I do wonder if StoryGraph are planning on making the ownership of your own data on your own site easier? That might be a reason for some buy-in.
In an age of print-on-demand and reflowing text, why in goodness’ name don’t we have the ability to print almost anything we buy and are going to read in any font size and format we like?
Why couldn’t I have a presentation copy sized version of The Paris Review?
“I could fit this in my pocket,” I thought when the first newly re-designed @parisreview arrived. And sure enough editor Emily Stokes said it’s was made to fit in a “large coat pocket” in the editor’s note. pic.twitter.com/tra25GOk6e
— Marc Geelhoed (@marcgeelhoed) December 8, 2021
Why shouldn’t I be able to have everything printed on bible-thin pages of paper for savings in thickness?
Why couldn’t my textbooks be printed with massively large margins for writing notes into more easily? Why not interleaved with blank pages? Particularly near the homework problem sections?
Why couldn’t I buy my own hardcover, custom edition of Annotation with massive five inch margins to really make having a handwritten #AnnoConvo easier? (C’mon MIT Press, I know it’s part of a pre-existing series, but editorial considerations should have necessitated leaving at least an inch!)
Why can’t I have more choice in a range of fonts, book sizes, margin sizes, and covers?
When are publishing platforms going to give us this?!?
Uhhh my boss just asked me for Twitter engagement numbers... Who loves books? Like if you love books, reply if you hate them— ECW Press (@ecwpress) Dec 2, 2021
Handwriting to Website #FTW
While browsing today I ran across an awesome concept called PaperWebsite.com. It allows you to write on paper, take a photo, and then upload it to a website. Your handwritten words published to your website. A tactile writer’s dream.
My immediate thought—I need to have this now!
Articles written by hand in my journal to my website? Short notes that I write on index cards published as microblog updates. How cool would that be? I was also talking to someone this morning about voice-to-text as a note taking concept. What about that too?
Of course, as you may know, I’ve already got a website. Do I need another one like this for $10/month? Probably not.
But this has got me wondering “what the value proposition is for Paper Website as a company?” What are they really selling? Domain names? Hosting? Notebooks? They certainly seem to be selling all of the above, but the core product they’re really selling is an easy-to-use interface for transferring paper ideas to digital publishing. And this is exactly what I want!
The problem now is to buy this sub-service without all the other moving pieces like a domain name, hosting, etc., which I don’t need. Taking just the core service and abstracting it to the wider universe of websites could be a major technical hurdle (and nightmare).
IndieWeb and Micropub
Perhaps I could try find an OCR solution and wire it all together myself? I’d rather see the original developer run away with the idea though. So instead I’ll quietly suggest that they could take their current infrastructure and add a small piece.
Since PaperWebsite’s already got the front end up and running, why not add on Micropub support to the back end? Maybe Ben Stokes could take the OCR output and create a new Micropub client that could authenticate to any website with Micropub support? I have to imagine that he could probably program it in a couple of days (borrowing from any of the pre-existing open source clients or libraries out there) and suddenly it’s a product that could work with WordPress, Drupal, WithKnown, Craft, Jekyll, Kirby, Hugo, Blot, and a variety of other platforms that support the W3C spec recommendation or have plugins for it.
The service could publish in “draft” form and allow editing after-the-fact. There’s also infrastructure for cross-syndicating to other social services with Micropub clents, so note cards to my website and automatically syndicated to Twitter, Mastodon, or micro.blog? Yes, please.
And maybe it could be done as a service for a dollar a month or a few dollars a year?
I made a short mention of the idea in the IndieWeb chat, and it’s already a-buzz with implementation ideas… If you’re around Ben, I’m sure folks there would lend a hand if you’re interested.
The website, commonplace book, note taking, stationery, and fountain pen nerd in me is really excited about where this could go from a user interface perspective.
How Moleskine, Leuchtturm, LiveScribe or the other stationery giants haven’t done this already is beyond me. I could also see serious writing apps like iA Writer or Ulysses doing something like this too.
In particular, I quite enjoy the micropub client IndieBookClub for posting reading updates to my WordPress site (it supports other platforms with Micropub support too.) More details: https://indieweb.org/indiebookclub. Here’s an example of how I’m tracking what I read on my own site: https://boffosocko.com/kind/read/ or if you want just the books.
