Category Archives: Media

COSLINE 2010 Ebooks Presentation

I had the pleasure of presenting on eBooks to the Council of State Library Agencies of the Northeast recently, and being on vacation this past week has made me later than I wanted at getting my slides online. I had a great time, met some really thoughtful and smart librarians…if this group is the leadership for public libraries in New England, they are in very capable hands.

Here are my slides, for what they are worth. I attempted to do an audio recording of my presentation, but jumping in and out of Keynote makes the timing on it all wonky. I’ll see if I can’t edit it together into something that makes some sense, but that may take some time. For now, here are the slides, sans voice:

Must watch, right now

My favorite talk I’ve heard in a long, long time was at the LJ/SLJ Ebook Summit, from Eli Neiberger, about How Ebooks Effect Libraries. He’s recently put the recording and slides up on Youtube in two parts. Every librarians needs to watch these, and take notes…Eli gets the issues, lays them out, and doesn’t pull punches. Love. This. Presentation.

Part One

Part Two

For the record, I haven’t forgotten about my ongoing discussion with Bobbi Newman (and now spreading across the web onto other blogs). I’ve still got lots to say, but I’ve been tied up. Will get the words out ASAP, promise.

MSU Libraries Emerging Technology Summit 2010

Here are my slides from the Mississippi State University Libraries Emerging Technologies Summit 2010. They very graciously asked me to keynote the Summit, and I’m hoping that the talk was thought provoking and helped kick off what looks to me a really great day of programming.

If you have any questions, please leave a comment and I’ll make sure to find the answer!

Serialized Literature makes a comeback

Way back in 2008 at the Online Information conference in London, I talked a little about where I thought we’d see writing in general go, given the technologies that were mature/maturing: eReaders (the Amazon Kindle had been for just a year at that point), blogs and blog software, and more. I predicted that we would see a revitalization of the sort of serialized long-form content that was prevalent in 19th century literature, like Dickens and Doyle. It made sense to me at the time, given that one could subscribe to an ongoing series, have it automatically delivered as written/released, enjoy it on your container of choice (eReader, mobile phone, etc).

While there have been a few attempts at serialized writing in the last few years, it’s only very recently that I think authors have hit on a model that might work well. There are two that I’m aware of that take slightly different paths but are, in the end, paving a path to an old way, but a new channel, of publishing.

The first, and most exciting to me, is The Mongoliad. From the wikipedia entry:

The Mongoliad is an experimental fiction project of the Subutai Corporation, scheduled for release in 2010. The corporation is an application company based in San Francisco and Seattle, whose chairman is speculative fiction author Neal Stephenson. Stephenson is the guiding force of the project, in which he is joined by colleagues including Greg Bear.

The work is intended to be distributed primarily as a series of applications (“apps”) for smartphones, which the Corporation views as a new model for publishing storytelling. At the project’s core is a narrative of adventure fiction following the exploits of a small group of fighters and mystics in medieval Europe around the time of the Mongol conquests. As well as speculative fiction authors Neal Stephenson, Greg Bear, Nicole Galland, Mark Teppo and others, collaborators include filmmakers, computer programmers, graphic artists, martial artists and combat choreographers, video game designers, and a professional editor. In a departure from conventional fiction, much of the content of The Mongoliad will be in forms other than text, not bound to any single medium and not in the service of the central narrative. Once the project develops momentum, the Corporation envisages fans of the work to contribute, expanding and enriching the narrative and the fictional universe in which it takes place.

So this is collaborative, multimedia, world creating…which just happens to be led by two of the biggest names in genre fiction. I’m a complete sucker for Stephenson, and I signed up as soon as the site went live. I’m really looking forward to seeing where this project goes.

The other interesting serialized novel being done is also in the genre fiction realm, the DragonsBard project by Tracy & Laura Hickman. Tracy Hickman is probably best known for being half of the Weiss & Hickman writing duo that gave fantasy the Dragonlance world of novels. Unlike the Foreworld stuff above, which is a subscription model, the DragonsBard publishing model is a single price upfront, which gives you access to the ongoing story and a limited-edition signed & numbered hardcover of the story when it’s over.

There are two things that I find interesting about this model of publishing. The first is it’s leveraging of technology to provide not only different sorts of distribution, but also different types of content completely (images, video, etc). The second is how it allows for the complete disintermediation of the publishing house.

