30 de dezembro de 2010

Leituras Digitais (19 a 25 de Dezembro)

Leituras Digitais (19 a 25 de Dezembro)

Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.

  As promised earlier this week, Notion Ink CEO Rohan Shravan took time out of his schedule to answer a number of questions from Android Police. What did we ask the creator of the Android world’s most anticipated tablet device? A lot of the questions you, our readers, wanted answers to – as well as a few of our own.
  But there have never been changes as vast and as fast as there are now. Indeed, the self-publishing industry is growing up in a hurry. Not only are more books than ever before being published by a growing number of self-publishing companies, but authors are becoming more knowledgeable about the publishing process and demanding more services from vendors. Self-publishing companies are responding by widening their marketing and distribution options, offering books in digital formats, and treating authors as business partners.
  "With media tablets offering more functionality, e-reader vendors need to target avid readers who may see the value of a stand-alone device that performs particularly well," said Allen Weiner, Research Vice President, Gartner. "E-reader vendors will also need to offer lower prices than for more fully featured media tablets. This will entail smaller profit margins and potential hardware subsidies at retail, and/or the ability to obtain lower-priced components. We think few end users will buy both an e-reader and a media tablet, so it is important that e-readers retain a price advantage."
  The Morgan Library & Museum has announced that on December 20, 2010, it will make digital versions of more than forty celebrated music manuscripts from its extraordinary permanent collection available on its Web site for the first time. Music Manuscripts Online, at www.themorgan.org/music, will include such important works as Beethoven's Violin and Piano Sonata, op. 96; Chopin's Polonaise, op. 53; Debussy's En sourdine; Haydn's Symphony No. 91; Mahler's Symphony No. 5; Mendelssohn's Calm Sea and Prosperous Voyage; Mozart's Piano Concerto, K 537; and Schubert's Impromptus D 935.
  The printed book need not become the lost symbol of a bygone literary culture, but a beautiful object to be bought and read and then placed on the bookshelves in studies and sitting rooms alongside other beautifully produced books. It is not the days of the printed book that are numbered, but rather the days of the mass-produced book, whatever its genre, with its poor quality paper and flimsy cover and no intrinsic beauty at all. If publishers play their cards right, its place will be taken by the eBook, while the printed book will become what it once was, a treasure not just for the mind, but also for the eye.

  Amazon.com Inc. is likely to sell more than 8 million Kindle electronic-book readers this year, at least 60 percent more than analysts have predicted, according to two people who are aware of the company’s sales projections.
  The Idea Logical Company and Market Partners International recently conducted an anonymous, invitation-only survey of U.S. literary agents on the subject of e-book royalties, and many chose to comment on each question.* 135 agents took the survey. The findings—along with the reactions of seven publishing CEOs, who often questioned the agents’ contentions—will be presented by ILC’s Mike Shatzkin and MPI’s Constance Sayre at a panel at Digital Book World on Wednesday, January 26. Preliminary results show that, of the agents surveyed . . .
  E-books now make up 9 to 10 percent of trade-book sales, a rate that grew hugely this year, after accounting for less than half that percentage by the end of last year. Publishers are predicting that digital sales will be 50 percent higher or even double in 2011 what they were in 2010.
Vídeos

Notion Ink – Adam Demo

21 de dezembro de 2010

Antologia - Revista de Contos

  "A Antologia é uma revista semestral de contos que nasce da vontade de criar um espaço digno para este género.

Tem como objectivo a publicação de inéditos de autores portugueses contemporâneos, não deixando de publicar, sempre que oportuno, autores clássicos ou estrangeiros. Não se restringe a um registo: tanto poderá encontrar nas suas páginas um conto realista como um de ficção científica. É generalista, sem, no entanto, perder de vista a qualidade, o seu único critério.

O conto é um género de difícil execução, sendo por isso uma óptima oficina de escrita. Uma revista é o campo ideal para o exercício deste tipo de ficção. Ao contrário do romance, o conto tem uma limitação de espaço, exigindo ao autor uma forte disciplina, uma noção clara de equilíbrio e autocontrolo. Um conto bem escrito é um objecto literário quase perfeito.

