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However, the work—the work of art, the literary work—is neither finished nor unfinished: it is. What it says is exclusively this: that it is—and nothing more. Beyond that it is nothing. Whoever wants to make it express more finds nothing, finds that it expresses nothing. He whose life depends upon the work, either because he is a writer or because he is a reader, belongs to the solitude of that which expresses nothing except the word being: the word which language shelters by hiding it, or causes to appear when language itself disappears into the silent void of the work.

On Tuesday morning, I witnessed a very entertaining debate between Bill Thompson and Dr Nick Baylis at iDesign London. Entertaining because Bill Thompson is a shameless cheerleader for social (and most other) technologies, whereas Dr Baylis believes that technology (or rather, the uses to which we put technology, although he wasn’t very clear on this) are making us unhappy and ill.

Dr Baylis soon emerged as a book-pusher of the Andrew Keen mould, and was easily seen off, although not before revealing his patent lack of research in the subject - his unfounded belief that relationships begun on the internet were doomed to fail was particularly ridiculous, and actually rather offensive to a number of those present. Lloyd’s thoughts on Keen are applicable here too: you get out of technology what you put in, and on Tuesday I saw a very morose psychotherapist telling a roomful of very optimistic tech-lovers that they were wrong…

Anyway, one of the thoughts that came after the debate concerned the perceived distancing effects of technology and, to a lesser extent, of reading. When I was younger, kids who spent too much time on computers were presumed to be lonely and socially awkward - likewise, kids who spent too much time reading, although there was at least an intellectual air to that endeavour. As computers have become joined up, we’ve come to see technology as a connector, and while many of the old stereotypes prevail, most of us now recognise the social qualities of technology.

Reading, however, as largely remained an individual, solitary, even solipsistic activity, and it struck me that what many are resisting in the increasing digitisation and socialisation of literature is not the technology itself, but the erosion of that particular experience of literature. Reading a novel is one of the last ‘disconnected’ activities, and as we move it ever more into the connected world, we must ensure we don’t lose those qualities, of rest, respite, and introspection, that make it valuable.

The opening quote is from Maurice Blanchot’s The Space of Literature, who had some interesting things to say about writing and reading. Possibly.

A short story for you, in a different form.

I’m not entirely sold on QR codes, but I like the interaction that they create, a physical bartering with the environment to obtain the message - providing people are willing to do so. There’s also the element of surprise inherent in uncovering the message.

I’d like to see one on a book cover, or chalked on a wall. I might print this one out and paste it around town…

[ No idea what’s going on? Here you go. ]

[ More info on the story. ]

I was quite interested when I heard about StoryCode.co.uk (via Zero Influence - there’s a .com version too). At first sight, I thought it might be a newer, better version of WhichBook.net: a way of classifying books to create a more accurate “If you liked this, you’ll love…” recommendations system. The advantage it has on WhichBook is to encourage visitors to “code” books they’ve read, which are then added to the system along with the data - a great advance on using professionals behind the scenes to classify books, which has only managed a couple of hundred titles in several years for WhichBook, and is all very good and user-generated and modern.

That’s as far as it goes, however, because instead of allowing users any flexibility in how they describe the book, all literary opinion is forced onto a selection of 50 or so sliders, which veer from the confusing, to the pointless, to the incompetent. Confusing example: “Is the story mostly aimed at a mainstream audience or a literary audience?” (Mainstream → Literary) excludes half of the fiction I read. Pointless example: “How much did the atmosphere of the story feel like one you could experience in everyday life or is it more exotic or surreal?” (Everyday → Exotic) might work for actually surreal books, but for most novels, the answer depends on the reader, not the story—but the program won’t know this. Incompetent example: the ‘Plot Type’ category. To what extent is the book a “Rags to Riches” story (None → Plenty), a “Pact with the Devil” story (None → Plenty), a “Brain Vs Brawn” story (None → Plenty)—these aren’t sliding scales, they’re either/or. The results are meaningless. Try it yourself, and see if the results aren’t suspiciously vague (short version: if you put in a thriller, you get a broad selection of thrillers out).

