Academic journals don’t happen by magic, and even online editions are expensive to produce in ways that scholars may not realize. That’s the argument by two scholarly publishers, The two give their response to comments by our guest from last month’s show, a scholar who argued that in an online world journals should publish scholarly articles free online.
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The failure of the Google Book settlement, however, has not killed the dream of a comprehensive digital library accessible to the public. Indeed, it has inspired an alternative that would avoid the risks of monopoly control. A coalition of nonprofit libraries, archives, and universities has formed to create a Digital Public Library of America, which is scheduled to launch its services in April 2013. The San Francisco Public Library recently sponsored a second major planning session for the DPLA, which drew 400 participants. Major foundations, as well as private donors, are providing financial support. The DPLA aims to be a portal through which the public can access vast stores of knowledge online. Free, forever.
Initially the DPLA will focus only on making digitized copies of millions of public-domain works available online. These include works published in the United States before 1923, those published between 1923 and 1963 whose copyrights were not renewed, as well as those published before 1989 without proper copyright notices, and virtually all U.S.-government works. If a way can be found to overcome copyright obstacles, many millions of additional works could be made available.
It's no secret that copyright law needs a significant overhaul to adapt to today's complex information ecosystem. Unfortunately the near-term prospects for comprehensive reform are dim. However, participants at a conference last spring at Berkeley Law School on "Orphan Works and Mass Digitization: Obstacles and Opportunities" believe that modest but still meaningful reforms are possible.Her comment about the institutional license for the Google database reminded me of the analysis I completed in 2010.
The DPLA is the most ambitious entrant on the digital library scene precisely because it claims to recognize this need for scale, and to be marshaling its resources and preparing its infrastructure accordingly. With hundreds of librarians, technologists, and academics attending its meetings (and over a thousand people on its email listserv), the DPLA has performed the singular feat of convening into one room the best minds in digital and library sciences. It has endorsement: The Smithsonian Institution, National Archives, Library of Congress, and Council on Library and Information Resources are just some of the big names on board. It has funding: The Sloan Foundation put up hundreds of thousands of dollars in support. It has pedigree: The decorated historian Darnton has the pages of major publications at his disposal; Palfrey is widely known for his scholarship on intellectual property and the Internet; the staging of the first meeting on Harvard's hallowed campus is not insignificant. Ideally, the consolidation of resources—specialized expertise, raw manpower, institutional backing and funding—means that the DPLA can expand its clout within the community, attract better financial support, and direct large-scale digitization projects to move toward a national resource of unparalleled scope and functionality. "We believe that no one entity—not the Library of Congress, not Harvard, not the local public library—could create this system on its own," Palfrey says. "We believe strongly that by working together, we will build something greater."The Economist takes a look at an exhibition at the British Library on the life of Shakespeare (Econ):
Shakespeare is such a global brand that the man himself almost disappears. The aim of “Shakespeare: Staging the World”, at the BM until November 25th, is to make the playwright specific and particular, to root him in his time, 400 years ago. The exhibition summons his physical world with an array of culturally evocative objects, many of which were used in “Shakespeare’s Restless World”, a splendid BBC radio series presented by the BM’s director, Neil MacGregor, earlier this year.
The show unfolds in a dark circular space, with curving rooms that wind from one to the next, each subtly lit and discreetly atmospheric of its contents: arrow slits in the room about the history plays, a hint of trees to suggest Warwickshire and the Forest of Arden, a touch of charring on black walls for the gunpowder and witchcraft of James I’s reign (when Shakespeare wrote “Macbeth”), and finally a pale dawn for the Americas, the “brave new world” of “The Tempest”. All this sits within the embrace of the old Reading Room, its shelves and dome dimly glimpsed through gaps here and there. This globe within a globe, as it were—one full of artefacts, the other of books—glances at the play between word and object that underlies the exhibition.
Data diggers hope to improve an education system in which professors often fly blind. That’s a particular problem in introductory-level courses, says Carol A. Twigg, president of the National Center for Academic Transformation. “The typical class, the professor rattles on in front of the class,” she says. “They give a midterm exam. Half the kids fail. Half the kids drop out. And they have no idea what’s going on with their students.”
As more of this technology comes online, it raises new tensions. What role does a professor play when an algorithm recommends the next lesson? If colleges can predict failure, should they steer students away from challenges? When paths are so tailored, do campuses cease to be places of exploration?
“We don’t want to turn into just eHarmony,” says Michael Zimmer, assistant professor in the School of Information Studies at the University of Wisconsin, Milwaukee, where he studies ethical dimensions of new technology. “I’m worried that we’re taking both the richness and the serendipitous aspect of courses and professors and majors — and all the things that are supposed to be university life — and instead translating it into 18 variables that spit out, ‘This is your best fit. So go over here.’ ”From the Twitter this week:
A crisis in higher education has been brewing for years. Universities have been spending like students in a bar who think a Rockefeller will pick up the tab. In the past two years the University of Chicago has built a spiffy new library (where the books are cleverly retrieved by robots), a new arts centre and a ten-storey hospital building. It has also opened a new campus in Beijing.
And it is not alone. Universities hope that vast investments will help them attract the best staff and students, draw in research grants and donations, and ultimately boost their ranking in league tables, drawing in yet more talent and money. They have also increased the proportion of outlays gobbled up by administrators (see chart 2).And The Chronicle also takes a look at the sober truth exacerbated by the slow economy (Chron):
To pay for all this, universities have been enrolling more students and jacking up their fees. The average cost of college per student has risen by three times the rate of inflation since 1983. The cost of tuition alone has soared from 23% of median annual earnings in 2001 to 38% in 2010. Such increases plainly cannot continue.
