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    <title>home</title>
    <dc:date>2025-11-02T20:54:49+00:00</dc:date>
    <link>https://margi-nalia.site/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An annotation and publishing platform that encourages writing in the margins.

We believe that the margins, footnotes, tangents, and asides are as important as the main text, and we aim to foster and highlight the discourse within this space.

This is a space for you to note, comment, annotate and publish your thoughts, either alone or collectively."]]></description>
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    <title>It’s telling how telling a telling can be | Are.na Editorial</title>
    <dc:date>2025-07-25T01:06:13+00:00</dc:date>
    <link>https://www.are.na/editorial/its-telling-how-telling-a-telling-can-be</link>
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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>
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    <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>
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    <title>The Yale Review | Elleza Kelley: &quot;Ordinary Allurements&quot;: Christina Sharpe’s reading lessons</title>
    <dc:date>2023-06-13T20:34:36+00:00</dc:date>
    <link>https://yalereview.org/article/elleza-kelley-ordinary-allurements</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black writing, from W.E.B. Du Bois to John Keene, is full of rebellious paratexts rearing up from the margins and backs of books—epigraphs, footnotes, endnotes, indexes, and appendices that subvert, interject, and critique. These para­texts echo black inhabitations of space: they refuse to be subor­dinated. Epigraphs become musical notation; glossaries invoke spirits; appendices map other worlds. In Édouard Glissant’s 1989 Caribbean Discourse, a single footnote upends the entire forma­tion of the West: “The West is not in the West,” it declares from the subterranean depths of the page. “It is a project, not a place.” Across the smooth surface of the master narratives to which they are keyed, black notes disturb and disarrange.

For writer and professor Christina Sharpe, these eruptive oper­ations tell us what it is to live “life under these brutal regimes.” Her new book, Ordinary Notes, is structured as a series of 248 numbered reflections of varying lengths, collected for the reader like a handful of gems—or, as Gwendolyn Brooks’s Maud Martha describes dan­delions, “jewels for everyday” and “ordinary allurements.” Sharpe gathers many threads across these notes, moving freely among subjects and methods. Archival photographs, contemporary art­works, public memorials, and news clippings intermingle with sto­ries of Sharpe’s childhood and family, creating new arrangements for thinking about black living and dying. Sharpe’s notes are less invested in mounting a singular, unified argument than in offering lessons in attentiveness. They are a vehicle for the preservation and transmission of “beauty’s knowledge.” I am reminded of the image that concludes Brent Hayes Edwards’s essay “Evidence”: Zora Neale Hurston passing into her reader’s care an emptied “brown bag of miscellany” and “the jumble it held.” “You take this, emptied out, strewn and scattered,” Edwards writes. “What do you find in the pieces?” If Sharpe’s previous books, Monstrous Intimacies: Making Post-Slavery Subjects and In the Wake: On Blackness and Being, theo­rized the ongoingness of antiblack violence and its attendant grief, Ordinary Notes wonders what we do with that grief.

Above all, Sharpe asks us to become better readers, moti­vated not by extraction and violence, but by regard and tender­ness. Practices of reading form the book’s infrastructure. Many of Sharpe’s notes document her childhood love of literature, which developed under the care of her mother, Ida Wright Sharpe, to whom Ordinary Notes is dedicated. What begins as a survival tactic—sustaining Sharpe through racial violences, big and small, growing up in Wayne, Pennsylvania and attending a majority-white Catholic school—evolves into a theory of reading that dis­rupts antiblackness, which Sharpe characterized in In the Wake as the “weather,” the “totality of our environments.” “The reading life, the beauty-filled one,” she writes in Ordinary Notes, “was central to the livable internal life my mother tried to carve out for us and to equip us to make for ourselves.” Her mother’s lessons in “the read­ing life” were aesthetic lessons, reaching beyond text: “This atten­tion to a Black aesthetic made me: moved me from the windowsill to the world.” In this way, the book’s notes might function in turn as reading lessons imparted by Sharpe, illuminating the power of narrative to make and unmake worlds.

This reading practice is key to what is perhaps the book’s most significant intervention: its form, which not only generatively extends Sharpe’s claims but also offers (and authorizes) new meth­ods for doing scholarship. Ordinary Notes is a big book full of small gestures. No note is more than a few pages long; many notes are a single sentence, each taking up its own page. This means the book, though imposing in size, is full of white space. Sharpe converts the reader’s own modes of engagement, compelling us to zoom in as if on a poem, loop back as if circling a sculpture, slow down as if studying scripture. In the seemingly excessive margins, we find a place to breathe and rest. Formal errancy has always offered writ­ers a way to conjoin theory and method in the study of black life, which is always more, and other, than academic study. Here, per­haps, as Toni Morrison writes about Faulkner’s Absalom! Absalom!, “the structure is the argument.”

Sharpe invites us to read Ordinary Notes in this longer tradi­tion of black assemblage and assembly. When she writes, “Roy DeCarava’s The Sound I Saw, a book of photographs and text, is filled with everything,” she is telling us something about her own book. We might also consider it kin to recent multigenre compen­dia like Arthur Jafa’s A Series of Utterly Improbable, Yet Extraordinary Renditions, Ariella Aïsha Azoulay’s Potential History: Unlearning Imperialism, Teju Cole’s Blind Spot, and Morrison’s now classic The Black Book, in which word warps and wraps over image. Likewise, Sharpe’s practice of assembly in Ordinary Notes operates by what John Akomfrah calls “affective proximity,” a logic of resonance rather than temporal or thematic sequence.

