As I was reading through some of the subscriptions in Aaron Davis’well-curated blogroll which I’m subscribed to via OPML Subscription in Inoreader, I was reminded that I should be following my own Huffduffer Collective. This is a feed of audio that comes from all of the accounts I’m following on Jeremy Keith’s awesome Huffduffer audio service. For those looking for a great method for discovering new and interesting audio content and podcasts, this is by far the best discovery service I know.
While finding content which others have bookmarked is an excellent discovery mechanism, I think that finding it by means of things they’ve actually listened to would be even more powerful. By saying you’ve listened to something, it means you’ve put some skin in the game and spent some of your own valuable time actually consuming the content and then separately posting about it. I wonder how Huffduffer might incorporate this sort of “listen” functionality in addition to their bookmarking functionality? I can’t help but thinking that more audio applications should have Micropub functionality for posting listens.
Here I’ll remind people that my website provides just such a feed of my own listens, so if you want to hear exactly what I’ve been listening to, you can have your own feed of it, which I call my faux-cast and you should be able to subscribe to it in most podcatchers. I do roughly the same thing for all the things I read online and off as well. I may bookmark something as interesting, but you know it was even more valuable to me when I’ve spent the time to actually listen to or read it from start to finish.
Do you have a listen feed I could subscribe to? Perhaps a Huffduffer account I should follow? How do you discover audio content online? How could this be used in the education technology space?
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WhatsApp, a messaging service, is cracking down further on fake news. Users will now only be allowed to forward a message to five groups (each group can be up to 256 people), down from 20. The limitation was first introduced in India last year after several mob lynchings there appeared to start after incendiary messages spread through the service.
I can’t imagine that unless the average group is well under 20 people, that WhatsApps change will have a drastic effect. 256 by itself, much less 5 times that, is way over the Dunbar number and likely not enough of a brake on social gossip. This sounds like a lot of lip service to me.
Welcome to my annual publishing predictions. I’ll start by sharing some thoughts on the state of the indie nation and then I’ll jump int...
This post is very anti-Amazon and has an IndieWeb flavor. Sadly, it comes mostly from the perspective of yet-another-silo that is competing with Amazon. A better and more holistic solution would be for them to be supporting authors owning their own platforms for publishing and distribution.
There’s also a useful question brought up here about the idea of discovering new authors and new books. It’s a similar problem faced by websites and other online content in general. Silo’s general nature and the algorithms they can bring to bear have solved some of the discovery question (for their own enrichment). Solving this from an indie perspective isn’t just useful from the website content perspective, but it’s also very important for the book sales perspective.
During the silent film era in Japan, which extended into the early 1930s, film screenings were accompanied by live narrators, called benshi. In the industry’s early years, benshi functioned much in the way scientific lecturers did in early American and European cinema, providing simple explanations about the new medium and the moving images on screen. Soon, however, benshi developed into full-fledged performers in their own right, enlivening the cinema experience with expressive word, gesture and music. Each with their own highly refined personal style, they deftly narrated action and dialogue to illuminate—and often to invent—emotions and themes that heightened the audience’s connection to the screen. Loosely related to the style of kabuki theater in which vocal intonation and rhythm carries significant meaning and feeling, benshi evolved in its golden age, between 1926-1931, as an art form unto itself. Well-established benshi such as Tokugawa Musei, Ikukoma Raiyfi, and Nakamura Koenami were treated as stars, reviewed by critics, featured in profiles (in 1909, the first issue of one of Japan’s earliest film journals featured a benshi on its cover) and commanded high salaries from exhibitors. The prominence and significant cultural influence of benshi prompted the government to try to regulate their practice, instituting a licensing system in 1917 and attempts were made to enhance their role as “educators” through training programs overseen by the Ministry of Education. The benshi were not without controversy, however. While some contemporary critics argued that the benshi were essential to differentiating Japanese film culture from the rest of the world’s output, others argued that the benshi, along with other theatrical elements, impeded the artistic and technical evolution of Japanese cinema into a fully modern art form. Benshi did vigorously resist the coming of sound to Japanese cinema and the practice continued, though with increasing rarity, into the sound era. The art, today, is carried on by a small group of specialized performers who have been apprenticed by the preceding generations of benshi, creating a continuous lineage back to the original performers.
The Archive and the Tadashi Yanai Initiative for Globalizing Japanese Humanities are pleased to present this major benshi event in Los Angeles which will afford audiences a once-in-a-lifetime chance to experience this unique art form in all its rich textures. Pairing rare prints of Japanese classics and new restorations of American masterworks, this weekend-long series features performances by three of Japan’s most renowned contemporary benshi, Kataoka Ichirō, Sakamoto Raikō, and Ōmori Kumiko. Trained by benshi masters of the previous generation, they will each perform their unique art live on stage in Japanese (with English subtitles) to multiple films over the course of the weekend. Every performance and screening will be accompanied by a musical ensemble with traditional Japanese instrumentation, featuring Yuasa Jōichi (conductor, shamisen), Tanbara Kaname (piano), Furuhashi Yuki (violin), Suzuki Makiko (flute), Katada Kisayo (drums).
Special thanks to the Tadashi Yanai Initiative for Globalizing Japanese Humanities, The Tsubouchi Memorial Theatre Museum at Waseda University and the Top Global University Project, Global Japanese Studies Model Unit, Waseda University (MEXT Grant), National Film Archive of Japan.
I’ve always loved old school screenings of silent films, but I’ve never experienced benshi. This sounds like it could be pretty cool and definitely unique as its own artform.
MoviePass broke the mold on theater subscription services and broke itself in the process, but the whole idea itself is not dead. Sinemia is carrying on with more modest deals, and it’s now offering weekday-only subscription plans that start at $4 per month.
In a crucial period with the midterms less than a month away, some in the White House are worried that the president is losing a prime-time megaphone to his base.
Perhaps I’m wrong, but in the past I don’t recall any of the networks carrying full coverage of any rallies like these except perhaps the nominating conventions; even then they did it somewhat begrudgingly or only with partial coverage? At best, the coverage of these was small individual soundbites of candidates. Fox news has obviously and sadly been using them more for entertainment value than for any news value they might have had. Could this new coverage be coined liefotainment? There certainly isn’t any journalistic value in full coverage. I wonder if they’ll be carrying flaming-cross to flaming-cross coverage of KKK rallies next?