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Kathi Berens

Kathi Berens's Public Library

  • 03/29/2013
  • I've used Goodreads for about three years now, but today I made the decision to permanently delete my account.
  • It was preferable to other similar sites because you could add an unlimited number of books to your account for free.

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  • Creative Commons license
  • Back in 2003
  • Down and Out in the Magic Kingdom (Tor) was released as a freely shareable e-book the same day it came out in stores

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  • "For short stories it compares very favorably,"
  • This new experiment has already made him $10,000 — and it hasn't even come out yet.
  • I'm thinking $70,000 to $80,000 net

  • "A publisher makes a work public, it connects a work and an audience"
  • Tor a
  • is essentially in three businesses

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  • As 2015 begins, we once again anticipate a year of growth, despite some concerns about market saturation
  • he current challenges facing indie authors in an increasingly crowded market,
  • Wattpad

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  • why I think the output includes so much tosh
  • The key difference in self-publishing is that it’s the author who is assuming responsibility for what is shared, without the hand-holding of a traditional publisher. It’s where the buck stops.
  • 2. Making content available is not the same as making it readable

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  • Particularly notable is that when Krakauer's book hit shelves, Simpson's was nearly out of print. A few years ago, readers of Krakauer would never even have learned about Simpson's book - and if they had, they wouldn't have been able to find it. Amazon changed that. It created the Touching the Void phenomenon by combining infinite shelf space with real-time information about buying trends and public opinion. The result: rising demand for an obscure book.

  • BuzzFeed is a successful company. And it is not only that: BuzzFeed is the rare example of a news organization that changes the way the news industry works. While it may not turn the largest profits or get the biggest scoops, it is shaping how other organizations sell ads, hire employees, and approach their work.
  • BuzzFeed is the most influential news organization in America today because the Internet is the most influential medium—and, in some crucial ways, BuzzFeed demonstrates an understanding of that medium better than anyone else.
  • In their respective eras, Time, USA Today, and MTV were all revolutionary

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  • It was Alan Liu’s heartfelt act of public bereavement that most clearly articulated what I sought in this protest bot:
  • The problem with Dylan wasn’t that he had gone electric. It was that he wasn’t specific. You never really knew what the hell he was singing about
  • The sparsely produced album was called All the News That’s Fit to Sing

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  • Here is the thing about how discrimination works: No one ever comes right out and says, “We don’t want you.”
  • I was surprised by how repeatedly I was asked to whitewash the story, to make my book seem more relatable to audiences, as if none of those audiences had people like me in them.
  • the assumption that the average American looks nothing like me.

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  • I am proposing that feminist  inquiry can help us articulate and better understand the epistemologies in digital  humanities and information science that are shaping the infrastructures we are  building and using in the humanities.
  • Yet, from a feminist perspective, we are ultimately responsible not only to  be self-conscious or self-aware of technologies as "ways of  life, social orders, practices of visualization" but "to become answerable to what we learn how to  see"
  •  [Haraway 1988, 583].

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  • As suggested by Bianco,  Dean, and Clement, a more robust theorization of feminist digital  humanities requires understanding the ways in which academic  structures subsume feminist innovation and critique, appropriating  both the insights and power of subversive work.

  • Their assessments, as well as ratings from about 700 other reviewers around the United States, are later fed back to the team in California, all in the service of improving Facebook’s News Feed algorithm, the software that delivers personalized streams of content.
  • hooked
  • by asking users themselve

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  • the most critical differences in evolving interactivity are not located there, but in the ability to capture, process, transmit, and introduce at a satisfying oscillatory tempo, all the while maintaining what Utterback calls “human presence.”
  • what people learn online, managing their e-networked lives, as they do their physically networked lives, will carry over into other kinds of physical computing situations.
  • the ethics of interactivity, the ethics for developing new interactive situations, depend upon discovering stances or points of view that can credibly represent all of the elements in a networked system. Otherwise, the play of forces we are familiar with is programmed into, engineered into, evolving scenes of interaction. To a degree, of course, this has already occurred. Can we intervene by taking up what has been called a “critical technical practice,” a critical technical artistic practice?

  • As an electronic poet, I want to do the same thing, not from the position of Bush, outside the device, but from the position of the stenographer, attached to it. In her body, words moved through her as she moved, a fluent circuit of meaning that she hosted, instigated, permitted, understood, explored, and enjoyed.
  • Might not these currents be intercepted, either in the original form in which information is conveyed to the brain, or in the marvelously metamorphosed form in which they then proceed to the hand?
  • the threat of obsessive recombination and confusion, the multiple overlapping streams of speech she is asked to transcribe.

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  • This time is different for each sensory modality. The modalities also   interact with each other, and a lot of Web art explores these interactions   through the use of micro-manipulated streaming sonic and cinematic effects.
  • The time   needed to relate and integrate signals from these separate regions is   called the relaxation or holding time, during which perceptual flashes are   spread and organized by cell assemblies to create the synchronized firing   we need in order to act, to move our mouse for instance. Again, from a   mathematically intractable number of possibilities, many competing   cell-assemblies, the interaction of external gradient and internal rules   yields one particular "now," without the assistance of either an internal   or external clock — synchronization occurring rather by resonance, by what   Goethe would have called "elective affinities."
  • the way, on another level, Web traffic communicates a social environment.

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  • There is no digital poetry in the most frequently cited list. Although the time lag is a probable explanation for this absence, another perhaps more compelling explanation is that the diversity of electronic literature has increased so drastically in the last 10-15 years that although the genre of digital poetry is well represented, no single work becomes emblematic.
  • This suggests that we are not simply seeing a shift away from narrative to poetry, but also an increased interest in combinatory practices.

  • If you've ever moved classroom chairs into a circle rather than rows, you know that the physical design of the classroom shapes student discussion. In computational terms: you ask students to move their chairs (classroom hardware) into a circle (software) so their attention spreads from the podium to other students (an action) that leads students to talk directly with each other (an output). In this sense and many others, the classroom is an interface: a point of contact where meaningful actions happen between students, teachers, ideas and technologies, and between our virtual and physical selves.
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