The book’s loose joints and unfinished edges allow the voices of fellow writers and artists to enter like a chorus. Note 203 takes the form of call and response, reproducing several pages’ worth of replies to a question Sharpe posed on Twitter: “What book or books produced a feeling you wanted or needed to feel?” Citations weave seamlessly throughout the book but are also often treated as a note’s precious center. The book itself is the acknowledgement and the bibliography: K’eguro Macharia, Saidiya Hartman, Jessica Marie Johnson, Zakiyyah Iman Jackson, Keeanga-Yamahtta Taylor, Adrienne Kennedy, Chinua Achebe, and so many more appear by name—scraps of cloth pieced into the quilt of the story. This poly­vocal gesture is reminiscent of Hartman, who writes in the “Note on Method,” which opens her influential book Wayward Lives, Beautiful Experiments, “The italicized phrases and lines are utterances from the chorus. This story is told from inside the circle.” We get the sense that Sharpe is after a similar effect, but instead of the smoothly inlaid italics of Hartman’s prose, Sharpe’s patchworked notes allow for adjacency—a collage of voices, overlapping, exchanging, listening.

The central voice belongs to Sharpe’s mother, from whom she first learned to appreciate beauty as a response to and provisional haven from violence. In one of the book’s most stunning notes, “Note 51: Beauty is a Method,” Sharpe extends Hartman’s proposi­tion in Wayward Lives that beauty “is a way of creating possibility in the space of enclosure, a radical act of subsistence, an embrace of our terribleness, a transfiguration of the given.” Beauty takes Sharpe somewhere that may seem surprising: a scene of quotidian police violence in her hometown. A white woman has called the cops on a black teenager, Chicki Carter, claiming to have seen a rifle in the outline of his rake. But the beauty Sharpe wants to show us is not the police’s invasion of the neighborhood. The beauty is this: “We gathered in our front yards, on the sidewalks, and in the road; we ran after the police cars; and we witnessed and insisted loudly that Chicki had done nothing wrong.” The beauty is care.

In a pivot that is emblematic of Sharpe’s broad sweep and deft movement between scales, this scene of communal resistance leads back to her family home: “Knowing that every day that I left the house, many of the people whom I encountered did not think me precious and showed me so, my mother gave me space to be pre­cious—as in vulnerable, as in cherished.” Her mother is also a vora­cious reader and creator of beautiful things—a purple gingham dress, Christmas ornaments, a carefully arranged garden bursting with flowers and herbs. She instilled in her daughter the value of “Attentiveness whenever possible…even if it is only the perfect arrangement of pins.”"]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation">
    <title>Understanding McLuhan: A Conversation with Andrew McLuhan</title>
    <dc:date>2022-01-07T20:46:39+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to a special installment of the Convivial Society featuring my conversation with Andrew McLuhan. I can’t recall how or when I first encountered the work of Marshall McLuhan, I think it might’ve been through the writing of one of his most notable students, Neil Postman. I do know, however, that McLuhan, and others like Postman and Walter Ong who built on his work, became a cornerstone of my own thinking about media and technology. So it was a great pleasure to speak with his grandson Andrew, who is now stewarding and expanding the work of his grandfather and his father, Eric McLuhan, through the McLuhan Institute, of which he is the founder and director.

I learned a lot about McLuhan through this conversation and I think you’ll find it worth your time. A variety of resources and sites were mentioned throughout the conversation, and I’ve tried to provide links to all of those below. Above all, make sure you check out the McLuhan Institute and consider supporting Andrew’s work through his Patreon page."]]></description>
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<item rdf:about="https://art21.org/watch/new-york-close-up/kameelah-janan-rasheed-the-edge-of-legibility/">
    <title>Kameelah Janan Rasheed: The Edge of Legibility | Art21</title>
    <dc:date>2021-11-17T06:13:33+00:00</dc:date>
    <link>https://art21.org/watch/new-york-close-up/kameelah-janan-rasheed-the-edge-of-legibility/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video also here:
https://www.youtube.com/watch?v=kIxf_HoiLws
https://vimeo.com/633131259 ]

“logo·​phile | \ ˈlȯ-gə-ˌfī(-ə)l : a lover of words. A self-described “learner,” immersed in books since childhood, text-based artist Kameelah Janan Rasheed is uniquely fascinated with the written word and its power to both define and destabilize how we understand the world. Rasheed photocopies pages from books and printed materials, cuts out words and sentences, and re-arranges them in poetic, provocative, or even confusing combinations. The resulting sprawling wall collages, billboards, films and public installations encourage viewers to do the work of understanding. “It’s really an invitation,” says Rasheed, “Come think with me.” This short documentary film explores the artist’s expansive ideas and miniaturist process in her book-filled, Brooklyn home studio; the film’s exclusively close up style mirrors Rasheed’s own preoccupation with fragments, slowly building up a portrait over time.

From her studio, Rasheed sorts through stacks of childhood drawings and family photographs while recounting her father’s conversion to Islam in the early 1980s. His method of note taking, excerpting, and annotating inspired Rasheed’s own artistic practice. “I was thinking of this idea of talking back to a text,” says the artist, “Each time we read something, we’re annotating on the page or in our heads and creating a new text. It’s this act of collaboration between the reader and the writer.” At work on a new piece, Rasheed searches her books for specific shapes and styles of lettering, rather than particular words. She pieces together these fragments into longer phrases and sentences, intuitively creating combinations that code or complicate that which could be said plainly. Rather than jumping to understanding, viewers are invited to move more slowly and engage with works over and over again to create layers of meaning. For Rasheed, this approach also presents a powerful possibility for how we can publicly move through the world and create a kind of self-protection. “I think a lot about what it actually means to make myself legible,” says the artist. “How you present yourself to the world that’s legible and appealing to people, versus I’m not gonna make myself known until I’m ready.””]]></description>
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<item rdf:about="http://www.nybooks.com/daily/2014/12/03/weapon-for-readers/">
    <title>A Weapon for Readers | by Tim Parks | NYR Daily | The New York Review of Books</title>
    <dc:date>2017-02-20T20:42:40+00:00</dc:date>
    <link>http://www.nybooks.com/daily/2014/12/03/weapon-for-readers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine you are asked what single alteration in people’s behavior might best improve the lot of mankind. How foolish would you have to be to reply: have them learn to read with a pen in their hands? But I firmly believe such a simple development would bring huge benefits.

