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    <title>ReciproCard — Find Free Library Cards for Libby | Reciprocal &amp; Non-Resident Cards</title>
    <dc:date>2026-04-22T02:05:20+00:00</dc:date>
    <link>https://reciprocard.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Search by your home library to find reciprocal, partner, and non-resident card options.

Ready to find more cards?

Start by searching for your home library above to instantly see every free reciprocal agreement you qualify for. We automatically filter out duplicate catalogs, so every new card you find can be added to Libby to give you more options and shorter wait times."]]></description>
<dc:subject>libraries onlinetoolkit libby ebooks search</dc:subject>
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    <title>Content Machines: Reading and Writing in the Platform Era, by Sarah Brouillette (2026)</title>
    <dc:date>2026-04-05T06:05:51+00:00</dc:date>
    <link>https://www.dukeupress.edu/content-machines</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While much has been said about the democratization of publishing through the rise of platforms like Amazon’s Kindle Direct Publishing, little attention has been paid to the broader effect these technologies have had on writers, readers, and the publishing industry. In Content Machines, Sarah Brouillette considers how short-form, platform-based, and social media writing on digital mediums like Wattpad and TikTok has reshaped modern publishing, reading, and writing. Brouillette identifies three mutually reinforcing processes that platform capitalism entangles in the publishing industry: the marked feminization of book work; the rise of a bibliotherapeutic vocabulary that grounds reading and writing as self-care work; and the growth of platform-based processes that cheapen content and intensify the pressure to engage in self-promotion and entrepreneurial strategizing. She breaks down the business models that have been key to this transformation and traces the social conditions that make online self-published fiction, especially young adult, romance, and fantasy stories, into spaces for community while, conversely, signaling how these publishing practices depend upon undervalued and feminized labor from marginalized groups. Content Machines is a much-needed survey of the contours of the modern reading and writing landscape."]]></description>
<dc:subject>2026 publishing howwewrite writing howweread reading kindle amazon sarahbrouillette wattpad platforms ebooks labor fiction self-publishing via:javierarbona</dc:subject>
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    <title>Why Bother With Books?</title>
    <dc:date>2026-02-24T18:17:30+00:00</dc:date>
    <link>https://circeinstitute.org/blog/2011-04-why-bother-with-books/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via this thread:
https://micro.blog/ablerism/84924274

"Eeyore recommends What we think is a decline in literacy is a design problem | Aeon Essays [https://aeon.co/essays/what-we-think-is-a-decline-in-literacy-is-a-design-problem ] for those still worrying about demon screens instead of demon AI.

As someone who has come to love e-readers, despite some problems outlined by Warren Farha [links to this article], I substantially agree."]]]></description>
<dc:subject>2011 warrenfarha print books reading howweread ebooks ereaders</dc:subject>
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<item rdf:about="https://unsung.aresluna.org/make-yourself-at-home/">
    <title>Make yourself at home – Unsung</title>
    <dc:date>2026-02-18T07:18:10+00:00</dc:date>
    <link>https://unsung.aresluna.org/make-yourself-at-home/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a nice way iOS Safari behaves the moment you tap one of the font size buttons – it immediately ejects all the other chrome:

[GIF]

After Liquid Glass specifically, we seem to be going through an interesting re-evaluation of whether “the content is the king; it should feel expansive and UI should get out of the way at all costs,” so seductive as a principle, is ultimately the right approach. Liquid Glass-sporting operating systems have so many contrast and blending and distraction issues that I wonder if they alone are radicalizing people, making them appreciate traditional rigid toolbars with solid backgrounds and fortified borders.

But here? Here letting contents shine and putting the UI atop feels like the absolutely right thing to do, since you are redesigning your reading experience.

Contrast this with Books:

[GIF]

It’s not even that the crossfaded transitions feel awkward. It’s mostly that the interface takes up so much room that the content preview slice becomes almost claustrophobic. And it’s even weirder when you tap the Customize button, and whatever was visible gets inexplicably replaced by a pop-up with… largely the same content anyway.

How will the entire page feel? For that you have to use your imagination – or keep tapping back and forth."]]></description>
<dc:subject>ios text web online browsers internet liquidglass safari books ebooks ui interface howweread reading mobile 2026 marcinwichary</dc:subject>
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    <title>If the future of e-readers is getting weird, I’m here for it – Six Colors</title>
    <dc:date>2026-01-20T05:12:13+00:00</dc:date>
    <link>https://sixcolors.com/post/2026/01/if-the-future-of-e-readers-is-getting-weird-im-here-for-it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Late last year, a bunch of people, knowing that I love e-readers, asked me if I was going to try the Xteink X4, a $69 tiny, no-frills reader. Like, seriously tiny—so small that it comes with a stick-on magnet ring and will just snuggle into the MagSafe area on an iPhone 17 Pro Max.

The moment I saw that the Xteink X4 didn’t have any lighting, I decided I wasn’t going to bother—I spent way too much time clipping book lights to Kindles so I could read in the dark. But in a moment of weakness (possibly fueled by several Hazy IPAs and high altitude) over Thanksgiving, I bought one. It was $69! Why not take a chance on a weird little e-reader?

When the Xteink X4 arrived, I got my answer: I was deeply unimpressed with the hardware, which has two rocker switches on the front as well as a rocker on the side and a power button and a recessed reset button. Look, I love e-reader buttons, but eight is too many. Of course, there was the aforementioned lack of lighting, meaning you need to use it outside or in a well-lit room. Also, the whole premise of this thing seems to have been that it sticks on the back of your iPhone, but that’s not true unless you have absolutely the largest iPhone available.

But I’ll give it this: it was tiny.

The software was the real tragedy, though: It was really bad. Hard to navigate (so many buttons) and, tragically, just bad at being an e-reader. I couldn’t turn off forced justification, another deal-breaker for me. I tossed it on my desk and figured I wouldn’t write about it because why kick this little thing when it’s down? (I did say some unkind things about it on Upgrade, I’ll admit.)

And then a funny thing happened: Dan Moren sent me a message saying:

<blockquote>Finally got my Xteink ironically after hearing you slag it on Upgrade. So I flashed it with the community-made firmware, which by all accounts is better.</blockquote>

I had seen several people report that the Xteink worked better with some community-built firmware, but I hadn’t tried it—mostly because I firmly believe that suggesting that someone buy hardware only to immediately replace its firmware with someone else’s fix is not really the endorsement it sounds like.

But Dan’s message intrigued me, moreso when he pointed out that I could install the new firmware directly from a web page using Chrome. Loading a web page and clicking a button seemed like a very low-effort way to see what all the fuss is about, so I went ahead and installed CrossPoint reader.

What a difference. The CrossPoint software draws labels next to the four rocker directions on the front of the Xteink x4, so you know what each button does. It parses ePub files properly, offers font and justification control, and will even display the cover art of the book you’re reading. There’s even support for uploading books via Wi-Fi!

Is it as sophisticated as other e-readers? Absolutely not. Most readers are either Android or Android-based; this thing is an ESP32-based thing, so it’s incredibly bare bones. But it works.

Do I recommend that people rush out and get the Xteink X4? No, I don’t. It’s fun to mess around with, and if you’re looking for a super-tiny e-reader that you can keep in a pocket or bag and break out in well-lit spaces at the drop of a hat, it will suffice. It won’t sync with other readers or your phone, so consider it the digital equivalent of throwing a paperback in your purse or backpack.

What I am enthusiastic about is the potential for interesting e-readers. Amazon seems comfortable shipping Paperwhites that are boring and featureless, Kobo’s innovation seems to have slowed as well, and everyone seems distracted by the possibility of finding a new market with E Ink-based note-taking devices like the Kindle Scribe.

But there’s still room for weird. The Android-based Boox Palma is shaped like a phone, but it’s an e-reader. At $250, it’s not cheap, and it’s a bit too big, but who’s to say where experimentation with smartphone marks and E Ink screens might lead? And coming from the bottom up are devices like the Xteink X4, with basic software running on ESP32 hardware.

If I were Xteink or any similar hardware developer, I’d be looking hard at giving support to the CrossPoint project and then focusing my efforts on making a device with simpler controls (fewer buttons!). Adding lighting and potentially a touchscreen would make this interesting, too. There are a lot of directions this sort of product could go—so let’s get to experimenting.

In the meantime, I’ve loaded a bunch of DRM-free public domain books from Standard Ebooks on my Xteink X4 and am letting it just hang around the house. I can pick up an Agatha Christie on a sunny afternoon and just enjoy a little bit of reading time. There’s a lot of potential here."]]></description>
<dc:subject>eink ebooks ereaders 2026 jasonsnell hardware software</dc:subject>
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    <title>It Must Have Been Dark By Then - duncanspeakman.net</title>
    <dc:date>2025-10-15T05:15:55+00:00</dc:date>
    <link>https://duncanspeakman.net/catalogue/imhbdbt/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It Must Have Been Dark by Then is a book and audio experience that uses a mixture of evocative music, narration and field recording to bring you stories of changing environments, from the swamplands of Louisiana, to empty Latvian villages and the edge of the Tunisian Sahara. Unlike many audio guides, there is no preset route, the software builds a unique map for each person’s experience. It is up to the participant to choose their own path through the city, connecting the remote to the immediate, the precious to the disappearing.

In January and February 2017 Duncan Speakman travelled with collaborators across three countries on three continents, visiting environments that are experiencing rapid change from human and environmental factors. What he created on his return is somewhere between a travel journal and a poetic reflection on connection, progress and memory. The experience asks the listener to seek out types of locations in their own environment, and once there it offers sounds and stories from remote but related situations. At each location the listener/reader is invited to tie those memories to the place they are in, creating a map of both where they are right now and of places that may not exist in the future."]]></description>
<dc:subject>location audio location-based via:javierarbona duncanspeakman 2017 books ebooks audiobooks experience place audioguides connection progress memory maps mapping environment listening latvia tunisia 2024</dc:subject>
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<item rdf:about="https://www.robinsloan.com/shop/aspire-zine/">
    <title>Robin's Shop: Aspire Zine</title>
    <dc:date>2025-09-21T05:13:42+00:00</dc:date>
    <link>https://www.robinsloan.com/shop/aspire-zine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An argument and a model for a new kind of e-book, one that takes seriously the standard set by physical books. On one side, you’ll find a pitch for a new approach to selling and circulating e-books. On the other, a poster with an undeniable exhortation.

This zine contains a brisk, uncompromising manifesto, titled This Is How E-books Should Work. It describes a new model—then demonstrates it! The zine comes with access to a digital version, delivered in a way that I think is healthier and more interesting than the current model.

Regardless of whether you find my model compelling, I invite you to contemplate the exhortation on the poster side. Digital design is thick with traps and seductions, but/and if you consistently ask “how would this work in print?” you will rarely go wrong.

Two-sided print on 11" × 17" Speckletone from French Paper in Niles, Michigan. Printed in two color passes on a Risograph SF9450 at the Murray Street Media Lab in Berkeley, California.

First printing, September 2025"

...

"THIS IS HOW E-BOOKS SHOULD WORK

Twenty-five years into a digital century, and the e-books are dismal.

We can do better-as publishers, booksellers, and readers alike— and we ought to try. This zine is an argument and a model, and we'll take things in that order.

Physical books-hereafter, "books" —are useful machines refined over many centuries. My argument is that e-books must, at minimum, meet the standard they set. So, to begin, here is

The Standard

E-books must match the speed, privacy, and reliability of the printed page.

The book loads instantly! It is perfectly responsive in your grip, operating at precisely the speed of your thought and curiosity. The book never, ever makes you wait.

Human life is now surveilled from every angle: state, corporation, doorbell. One space that remains totally private is the one inside your head. Because of the way text works in the mind, the book-distinct from other media-has always defended and enriched this space."

[see also:
https://www.robinsloan.com/newsletters/monochrome-gambit/  ]]]></description>
<dc:subject>robinsloan 2025 zines ebooks print printing printedweb</dc:subject>
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<item rdf:about="https://www.are.na/editorial/on-contamination">
    <title>On Contamination | Are.na Editorial</title>
    <dc:date>2025-04-17T22:15:16+00:00</dc:date>
    <link>https://www.are.na/editorial/on-contamination</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anna Lowenhaupt Tsing points out that “Everyone carries a history of contamination;1 purity is not an option.”2  

My interest in contamination emerged while thinking about books and acts of publishing.3 I’ve always felt drawn to books, as both objects and methods, but my studies and my work both center around writing code. While writing my bachelor’s thesis, I started thinking specifically about publishing online — and about how the materialities of a book and the act of “making public” take on different qualities once they enter digital realms.4

I realized that most mainstream5 publishing on the web tends towards opaque, mediated platforms and seamless interaction; infinite yet restricting feeds.6 

Today, online interfaces are too often governed by corporations who commodify individualism and limit agency to a minimum of swipe movements, all while extracting and surveilling user data.  

But interfaces, like margins and thresholds, are zones of encounter.7

They are the sites of creation (writing)8 but also perception (reading) and circulation (gathering).9  

I read, write, and gather on interfaces: I browse “feeds,” open “folders,” close “windows,” and park “files” in my “drive.” My actions are dependent not only on a stable internet connection, but also the platforms and services that are designed to let convenience surpass criticality.

What if a platform's interface was regulated by those who inhabit and use it, rather than by corporate interests? Could we reimagine these interfaces as communal sites that emphasize unlearning and dialogue?10

In an attempt to answer these questions, I found myself coming back to the concept of contamination. As a metaphor for publishing online, it aims for the disruption and complication of digital interfaces, challenging concepts of individuality and authorship.

Contamination is a troubling metaphor with which I am striving for infectious interfaces — inviting the parasite I want in order to open up to the transformations that arise from one another.

