Ashley Watson (watsona4)'s Public Profile in the Diigo Community

Member since Aug 24, 2009, follows 2 people, 1 public groups, 26 public bookmarks (26 total).

More »

Tags

Recent Tags:	typography(0), fonts(0), publishing(0), Times New Roman(0), type history(0), microsoft(0), Calibri(0), design(0), Writing_Sample(0), software(0), Bad Design(0), Miami(0), 680(0), WD Howells(0), gutenberg(0), applications(0), TimesNewRoman(0), infringing(0), book publishing(0)
Top Tags:	typography(16), fonts(11), publishing(9), type history(7), Times New Roman(7), microsoft(6), design(4), Calibri(4), Writing_Sample(3), Bad Design(2)

More »

Recent Bookmarks and Annotations

ban comic sans :: Putting the Sans in Comic Sans on 2009-12-24
The Nation: The Long Goodbye? The Book Business and its Woes : NPR on 2009-12-24
http://www.gutenberg.org/files/724/724.txt on 2009-12-13
- A man's art should be his privilege,
  when he has proven his fitness to exercise it, and has otherwise earned
  his daily bread; and its results should be free to all.
- He puts on a bold
  front with the world, to be sure, and brazens it out as Business; but
  he knows very well that there is something false and vulgar in it;
- 64 more annotations...
- - He can say that, as the thing is,
    unless he sells his art he cannot live, that society will leave him to
    starve if he does not hit its fancy in a picture, or a poem, or a
    statue; and all this is bitterly true.
  - Business is the opprobrium of
    Literature.
  - It is perfectly true that the poem was not written
    for these dollars, but it is perfectly true that it was sold for them.
  - Still, I doubt if there are enough to affect the
    fact that Literature is Business as well as Art, and almost as soon.
  - Besides, as an artist he has
    been done a great deal already; and a commercial state like ours has
    really more concern in him as a business man.
  - It is easy to write a
    thousand words a day, and supposing one of these authors to work
    steadily, it can be seen that his net earnings during the year would
    come to some such sum as the President of the United States gets for
    doing far less work of a much more perishable sort.
  - But, unfortunately,
    from a business point of view, he is also an artist, and the very
    qualities that enable him to delight the public disable him from
    delighting it uninterruptedly.
  - Very often it shall happen that his mind will lie fallow between novels
    or stories for weeks and months at a stretch; when the suggestions of
    the friendly editor shall fail to fruit in the essays or articles
    desired; when the muse shall altogether withhold herself, or shall
    respond only in a feeble dribble of verse which he might sell indeed,
    but which it would not be good business for him to put on the market.
  - so humiliating to an author in the presence of a
    nation of business men like ours
  - international copyright
    law
  - but I think, then, that all
    property should be defended by civil suit, and should become public
    after forty-two years of private tenure.
  - But many authors
    live now, and live prettily enough, by the sale of the serial
    publication of their writings to the magazines.
  - But he understands perfectly
    well that his reward is in the serial and not in the book; the return
    from that he may count as so much money found in the road--a few
    hundreds, a very few thousands, at the most.
  - The book, except in very rare
    instances, makes nothing like the return to the author that the
    magazine makes, and there are but two or three authors who find their
    account in that form of publication.
  - The old-fashioned people
    who flatter themselves upon their distinction in not reading magazine
    fiction, or magazine poetry, make a great mistake, and simply class
    themselves with the public whose taste is so crude that they cannot
    enjoy the best.
  - All this may change again, but at
    present the magazines--we have no longer any reviews--form the most
    direct approach to that part of our reading public which likes the
    highest things in literary art
  - are more refined than the book
    readers in our community;
  - men of aesthetic conscience, and of generous
    sympathy.
  - but the unknown man of force and quality is of all others the man whom
    the editor welcomes to his page
  - there must be a constant
    infusion of fresh life
  - Editors are not men of infallible
    judgment
  - Many factitious and fallacious literary
    reputations have been made through books, but very few have been made