We have too much respect for the printed word, too little awareness of the power words hold over us. We allow worlds to be conjured up for us with very little concern for the implications. We overlook glaring incongruities. We are suckers for alliteration, assonance, and rhythm. We rejoice over stories, whether fiction or “documentary,” whose outcomes are flagrantly manipulative, self-serving, or both. Usually both. If a piece of writing manifests the stigmata of literature—symbols, metaphors, unreliable narrators, multiple points of view, structural ambiguities—we afford it unlimited credit. With occasional exceptions, the only “criticism” brought to such writing is the kind that seeks to elaborate its brilliance, its cleverness, its creativity. What surprised me most when I first began publishing fiction myself was how much at every level a novelist can get away with.

This extravagant regard, which seemed to reach a peak in the second half of the twentieth century as the modernists of a generation before were canonized as performers of the ever more arduous miracle of conferring a little meaning on life, is reflected in the treatment of the book itself. The spine must not be bent back and broken, the pages must not be marked with dog ears, there must be no underlining, no writing in the margins. Obviously, for those of us brought up on library books and school-owned textbooks (my copy of Browning bore the name of a dozen pupils who had used the text before me), there were simple and sensible reasons supporting this behavior. But the reverence went beyond a proper respect for those who would be reading the pages after you. Even when I bought a book myself, if my parents caught me breaking its spine so that it would lay open on the desk, they were shocked. Writing was sacred. In the beginning was the Word. The word written down, hopefully on quality paper. Much of the resistance to e-books, notably from the literati, has to do with a loss of this sense of sacredness, of a vulnerable paper vessel that can thrive on our protective devotion.

The absolute need to read with a pen in one’s hand became evident to me watching my students as we studied translation together. …"

…

"Aside from simply insisting, as I already had for years, that they be more alert, I began to wonder what was the most practical way I could lead my students to a greater attentiveness, teach them to protect themselves from all those underlying messages that can shift one’s attitude without one’s being aware of it? I began to think about the way I read myself, about the activity of reading, what you put into it rather than what was simply on the page. Try this experiment, I eventually told them: from now on always read with a pen in your hands, not beside you on the table, but actually in your hand, ready, armed. And always make three or four comments on every page, at least one critical, even aggressive. Put a question mark by everything you find suspect. Underline anything you really appreciate. Feel free to write “splendid,” but also, “I don’t believe a word of it.” And even “bullshit.”

A pen is not a magic wand. The critical faculty is not conjured from nothing. But it was remarkable how many students improved their performance with this simple stratagem. There is something predatory, cruel even, about a pen suspended over a text. Like a hawk over a field, it is on the lookout for something vulnerable. Then it is a pleasure to swoop and skewer the victim with the nib’s sharp point. The mere fact of holding the hand poised for action changes our attitude to the text. We are no longer passive consumers of a monologue but active participants in a dialogue. Students would report that their reading slowed down when they had a pen in their hand, but at the same time the text became more dense, more interesting, if only because a certain pleasure could now be taken in their own response to the writing when they didn’t feel it was up to scratch, or worthy only of being scratched."

…

"Some readers will fear that the pen-in-hand approach denies us those wonderful moments when we fall under a writer’s spell, the moments when we succumb to a style, and are happy to succumb to it, when suddenly it seems to us that this approach to the world, be it Proust’s or Woolf’s or Beckett’s or Bernhard’s, is really, at least for the moment, the only approach we are interested in, moments that are no doubt among the most exciting in our reading experience.