This annoys me because something so long planned - ten years in the making - with a variety of book and web industry heavyweights behind it (see the About page) really should be better than this. It annoys me that something with such a strong and correct rallying call—”inspired by the belief that the Book Trade, locally and globally, is failing it’s readers in the search for new stories and that the power of the internet and the passion of book lovers everywhere can combine into a unique service”—should result in something so poorly thought out.

Digital recommendation systems have come a long way in the last few years, and there are a number of really important lessons which have been completely ignored by StoryCode. The one they get right is user-generation, but they’ve failed to see that for user data to be valuable, it has to be ambient: Last.fm and LibraryThing don’t ask you a bunch of equivocal questions that are highly dependent on the individuals situation and whim: they just see what you’re into, and run with it. It’s powerful, and it works (why do you think CBS bought Last.fm for a small fortune, or Abe Books bought a chunk of LT—particularly when Amazon’s recommendation system is so rubbish).

The second and equally important lesson is that individuals describe things in many different ways—so let them. Tagging, while rapidly becoming a web cliché, works because it is the most flexible system possible, generating reams of long tail classification data that is individually specific but universally applicable. Tagging also provides another incredibly important feature that StoryCode has missed: an incentive to participate. Through tags, individuals handcode their own dataset; my delicious tags for example, allow me to find almost any half-remembered link I’ve ever saved with a couple of terms which are meaningful to me. LibraryThing’s Tag Mirror reveals real things about your reading habits. With StoryCode, there’s no long-term incentive to participate, and mass use is what drives these systems.

So, another book industry initiative fails to learn some of the basic lessons of the internet. We shouldn’t be surprised, but how much time and effort is being wasted here?

Oh yeah, and it doesn’t validate. I’m going to start some kind of button system for lit sites that don’t use web standards. We’re all about standards in literature, spelling, punctuation, typography - we have to get the code right too.

I’ve been reading William Gibson’s latest, Spook Country, and it’s been messing with my mind. I still consider myself a huge Gibson fan, although I confess I’ve found him a little cold and remote since around Idoru - the virtual space seems to be becoming more cluttered, and less thrilling as our reality comes ever more to resemble Gibson’s vision. Or at least, my reality.

What has got me excited, however, is the novel’s focus on locative art, art that is bound up to physical locations through virtual technologies - virtual reality, geotagging, GPS tracking. I’ve been a geo geek for a while, starting with a reasonably common obsession with maps and mapping and moving into more complex areas as the technologies become available.

One of the technologies that Gibson discusses, with his usual air of the near-future, is the annotated environment, the application of metadata to the physical world. And it struck me (has lately been rather obsessing me) that this technology is available, hackable right now.

Imagine a world where it is possible to access all the information about a location at that location. Standing in the street, on a bridge or in the park, your presence triggers the automated retrieval of that location’s metadata. A grid reference transforms into a list of photos, blog posts, encyclopaedia entries, literary references, forthcoming events - and people. Memories, activities, occurrences, stored in time and mapped to a location.

This is possible now. Google Books maps references to places in literary works (here’s the reference map for George Gissing’s New Grub Street) - walking down the street, I can find literary references to pubs and old restaurants as easily as I find critical reviews of them. Wikipedia is gradually accumulating geodata on listed locations (e.g. London), Flickr has rolled out full geotagging support - Dan Catt of Geobloggers reckons there are over 18 million located photos available there alone. Here’s a photomap of London. Street addresses used in events services such as Upcoming can be converted into grid references, creating future ghosts as you pass through the sites of future happenings.

To do: I think I need one of these. (I’d also like one of these, although that’s probably a way off.) Hooking together a GPS link and a wifi connection (via a 3G card, until we get a cloud over London) would allow an automated agent to crawl the web for geo-encoded data matched to your location. Microformats have gone a long way to making this data machine-readable - the next stage is to enable a Google-equivalent search for such microformats (it’s probably already out there, somewhere, I just haven’t found it), and increase the use of GeoRSS feeds.

