If you’re intrigued, as I am, by the trailer for David Fincher’s upcoming The Social Network, and if part of what compels you about the trailer is the musical score—a choral version of Radiohead’s “Creep”—you’ll be happy to know you can purchase said song via emusic.com: On The Rocks is the album, “Creep” is the track, and Scala, a Belgian all-teenage-girl choir, are the artists. Highly recommended.
P.S. If emusic.com had an affiliate program, I’d have free music for life.
Update! Episode 14 is now available for your listening and viewing pleasure at 5by5.tv.
Josh Williams, founder of Gowalla, is our guest at 1:00 PM ET today, July 29, in Episode 14 of The Big Web Show. Whether you’re a social media user/creator, an entrepreneur, an application developer, an iconist or illustrator, a freelancer with big dreams, an API wizard, a devotee of marketing 2.0, a web designer, a Gowalla fan, or what, you won’t want to miss this episode.
The Big Web Show is taped in front of a live internet audience, and you can be part of it. Join co-host Dan Benjamin and me at 1:00 PM ET today to participate in the live taping of Episode 14.
If you miss the live taping, you can watch the show on our website or via iTunes later tonight.
The Big Web Show (“Everything Web That Matters”) is taped live in front of an internet audience every Thursday at 1:00 PM ET on live.5by5.tv. Edited episodes can be watched afterwards (often within hours of taping) via iTunes (audio feed | video feed) and the web.
Above, page one of “A Scandal in Bohemia,” the first story in Sir Arthur Conan Doyle’s Adventures of Sherlock Holmes, as seen in Stanza, a free reader for iPad and iPhone. Stanza has a simple interface for finding, buying (and downloading free) e-books.
Stanza lets you control font size and choose from a number of templates offering a useful variety of foreground and background color and contrast. As the screenshot shows, it also lets you set text ragged right, which is the most legible setting for onscreen text.
Below, the same page in iBooks, the reader that comes with iPad. As one would expect from the company that brought us iTunes, the iBooks application has a slick interface for buying (and downloading free) e-books. But as a reader, it is currently less feature-rich, and thus less usable and less pleasing, than Stanza.
In iBooks, one cannot turn off full justification. While full justification is lovely in carefully produced printed books, it has a long history of bad aesthetics and poor usability on the screen. Given a sufficiently wide measure, full justification can be used onscreen for short passages, but it is inappropriate for anything beyond a paragraph or two.
Combine full justification with a single high-contrast template, and you have a reader that is better to look at than to read. Indeed, the 1.0 version of iBooks seems more like a flashy demo intended to wow potential iPad purchasers in the store than an application designed to provide book lovers with a viable alternative to print.
One suspects that future upgrades of iBooks will address these concerns. Meanwhile, if you intend to do serious reading on your iPad (or iPhone/Touch), download Stanza for free from the iTunes store.
Addendum: One wonders what will become of Stanza given Amazon’s ownership of the parent company. More here. Best scenario: the Kindle reader incorporates excellent Stanza features, while Stanza continues to operate as an alternative to Kindle, iBooks, et al.
As an experiment in new new media thinking, I recently crowdsourced a new new literature version of Charles Dickens’s musty old old old lit chestnut, Great Expectations—the familiar tale of Pip, Ms Havisham, the convict Magwitch, et al.
Creative excellence and spin-worthy results required a pool of 10,000 people who had never read Great Expectations. Fortunately, I had access to 10,000 recent American college graduates, so that was no problem.
To add a dab of pseudoscience and appeal obliquely to the copyleft crowd, I remixed the new work’s leading literary themes with the top 20 Google search queries, using an algorithm I found in the mens room at Penn Station.
The result was a work of pure modern genius, coming soon to an iPad near you. (Profits from the sale will be used to support Smashing Magazine’s footer and sidebar elements.)
Gone was the fusty old title. Gone were the cobwebbed wedding cake and other dare I say emo images. It was goodbye to outdated characters like Joe the blacksmith and the beautiful Estella, farewell to the love story and the whole careful parallel between that thing and that other thing.
Gone too was the tired old indictment of the Victorian class system, and by implication of all economic and social systems that separate man from his brothers in Christ, yada yada. As more than one of my young test subjects volunteered in a follow-up survey, “Heard it.”
In place of these obsolete narrative elements, the students and the prioritized Google searches created, or dare I say curated, a tale as fresh as today’s algorithmically generated headlines.
The results are summarized in the table below.