No, I wouldn’t want to miss out on that. But if writers are to entice us into their vision, let us make them work for it. Let us resist enchantment for a while, or at least for long enough to have some idea of what we are being drawn into. For the mindless, passive acceptance of other people’s representations of the world can only enchain us and hamper our personal growth, hamper the possibility of positive action. Sometimes it seems the whole of society languishes in the stupor of the fictions it has swallowed. Wasn’t this what Cervantes was complaining about when he began Don Quixote? Better to read a poor book with alert resistance, than devour a good one in mindless adoration."]]></description>
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<item rdf:about="https://twitter.com/pookleblinky/status/833163658242973697">
    <title>Pookleblinky on Twitter: &quot;This is what an average page of the Talmud looks like. https://t.co/V6JHEVczuK&quot;</title>
    <dc:date>2017-02-19T17:54:24+00:00</dc:date>
    <link>https://twitter.com/pookleblinky/status/833163658242973697</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is what an average page of the Talmud looks like. https://pbs.twimg.com/media/C4_953lWcAA-AIW.jpg
There's a lot going on here, and all of it is interesting.
That text in the center is the mishnah. The mishnah is a transcription of much older oral Torah.
The mishnah was an oral tradition for centuries before it was finally written down.
The text surrounding it is the gemara. The gemara is commentary, centuries later, on that mishna. Which is itself commentary.
The gemara is, importantly, an argumentative commentary. It's a transcript of arguments over centuries.
The gemara is 6,000 pages of history, arguments, excruciatingly nitpicky discussions, and anecdotes.
Each nugget of mishna is surrounded by centuries of arguments over what it means.
Those arguments range wildly. For instance, in one tractate the mishna discusses a unit of measurement.
Over the following centuries, that unit transformed from about a tablespoon into a wheelbarrow worth of stuff.
That transformation is recorded, as people got confused and argued over what on earth it meant at various times.
Each argument presented in the surrounding gemara, comes from a lineage of thought. You can trace that lineage through centuriese
You can follow Rabbi Akiva's thought over the course of his life, and see how many times he was quoted later on, for instance.
You can watch two schools of thought, butt heads in ever more smartass arguments, over centuries.
Sometimes there's reconciliation, one school of thought accepts that another was right. Other times, the arguments continue.
The arguments build on each other. You can watch an argument get settled. Centuries later, that agreement is argued.
The ensuing argument ends nitpicking the original in excruciating detail until it makes sense to enough people.
Layers of commentary upon commentary upon commentary. A millennium later, Rashi added his own.
The Talmud was, essentially, the Internet before people had electricity.
There were correspondences written, indexes where you could locate every mention of Rab Johanan etc.
Subjects ranged from torturous arguments over etymology, to hilarious anecdotes, to daily images of life.3
The Talmud was Usenet before people knew about electricity.
There's even a tractate, Pirke Avot, that's so eclectic there's a thousand-year old joke about citing it if unsure of a source.
In other words, the Talmud is a good example of user interface. It accreted organically, organized itself organically.
Its rough edges were worn away with centuries, it became as intuitive a way of representing discussion as one could get.
The Talmud was, until Usenet, the world's best interface for representing vast discussions. Version controlled, too.
It's been around for so long that its influence permeated western culture.
It helped make "commentary upon commentary" seem intuitive. It would have used hyperlinks if it could have.
And, thousands of years later, we reinvent that wheel, badly. https://pbs.twimg.com/media/C5AEuYgW8AEWwiH.jpg [https://twitter.com/pookleblinky/status/833171129279852545 ]
We have tried to scale the user interface of the Talmud a few orders of magnitude.
The result: infinite chains of quote RT's with the word "THREAD" and "this."
Tumblr discussions that zoom in microscopically until the first several layers of commentary are invisible.
Any sufficiently advanced commentary model contains an ad-hoc, informally-specified, bug-ridden, slow implementation of half of the Talmud
Usenet came closest, followed by irc .txt logs.
Another interesting thing is that the Talmud is 6,000 pages. You can read all of it, a page a day, in 7 years.
If you look at oral traditions around the world, this was about average.
There's probably something like Dunbar's Number, concerning the max size of an oral tradition.
The Mahabharata is about 1.8 million words. 200,000 verses.
The Iliad alone was about 200,000 words. It was an oral tradition for centuries after Homer.
The Talmud is estimated at about 2 million words, of which the mishna alone are about the same range as any other oral tradition.
Assuming there is a limit to how large an oral tradition can be, even after transcription, let's call it 2 million words worth.
2 million words of argument and commentary before things get too confusingly vast for normal humans to keep up.
I'm sure that there's a relationship between dunbar's number and max size of oral tradition.
And that this relationship affects how internet communities fracture and insulate themselves as they scale relentlessly upwards"]]></description>
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<item rdf:about="http://nautil.us/issue/32/space/the-deep-space-of-digital-reading">
    <title>Do You Read Differently Online and in Print?</title>
    <dc:date>2016-01-08T21:52:53+00:00</dc:date>
    <link>http://nautil.us/issue/32/space/the-deep-space-of-digital-reading</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Internet may cause our minds to wander off, and yet a quick look at the history of books suggests that we have been wandering off all along. When we read, the eye does not progress steadily along the line of text; it alternates between saccades—little jumps—and brief stops, not unlike the movement of the mouse’s cursor across a screen of hypertext. From the invention of papyrus around 3000 B.C., until about 300 A.D., most written documents were scrolls, which had to be rolled up by one hand as they were unrolled by the other: a truly linear presentation. Since then, though, most reading has involved codices, bound books or pamphlets, a major advantage of which (at least compared to the scroll) is that you can jump around in them, from chapter to chapter (the table of contents had been around since roughly the first century B.C.); from text to marginal gloss, and, later, to footnote."

…

"Comprehension matters, but so does pleasure. In Proust and the Squid, Wolf, director of the Center for Reading and Language Research at Tufts University, observes that the brain’s limbic system, the seat of our emotions, comes into play as we learn to read fluently; our feelings of pleasure, disgust, horror and excitement guide our attention to the stories we can’t put down. Novelists have known this for a long time, and digital writers know it, too. It’s no coincidence that many of the best early digital narratives took the form of games, in which the reader traverses an imaginary world while solving puzzles, sometimes fiendishly difficult ones. Considered in terms of cognitive load, these texts are head-bangingly difficult; considered in terms of pleasure, they’re hard to beat.

A new generation of digital writers is building on video games, incorporating their interactive features—and cognitive sparks—into novelistic narratives that embrace the capabilities of our screens and tablets. Samantha Gorman and Danny Cannizzaro’s 2014 iPad novella, Pry, tells the story of a demolitions expert returned home from the first Gulf War, whose past and present collide, as his vision fails. The story is told in text, photographs, video clips, and audio. It uses an interface that allows you to follow the action and shift between levels of awareness. As you read text on the screen, describing characters and plot, you draw your fingers apart and see a photograph of the protagonist, his eyes opening on the world. Pinch your fingers shut and you visit his troubled unconscious; words and images race by, as if you are inside his memory. Pry is the opposite of a shallow work; its whole play is between the surface and the depths of the human mind. Reading it is exhilarating.

There’s no question when you read (or play) Pry that you’re doing something your brain isn’t quite wired for. The interface creates a feeling of simultaneity, and also of having to make choices in real time, that no book could reproduce. It asks you to use your fingers to do more than just turn the page. It communicates the experience of slipping in and out of a story, in and out of a dream, or nightmare. It uses the affordances of your phone or tablet to do what literature is always trying to do: give you new things to think about, to expand the world behind your eyes. It’s stressful, at first. How are you supposed to know if you’re reading it right? What if you miss something? But if you play (or read) it long enough, you can almost feel your brain begin to adapt.