I already have Google Maps on my phone. I already get annoyed by people asking me for directions. Just look it up. This data is available. The one thing I can be pinned down to, in the physical world, is a grid reference. I am here. If you want to find me, access the metadata. When we (you, me, the clouds of data) meet, interesting things happen.

Of interest to very few, I imagine, but I’m attending the BBC/Yahoo Hack Day at Alexandra Palace this weekend. Probably only the Sunday, as I’m also attending Interesting 2007 on the Saturday. Busy, busy, busy.

Very interested in hooking up with booktwo-interested parties at either. Drop me a line if you’re coming… (Also available via the backnetwork as STML). Would love to hack something, but not much of a hacker.

Additional tags: interesting2007, hackdaylondon.

Cycling to work today, I saw this advertised on the side of a bus: Bob Books. Bob Books allows you to create and order books using your own text and digital photos - the examples on the website heavily emphasise personal photo albums of the baby/wedding/holiday variety.

It’s a beautiful site and the downloadable software to create your own book looks and feels much the same - really intuitive and easy to use, even for novices.

It’s a fairly basic service actually, and it’s certainly no threat to traditional publishers or printers, or even to new POD services like Lulu, positioning itself firmly in the one-off, gift books category. However, it’s interesting to see another company - and one with plenty of cash if its advertising is anything to go by - taking the Moo route of offering simple, clean tools to do more stuff with all the user-generated content now available to us all through widespread adoption of technologies like digital photography. That it’s book-related just piqued my interest…

Something Twitterered, something new… Lots of interesting things come my way via other peoples’ Twitter streams, and this afternoon, via Tom Coates, I heard about Everything Is Miscellaneous, David Weinberger’s new book about “Digital Disorder” and “how we’re pulling ourselves together now that we’ve blown ourselves to bits.” Looks fascinating, and I’ll try and get my hands on a copy.

From the EIM blog, I imagine there will be some book-related stuff in there, not least that based on conversations about libraries and education and media literacy.

From a publisher’s point of view, the other neat thing I discovered was a website called ISBN.nu, which compares book prices from various online sources - a prime example of weathering the digital storm. I’m sure it’s not new and there are others out there doing the same thing, but it’s pretty handy. It’s particularly interesting that Amazon Marketplace listings get the same weighting as regular Amazon listings. I believe services like Amazon Marketplace are going to overtake established, large retailers fairly soon, once technology like this makes their listings as - if not more - accessible than other channels. I also think it will be the death of the RRP - already under discussion at the UK’s Booksellers Association conference - but that’s a subject for another post…

With little fanfare, if:book released a very early version of Sophie, their rich content creation tool, last Wednesday. You can download it here. Sophie has been described variously as the next step in ebooks, a publishing tool for the rest of us, the first base of the networked book, so I was eager to see what it actually was.

After a short time playing around with it, I pretty much gave up. I’d show you the result, but I can’t figure out how to show it off as there’s no documentation and everything I did manage to do (which wasn’t much) I learnt from this video demo (uploaded to YouTube for ease of viewing, from this source). There’s something in the menus about ‘publish book for Apache server’, but that spewed out a bunch of files with no information on what to do with them.

Here’s some screenshots of the interface, the only useful menu, and the ‘halo’ tool configuration:

I’m not sure what’s being created here. Is this a standalone document creator? There’s very little you can do to your content once it’s in Sophie, so you need external text and image editors for most things (for example, I couldn’t work out how to search-and-replace the incorrectly-encoded apostrophes in my Gutenberg source text). Most of the tools are very simple, but then so are the results - this looks like a CD-ROM creator circa 1993. Because, er, that’s what it is…