Contamination is also a material metaphor that enables me to understand the real world implications that digital technologies and visualities bring forth. It helps me to consider the environments I work and publish in and their distinct materialities. 

When I trace contamination through digital and print interfaces I am crossing margins — the liminal spaces where interaction between two or more involved entities is situated.11 

How can we understand the in-between not as gaping void — an unbridgeable gap — but an invitation for encounter? How can we inhabit the digital margins?12

While seeking intertextual encounters in margins, I didn’t just come across comments and annotations. Footnotes caught my attention, too, because they are at once graphical (textual) interface elements but also part of a (networked) infrastructure.13 

Contamination enables us to reimagine ways of relating, and move towards encounters not assumptions.

Like André Breton's remarked, “One publishes to find comrades.”14"]]></description>
<dc:subject>kimkleinert contamination footnotes form writing howwewrite annatsing annalowenhaupttsing purity publishing digital ebooks relating intertectual text margins marginalia infrastructure networks assumptions encounters voids inbetween betweenness interface liminalty print materiality online internet web authorship individuality unlearning dialogue acknowledgement criticality criticism reading howweread creation perception circulation distribution platforms agency andrébreton citation references inbetweenness between</dc:subject>
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<item rdf:about="https://www.jstor.org/stable/3852902">
    <title>Disappearing Ink: Poetry at the End of Print Culture on JSTOR</title>
    <dc:date>2025-03-14T07:47:55+00:00</dc:date>
    <link>https://www.jstor.org/stable/3852902</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>poetry digital print danagioia 2003 culture change howweread howwewrite communication books ebooks information literature comprehension reading attention</dc:subject>
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<item rdf:about="https://goodereader.com/blog/commentary/amazons-legal-battles-a-comedy-of-lawsuits">
    <title>Amazon’s Legal Battles: A Comedy of Lawsuits - Good e-Reader</title>
    <dc:date>2025-03-13T21:16:30+00:00</dc:date>
    <link>https://goodereader.com/blog/commentary/amazons-legal-battles-a-comedy-of-lawsuits</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If Amazon were a person, it would be that student who insists they’re always being unfairly targeted—despite a permanent record that says otherwise."

...

"You know that kid who’s always getting sent to the principal’s office? At some point, you have to ask: is it the school… or is it just the kid? Well, if Amazon were a student, it would have a permanent seat in detention. From price-fixing to privacy invasions, this tech giant has faced more lawsuits than a bad reality TV star. Let’s take a walk down the courtroom aisle and see where the smoke has turned into legal fire.

Amazon’s Greatest Hits (of Litigation)

1997: Barnes & Noble Lawsuit – The “Biggest Bookstore” Battle

May 12, 1997: Barnes & Noble sued Amazon, basically calling it out for false advertising. Amazon had claimed to be “the world’s largest bookstore,” and Barnes & Noble wasn’t having it. The case settled out of court, meaning Amazon got to keep bragging rights, just with a little less enthusiasm.

1998: Walmart Lawsuit – The “You Stole My Employees!” Scandal

October 16, 1998: Walmart threw a fit and sued Amazon for allegedly swiping its former executives and using their trade secrets. The case was settled, and Amazon agreed to reshuffle some employees—because nothing screams “totally innocent” like some good ol’ internal reassignments.

2004: Soverain Software Patent Lawsuit – The Shopping Cart Caper

January 12, 2004: Amazon found itself in hot water for allegedly infringing on Soverain Software’s online shopping cart patent. Instead of dragging it out, Amazon settled for $40 million. That’s an expensive cart full of groceries!

2010: Macmillan E-book Pricing Dispute – The “Who Gets to Overcharge Readers?” Fight

January 2010: Amazon yanked Macmillan books from its site during a dramatic standoff over e-book pricing. Eventually, they made up, but not before proving that book pricing drama is way more intense than anyone expected.

2014: Hachette Book Group Dispute – The “Amazon vs. Authors” Smackdown

2014: Amazon and Hachette had a public spat about book prices. Amazon played hardball by delaying shipments and removing discounts, making it clear that even authors weren’t immune to its battlefield-style business tactics.

2020: Antitrust Investigations – The “Are We a Monopoly? Who, Us?” Episode

July 2020: The U.S. House Antitrust Subcommittee put Amazon under the microscope to figure out whether it was crushing the competition like a boot on an ant. The investigation is ongoing, but the general consensus? If it looks like a monopoly and acts like a monopoly…

2021: E-book Price-Fixing Lawsuit – The “Déjà Vu” Case

January 2021: Amazon allegedly conspired with publishers to keep e-book prices artificially high. This is what happens when you don’t learn from your previous fights with publishers. However, it’s worth noting that this round went to Amazon.

2023: Federal Trade Commission (FTC) Antitrust Lawsuit – The “You Again?” Special
September 26, 2023: The FTC and 17 states decided Amazon was getting too big for its britches and filed a lawsuit, accusing it of maintaining an illegal monopoly. The trial is scheduled for October 2026—plenty of time for Amazon to “restructure” a few things.

2025: Quebec Warehouse Closures – The “Labor Dispute of the North” (Mon Dieu!)

January 22, 2025: Amazon announced it was closing seven warehouses in Quebec, leaving 1,700 employees without jobs. The official reason? “Business strategy.” The suspected real reason? Unions.

February 4, 2025: The affected workers’ union, CSN, filed a lawsuit, calling Amazon out for its suspiciously timed closures. Because nothing says “we respect labor rights” like shutting everything down.

February 6, 2025: A Montreal resident took it to another level by suing Amazon for breaching its Prime delivery promise, because when all else fails, Canadians will fight for their right to two-day shipping.

2025: Consumer Location Data Tracking Lawsuit – The “We See You” Saga

January 29, 2025: A class-action lawsuit was filed in California, accusing Amazon of tracking users through third-party apps without consent. Just when you thought Google was the only one watching you…

Where There’s Smoke, There’s Bezos

If Amazon were a person, it would be that student who insists they’re always being unfairly targeted—despite a permanent record that says otherwise. With more legal drama than a courtroom TV show, one thing is clear: as long as Amazon keeps pushing boundaries, the lawsuits will keep rolling in. Whether it’s labor rights, monopolistic tendencies, or privacy concerns, the question isn’t if Amazon will be sued again—it’s when and for what this time? Stay Tuned!"]]></description>
<dc:subject>amazon legal law 2025 litigation history monopolies pricefixing lawsuits ftc quebec labor work 2023 2021 2020 antitrust 2014 2010 publishing books ebooks 2004 patents 1998 walmart 1997 barnesandnoble angelawaterfield jeffbezos</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://bookshop.org/ebooks">
    <title>Bookshop.org US</title>
    <dc:date>2025-01-28T21:45:32+00:00</dc:date>
    <link>https://bookshop.org/ebooks</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Buy Ebooks. Support Local Bookstores.

Finally, we can get ebooks from local bookstores!

Browse and buy on Bookshop.org, and read right in your web browser, or download our iPhone or Android apps for the full reading experience. Every purchase financially supports local, independent bookstores! Have questions? Click here to learn more!"

[See also:
https://www.theverge.com/tech/597137/bookshop-org-ebooks ]]]></description>
<dc:subject>ebooks booshop.org books reading</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day">
    <title>The French modernists loathed and loved the mass media of their day | Aeon Essays</title>
    <dc:date>2025-01-20T03:25:15+00:00</dc:date>
    <link>https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How French modernists from Proust to Mallarmé were alarmed and inspired by the voracious dynamism of the newspaper world"]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:eae5aae0ae02/</dc:identifier>
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<item rdf:about="https://thepalaceproject.org/">
    <title>Palace Project Home - The Palace Project</title>
    <dc:date>2025-01-03T00:00:37+00:00</dc:date>
    <link>https://thepalaceproject.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Libraries are palaces for the people

Drawing on the long tradition of libraries as the center of citizenship and engagement, The Palace Project name was chosen to highlight the central role of libraries in public life and the idea of public libraries as “Palaces of the People”. The goal of The Palace Project, a new division of Lyrasis, is to support public libraries in their mission to provide equitable access to digital content, while restoring the direct relationship between library and patron.

“Libraries are essential because they provide individuals with knowledge and the tools to build more informed, engaged and inclusive communities.” - George Martinez, Chief Technology Officer, Knight Foundation

At the heart of the Palace Project is the belief that the public library is the digital center of knowledge and creativity for their community. By creating a seamless, easy-to-use system including platform, content and mobile app, The Palace Project lets you engage directly with your patrons and improve, enhance and expand the resources available to them.

The Palace Project is a robust suite of content, services, and tools for the delivery of ebooks, audiobooks, and other digital media to benefit public libraries and their patrons. Funded by a $5 million investment from the John S. and James L. Knight Foundation, The Palace Project is a division of Lyrasis, working in strategic partnership with Digital Public Library of America (DPLA). The Palace platform was initially sourced from the Library Simplified platform, an open-source code base originally designed and developed by the New York Public Library.

“DPLA is excited to take our work providing libraries greater control over digital assets to the next level." - John Bracken, Executive Director, DPLA 
 

The Palace Project is rooted in our commitment to a library-led digital future. The Palace Project will:
- Bolster the direct relationship between libraries and their patrons
- Give libraries greater control over acquisition and delivery of econtent
- Advocate with publishers on behalf of  libraries
- Respect patron privacy

The Palace Project is supported by the John S. and James L. Knight Foundation and is a division of Lyrasis."]]></description>
<dc:subject>libraries books applications android iphone ios opensource ebooks econtent audiobooks sfpl lyrasis digital georgemartinez thepalaceproject nypl dpla johnbracken</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.wsj.com/tech/personal-tech/who-are-all-these-20-somethings-buying-a-kindle-339a30c5">
    <title>Who Are All These 20-Somethings Buying an Amazon Kindle? BookTokkers - WSJ</title>
    <dc:date>2024-08-06T17:52:36+00:00</dc:date>
    <link>https://www.wsj.com/tech/personal-tech/who-are-all-these-20-somethings-buying-a-kindle-339a30c5</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How the Kindle Became a Must-Have Accessory (Again)
The e-reader has become the gadget of choice on #BookTok"

[See also:
https://www.theverge.com/2024/8/6/24205146/quibi-history-ebooks-future-vergecast
https://www.youtube.com/watch?v=-qrvvBK_PYs ]]]></description>
<dc:subject>kindle 2023 anne-mariealcántara 2024 ebooks ereaders amazon eink epaper reading books howweread</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theverge.com/2024/8/6/24205146/quibi-history-ebooks-future-vergecast">
    <title>The history and failure of Quibi, and ebook vs. print books - The Verge</title>
    <dc:date>2024-08-06T17:50:40+00:00</dc:date>
    <link>https://www.theverge.com/2024/8/6/24205146/quibi-history-ebooks-future-vergecast</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["a debate over paper and digital books"

[See also:
https://www.theverge.com/2024/7/4/24158251/kobo-libra-clara-colour-e-reader-review

"Kobo’s great color e-readers are held back by lock-in

They’re more colorful than anything Amazon offers and have built-in support for Overdrive, but the UI feels more focused on selling books than reading them."

https://www.theverge.com/24184777/boox-palma-e-ink-smartphone-reader

"The Boox Palma is an amazing gadget I didn’t even know I wanted

I thought I was buying an e-reader. And I was! But the smartphone-sized device does just enough other stuff that it now goes with me everywhere."

https://www.wsj.com/tech/personal-tech/who-are-all-these-20-somethings-buying-a-kindle-339a30c5

"How the Kindle Became a Must-Have Accessory (Again)
The e-reader has become the gadget of choice on #BookTok"]]]></description>
<dc:subject>quibi ebooks ereaders kobo boox booxpalma kobolibracolour eink epaper 2024 davidpierce howweread reading digital print books kevinnguyen alexcranz accessibility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theverge.com/24184777/boox-palma-e-ink-smartphone-reader">
    <title>The Boox Palma is an excellent e-reader in an Android smartphone’s body - The Verge</title>
    <dc:date>2024-08-06T17:49:11+00:00</dc:date>
    <link>https://www.theverge.com/24184777/boox-palma-e-ink-smartphone-reader</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I thought I was buying an e-reader. And I was! But the smartphone-sized device does just enough other stuff that it now goes with me everywhere."

[See also:
https://www.theverge.com/2024/8/6/24205146/quibi-history-ebooks-future-vergecast
https://www.youtube.com/watch?v=-qrvvBK_PYs ]]]></description>
<dc:subject>ereaders boox booxpalma eink epaper 2024 davidpierce ebooks reading howweread</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:94cf6f818075/</dc:identifier>
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</item>
<item rdf:about="https://www.theverge.com/2024/7/4/24158251/kobo-libra-clara-colour-e-reader-review">
    <title>The Kobo Libra Colour and Clara Colour are great color e-readers are held back by lock in - The Verge</title>
    <dc:date>2024-08-06T17:48:19+00:00</dc:date>
    <link>https://www.theverge.com/2024/7/4/24158251/kobo-libra-clara-colour-e-reader-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["They’re more colorful than anything Amazon offers and have built-in support for Overdrive, but the UI feels more focused on selling books than reading them."