Most of the Web is not like Pry—not yet, anyway. But the history of reading suggests that what we’re presently experiencing is probably not the end times of human thought. It’s more like an interregnum, or the crouch before a leap. Wolf points out that when it comes to reading, what we get out is largely what we put in. “The reading brain circuit reflects the affordances of what it reads,” she notes: affordances being the built-in opportunities for interaction. The more we skim, the more we’re likely to keep skimming; on the other hand, the more we plunge into a text, the more we’re likely to keep plunging. “We’re in a digital culture,” Wolf says. “It’s not a question of making peace. We have to be discerning, vigilant, developmentally savvy.” And of course we have to be surprised, delighted, puzzled, even disturbed. We have to enjoy ourselves. If we can do that, digital reading will expand the already vast interior space of our humanity."]]></description>
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<item rdf:about="https://hypothes.is/blog/introducing-hypothes-is-for-education/">
    <title>Introducing hypothes.is for Education | Hypothesis</title>
    <dc:date>2015-06-03T07:05:22+00:00</dc:date>
    <link>https://hypothes.is/blog/introducing-hypothes-is-for-education/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As a non-profit dedicated to open standards, I think we are poised at hypothes.is to bring annotation to scale in the education space. The school teacher in me remains most focused on classroom applications for this kind of technology, whether that be establishing collaborative digital annotation as a key tool for the implementation of the Common Core Standards in US public schools (see the standards here, annotated and aligned with hypothes.is), or integrating social reading into online and hybrid learning environments as both a close reading and a community building tool (in fact, thanks to Jesse Stommel, we already had a MOOC on Shakespeare experiment with hypothes.is). But I also believe that annotation functionality is key to updating our textbooks for the 21st century, making them rich with multimedia elements and editorial notes, but also with the potential for teacher and peer commentary. And I’ll be working to ship annotation along with the Content and Learning Management Systems (C/LMSs) used by so many teachers today as well. With both textbooks and C/LMSs. my vision is to bring the intimacy and vibrancy of a good classroom environment to the digital technologies that supplement IRL teaching moments asynchronously.

If anyone here is interested in the educational uses of annotation technology, please reach out to me. Here are some tutorials that I’ve created for students and teachers on how to get started using the application. Right now, I’m talking to a lot of former colleagues and current contacts in education about what they think are the most important features of a social reading tool for the classroom. Currently my top three product priorities are: private groups, enhanced notifications, and profile pages. What are yours? I want to know what you and your students need! Reach out anytime for support or discussion: jeremydean@hypothes.is. And follow me on Twitter for live updates and random thoughts about collaborative digital annotation!"]]></description>
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<item rdf:about="http://designobserver.com/feature/books-matter/38752/">
    <title>Books Matter: Design Observer</title>
    <dc:date>2015-03-04T19:37:24+00:00</dc:date>
    <link>http://designobserver.com/feature/books-matter/38752/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I recently gave a talk to a library group about why the printed book still matters. I had been asked to address the subject of “Books in a Digital World,” but I chose to focus much more closely on the characteristics of printed objects that are not effectively represented in facsimile. That is: what cannot be captured in a scan. 

I’ve been carrying this list in my head for years, adding to it one reason at a time. In my profession, as a librarian and a curator, this list (of which what follows is only a portion) functions as an apologia pro vita mia—rational defenses for the continued existence of the printed codex—and my involvement with them.

Ten Good Reasons the Book is Important

1. It is a piece of technology that lasts.
The codex is one of the longest-lived of all technologies. It has been improved-upon—but changed only slightly—over the centuries. Movable type printing has been around since the 1450s; the codex form has been in use for as long as 2000 years. These are extremely durable tools and forms.

2. It needs very little, if any, extra technology to be accessed. 
(Ignoring, of course, that terrifying Twilight Zone episode, “Time Enough to Last,” in which the last man alive on Earth breaks his eyeglasses… .) Other media demand devices to be deciphered. Yes, printed information is coded, via language and graphic systems of representation. But in general, these are codes that are managed by human eyes, hands, and brains—tools we carry with us.

3. The book retains evidence.
These forms of evidence include: notes; names of owners; annotations. These all help us understand how books functioned as possessions and learning tools, and how they traveled from one owner or reader to another. As a librarian, I don’t advocate writing in books, but I am excited when I find an eighteenth-century American schoolbook that contains handwriting exercises on its pages.

4. Books are true to form. 
Books are meant to be seen and read in specific ways. Many early books had sections that were intended to be viewed as two-page spreads—not isolated from each other, as often happens in online viewers. The same observation can be made about scrolls; their presentation was key to how they were interpreted. We can’t forget that reading can have a ceremonial function.

5. Each copy of a book is potentially unique …
… at least up through the second industrial age. Changes to texts often show up in different copies of books that are assumed to be identical. Printing involved mainly manual processes until the end of the nineteenth century—sometimes necessitating stop-press corrections. These kinds of changes can teach us about the genealogy of printed works. Many digital scanning projects are necessarily limited to the selection of the “best” copy of a book, which, once scanned, stands in for every other copy.

6. Printed items are consumable goods …
… in passive and active ways. Some classes of books and printed objects are meant to live only a short while—to provide information and then be discarded. Lucky for us, when copies of such ephemeral items have managed to survive, we have data that record phenomena that can be extremely difficult to document otherwise. Such is the case with flyers, brochures, tickets, posters, and other single-sheet printed items.

7. A book is an object fixed in time. 
A book can tell us about its status in history. If we look through first editions of Moby Dick or Leaves of Grass, we find that they give away information not only about when they were created, but also about the worlds in which they were created, by way of advertisements, bindings, the quality of their paper, and watermarks on that paper. Such components are often not captured by scanning or are flattened out to make them of negligible use. In Nicholson Baker’s Double Fold—his saga about how libraries microfilmed runs of newspapers in the 1950s and 1960s and then discarded them—one of his chief complaints was that the filmers skipped advertising supplements and cartoons: things that had been deemed unimportant. 

8. A book can be an object of beauty and human craftsmanship.
Those qualities alone are of significant value.

9. When you are reading a book in a public place, other people can see what you are reading. 
Reading is generally a private activity, but it also has social functions. Even when we hold a book up in front of our faces, we are telling the world what we’re reading—or in the very least—that we are reading a book (rather than tweeting about the books we wish we were reading … ).

10. The Internet will never contain every book. 
The growth of information is exponential—with vast universes of new data being created online every day. Many swaths of old information—in the forms of books, magazines, and pamphlets—will never make it online. There are projects and grants for scanning specific topics—English eighteenth-century provincial newspapers, Latin American imprints—but significant bodies of work of minor stature will never make the cut."