A Antologia é feita para autores e leitores, aliando o exercício da escrita ao prazer da leitura."

Para mais informações, incluindo as regras de submissão, podem consultar a página da revista.

«Os Alfarrabistas» na TSF

  "Na semana do Natal, a TSF apresenta cinco lugares de culto do livro antigo. Em «Os Alfarrabistas», Fernando Alves e Mésicles Helin desfiam histórias do amor pelos livros antigos. Pedro Chaminé da Mota é o primeiro de «Os Alfarrabistas». No nº 28 da Rua das Flores, no Porto, encheu de livros todos os pisos, incluindo as catacumbas..."
Para ouvir esta semana na TSF, às 10h e às 20h, ou na página da rádio.

20 de dezembro de 2010

Citações

  “Afinal, é apenas um romance entre os romances, não tem que preocupar-se mais com introduzir nele o que nele já se encontra, porque livros destes, as ficções que contam, fazem-se, todos e todas, com uma continuada dúvida, com um afirmar reticente, sobretudo a inquietação de saber que nada é verdade e ser preciso fingir que o é, ao menos por um tempo, até não se poder resistir à evidência inapagável da mudança, então vai-se ao tempo que passou, que só ele é verdadeiramente tempo, e tenta-se reconstituir o momento que não soubemos reconhecer, que passava enquanto reconstituíamos outro, e assim por diante, momento após momento, todo o romance é isso, desespero, intento frustrado de que o passado não seja coisa definitivamente perdida. Só não se acabou ainda de averiguar se é o romance que impede o homem de esquecer-se, ou se é a impossibilidade do esquecimento que o levam a escrever romances.”

                José Saramago, História do Cerco de Lisboa

19 de dezembro de 2010

Leituras Digitais (12 a 18 de Dezembro)

Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.

  Basically, as with everything we manufacture, it has to be a balance between environmental considerations and what we need (want), and it behooves us to attempt to find ways of achieving our aims with the least possible environmental impact.   Looked at in this light, whilst I love eReaders, and approve of them in a number of ways, I have never really considered them to be particularly beneficial to the planet.
  Recent news indicates that Borders Group(NYSE:BGP) has filed an intent to purchase rival bookseller Barnes & Noble(NYSE:BKS) as of this past Monday.  Nothing is set in stone, as of yet, but this could have some interesting and far-reaching effects on the eReader and eBook marketplace should it some to pass.  Borders has been trying for some time to enter into the Kindle dominated eReader market, but buying the company currently making the second most popular eReader on sale today (sometimes estimated to hold as much as 10% of the market) would give them some real hope of making a place for themselves.
  Marketers are exploring a variety of formats, including sponsorships that give readers free books. Videos, graphics or text with an advertiser's message that appear when a person first starts a book or along the border of the digital pages are also in the works. Ads can be targeted based on the book's content and the demographic and profile information of the reader.
  In several European countries, books are subject to a reduced VAT rate in light of their status as a “cultural” product. This has been complicated by the emergence of e-books, which tend to be viewed as electronic products for taxation purposes and are thus subject to full VAT (19% in Germany, as opposed to the reduced rate of 7%). As a result, there are cases when the end customer pays more for an e-book than for its print counterpart, simply because of the VAT discrepancy.
  The Publishing Innovation Awards will recognize the best ebooks and book apps based on their merits in the areas of origination, development, production, design, and marketing. To celebrate the launch of the awards, organizers at Digital Book World 2011 Conference + Expo will present the inaugural Publishing Innovation Awards in five categories – Fiction, Non-Fiction, Reference, Children’s, and Comics — during their opening ceremony on January 24th, 2011 at the Sheraton Hotel & Towers in New York City.
  I wrote earlier this week that publishers need to prepare for a decline in print-book sales that’s much steeper than what we have seen thus far, and that is likely to accelerate the reshaping of the industry. The reasons why this seems inevitable derive not from any intrinsic superiority of e-books, nor any growing technophilia or screen-tropism of readers, but rather from the structure of the market.
  The German National Library, Oxford University and Europeana have signed an agreement to digitise family papers and memorabilia from the First World War to create an online archive about the people involved in the conflict.
  Books already tell stories, but when their words are combined and analyzed with computational tools, they tell bigger tales. By studying billions of words that appeared in books published over the last 200 years, the researchers found that references to God have been dropping off since about 1830. People are becoming celebrities earlier in life now than in the past, but their fame is more fleeting as their names drop out of the lexicon. References to past years are dropping off more quickly as cultures shift their focus to the present. And censorship leads to discernible shifts in a person’s or event’s cultural footprint, as evident in tracking Tiananmen in Chinese books, or the Jewish artist Marc Chagall in German books from the Nazi era.
  What, though, of the digital book, and its promise of a rich, new, constructive interaction with the text? With this Christmas looking like the moment when the transition from codex to screen will finally gain real traction, will the expectations of new digital readers be fulfilled? And is there anything to encourage my own ambitious sense of the revolutionary changes in narrative that digital books might bring about?