This anecdotal evidence seems to be supported by reports in the past several weeks on the financial state of higher education. An analysis by Bain & Company and the private-equity firm Sterling Partners found that one-third of all colleges and universities in the United States face financial statements that are significantly weaker than before the recession and find themselves on an unsustainable fiscal path. Another quarter of colleges are at serious risk of joining them.Here is that link to the Bain report:
Meanwhile, two major credit-rating agencies, Standard & Poor’s and Moody’s Investors Service, released warnings that put a negative outlook on all but the name-brand market leaders in higher education. “We’re seeing prolonged, serious stress,” Karen Kedem, a vice president and senior analyst at Moody’s, told me. What is significant about the move by Moody’s is that it typically rates only colleges with strong balance sheets to begin with.
Despite this success, talk of a higher education “bubble” has reached a fever pitch in the last year. The numbers are very familiar by now: Annual tuition increases several times the rate of inflation have become commonplace. The volume of student loan debt has surpassed $1 trillion and is now greater than credit card debt. Most college and university presidents, as well as their boards, executive teams and faculty members, are well aware that a host of factors have made innovation and change necessary.Last month Blackboard held their annual get together and Inside Higher have a podcast of the highlights
In this month's edition of The Pulse podcast, Rod Murray discusses highlights from the annual Blackboard World 2012 gathering, including information on its new products, services and applications.From FT writer Simon Schama a contrasting views of the US and UK popular reaction to the games (FT):
At a time when the gap between rich and poor is growing wider, the educational prospects for minorities are loaded with prohibitive debt, when democracy has become the catspaw of plutocrats; what the American people want from the strength, grace and resolution of their athletics is one place where the founding promise of upward social mobility, that Dream thing, is not a sick joke. In the republic of exertion the dream comes true. You have your gift, you work it to the max; you bring it to the day; you breast the tape, touch the lip of the pool, you let yourself weep as the Star Spangled Banner plays and you fold it about your shoulders – and it feels still that there is a place for young Americans, against whom the odds have never been more brutally stacked, to be winners.Coelho has a go at James Joyce and The Economist's Prospero takes exception:
If anything, there’s even more at stake for the British. The economy is flatlining; the coalition seems to have lost the plot. Yet from Danny Boyle’s Fabian extravaganza to the sudden cascade of golds that began with Heather and Helen sitting in their boat looking as ecstatically amazed as all the rest of us, a startled, almost embarrassed, suspicion, that the British could actually be world beaters by being themselves, began to dawn.
The above two quotes neatly show the dividing line in this latest literary skirmish. Mr Coelho and Salman Rushdie are the same age, are widely read and employ magical realism in their work. Both authors have received prestigious international prizes, and find inspiration in the Bible and "One Thousand and One Nights". But only one of them credits his sources, writes literature, and worships James Joyce.From my twitter feed this week:
Another line worth quoting is Mr Coelho’s dictum that a writer has “a duty and an obligation never to be understood by his own generation.” Let’s see here…hmmm...Joyce was the very picture of a starving artist, a virtual exile from his own country, accused of pornography and reviled in his lifetime (and occasionally since) as a writer of unreadable books. Mr Rushdie is similarly big in Tehran. The impossibly avuncular Mr Coelho, on the other hand, may be the Most Understood Author on the planet. Every Coelho bookcover trumpets his success, wooing potential buyers with the promise that he has sold hundreds of millions of copies in over a 160 nations, translated into over 72 languages—the most by a living writer, Guinness confirmed. One wonders if his business card touts: “Over 150 Million Served.
By now, I was beginning to view books as more than just utilitarian, sources of information, instruction, delight or titillation. First there was the excitement and meaning of possession. To own a certain book – one you had chosen yourself – was to define yourself. And that self-definition had to be protected, physically. So I would cover my favourite books (paperbacks, inevitably, out of financial constraint) with transparent Fablon. First, though, I would write my name – in a recently acquired italic hand, in blue ink, underlined with red – on the edge of the inside cover. The Fablon would then be cut and fitted so that it also protected the ownership signature. Some of these books – for instance, David Magarshack's Penguin translations of the Russian classics – are still on my shelves.
When e-textbooks were first introduced, they were supposed to be the wave of the future, and experts thought we’d see e-reader-toting students littering college campuses, and of course being adopted in droves by online university students.But they haven’t taken off quite as expected: according to market research firm Student Monitor, only about 11% of college students have bought e-textbooks. So what happened? Here, we’ll explore several reasons why students aren’t yet warming up to the idea of e-textbooks today.
In the age of the e-book, the paper book faces two possible and antithetical fates. It may become something to be discarded, as with the books that libraries scan and cannibalize. (In the introduction to another book, Unpacking My Library: Writers and Their Books, Price mentions the severed book spines that hang on the wall at Google, "like taxidermists' trophies.") Alternatively, it may become a special object to be preserved and traded. My grandfather's copy of War of the Worlds obviously falls into the second category — but very few of the millions of books published since the mid-19th century are ones you'd want to own. If Amazon has a "long tail" of obscure but occasionally purchased titles, the tail that goes back 150 years is near endless and thin as thread.Meanwhile, the kind of "serial" book sharing (as Price describes it) that occurs over time is giving way to simultaneous, "synchronous" sharing. With the Kindle, you can see what thousands of other Kindle readers are highlighting in the book you're reading — a fairly astonishing innovation. But the passage of books from hand to hand, gathering inscriptions along the way, is not part of the e-book economy. Will your grandchild inherit your Kindle books? No one knows, but given password protection and the speed at which data becomes obsolete, that seems highly unlikely.