[See also Matt Thomas's notes: http://submittedforyourperusal.com/2015/03/04/ten-good-reasons-the-book-is-important/ ]]]></description>
<dc:subject>books design technology ebooks print digital 2015 timothyyoung craftsmanship display object atemporality text evidence marginalia annotation durability via:austinkleon</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atemporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:text"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:evidence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marginalia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annotation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:durability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:austinkleon"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.csdl.tamu.edu/~marshall/CCMarshall_anno-17yearsLater.pdf">
    <title>How we annotate, by Cathy Marshall, Microsoft Research, Silicon Valley [.pdf]</title>
    <dc:date>2014-09-26T20:22:44+00:00</dc:date>
    <link>http://www.csdl.tamu.edu/~marshall/CCMarshall_anno-17yearsLater.pdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["iAnnotate
11 April 2013"

"contact info:
cathymar@microsoft.com
http://research.microsoft.com/~cathymar
http://www.csdl.tamu.edu/~marshall
blog — http://ccmarshall.blogspot.com
twitter — http://twitter.com/ccmarshall "

[via: https://twitter.com/Bopuc/status/515569659882799104 ]]]></description>
<dc:subject>annotation 2014 books marginalia digital paper cathymarshall time forgetting memory storage ebooks aggregation accretion gathering emphasis interpretation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3f0efccd0634/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cathymarshall"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:forgetting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aggregation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:accretion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gathering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emphasis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interpretation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://marginalspace.livejournal.com/261.html">
    <title>Marginal Space - Marginal Space as a Concept</title>
    <dc:date>2014-08-20T02:47:06+00:00</dc:date>
    <link>http://marginalspace.livejournal.com/261.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In libraries, marginal space is a rather technical term used primarily to refer to binding -- what we do to assemble pages into a unit, or volume. The pages must have blank space at the edges that will be joined, or else the binding will prevent the reader from seeing what was there. A book or journal can have wide margins (good for blinding) or tight margins (not so good). 

Marginal space is a concept that is also used in many, many other domains. Here are just a few examples.

"Liminality is not concerned with the old strategies of the edge, the avant garde and the marginal. Instead it is a notion offering a new way to experiment and create using the in between spaces, the interstices. Liminality is fluid, open, unfixed, inclusive, diverse." Shards of Memories, Fragments of Sorrows: Transforming Marginal Space into Liminal Space for Women in Theatre (PDF: large)

"Today the Marginal space grows wider and more interesting while the space for the main text seems to shrink in significance."
Judith McGrath, Carolina Arts, November 2004.

"Marginal space is public space that, lacking satisfactory levels of design, amenities, or aesthetic appeal deters members of the public from using the space for any purpose."
NYC Dept. of City Planning

"If you're working with marginal space ... Well, one of those spaces is on the edge of the law." Adam Chodzko

"Society can establish a stable position by creating some marginal space. Often, only by creating an outside, by creating ideological dichotomies a society can generate stability."
Toshiya Ueno

So, me? I am fascinated with margins, spaces, boundaries, how and why we decide what and who fits in which boxes, and then also how to blur or make crisp the edges between boxes and boundaries and edges. This is my space to explore marginal space."q]]></description>
<dc:subject>margins marginalspace binding publishing marginalia liminality 2006 liminalspaces liminal</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31b49e7d10c9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marginalia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liminality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2006"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liminalspaces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liminal"/>
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<item rdf:about="http://writersalmanac.publicradio.org/index.php?date=2013/12/16">
    <title>Sheep in the Winter Night by Tom Hennen | The Writer's Almanac with Garrison Keillor</title>
    <dc:date>2013-12-16T20:29:49+00:00</dc:date>
    <link>http://writersalmanac.publicradio.org/index.php?date=2013/12/16</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There are books in which the footnotes or comments scrawled by some reader's hand in the margin are more interesting than the text. The world is one of these books." —George Santayana]]></description>
<dc:subject>via:austinkleon internetasliterature marginalia life living footnotes books via:lukeneff georgesantayana internetasfavoritebook</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f885e4816044/</dc:identifier>
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</item>
<item rdf:about="https://medium.com/book-club/c9e04049107c">
    <title>The Art of Writing in (e)Books — Book club — Medium</title>
    <dc:date>2013-12-04T03:59:01+00:00</dc:date>
    <link>https://medium.com/book-club/c9e04049107c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["That marginalia are a form of writing which, like other more familiar genres (gothic fiction, love poetry, newspaper articles), has its own standards and conventions or unwritten rules that evolve over time; and therefore that marginalia are susceptible of artistry. Some people are better at it than others. Taste, talent, discrimination, style, originality—all these qualities may be displayed and recognized in this medium as well as in others. We might think that marginalia are private and personal but the history of the form strongly suggests otherwise: people write notes in books for a purpose, and that purpose often includes being seen by other people, so there’s usually an element, largely unconscious, of showing off or trying to impress. If that sounds negative, say rather, of urgency, of trying to persuade someone else to share your point of view.

The celebrated annotators are celebrated for different reasons. It might be for the content of their notes (extraordinarily brilliant commentary and analysis, for instance), or for their wit, humour, or vivid character, or for some sort of distinctive flair. Recognition of their brilliance usually comes from their contemporaries and depends on current notions of best practice—which in turn depend upon the examples or models that are available at the time. Whatever great annotators emerge in the digital age, the qualities for which their writing is admired are not likely to be quite the same as those beloved annotators of the past, because the models they incorporate will have been different. (Modern digital annotators are unlikely to have been modelling their way of writing notes on Swift, Blake, Keats, etc.) I would expect digital annotation, for instance, to be more personal and more personally revealing than marginalia have normally been in the past, because of the example of social media."

…

"I would say that modern digital readers will have no expectation of privacy—so the experience of reading will be psychologically somewhat different for them from what it has been in the past—and that they will look forward to participating in a group response, with subgroups, alliances, and hostilities (disagreements) probably emerging over time. But it has always been the case that once words are published (that is, put out there) the writer loses control over them and the group moves in to interpret as best it can, according to its own background and needs. The risk I foresee with digital “conversation” is that it will be too big and confusing. If readers feel overwhelmed they might eventually not want to participate, and go back to talking to themselves."

