Lecture et écriture du texte numérique

articles that get a lot of tweets don’t necessarily get read very deeply.

Quand on observe la fréquence d'usage des applications de lecture par semaine et dans la durée, on se rend compte qu'entre 2009 et 2012, l'usage des applications de lecture s'est effondré. En 2009, on utilisait des applications de lecture très fréquemment chaque semaine, mais sur une durée assez courte (le temps de lire le livre), en 2012, la fréquence d'accès à une application de lecture est tombée et la durée de lecture s'est allongée. Les livres électroniques ne sont plus dans les usages intensifs sur une période de temps limitée, mais sont entrés dans la catégorie des usages occasionnels.

On comprendra alors qu'éditeurs comme auteurs commencent à envisager sérieusement à exploiter d'autres canaux de diffusion, comme le web. Le livre électronique ne se suffira pas à lui-même. Le moment e-book n'est pas clos, mais on sent qu'il est déjà en train de tourner.

The mainstay of book publishing is the extended narrative, either fictional or factual and almost always shaped by a single authorial consciousness and expressed in a single authorial voice. It is, in other words, a work of art.

Count me as a member of the set who prefers my non-fiction in eBook format

If this is right, then the twilight of the printed book will proceed on a schedule disconnected to the growth or stagnation of e-books — what the internet portends is not the end of the paper container of the book, but rather the way paper organized our assumptions about writing altogether.

Clay Shirky

the book, a creation of human beings, turned out not only to be a terrific container for distributing speech and then writing; it also, through an intertwined, mutually reinforcing, and unique combination of the mode of reading it encouraged (deep, attentive, immersive) and the modes of expression it inspired (deep, thoughtful, eloquent, emotionally resonant, experimental), actually heightened the potential of human expression, experience, and life.

Already the presses have stopped for phone books and encyclopedias, are stopping for textbooks and newspapers, and will increasingly stop for books of all kinds. And I think as that happens, the experience of reading books will be displaced by other experiences.

I don’t believe in ‘narrative obsolescence’ — on the contrary, I think that stories, unlike books, are a fundamental unit of human thought, which is to say that in most cultures we know of, there were no books, but there were stories.

forms of aesthetic expression co-evolve with their modes of production, and often don’t survive large-scale reconfiguration of those modes.

I have several reasons for thinking that the current round of destruction is clearing the decks for something better, but the main one is that historically, media that increase the amount of arguing people do has been a long-term positive for society, even at the cost of short-term destruction of familiar patterns, and the disorientation of the people comfortable with those patterns. I think we’ll get extended narrative online — I just doubt the format of most of those narratives will look enough like a book to merit the name.

Where nihilism enters the picture is when you say, sneeringly, that although “half a millenium of rehearsed reverence have taught us to regard [the book] as a semantic unit, [it] may in fact be a production unit: the book is what you get when writers have access to printing presses, just as the album is what you get when musicians have access to LP-pressing machines.” People’s love of books in general and serious novels and poetry in particular is not just a numb act of “rehearsed reverence” (a phrase that is incredibly insulting and demeaning) to an accidental production unit.

Reducing aesthetic choices to “rehearsed reverence” is a form of nihilism.

Some things — emphasis on “things” — are actually worthy of respect.