The translation system could be an essential tool in making Karlsruhe and other German universities more attractive to international students, perhaps even allowing them to eventually abandon language requirements if it proves reliable enough.Many students, in Germany and elsewhere, are also interested in translating from English into their own languages, especially Chinese, Mr. Waibel adds. “There’s tremendous potential for this,” both in classrooms and more generally, he says.Even students who feel comfortable in the language in which a lecture is being delivered have said they find the automatic translator useful. Some have said they find that having a transcript in German helps improve their German and allows them to better follow a lecture, even if they don’t use the translation component.
"Once women see that sex shops are clean and then they visit again. Once they feel comfortable and realise that they are not the only people in the world trying to do something different they start asking the questions they would have asked years ago if they realised there was someone to ask."Lesley Lewis, who first worked as a dancer in Soho in 1979 and now runs the famous French House pub, said the new generation of visitors were a welcome addition."Soho was always a place where people could be themselves. In the past it was gay men holding hands and if now it's women going to sex shops after reading Fifty Shades of Grey then that can't be a bad thing. Long may it carry on like that," she said.
University presses are still unhappy with the outcome of the landmark copyright case, which centered on Georgia State University's practice of duplicating book material and making it available to certain students free through the universities' electronic reserve database. That much was clear at Wednesday’s session, during which Steinman repeatedly slammed Judge Orinda Evans’s legal reasoning in the decision to a chorus of exasperated groans from a packed room of university press workers and executives.“This is a terrible decision, it’s poorly reasoned, the result is a poor one, it’s a terrible precedent to have on the books,” said Steinman, doubling down on the AAUP’s much milder statement last month, which merely asserted that Evans’s 347-page ruling “appears to make a number of assertions of fact that are not supported by the trial record.”But collective disdain for the judge’s reasoning in her decision eventually gave way to a general agreement among the attendees that, in order to make the outcome workable, university presses need to mend fences with another key player on their campuses -- librarians.
Be part of the conversation, mind your metadata, and use technology as a bridge to the world: That advice animated sessions at the annual meeting of the Association of American University Presses, held here this week.This year marks the group's 75th anniversary, and attendance hit a record high, with 787 people registered. The numbers created some logistical hassles but gave the meeting energy, too, tempering nervousness about how to feed the growing e-book market and how to convince budget-obsessed administrators that presses are assets, not liabilities.People talked somberly about the news that the University of Missouri plans to shut down its press. But so far Missouri has been the exception, not the rule. Most presses have survived the recession and budget cuts. Some, like Princeton University Press, had excellent years, according to Peter Dougherty, the Princeton press's director and the new president of the association.
Reading literature should be intentional. The problem with much summer reading is that the intention is unclear. Increasingly, students are asked to choose their own summer reading from Web sites like ReadKiddoRead, where the same advanced Real World Fiction category includes “The Catcher in the Rye” and “Flipped,” by Wendelin Van Draanen, which centers on divorce and kissing. Both books can be enjoyed by middle schoolers, but how will the seventh grader determine which one to pick?The issue is further compounded when summer assignments require students to write about what they read. The problem is that the tasks assigned are at once too open and too circumscribed to be of use. What summer reading needs to be is purposeful. But how do we ensure purposeful independent reading given the low accountability of summer assignments?Some students will happily read off a recommended-reading list (which should include a companion list of resources to support understanding). They will head to the park with Dickens or Austen under their arms, so long as they can leave the Post-it notes at home. They should be permitted this luxury, to have their teachers treat them as independent learners capable of a first dip into a classic, with no destined-to-be-unread written responses required. Doing this allows the student who chooses tougher books to say, “I didn’t understand half of it.” What better time to allow students to struggle than summer, when no one is calling on them to interpret or explain?
But among magazines there is a new sense of optimism. In North America, where the recession bit deepest (see chart), more new magazines were launched than closed in 2011 for the second year in a row. The Association of Magazine Media (MPA) reports that magazine audiences are growing faster than those for TV or newspapers, especially among the young.Unlike newspapers, most magazines didn’t have large classified-ad sections to lose to the internet, and their material has a longer shelf-life. Above all, says David Carey, the boss of Hearst Magazines, a big American publisher, they represent aspirations: “they do a very good job of inspiring your dreams.” People identify closely with the magazines they read, and advertisers therefore love them: magazines, says Paul-Bernhard Kallen, the chairman of Hubert Burda Media, a large German publisher, remain essential for brand-building.