[See also:
https://www.theverge.com/2024/8/6/24205146/quibi-history-ebooks-future-vergecast
https://www.youtube.com/watch?v=-qrvvBK_PYs ]
]]></description>
<dc:subject>kobo kobolibracolour kobolibra koboclara koboclaracolour 2024 ereaders ebooks eink alexcranz epaper reading howweread</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6b7dc3e293de/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kobo"/>
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</item>
<item rdf:about="https://craigmod.com/roden/091/">
    <title>New Pop-up Walk, Reading Digitally in 2024 — Roden Newsletter Archive</title>
    <dc:date>2024-05-09T04:02:10+00:00</dc:date>
    <link>https://craigmod.com/roden/091/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Digital Reading in 2024

A long time ago, in a universe far, far away, I used to write about / really care about digital reading. A whole chapter of my life / career pivoted around digital reading and books, what could be, and I travelled the world (?!) talking about this stuff. I lectured at Yale for nine years about this stuff! (“Margins”!!) But I haven’t really talked about reading on a screen in a long time. Mainly because: It’s been boring / depressing. Not much has happened. Patents and monopolies chopped the feet off digital books. Well, I’m happy to report that I think — I THINK — something is once again maybe — just maybe — happening:

This little device pictured above — the BOOX Palma (Amazon affiliate link which will make me literally tens of dollars in aggregate) — has transformed my digital reading habits for the better. But before we get into why and how and why now, a little background might be instructive:

I love reading. (Perhaps you do, too!) Now, there are many forms of “reading,” and you can spend your whole day doing “reading” and not actually do the kind of reading we love. The kind we love is focused, challenging, sustained, with a pen in hand, making note of new turns of phrase and peculiar, precise words, and feeling our brains get ever-so-slightly reconfigured by the text. The kind of reading we love requires a piece of text be worked over so many times that the author probably never wants to see it again. The kind of text that has been squeezed through a dozen gates of betterness and its darlings have been serial killed and it has benefited from the acute eye of a shrewd editor. (Ed: Basically, the opposite of what you’re reading now.) And if you were to compare that text to its first draft, you’d be made woozy by how far it had come.

The easiest way to do this kind of reading? Pick up a physical book published by a publishing house that cares without compromise. Book at the ready, you now take your phone and, ideally, put it in another room. (Thirty years ago, I may have written: “Now, unplug your telephone from the wall.”) Don’t even have that dopamine bastard within earshot. One little buzz of an incoming something-something will break the spell of the book, send your mind racing with casino chemicals. You think I’m exaggerating! I haven’t slept with a phone in my bedroom in over a decade — I get a lot of good reading done at night in bed.

This is all a prelude to consider digital reading which, quite frankly, has been in a pretty bad state for a while. At least for the kind of reading we’re talking about — sustained, unbroken-concentration reading. Largely, this is a container issue, in that our containers are just so deliciously optimized for not reading. Our phones, tablets, laptops — all great at doing everything but reading. Which is why E Ink devices like Kindles were so seductive and promising. They contain all the good of digital (lots of books on hand, portable, easy highlighting, note-taking, etc) with, usually, none of the non-reading nonsense (apps, social media, streaming services) and even some of the affordances of a physical book (reflective non-backlit surface, long battery life, etc).

But something happened with Kindles — Amazon sort of gave up on them. Maybe Kindle books don’t sell as well as they had hoped. Or maybe they just realized that digital book sales were a rounding error of a rounding error on their bottom line (one year of Kindle sales == 10ms of AWS revenue). Or maybe it was just that once, long ago, Bezos was the Kindle figurehead, the guy pushing the platform along, and since he left the product has languished. Whatever the reasons, reading on a Kindle has brought little additional joy to reading over the years, and its somewhat abandoned state is disheartening to any ardent reader of our time.

Are Kobo and Nook viable alternatives? Maybe? But not really — too proprietary? Not bringing much more to the table than a Kindle does? Basically just “Not Kindle” as their value proposition?

Which is why I was shocked to learn about the E Ink computer company BOOX. Shocked because nobody had told me about them before, and because their devices looked … really good? I learned about BOOX because a company I’ve long followed and admired — Readwise — asked me to be an advisor. I did a call with Readwise’s CEO and we talked about digital reading. I’ve been using Readwise services — and paying for them — for nearly a decade. I’ve had Readwise suck up my Kindle highlights and save them for as long as that service was available. And through the use of a Readwise Obsidian plugin, I have a locally-stored Obsidian Vault with a full archive of all of my Kindle highlights and notes, with deep-linking into the Kindle app, and highlights from any long form articles I’ve read. Because that’s really where Readwise sings — they have a fabulous long form reading, meta-data-editing, article-organizing platform called Reader. Readwise’s Reader app is available on Android. BOOX is an Android E Ink computer. Reader (that’s you, not the app), I was curious."

...

"Are BOOX devices perfect? Hardly. Word has it they are abjectly terrible stewards / out of compliance with GPL license expected practices. For users, this means almost nothing. But it does mean that the company is kind of being an open source asshole, which is not cool. It also means you don’t know what’s going on with their code. Maybe don’t run banking software on these things? Fire OS, Amazon’s Android fork, “complies” in the sense that they release their source, but only for GPL-specific parts (thereby rendering it almost useless). So you also don’t know what Kindle code is really doing under the hood, either.

Overall, I’m inspired and happy — happy to have found a durable solution to a non-trivial problem: How do you engage with deeply researched, lovingly edited texts that exist mainly (if only — increasingly only) in digital form? Personally, I cannot sustain attention on a text longer than five-hundred words on my laptop or phone. Something broke in my mind a long time ago with respect to these devices. When I write on my laptop, the internet is off and I’m in a full-screen mode, light text on a dark background. That keeps me grounded. But now, when I encounter a long form piece that looks fantastic, I throw it over to Reader. No longer a Graveyard of Good Intentions — with my Palma in pocket, I plow through my queue (or “Inbox” in Reader vernacular). It’s inspired me to dig through the archives of The Paris Review, load up with old author interviews. Again, unlike dumping these into my Kindle, there is no fear of “contaminating” my library view.

In the end, this all may sound silly. But I suspect the way I feel above is not unique. You, too, may have been broken by whatever chemical sorcery happens when you pick up an iPhone. And you may have been disheartened (if only subconsciously) by the state of Kindle reading. For the first time in about a decade, it feels like moats may be collapsing, and that is, indeed, an exciting thing.

Readwise, too, is an interesting company. Bootstrapped. No breathless whispering of Mark Andreessen across some gilded dinner table. Just a real company making real money by selling useful services around reading. What a thing! A company that loves reading and thinking about reading and meaningfully engaging with reading. If you have any feature requests or bug reports, shoot them over. If you grab a Palma, let us know how your reading experience goes. Readwise is a nimble operation. They’re listening.

***

Every few years, I’ve upgraded my Kindle and I’ve never been “delighted.” The platform has long since felt flawed across many axes. The Palma is the first time I’ve been delighted by a new digital reading device in a long, long time. Now, with E Ink companies like BOOX we can finally untether the quietude of E Ink reading from proprietary hardware. It’s a big win, I feel, for us readers. And seems like — maybe — a first step towards even bigger wins.

And it doubly seems like I’m not the only one who had never heard of BOOX. I offhandedly mentioned the Palma on Threads a month or two ago — just a little peep into the ether — and never have I gotten so many emails and texts and messages from people who bought a Palma and are loving it. Clearly this device is striking a chord, itching a long-standing reading itch!"]]></description>
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<item rdf:about="https://robinrendle.com/notes/kobo-libra-2/">
    <title>Robin Rendle — Kobo Libra 2</title>
    <dc:date>2024-04-22T03:49:25+00:00</dc:date>
    <link>https://robinrendle.com/notes/kobo-libra-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mentioning e-readers in 2023 feels like a forbidden subject and recommending an e-reader is almost sinful. It’s like committing a crime by breaking a pact of silence and then following that up by being incredibly boring whilst you do the crime.

Hasn’t every topic, every thought and utterance, already been uttered about ebook readers?

At some point we all agreed that, hey, that whole future-of-the-book conversation was quite silly and it got a little out of hand. Ebooks stalled way back in 2009 and all that promise of a future book stalled with it, so let’s just sweep all those half baked e-readers and our dreams of cool iPad magazines under the bed and never talk about any of this ever again. At least in polite company.

But let me break the pact, if only just for a bit.

A while ago I picked up a Kobo Libra 2 and that promise of the future book flashed before my eyes again.

I’ve read everything on this little device: fantasy novels, biographies, cringey and yet somehow endearing love letters from Oscar Wilde, the whole lot. It’s just a great device and about as good as ebook readers can be; it’s so much faster than the competition, it lasts forever, there’s physical buttons to navigate between pages, and you can even load custom fonts on this bad boy! On the first day, and with just a few clicks, I uploaded my trusty GT Alpina and I’ve been happy ever since.

Also, perhaps the best feature: when you set the device down it just shows the last book you were reading. No ads for random flirty romance novels that you don’t care about, no ads for upsetting self-help books. In that way it feels respectful of your time and attention, if only a little bit.

There are some quirks that you have to put up with, sure. Like each ebook has to be manually typeset each time you boot it up. I’m no ebook specialist so maybe those are the settings that come embedded with the file? But you can eventually get great typography on this thing if you tweak it for long enough. So I’ll take that.

Every time I pick this thing up though I can’t help think about that future-of-the-book stuff. The annoying what-if stuff. Like, what if ebooks were just a little better? What if the physical design of the Kobo was a little more Teenage Engineering and less generic, throw-away-able plastic? Where is the fun in the interface? Where is the (ugh) delight in the heft of this thing as an object? Why can’t I quickly pull in every book from Project Gutenberg? Why can’t I navigate the web but in a super-focused, monochromatic way?

Years ago I argued that RSS is the promised land. Not just for the web, but for e-readers too. So I wish this device wasn’t land-locked into a paywalled garden of selling you half-baked text docs called ebooks. I wish RSS was a core part of this device somehow and I wish that connecting with writers wasn’t...like this.

There’s still that hypothetical future-device in my head, a truly beautiful one; a device that builds off the open web, a device that connects you with other readers and writers, bringing in great industrial design and all the ideas from Readmill before it tragically died.

That future device bounces around in my head all the time and so, as good as the Kobo Libra 2 might be, it just ain’t that.

But it’s the closest thing we’ve got."]]></description>
<dc:subject>kobo kobolibra kobolibra2 robinrendle 2023 ebooks ereaders</dc:subject>
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<item rdf:about="https://www.fulcrum.org/">
    <title>fulcrum</title>
    <dc:date>2024-04-17T06:24:06+00:00</dc:date>
    <link>https://www.fulcrum.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Fulcrum is a publishing platform that helps publishers present the full richness of their authors' research outputs in a durable, discoverable, accessible, and flexible form."]]></description>
<dc:subject>ebooks publishing epublishing accessibility multimedia fulcrum</dc:subject>
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<item rdf:about="https://nautil.us/viva-la-library-543293/">
    <title>Viva la Library! - Nautilus</title>
    <dc:date>2024-04-13T21:02:48+00:00</dc:date>
    <link>https://nautil.us/viva-la-library-543293/</link>
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<item rdf:about="https://standardebooks.org/">
    <title>Standard Ebooks: Free and liberated ebooks, carefully produced for the true book lover.</title>
    <dc:date>2024-04-06T01:42:33+00:00</dc:date>
    <link>https://standardebooks.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:

https://social.ayjay.org/2024/04/05/fyi-the-people.html

"FYI: The people at Standard Ebooks produce carefully-edited, well-formatted, free e-books. Project Gutenberg is an amazing resource, but its texts are sometimes sloppily prepared; every Standard Ebook I’ve downloaded looks great. (I have also contributed $$ to the project.)"]]]></description>
<dc:subject>ebooks free typography books</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=xHdOPsiv_i0">
    <title>The Dark Side of Owning a Kindle (watch this) - YouTube</title>
    <dc:date>2024-01-11T06:55:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=xHdOPsiv_i0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today's video is a little different. We discuss Kindle DRM and the impact Amazon has had on small independent bookstores. I'll also show you some ways to support your local bookstores.

How to Resist Amazon and Why book: https://bookshop.org/p/books/how-to-r...

0:00 Introduction
0:46 Amazon’s Monopoly on Books
2:31 Where are all the e-books?
5:27 What the heck is DRM?
8:18 So…now what?"]]></description>
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<item rdf:about="https://compendium.copim.ac.uk/practices/53">
    <title>Experimental Publishing Compendium: Practice: Annotating</title>
    <dc:date>2024-01-01T03:35:43+00:00</dc:date>
    <link>https://compendium.copim.ac.uk/practices/53</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Description
Annotations, notes scribbled in the margins or digitally overlain, spin out from a source text, adding layers of meaning, interpretations, references, and associations. As an experimental practice, annotating has the potential to redefine the lines between writers and readers, sources and exegesis, and reviewers and reviewees.

Full description
Web-based annotations of digital books enrich and add meaning to a scholarly text through overlays and filters that sit on top of the text—often allowing direct referencing of granular elements (specific words, segments, paragraphs)—in order to show additional textual or multimodal commentary and feedback. Annotations—in short, a form of readerly or writerly interaction that consists of notes (in any medium) added to texts (of any medium)—already have a long history in a print and manuscript context (e.g. marginalia, errata, rubrics), but the immediacy of two-way discussion between users is a notable feature of digital open annotations. Annotation can serve many purposes, "it can provide information, share commentary, spark conversation, express power, and also aid learning" (Kalir and Garcia, 2021). Adding contextual references, such as metadata, can enrich the underlying text, for example by creating a semantic network that sets a given publication in relation to other publications (hyperlinking, linked open data). This can facilitate a more "seamless integration of research materials and scholarly analysis" (McPherson, 2010). Beyond human generated annotations, there are also opportunities to enhance content through auto-generated annotations, adding info about identifiers, controlled vocabulary, or recommendations. Annotations can also be enhanced themselves, by making them "searchable by tags that make it possible to identify the type of annotation or its content" (Bertino & Staines, 2019; Lange, 2020) and because of digital technologies readers are now able to export, share, and preserve their annotations for a range of audiences.