If you’d like a non-WordPress hosted solution, you might take a look at Manton Reece’s excellent Micro.blog platform which has a nice book/reading UI: https://micro.blog/discover/books or https://micro.blog/discover/books/grid. (It uses IndieWeb technologies including micropub, so you can use IndieBookClub with it. You can also syndicate to it from your WordPress site if you prefer to have your own infrastructure and just join the community there for the conversation.)
I’m happy to help if you’d like further tips/pointers for any of the above.
If you hate them, it’s not your fault.
A🧵 of annotations
What any individual infers about their hopes and dreams for an e-reader derives from their understanding of reading in the first place. You can’t have books without bookiness. Bookiness. That’s the word Glenn Fleishman, a technology writer and longtime bookmaker, uses to describe the situation. “It’s the essence that makes someone feel like they’re using a book,” he told me. Like pornography or sandwiches, you know bookiness when you see it. Or feel it? Either way, most people can’t identify what it is in the abstract. ❧
Does this only come out because there’s something that’s book-tangential or similar and it needs to exist to describe the idea of not-book, book-adjacent, or book-like on some sort of spectrum of bookishness.
Annotated on September 18, 2021 at 12:28PM
The ancient Romans sometimes connected wax tablets with leather or cords, suggesting a prototype of binding. Replacing the wax with leaves allowed many pages to be stacked atop one another, then sewn or otherwise bound together. ❧
early book prototypes
Annotated on September 18, 2021 at 12:30PM
In other words, as far as technologies go, the book endures for very good reason. Books work. ❧
Aside from reading words to put ideas into my brain, one of the reasons I like to read digital words is that the bigger value proposition for me is an easier method to add annotations to what I’m reading and then to be able to manipulate those notes after-the-fact. I’ve transcended books and the manual methods of note taking. Until I come up with a better word for it, digital commonplacing seems to be a useful shorthand for this new pattern of reading.
Annotated on September 18, 2021 at 12:33PM
If you have a high-quality hardbound book nearby, pick it up and look at the top and bottom edges of the binding, near the spine, with the book closed. The little stripey tubes you see are called head and tail bands (one at the top, one at the bottom). They were originally invented to reinforce stitched binding, to prevent the cover from coming apart from the leaves. Today’s mass-produced hardcover books are glued rather than sewn, which makes head and tail bands purely ornamental. And yet for those who might notice, a book feels naked without such details. ❧
It is an odd circumstance that tail bands are still used on modern books that don’t need them. From a manufacturing standpoint, the decrease in cost would dictate they disappear, however they must add some level of bookiness that they’re worth that cost.
Annotated on September 18, 2021 at 12:37PM
One site of that erosion, which may help explain ebook reticence, can be found in self-published books. For people predisposed to sneer at the practice, a lack of editing or the absence of publisher endorsement and review might justify self-published works’ second-class status. That matter is debatable. More clear is the consequence of disintermediation: Nobody takes a self-published manuscript and lays it out for printing in a manner that conforms with received standards. And so you often end up with a perfect-bound Word doc instead of a book. That odd feeling of impropriety isn’t necessarily a statement about the trustworthiness of the writer or their ideas, but a sense of dissonance at the book as an object. It’s an eerie gestalt, a foreboding feeling of unbookiness. ❧
Having helped others to self-publish in the past, I definitely do spend a bit of time putting the small sort of bookiness flourishes into their texts.
Annotated on September 18, 2021 at 12:41PM
The weird way you tap or push a whole image of a page to the side—it’s the uncanny valley of page turning, not a simulation or replacement of it. ❧
This may be the first time I’ve seen uncanny valley applied to a topic other than recognizing people versus robots or related simulacra.
Annotated on September 18, 2021 at 12:44PM
The iPad’s larger screen also scales down PDF pages to fit, making the results smaller than they would be in print. It also displays simulated print margins inside the bezel margin of the device itself, a kind of mise en abyme that still can’t actually be used for the things margins are used for, such as notes or dog-ears. ❧
It would be quite nice if a digital reader would allow actual writing in the margins, or even overlaying the text itself and then allowing the looking at the two separately.