    through the magazines, which are not only the best means of living, but
    of outliving, with the author; they are both bread and fame to him.
  - good novel will have wider acceptance as a book from having
    been a magazine serial.
  - I am not sure that the decay of the book is not owing somewhat to the
    decay of reviewing.
  - Under the regime of the great literary periodicals the prosperity of
    literary men would be much greater than it actually is, if the
    magazines were altogether literary.
  - ery probably this is because
    even the highest class of readers, who are the magazine readers, have
    small love of pure literature, which seems to have been growing less
    and less in all classes.
  - o not, altogether, want enough literature to justify the best business
    talent in devoting itself to belles-lettres, to fiction, or poetry, or
    humorous sketches of travel, or light essays; business talent can do
    far better in drygoods,
  - Usually, the price is so much a thousand words, a
    truly odious method of computing literary value, and one well
    calculated to make the author feel keenly the hatefulness of selling
    his art at all.
  - The
    pressure is so great in these avenues to the public favor that one,
    two, three years, are no uncommon periods of delay.
  - but if a book is vulgar enough in sentiment, and crude
    enough in taste, and flashy enough in incident, or, better or worse
    still, if it is a bit hot in the mouth, and promises impropriety if not
    indecency, there is a very fair chance of its success; I do not mean
    success with a self-respecting publisher, but with the public, which
    does not personally put its name to it, and is not openly smirched by
    it.
  - It is human nature, as
    competition has deformed human nature, for the publisher to wish the
    author to take all the risks, and he possibly proposes that the author
    shall publish it at his own expense, and let him have a percentage of
    the retail price for managing it.
  - The author
    has no right to complain of this, in the case of his first book, which
    he is only too grateful to get accepted at all. If it succeeds, he has
    himself to blame for making the same arrangement for his second or
    third; it is his fault, or else it is his necessity, which is
    practically the same thing. It will be business for the publisher to
    take advantage of his necessity quite the same as if it were his fault;
    but I do not say that he will always do so; I believe he will very
    often not do so.
  - In
    fact, after all those charges for composition, corrections, paper,
    printing, binding, advertising, and editorial copies, there was a most
    ingenious and wholly surprising charge of ten per cent. commission on
    sales, which reduced my half from pounds to shillings, and handsomely
    increased the publisher's half in proportion.
  - I do not now dispute the
    justice of the charge.
  - I will confess that I have such
    inordinate expectations of the sale of my books which I hope I think
    modestly of, that the sales reported to me never seem great enough.
    The copyright due me, no matter how handsome it is, appears deplorably
    mean, and I feel impoverished for several days after I get it.
  - It may be of a vital
    interest, without being at all the kind of book people want to buy; it
    may be the kind of book that they are content to know at second hand;
    there are such fatal books; but hearing so much, and reading so much
    about it, the author cannot help hoping that it has sold much more than
    the publisher says.
  - While one is preparing to sell his basket of glass, he may as well ask
    himself whether it is better to part with all to one dealer or not; and
    if he kicks it over, in spurning the imaginary customer who asks the
    favor of taking entire stock, that will be his fault, and not the fault
    of the question.
  - However, the most important question of all with the man of letters as
    a man of business, is what kind of book will sell the best of itself,
    because, at the end of the ends, a book sells itself or does not sell
    at all; kissing, after long ages of reasoning and a great deal of
    culture, still goes by favor, and though innumerable generations of
    horses have been led to water, not one horse has yet been made to
    drink.
  - The book may be one of the best and wisest books in
    the world, but if it has not this sort of appeal in it, the readers of