In terms of reach and impact, the Guardian is doing better than ever before. But its success may contain the seeds of its demise. Its print circulation is tumbling. In October 2005, boosted by a change to the medium-sized Berliner format, the average daily circulation was 403,297. By March 2012 it was down to 217,190. Those figures are not quite like-for-like, as the Guardian has sworn off the Viagra of giveaway copies and overseas sales (which tend to be counted less rigorously); but they are still bleak. Saturday sales remain sturdy, at 377,000, but, on a typical weekday, only 178,000 people buy the Guardian, while millions graze on it for nothing on their screens. In the financial year 2009-10, the national newspapers division of Guardian Media Group—which also includes the Observer, Britain’s oldest Sunday paper—lost £37m. The following year, it managed to cut costs by £26m, and still ended up losing £38m. In May, Rusbridger told me he was expecting a similar loss for 2011-12. So, for three years running, the Guardian has been losing £100,000 a day. This is not boom or bust, but both at once: the best of times, and the worst of times.At the Open Weekend, one event looked at whether journalism was a second-rate form of writing. In the audience of 50 or so was the white-haired figure of Nick Davies, taking a breather from his investigative duties. When the conversation turned to long-form journalism, he spoke up, sounding exasperated. “In 20 years’ time,” he said, “there won’t be any newspapers left to do this. All these millions of hits won’t pay our salaries. The internet is killing journalism.”
Jeff Bezos got what he wanted: Amazon got big fast and is getting bigger, dwarfing all rivals. To fully appreciate the fear that is sucking the oxygen out of publishers’ suites, it is important to understand what a steamroller Amazon has become. Last year it had $48 billion in revenue, more than all six of the major American publishing conglomerates combined, with a cash reserve of $5 billion. The company is valued at nearly $100 billion and employs more than 65,000 workers (all nonunion); Bezos, according to Forbes, is the thirtieth wealthiest man in America. Amazon may be identified in the public mind with books, but the reality is that book sales account for a diminishing share of its overall business; the company is no longer principally a bookseller. Amazon is now an online Walmart, and while 50 percent of its revenues are derived from music, TV shows, movies and, yes, books, another 50 percent comes from a diverse array of products and services. In the late 1990s Bezos bought IMDb.com, the authoritative movie website. In 2009 he went gunning for bigger game, spending nearly $900 million to acquire Zappos.com, a shoe retailer. He also owns Diapers.com, a baby products website. Now he seeks to colonize high-end fashion as well. “Bezos may well be the premier technologist in America,” said Wired, “a figure who casts as big a shadow as legends like Bill Gates and the late Steve Jobs.”Tales of brave Achilles: From the Observer a discussion of the continued popularity of Achilles (Observer)
Why are the classics making a comeback? According to Hughes, the classical historian and broadcaster, it is to do with emotional connection.
"You think of big epic tales and you think they're just to do with war and conflict, but Homer actually writes beautiful lines," she says. "There's one line about Athena brushing an arrow away 'like a mother brushing a fly off the face of a sleeping child'. I read that and I remembered doing that with my own child.
"So suddenly there's an immediate emotional connection, 27 centuries later, to me as a 21st-century mother. There are big philosophical connections, but also the base connection of what it is to be human.
"I do think that, post-millennium and post-9/11, people have become much less abashed about asking the big questions about why we're here. If anything can answer those, it's the wisdom of the ancients because the Greeks and Romans weren't just swanning around in the Mediterranean sunshine, they were living in tough times. You could be dead by the age of 45. You were in a time of total war."
Which makes it all the more welcome that the BBC is intending to go several better than its (admittedly useful) cheats' guide and mount an extensive celebration of the novel on this year's Bloomsday. This coming 16 June, Radio 4 will be a wall-to-wall Joycefest, kicking off at 9am and running until midnight: a new, five-and-a-half hour dramatisation of Ulysses, narrated by Stephen Rea and starring Henry Goodman, Niamh Cusack and Andrew Scott, will be punctuated by broadcasts by Mark Lawson in Dublin and discussions about the book's place in 20th-century literature.
To reassure those who might quail at some of the book's more full-blooded material, the Beeb has emphasised that its raciest parts will be concentrated after 8pm (although there has not been a cull of the explicit: as the dramatisation's producer, Jeremy Mortimer, points out: "You can't have a Molly Bloom that doesn't enjoy sex").
With capital in tow, Civitas is looking to provide colleges and universities not only with smart learning tools but also the ability to create their own learning apps based on its “Learning Community’s” application programming interfaces. By doing so, Civitas is providing an alternative path for scaling tools and solutions across institutions, through supporting publisher-created apps as well as those built by startups that otherwise could never invest in the integrations with campus systems or the sales cycles necessary to establish relationships with higher ed institutions.
In turn, the startup’s participating institutions can identify trends across swaths of student learning data, including a realtime view of which students are at risk of dropping out (and why), the ability to identify specific courses and degree paths that are contributing to attrition, and, in turn, what specific resources and interventions are most successful and for what type of students.
University presses have been an essential component of research institutions since the founding of Johns Hopkins, venues where scholarly knowledge could be dispersed to an admittedly small but interested intellectually interested community. It is, I admit, hard to imagine major universities without presses. But one has to at least consider: Have those various intellectual communities become too splintered, specialized and small? Have the monographs that university presses produce become so costly that individual scholars can’t purchase them? And, thus, have university presses outlived their time? If they have, there are even more dire professional consequences, which I will take up next time.From the Twitter:
The problem with many academic systems is that they are "dumb" to who their users are, what they are doing, and what other systems they are using. This is largely because colleges have different buyers for different functions—learning management, student-information systems, digital-content management, campus analytics, and e-mail systems.How goes the London Book Fair? Mark Medley from Canada's National Post follows Canadian publisher House of Anansi Press around the fair (NatPo):
While there are single sign-on systems to get to all of these systems with one log-on, that does not make them "smart." A smart system integrates all of these functions to do two things: serve the end user (students, faculty, administrators) and interpret the data to improve performance.