12 de dezembro de 2010

Leituras Digitais (5 a 11 de Dezembro)

Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.

  Today is the first page in a new chapter of our mission to improve access to the cultural and educational treasures we know as books. Google eBooks will be available in the U.S. from a new Google eBookstore. You can browse and search through the largest ebooks collection in the world with more than three million titles including hundreds of thousands for sale. Find the latest bestsellers like James Patterson’s Cross Fire and Jonathan Franzen’s Freedom, dig into popular reads like Laura Hillenbrand’s Unbroken and catch up on the classics like Great Expectations, A Tale of Two Cities and Gulliver’s Travels.
  The Google eBookstore launched today in the USA to much chatter and speculation about how it will change the e-book market. One of the major changes that the Google eBookstore brings is its open platform that allows partner and affiliate retailers to sell Google eBooks. Through an agreement with the American Booksellers Association (ABA) and agreements with indie bookstores, Google could enable brick-and-mortar bookstores to swiftly enter the e-book arena.
  The launch of Google's long-awaited e-books platform generated close to 1,300 news stories overnight, as the service, now called Google eBooks finally went live in the US, with "hundreds of thousands" of paid-for digital books and 3m free titles. A number of stories reports that the service is a serious rival to Amazon, while the American Booksellers Association has revealed that about 110 indie bookshops will launch the e-books platform on their own websites.
  The biggest change is not in the form stories take but in the writing process. Digital media changes books by changing the nature of authorship. Stories no longer have to arrive fully actualised. On the simplest level, books can be pushed to e-readers in a Dickensian chapter-by-chapter format - as author Max Barry did with his latest book, Machine Man. Beyond that, authorship becomes a collaboration between writers and readers. Readers can edit and update stories, either passively in comments on blogs or actively via wiki-style interfaces. Authors can gauge reader interest as the story unfolds and decide whether certain narrative threads are worth exploring.
  “Digitized content is the key,” principal analyst Jeff Orr said in a statement. “It has been in the United States that the most content has been translated to digital form. The companies that provide the devices also maintain tightly integrated content stores that make access easy. In two or three years we will enter a period in which much more digital printed matter will become available in other countries and regions. Western Europe will be first, followed by Eastern Europe and Asia, especially China.”
  Everybody is now writing an article using a random combination of words “Google”, “Amazon” and “killer”. I’ll touch something much more important for an e-book reader. I’ll write about “freedom” and “limitations”.
  Google Books is the unknown in the lion’s den. Google certainly has the fiscal resources to take on Amazon, which is the key player today, but whether it has the vision and the stamina to do so remains to be seen. If we begin to see improvements in the Google bookstore, especially in customer service options, and see Google make moves to create a true competitor to Amazon, then many of us may well become Googlers. Until then, I think Google Books will be last in the race.
  Digital service provider Aptara released the second in a series of surveys tracking the development of the e-book market. This new survey covered some 600 publishers across trade, professional and education markets.
  My next interesting bit of data is that 62% of publishers don’t know their ROI on ebooks. That raises a question in my mind. If they don’t know the ROI, then how can they justify Agency pricing?
Vídeos