    it, and worse yet, the purchasers, will remain few, though fit.
  - The best that you can do
    is to write the book that it gives you the most pleasure to write, to
    put as much heart and soul as you have about you into it, and then hope
    as hard as you can to reach the heart and soul of the great multitude
    of your fellow-men. That, and that alone, is good business for a man
    of letters.
  - It is the case of a
    novelist whose work seems to me of the best that we have done in that
    sort, whose books represent our life with singular force and singular
    insight, and whose equipment for his art, through study, travel, and
    the world, is of the rarest. He has a strong, robust, manly style; his
    stories are well knit, and his characters are of the flesh and blood
    complexion which we know in our daily experience; and yet he has failed
    to achieve one of the first places in our literature;
  - The man of letters must make up his mind that in the United States the
    fate of a book is in the hands of the women.
  - It is the women with us
    who have the most leisure, and they read the most books. They are far
    better educated, for the most part, than our men, and their tastes, if
    not their minds, are more cultivated. Our men read the newspapers, but
    our women read the books; the more refined among them read the
    magazines. If they do not always know what is good, they do know what
    pleases them, and it is useless to quarrel with their decisions, for
    there is no appeal from them. To go from them to the men would be
    going from a higher to a lower court, which would be honestly surprised
    and bewildered, if the thing were possible. As I say, the author of
    light literature, and often the author of solid literature, must resign
    himself to obscurity unless the ladies choose to recognize him. Yet it
    would be impossible to forecast their favor for this kind or that. Who
    could prophesy it for another, who guess it for himself? We must
    strive blindly for it, and hope somehow that our best will also be our
    prettiest; but we must remember at the same time that it is not the
    ladies' man who is the favorite of the ladies.
  - I hope that I have not been hinting that the author who approaches
    literature through journalism is not as fine and high a literary man as
    the author who comes directly to it, or through some other avenue; I
    have not the least notion of condemning myself by any such judgment.
    But I think it is pretty certain that fewer and fewer authors are
    turning from journalism to literature, though the entente cordiale
    between the two professions seems as great as ever.
  - most journalists would have been literary men if they could,
  - The literary man has certainly no complaint to make of the newspaper
    man, generally speaking. I have often thought with amazement of the
    kindness shown by the press to our whole unworthy craft, and of the
    help so lavishly and freely given to rising and even risen authors. To
    put it coarsely, brutally, I do not suppose that any other business
    receives so much gratuitous advertising, except the theatre.
  - It is
    enormous, the space given in the newspapers to literary notes, literary
    announcements, reviews, interviews, personal paragraphs, biographies,
    and all the rest, not to mention the vigorous and incisive attacks made
    from time to time upon different authors for their opinions of
    romanticism, realism, capitalism, socialism, Catholicism, and
    Sandemanianism.
  - In spite of the fact that short stories when gathered into a volume and
    republished would not sell so well as a novel, the short story
    flourished, and its success in the periodicals began to be felt in the
    book trade: volumes of short stories suddenly began to sell.
  - A permanent decline in the market for a kind of literary art which we
    have excelled in, or if we have not excelled, have done some of our
    most exquisite work, would be a pity.
  - Travel itself has become so universal that
    everybody, in a manner, has been everywhere, and the foreign scene has
    no longer the charm of strangeness.
  - I am rather more confident about the decline of another literary
    species, namely, the light essay.
  - but the kind I mean, the slightly humorous,
    gentle, refined, and humane kind, seems no longer to abound as it once
    did.
  - Without a
    great name behind it, I am afraid that a volume of essays would find
    few buyers, even after the essays had made a public in the magazines