At the moment there is no clear path to smart systems in higher education. The big data and identity engines of Silicon Valley are not idling, however. They are starting to accelerate, with the higher-education market squarely in their sights. While private equity is rearranging many of the traditional education-technology and content players, mostly on the East Coast, a new breed of venture-backed education start-ups are taking what their founders learned at Google, Facebook, Zynga, and Twitter and focusing on education.
There isn’t much trembling at the fair, at least on the surface. The London Book Fair makes you forget about the paper-thin profit margins, closing bookstores, and falling advances. Walking through Earls Court’s cavernous main hall, one is transported to an alternate-universe where the popularity of books is at an all-time high. It is a circus atmosphere: a man on stilts distributes leaflets; pirates welcome visitors to the L. Ron Hubbard display; a half-naked man hands out copies of 50 Shades of Grey. While there are plenty of smaller displays, the larger publishing houses have all built lavish shrines to the printed page. Wiley’s booth is equipped with 23 individual meeting desks and looks more like a stock market trading floor than a book fair display; Hachette’s multi-tiered mansion rises two storeys in the air, like a middle finger, and Little, Brown, part of the Hachette empire, flaunts an oversized photo of J.K. Rowling, as if to remind other publishers that they, and not you, are publishing her upcoming novel.The debate over the New York public library's house cleaning continues (IHE):
“We keep it in the basement, I guess, and wheel it out for every London Book Fair,” says Stuart Williams, an editor at The Bodley Head, an imprint of Random House UK, when I ask where the booths come from.
Over in Earls Court Two, which opened in 1991, adding 17,000 square metres of floor space, the Chinese contingent dominates the centre of the mammoth hall. Nearby is the sleek and minimalist Digital Zone, where attendees wait for the day they take over the main space. Dozens of individual countries are present, from Romania to Saudi Arabia to Turkey, next year’s market focus. The Sultanate of Oman is housed in a castle. There are also booksellers, textbook and university publishers, business books, children’s publishers, travel guides, accessories for e-readers. There are even booths advertising other book fairs, such as the Sharjah International Book Fair, which takes place in the U.A.E.
Efforts to spin the news are to be expected. Much more of a problem with the proposed changes is the lack of transparency. The actual Central Library Plan itself had not been made public last year, when The Nation published Scott Sherman’s long report on the proposed changes. Four months later, it still isn’t. Nor are officials responsive to serious questions. When the New York writer Caleb Crain was invited to join an advisory panel concerning the Central Library Plan, he assumed it meant the administration would be forthcoming about details. At least he cleared up that misunderstanding pretty quickly. “I don't think anyone should expect this advisory panel to have much investigative authority or capacity,” Crain wrote on his blog two weeks ago. “I've pressed as hard as is consonant with civility, and I'm afraid I don't have much to show for it publicly. I've been given private answers to some of my questions, but I worry that unless the answers are offered to the public, there's no way to recruit outsiders to help fact-check them, and no way to hold the library accountable later for promises implicit in its reassurances.”The Economist on Pottermore and the power of Rowling. I continue to believe Pottermore is a storefront and platform for a lot more than the Potter franchise. (Econ):
“With great power comes great responsibility,” is a lesson learned by Harry Potter, Frodo Baggins and Peter Parker. High expectations are the price of Pottermore’s guaranteed success. Ms Rowling knows full well that she, like The Boy Who Lived, does not abide by ordinary rules. Already she has changed the e-book retailing model. By retaining her own e-book rights, and then forcing Amazon and others to sell them via Pottermore, as well as offering vastly extended access to libraries and schools, she is evening the playing field. Fans responded by buying $1.5m in e-books in the first three days, particularly the seven-book set. The sales are fundamental, Mr Redmayne says, to financing the free Pottermore platform, which can be accessed in a variety of languages.Thinking about NetFlix and their changed business model that generated so much aggro (S&B):
Whether Ms Rowling and her team can bring this same disruptive innovation to the Pottermore world itself, and sustain the momentum of the original series remains to be seen. How fast, and how creatively, the site builds out will determine the answer. An entire world of linking interactivity between the digital books and the online universe of Pottermore is possible. The medium is in its infancy. One thing is certain: if there’s anyone who can turn an e-reader into a device that “apparates” from the everyday into the truly magical, it will be Harry Potter.
In October 2011, one of the great backflips in the annals of business strategy took place. Netflix Inc., the most prominent video rental service company in the world, had begun to charge separately for its DVD-by-mail service and its streaming service in July, which in effect had increased prices by 60 percent for customers who used both services. Then, in September, Netflix had gone further, announcing it would split those services into two separate businesses, renaming the DVD-by-mail operation Qwikster. Consumer protests, conducted largely over the Internet, forced the retraction in October; Netflix announced it would revert to providing a combined service under one brand. By November, the company’s market cap had dropped by 70 percent and more than 800,000 subscribers had fled. The online mea culpa that CEO Reed Hastings wrote to customers only added fuel to the flames. In January 2012, a group of investors sued the company for loss of profits. Clearly, a bit of the company’s luster as a Silicon Valley darling has been lost, and Reed Hastings’s reputation as a strategically adept CEO has been damaged.From the twitter this week (PND):
The push for cheaper textbooks isn’t new, and the spat in Tarrant County frames larger debates about the use of open-source texts and the best way to increase student learning while controlling costs. Some community colleges have saved money by working with publishers to create custom books for widespread adoption. Some textbook writers have started making their materials free on the Web, and a recent Rice University effort expanded that medium. Tarrant County administrators hope that using a common textbook in every class will help push costs down, which will allow more students to buy the books and in turn perform better in the classroom.Efforts to open up education information might create an App culture which has educators and technologists keenly interested (Chronicle):
But some professors aren’t convinced. The faculty resolution expressed agreement with the goal of reducing textbook costs, but questioned whether this was the best way to do it. We "ask that the 'common course textbook' plan be suspended and that the college faculty be allowed to develop meaningful, realistic strategies for reducing student textbook costs to be implemented by the fall semester of 2014," the resolution reads.