Old Great Expectations
New Great Expectations
On Christmas Eve, Pip, an orphan being raised by his sister, encounters the convict Magwitch on the marshes.
The convict compels Pip to steal food from his sister’s table, and a file from her husband the blacksmith’s shop. Pip thereby shares the convict’s guilt and sin—but his kindness warms the convict’s heart.
Guy on girl
Pip’s sister, Mrs. Joe, abuses him. Her husband loves Pip but is unable to protect him or offer him a future beyond blacksmithing.
Girl on girl (multiple entries)
Pip meets Miss Havisham, an old woman abandoned on her wedding day, who sits in her decrepit house, wearing a yellowing wedding gown, her only companion the beautiful and mysterious girl Estella. Pip falls in love with Estella, but Miss Havisham has trained the girl to break men’s hearts.
Guy on guy
Pip visits Miss Havisham until his apprenticeship with Joe the blacksmith begins. Pip hates being a blacksmith and worries that Estella will see him as common.
Two girls, one guy
Mrs Joe suffers a heart attack that leaves her mute. A kind girl named Biddy comes to take care of Mrs Joe. After Mrs Joe’s death, Biddy and Joe will marry. Meanwhile, Pip comes into an unexpected inheritance and moves to London, where he studies with a tutor and lives with his friend Herbert.
Pip believes Miss Havisham is his benefactor and that she intends him to marry Estella, whom he still adores. Day by day, Estella grows more cruel. Pip never tells her of his love for her.
One stormy night, Pip discovers that his benefactor is not Miss Havisham but the convict Magwitch. The news crushes Pip, but he dutifully allows Magwitch to live with him—worrying, all the while, because Magwitch is a wanted man who will be hanged if discovered.
Miss Havisham repents having wasted her life and perverted Estella. She is caught in a fire. Pip heroically saves her but she later dies from her burns. Soon afterwards, Pip and Herbert try to help Magwitch escape, but Magwitch’s old enemy Compeyson—who happens to be the man who abandoned Miss Havisham at the altar—betrays Magwitch to the authorities. Magwitch and Compeyson struggle. Compeyson dies and Magwitch is taken to prison.
Pip now realizes that Magwitch is a decent man and tries to make Magwitch’s last years happy ones. He also discovers that Magwitch is Estella’s father. Magwitch dies in prison shortly before he was to be executed. Pip tells the dying Magwitch of his love for Estella.
Pip becomes ill and is nursed back to health by Joe, whom Pip recognizes as a good man in spite of his lack of education and “class.” Pip goes into business overseas with Herbert. Eventually he returns to England and visits Joe, who has married Biddy. They have a child named Pip. As the book ends, the middle-aged Pip makes one last visit to Miss Havisham’s house, where he discovers an older and wiser Estella. There is the implication that Pip and Estella may finally be together.
In Publishers Weekly, blogger, novelist, and bon vivant Cory Doctorow discusses price discrimination(“the idea that you make more money by segmenting your customers based on how much they’re willing to spend”) and demand elasticity (“the straightforward idea that new customers will come into your shop if you lower prices”) and the roles played by hardcover and paperback, Kindle and iPad, Amazon and publishers in the future of book publishing.
The process by which books are converted to Kindle format introduces errors which do not get corrected. Every publisher knows this, though none will say so on record.
To be clear, there is nothing wrong with Kindle or its format. The problem is one of economics. The cost of a printed book covers some degree of proofing and checking—not enough, but some. The cost of a Kindle book does not support editorial quality control, and the multi-step conversion process, handled in bulk by third parties, chops out content and creates other errors that no one fixes because no one is there to do QA.
I love the idea of Kindle. I love Kindle on my iPhone. As the economics of publishing continues to change, perhaps one day soon, a Kindle edition will contain the same text as the printed book. Until it does, Kindle is great for light reading. But if it’s critical that every word, comma, and code sample come through intact, for now, you’re better off with print.
Two salient points I should have made in this post are covered in Kindling II, posted 27 August 2009.
I wrote this book in 2001 for print designers whose clients want websites, print art directors who’d like to move into full–time web and interaction design, homepage creators who are ready to turn pro, and professionals who seek to deepen their web skills and understanding.
Here we are in 2009, and print designers and art directors are scrambling to move into web and interaction design.
The dot-com crash killed this book. Now it lives again. While browser references and modem speeds may reek of 2001, much of the advice about transitioning to the web still holds true.