  - In view of this fact it become again very hard to establish the
    author's status in the business world, and at moments I have grave
    question whether he belongs there at all, except as a novelist.
  - A man remains in a measure strange to himself as long as he
    lives, and the very sources of novelty in his work will be within
    himself; he can continue to give it freshness in no other way than by
    knowing himself better and better
  - The novelist,
    then, is a man of letters who is like a man of business in the
    necessity of preparation for his calling, though he does not pay
    store-rent, and may carry all his affairs under his hat, as the phrase
    is. He alone among men of letters may look forward to that sort of
    continuous prosperity which follows from capacity and diligence in
    other vocations; for story-telling is now a fairly recognized trade,
    and the story-teller has a money-standing in the economic world. It is
    not a very high standing, I think, and I have expressed the belief that
    it does not bring him the respect felt for men in other lines of
    business.
  - The difficulty about payment, as I have hinted, is that literature has
    no objective value really, but only a subjective value, if I may so
    express it.
  - All people must be fed,
    and all people must be clothed, and all people must be housed; and so
    meat, raiment, and shelter are things of positive and obvious
    necessity, which may fitly have a market price put upon them. But
    there is no such positive and obvious necessity, I am sorry to say, for
    fiction, or not for the higher sort of fiction.
  - The only thing that gives either writer positive value is
    his acceptance with the reader; but the acceptance is from month to
    month wholly uncertain. Authors are largely matters of fashion, like
    this style of bonnet, or that shape of gown. Last spring the dresses
    were all made with lace berthas, and Smith was read; this year the
    butterfly capes are worn, and Jones is the favorite author. Who shall
    forecast the fall and winter modes?
  - After all, and in spite of my vaunting title, is the man of letters
    ever a business man?
  - The
    quality of the thing has nothing to do with the economic nature of the
    case; the author is, in the last analysis, merely a workingman, and is
    under the rule that governs the workingman's life. If he is sick or
    sad, and cannot work, if he is lazy or tipsy and will not, then he
    earns nothing. He cannot delegate his business to a clerk or a
    manager; it will not go on while he is sleeping. The wage he can
    command depends strictly upon his skill and diligence.
  - I am glad and proud to
    be of those who eat their bread in the sweat of their own brows, and
    not the sweat of other men's brows; I think my bread is the sweeter for
    it. In the meantime I have no blame for business men; they are no more
    of the condition of things than we workingmen are; they did no more to
    cause it or create it; but I would rather be in my place than in
    theirs, and I wish that I could make all my fellow-artists realize that
    economically they are the same as mechanics, farmers, day-laborers.
  - Nevertheless, and most distinctly, we are not of
    the classes. Except in our work, they have no use for us; if now and
    then they fancy qualifying their material splendor or their spiritual
    dulness with some artistic presence, the attempt is always a failure
    that bruises and abashes. In so far as the artist is a man of the
    world, he is the less an artist, and if he fashions himself upon
    fashion, he deforms his art. We all know that ghastly type; it is more
    absurd even than the figure which is really of the world, which was
    born and bred in it, and conceives of nothing outside of it, or above
    it. In the social world, as well as in the business world, the artist
    is anomalous, in the actual conditions, and he is perhaps a little
    ridiculous.
  - Perhaps he will never be at home anywhere in the world as
    long as there are masses whom he ought to consort with, and classes
    whom he cannot consort with. The prospect is not brilliant for any
    artist now living, but perhaps the artist of the future will see in the
    flesh the accomplishment of that human equality of which the instinct
    has been divinely planted in the human soul.
Amazon.com: Adult Bikes: Mountain Bikes, Road Bikes, BMX Bikes, Cruiser Bikes, Specialty Cycles, Comfort Bikes & More on 2009-12-05
- 19.
  