…

"When people write in books, they do it for some purpose and they have usually seen books marked up in the way they eventually do it. But readers typically develop a method of annotation that suits them only slowly, over time. If you are of an impatient disposition, the sort of person who never opens the manual before trying out a machine, you can just plunge in and learn by trial and error. If you are more reflective, you might want to figure out why you are planning to do this and what you expect to get out of it. Are you using notes to take in information, to express opinions, to correct a text or to make connections with other reading? Are you doing it so that some other reader will read as it were with you, understanding the book as you do? If you do that you will work more purposefully and effectively from the start. Both kinds of annotator are likely to find their practice changing, however, so perhaps it doesn’t matter which type you belong to."]]></description>
<dc:subject>readmill annotation marginalia reading howweread 2013 heatherjackson lisasanchez books socialmedia ebooks allsorts sharing community bookclubs messiness conversation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:32cc0434ecde/</dc:identifier>
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</item>
<item rdf:about="http://digress.it/">
    <title>Digress.it</title>
    <dc:date>2013-08-14T19:08:30+00:00</dc:date>
    <link>http://digress.it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Digress.it is a WordPress plugin that offers paragraph-level commenting in the margins of a text. Digress.it is geared toward in-depth discussions of longer documents: article, essay or even book-length.

Blogs aren’t bad for having conversations, but comments tend to get unwieldy, and can feel detached when the original post is long. To solve this, Digress.it lets you run blog-style comment threads — digressions, if you will — off of individual paragraphs. To do this efficiently, we’ve re-imagined the conventional post-discussion hierarchy of blogs, moving the comment area from beneath the post to beside it (floating to the right) — hearkening back to the age-old practice of scribbling in page margins. We see great possibilities for educators, literary groups, political or civic activists, legal scholars, and pretty much anyone who wants to do a communal reading and encourage discussion.

Since its initial launch Digress.it has been used by universities, publishers and governments across the world and is cited on various academic and scientific journals as an exemplary online collaboration tool."]]></description>
<dc:subject>wordpress plugins conversation blogging blogs onlinetoolkit documents commenting marginalia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f96e484c9c22/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wordpress"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plugins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conversation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commenting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marginalia"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://5880.me/20120429/here-is-my-empire/">
    <title>Here is my empire. - 5880</title>
    <dc:date>2012-04-29T23:00:05+00:00</dc:date>
    <link>http://5880.me/20120429/here-is-my-empire/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A tweet arrives. It contains a URL.
- is it useful? am I sold?
I click the link.
Which opens Chrome.
Was it blocked at the host level?
- (if it’s on business insider, nyt, wall street journal or a gawker site, I see this)
Have I already read it?
- Great! Close the window, consider sharing, or converse with the person who just tweeted the link.
Is it something I might read later, but cannot read now?
- Click “posthoc” to send to ReadItLater/Pocket, which is automatically scooped into Pinboard with one fewer step and an additional layer of redundancy. Sometimes it’s nice to skim Pocket to see what’s in there, especially while knowing it can all be archived/deleted with no worry.
Is it ugly?
- Reformat with Readability’s “Read Now”.

Or… do I find I’m already a paragraph in?
If so, I tap “Reading”. An API call is made:
* Reading adds the link to my reading log on http://reading.am/maxfenton
* Reading posts a tweet on my @maxisreading account
* Reading sends the link to Pinboard…"]]></description>
<dc:subject>2012 sharing epub utilitybelt toolbelts ecologyoftools onlinetoolkit tumblr redundancy chrome digitalempires clippings marginalia digitalcrumbtrail bookmarking pinboard findings pocket readitlater reading.am worlflow maxfenton epubs</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:298284f4b2f8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epub"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utilitybelt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toolbelts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecologyoftools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:redundancy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chrome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalempires"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clippings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marginalia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalcrumbtrail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookmarking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pinboard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:findings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pocket"/>
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</item>
<item rdf:about="http://blog.findings.com/post/19346681104/how-we-will-read-kevin-kelly">
    <title>How We Will Read: Kevin Kelly</title>
    <dc:date>2012-04-12T18:00:07+00:00</dc:date>
    <link>http://blog.findings.com/post/19346681104/how-we-will-read-kevin-kelly</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[<blockquote>I’m an active reader, and I mostly read to write.</blockquote>

<blockquote>I’m so far onto the left of the copyright issue. I believe that the natural home of all creation is in the public domain.</blockquote>

<blockquote>Money follows attention. Wherever attention goes, money will follow.</blockquote>

<blockquote>And what a book is, in my kind of formulation, is a coherent, sustained long argument or narrative, with a beginning, middle, and end.</blockquote>

<blockquote>I’m not a born writer. I’m a natural editor.</blockquote>

<blockquote>A website does not want to be a book.</blockquote>
Revisit.

<blockquote>A book was a very powerful device because it did so many different things. We’re taking some of those apart.</blockquote>

<blockquote>There’s no reason in my mind that you can’t make an e-book that’s a sheaf of flexible electronic pages that resemble a book that you turn.</blockquote>
Why?]]></description>
<dc:subject>thinking reading writing marginalia via:litherland kevinkelly howwewillread</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dc54f1bc01d0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marginalia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:litherland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kevinkelly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewillread"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://aworkinglibrary.com/library/archives/deploy/">
    <title>Deploy / from a working library</title>
    <dc:date>2012-02-28T05:45:19+00:00</dc:date>
    <link>http://aworkinglibrary.com/library/archives/deploy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What if you could revise a work after publishing it, and release it again, making clear the relationship between the first version and the new one. What if you could publish iteratively, bit by bit, at each step gathering feedback from your readers and refining the text. Would our writing be better?

