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Katie Day

Staying awake: Notes on the alleged decline of reading-By Ursula K. Le Guin (Harper's M... - 0 views

  • But I also want to question the assumption—whether gloomy or faintly gloating—that books are on the way out. I think they’re here to stay. It’s just that not all that many people ever did read them. Why should we think everybody ought to now?
  • For most of human history, most people could not read at all. Literacy was not only a demarcator between the powerful and the powerless; it was power itself. Pleasure was not an issue.
  • I see a high point of reading in the United States from around 1850 to about 1950—call it the century of the book—the high point from which the doomsayers see us declining. As the public school came to be considered fundamental to democracy, and as libraries went public and flourished, reading was assumed to be something we shared in common.
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  • Literacy was not only the front door to any kind of individual economic and class advancement; it was an important social activity. The shared experience of books was a genuine bond.
  • A person reading seems to be cut off from everything around them, almost as much as someone shouting banalities into a cell phone as they ram their car into your car—that’s the private aspect of reading. But there is a large public element, too, which consists in what you and others have read.
  • The social quality of literature is still visible in the popularity of bestsellers. Publishers get away with making boring, baloney-mill novels into bestsellers via mere P.R. because people need bestsellers. It is not a literary need. It is a social need. We want books everybody is reading (and nobody finishes) so we can talk about them.
  • Books are social vectors, but publishers have been slow to see it. They barely even noticed book clubs until Oprah goosed them. But then the stupidity of the contemporary, corporation-owned publishing company is fathomless: they think they can sell books as commodities.
  • How can you make book sales expand endlessly, like the American waistline? Michael Pollan explains in The Omnivore’s Dilemma how you do it with corn. When you’ve grown enough corn to fill every reasonable demand, you create unreasonable demands—artificial needs. So, having induced the government to declare corn-fed beef to be the standard, you feed corn to cattle, who cannot digest corn, tormenting and poisoning them in the process. And you use the fats and sweets of corn by-products to make an endless array of soft drinks and fast foods, addicting people to a fattening yet inadequate diet in the process. And you can’t stop these processes, because if you did profits might become listless, even flat.
  • What is a good growth-capitalist publisher to do? Where can he be safe? He can find some safety in exploiting the social function of literature. That includes the educational, of course—schoolbooks and college texts, favorite prey of corporations—as well as the bestsellers and popular books of fiction and nonfiction that provide a common current topic and a bond among people at work and in book clubs. Beyond that, I think corporations have been foolish to look for safety or reliable growth in publishing.
  • And the Internet offers everything to everybody: but perhaps because of that all-inclusiveness there is curiously little aesthetic satisfaction to be got from Web-surfing. You can look at pictures or listen to music or read a poem or a book on your computer, but these artifacts are made accessible by the Web, not created by it and not intrinsic to it. Perhaps blogging is an effort to bring creativity to networking, and perhaps blogs will develop aesthetic form, but they certainly haven’t done it yet.
  • A book won’t move your eyes for you the way images on a screen do. It won’t move your mind unless you give it your mind, or your heart unless you put your heart in it. It won’t do the work for you. To read a story well is to follow it, to act it, to feel it, to become it—everything short of writing it, in fact. Reading is not “interactive” with a set of rules or options, as games are; reading is actual collaboration with the writer’s mind. No wonder not everybody is up to it.
  • It lasts. It is reliable. If a book told you something when you were fifteen, it will tell it to you again when you’re fifty, though you may understand it so differently that it seems you’re reading a whole new book.
  • I am far from dismissing the vast usefulness of electronic publication, but my guess is that print-on-demand will become and remain essential.
  • I keep hoping the corporations will wake up and realize that publishing is not, in fact, a normal business with a nice healthy relationship to capitalism.
Katie Day

The Future of Reading - 11/1/2009 - Library Journal - 0 views

  • Clearly something important and fundamental is happening to books and reading. Libraries need to be part of this reading revolution, supporting and defending the rights of digital readers, experimenting with new reader services, collecting new genres and media formats, and providing access for all readers to the devices, networks, content, and online communities that will continue to emerge.
  • To that end, I suggest that libraries and library associations develop, promulgate, and defend a Reader Bill of Rights for the Digital Era. Here are a few draft planks: • The reader should be empowered and able to control the mode of reading on his or her e-reading appliance of choice. Specifically, a TTS feature should be available for all books. TTS is not an audio performance. It enables auditory reading, a mode of reading gaining in popularity. Readers should be able to switch quickly from visual to auditory or tactile reading and back, with olfactory and gustatory options if/when they are developed. • The reader should be empowered and able to control the presentation aspects of the ebook. For visual reading, this includes factors such as font size, font type, font color, and background color. For TTS audiobooks, this includes factors such as a male or female voice, playback speed (sans Alvin and the Chipmunks), choice of accents (e.g., British, Australian, American Midwest, American Southern for English), with similar accent choices for other languages. • Readers, individually and in groups, have the right to add to and embellish a text, as long as the embellishments (e.g., notes, highlighting, marginalia, new characters, new episodes) are clearly distinguishable from the primary text. • The reader has a right to save and share these embellishments, or keep them private.
  • Librarians should encourage—nay, aid and abet—experimentation in reading. We need to cleave to the needs and wants of readers. We must continue to study their reading habits, then design and redesign our content collections, systems, and services to help them improve and maximize their reading experiences. We are in a long-term commitment with readers.
Katie Day