Experimental uses
While pre-digital annotation has mostly been a private practice (Humphreys et al., 2018), digital tools enable the ongoing and shared open annotation of texts, potentially blurring divisions between text and annotation, and author, editor, reviewer, and reader. This speaks of the participatory approach to annotating content and annotations potential to undermine traditional notions of proprietary authorship and authorial control over open content. Annotation also provides opportunity to "socialize the process of knowledge creation" by extending the "collaborative spirit" from authorship out to review and revision, and from there to create knowledge communities (Montgomery et al., 2018; Kalir & Garcia, 2021). Open annotation can thus simultaneously foreground social processes of authorship while also questioning the very nature of authorial authority. It has the ability to enrich a document through its ability to 'interweave' itself with the other voices in a project, thus presenting a textured, multi-perspective publication in one document while also posing questions about where the document actually begins and ends (Adema, 2018). Annotation therefore points to a level of liquidity and intertextuality within a publication that disrupts what it means to have a fixed and final publication.

Increasingly publishers are experimenting with annotation features either on top of their open book collections or on specific open titles, and annotations (either in the authoring or the reading environment) are also becoming a standard feature of long-form experimental publishing platforms, from CommentPress to Manifold, Scalar, and PubPub. MIT Press has accommodated annotation and conversation around some of the books in its MIT Press Open collection. This includes books in its Works in Progress programme released on the PubPub platform for pre- or post-publication feedback, designed for works in early stages of their development that could benefit from community feedback to further develop ideas. Titles include Open Knowledge Institutions, a book co-authored by 13 scholars as part of a 'Book Sprint', but the press has also released books for formal assessment via their Community Review programme, including the manuscripts for Data Feminisms and Annotation that were posted for public comment prior to entering the publication process.

Open Humanities Press have been exploring the affordances of annotation as part of their focus on the rewriting of books in their back catalogue. With their Combinatorial Books: Gathering Flowers book series, they are encouraging readers/writers to actively reuse existing open access books. They have developed a publishing workflow that enables the creation of new combinatorial books out of existing OHP books that are openly licensed for reuse. For the first book in this series the authors collaboratively annotated OHP’s The Chernobyl Herbarium online PDF with the aid of the hypothes.is plugin. Tagging and grouping their annotations the authors developed a tentative table of contents for their book-length rewriting, which they further worked out in pads and other collaborative writing environments. The published book will use the PubPub annotation function to link back again to the sections in The Chernobyl Herbarium it responds to. In this sense open annotation has the potential to enable more engagement with existing open books and to promote conversation across scholarly monographs (Bertino & Staines, 2019).

Considerations
One important consideration is the power relations that determine who can and does write annotations and who can’t and doesn't (who gets to annotate), "is bound by social norms, cultural practices, and enforced policies", which need to be heeded when we think about how we can cultivate participation and interaction around texts, especially within a scholarly communications context (Kalir and Garcia, 2021). This might explain why, notwithstanding several trials in the humanities, annotation as a form of public discourse has not been a resounding success. The culture of academia might be to blame here, with "fears about being ‘scooped’, about blowback, about domineering commenters, and lack of time coalesce to result in extremely poor participation in this emerging form of discourse" (Skains, 2020. Time, effort, and accessibility become barriers to participation in this form of academic engagement, especially as annotations usually cannot be cited, meaning that in the scholarly reward and reputation system "they offer no verifiable benefit to the contributor in either cultural capital or actual capital" (Skains, 2020; Perkel, 2015). At the same time, books themselves are perhaps not the best "platforms for interaction" because there is already ubiquitous social media on which publications are shared and discussions around them take place (next to already established print-based environments dedicated to discussing research, e.g., conferences and book reviews). Why would scholars duplicate that effort for specific platforms or on specific publications with more restricted audiences, with limited visibility, and with no benefit to their standing or career (Faulkes, 2014; Skains, 2020)?

Further reading
Kalir, R and Garcia, A. (2021). Annotation, The MIT Press Essential Knowledge Series (Cambridge, MA: The MIT Press) https://mitpressonpubpub.mitpress.mit.edu/annotation.

Bertino, A. C., and Staines, Heather (2019). ‘Enabling A Conversation Across Scholarly Monographs through Open Annotation’. Publications, 7(2), 41. https://doi.org/10.3390/publications7020041

Skains, R. L. (2020). ‘Discourse or gimmick? Digital marginalia in online scholarship,’ Convergence, 26(4), 942–955. https://doi.org/10.1177/1354856519831988"]]></description>
<dc:subject>annotation via:justinpickard web ebooks marginalia hypertext form digital experimentation experimental hyperlinks hyperlinking text reviews reviewing howweread howwewrite reading writing toolkit onlinetoolkit webdev webdesign publishing</dc:subject>
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<item rdf:about="https://notesfromasmallpress.substack.com/p/ebooks-are-too-expensive">
    <title>Ebooks Are Too Expensive - by Anne Trubek</title>
    <dc:date>2023-11-27T16:57:29+00:00</dc:date>
    <link>https://notesfromasmallpress.substack.com/p/ebooks-are-too-expensive</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And that’s why, in part, I want to hold on to my anecdotal, felt sense that pricing ebooks lower would only be a boon. People who go looking for an ebook make decisions based on comparative prices of different ebooks, not ebook vs print prices, and if more traditional publishers were competing with self-published and mass market books at $0.99-$2.99, more people would read their books, and tell their friends about the ones they liked, and some of those friends will be “print only” readers, and thus increase sales of hardbacks and paperbacks, too. (And then, I would argue, those publishers could then publish even higher priced, “special editions” for the most fervent fans, as some already do). I have definitely seen this happen, when Belt participated in short term ebook sales with Bookbub or Kindle Deals, and saw the numbers of ebooks sold shoot up a thousandfold (seriously), with smaller but measurable increases in print copies to follow. And, while the margins aren’t great, the costs to us are as close to zero as one could get.

For a decade I’ve been told by people in publishing this is not the way to think about it, and maybe they are right—but also, it’s been a decade. It seems that conventional wisdom on digital consumer goods should at least change over the course of ten years, a large percentage of the digital age itself thus far, and I should be hearing new reasons, at least, to keep ebook prices so high.

I am sure many of you will disagree with my perhaps counterintuitively self-defeating logic (and indie booksellers, I hear you), but debate is fun, so sound off in the comments."]]></description>
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<item rdf:about="https://hackaday.io/project/192688-the-open-book">
    <title>The Open Book | Hackaday.io</title>
    <dc:date>2023-11-07T07:39:49+00:00</dc:date>
    <link>https://hackaday.io/project/192688-the-open-book</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.youtube.com/watch?v=vFD9V8Hh7Yg ]

"An open hardware reading device that's easy to build, easy to manufacture, and easy to make your own."

...

"This is a complete reimagining of the Open Book Project, but the original mission remains:

As a society, we need an open source device for reading. Books are among the most important documents of our culture, yet the most popular and widespread devices we have for reading are closed objects, operating as small moving parts in a set of giant closed platforms whose owners' interests are not always aligned with readers'.

The Open Book aims to be a simple device that anyone can build for themselves. The Open Book should be comprehensible: the reader should be able to look at it and understand, at least in broad strokes, how it works. It should be extensible, so that a reader with different needs can write code and add accessories that make the book work for them. It should be global, supporting readers of books in all the languages of the world. Most of all, it should be open, so that anyone can take this design as a starting point and use it to build a better book.
DETAILS
This is an open hardware e-book reader designed around the ESP32-S3. It grew out of an old design for a Feather-oriented board that I designed before the pandemic. With the benefit of four years learning the ins and outs of design, manufacturing and community development, I designed this new version over the summer specifically to submit for the Hackaday Prize. 

The Open Book stakes out an alternate vision for developing personal computing devices, using the humble e-book reader as its ideological canvas: 

- It posits that technology should be understood by the user, not act like a black box. 
- It posits that technology should serve the user, not the platform owner that created the technology. 
- It posits that technology should be extensible, offering expansion points for accessibility features that make it work for differently abled users. 
- It posits that technology should aim to support users around the globe as equals, supporting all the world’s languages by default instead of leaving some behind. 
- Most of all, it posits technology as a thing that you make out in the open, not a thing that you buy that is closed. 

To that end, the Open Book embraces a radically open design, outlining the functional groups of parts on printed circuit board in the same way they're grouped on the schematic. It prints a list of pin functions on the board itself, opening the device up to being hacked on and extended. It offers two analog-capable GPIO pins and an I²C bus using common, standard connectors. And it supports the entire Unicode basic multilingual plane, ensuring that readers of books in all the world's languages will find a home in the Open Book.

Moreover its focus on affordability and design for manufacturability make this a piece of hardware that could be built by anyone, either in a makerspace with basic soldering tools or in the context of a small manufacturing line. The open source enclosure is 3D printable on a basic FDM printer; the open source board design can be fabricated by just about any PCB house, and the parts are large enough to be pick and placeable by hand or with an open source pick and place machine. 

The Open Book's community has, over the course of years, enthusiastically embraced previous iterations of the Open Book: building and sharing alternative enclosure designs, forking the firmware to add functionality, and even helping each other to source circuit boards and trade parts so that they could build their own devices. 

I believe that I can turn this version of the Open Book into an open hardware product that continues to fulfill the promise of the Open Book while putting this vision and this object into the hands of a larger community of readers."]]></description>
<dc:subject>eink ereaders opensource openbook hardware joescastillo ebooks diy howto epaper</dc:subject>
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<item rdf:about="https://www.quill-ui.com/">
    <title>Quill: the E-Ink UI framework</title>
    <dc:date>2023-11-07T07:36:28+00:00</dc:date>
    <link>https://www.quill-ui.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beautiful and snappy e-ink UIs, effortlessly"

...

"A UI framework for advanced e-ink applications, in
Typescript — No embedded development needed!
Low-latency touch response
Developer friendly
Long battery life
Easy on the eyes
Performant transitions
Great on low-cost hardware
Beautiful graphics
Perfect for IoT applications
React-like UI in Typescript
Memory-safe Rust runtime
Great API documentation
And more..."]]></description>
<dc:subject>development eink interface ui ebooks epaper</dc:subject>
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<item rdf:about="https://www.wnycstudios.org/podcasts/otm/episodes/on-the-media-how-big-tech-went-to-shh">
    <title>How Big Tech Went to Sh*t | On the Media | WNYC Studios</title>
    <dc:date>2023-09-02T17:39:33+00:00</dc:date>
    <link>https://www.wnycstudios.org/podcasts/otm/episodes/on-the-media-how-big-tech-went-to-shh</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Enshittification Part 1: Why Every Platform Is Getting Worse

Enshittification Part 2: The Mechanisms That Helped Big Digital Deteriorate

Enshittification Part 3: On Saving The Internet

Why does every social media platform seem to get worse over time? This week’s On the Media explores an expansive theory on how we lost a better version of the internet, and the systems that insulate Big Digital from competition. Plus, some solutions for fixing the world wide web.

1. Cory Doctorow [@doctorow], journalist, activist, and the author of Red Team Blue, on his theory surrounding the slow, steady descent of the internet. Listen.

2. Brooke asks Cory if the troubles that plague some corners of the internet are specific to Big Digital, rather than the economy at large-- and how our legal systems enabled it all. Listen.

3. Cory and Brooke discuss possible solutions to save the world wide web, and how in a sea of the enshittified there's still hope. Listen."]]></description>
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<item rdf:about="https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con">
    <title>Pluralistic: Kickstarting a book to end enshittification, because Amazon will not carry it (31 July 2023) – Pluralistic: Daily links from Cory Doctorow</title>
    <dc:date>2023-08-03T02:40:56+00:00</dc:date>
    <link>https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://mostlysignssomeportents.tumblr.com/post/724376507917664256/kickstarting-a-book-to-end-enshittification

https://mostlysignssomeportents.tumblr.com/post/724583738015612928/kickstarting-a-book-to-end-enshittification ]

"My next book is The Internet Con: How to Seize the Means of Computation: it's a Big Tech disassembly manual that explains how to disenshittify the web and bring back the old good internet. The hardcover comes from Verso on Sept 5, but the audiobook comes from me – because Amazon refuses to sell my audio:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

<blockquote>This book is the instruction manual Big Tech doesn't want you to read. It deconstructs their crummy products, undemocratic business models, rigged legal regimes, and lies. Crack this book and help build something better. -Astra Taylor, author of Democracy May Not Exist, but We'll Miss It When Its Gone</blockquote>

Amazon owns Audible, the monopoly audiobook platform that controls >90% of the audio market. They require mandatory DRM for every book sold, locking those books forever to Amazon's monopoly platform. If you break up with Amazon, you have to throw away your entire audiobook library.

That's a hell of a lot of leverage to hand to any company, let alone a rapacious monopoly that ran a program targeting small publishers called "Project Gazelle," where execs were ordered to attack indie publishers "the way a cheetah would pursue a sickly gazelle":

https://www.businessinsider.com/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10

<blockquote>Journalist and novelist Doctorow (Red Team Blues) details a plan for how to break up Big Tech in this impassioned and perceptive manifesto….Doctorow's sense of urgency is contagious -Publishers Weekly</blockquote>

I won't sell my work with DRM, because DRM is key to the enshittification of the internet. Enshittification is why the old, good internet died and became "five giant websites filled with screenshots of the other four" (h/t Tom Eastman). When a tech company can lock in its users and suppliers, it can drain value from both sides, using DRM and other lock-in gimmicks to keep their business even as they grow ever more miserable on the platform.

Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

<blockquote>A brilliant barn burner of a book. Cory is one of the sharpest tech critics, and he shows with fierce clarity how our computational future could be otherwise -Kate Crawford, author of The Atlas of AI</blockquote>

The Internet Con isn't just an analysis of where enshittification comes from: it's a detailed, shovel-ready policy prescription for halting enshittification, throwing it into reverse and bringing back the old, good internet.