I look forward to seeing if other authors take this approach. I also look forward to seeing how these sorts of works get cataloged. :-)

eBooks, filetype, and DRM

This morning I got a tweet from Bobbi Newman that said:

librarianbyday

Can someone explain to me the tech reasons Kindle doesn’t work with library ebooks, know its DRM, want more specific plz & thnx @griffey

More than you ever wanted to know about filetypes, DRM, and eBooks…here we go.

There are two different things going on when someone tries to open an eBook file on an eReader. One is filetype…how the file itself is organized internally, how the information contained within is encoded. This is analogous to the difference between a Word file saved as a .doc file, a Word file saved as a .docx file, and an Powerpoint file (.ppt). All are different filetypes…the program involved in the creation, editing, and display of those files describes the information contained inside. Right now, there are two main filetypes being used to describe eBook files: the Amazon eBook standard, or .amz file, and the ePub file (.epub) that is used by just about every other eBook vendor.

AmazonĀ  purchased Mobipocket (an early ebook vendor/distributor) way back in 2005, and used their format as the basis for their current proprietary .amz filetype. ePub, on the other hand, is an open, XML based eBook standard, and is used by a huge number of eBook vendors…indeed, it’s easily the standard for current ebook publishing.

But filetype is only half the battle. In addition to the way the file is organized/structured internally, there is also Digital Rights Management to deal with. Think of DRM on an eBook as a lock, with your eReader having the key to open the lock and display the file. Without the lock, the eReader can’t open the file at all…can’t even see what it is. And if it has the key, but can’t read the filetype, that’s no good either…in that case, you can view the contents of the file, but will have no idea how to render it on the screen properly.

Amazon, in addition to using a proprietary filetype, also uses a proprietary DRM mechanism. This means in order to read an Amazon-purchased eBook, you have to have an eReader with the right key, as well as the right interpreter for the file. So far, that means that you have to be using a Kindle, or alternatively, using the Kindle software provided for any number of other devices (Windows, Mac, iOS devices, Android devices). This doesn’t mean that’s the way it has to be. Amazon could choose, tomorrow, to remove all DRM from their files. This would mean that you’d still need a program to interpret the .amz, but you wouldn’t need the key anymore. Conversely, Amazon could license their DRM to other eReaders, in effect handing them the key…but it would still be up to the eReader itself to be able to display the .amz file.

Vendors that use the ePub format have chosen different sorts of DRM to lock up their content. Apple and their iBook app use the ePub format, but wrap it up with their Apple-specific Fairplay DRM. This means that while the file itself would be readable by any device that can interpret an .epub file, without that particular key on their keyring, the eReader can’t do anything. Sony, Barnes & Noble, Overdrive, and other eBook vendors have chosen a shared DRM solution. They license their DRM from Adobe, and run Adobe Content servers that provide the keys to epub files that they sell. This means that if an eReader has the key to one of those stores, it has the key to all of them…think of it as a shared master key for any Adobe DRM’d file.

This illustrates why, although both Apple and B&N use epub as their filetype, you can’t buy a book from the B&N store and then move it over to your iBook app on your iPad. Conversely, you can’t buy something on the iBook store, and then move it to your Nook. Same filetype, different lock.

Overdrive, in supporting Adobe DRM’d epub files, work with Sony eReaders as well as the B&N Nook…same filetype, same DRM key to unlock them.

With all that said: any eReader that will read a given filetype will read said filetype if the file doesn’t have any DRM. So if you convert an existing document to an epub using software like Calibre, Sigil, or InDesign, that file will able to be read on a Nook, Sony Reader, AND the Apple iPad/iPhone/iPod Touch. If you have some text and you convert it to, say, a Mobipocket file (.mobi or .pdb) then it would be readable on the Kindle AND the Apple iBooks app…but not on the Nook. For a complete list of eReaders and their corresponding filetypes, there is no better place than Wikipedia’s Comparison of eBook Formats article.

While a DRM free eBook ecosystem would clearly be the best for the consumer (choice of device, free movement of files from device to device, etc), the second best option is an ecosystem where the DRM is ubiquitous and the patron doesn’t even realize it’s there. This was the case with Apple and the early battles for music sales on the ‘net…they had the store and the distribution network (iTunes) as well as the device used to access the content (iPod). All of the content was, originally, DRM’d, but largely no one noticed since it was completely invisible for the average user.