The 21st Century Writer - The Future Writer -- from The Futurist - 0 views

  • Beyond blogging, this means that the writers of the future (both fiction and nonfiction) will work with Web designers, software writers, and other professionals to create product.
  • To Lapham, the crudeness, silliness, and uncultured quality of today’s Web culture is a symptom of the immaturity of the new medium and the youthfulness of its users. The change will be gradual. “We’re still playing with it like it’s a toy,” he said of the Web. “We don’t yet know how to make art with it. McLuhan points out that the printing press was 1468, it’s a hundred years before you get to Cervantes, to Shakespeare.” 
  • “Look at Notre-Dame de Paris,” he said. “The novel is not about the hunchback so much as it is about the church, and the idea of sculpture as a way of communicating stories. In the preliterate era they told the stories through these churches.… Victor Hugo was lamenting the loss of that stone literacy, where people would look up at the church and know what it was about. Yes, something was lost. But we gained a lot. I remember a conversation I had at our open source convention with Freeman Dyson, the physicist. He said something wonderful; someone asked him what do you think about the fact that we were losing something or other, and he said, ‘We have to forget, otherwise there would be no room for new things.’ That’s an important thing to take.… Be accepting of the losses and the gains.”  “Reading isn’t going to go away,” agreed Abram, “but it’s only one aspect. Probably, it will be some combination of reading, visual conversations, and lessons. What you’re authoring is contributing to a corpus that is significantly larger than it is now, electronically. Most of the important stuff will have been converted 20 years from now. We can convert the entire Library of Congress for $9 billion right now, which, in terms of national priorities, is only five weeks of Iraqi conflict. It’s doable. It used to be undoable. The corpus, the ability to create cultural context, is going to change the nature of how culture is expressed.”
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  • “The written word will survive because there are things you can do with the written word that you simply cannot do with film or with radio. I don’t know if it will be a mass medium,” said Lapham. “The large majority of mankind is passive. The change comes from the active minority. Those people will continue to read. Books will continue to be read. Maybe the more popular forms of writing will be taken over by video games. But it’s up to members of your generation to teach young people how to read and what the difference is between reading literature and sifting data.”
  • Rushkoff sees new kinds of information systems springing to life next to writing, and sees this as part of a grand evolution in human communication. “Just because things became written down, we didn’t lose oral culture,” said Rushkoff. “Read Walter Ong [author of Orality and Literacy: The Technologizing of the Word]. We changed, but we still talk to each other, dance for each other. We do them in different situations. The written word is cool. It’s for a certain kind of thing. The more media we have to exchange, the better we understand what the biases are. The written word is abstract, contractual. It launched monotheism, ethics; it launched evolution. It was really important for a lot of things, and that will remain. But visual media will lead to other kinds of insights.”
Katie Day

The Long Decline of Reading | Mssv - 0 views

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    a long blog posting on reading and the culture of reading in our society today -- excellent overview -- including references to research and recent literature like Proust and the Squid....
Librareanne @diigo

How E-Readers Change the Way We Read | Head Case by Jonah Lehrer - WSJ.com - 1 views

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    new reading technologies may change the nature of reading and, ultimately, the content of our books.
Katie Day

Some Thoughts on the Lost Art of Reading Aloud - NYTimes.com - 0 views

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    Digital devices can be used to have children record themselves reading aloud... e.g., on iPod Touches
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    musings on the importance of reading aloud
Petra Pollum

Free Technology for Teachers: GooReader - Read Google Books On Your Desktop - 0 views

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    Google Books is a great resource for locating books and periodical articles that you can read online for free
Katie Day

Does the Internet Make You Smarter? - WSJ.com - Clay Shirky - 0 views

  • Reading is an unnatural act; we are no more evolved to read books than we are to use computers. Literate societies become literate by investing extraordinary resources, every year, training children to read. Now it's our turn to figure out what response we need to shape our use of digital tools.
  • There is no easy way to get through a media revolution of this magnitude; the task before us now is to experiment with new ways of using a medium that is social, ubiquitous and cheap, a medium that changes the landscape by distributing freedom of the press and freedom of assembly as widely as freedom of speech.
beth gourley

Storybooks On Paper Better For Children Than Reading Fiction On Computer Screen, Accord... - 0 views

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    "The most important difference [between paper and screen reading] is when the text becomes digital. Then it loses its physical dimension, which is special to the book, and the reader loses his feeling of totality."
Katie Day