I do quite like the infinite annotation space that Hypothes.is gives me on a laptop. I wish there were UI for it on a Kindle in a more usable and forgiving way. The digital keyboard on Kindle Paperwhite is miserable. I’ve noticed that I generally prefer reading and annotating on desktop in a browser now for general ease-of-use.
Also, I don’t see enough use of mise en abyme. This is a good one.
In Western art history, mise en abyme (French pronunciation: [miz ɑ̃n‿abim]; also mise en abîme) is a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the technique of inserting a story within a story. The term is derived from heraldry and literally means “placed into abyss”. It was first appropriated for modern criticism by the French author André Gide.
Annotated on September 18, 2021 at 12:49PM
Ebook devices are extremely compatible with an idea of bookiness that values holding and carrying a potentially large number of books at once; that prefers direct flow from start to finish over random access; that reads for the meaning and force of the words as text first, if not primarily; and that isn’t concerned with the use of books as stores of reader-added information or as memory palaces. ❧
Intriguing reference of a book as a memory palace here.
The verso/recto and top/middle/bottom is a piece of digital books that I do miss from the physical versions as it serves as a mnemonic journey for me to be able to remember what was where.
I wonder if Ian Bogost uses the method of loci?
Annotated on September 18, 2021 at 12:53PM
So do all manner of other peculiarities of form, including notations of editions on the verso (the flip side) of the full title page and the running headers all throughout that rename the book you are already reading. ❧
I do dislike the running headers of digital copies of books as most annotation tools want to capture those headers in the annotation. It would be nice if they were marked up in an Aria-like method so that annotation software would semantically know to ignore them.
Annotated on September 18, 2021 at 12:56PM
Skimming through pages, the foremost feature of the codex, remains impossible in digital books. ❧
This is related to an idea that Tom Critchlow was trying to get at a bit the other day. It would definitely be interesting in this sort of setting.
(Why yes I am procrastinating my to-do list. You?)
— Tom Critchlow (@tomcritchlow) September 17, 2021
Annotated on September 18, 2021 at 01:03PM
“We’ve been thoughtful,” Amazon continued, “about adding only features and experiences that preserve and enhance the reading experience.” The question of whose experience doesn’t seem to come up. ❧
They’re definitely not catering to my reading, annotating, and writing experience.
Annotated on September 18, 2021 at 01:04PM
Today’s #ManuscriptOfTheDay is Ms. Codex 1060, a calendar and lectionary, ca. 1450, and gradual from the last quarter of the 15th century, for use in an unidentified Carthusian foundation, likely in Germany #medievaltwitter
— Schoenberg Institute (@sims_mss) September 4, 2021
See also MarginaliaMonday.
Date: Saturday, September 25, 2021
Time: 9:00 AM – 1:00 PM Pacific
Event page: https://events.indieweb.org/2021/09/gardens-and-streams-ii-pPUbyYME33V4
We’ll discuss and brainstorm ideas related to wikis, commonplace books, digital gardens, zettelkasten, and note taking on personal websites and how they might interoperate or communicate with each other. This can include IndieWeb building blocks, user interfaces, functionalities, and everyones’ ideas surrounding these. Bring your thoughts, ideas, and let’s discuss (and build).
This will be a continuation of the ideas from the Garden and Stream pop up session in 2020. Everyone is welcome and need not have attended prior sessions.
We’ll try to do something between a traditional all day IndieWebCamp and a single session pop-up over the span of several hours so that we can accommodate a brief introduction and three BarCamp topic related sessions. Feel free to brainstorm session ideas in advance of the mini-camp, but we’ll choose session topics the morning of the event.
All times Pacific.
- 9:00 AM 30 minute introduction & IndieWeb building blocks
- 9:30 AM 20 minute session pitches and scheduling
- 9:50 AM 10 minute break
- 10:00 AM 60 minute Session 1 (including 10 minute break)
- 11:00 AM 60 minute Session 2 (including 10 minute break)
- 12:00 PM 50 minute Session 3
- 12:50 PM 10 minute closing remarks
- 1:00 PM pop up finished
Hack day? Yes, we’ll all gather the following day for 3 hours at roughly the same time with a short demo session to follow for folks to show off what they’ve been working on. Details for this will be forthcoming.
Everyone is welcome to attend.