The biggest issue with eReaders and library patrons is that this chain isn’t seamless. The content providers and their DRM servers are huge headaches for the average eReader user. My hope is that publishing goes the same way that music did, we we find both a common filetype and lose the DRM. But it took digital music years and years to get there…so I’m not holding my breath.

I hope that helped, but if it didn’t and you still have specific questions about your situation with eReaders/eBooks, ask away in the comments and I’ll do my best to answer them.

Ebook (in)sanity

I just had a brief piece published over at Library Journal entitled Ebook Sanity. It was something that just poured out of my head unchecked one day, and I was lucky enough to find a home for it as a part of the build up to the upcoming Library Journal Ebook Summit. Here’s a very short teaser:

…consider the idea that the First Sale principle doesn’t apply to ebooks and other digital content. Maybe this is the fact: information in the digital age is such a different beast than in the print age that we not only shouldn’t draw analogies but we actually can’t.

I hope that you head over and read it. Also take a look at the other excellent essays linked off the side from Eric Hellman, Barbara Fister, and Char Booth (holy hell how did I end up in a set with those people? I’m so not worthy). I would love to hear any thoughts you might have on the topic…I’m still forming my conclusions around some of these issues. How do you think libraries can and should react to ebooks?

Contest over at Perpetual Beta

Just in case you follow me here, but not over at my American Libraries blog, Perpetual Beta: I’m holding a contest where I am giving away a copy of my newest book, Mobile Technology & Libraries. All you have to do is create a Google Search Story about libraries, and post it in the comments over at PB.

Free book, people! Show me your creativity!

Quick Office, not Goodreader

After some prodding from Glenn in the comments of my post on Goodreader and the iPad, it turns out that the security culprit doesn’t look like it’s Goodreader at all. It’s the Port 4242 that gave it away, and much thanks to Glenn for pointing it out…I was too concerned with publishing fast, and didn’t follow up the details as well as I should have.

It looks like Goodreader lets you SEE any shared iPad on wifi, but it doesn’t share openly in the way that I described. The bad guy here appears to be QuickOffice, which DOES use port 4242 and share files by default across a shared wifi LAN. I could see in Goodreader the files that someone else had on their iPad in QuickOffice…not the normal set of events for the iOS devices, as the file systems are normally sandboxed to not allow that to happen.

So: revised security alert! If you use QuickOffice on your iOS device (iPhone, iTouch, iPad) please ensure that you have sharing off by default, so that others aren’t able to see your stuff at all.

Interfaces, part 2

This distinction from the post below, that media can either be collapsed (Content, Container, and Interface as a single piece, as a book) or expanded (each separated, as in a DVD, remote, and screen) explains a bit about why the Touch interface is so visceral. The iPad feels different from other devices when you use it, and one of the reasons that I believe it does is that it collapses what have been expanded media types. With the iPad (and to a lesser degree, the iPhone, Android devices, Microsoft Surface, etc) you directly interact with the media and information you are working with. When you watch a video on the iPad, the Content, Container, and Interface are as-a-piece, and you interact with the video by touching the video itself.

This has a lot to do with the revolutionary feel of these new touch devices…and I think it explains why previous attempts at things like Tablet PCs may have failed.

Interfaces

I’m sure this isn’t an original thought (so very, very few are), but it was novel enough to me that I needed to write it down…and that’s pretty much what a blog is designed for.

I’ve written and talked about how libraries need to become comfortable with the containers of our new digital content, as since we move into the future the containers (ereader, ipad, tablet) will be important to users. We already know, more or less, how to deal with content. I’ve also been thinking about the interfaces that we use to access this content, and it just hit me:

Print is the only example of a media where the User Interface, Content, and Container have been, historically, the same thing. With music and video, we are completely used to the container, the content, and the user interface each being distinct: we put a tape into a player, which we control with kn0bs or buttons, and the content itself is ethereal and amorphous. With print, until very recently, the content, container, and interface were all the same thing…a book, a magazine, a broadsheet, a newspaper. All are content, container, and interface wrapped into a single unit. This may point to one of the reasons that people seem to feel a deeper connection to print materials than to the 8mm film, or the cassette tape.

I’ve been thinking a lot about these distinctions between container, content, and interface….I think that these three concepts could inform the way that libraries conceptualize what we do, and maybe find better ways to do it.