January 2012

Elsevier’s Publishing Model Might be About to Go Up in Smoke

Elsevier’s Publishing Model Might be About to Go Up in Smoke
No, there isn’t a monopoly on scientific journal publishing: but there is on the last 50 to 60 years’ worth of papers that have been published and are now copyright of said publisher. This is leveraged into the power to make college libraries pay eyewatering amounts for subscriptions.

There’s not much new about this analysis and investors in Reed Elsevier, the owners of Elsevier, either do or should know all of this.

However, there’s something hapening that might change this, for Reed Elsevier shareholders, quite delightful position. That is, a revolt of the academics who provide both the papers and the readership.

The Future of the Book Is the Stream

The Future of the Book Is the Stream
Cloud storage is paving the way for books that are sold not by title, but by time.

What Netflix’s Watch Instantly has done for movies, and what Spotify has done for music, Audiobooks could do for books. The service has the potential to reframe book-buying as a transactional thing, making it less about purchasing an object, and more about purchasing an experience. In fact — convergence!

LISTen: An LISNews.org Program — Episode #184

This week’s somewhat truncated episode brings a spoken message from the siteowner, Blake Carver. A brief news miscellany is also presented.

Direct episode download link: MP3

Related links:
EFF on major changes at Twitter
Evan Prodromou on making one’s own microblog platform
Dave Winer: Get The Tech Back In Tech
WSJ on fears of hacker vigilantism

Creative Commons License
LISTen: An LISNews.org Program — Episode #184 by The Air Staff of Erie Looking Productions is licensed under a Creative Commons Attribution-ShareAlike 3.0 United States License.

Fragmentary: Writing in a Digital Age

More and more, I read in pieces. So do you. Digital media, in all its forms, is fragmentary. Even the longest stretches of text online are broken up with hyperlinks or other interactive elements (or even ads). This is neither a good nor bad thing, necessarily — it is simply a part of modern reading. And because of that, works that deal with fragmentation, that eschew not only a traditional narrative structure but the very idea of a work comprising a single, linear whole — take on a special kind of relevance. Fragmentary writing is (or at least feels) like the one avant-garde literary approach that best fits our particular moment. It’s not that it’s the only form of writing that matters of course, just that it captures the tension between “digital” and “analog” reading better than anything else out there. And that tension, in many ways, is the defining feature of the contemporary reading experience.

Full essay here.