  Lamborghini Rapido Road Bike
  
  Buy new: $249.99 - $265.31
  
  Eligible for FREE Super Saver Shipping.
  
  (13)
  
  › Show only Tonino Lamborghini items
  
  20.
  
  Schwinn Midmoor Men's Hybrid Bike (700c Wheels)
  
  Buy new: ~~$239.99~~ $224.49
  
  4 new
  from $224.49
  
  1 used
  from $226.99
  
  Eligible for FREE Super Saver Shipping.
  
  (11)
  
  › Show only Schwinn items
  
  21.
  
  Diamondback Della Cruz Women's Beach Cruiser Bike (26-Inch Wheels)
  
  Buy new: ~~$274.99~~ $159.99
  
  2 new
  from $159.99
  
  Eligible for FREE Super Saver Shipping.
  › Show only DiamondBack items
A Pedagogy of Multiliteracies: Designing Social Futures on 2009-11-28
- The authors maintain that the use of
  multiliteracies approaches to pedagogy will enable students to achieve the
  authors' twin goals for literacy learning: creating access to the evolving
  language of work, power, and community, and fostering the critical engagement
  necessary for them to design their social futures and achieve success through
  fulfilling employment.
- First, we want to extend the idea and scope of literacy pedagogy to account for
  the context of our culturally and linguistically diverse and increasingly
  globalized societies, for the multifarious cultures that interrelate and the
  plurality of texts that circulate. Second, we argue that literacy pedagogy now
  must account for the burgeoning variety of text forms associated with
  information and multimedia technologies. This includes understanding and
  competent control of representational forms that are becoming increasingly
  significant in the overall communications environment, such as visual images and
  their relationship to the written word - for instance, visual design in desktop
  publishing or the interface of visual and linguistic meaning in multimedia.
  Indeed, this second point relates closely back to the first; the proliferation
  of communications channels and media supports and extends cultural and
  subcultural diversity.
- 14 more annotations...
- - Two main arguments, then, emerged in our discussions. The first relates to
    the increasing multiplicity and integration of significant modes of
    meaning-making, where the textual is also related to the visual, the audio, the
    spatial, the behavioral, and so on.
  - Second, we decided to use the term "multiliteracies" as a way to focus on the
    realities of increasing local diversity and global connectedness. Dealing with
    linguistic differences and cultural differences has now become central to the
    pragmatics of our working, civic, and private lives
  - The key
    concept we introduce is that of Design, in which we are both inheritors of
    patterns and conventions of meaning and at the same time active designers of
    meaning. And, as designers of meaning, we are designers of social futures -
    workplace futures, public futures, and community futures.
  - We have also decided to use the term design to describe the forms of meaning
    because it is free of the negative associations for teachers of terms such as
    "grammar." It is a sufficiently rich concept upon which to found a language
    curriculum and pedagogy. The term also has a felicitous ambiguity: it can
    identify either the organizational structure (or morphology) of products, or the
    process of designing. Expressions like "the design of the car," or "the design
    of the text," can have either sense: the way it is - has been - designed,
    or the process of designing it. We propose to treat any semiotic activity,
    including using language to produce or consume texts, as a matter of Design
    involving three elements: Available Designs, Designing, and The Redesigned.
    Together these three elements emphasize the fact that meaning-making is an
    active and dynamic process, and not something governed by static
    rules.
    This framework is based upon a particular theory of discourse. It sees
    semiotic activity as a creative application and combination of conventions
    (resources - Available Designs) that, in the process of Design, transforms at
    the same time it reproduces these conventions (Fairclough, 1992a, 1995). That
    which determines (Available Designs) and the active process of determining
    (Designing, which creates The Redesigned) are constantly in tension. This theory
    fits in well with the view of social life and social subjects in fast-changing
    and culturally diverse societies, which we described
    earlier.
  - Available Designs - the
    resources for Design - include the "grammars" of various semiotic systems: the
    grammars of languages, and the grammars of other semiotic systems such as film,
    photography, or gesture. Available Designs also include "orders of discourse"
    (Fairclough, 1995). An order of discourse is the structured set of
    conventions associated with semiotic activity (including use of language) in a
    given social space - a particular society, or a particular institution such as a
    school or a workplace, or more loosely structured spaces of ordinary life
    encapsulated in the notion of different lifeworlds. An order of discourse is a
    socially produced array of discourses, intermeshing and dynamically interacting.
    It is a particular configuration of Design elements. An order of discourse can
    be seen as a particular configuration of such elements. It may include a mixture
    of different semiotic systems - visual and aural semiotic systems in combination
    with language constitute the order of discourse of TV, for instance. It may
    involve the grammars of several languages - the orders of discourse of many
    schools, for example.
  - Within orders of discourse there are particular Design conventions -
    Available Designs - that take the form of discourses, styles, genres, dialects,
    and voices, to name a few key variables. A discourse is a configuration
    of knowledge and its habitual forms of expression, which represents a particular
    set of interests. Over time, for instance, institutions produce discourses -
    that is, their configurations of knowledge. Style is the configuration of
    all the semiotic features in a text in which, for example, language may relate
    to layout and visual images. Genres are forms of text or textual
    organization that arise out of particular social configurations or the
    particular relationships of the participants in an interaction. They reflect the
    purposes of the participants in a specific interaction. In an interview, for
    example, the interviewer wants something, the interviewee wants something else,
    and the genre of interview reflects this. Dialects may be region or age
    related. Voice is more individual and personal, including, of course,
    many discursive and generic factors.
  - The process of shaping emergent
    meaning involves re-presentation and recontextualization. This is never simply a
    repetition of Available Designs. Every moment of meaning involves the
    transformation of the available resources of meaning. Reading, seeing, and
    listening are all instances of Designing
  - Designing always involves the transformation of Available
    Designs; it always involves making new use of old
    materials.
  - In trying to characterize game and genre, we should start from the social
    context, the institutional location, the social relations of texts, and the
    social practices within which they are embedded. Genre is an intertextual aspect
    of a text. It shows how the text links to other texts in the intertextual
    context, and how it might be similar in some respects to other texts used in
    comparable social contexts, and its connections with text types in the order(s)
    of discourse. But genre is just one of a number of intertextual aspects of a
    text, and it needs to be used in conjunction with others, especially
    discourses
  - hrough these processes of Design, moreover, meaning-makers remake
    themselves. They reconstruct and renegotiate their identities.
  - Designs of
    Meaning
    
