From Slashdot I found this blog entry Ocracoke Island Journal: Nookd about how a Nook version of War and Peace had the word “kindle” replaced by “nook” as in “It was as if a light has been Nooked (kindled) in a carved and painted lantern…” It seems that the company that ported the Kindle version over to the Nook ran a search and replace on the word Kindle and replaced it with Nook.
I think this should be turned into a game. We should create an e-reader that plays with the text in various ways. We could adapt some of Steve Ramsay’s algorithmic ideas (reversing lines of poetry). Readers could score points by clicking on the words they think were replaced and guessing the correct one.
Daniel sent the link to this YouTube video, A walk through The Waste Land, that shows an iPad edition of The Waste Land developed by Touch Press. The version has the text, audio readings by various people, a video of a performance, the manuscripts, notes and photos. I was struck by how this extends to the iPad the experiments of the late 1980s and 1990s that exploded with the availability of HyperCard, Macromedia Director and CD-ROM. The most active publisher was Voyager that remediated books and documentaries to create interactive works like Poetry in Motion (Vimeo demo of CD) or the expanded book series, but all sorts of educational materials were also being created that never got published. As a parent I was especially aware of the availability of titles as I was buying them for my kids (who, frankly, ignored them.) Dr. Seuss ABC was one of the more effective remediations. Kids (and parents) could click on anything on the screen and entertaining animations would reinforce the alphabet.
From a story in the Guardian I discovered that online reading is taking off in China. According to China Daily story, Web literature turns a page with profitable storyline a large percentage of Chinese web users are reading long serialized novels for a 30-50 cents per 100,000 words (which is about a dollar for every 600-1000 pages!) The Guardian story Has China found the future of publishing? suggests that the convenience, the price, the type of serialized literature, the economic model (of independent authors and commercial sites), and the proliferation of e-readers has made it a viable business. I’m guessing that serialization is a way of discouraging pirates – people who want the next chapter will pay to get it as soon as possible.
Jon pointed me to an online and illustrated essay Books in the Age of the iPad by Craig Mod that makes an interesting argument about the relative uses of digital reading devices like the iPad. He argues that there are two broad groups of content:
Formless Content which doesn’t have a well-defined form. This sort of content can be easily poured into new bottles from iPhones to iPads. It doesn’t matter what form you read it in. (The illustration above is meant to suggest that such content can be poured into print, screen, or moble.)
Definite Content which does have a definite form. The form for such works matters to the content so you can’t easily pour it into a new form. Such content could be designed to be viewed on an interactive screen (and hence it would be awkward to pour it onto print) or it could be designed to be read in paperback (and hence it would be awkward to read it on the screen.)
Mod argues that we should start moving Formless Content to digital devices and in the case of Definite Content we should be willing to leave it on the platform it was designed for. Thus art books should stay on paper while cheap novels should be available also in digital forms for mobile reading.
Contrast this to Dale Salwak’s To every page, turn, turn, turn (Times Higher Education, Sept. 2, 2010), an online essay with the Times Higher Education bemoaning the loss of “deep reading.” I have no problem with Salwak’s defense of reading and the reading of books, but I’m not sure that there is anything inherently “deep” about books unless by deep he means longer (than essays on the web.) I don’t see why one can’t have a quiet, deep, reading experience off an iPad, though the argument might be made that the iPad has more distractions available. He ends with an argument I haven’t heard before – that books can be your friends (when you don’t have any?)
We all know that a love for books usually starts early in life. If our students come from homes where the predominant sound is the turning of pages, then from our experiences they will hear an affirmation of their own; if, on the other hand, they come from homes in which books are rarely seen, never talked about and seldom read, they may in time feel angry or cheated by their intellectual void. It is our task as educators and adults to provide a model for the reading life and the rewards and insights it can yield.
“Hold on to your books,” I say. “They will help you through. Let them be your best friend, and they will remain a solace in your life as they continue to be in mine.”
Of course today youth find false friends online not between the covers.
Thanks to Slashdot I have been poking around a project that one of my favorite sci-fi authors is involved in, namely the serially online published project The Mongoliad.This work is being supported by a company Stephenson helped create called Subutai Corporation that has developed a platform called PULP for digital novels that have social aspects and multimedia extensions. The platform looks a lot like a structured wiki. The first materials for The Mongoliad are up and smartphone apps are supposed to be coming. I found it hard to read off the web, but I tend to like my sci-fi on pulp.
It will be interesting to see how they explore the medium for this multi-authored novel.
Shannon sent me this link to Ubimark.com a project from Purdue that is using QR codes to enhance reading. They created an edition of Around the World in 80 Days with QR codes that allow users to get at supplemental information and social media zones. I’m not sure I like the large QR codes all over the printed page, but the idea of augmenting things easily with QR codes is a good one.
afternoon, a story, by Michael Joyce is arguably the first major work of hypertext fiction and is one of those works most critics deal with. This online version is from Hypertext Fiction Selections – part of the Norton site associated with their Postmodern American Fiction: A Norton Anthology (Edited by Paula Geyh, Fred G. Leebron, and Andrew Levy. Norton, 1997.)
Matt K. pointed me to an interesting digression – a report, Hypertext Markets: a Report from Italy, by Walter Vannini, that discusses an Italian translation of afternoon, a story and the state of hypertext fiction in Italy. He draws attention to the proliferation of CD publications. When I was last in Italy I noticed at the newstands a proliferation of hybrid publications – magazines including a DVD or CD. You don’t see that much anymore in Canada.
The interest among mainstream print publishers seems to have settled on electronic titles of a more traditional kind than hypertext, i.e., multimedia, “family entertainment,” and educational/recreational titles, mainly on CD-ROMs. The catalog for such work is fairly rich, even if most of them are quick-and-dirty (and sometimes very dirty) recasts of previously published material. For the moment, most of these titles resemble the worst of documentary television, and require more or less the same amount of interaction (i.e., next to none at all).
Walter Benjamin’s Passagenwerk: Reading in the Ruins by Giles Peaker is a hypertext project that brings together passages from Benjamin’s The Arcades project on themes like the the flâneur and the prostitute. Benjamin’s project is about fragmentary spectacle in the city, it is itself a collection of fragments, and the hypertext by Peaker re-represents thus. In some sense, this pre-modern moment of the flÃ¢neur and the arcade, is the urban precursor to the liesurely browser in the arcade of the web – watching, and through his (her) blog, posing for others.
The arcades were replaced after the convulsions of 1848 in the Second Empire by the great halls of industry of modernity according to David Harvey in Paris: Capital of Modernity (Routledge, 2003). The arcades were scaled up to the modern exhibition spaces from Les Halles to the Crystal Palace. The Paris arcades, thanks to critical interest Benjamin, have become a way to think through the spectacle of the hypertextual (and therefore fragmentary) web. Thanks to Marcel O’Gorman for pointing this intersection out to me.