Introducing Google eBooks

9 de dezembro de 2010

Projecto Adamastor

Criação de uma biblioteca digital de ficção especulativa

Pretende-se, numa primeira fase, proceder à recolha de textos dentro da chamada ficção especulativa, que numa abrangência geral abriga dentro de si géneros como a ficção científica, o terror, o fantástico e a fantasia, de autores portugueses e que já não estejam em circulação comercial nem sejam de fácil acesso a toda a comunidade lusófona.

A recolha e digitalização para formatos passíveis de leitura online ou offline incidirá sobre obras no domínio comum e sobre aquelas de que, já não estando em circulação, se obtenha a devida autorização dos detentores dos direitos autorais. As obras abrangerão um leque vasto, desde romances, a contos, artigos, ensaios, poesia, que podem surgir nos mais variados aspectos, tal como livros, revistas, fanzines, jornais.

À semelhança de outros projectos como o Projecto Gutenberg, este necessita de um elevado número de voluntários para que a sua concretização seja assegurada. Assim criou-se este questionário que pretende asseverar do interesse e participação da comunidade.

Gratos pela sua resposta, estamos ao seu dispor para qualquer questão através do email adamastordigital@gmail.com
Podem votar no questionário abaixo ou, se preferirem, nesta página. A vossa participação é fulcral para avaliar a viabilidade deste projecto, pelo que deixo o meu apelo para que divulguem a iniciativa tanto em websites/blogs como nas principais redes sociais.

6 de dezembro de 2010

Eu sou a Lenda - Richard Matheson


Eu sou a Lenda
2007 (Data original de publicação: 1954)

Título Original: I am Legend
Autor: Richard Matheson
Editora: Saída de Emergência
Tradução: Fernando Ribeiro
Páginas: 160
ISBN: 9789896370152

Único sobrevivente de uma praga cujos efeitos se assemelham ao vampirismo, Robert Neville subsiste apesar das dificuldades, matando vampiros de dia e barricando-se em casa de noite, tentando não só proteger-se das insaciáveis criaturas, mas também manter a sua própria sanidade.