How do we do that? With interoperability: the ability to plug new technology into those crapulent, decaying platform. Interop lets you choose which parts of the service you want and block the parts you don't (think of how an adblocker lets you take the take-it-or-leave "offer" from a website and reply with "How about nah?"):

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

But interop isn't just about making platforms less terrible – it's an explosive charge that demolishes walled gardens. With interop, you can leave a social media service, but keep talking to the people who stay. With interop, you can leave your mobile platform, but bring your apps and media with you to a rival's service. With interop, you can break up with Amazon, and still keep your audiobooks.

So, if interop is so great, why isn't it everywhere?

Well, it used to be. Interop is how Microsoft became the dominant operating system:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

<blockquote>Nobody gets the internet-both the nuts and bolts that make it hum and the laws that shaped it into the mess it is-quite like Cory, and no one's better qualified to deliver us a user manual for fixing it. That's The Internet Con: a rousing, imaginative, and accessible treatise for correcting our curdled online world. If you care about the internet, get ready to dedicate yourself to making interoperability a reality. -Brian Merchant, author of Blood in the Machine</blockquote>

It's how Apple saved itself from Microsoft's vicious campaign to destroy it:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

Every tech giant used interop to grow, and then every tech giant promptly turned around and attacked interoperators. Every pirate wants to be an admiral. When Big Tech did it, that was progress; when you do it back to Big Tech, that's piracy. The tech giants used their monopoly power to make interop without permission illegal, creating a kind of "felony contempt of business model" (h/t Jay Freeman).

The Internet Con describes how this came to pass, but, more importantly, it tells us how to fix it. It lays out how we can combine different kinds of interop requirements (like the EU's Digital Markets Act and Massachusetts's Right to Repair law) with protections for reverse-engineering and other guerrilla tactics to create a system that is strong without being brittle, hard to cheat on and easy to enforce.

What's more, this book explains how to get these policies: what existing legislative, regulatory and judicial powers can be invoked to make them a reality. Because we are living through the Great Enshittification, and crises erupt every ten seconds, and when those crises occur, the "good ideas lying around" can move from the fringes to the center in an eyeblink:

https://pluralistic.net/2023/06/12/only-a-crisis/#lets-gooooo

<blockquote>Thoughtfully written and patiently presented, The Internet Con explains how the promise of a free and open internet was lost to predatory business practices and the rush to commodify every aspect of our lives. An essential read for anyone that wants to understand how we lost control of our digital spaces and infrastructure to Silicon Valley’s tech giants, and how we can start fighting to get it back. -Tim Maughan, author of INFINITE DETAIL</blockquote>

After all, we've known Big Tech was rotten for years, but we had no idea what to do about it. 
Every time a Big Tech colossus did something ghastly to millions or billions of people, we tried to fix the tech company. There's no fixing the tech companies. They need to burn. The way to make users safe from Big Tech predators isn't to make those predators behave better – it's to evacuate those users:

https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

I've been campaigning for human rights in the digital world for more than 20 years; I've been EFF's European Director, representing the public interest at the EU, the UN, Westminster, Ottawa and DC. This is the subject I've devoted my life to, and I live my principles. I won't let my books be sold with DRM, which means that Audible won't carry my audiobooks. My agent tells me that this decision has cost me enough money to pay off my mortgage and put my kid through college. That's a price I'm willing to pay if it means that my books aren't enshittification bait.

But not selling on Audible has another cost, one that's more important to me: a lot of readers prefer audiobooks and 9 out of 10 of those readers start and end their searches on Audible. When they don't find an author there, they assume no audiobook exists, period. It got so bad I put up an audiobook on Amazon – me, reading an essay, explaining how Audible rips off writers and readers. It's called "Why None of My Audiobooks Are For Sale on Audible":

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

<blockquote>Doctorow has been thinking longer and smarter than anyone else I know about how we create and exchange value in a digital age. -Douglas Rushkoff, author of Present Shock</blockquote>

To get my audiobooks into readers' ears, I pre-sell them on Kickstarter. This has been wildly successful, both financially and as a means of getting other prominent authors to break up with Amazon and use crowdfunding to fill the gap. Writers like Brandon Sanderson are doing heroic work, smashing Amazon's monopoly:

https://www.brandonsanderson.com/guest-editorial-cory-doctorow-is-a-bestselling-author-but-audible-wont-carry-his-audiobooks/

And to be frank, I love audiobooks, too. I swim every day as physio for a chronic pain condition, and I listen to 2-3 books/month on my underwater MP3 player, disappearing into an imaginary world as I scull back and forth in my public pool. I'm able to get those audiobooks on my MP3 player thanks to Libro.fm, a DRM-free store that supports indie booksellers all over the world:

https://blog.libro.fm/a-qa-with-mark-pearson-libro-fm-ceo-and-co-founder/

Producing my own audiobooks has been a dream. Working with Skyboat Media, I've gotten narrators like Wil Wheaton, Amber Benson, Neil Gaiman and Stefan Rudnicki for my work:

https://craphound.com/shop/

But for this title, I decided that I would read it myself. After all, I've been podcasting since 2006, reading my own work aloud every week or so, even as I traveled the world and gave thousands of speeches about the subject of this book. I was excited (and a little trepedatious) at the prospect, but how could I pass up a chance to work with director Gabrielle de Cuir, who has directed everyone from Anne Hathaway to LeVar Burton to Eric Idle?

[audio]

Reader, I fucking nailed it. I went back to those daily recordings fully prepared to hate them, but they were good – even great (especially after my engineer John Taylor Williams mastered them). Listen for yourself!

https://archive.org/details/cory_doctorow_internet_con_chapter_01

I hope you'll consider backing this Kickstarter. If you've ever read my free, open access, CC-licensed blog posts and novels, or listened to my podcasts, or come to one of my talks and wished there was a way to say thank you, this is it. These crowdfunders make my DRM-free publishing program viable, even as audiobooks grow more central to a writer's income and even as a single company takes over nearly the entire audiobook market.

Backers can choose from the DRM-free audiobook, DRM-free ebook (EPUB and MOBI) and a hardcover – including a signed, personalized option, fulfilled through the great LA indie bookstore Book Soup:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

What's more, these ebooks and audiobooks are unlike any you'll get anywhere else because they are sold without any terms of service or license agreements. As has been the case since time immemorial, when you buy these books, they're yours, and you are allowed to do anything with them that copyright law permits – give them away, lend them to friends, or simply read them with any technology you choose.

As with my previous Kickstarters, backers can get their audiobooks delivered with an app (from libro.fm) or as a folder of MP3s. That helps people who struggle with "sideloading," a process that Apple and Google have made progressively harder, even as they force audiobook and ebook sellers to hand over a 30% app tax on every dollar they make:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

Enshittification is rotting every layer of the tech stack: mobile, payments, hosting, social, delivery, playback. Every tech company is pulling the rug out from under us, using the chokepoints they built between audiences and speakers, artists and fans, to pick all of our pockets.

The Internet Con isn't just a lament for the internet we lost – it's a plan to get it back. I hope you'll get a copy and share it with the people you love, even as the tech platforms choke off your communities to pad their quarterly numbers.

***********

Hey look at this

The Japanese Paper Film Project http://kamifirumu.scholar.bucknell.edu
Democracy's Dilemma https://www.schneier.com/essays/archives/2019/05/democracys_dilemma.html (h/t Bruce Schneier)

Facebook's Influence on Political Views May Be Greatly Exaggerated, Researchers Find https://gizmodo.com/facebook-studies-on-influence-political-polarization-1850684277 "]]></description>
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<item rdf:about="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10114290/">
    <title>Reading ebooks and printed books with parents: A case study of children with autism spectrum disorders - PMC</title>
    <dc:date>2023-06-13T15:54:47+00:00</dc:date>
    <link>https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10114290/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Abstract
Background and aims
Ebooks have become a ubiquitous presence in many classrooms today. Yet, empirical evidence on literacy development has not been well produced, especially for children with autism spectrum disorder (ASD). This mixed-method case study aimed to explore how four children with ASD interact with ebooks and printed books with parents at home.

Methods
Four children (age 5–7 years) with ASD and their parents read one animated ebook and another printed book over four separate sessions. Parents also explained preselected word meanings to their children. In this mixed-method case study, we examined multiple quantitative and qualitative sources of evidence related to reading with parents at home.

Results
Quantitatively, all four children with ASD learned more word meanings from ebook than from the printed book, and three demonstrated a higher engagement with ebook than the printed book reading. Qualitatively, the majority of parents felt their children's engagement was higher with ebook than with printed book. Children with ASD tend to have tactile-related experiences while reading the printed book and auditory-related experiences during the ebook reading. Qualitative data also demonstrated a particular feature reported to be beneficial in previous research could be distracting for some children with ASD.

Implications
When parents are trained to explain critical word meanings to their children, animated ebooks can effectively improve the meaning-making skills of children with ASD. Findings also highlight the importance of individualized attention when choosing and using ebooks for children with ASD.

Keywords: Ebook, printed book, word explanation, at-home reading, autism"

[via:
https://goodereader.com/blog/e-book-news/fair-and-impartial-heres-how-digital-books-benefits-children ]]]></description>
<dc:subject>ereaders children autism howweread ebooks reading print 2023</dc:subject>
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<item rdf:about="https://www.are.na/blog/wikipedia-as-sacred-text">
    <title>Wikipedia as Sacred Text — Are.na</title>
    <dc:date>2023-06-03T20:43:56+00:00</dc:date>
    <link>https://www.are.na/blog/wikipedia-as-sacred-text</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[image: "From Wikipedia User: Dispenser. [An ASCII art version of Wikipedia’s logo — a globe made from puzzle pieces — composed of dashes, parentheses, and other punctuation. Below is Wikipedia spelled out in dashes, and The Free Encyclopedia in normal text below it.]"]

Sharon Park: I wanna talk a little about how we met. So back in art school, I was taking a class on identity systems and was thinking about what entity I should do this huge project on…and I think I was on Wikipedia, researching brands to rebrand. At a certain point I had this moment of zooming out and thought, “oh shit, Wikipedia!” I Googled “Wikipedia rebrand” because I wanted to know what was already out there — and the first result was the wiki article on “rebranding.” It was then that it hit me: Wikipedia is that invisible.

And maybe intentionally so. With the project, there was this balance of keeping the spirit of the site in its scrappiness. It didn’t feel right to make a sleeker version of it. So I approached it like how I personally experience Wikipedia, embracing all the rabbit holes and discovering its culture and rules along the way. 

A couple years later, I got connected to the design team at the Wikimedia Foundation, and they invited me to present the project, which was so surreal. I remember you were pretty vocal in the chat and had sent me links to some extremely important stuff (like this unofficial mascot). 

[image: "Puzzly: “A curious creature, most commonly seen educating (or trying to educate) new users on Wikimedia Commons.” [An affable-looking cartoon character with a puzzle piece for a head.]"

Carolyn Li-Madeo: Working at the Wikimedia Foundation, I see a lot of unsolicited rebrands or redesigns of Wikipedia, and they often focus on modernization for the sake of modernization. They’re not thinking holistically about Wikipedia as a community and as a project — about the editors and their needs. I think once you get into the Wiki world, it’s the people and communication and collaboration that are so fun and exciting — all of these people across the globe are working together to make this repository of knowledge. 

Sharon: After meeting virtually, we attended an NYC editor meetup together during Wikimania, the annual Wikimedia conference.

Carolyn: How was it meeting Wikipedians in real life? Do you feel like it deepened your perspective of Wikipedia?

Sharon: Definitely, it was inspiring to see how everyone enters the community through a different way, whether it be through a social lens or the super technical side. I became so aware of how much I don’t know about Wikipedia — and it wasn’t a bad feeling. How was your experience?

Carolyn: This was my second Wikimania that I’ve been to, and I feel you that there’s always going to be someone who knows more about Wikipedia than you do. Also, the volume of engagement is really different person to person, so it’s easy to be intimidated. Despite how welcoming and nice Wikimedians are, if you step back and take a look at how much people have edited and the raw impact that they’ve had, it’s very humbling. 

For instance, there’s an editor whose retirement plan has essentially been biking around New York City each day with the goal of taking a photo of every single building and uploading them to Commons. It’s amazing! But to be a Wikimedian you’re not required to have that level of participation. Often when I talk to new editors they’re excited to make an article about someone they care about, but creating a new article is like climbing a giant mountain — there are lots of prolific editors who never create new articles and building an article from scratch alone is not very common. It’s been really interesting to build a more nuanced understanding of the different roles that people play in the movement. It can be a very accepting community depending on what you’re trying to do.

Sharon: Yeah, that’s so true. Sometimes when I get overwhelmed with how vast Wikipedia is, I start gravitating towards the aspects that feel intimate and familiar. I feel like you also view the site through a poetic lens, in addition to the type of work you do. What inspired your channel “Wikipedia as sacred text?”

Carolyn: One of the things that I thought about as I started my Are.na channel was to really focus in on articles that felt unique to Wikipedia. Articles that had resonated with me as a human being. There are things that I’ve learned on Wiki that have fundamentally shaped how I see the world and shaped my worldview. I’m not a religious person so I don’t have a religious text, I don’t have some guiding sacred text in my life.

Sharon: Right.

Carolyn: But what if we treated this massive community project as something sacred? How would we read articles differently if we did that? 

Working in apps, I think a lot about the long form nature of Wikipedia and how so much of the text that we come into contact with online these days is abbreviated and shortened. There’s a lot of pressure to do that on Wikipedia sometimes. But no one would suggest that you abbreviate or shorten a sacred text, right? You would carefully read the whole thing from top to bottom.