In the case of the MyData button being promoted by the Education Department, it's not clear how many different types of information will be made available, although the data will exist in machine-readable, open formats. Participants will be required to specify how the exported data are formatted. Because participants are not required to export data in an identical format, a department official explains, developers may have to do more work upfront, but the information will get into students' hands more quickly.Profile of William Boyd who has been tasked with giving James Bond some new assignments (Independent):
At least one company, Fidelis Education, has committed itself to use the data students can download from the Veterans Administration's blue button.
As an enterprise that helps veterans pursue higher education and training for civilian careers, Fidelis plans to use the blue button's military-service data in the admissions process to verify that applicants are who they claim to be. Gunnar Counselman, a co-founder and chief executive of the company, says having access to an even more robust set of data about alumni satisfaction and employment could provide students with a personalized way to pick colleges that goes beyond rankings.
He's not convinced that such data will be available anytime soon. But the emergence of start-ups has had a "Hawthorne effect" on universities, he says—they're more open as a result of being observed so intently by outsiders.
They're still reviewed, however, in the serious, literary-fiction pages of the national press. Although Restless was a "Richard and Judy" selection in 2007, it won the high-profile Costa Award. Literary editors and judges refuse to relinquish their view of Boyd as a superior literary being, a writer of subtlety, poignancy and psychological nuance, as his earlier novels revealed him to be. He is, they admit, a 21st-century avatar of Graham Greene, who blithely interspersed "serious" works (The End of the Affair, A Burnt-Out Case) with action-thriller "entertainments" such as Brighton Rock and Our Man in Havana. The reading public couldn't care tuppence about such matters. They buy Boyd's books in hundreds of thousands because they know him to be the most reliably page-turning of modern English novelists, full of old-fashioned storytelling virtues, of place evocation, pace, drama and sex.China is the focus at London Bookfair which predictably has raised some commentary about how some authors where chosen over others (Independent):
Of the generation nominated "Best of Young British Writers" by Granta in 1983 – the generation of Amis, Barnes, McEwan, Rushdie, Rose Tremain, Pat Barker, A N Wilson, Adam Mars-Jones et al – Boyd's probably the author for whom ordinary readers feel the most fondness. The Queen is known to be a fan, though possibly more because of his Commonwealth background and blue-eyed charm than his prose style. He lives in a handsome Chelsea townhouse, with his wife Susan, editor-at-large at the American Harper's Bazaar magazine (he married her at 23 – they've been married for 37 years, and have no children) and in a converted farmhouse in Bergerac, where he owns a vineyard, Chateau Pecachard. For a chap who turned 60 in March, it seems an enviable life.
Did the BC have any alternative? Almost certainly not. But, via its literature director, it has chosen to tell us, chillingly, that "There was no disagreement with the Chinese government about the final list of... writers who regularly appear on well-respected lists of the best novelists and poets in China." Indeed. But so do many other Chinese writers - who live not only in exile but also at home, where they may have a vexing relationship with the cultural authorities. That's not to mention the dozens brutally silenced in the courts. At Amnesty International, the Tiananmen Square veteran Shao Jiang has greeted the run-up to the Book Fair with an invaluable day-by-day log of imprisoned Chinese writers: learn their stories at amnesty.org.uk/ blogs/countdown-china.Juicy gripping true crime story reviewed in the Observer:
The non-state Chinese Independent PEN Centre comments, with grave courtesy: "We cannot but ask: to understand Chinese literature, should the British people rely on... recommendations by the Chinese government alone?" The Centre has objected to the British Council's collaboration with the GAPP, saying that if it "wishes to promote an authentic cultural exchange in a free and civilised way, please do not disregard the independent writers whose works are dedicated to shaping Chinese civil society".
In 1877, Harriet Staunton's husband and three others were accused of starving her to death and lurid newspaper reports of the Penge murder trial held the nation's rapt attention. A bestselling novel about the affair – written in 1934 and now republished – proves as gripping today .Creating, writing editing and producing a magazine as performance art (Observer):
The idea to create twenty-four began selfishly: I wanted to make a magazine. For me, print magazines are a fascinating medium, combining content, design, a crafted physical object and the opportunity to curate an ongoing conversation around a single idea. Twenty-four is simultaneously a print magazine, an online experience and a creative challenge. The goal is simple: a small team of creative professionals conceptualise, design, write and photograph a print magazine in 24 hours and document everything via Flickr, Tumblr, YouTube, Storify and Kickstarter, making the process part of the product. Time-restricted projects have been done for comics, art shows, albums and other magazines before; it seems we increasingly invest in experiences over products and we want more transparency from the artists we love. This is why twenty-four was designed with documentation in mind; revealing our process live meant that we were not only producing a magazine for print but also creating a sort of online improv show.From Twitter this week:
Whatever the executive branch decides to do about open-access mandates, it's not at all certain that the Research Works Act stands much chance of becoming law. In 2009, a similar bill, called the Fair Copyright in Research Works Act, failed to make it out of committee.Seems and annual call for the teaching of more Aussie Classics (Brisbane Times):
This is an election year, which makes it "a very difficult year to move any sort of legislation, let along legislation that has acquired a certain amount of controversy," Mr. Adler said. A lot of Congress's attention has been absorbed by higher-profile proposals, such as the widely unpopular Stop Online Piracy Act, or SOPA, and its Senate counterpart, the Protect IP Act, or PIPA. Those bills have created considerable resistance in the tech industry and among advocates of an open Web. Rep. Issa has been one of the legislators most vocally against SOPA.
