some fan creations from the Castle fandom (“my” fandom). Castle, the hit ABC TV show, is interesting in that there are also very successful, best-selling official tie-in “Nikki Heat” novels by “Richard Castle” published by Hyperion (Disney Worldwide Publishing), complete with a cover photo of Nathan Fillion as Richard Castle. And there is fanfiction that flies under the radar and lives on the web. One of the most well-respected and prolific writers in the Castle fandom is “Chezchuckles” (Laura Bontrager, a librarian’s assistant and an author whose original romance our company Say Books published as an online, serialized book and then an ebook). She has written an AU (alternative universe) series called Close Encounters, a spinoff of an episode of Castle called “Close Encounters of the Murderous Kind,” which has its own obvious pop culture references. Chezchuckles has now written 12 “books” in the Close Encounters series, which has links to a YouTube channel with a soundtrack for the series comprising links to 32 songs from Tom Jones to Kings of Leon. The series has also spawned its own fan club and Tumblr account, “Iheartspycastle.” A graphic designer in Canada (@jyleafer15) created a trailer for it using original footage from the various seasons of Castle, as well as from films Nathan Fillion has appeared in, and overlaid it with her own text to create the appearance of a CIA mission. The video won an award in a recent Castle fanfiction video competition. The quality is high, and shows the amount of time fans are willing to dedicate to their craft. Chezchuckles updates her Tumblr page on an almost daily basis, interacts with her fans, answers any question they ask her, and has a wonderful rapport with everyone.Fanfiction shows that the web need not be just a technology for making or distributing books (ebooks and print), or for social marketing, but a home, distribution, and communication technology for long-form narrative content itself. Fanfiction and its fans take the web seriously; it is the default mode of operation and interaction. The online platform means that readers can be based anywhere in the world and are defined by their interest in the particular fandom and genre, rather than by their own geographical or political location.Fanfiction and the Internet combine to form the perfect storm—or a breath of fresh air—for the publishing industry.The Internet provides the ideal place to play with text, and to expand our notions of what books and publishing can and could be. The publishing industry cannot afford to build stronger and higher walls around content, copyright, or distribution. In the past, power was distributed hierarchically, with publishers at the top, and readers (and some might argue, the authors) at the bottom. With the Internet, the readers are here, and they can choose where, when, and how they get their content. We have to think creatively and one route is to go to where the readers are.However, and this is crucially important, with fanfiction, the original story is not abandoned. It is reinvented and expanded in a desire for more. Fanfiction readers and writers are those who love the story more than anyone else. Fanfiction is based on love and joy: the joy of writing and reading, and the joy that comes from affirmation and a feeling of belonging. There is no overt pecuniary interest. If one wants to put a dollar on it, fanfiction is free marketing for the original content. For example, the writers and cast of Castle acknowledge that fan power, particularly via Twitter, played a very important role in getting ABC to retain the series after its modest first season (we are now midway through the sixth season). And the tie-in “Nikki Heat” books have routinely topped the best-seller lists.Fanfiction writers and readers read and read.There are fanfiction writers who are brilliant, witty, intelligent, and very literate, and most fanfiction writers write with admiration for, and acknowledgment of, the “original” creators. So while fanfiction revisits modes of storytelling, pushes the limits, goes beyond the text, and stretches the horizons, ultimately, it brings our readers home.

http://hdl.handle.net/2027/spo.3336451.0017.107 2014/03/18 - 22:45

Readers are increasingly creating and changing the narrative of books, actively blurring the distinction between author and reader. This not only effects narrative but economic models, myths of single authorship, production models, and questions about conflations of practices such as publishing (books) and exporting (files). In this talk, Adam will look at practices which relocate the reader as the protagonist in content *creation* and how that makes non-sense of legacy publishing and new-sense of emerging paradigms.
Adam Hyde - The Death of the ReaderDownload Slides (PDF)

http://hdl.handle.net/2027/spo.3336451.0017.108 2014/03/18 - 22:45

The concept of reading is by no means static. Technologies have undoubtedly affected the ways that we consume and produce written content, the tools that we use, our reading style, and even how we organize our thoughts as we read. Digital technologies seem to have finally taken the book to its next stage. The vision of building a product from which different stakeholders can build book-related services and applications in a quicker and more efficient manner is not new, as academia and other publishing experts have already done some thinking about it. However, no commercial tool still exists that enables access to general book-related content. This article will introduce the concept of a “Book as a Service” platform, a software product that enables access to digital books and related functions such as text mining, reading analytics, and metadata so that other companies can create innovative services and products on top of it. The opportunities and challenges of this type of platform from technical, legal, and business standpoints will also be discussed, as well as its implications when redefining the possibilities of the written word.

http://hdl.handle.net/2027/spo.3336451.0017.109 2014/03/18 - 22:45

When publishers distribute ebooks as files, they do so with an implied request to the retailer: “please transform this into a reading experience.” For largely commercial reasons, and despite the best efforts of the IDPF and W3C, a reader’s experience of an ebook depends on where they purchased it. What if, instead of files, publishers delivered ebooks as fully formed reading experiences via self-contained web services? By taking back responsibility for the whole book — which in the print world always included the reading system — could publishers deliver a more compelling experience, more faithfully and efficiently, across different channels? Would we see publishers developing better ways of reading special types of content, such as cookbooks, textbooks and travel guides? Would this narrow the gap we see between the type of innovation we see on the open web, and the type of innovation we see in ebooks? How would such a scheme work for distributors and retail channels? Would it reduce barriers to market entry and consumer switching costs, thus increasing competition? What other roles might emerge in the value chain? What new opportunities and challenges might emerge for our standards bodies? Is this a good idea, and could it actually work?
Talk can be seen here starting at 18:20Download Slides (PPTX)

