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From Wired, "When Josef Albers published Interaction of Color in 1963, it was nothing less than the gateway to an entire way of thinking...But the physical version of the book, which has been circulated primarily in paperback for the last four decades, needed an update. Yale University Press has just done that, by releasing a new iPad version of Albers’ famous texts and color studies. Designed by New York City-based Potion Design, the Interaction of Color app is about as close as most of us will get to the original version of Albers’ masterpiece, which today primarily lives in special collections and museums. The app is nearly an exact digital replica of the 1963 version of the book, down to the original Baskerville typeface and layout of the text columns—but with some 21st century upgrades. “We were really thinking, how can we go back to the original intent of Albers’ book, and make something that he would’ve made today,” says Phillip Tiongson, one of the founders of Potion."
INteresting Reddit Discussion... Does listening to an audiobook provide the same intellectual advantages or rewards as actually reading the book?
One comment points to this:
“The way this is usually interpreted is that once you are good at decoding letters into sound, which most of us are by the time we’re in 5th or 6th grade, the comprehension is the same whether it’s spoken or written,” explained University of Virginia psychology professor Dan Willingham
A new form of DRM developed in Germany alters words, punctuation and other text elements so that every consumer receives a unique version of an eBook. By examining these “text watermarks”, copies that end up on the Internet can be traced back to the people who bought and allegedly pirated them. The project is a collaboration between researchers, the book industry and the Government and aims to be a consumer-friendly form of DRM.
The Library of Congress has announced a transition to online-only publication of its cataloging documentation. As titles that are in production are released, the Library’s Cataloging Distribution Service (CDS) will no longer print new editions of its subject headings, classification schedules and other cataloging publications. The Library will instead provide free downloadable PDF versions of these titles.
For users desiring enhanced functionality, the Library’s two web-based subscription services, Cataloger’s Desktop and Classification Web, will continue as products from CDS.
In 2012, the Library of Congress conducted an extensive study on the impact and opportunities of changes in the bibliographic framework and the technological environment on the future distribution of its cataloging data and products. The Library’s transition from print to online-only for cataloging documentation is a response to a steadily declining customer base for print and the availability of alternatives made possible by advances in technology. This shift will enable the Library to achieve a more sustainable financial model and better serve its mission in the years ahead.
Beginning July 1, print publications that are currently sold through CDS will become available as free, downloadable PDF titles through the Library’s Acquisitions and Bibliographic Access Directorate website at www.loc.gov/aba/. Because all of the content cannot be made available simultaneously, the retrospective titles will be phased in over time as PDF files. -- Read More
In 2010, a reassuring study in fact found no difference in recall after reading material electronically versus paper. Now Sara Margolin and her colleagues have looked at reading comprehension and again found no deficits in understanding of material consumed on a Kindle or a computer versus paper.
Some of the problem stems from tradition. The people drawn to publishing as a professional are, by and large, book lovers, and as such, often as attached to books’ physicality as to their text. More is paranoia: unlike music, whose digital age developed largely in response to an already thriving pirate industry, book publishing has held back, waiting for reliable DRM that seems unlikely to materialize.
On some levels, their reluctance is pragmatic. The technology of digital publishing is awkward and inconsistent. The closest thing to a single file standard, e-pub, is still far from platform-agnostic and notorious for destroying formatting elements, which limits what writers and designers can do structurally if they’re planning for digital.
A recent survey found that half of all readers had no interest in buying e-books and that the vast majority of people who buy e-books continue to buy print books as well.
Among them are author Marilyn Johnson, who's written books about libraries (This Book Is Overdue) and the art of obituary writing (The Dead Beat). She says that "if you took my (physical) books away, I'd go crazy, but now that I've gotten hooked to readers (first a Kindle and now an iPad), I can't imagine doing without that (digital) library."
She finds her e-reader is essential when she's traveling. She even buys or borrows an e-book copy of a book she already owns "just to lighten my load and continue reading as I move through the landscape."
Johnson straddles any divide between print and digital.
Her ideal reading experience crosses all formats: "Hear the author read on an audiobook, read it myself on the page or e-reader, and own it in a beautiful dust jacket, alphabetized on a shelf, with my notes in the margins and an old review stuck in the pages, ready to be pulled down whenever I want."
Op-ed in the NYT: E-Books and Democracy by Anthony W. Marx (president of the New York Public Library)
WRESTLING with my newspaper on the subway recently, I noticed the woman next to me reading a book on her smartphone. “That has to hurt your eyes,” I commented. Not missing a beat, she replied, in true New York style, “My font is bigger than yours.” She was right.