Iteration in public is a principle of nearly all good product design; you release a version, then see how people use it, then revise and release again.…

Writing has (so far) not generally benefited from this kind of process; but now that the text has been fully liberated from the tyranny of the printing press, we are presented with an opportunity: to deploy texts, instead of merely publishing them…

where fixity enabled us to become better readers, can iteration make us better writers? If a text is never finished, does it demand our contribution?…

Perhaps it is time for the margins to swell to the same size as the text."]]></description>
<dc:subject>publishing marginalia readingexperience reading unfinished editing fixity elizabetheinstein change permanence impermanence stability metadata revision print productdesign design deployment contentstrategy content digitalpublishing digitial process writing 2012 unbook iteration mandybrown aworkinglibrary</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1d71a497b42f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:readingexperience"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mandybrown"/>
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<item rdf:about="http://www.themillions.com/2012/02/dashboard-more-like-bookshelf-your-guide-to-literary-tumblrs.html">
    <title>The Millions : Dashboard? More Like Bookshelf: Your Guide to Literary Tumblrs</title>
    <dc:date>2012-02-08T06:37:56+00:00</dc:date>
    <link>http://www.themillions.com/2012/02/dashboard-more-like-bookshelf-your-guide-to-literary-tumblrs.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["About two months ago, The Millions joined the Tumblr community. So far, the going has been great. The platform is perfectly suited for dynamic storytelling, and as a direct result, it is home to some of the friendliest book lovers around. However, the site’s SEO (or lack thereof) is regrettably unkind to Tumblr outsiders, and this leads to two things. On the one hand, the insularity stokes the kind of kinship that makes its community so tightknit. On the other, the lack of easy searching reduces each blog’s chance of attracting new (or outside) viewers. I’d like to change that. By creating this list of my favorite “literary Tumblrs,” I hope to turn you on to some of the sites that make The Millions’ dashboard that much brighter."]]></description>
<dc:subject>2012 literarytumblrs lists reading literary tumblr dashboard marginalia literature books</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5fab4198aa7e/</dc:identifier>
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<item rdf:about="http://www.youtube.com/watch?&amp;v=uTprAVmG204">
    <title>Books In Browsers 2011: James Bridle, &quot;Books as Data&quot; - YouTube</title>
    <dc:date>2012-01-26T03:36:39+00:00</dc:date>
    <link>http://www.youtube.com/watch?&amp;v=uTprAVmG204</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>bookmarking change publishing contents longformtext text translation digitization piracy design art breadth velocity socialdata annotation commonplacebooks experience readmill information social depth ebooks hyperlinks twitter history networks bookshelves connections libraries footnotes notes marginalia context longreads digitalshorts penguin booksinbrowsers digital books jamesbridle 2011</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5813e72546a8/</dc:identifier>
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<item rdf:about="http://sarahwerner.net/blog/index.php/2011/08/serendipity-of-the-unexpected/">
    <title>the serendipity of the unexpected, or, a copy is not an edition » Sarah Werner</title>
    <dc:date>2011-08-03T11:22:28+00:00</dc:date>
    <link>http://sarahwerner.net/blog/index.php/2011/08/serendipity-of-the-unexpected/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best thing about old books, I think, is their longevity and the traces of the history that they carry with them. Inscriptions, marginalia, doodles, vandalism, erasures, cutting out images and leaves–none of those are captured if your focus is solely on the text, and all of them have something to tell us about how a book was used."]]></description>
<dc:subject>unexpectedencounters serendipity marginalia books history digitization 2011 socialtransactions sarahwerner intangibles print printing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5eb9e99a905/</dc:identifier>
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</item>
<item rdf:about="http://www.openbookmarks.org/">
    <title>Open Bookmarks</title>
    <dc:date>2011-06-20T04:26:29+00:00</dc:date>
    <link>http://www.openbookmarks.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["More and more people are reading books electronically, on computers, on mobile phones, and on dedicated ereading devices.

Ereading allows people to make bookmarks, write notes in the margins, select extracts, and measure their progress through the book. This is the reading experience, and for the first time it's possible to save and share this experience directly. (Find out more about social reading...)

Open Bookmarks wants to make sure that this experience belongs to readers: that they can save it for the future in ways that are useful to them, and share their progress and annotations in the way that they want, however and wherever they read."]]></description>
<dc:subject>books social community culture reading jamesbridle bookmarks bookmarking socialbookmarking socialboomarks persistence socialreading sharing marginalia ebooks</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ad6005b64e88/</dc:identifier>
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</item>
<item rdf:about="http://bookerenglish.wordpress.com/2010/08/28/maginalia-billy-collins/">
    <title>MARGINALIA – BILLY COLLINS « BOOKER ENGLISH</title>
    <dc:date>2011-05-21T19:23:11+00:00</dc:date>
    <link>http://bookerenglish.wordpress.com/2010/08/28/maginalia-billy-collins/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O’Brien,
they seem to say,
I would bolt the door and beat some logic into your head.

Other comments are more offhand, dismissive -“Nonsense.” “Please!” “HA!!” -that kind of thing.I remember once looking up from my reading,my thumb as a bookmark,trying to imagine what the person must look likewhy wrote “Don’t be a ninny”alongside a paragraph in The Life of Emily Dickinson…"]]></description>
<dc:subject>billycollins poetry marginalia teaching annotation via:rushtheiceberg literature</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:909aef8eaced/</dc:identifier>
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</item>
<item rdf:about="http://liftlab.com/think/nova/2007/10/08/ben-cervenys-talk-at-picnic-2007-gaming-the-system/">
    <title>Pasta&amp;Vinegar » Blog Archive » Ben Cerveny's talk at PicNic 2007: &quot;Gaming the system&quot;</title>
    <dc:date>2007-10-10T09:26:34+00:00</dc:date>
    <link>http://liftlab.com/think/nova/2007/10/08/ben-cervenys-talk-at-picnic-2007-gaming-the-system/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ben concluded that much of our future lies in literacy about dynamic systems such as the one designed in games: “play is about fluidity, work is about crystallization“, “play as the negative space of work that allows work to continue“."
]]></description>
<dc:subject>games play work marginalia fringe design gaming politics systems trends bencerveny</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0f5474cfbe0/</dc:identifier>
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