Sophie’s either sixteen years in the making or nearly three depending on whether you go back to the beginning or not. The beginning was at The Voyager Company, an early electronic publisher … Back in 1992 Voyager released the Expanded Books Toolkit which enabled people to make simple e-books without any programming… Shortly thereafter, Voyager Japan released T-2 which has gone on to become the leading ebook software in its home country. In 1996 a group of Voyager employees formed Night Kitchen with the intent of creating an authoring/reading environment that would extend the Expanded Books Toolkit concept to include rich media. The result TK3 never officially came to market… The Mellon Foundation approached some of the TK3 team and asked them to build a new multimedia authoring program which would be open-source and would extend TK3 by enabling time-based events… That became Sophie. [Source]

Can you imagine the code? It’s clearly inspired by existing rich media applications such as Flash, but it’s target users - the technologically unskilled - don’t use such applications. How are they supposed to get their heads around concepts such as ‘flows’, ‘timelines’ and different server versions? And if they do get that, why aren’t they using the existing apps?

It’s all very disappointing, and I think if:book know it, which is why they haven’t supported or trumpeted this release in any way. But if they’re looking for feedback, here’s some, and we hope it’s constructive:

• Figure out what it’s really for - “Sophie’s raison d’être is to enable people to create robust, elegant rich-media, networked documents without recourse to programming.” Can we get some examples? Are these just tarted-up ebooks, or something more?
• Figure out who wants it - who are these sophisticated but unskilled users? I regularly use Adobe and ex-Macromedia products including Flash, Photoshop, InDesign etc., but I had a hard time figuring out Sophie.
• Make it stand out - I don’t know what differentiates it from other media creation tools. Where’s the killer feature?
• Really open source it - We found the developer site, but there doesn’t appear to much of a community here. The source forge lists about thirty developers, but only about five seem to have done much. What’s going on?
• Smarten it up and Speed it up - it looks terrible and handles worse.

The potential is all there for… something, but I don’t think anyone, least of all its creators, know what. if:book is an academic, not a technical organisation - sorry guys, but I think you’d agree - and this project seems somewhat directionless. As an example, take the comments on the release notice - while there are some questions about the source, most want a long-winded discussion about the theoretical nature of the book.

Yes, this is an alpha release, but it’s still startlingly naked. We need some good examples of what this can do, and at least some basic documentation, to get any kind of a handle on what’s going on.

[UPDATE: Lots of discussion in the comments. Please read on…]

I’ve been playing with Twitter recently (and if you’re a regular reader, feel free to join me). Initially, I thought it was annoying and intrusive - and it still is - but it’s also such a simple, open and versatile platform, that lots of interesting things can come of it. And nothing gets that much use from people unless it has something going on. Does it?

Some good examples of cool stuff made with Twitter include BBC News Feeds, Weather tracking, and Twitter Tube Updates.

So, in the interest of forcing lit into every crack of the e-ther, I present Swotter: a tool for reading books to Twitter, and through Twitter, to the world.

At the moment, Swotter is reading James Joyce’s Ulysses, line by line, to Twitter and to all booktwo’s friends via the web, IM and SMS. Visit the booktwo twitter page to see what Swotter is up to and do make friends if you’re a twitter user.

If you’d like to know more about Swotter, there’s more information here.

Best bookish news from this years CES show in Las Vegas: iriver, best known for their pretty iPod competitors, have announced a rather pretty ebook. A direct competitor to the Sony Reader, iriver’s ebook takes the looking-like-a-pbook game to the next level: two facing e-ink ‘pages’, both touch-sensitive for easy page turning. It takes AAA batteries for what iriver claims will be up to six months use, and to top it all off it comes handsomely bound in leather.

The prototype E-BOOk (which is apparently the annoyingly capitalised name) runs Adobe Reader LE - a mobile version of the ubiquitous pdf-reading software for phones and small devices such as ebooks. As mentioned before, we’re not all that keen on pdf for its restrictions and potentially disastrous DRM, but the consumer will decide. There’s not much else known about the device as yet - including how its e-ink screen refresh compares with that of the Sony - but it’s another step towards the deadly mimic.

Images, Via Engadget.