Porter Anderson Writing on the Ether – Jane Friedman. iStockphoto.com / Nikada The digital train has so left the station. That’s a Frankfurt railway stop, as a matter of fact. Fear and loathing, at home and abroad. International publishing-industry players met to hold meetings, attend conferences, drink heavily, and attend more conferences. They tweet-gasped at hotel wi-fi costing 19 euros per day and publishers warned of a digital “reckoning” headed toward them like the aforementioned train.
“Struggling to make an impact” The concept that seems to have struck the biggest chord is his not necessarily revolutionary, but it is timely—a reminder that publishers need to stop thinking of their readers as a broadcast audience. Joel Naoum hears Mitch Joel speak at the TOC Frankfurt conference on Tuesday, finding “a mixed bag” at Tools of Change for Publishing [blackbirdpie id="123390892315910145"] Daggers in Deutschland He warned that publishers’ grip on the business was “starting to change in favour of the author”.
A pairing, if you please. The Association of American Publishers. MALACHITEQUILLS.COM. Why I Write. This material remains under copyright and is reproduced by kind permission of the Orwell Estate and Penguin Books. From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books. I was the middle child of three, but there was a gap of five years on either side, and I barely saw my father before I was eight. For this and other reasons I was somewhat lonely, and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays.
I had the lonely child’s habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. (i) Sheer egoism. (ii) Aesthetic enthusiasm. It is not easy. The article and the future of print « BuzzMachine. This week, Guardian Editor-in-Chief Alan Rusbridger declared that the paper would go “digital first,” following John Paton‘s lead and stopping a step short of his strategy at Journal Register: “digital first … print last.” My Guardian friends are getting a bit tetchy about folks trying to tell them how to fix the institution, but given that it lost £34.4m last year, I’d say the intervention is warranted and should be seen only as loving care: chicken soup for the strategy. So I will join in. My thoughts about the Guardian have something to do with my thoughts on the article. That’s a logical connection because the means of production and distribution of print are what mandated the invention of the article.
So it is fitting that we consider its fate in that context. But first let’s examine what it means to be digital first. Digital first, aggressively implemented, means that digital drives all decisions: how news is covered, in what form, by whom, and when. Print last. See, it’s not dead. Unbound | books are now in your hands. Are book apps the next chapter for ebooks? Add to that the fact that an ereader can store hundreds of books and you have a gadget that can leave even the pickiest commuter or holidaymaker spoiled for choice. With ebooks now growing in popularity, publishers are beginning to think about enhancing ebooks and even recreating books as apps for tablet computers. Gareth Malone will be speaking at Hay about his new book, Music for the People: The Pleasures and Pitfalls of Classical Music.
In print it’s an enthusiastic guide to classical music but buy it from Apple’s iBookstore and you can get a version that’s enhanced with clips from the music being described, which makes it much easier to understand the point being made. Enhanced ebooks, says Malone, provide “the opportunity to bring all this stuff to life in a way that you could previously only do on TV”. Jennifer Egan’s novel A Visit From the Goon Squad, recently released in paperback, is also available as an iPad app. “Poetry is much more structured. Rapid Serial Visual Presentation. Rapid serial visual presentation is an experimental model frequently used to examine the temporal characteristics of attention. The RSVP paradigm entails participants to look at a continuous presentation of visual items which is around 10 items per second. They are all shown in the same place. The targets are implanted inside this stream of continuous items.
They are separate from the rest of the items and can be called distracters. Overview[edit] There is a delay of several hundred milliseconds. History[edit] Potter (1975) [1] explored the amount people are able to comprehend and memorize information from fast series of stimuli. Sperling and colleagues examined the RSVP paradigm to investigate the dynamics of shifts of spatial attention (e.g., Reeves & Sperling, 1986; Sperling & Weichselgartner, 1995). [2] [3] Spatial attention is defined as the ability to center on specific stimuli in a visual environment (Johnson & Proctor, 2004).
Attentional blink[edit] Static mode[edit] See also[edit] The Future Of Publishing: What Really Matters. What Books Will Become. Podcasting up a Tree of Codes | Dentsu London. Teaching Online Journalism » Timelines in journalism: A closer look. You’re not going to create one every week, but a timeline is a useful — and helpful — type of information graphic, and fairly common in journalism. When teaching students about timelines, here are some ideas to consider and discuss: Chronology or timeline?
Sometimes a timeline is not a timeline, according to Len de Groot, a longtime graphics journalist. A timeline shows actual spans of time, with proportional measurements for decades, years, days or hours, depending on the total time involved. Here’s an excellent chronology about Operation Odyssey Dawn on Libya, from El País: Not what we think of when we imagine a timeline, is it? The Wall Street Journal has published a multi-line timeline covering recent events in Arab countries (below). Here are some questions we can ask before we sketch our timeline ideas: Is this a story about hours, days, years or decades? Design questions Here are some questions we can ask as we examine our sketches of our timeline ideas: Will people like it? Shorter, And Sweeter.
It's quite amazing witnessing the rate of innovation in the publishing industry right now, much of it (it has to be said) coming from new entrants, challengers, entrepreneurs rather than incumbent organisations. Unlike many it seems, I don't subscribe to the view that the dawn of a disruptive new model or technology inevitably means the death in short measure of what was there before (what Simon Waldman called 'lazy endism'). Tim O'Reilly makes a similar point in this Forbes interview about how the interesting question about the impact of digital on publishing is not about it killing print, but rather to ask how it will change books.
So the really interesting game is in the new and transformative - in doing stuff in genuinely new ways. The Daily for example, feels too close to the conception of a traditional newspaper, whereas FlipBoard combines professional and social curation to make for a genuinely transformative product. Image courtesy.