Sharon: That’s true.

Carolyn: That was the initial impetus for making the channel. Later I started meeting with a coworker called Peter Pelberg, just for fun. He’s a product manager who works on the editing team. We are both really interested in physicality online. And about Wikipedia as a place. 

What does it feel like to be on Wiki? Does it feel different to read Wikipedia versus to be on something that has an infinitely scrolling feed, or something that is designed to agitate you or designed to relax you?
Wikipedia’s not designed to do any of those things. It’s designed to give you information and give you access to creating or transcribing more information. 

So I started to think about what it would be like if you could create a set of Fluxus-style prompts that could help you feel embodied on Wiki. What would it be like to either memorize a part of the memorization article, or to try to be really aware of your physical self while you’re on Wiki?

[image: "A prompt from Carolyn’s “Wikipedia as Sacred Text” channel. [Text that reads “On your birthday, contribute to an article about a historical event that happened on the date you were born.”]"]

Sharon: I really enjoyed that one prompt…the one about reading the article on naps while trying to take a nap. I also love what you said about viewing it as sacred text, because so often the idea of scriptures from any major religion is that it can’t be changed — which is such a huge contrast to Wikipedia and how it’s dynamic, alive, and breathing. 

Carolyn: The cool part about Wikipedia is that everyone has their own personal relationship with it. That’s why it’s so cool to see what Annie Rauwerda is sharing through Depths of Wikipedia. Through her work, you’re able to watch someone engage deeply with the idiosyncratic elements that make Wikimedia a special and beautiful place. 

Thinking about Wikimedia as a space, what types of places or objects remind you of Wikipedia?

Sharon: I often think of it as a place with infinite rooms, sometimes like a city. Actually, I was so intrigued by the fact that on Wikipedia there’s so many references to physical structures and shared spaces that exist beyond the screen. Like the Wikipedia Sandbox where you can draft up an article or practice editing, the Library which is an open research hub, the Commons which is so aptly named as a public domain media repository. Not to mention the Teahouse, Village pump…even an Embassy?? While they all serve as utilitarian places where editors can ask questions and receive help, they hold so much character as well.

[image: "A prompt from Carolyn’s “Wikipedia as Sacred Text” channel. [Text that reads “On your birthday, contribute to an article about a historical event that happened on the date you were born.”]"]

But my favorite place I stumbled upon has gotta be the Wikipedia Graphics Lab.

Carolyn: I don’t even know where this is — you found a room I’ve never been to!

Sharon: It’s a page of people requesting random things to be made into SVGs, editing photos to be more vibrant, or just cleaning up images. I mean, someone’s got to make those topographic maps shine! As someone who works in these editing programs everyday, discovering that corner of Wikipedia was pretty exciting.

Carolyn: I think that’s one of the parts that makes Wikipedia feel so actionable. On Wiki it feels like it’s really possible to find a community that needs your special skills, whatever they might be. It’s like there’s a task out there waiting for everyone.

Sharon: Right! When I discovered the WikiFauna list, I can’t describe the joy I felt. It was so funny seeing roles that came straight out of an RPG. Like, WikiGnome, WikiAngel, WikiTroll??

Carolyn: Yeah, WikiOgre!

[image: "Definition of the WikiGnome, as found of the WikiFauna list. [A screenshot of part of a Wikipedia article defining WikiGnome as “having desirable traits of an editor who quietly attends to details of the encyclopedia.”]" ]

Sharon: It’s so good. Many roles on Wikipedia are maintenance roles — cleaning up, keeping knowledge current. It’s rare that digital spaces require stewardship and fewer ask us to do so collectively. Just identifying yourself with one of the roles makes you feel like you’re really part of an online ecosystem. There’s a parallel in broader liberation movements — remember that Social Change Map that was floating around a couple years ago? It helps you answer the question: how can I use the skills I might already have and apply it for service elsewhere?

[image: "A graphic titled The Social Change Ecosystem that was passed around social media during the George Floyd protests. [In the center of the graphic is a yellow circle that reads “Equity, Liberation, Justice, Solidarity,” which is connected to other colored circles that have different “roles” that people can inhabit for achieving that, such as weavers, guides, experimenters, etc.]"]

So how did you first get into editing Wikipedia? 

Carolyn: I signed up for an account to edit Wikipedia when I was in library school. I was working as a reference librarian while I was going to school, and part of my job was talking with students about the “right way” to utilize Wikipedia in research. Once I learned more about how Wikipedia works and about editing, it opened up a lot for me; how empowering it could be to make changes. It was hard to jump in and feel knowledgeable about stuff, but maintenance is such a huge part of Wikipedia. 

So, living in New York, you see a lot of horror movie posters and I’m always intrigued by what those movies might be about, but also very, deeply scared of horror movies —

Sharon: SAME.

Carolyn: I like to read the Wikipedia articles of the movies, so that I can see the poster and not imagine something worse. So I actually got into editing Wikipedia as a WikiGnome, which is to say that I would read these really poorly written stubs or short articles about newly released horror movies, then just go in and fix all the grammar because you don’t need to see the movie to fix the grammar in the article. Doing these little edits was a really great way to learn how to edit and to sort of see how much people cared about things like a random horror movie.

[image: "A prompt from Carolyn’s “Wikipedia as Sacred Text” channel. [Text that reads “Take a walk and note 1-5 things that you hear, smell or see on your walk. Try learning one new fact about something you encountered on your walk.”]"]

Sharon: For me, I find a lot of satisfaction in starting articles. I recently was drafting up an article for a person who’s big into community organizing, who just published their first book. That was an interesting unlock for me because it’s like — they’re part of the queer Asian community, and if not us writing these articles about the people in our circle then who, you know? By being part of communities in the real world, you’re also bridging that knowledge on Wikipedia, in building things that have a tangible impact.

Carolyn: I think it’s really interesting that everyone brings their own perspective of the world to what they want to see on Wiki. It’s almost like everyone has a different flashlight. You’re searching and shining your light on this undefined space for someone. Because you edit, you have this lens that if you’re searching for something that’s not on Wiki, it probably should be. Like, this person should be in the record. You’re able to bring your perspective and make it a reality. 
I think once you stop thinking of Wikipedia as a passive consumption space, it’s really empowering. 

Sharon: 100%. 

Carolyn: When you Google something and no search results come up, there’s no call to action to add information about it. There are just no results or bad results. But if you go on Wikipedia and you search for something and it’s not there, the system presents you with an invitation to immediately start an article. 

Sharon: Yeah, it—I don’t know, it gives you butterflies. You’re there holding a flashlight and suddenly, oh my god. You just found something. And that discovery—is that there's nothing. 

Carolyn: Yes! It’s weirdly exciting to find nothing, because it means you can make something.

https://www.are.na/carolyn-li-madeo/wikipedia-as-sacred-text

https://www.are.na/sharon-park/wikipedia-love-letter ]]]></description>
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<item rdf:about="https://austinkleon.substack.com/p/summer-reading-assignment">
    <title>Summer reading assignment - Austin Kleon</title>
    <dc:date>2023-06-03T19:51:51+00:00</dc:date>
    <link>https://austinkleon.substack.com/p/summer-reading-assignment</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Get thee a library card!

Hey y’all,

Last week I was on a bike ride and one of my companions told me he didn’t have a library card. I couldn’t believe it! This person is constantly reading and we discuss books all the time. When I voiced my disbelief and listed off all the things I do with my Austin Public Library card, some of the other riders in our crew admitted they had no idea you could do so much at the library.

So today, I’m sending this letter to everybody with a summer reading assignment:

1. Visit your local library and apply for a library card. (Or pay your fines and renew.)

2. Ask a librarian for a tour of the library building, the online catalog, and the digital holdings. Ask the librarian to show you how to put materials on hold, how to request materials for purchase, and how to use interlibrary loan.

3. Check out at least one item. (So you have to return.)

That’s it! That’s all I ask. Bonus points if you bring some kids or friends or loved ones with you.

Now, everybody’s library is different — some libraries might offer more and some might offer less — but here’s a short list of things I’ve done with my library card recently, just as a sampling of possibilities:

- I put paper books and DVDS and Blu-rays and CDs on hold and had them delivered to my local branch for pickup

- I downloaded brand-new ebooks straight to my Kindle

- I listened to audiobooks with the Libby and Hoopla apps on my phone

- I streamed movies with Kanopy on my Roku TV

- I read brand-new issues of newspapers and magazines like New Scientist online

- I got my kids’ passports renewed through the APL’s passport service

All of this for free!

I took all these photos at public libraries
If you’re traveling and away from your local library this summer, no problem: Try some library tourism! Even if you don’t plan a whole trip around them, libraries are excellent spots for weary travelers: free, quiet, cool, full of locals, and staffed by people whose job is to help any visitors who walk in the door.

Wherever I travel, I research the nearby libraries and try to pop into any I happen to come across while walking around. In Milan, I stumbled onto the Braidense National Library and saw an excellent exhibit of book art. Driving the California coast, I discovered that the public library in Encinitas has a view of the Pacific. During a week on Cape Cod, we visited the brand-new Eastham Public Library during a week on Cape Cod. (You might be surprised where you’ll find an amazing library: The Cleveland Public Library, for example, is one of the most beautiful libraries I’ve been in.)

So if you’re out traveling this summer, stop in a public library! If you need anything, the librarians will help you. I’ve also heard of libraries offering cards to temporary visitors.

Now y’all tell me: How do you use the library? What do you wish people knew about libraries? What did I miss? Let us know in the comments:"]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/n-063-imagining-the-future-of-the-imagination/id1546452193?i=1000600664067">
    <title>Near Future Laboratory Podcast: N°063 - Imagining the Future of the Imagination Academy with Will Richardson on Apple Podcasts</title>
    <dc:date>2023-03-01T18:59:22+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/n-063-imagining-the-future-of-the-imagination/id1546452193?i=1000600664067</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Will Richardson is a life-long educator and co-founder along with Homa Tavangar of The Big Questions Institute, was was created to help educators use 'fearless inquiry' to make sense of the complex moment and uncertainty felt around the future. In this episode we focus specifically on the ebook he and his co-founder recently created called 'One Foot In The Future' containing new frameworks, tools, and lenses to help educators imagine what comes next.


https://bigquestions.institute/


https://bigquestions.institute/onefootebook/


Please consider supporting the podcast over on Patreon at https://patreon.com/nearfuturelaboratory. Your support goes a long way towards keeping these episodes going, largely by signaling to me that you find value in what's being discussed in here. Support is pretty easy, and generally affordable — there are two tiers at the moment: $8/month ($2 per week!) or $25 for those who can afford more. Every patron gets an invitation to the Near Future Laboratory Discord, where the magic seems to happen daily!

Thanks!

Julian"]]></description>
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</item>
<item rdf:about="https://annas-archive.org/">
    <title>Anna’s Archive</title>
    <dc:date>2022-11-23T22:28:49+00:00</dc:date>
    <link>https://annas-archive.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Search engine of shadow libraries: books, papers, comics, magazines."

[via: https://goodereader.com/blog/technology/new-e-book-download-search-engine-annas-archive-will-lead-to-shadow-libraries-like-z-library ]]]></description>
<dc:subject>books archives ebooks epub libraries online internet z-lib</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.amazon.com/sendtokindle">
    <title>Send to Kindle</title>
    <dc:date>2022-11-17T18:59:25+00:00</dc:date>
    <link>https://www.amazon.com/sendtokindle</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://blog.the-ebook-reader.com/2022/11/17/new-send-to-kindle-webpage-can-send-epubs-and-documents-to-kindles/ ]]]></description>
<dc:subject>kindle onlinetoolkit ereaders ebooks epub pdf images text txt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:df86b21eb217/</dc:identifier>
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</item>
<item rdf:about="http://www.scottmccloud.com/4-inventions/canvas/">
    <title>scottmccloud.com - The &quot;Infinite Canvas&quot;</title>
    <dc:date>2022-04-05T06:23:58+00:00</dc:date>
    <link>http://www.scottmccloud.com/4-inventions/canvas/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>scottmccloud comics writing howwewrite graphicnovels 2009 digital publishing ebooks books print</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:43e1be24e089/</dc:identifier>
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</item>
<item rdf:about="https://www.theverge.com/22935074/hundred-rabbits-uxn-roms-preservation">
    <title>These artists are making tiny ROMs that will probably outlive us all - The Verge</title>
    <dc:date>2022-03-10T07:31:48+00:00</dc:date>
    <link>https://www.theverge.com/22935074/hundred-rabbits-uxn-roms-preservation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Come sail away with Hundred Rabbits"
]]></description>
<dc:subject>hundredrabbits 2022 solapunk permacomputing slow small hardware software writing reading howwewrite howweread uxn ebooks computing permacomptuting emulators uxntal games gaming videogames art experimental ewaste sustainability preservation opensource luddism philosophy unschooling deschooling classideas luddites</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1935c4769e2d/</dc:identifier>
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<item rdf:about="https://two.compost.digital/">
    <title>COMPOST [Issue 2]</title>
    <dc:date>2021-09-23T22:33:28+00:00</dc:date>
    <link>https://two.compost.digital/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As dominant platforms continue to construct an unimaginative reality of sleekness, convenience, and extraction, we wonder: How do we Inoculate networks with our consideration and attention, against the flattening, homogenizing forces of the internet?