O livro diferencia-se pela sua abordagem científica em detrimento dos fundamentos mitológicos que normalmente suportam as histórias de vampiros, algo que, no entanto, levou a uma desactualização acentuada pelo avanço da ciência desde a sua publicação original em 1954. Apesar disso, as falhas na explicação do vírus não são facilmente identificáveis, sendo as alterações sociais o factor que revela de forma mais evidente a antiguidade da obra.
  “A força do vampiro vem do facto de ninguém acreditar nele.” Muito obrigado, Dr. Van Helsing, pensou enquanto pousava a sua cópia do “Drácula”. Estava sentado olhando melancolicamente para a estante dos livros, ouvindo o segundo concerto para piano de Brahms, um whisky sour na sua mão direita, um cigarro nos lábios.
Era verdade. O livro era uma mistela de superstições e clichés romanescos, mas aquela frase era verdadeira; ninguém tinha acreditado neles, e como poderia alguém lutar contra algo em que não acreditava?
A escrita simples (por várias vezes monótona) enfatiza a repetitiva rotina de Neville, uma existência entre a solidão e o horror que o arrasta para um estado de desespero, algo que procura contrariar através do álcool. Assolado pelo passado do qual não se consegue libertar e pela ausência de perspectivas futuras, é ao atingir o limiar da loucura que Neville decide enfrentar a situação, investigando a origem do vírus que destruiu o mundo que conhecia.
  Este pensamento recordou-lhe outra vez o enigma inexplicável de porque é que ele continuava. Tudo bem que havia agora algumas hipóteses que tinha de experimentar mas a sua vida ainda era uma provação estéril e sem alegrias. Apesar de tudo quanto possuía ou viria a possuir (à excepção, claro, de outro ser humano), a vida não lhe dava nenhumas garantias de que iria melhorar ou até mudar. Da maneira como corriam as coisas, viveria a sua vida com pouco mais do que aquilo que agora já tinha. E por quantos anos? Trinta, quarenta se não se matasse com a bebida entretanto.
A ideia de que ainda tinha mais quarenta anos para viver dava-lhe arrepios.
E, no entanto, não se matava.
É através deste cenário desolador em que o protagonista, qual Robinson Crusoe, se vê rodeado por um mar de vampiros, que Richard Matheson consegue abordar temas como o efeito psicológico da solidão, a tristeza resultante da perda de entes queridos, o choque entre a moral e o instinto de sobrevivência e, com especial importância na explicação de alguns efeitos do vírus, a influência das crenças e superstições na psique humana. O desenvolvimento destes temas apela fortemente às nossas emoções, cativando o leitor de forma inesperada tendo em conta o monótono início.
  Num mundo em que o terror era a regra, a redenção não viria por ele sonhar mais ferozmente. Ao terror, conseguia adaptar-se. Mas a monotonia, tomava agora, tardiamente, consciência, era o maior dos obstáculos. Tê-lo compreendido trouxera-lhe uma espécie de paz de espírito, uma noção de que tinha deposto todas as cartas sobre uma mesa mental, examinando-as, e escolhendo, em consciência, o naipe desejado.
De forma lenta mas gradual, a história ganha força (contrastando com o declínio de Neville, através da degradação das suas aptidões sociais), culminando numa inversão de papéis que estilhaça, de forma assustadora, a ilusão que temos da nossa importância, principal base da nossa arrogância.

Apesar do peso dos anos, Eu sou a Lenda continua (e arriscaria mesmo dizer que continuará) a ser uma obra memorável e perturbadora.

5 de dezembro de 2010

CCB - Dia Clarice Lispector

O CCB homenageia a escritora por ocasião do 90.º aniversário do seu nascimento. O evento realiza-se dia 12 de Dezembro na sala Almada Negreiros. A entrada é gratuita e o programa do evento pode ser consultado abaixo:
PROGRAMA

15:00 Leitura de  textos de Clarice Lispector
         
por
         Maria Lúcia Lepecki
         Filipa Leal
         Luísa Cruz      
   
16:30 Conferência de Carlos Mendes de Sousa 
         Clarice Lispector: as coisas são sempre vésperas. 

17:15 às 17:30
 Intervalo 
17:30 Apresentação do filme A Hora da Estrela, de Suzana Amaral (1985) 
         Duração 96 min.
           
M/ 14 anos

Leituras Digitais (28 de Novembro a 4 de Dezembro)

Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.