Still, the introduction of the Research Works Act has public-access advocates on the alert, and it has once again exposed the persistent differences of opinion among scholarly publishers over federal mandates and how to approach the complex issues they present. University presses in particular are caught between wanting to take advantage of the resources of a big group like the Association of American Publishers, their own commitment to spreading scholarship widely, and the need to find a way to stay in business while honoring that commitment.
Mr Heyward's comments follow a Sunday Age report last August that Melbourne University students had started their own Australian literature studies because there was no comparable course offered by the university.
Barbara Creed, head of the school of culture and communication at Melbourne University, said this was an unusual situation in which the course lecturer had left unexpectedly, and the university had been unable to offer a dedicated Australian literature subject as a result. However, ''The Australian Imaginary'' was back on the syllabus this year.
Professor Creed said that, although there may not be many courses designated specifically as Australian literature, the texts were nonetheless covered in a wide range of other courses, including creative writing, indigenous studies and film studies.
But she agreed with Mr Heyward that more Australian texts need to be adapted to film or television, where they will have a far broader audience reach. Whenever a novel is adapted to screen, she said, there is a boost in sales of the book as a result.
Focusing on the benefits of an initial registration requirement tells only one part of the story. Whenever copyright offers a second term, the renewal formality has even stronger commons-enhancing effects. After all, the commercial value of most creative work is exhausted fairly early. A study done of copyrights registered in 1934 found, for example, that half of them were worthless after 10 years, 90 percent after 43 years, and 99 percent after 65 years. It should consequently come as no surprise that many rights holders did not renew after the initial 28-year term. The numbers vary year to year and by genre (music rights being renewed more often than books, for example), but roughly speaking, for most of the 20th century, when owners were given a right to renew, only 15 percent chose to do so. As with initial registration, a renewal formality serves as a filter, releasing commercially dead work to the public without depriving authors of a longer term if they wish to have it. Put another way, formalities effectively shortened the term of the copyright grant during most of the last century; 85 percent of copyrights lasted only 28 years.and this,
The last time that Congress added years to the term of copyright, a group of economists, both liberal and conservative (including five Nobel laureates), filed a brief with the U.S. Supreme Court arguing that the extension made no economic sense. (Milton Friedman supposedly asked that the brief contain the phrase "no brainer.") It is patently clear to almost everyone that the term of copyright is now senselessly long. At the same time, it is almost certainly politically impossible to retreat from it; the few who benefit are too well connected, and the many who do not are too thinly spread. To my mind, the greatest appeal of new-style formalities, then, is that they would leave the nominal term untouched (and accord it to all who care) while greatly reducing the effective term. Sprigman calculates that during the 20th century, when the vast majority of rights holders did not avail themselves of the renewal option, the effective term of copyright was only 32 years. That's just four years longer than the nominal term the founders offered in 1790.
But U.S. District Court Judge Consuelo B. Marshall found multiple problems with their arguments. Among the most important: He didn’t buy the plaintiffs’ claim that UCLA had waived its constitutional “sovereign immunity,” a principle that shields states—and state universities—from being sued without their consent in federal court. The judge also held that the association, which doesn’t own the copyrights at issue in the dispute, failed to establish its standing to bring the case.
The decision means “universities will have a little more breathing room for using media,” says James Grimmelmann, an associate professor at New York Law School.
An Era in Ideas:Here are links to the rest of the individual articles:
To mark the 10th anniversary of the September 11 attacks, The Chronicle Review asked a group of influential thinkers to reflect on some of the themes that were raised by those events and to meditate on their meaning, then and now.The result is a portrait of the culture and ideas of a decade born in trauma, but also the beginning of a new century, with all its possibilities and problems.
A sample From Memory by Lawrence Weschler:
Get a grip, I kept finding myself thinking, as the event grew ever more fetishized over the ensuing months—the gaping hole in the skyline acquiring an idol-like status, all political life (and prior common sense) seeming to get sucked into its yawning vortex. New York was not the first city that's ever faced a terrorist attack, I kept having to remind myself, nor the first city ever to have been bombed (hell, we ourselves, as Americans, had repeatedly bombed a good many of the rest of the world's cities).
Maybe it was just that we'd imagined ourselves immune from the forces impinging on other people's lives, immune from history (history previously being defined precisely as something we did to other people, not something they ever did to us); and now suddenly that old historical machinery was clanking away big time, the chains catching hold, and it didn't feel at all good.
Nor can it be said that, historically speaking, we went on to acquit ourselves with much distinction. Londoners during the Blitz had to endure this sort of thing day after day, for weeks on end, but they didn't crumple. Under Churchill's leadership, it was as if the more the Nazis threw at them, the greater their focus, the more uncanny their calm: Far from buckling, they bucked up.They retained perspective.