- Technology for attending
- IndieWeb Chat Room
- Etherpad: https://etherpad.indieweb.org/GardensAndStreams (for real time session planning, chat, questions, and note taking during the session)
- hashtag: #GardensAndStreams
- Code of Conduct: This event is covered by the IndieWeb Code of Conduct. By participating, you’re acknowledging your acceptance of this code.
- Notes and archived video for this session, once finished, can be found at https://indieweb.org/2021/Pop-ups/Gardens_and_Streams_II
- If your website supports it, post an indie RSVP as a reply to this post or to the event page.
- Or, log in to indieweb.org and on the event page click “I’m Going”.
- Or, RSVP your attendance to this syndicated Tweet
- Or, Add a comment below indicate that you’ll be attending.
And if none of the above methods means anything to you or you can’t log in to use them, don’t worry about it; just show up on the day!
Questions? Concerns? Volunteers?
h-book is an experimental microformat at best.
I might recommend for minimizing the vocabulary that one might use the existing
h-product instead and allow parsers to find an ISBN, Library of Congress book number, ASIN, UPC, or other product code to determine “bookness”.
Annotated on August 01, 2021 at 09:13AM
In preparation for Peer Review Week, I wanted to take a closer look at some of the collaborative community review experiments that have happened recently on PubPub. Finding new ways to harness engagement in scholarly communications is a goal of the Knowledge Futures Group, and inline annotation is a technology that I rely upon every day to organize my thoughts and track my online reading. I reached out to the authors of three forthcoming MIT Press books that have undergone this type of review during the last year. I was excited to learn about their experiences and to share some of their observations here.
These could be added to the example and experience of Kathleen Fitzpatrick.
“Criticism is a marker of respect and an acknowledgement that others see in us the ability to learn.” they noted. ❧
quote from Catherine D’Ignazio, Assistant Professor, Emerson College, and Lauren Klein, Associate Professor, Georgia Institute of Technology, authors of Data Feminism.
Annotated on June 21, 2021 at 07:57AM
He notes that authors of such projects should consider the return on investment. It take time to go through community feedback, so one needs to determine whether the pay off will be worthwhile. Nevertheless, if his next work is suitable for community review, he’d like to do it again. ❧
This is an apropos question. It is also somewhat contingent on what sort of platform the author “owns” to be able to do outreach and drive readers and participation.
Annotated on June 21, 2021 at 05:12PM
The next Cooking with H5P and Pressbooks webinar takes place Thursday, April 29 at 9:00 am PT (check for your local time). For this episode, we invited into the kitchen Steel Wagstaff, Educational Product Manager for Pressbooks. From his position, he will be able to share much about the features and capabilities of Pressbooks, how H5P integrates with it, examples worth looking at, and maybe some insight into future directions for the platform.
Let’s hear it for the electronic versions, which give us infinite space though!
They’ve just opened up the entire conference program with links to all of the sessions and videos for those who’d like to watch them.
You’ll see my presentation video embedded above. If you’d like you can also watch it in the custom player made for the conference, though I notice that it doesn’t replay the live chat.
Due to scheduling issues beyond my control just before the conference, I had to shorten my hour-long workshop down to a 20 minute talk. I intend to do a couple of separate hands-on workshops at upcoming Domain of Our Own meetups so that people can implement the moving pieces I demonstrate into their own websites. Let me know if you’re interested, and I’ll let you know when they’re scheduled.
I’m hoping that when the next conference rolls around at least some of us can participate using our own domains and not need to rely on Twitter’s infrastructure.
I posted a link to the slides last week if you’d like to follow along that way and have links to some of the resources. (You should also have access to some of my notes/rough transcript as well as alt-text for some of the images included.) The slides still have some context and links to portions of the original version that got cut out.
For those unaware of the conference or topics, it was two days of great presentations about the topics of Open Education Resources (OER) and A Domain of One’s Own which is focused on giving teachers and students to websites and underlying technology of their own for daily personal and professional use. Those interested in the IndieWeb may particularly find the Domains track enlightening. Others interested in teaching, pedagogy, and publishing will get a lot out of the OER tracks.
The publication of scientific results is an essential task of scientists. The peer review of a publication by other scientists ensures its quality. Their publication is proof of their achievements. In addition, it provides the basis for discussions within a scientific community and serves as a basis for further findings. It is therefore desirable for the publication to be dissiminated and received as widely as possible.