    Available
    Designs:
    Resources for meaning; Available Designs of
    meaning
    Designing:
    The work performed on/with Available Designs in
    the
    semiotic
    process
    The
    Redesigned:
    The resources that are reproduced and
    transformed
  - Teachers and students need a language to describe the forms of meaning that
    are represented in Available Designs and The Redesigned. In other words, they
    need a metalanguage - a language for talking about language, images,
    texts, and meaning-making interactions.
  - Furthermore, the primary purpose of the metalanguage should be to identify
    and explain differences between texts, and relate these to the contexts of
    culture and situation in which they seem to work. The metalanguage is not to
    impose rules, to set standards of correctness, or to privilege certain
    discourses in order to "empower" students.
  - The outcome of Designing is a
    new meaning, something through which meaning-makers remake themselves. It is
    never a reinstantiation of one Available Design or even a simple recombination
    of Available Designs. The Redesigned may be variously creative or reproductive
    in relation to the resources for meaning-making available in Available Designs.
    But it is neither a simple reproduction (as the myth of standards and
    transmission pedagogy would have us believe), nor is it simply creative (as the
    myths of individual originality and personal voice would have us believe). As
    the play of cultural resources and uniquely positioned subjectivity, The
    Redesigned is founded on historically and culturally received patterns of
    meaning. At the same time it is the unique product of human agency: a
    transformed meaning. And, in its turn, The Redesigned becomes a new Available
    Design, a new meaning-making resource.
LucasFonts | Case Studies > Calibri + Consolas on 2009-11-15
» The end of an era for Times New Roman? » fadtastic - a multi-author web design trends journal on 2009-11-15
» The Secret Lives of Fonts » fadtastic - a multi-author web design trends journal on 2009-11-15
Poynter Online - Visual Voice on 2009-11-15
Times New Roman vs Calibri… the Word 2007 Default Font Showdown » Office 2007 & 2010 Help – The New Paperclip on 2009-11-15

More »

Groups

Diigo In Education

3652 members, 3079 items

“Diigo In Education” - Phase I just released. More to come.. Share your classroom usecase, ideas, reviews, features, and wishlists for making Diigo a great resource and platform in teaching and learning. Let's explore the full potential of Diigo as an educational tool.