For when you're under murderous assault is precisely not the time to turn your entire political culture inside out. That's what the terrorists want you to do, that's what they are dying for you to do. But you're supposed to resist that temptation.
Sheldon Solomon: Death
Steven Pinker: Terrorism
Alex Gourevitch: Fear
Terry Eagleton: Evil Scott Atran: Enemies Victor Davis Hanson: Courage
Martha C. Nussbaum: Justice Todd Gitlin: Patriotism
Lawrence Weschler: Memory
Marjorie Perloff: Language
Richard Sennett: Cooperation
Barbara Frederickson: Resilience
Omid Safi: Tolerance
Most attempts to understand privacy do so by attempting to locate its essence—its core characteristics or the common denominator that links together the various things we classify under the rubric of "privacy." Privacy, however, is too complex a concept to be reduced to a singular essence. It is a plurality of different things that do not share any one element but nevertheless bear a resemblance to one another. For example, privacy can be invaded by the disclosure of your deepest secrets. It might also be invaded if you're watched by a peeping Tom, even if no secrets are ever revealed. With the disclosure of secrets, the harm is that your concealed information is spread to others. With the peeping Tom, the harm is that you're being watched. You'd probably find that creepy regardless of whether the peeper finds out anything sensitive or discloses any information to others. There are many other forms of invasion of privacy, such as blackmail and the improper use of your personal data. Your privacy can also be invaded if the government compiles an extensive dossier about you.Matthew Ingram looks for the lessons in the success of Go the Fuck to Sleep (GigaOm):
Privacy, in other words, involves so many things that it is impossible to reduce them all to one simple idea. And we need not do so.
What some call “piracy” can actually be free marketing, as noted by some prominent authors. Neil Gaiman, for example, has said he was initially outraged by unauthorized sharing of his books, and tried to help his publisher stop it, but eventually he came to the conclusion that what piracy really amounts to is “people lending books.” As he put it in a video interview earlier this year:From PaidContent's Laura Hazard Owen: How Libraries Are Bypassing Big Publishers To Build Their E-Book Offerings (PaidContent):
[U]nderstanding that gave me a whole new idea of the shape of copyright and what the web was doing. Because the biggest thing the web was doing is allowing people to hear things, allowing people to read things, allowing people to see things they might never have otherwise seen. And I think, basically, that’s an incredibly good thing.Another prominent example of this is Brazilian author Paulo Coelho. The well-known fantasy author doesn’t just take piracy in stride — he has actually assisted people in pirating his own books, by uploading copies of them to file-sharing networks (as has Gaiman). In the case of one book, doing this with a Russian translation helped build awareness of his other books in that country, where Coelho now sells millions of copies. He pirated his own works over the protests of his publisher, but the outcome was spectacularly successful.
As a result of these restrictions by big publishers, McCormack says librarians are turning to smaller presses, which are generally less restrictive about offering access to their ebooks. Library Journal‘s arrangement with NetGalley will introduce librarians to new titles from many of these smaller e-book-only romance publishers. Angela James, Executive Editor of Harlequin’s Carina Press, estimates that over half of digital-first content is in the romance genre.The (NY) Observer profiles Bonnie Fuller while also rehashing the nastiness and doesn't provide a punch-line (Observer):
James predicts that romance e-book originals will be a hit for libraries. “Romance readers are such voracious readers and they can’t afford to buy all that content,” she says. They also tend to be very loyal to specific authors, so checking out e-books in libraries gives them a chance to try out authors they’re unfamiliar with, she says.
After walking away from Us Weekly at her peak, surprising colleagues and inviting still more biting press attention, it was on to American Media Inc., where she'd been hired as editorial director overseeing a number of titles, including Star. Ms. Fuller's fall was sudden and would have seemed almost random had it not made for such delicious wish-fulfillment among those who'd long rooted for her demise.Real life 'Dad’s Army' revealed in secret diary Life in the Home Guard was often as hapless and farcical as the antics depicted in Dad’s Army, a newly-discovered diary suggests. "Yes, Captain Mainwaring, Sir" (Telegraph)
When she left American Media in May 2008, with plans to start a new company, Bonnie Fuller Media, few were heartbroken by the reversal of fortune. Ms. Fuller planned, vaguely, to take on cyberspace with a web startup that promised, as this paper put it, to "approach Ms. Fuller as a brand" and "feature her blogging about topics such as gossip, fashion, and romance."
The diary shows that, like Captain Mainwaring, Mr Foster is constantly frustrated at the actions of his platoon, with both the young and old members proving unreliable.No doubt lost on many....Whenever we are at home and Dad's Army comes on Mrs PND has been known to wail "Oh no, not Dad's Army again".
In one incident, he describes sending a pair of young volunteers off to guard a remote waterworks overnight. He is not confident that they will stay awake, so he walks to the spot to check. Sure enough, when he arrives all is quiet, as he makes his presence heard, he can hear the guards waking up.
In another incident, a rifle target practice session ends in farce because, having split the platoon into competing teams of old and young members, Mr Foster finds the more elderly volunteers cannot hit the target because of their poor eyesight.
Another exercise involved stacking two lots of chairs up opposite each other in the parade hall to create makeshift trenches. Members of the unit then had to attack them using “dummy grenades”. Again, the age of the volunteers showed, so while the “old men” did well, they were forced to “give in from fatigue”.
The unit also take part in a mock invasion exercise at night time, but a number of elderly members decline, because they are scared of going out in the dark.