This second issue of COMPOST magazine takes a step back; widening our scope and probing how we shape digital networks and how they shape us back."]]></description>
<dc:subject>conmpostmagazine conventience decetntralization resistance sleekness networks online internet web attention walledgardens alternative kolaheyward-rotimi eeshitakapadiya mrinalinisebsastian cyoa celinenguyen form ebooks emagazines andiwong margaretwarren luandro bennylichtner gifs liazonwakest sultanazana inbetween inbetweenness creativity flattening homogenization monoculture 2021 unschooling deschooling betweenness between</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec136cd5f676/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=syB9JxHs70c">
    <title>Kobo Libra H20 PDF Performance Review - YouTube</title>
    <dc:date>2021-08-11T19:05:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=syB9JxHs70c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In this video we will checkout how Kobo Libra H20 handles PDF files. The video also demonstrates converting PDF to EPUB using Calibre software.”]]></description>
<dc:subject>kobolibrah2o 2021 pdf reading howweread ereaders calibre kobo rakutenkobo rakuten ebooks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=3TrfAD3GpC8">
    <title>Kobo Libra H20 Vs Ipad Vs Iphone Vs Tablet | What's the best way to read eBooks - YouTube</title>
    <dc:date>2021-08-11T19:03:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3TrfAD3GpC8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this video we compare reading eBooks on a dedicated device compared to other devices that do it all. Should you buy an ebook readers in 2021 and if so if the Kobo Libra H20 the right choice compared to other devices on the market."]]></description>
<dc:subject>alexanderpaul 2021 kobolibrah2o kobo rakuten rakutenkobo ereaders howweread ipad iphone phones ebooks reading eink overdrive epaper</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://cup.columbia.edu/book/postprint/9780231198257">
    <title>Postprint: Books and Becoming Computational, by N. Katherine Hayes (2021) | Columbia University Press</title>
    <dc:date>2021-07-25T20:34:21+00:00</dc:date>
    <link>https://cup.columbia.edu/book/postprint/9780231198257</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Since Gutenberg’s time, every aspect of print has gradually changed. But the advent of computational media has exponentially increased the pace, transforming how books are composed, designed, edited, typeset, distributed, sold, and read. N. Katherine Hayles traces the emergence of what she identifies as the postprint condition, exploring how the interweaving of print and digital technologies has changed not only books but also language, authorship, and what it means to be human.

Hayles considers the ways in which print has been enmeshed in literate societies and how these are changing as some of the cognitive tasks once performed exclusively by humans are now carried out by computational media. Interpretations and meaning-making practices circulate through transindividual collectivities created by interconnections between humans and computational media, which Hayles calls cognitive assemblages. Her theoretical framework conceptualizes innovations in print technology as redistributions of cognitive capabilities between humans and machines. Humanity is becoming computational, just as computational systems are edging toward processes once thought of as distinctively human. Books in all their diversity are also in the process of becoming computational, representing a crucial site of ongoing cognitive transformations.

Hayles details the consequences for the humanities through interviews with scholars and university press professionals and considers the cultural implications in readings of two novels, The Silent History and The Word Exchange, that explore the postprint condition. Spanning fields including book studies, cultural theory, and media archeology, Postprint is a strikingly original consideration of the role of computational media in the ongoing evolution of humanity.

ABOUT THE AUTHOR
N. Katherine Hayles is distinguished research professor of English at the University of California, Los Angeles, and James B. Duke Professor of Literature Emerita at Duke University. Her books include How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (1999) and Unthought: The Power of the Cognitive Nonconscious (2017).”

[Available here:
https://library.memoryoftheworld.org/#/book/9a59555c-0358-4eb1-a4c6-abfa1ad0e962 ]]]></description>
<dc:subject>books ebooks computation gutenbergparenthesis postprint print publishing thesilenthistory thewordexchange literature howwewrite howweread reading writing cognition computing media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2841840a2227/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Nw455JWGa-g">
    <title>Why I ditched reading physically and now read only ebooks and audiobooks - YouTube</title>
    <dc:date>2021-05-23T16:53:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Nw455JWGa-g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I feel like we don’t discuss the reasons many of us have turned to reading ebooks versus reading physical books. I’ve found a different kind of fulfillment in my reading via ebook and my kindle versus reading physically. Sure I still love having favorites on my shelves, but”

["Out of State Library Cards and other ways I save money on books!"
https://www.youtube.com/watch?v=Mwyfo3dRAps 

"In my How To Read More video I mentioned having out of state library cards, and I figured why not just go right into it with how I get those. Also sharing my favorite ways to save money on ebooks and audiobooks.

EXTENSIONS 
eReaderIQ https://www.ereaderiq.com/
Library extension - https://www.libraryextension.com/ 

OUT OF STATE LIBRARIES
Brooklyn ($50) https://disc.bklynlibrary.org/card/
Charlotte-Mecklenburg ($45) https://www.cmlibrary.org/getacard 
Houston Texas($40) https://houstonlibrary.org/manage-my-link
VIDEOS 
Reading More Books https://www.youtube.com/watch?v=Fb2k9sb5N9o
Kindle Organization https://www.youtube.com/watch?v=nTpyt7cWvoY
Audible Escape vs Scribd Video https://www.youtube.com/watch?v=bUoT_lMyn3s "]

[”I recently decided to get a Kindle Oasis and figured I would share my impressions after 30 days. It’s been a really interesting  30 days with my new kindle. I’m excited to share my findings with you in this video. I definitely was surprised by how I felt after 30 days with it.  I definitely think we get some good takeaways here.

Intro & Specs 00:00
Paperwhite Vs Oasis 3:07
Oasis Features 6:45
Why I upgraded 9:09
Should You get it? 9:59”

“Should you upgrade your Paperwhite to the Oasis? | Kindle Oasis First 30 Days Impression”
https://www.youtube.com/watch?v=auncQDrblgc]]></description>
<dc:subject>ereaders books reading howweread 2021 kindle kindleoasis kindlepaperwhite librariues ebooks audiobooks</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:80ab5df497b2/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=pL3lCNCffgg">
    <title>The BEST Way to Read - Kindle vs iPad vs Books vs Audiobooks - YouTube</title>
    <dc:date>2021-05-14T04:50:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=pL3lCNCffgg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this video I'll go over the 4 ways I consume books in an attempt to figure out which is the best in terms of cost, convenience, aesthetics, note-taking and durability.

00:00 Intro
00:40 Physical Books
02:41 Kindle
06:08 iPad
09:15 Audio Books"]]></description>
<dc:subject>aliabdaal howweread ereaders ipad iphone mobile phones kindle kindleoasis books reading ebooks 2021 notetaking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:938b01214492/</dc:identifier>
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    <title>all about e-books &amp; e-readers || pros &amp; cons, kindle vs kobo, what to know before buying a device - YouTube</title>
    <dc:date>2021-05-13T04:43:40+00:00</dc:date>
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<item rdf:about="https://aeon.co/essays/stagnant-and-dull-can-digital-books-ever-replace-print">
    <title>Stagnant and dull, can digital books ever replace print? | Aeon Essays</title>
    <dc:date>2021-04-22T16:17:52+00:00</dc:date>
    <link>https://aeon.co/essays/stagnant-and-dull-can-digital-books-ever-replace-print</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To return to a book is to return not just to the text but also to a past self. We are embedded in our libraries. To reread is to remember who we once were, which can be equal parts scary and intoxicating. Other services such as Timehop offer ways to return to past photos or past tweets. They, too, are unexpectedly evocative. Far more so than you might think. They allow us to measure and remeasure ourselves. And if a resurfaced tweet has an emotional resonance of x, than a passage in a book by which you were once moved must resonate at 100x."

...

"To understand how the closed nature of digital book ecosystems hurts designers and readers, it’s useful to look at how the open nature of print ecosystems stimulates us. ‘Open’ means that publishers and designers are bound to no single option at most steps of the production process. Nobody owns any single piece of a ‘book’. For example, a basic physical book stack might include TextEdit for writing; InDesign for layout; OpenType for fonts; the printers; the paper‑makers; the distribution centres; and, finally, the bookstores that stock and sell the hardcopy books.

Thanks to desktop publishing software, print‑on‑demand, and even Amazon (for distribution), the production sequence of the physical book stack has become almost universally accessible. This represents one of the most significant shifts in publishing over the past 20 years. Today, any individual or independent publisher can create a physical book of almost any conceivable design and distribute it globally. This combination of accessibility and openness gives designers great latitude in typography, binding materials and papers. The playful design of books such as City Secrets or The Conference of the Birds is a direct result of this ecosystem. As a publisher, McSweeney’s has taken full advantage of this situation. They have pushed, pulled and stretched the boundaries of what a book could or should look like, how it should be packaged, how it should be read. And have done so because the raw material of the medium allowed them to do so.

We readers are the greatest beneficiaries of this open physical stack. When we buy a physical book, we can do with it what we want – cut up the pages, burn it for warmth, give it to friends, and so on. Because the contract of ownership between reader and object is implicit, not dependent on any third party, the physical book also becomes a true souvenir of the reading experience. One that can’t be revoked because of broken or neglected software. In effect, a longterm trust is embedded in the nature of a physical book.

Contemporary digital publishing stacks are mostly closed. As readers, when we buy an Amazon Kindle or Apple iBooks digital book, we have no control over what software we can use to read it, or what happens to our notes and other meta information culled from our reading data. Those notes I took in the tents while hiking back in 2009 still exist, somewhere, locked inside the Kindle ecosystem. I can dredge them up by going back in and raking through the books in question or pulling up the kindle.amazon.com website, which itself hasn’t had a significant update since it was launched six years ago. But they don’t exist, for example, as a simple text file, easily searchable, on any device or computer. Nor am I certain that they will continue to exist in coming years as Amazon changes the way its ecosystem functions.

Designers working within this closed ecosystem are, most critically, limited in typographic and layout options. Amazon and Apple are the paper‑makers, the typographers, the printers, the binders and the distributors: if they don’t make a style of paper you like, too bad. The boundaries of digital book design are beholden to their whim.

The potential power of digital is that it can take the ponderous and isolated nature of physical things and make them light and movable. Physical things are difficult to copy at scale, while digital things in open environments can replicate effortlessly. Physical is largely immutable, digital can be malleable. Physical is isolated, digital is networked. This is where digital rights management (DRM) – a closed, proprietary layer of many digital reading stacks – hurts books most and undermines almost all that latent value proposition in digital. It artificially imposes the heaviness and isolation of physical books on their digital counterparts, which should be loose, networked objects. DRM constraints over our rights as readers make it feel like we’re renting our digital books, not owning them.

The books I’ve returned to again and again, and that have followed me throughout my life, cover my walls. I have been reading Sandra Cisneros’s House on Mango Street (1991) for nearly two decades. It never ceases to remind me what writing honestly and simply about one’s childhood looks or feels like. All these years later, Paula Fox’s The Coldest Winter (2005) still moves me to travel harder and more boldly. Physical books are raw souvenirs, totems pulled through space and time, laden with emotional value, products of an open relationship between the reader and the object.

As our hardware has grown more powerful and our screens more capable, our book-reading software has largely stagnated

Many of these digital concerns would be rendered moot with more open digital-reading ecosystems. Without proprietary DRM, we could copy and back‑up our books with ease. Even if Amazon stopped supporting Kindle (as Sony did with LIBRIé, as Yahoo! did with Geocities, and as countless other huge corporations have with their seemingly invincible products and communities), we could be certain that our books and reading data would still be accessible. With a proper API (an application programming interface, which allows one authorised application to read and manipulate data in another), entrepreneurs outside of Amazon or Apple could step in and offer more beautiful, efficient, or innovative reading containers for our books, leaving the bigger companies to do what they do best: payments and infrastructure.

Individually, these niggles might seem small and inconsequential, but over time they gnaw, erode trust, and perhaps inspire one to move back to print. Back to an ecosystem that’s old but fully formed, chock-full of reliability and delight. In contrast, our digital book ecosystems feel stillborn. Certainly not like the same fresh, potent universes they did five or six years ago when the Kindle was nascent and the iPad had just been announced. As our hardware has grown more powerful and our screens more capable, our book-reading software has largely stagnated. Many of the typographic and user experience gripes I had during my four years of peak Kindle usage remain to this day.

In other words, digital books and the ecosystem in which they live are software, and software feels most alive and trustworthy when it is actively evolving with the best interests of users in mind. An open stack is not strictly necessary for this, but it certainly helps."]]></description>
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    <dc:date>2021-04-16T21:10:19+00:00</dc:date>
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    <title>e-books in the 1990s - Sony's Data Discman - YouTube</title>
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    <link>https://www.youtube.com/watch?v=MXXiRJAKC4w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Long before the Kindle made e-readers popular, back in 1990 Sony launched their first consumer e-book reader, the DD-1."
]]></description>
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    <title>Which is faster? - Kindle Oasis vs Kindle Paperwhite SPEED TEST - YouTube</title>
    <dc:date>2021-03-19T06:59:50+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["A quick video doing a speed test between the Kindle Oasis and Kindle Paperwhite to determine which device is faster. The tech specs on both devices are almost exactly the same except for the dual-core vs single processor. Surprisingly, this one difference makes a big impact!"]]></description>
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    <title>Free e-books: Where to get them</title>
    <dc:date>2021-03-19T03:45:20+00:00</dc:date>
    <link>https://www.fastcompany.com/90604895/how-to-get-free-ebooks-kindle-library</link>
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    <title>How to buy and read ebooks without Amazon</title>
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    <title>Reasons I love the Kindle - and why you need one - YouTube</title>
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    <dc:date>2021-03-18T04:52:26+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["My last purchase of 2020 was an e-reader, after YEARS of debating with myself whether or not I should make that investment. I've had my Kobo Libra H2O White for around two months and a half now, and I wanted to give you my feedback on it, as well as why I've been reading more e-books lately. 

Thank you so much Bea for the video idea! 😄

Do you enjoy reading e-books or not really?