http://hdl.handle.net/2027/spo.3336451.0017.110 2014/03/18 - 22:45

In 2010, Mandy Brown joined Jason Santa Maria and Jeffrey Zeldman to create A Book Apart: a series of short books for people who make websites. Starting out as a side project, A Book Apart soon grew into a successful small press and today has published nine books, with many more on the way. Work on A Book Apart naturally led the team to think about the process, and in particular, their disillusionment with the tools that supported the editorial workflow. From that discontent grew the seeds of Editorially, a platform for collaborative writing. Based on the belief that writing gets better with company, and that everyone can and should write better, Editorially takes a web-first approach to writing and editing. Mandy Brown will talk about how Editorially came to be, what the team has learned so far, and where they are headed next.
Mandy Brown - Writing and Editing in the Browser

http://hdl.handle.net/2027/spo.3336451.0017.111 2014/03/18 - 22:45

Kate Pullinger has been writing novels, and co-creating multimedia digital narratives, for many years; these two modes of writing and publishing have resided in parallel universes, with little crossover between the aging galaxy of traditional publishing and the newly created planet of digital fiction. Until now! Pullinger’s new novel, Landing Gear, which itself grew up out of a collaborative digital fiction project, Flight Paths, will be offered up at BiB’s first ever Hackday as an API, in partnership with Pullinger’s Canadian publisher, Doubleday. In her talk, Pullinger will discuss how this literary novel will become a Writeable API.
Download Slides (PPTX)

http://hdl.handle.net/2027/spo.3336451.0017.112 2014/03/18 - 22:45

Étienne Mineur - We Love Paper and PixelsThe remainder of the talk is available here starting at 16:30Download Slides (KEY, 891MB)

http://hdl.handle.net/2027/spo.3336451.0017.113 2014/03/18 - 22:45

Mobilizing is an experimental computer programming language destined for authors without specific computer programming expertise and who wish to include mobile screens in their artistic practice. We began this research project around 2008 and the language capabilities evolved enough to be used during various workshops or for the creation of mobile screens oriented art pieces. With Book Tales, a series of interactive tableaux we produced with Mobilizing on iPad, the intentions of the language’s different integrated functionalities can be fully appreciated. From a theoretical point of view, this research led us to redefine the notion of “image-object” and the renewed relationship between the screen, the hand manipulating it and the image it displays that nowadays mobile screens can provide.
Talk can be seen here starting at 21:40Download Slides (KEY, 398MB)

http://hdl.handle.net/2027/spo.3336451.0017.114 2014/03/18 - 22:45

The past year has seen widespread experimentation in storytelling that brings together different types of media with text and interaction. Hopefully, these forms will continue to diverge as they respond to the particulars of the content housed within them. What will remain the same, though, are the considerations in designing the reader’s experience. What do “intuitive” and “immersive” really mean, and how do designers manage attention, rhythm, and weight when designing interactive reading systems?
Talk can be seen here starting at 4:55Download Slides (KEY)

http://hdl.handle.net/2027/spo.3336451.0017.115 2014/03/18 - 22:45

A book’s paratext consists of those things that surround and support the content: the book cover, dedication, typography, book reviews, shelf placement, etc. Book scholar Girard Genette points out that these ‘marginal’ elements are actually central to a book’s reception and interpretation. Indeed, the loss of this paratext as books become digital has caused a lot of anxiety. This talk encourages us to craft a new digital paratext that makes true on the promise of the binary revolution. Innovative story-telling contexts like the New York Times’ /Snowfall/ and /Hollow: An interactive Documentary/ provide promising examples of the way forward.
Talk can be seen here starting at 25:06

http://hdl.handle.net/2027/spo.3336451.0017.116 2014/03/18 - 22:45

Content has become flighty. Information is increasingly created and accessed digitally, and digital information is by default non-static—it’s collections of Boolean values, presented in a certain constellation every time it’s called upon, subject to the specific environment into which it’s being rendered. Gone are the bound entities we still know as “books” and “documents,” although we still tend to call these new digital containers by the very same names. In the Age of Books, the publishing process was pretty straightforward: An author gathered information from various sources—mostly other books and documents—and bound it between pages 1 and x. The publisher packaged those pages and distributed them to an audience of readers, who at least had a clear incentive to read them from beginning to end. The general context was defined by blurbs, forewords, and reference lists; the context of each chapter was defined by the index; and the context of any given sentence within the publication was defined by the ones that came before and after. As this anchoring staticity has given way to liquid bits, forever re-rendered within new reading environments, the author’s intended context is, if not completely gone, at least seriously compromised.
Of course, we’ve come up with numerous methods for creating new, ever relevant, and instantly adjustable contexts (infoviz, feeds, hyperlinks). But these new indexes are technical shortcuts, disregarding the conceptual and subjective values that enriched static, physical publications: graphical diagrams are generated based on a computer’s logical interpretation of information; aggregators and twitter feeds are (generally) continually changing collections of stand-alone pieces of content; the hyperlink was made for jumping, not connecting.

http://hdl.handle.net/2027/spo.3336451.0017.117 2014/03/18 - 22:45

This talk will focus on how to gain powerful insights from annotation data and the amazing benefits of publishing on the web. It will explore two notable open source projects–epub.js and Hypothes.is, and discuss the implications of new technologies for content creation and the future of publishing.
Talk can be seen here starting at 2:10

http://hdl.handle.net/2027/spo.3336451.0017.118 2014/03/18 - 22:45