COPIA - a social reading site - 0 views

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    a social networking site where you can buy ebooks and get into online reading groups
beth gourley

Does the Brain Like E-Books? - Room for Debate Blog - NYTimes.com - 0 views

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    5 authors present their opinion on whether the brain likes ebooks by suggesting whether it depends on discipline towards distractions, how the reading practice is shaped, the focus is on the words or whether ereading opens up a more social experience. But ultimately is one able to experience "deep reading."
Librareanne @diigo

2010: The Only Year of the E-Reader | Fast Company - 1 views

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    The Kindle is looking almost lost now among the flurry of new e-book reading devices just released or due soon. So many are out, in fact, that 2010 is really the year of the e-reader. But only 2010. Because e-readers are doomed.
beth gourley

How the E-Book Will Change the Way We Read and Write - WSJ.com - 0 views

  • atest such moment came
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    Stephen Johnson on how he had an 'aha' moment with the Kindle and what he thinks is coming...
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    summary of different methods and formats required for ebooks.
Katie Day

On the ropes? Robert Darnton's Case for Books - 9/14/2009 - Publishers Weekly - 0 views

  • The Future Whatever the future may be, it will be digital. The present is a time of transition, when printed and digital modes of communication coexist and new technology soon becomes obsolete. Already we are witnessing the disappearance of familiar objects: the typewriter, now consigned to antique shops; the postcard, a curiosity; the handwritten letter, beyond the capacity of most young people, who cannot write in cursive script; the daily newspaper, extinct in many cities; the local bookshop, replaced by chains, which themselves are threatened by Internet distributors like Amazon. And the library? It can look like the most archaic institution of all. Yet its past bodes well for its future, because libraries were never warehouses of books. They have always been and always will be centers of learning. Their central position in the world of learning makes them ideally suited to mediate between the printed and the digital modes of communication. Books, too, can accommodate both modes. Whether printed on paper or stored in servers, they embody knowledge, and their authority derives from a great deal more than the technology that went into them.
  • E-Books I want to write an electronic book. Here is how my fantasy takes shape. An “e-book,” unlike a printed codex, can contain many layers arranged in the shape of a pyramid. Readers can download the text and skim the topmost layer, which will be written like an ordinary monograph. If it satisfies them, they can print it out, bind it (binding machines can now be attached to computers and printers), and study it at their convenience in the form of a custom-made paperback. If they come upon something that especially interests them, they can click down a layer to a supplementary essay or appendix. They can continue deeper through the book, through bodies of documents, bibliography, historiography, iconography, background music, everything I can provide to give the fullest possible understanding of my subject. In the end, they will make the subject theirs, because they will find their own paths through it, reading horizontally, vertically, or diagonally, wherever the electronic links may lead. Authorship
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    Darnton is the library directory of Harvard University and his new book is called "The Case for Books: Past, Present, and Future
Katie Day

Trine U. School Requires E-Textbooks for Entire Curriculum - Wired Campus - The Chronic... - 0 views

  • Starting next semester, faculty members will be required to teach from digital editions of their textbooks using the CaféScribe platform, operated by the Follett Higher Education Group. The Web-enabled e-textbook system allows students to highlight and take notes on the text while they read as well as compare notes and discuss their reading in online forums. Faculty members can also embed comments, links, and discussion questions into the digital text.
Katie Day

Book Review - The Book in the Renaissance - By Andrew Pettegree - NYTimes.com - 0 views

  • ephemeral material supplied the main business of the early publishing industry. Classical authors, we are told, accounted for “around 5 percent of all printed books published in the 15th century.”
  • Pettegree writes well and amasses information superbly. He refrains from explicitly comparing the technology of print, and its historical impact, with the technology of the Internet. Implicit similarities include issues of intellectual property and privacy, of power, of libel, as well as a general challenge to old modes — the proliferation of personal expression, the contentiousness, the question of how to capitalize, and capitalize upon, a new medium. This scholarly restraint, leaving his readers to compare and contrast, seems wise. And there are certainly contrasts with the modern age.
  • In an appended “Note on Sources,” Pettegree allows himself to acknowledge that, “Ironically, it has been the next great information revolution — the Internet — that has allowed this work on the first age of print to be pursued to a successful conclusion.” Digital information newly available from all over the world enhanced his research on early print culture — in all its frequently vulgar, ephemeral, zany and menacing variety.
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  • in the Renaissance these works were not read in the prolonged, silent trance experienced by readers of Dickens or Flaubert
  • In contrast to this industrial-age solitude of print narrative, the 16th-century verse romances and other episodic books like “The Decameron” were suited for reading aloud — enjoyed in a communal, social setting.
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    ""  "The humanist mythology of print." With this phrase the British scholar Andrew Pettegree indicates the cultural story his book amends, and to some extent transforms. In an understated, judicious manner, he offers a radically new understanding of printing in the years of its birth and youth. Print, in Pettegree's account, was never as dignified or lofty a medium as that "humanist mythology" of disseminated classics would suggest.
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