  The launch of the iPad and price cuts to the Kindle resulted in a significant increase in the number of digital reading devices owned by consumers between June and November, with 21% of book shoppers now owning a dedicated e-reader or tablet. The finding is part of the Codex Group's most recent national book shopper survey, which polled 6,250 book buyers on various aspects of their book-buying habits. Codex estimated that the introduction of the $139 Kindle in July helped to spur sales of 800,000 units between June and mid-November, with total units sold estimated at 2.7 million. The growth in Kindle unit sales drove overall e-reader penetration among book shoppers to 14% in November, and penetration levels could reach 22% by mid-2011, Codex predicted. The forecast is based on a dramatic increase in the number of book buyers stating they plan to buy a digital reading device this year.
  But Jones warned that booksellers were being left behind in the race for digital sales. In total 85% of publishers said that they sold books or journals in electronic format, but just 37% of booksellers said they sold content electronically. And while digital sales were below where most people had expected them to be, publishers' expectations of growth far outweighed those of booksellers. While more than half of publishers believed that by 2020 over 20% of their overall sales would be taken by digital books, only one-third of booksellers agreed.
  A series of new British online initiatives is hoping to do for authors what Steve Jobs and iTunes did for the music industry and establish a culture of making micro-payments for small pieces of content: the short story becomes the single-track download, with prices starting at 99p. The newspaper and magazine industries, as they wrestle with the challenge of monetising their content, should be following this closely.
  Google's e-book platform Google Editions will launch in the US before Christmas, it can be confirmed. Speaking at FutureBook 2010, The Bookseller's digital conference, Jason Hanley, strategic partner development, said the launch was now close, and the platform was expected to go live before the holiday season begins.
  Here’s the thing. What we’re looking at here is something called a convenience tax. In buying pd ebooks you’re paying to avoid the hassle of having to go out and look for a free copy. The convenience tax is why, for example, things cost more at a store near the interstate than at one far away. This is a normal part of economics.
  If you’re writing an academic paper and need to cite a Kindle book, you’ll quickly notice a problem: there are no pages, and therefore no page numbers. The wrong approach is to complain about the device for not being a printed book; the better approach is to figure out how to make it work for your research, so you can take advantage of ebooks now instead of waiting for academia to catch up.
  The big question remains: “Where are the revenue streams for digital publishing?” And although much hope is pinned on the iPad (and other tablets), we still don’t know exactly how big this market will be. YouGov, an international internet-based market research firm, offered figures projecting that 12% of the UK population will soon own a tablet, demonstrating the huge potential market for publishers. But while experimenting with content on these devices is still key to learning what will and won’t work, the risk of these experiments not generating revenue makes this learning process difficult for many publishers.
  The best way to protect yourself from this kind of thing is to check with Project Gutenberg when shopping for classics, especially if the book was written before your lifetime. On the Amazon Kindle store, dishonest publishers will frequently remove the original date and substitute a new one, so it’s harder to tell, but you can usually spot an older work if you look carefully.
  To reiterate the underlying idea behind the World Reader project, it is aimed at bringing ebooks to the kids and communities in developing countries, starting in Ghana to test the idea and learn how they have to go about it.   They have gone much further than to simply get their hands on a lot of Kindle ereaders ( for this exercise they have about 440 Kindles) and bunged them into a couple of random schools.  They have engaged thoroughly with the Ghanaian Education Ministry, local publishers and authors, schools and various other grass route organisations in Ghana.  In other words this is a very solidly grounded project.  Carried out by people with a vision and a desire to help the world, but with their feet firmly planted in the real world.
Vídeos

4 de dezembro de 2010

Artes Visuais: Ana Cruz

Licenciada em Português e Inglês na vertente de ensino, Ana Cruz apresenta um percurso fora do comum entre os artistas gráficos. Cedo se apercebe que o ensino não era a sua paixão e opta por um curso Cosmetologia, especializando-se em maquilhagem profissional, formação que naturalmente se repercute nos seus trabalhos fotográficos.
As suas obras inserem-se maioritariamente em duas áreas: a manipulação digital e a fotografia. Nas manipulações procura explorar o lado mais obscuro da mente humana, recorrendo a elementos associados à era vitoriana e ao romantismo literário, temas que se manifestam também nas suas fotografias, embora de forma mais atenuada, dado que nessa vertente se centra na captação de emoções humanas, aproveitando a sua experiência em maquilhagem profissional.
A denominada “dark art” tem vindo a crescer bastante, especialmente em comunidades como o deviantArt, exigindo cada vez mais dos artistas de modo a que possam diferenciar as suas criações dos demais. Nesse aspecto a Ana Cruz tem conseguido, através do seu toque pessoal e da diversidade de temas, evitar o teor repetitivo que se encontra em muitos trabalhos do género, tornando a sua arte apelativa, mesmo quando os temas e emoções que retrata são simples.

Para mais informações:
Related Posts Plugin for WordPress, Blogger...