Sea you soon
Marta"]]></description>
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    <title>Are E-Readers Worth It in 2021? Kindle Oasis Review! - YouTube</title>
    <dc:date>2021-03-17T08:30:00+00:00</dc:date>
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    <title>S04E01 – La netflixización de la cultura – Teoría del Caos - YouTube</title>
    <dc:date>2021-03-09T01:13:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Rnsdxcfa8nc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En el primer episodio de la cuarta temporada de Teoría del Caos recibimos una pregunta desde España y una transmisión desde Rokovoko. Pasan revista los habituales de Teoría del Caos: Borges, Cortázar y Neal Stephenson. Este episodio contiene un poco de canibalismo."]]></description>
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<item rdf:about="https://www.reddit.com/r/kindle/comments/fct7xm/best_calibre_format/fjdbjh0/">
    <title>Best Calibre format? : kindle</title>
    <dc:date>2021-02-19T07:58:02+00:00</dc:date>
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<item rdf:about="https://www.inputmag.com/culture/forget-amazon-prime-reading-public-libraries-are-more-important-than-ever">
    <title>Forget Prime Reading, public libraries are still as important as ever</title>
    <dc:date>2021-01-20T21:04:25+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Amazon’s new Prime Reading subscription aims to run civic institutions out of business.

It’s hard to think of an idea more on-brand for Amazon than “privatize the public library.” It almost boggles the mind.

On January 4, Bezos and company shut down the Amazon Lending Library after ten years of “diminished” returns (“diminished” in quotations, because, honestly, it’s hard to believe the service ever turned any major profits for Amazon). That didn’t seem to be much of an issue in the lead-up given how Jeff Bezos and everyone at the top of the company appeared to be doing just dandy. Essentially a free perk for Kindle users, offering eBook titles whose rights Amazon already secured, it was the least the company could do for its customers.

In its stead, people can now opt into Prime Reading, which is “free” to existing Prime members (already paying $119 a year) but costs $10 per month to non-Prime users. Prime Reading allows you to check out up to eight titles across its eBook and audiobook catalogs, which is more than Amazon tossed us in its Lending Library era, but these titles are selected from a vastly smaller range of releases.

Two years back, a classist piece of hate-clickbait made the rounds via Forbes contributor, Panos Mourdoukoutas, arguing that Amazon should simply start buying up all the “failing” libraries in the country to save taxpayers’ money. Public outrage was both predictable and swift, with Forbes soon retracting the piece while others pointed out that cutting all libraries would only save each American about $36. Still, with the usage of civic institutions often divided along socio-economic lines, it’s easy to imagine many out there feeling the same way as Mourdoukoutas. Programs like Amazon’s Prime Reading may seem trivial, but they point towards the larger strategy in mega-corporations’ ongoing war to privatize virtually every aspect of what remains of American public institutions.

So far, it’s proven a winning strategy. In the span of one night in July, Bezos added $10 billion to his net worth. At the beginning of January, his company announced its acquisition of eleven additional gently-used airplanes from Delta and WestJet in anticipation of a delivery logistics service to rival UPS and FedEx that’s slated to launch next year. With the USPS already overloaded and underfunded even before the pandemic, Prime Sky (or whatever other moniker Bezos bestows it) will take to the air in hopes of convincing the public it needs one less civic service. And we’ll probably buy it.

That’s what makes something like Prime Reading all the more insidious. Amazon rose to power by amassing a monopoly across multiple ailing industries by choking out the competition and taking advantage of our own civic failures, then presenting itself as one of the only viable means for commerce, entertainment, and communication.

Meanwhile, public libraries are still rolling along, but they aren’t getting the adequate funding they deserve. When its parts are routinely serviced and its gears oiled, the public library is a nearly perfect machine and has been for some time now. A recent report shows that now over 118 million Americans attend library programs each year, a number that has steadily grown over time. Patrons visited their libraries about 1.4 billion times in 2017 to access hundreds of millions of circulation items, including roughly 463.5 million eBooks, and rural access to these library materials continues to skyrocket. And while traditional services like in-person visitation, circulation, and reference consultations have declined over the past decade, programming continues to increase, particularly for children and young adults.

[two graphs]

Publicly available data show public libraries have offered an increasing number of programs attended by increasing numbers of patrons at libraries serving varying population sizes and in various locales. The concrete numbers won’t be known for some time, but even with in-person library work shuttered this past year due to COVID-19, the rise of eBook usage will assuredly be astounding.

Amazon wants to charge $120 a year for access to a few thousand titles that you can only access through its Kindle eReaders and app (aka Amazon-branded data harvesting machines). All the while, there is a functional, reliable service in pretty much every town in America whose membership fees are already taken care of by way of your taxes, and offers hundreds of times more physical and digital materials. Love reading on a tablet or Kindle? Cool. The Overdrive service exists for most devices and even comes pre-loaded onto Kindle competitors like Rakuten’s Kobo eReaders (which we love, by the way) for the sole purpose of accessing online library titles.

What’s particularly interesting about Prime Reading is that it brings nothing new to the “reading” experience nor the concept of a “library.” Prime Reading isn’t some ingenious business plan but a thinly veiled shakedown scheme. It is an attempt by Bezos to see just how much mileage he can truly get out of that smiley-arrow logo.

Unfortunately, it will be difficult to undermine as simple a con as Prime Reading. The profit margin is just too easily attainable to convince Amazon it would ever need to shutter the thing. But avoiding it entirely can show the limits of Amazon’s efficacy in privatizing every single aspect of our lives. Aspects that, somewhere along the way, we all forgot should be the rights of any citizen.”]]></description>
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    <title>Perché Kindle Oasis 3 2019 è da evitare | RECENSIONE - YouTube</title>
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    <title>Recensione KOBO LIBRA H2O: ecco l'ebook reader da prendere - YouTube</title>
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    <title>I bought a Kobo Libra H2O eReader because of eye strain reading on my iPad and iPhone - YouTube</title>
    <dc:date>2020-12-23T06:14:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jtf8Nic5jIQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
Unboxing of the Kobo Libra H2O Sleepcover - great case for the Kobo e-reader!
https://www.youtube.com/watch?v=XLjVRYiSrVk

Why the Kobo Libra H2O eReader with Sleepcover is so great - A kind of review
https://www.youtube.com/watch?v=5S4JLq5uVoE ]]]></description>
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    <title>Kobo Libra H2O Unboxing, Setup, &amp; Pocket Integration - YouTube</title>
    <dc:date>2020-12-23T06:10:57+00:00</dc:date>
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    <title>Unboxing Kobo Forma &amp; Comparison to Amazon Kindle Oasis - YouTube</title>
    <dc:date>2020-12-23T06:00:40+00:00</dc:date>
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    <title>Kobo Libra H2O Review: My First E-Book Reader - YouTube</title>
    <dc:date>2020-12-22T06:05:32+00:00</dc:date>
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    <title>Kobo Libra h20 Review - Affordable &amp; Feature Packed eReader - YouTube</title>
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<item rdf:about="https://www.youtube.com/watch?v=N10A3BMuW88">
    <title>My experience with ereaders - Kindle vs Kobo for ebooks - YouTube</title>
    <dc:date>2020-12-22T06:01:23+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=N10A3BMuW88</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2020 kobo ereaders eink rakutenkobo rakuten overdrive ebooks kobolibrah2o epaper</dc:subject>
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    <title>Kobo Libra H2O: Designed for a better reading life - YouTube</title>
    <dc:date>2020-12-22T05:57:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7xegTvqzNws</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>kobo ereaders eink 2019 rakutenkobo rakuten ebooks kobolibrah2o epaper</dc:subject>
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    <title>Kobo Libra H2O re-unboxing - YouTube</title>
    <dc:date>2020-12-22T05:57:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7HZ6w04fmvQ</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>kobo kobolibra unboxing funny 2020 ereaders eink humor overdrive ebooks kobolibrah2o epaper rakutenkobo rakuten</dc:subject>
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<item rdf:about="https://www.inputmag.com/guides/the-kobo-libra-h2o-is-everything-the-kindle-wishes-it-could-be">
    <title>The Kobo Libra H2O is everything the Kindle wishes it could be</title>
    <dc:date>2020-12-17T00:46:46+00:00</dc:date>
    <link>https://www.inputmag.com/guides/the-kobo-libra-h2o-is-everything-the-kindle-wishes-it-could-be</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“With direct library access, waterproofing, and literal weeks of battery life, the reading experience doesn’t get much better than this.”

“I’ve owned Amazon’s most basic Kindle — you know, the one with a small-ish touchscreen and not much else — since 2014, when I impulse-bought the e-reader during a Prime Day sale. For years I read discounted Amazon books and raggedy PDFs on the device, thinking to myself all the while: this is what modern reading feels like.

Then I found out about Kobo’s line of e-readers. It turns out that my assumptions about the future of reading were naive at best. In the few months since I first picked up Kobo’s Libra H2O, I’ve done more heavy e-book reading than I did in the six years I owned a Kindle.

And the best part? None of my book purchases line Jeff Bezos’ pockets (more on this below.)

Much like Amazon’s e-readers, Rakuten’s Kobo lineup takes the form of a few variations on the same theme — in this case, that theme is an E Ink touchscreen ranging anywhere from 6 inches to 8 inches in diagonal diameter. The lower end of the spectrum — the Nia and the Clara HD — will get you just the touch screen, while the higher-range Libra and Forma add physical buttons to the mix.

Which design you’ll go for is very much up to your needs as a reader. I chose the Libra H2O for its middle-ground comforts. The 7-inch touchscreen allows for a little more breathing room than what I’d grown used to; its soft, adjustable-warmth backlight is perfect for reading in bed; it’s waterproof for those rare days when I have time to read in the bathtub or on a sunny beach.

The Libra H2O is the perfect size for an e-reader. It fits comfortably in a small cross-body bag but still feels solid in my hands. It curves upward just slightly on the edge — a design quirk that makes it easier to hold for long periods of time. I also find myself using the physical buttons more than I expected to. There’s something comforting about the tactile click of turning a page rather than swiping my finger across the screen.

I was also drawn to the Libra H2O by its main accessory, the SleepCover. It’s a magnetic, soft-leather case that protects the sensitive E Ink touchscreen while also looking fabulous. The SleepCover’s strange fold-up design allows it to stand on a tabletop — perfect for hands-free reading while you scarf down your morning toast. I purchased the SleepCover in rose because I’m a millennial through and through. It feels great to flip it open and closed like a physical book, and the Kobo automatically sleeps and wakes when I do so.

For the most part, the Kobo’s user interface is pretty run-of-the-mill. And that’s a good thing. The main reason I purchased an e-reader in the first place was to remove myself from the distractions of notifications and web browsing. I wanted a dedicated reading device, and that’s exactly what the Kobo is built to be. There’s a section with your downloaded books, another where you can browse the Kobo store, and a third where you can access your local library’s e-book selection. That’s pretty much the extent of the software here.

That last section — the library access — is where Kobo really has a leg up over the Kindle. The Libra H2O connects directly to Overdrive, a borrowing service that many libraries across the United States use for distributing e-books. Since the start of the COVID-19 pandemic, it’s been nigh impossible to browse the stacks at my local library, and Overdrive has largely stepped up as a replacement experience. Now I can browse my library’s available e-books (and place holds on those that have been checked out) right from my Kobo. With just a few clicks I can download library books from the comfort of my couch. It’s life-changing, for an avid reader.

The Kobo line is also much more open to sideloading than the Kindle ever will be. Where Amazon very much locks you into buying all your books from their shop, you can buy your Kobo books from anywhere and load them up via USB. There’s also lots you can do with sideloaded reading apps on the Kobo, to expand its capabilities even further. It’s very much like the difference between buying an iPhone and an Android. The Kobo affords more freedom to do what you’d like with your device.

The Kobo Libra H2O is perfect for reading: in the bath, in bed at 2 am when you can’t sleep, in the car while you wait for your partner to hurry up and buy a bag of chips from the corner store — it’s truly the only reading device you’ll ever need.”]]></description>
<dc:subject>kindle kobo ereaders 2020 matthewwille kobolibra kindleoasis eink amazon rakuten rakutenkobo overdrive ebooks kobolibrah2o epaper</dc:subject>
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<item rdf:about="https://bdescolar.mineduc.cl/">
    <title>BD Escolar [Biblioteca Digital Escolar] - Ministerio Educación Chile</title>
    <dc:date>2020-12-08T23:29:50+00:00</dc:date>
    <link>https://bdescolar.mineduc.cl/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>chile libraries ebooks digital</dc:subject>
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<item rdf:about="https://www.dev-log.me/Sync_your_Kindle_Highlights_to_Notion/">
    <title>Sync your Kindle Highlights to Notion: 📓 + 🗒</title>
    <dc:date>2020-11-20T16:08:20+00:00</dc:date>
    <link>https://www.dev-log.me/Sync_your_Kindle_Highlights_to_Notion/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Notion is a great general purpose note taking App and a valid alternative to Evernote. I use it for almost anything. One thing I was unhappy with so far, was that I could not have my highlights from my Kindle on there. This would be super powerful, as you could search through all your highlights you ever took.

Amazon offers access to your highlights on there website, but unfortunately these do only include books you bought on amazon directly. There are some solutions for Evernote to sync your highlights (https://the-digital-reader.com/2019/03/17/dozen-tools-managing-kindle-notes-highlights/), but they mostly focus on the few highlights available online. And the solutions do not work for Notion.”

[See also: https://www.reddit.com/r/Notion/comments/dsdzig/syncing_kindle_highlights_to_notion/ ]]]></description>
<dc:subject>notoon evernote kindle kindleoasis highlights export notes noteteaking ebooks</dc:subject>
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