Tuesday, April 24, 2012

FYI France EXTRA:
Books & Texts at MIT, May 3-4

FYI France (since 1992) -- http://www.fyifrance.com
File 3: Ejournal & archive, by Jack Kessler,kessler@well.sf.ca.us
-- archive copy of an EXTRA issue of the FYI France ejournal, ISSN 1071-5916, distributed via email on April 24, 2012, and a little later here on http://fyifrance.blogspot.com, and on Facebook at Jack Kessler's "Notes".

A very interesting symposium takes place the week after next: Thursday-Friday, May 3 & 4 -- at a place called MIT... in Cambridge Mass...

"Unbound : Speculations on the Future of the Book" http://futurebook.mit.edu/

The event offers interesting ideas, speakers, resources -- including some ideas perhaps not encountered at other sessions you've attended on these popular topics. For example -- these from the two Symposium organizers themselves --

  • Amaranth Borsuk (Mellon Postdoctoral Fellow in Comparative Media Studies and Writing and Humanistic Studies at MIT) :

    • "the use of writing technologies by modern and contemporary poets to change their relationship to the page and their constructions of authorship"

    • "a book of augmented-reality poetry that lets readers hold the words in their hands" -- what, you may wonder, is "augmented-reality poetry"?...

  • Gretchen E. Henderson (Mellon Postdoctoral Fellow in Writing and Humanistic Studies at MIT) :

    • "aesthetics of deformity, museology as narrative strategy, poetics of (dis)embodiment / (in)acces-sibility / author(ity), and the body of the book" -- I bet you've never heard of "disability studies", either... now consider what those studies might bring to "the Future of the Book"...

    • "literary appropriations of music", "cross-genre writings" -- plus a book entitled, Ugliness: A Cultural History... Ruskin and Berenson move over...

These are free-thinking folks, at MIT now -- also far-thinking, perhaps. The symposium they have assembled appears to reflect their sensibilities & flexibilities:

    "This symposium explores the future potential of the book by engaging practitioners and performers of this versatile technology to ask some key questions: is the book an artifact on its deathbed or a mutable medium transitioning into future forms? What shape will books of the future take?"

-- but these people seem, as well, to be aware of the past -- so often a major drawback of such futurology, and a major task now, seeing the past clearly for a technology over 500 years old -- something does get learned, in 500 years --

    "Grounded in this technology’s history, we will reflect critically on possible futures, promises, and challenges of the book, showcasing practices by writers and artists, putting them in conversation with scholars and thinkers from across the disciplines who are framing discourse and questions about book-related technotexts..."

"Technotexts"... :-)

The speakers for this event seem remarkable for both the breadth and the depth of the promised discussion:

  • Christian Bök, Calgary -- "pataphysics"! -- how could any devotee of Perec & Oulipo, as I am, resist? -- incidentally the term gets translated by my iPhone as "pasta physics", which Perec would have loved;

  • Mary C. Fuller, MIT -- one of the truly nimble minds -- "she studies travel literature, articles on Caribbean poetry, exploration narratives and video games, early modern circumnavigations, and Renaissance narratives of travel to Russia, West Africa, Guiana, Newfoundland, and Istanbul. Her books include 'Voyages in Print: English Travel to America, 1576-1624' (1995)..." -- "works on the history of early modern voyages, exploration, and colonization. She is also interested in material books and how readers use them, in the past and in the present... Her teaching spans a broad range of topics, from poetry to scientific expeditions, including subjects cross-listed with Comparative Media Studies, Music, Anthropology, Women’s and Gender Studies, and EAPS / Earth, Atmospheric and Planetary Sciences ...";

  • Katherine Hayles, Duke -- "How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics" (1999) -- also, 'My Mother Was a Computer: Digital Subjects and Literary Texts" (2005) -- move over, Hal...;

  • Wyn Kelley, MIT -- _everything_ that is or can be known about Melville...;

  • Bonnie Mak, UI Urbana-Champaign -- "studies the history of medieval manuscripts and early printed books, and analyzes the cultural implications of digitizing such materials... role of the page in the production and transmission of knowledge from the Middle Ages to the modern day, focussing particularly on the dynamic relationship between materiality and meaning... the re-emergence of the notion of authenticity in debates about electronic records... the social, political, and economic pressures that shape digitized data... the consequences of the reconfiguration of historical sources in digital media for the production of knowledge...";

  • Gita Manaktala, MIT Press -- "cutting-edge scholarship in the sciences, humanities, and social sciences" -- someone after my own business heart, the eternal problem of making all this "pay";

  • Nick Montfort, MIT -- "writes computational and constrained poetry, develops computer games, and is a critic, theorist, and scholar of computational art and media" -- what is "constrained" poetry, I wonder -- poetry written in prison? poetry written hung-over? -- Norman Mailer had to walk a ceiling balance-beam to reach his attic office, to be sure his writing was suitably-"constrained"... or that's a good story about Norman, anyway...;

  • and there are, lined-up for this extraordinary gathering, Rita Raley (UCSB), "distracted reading and bookwork after new media" -- James Reid-Cunningham (Boston Athenaeum), "bench-trained bookbinder" -- Bob Stein (Institute for the Future of the Book), "a small think & do tank aimed at exploring and hopefully influencing the evolution of new forms of intellectual expression" -- David Thorburn (MIT), Director of the Communications Forum -- fascinating-sounding folks, all...

 

And there's a blog! So you yourself can participate, and contribute, even if currently you are in Montferrand du Perigord, or Noe Valley de la Californie, and can't make it to Boston --

http://futurebook.mit.edu/2012/01/

Recent Unbound Blog postings:

  • Of e-Books and old books – or what the 21th [sic] century can learn from the 15th.

  • The future of the book?

  • What happened to all the e-books?

  • Zines!

  • Non-anglophone worlds?

-- that last & most recent being moi, naturellement / évidemment, people here know my predilections...

 

From here, then, out in the West Coast California "antipodes" -- as Australians like to label their Oz -- Cambridge Mass seems a world away , maybe... Someone in Brisbane, starting now, might just get there on-time -- well jet-lagged... folks down-under are heartier than most, when it comes to jet-lag...

But for the rest of us: if you can head Out East to Boston, week after next -- or north or south or even west if you are in Lyon -- there's a train, up from Mannahatta... -- then check out,

"Unbound : Speculations on the Future of the Book"

-- week after next, at MIT!

I wish I could be there -- New England is beautiful in the Springtime -- but I do have my iPhone, and they have that blog, so at least la Californie is connected.

 

Jack Kessler, kessler@well.com

Sunday, April 15, 2012

FYI France : ebooks ex-incunabula : standards, at last?

FYI France (since 1992) -- http://www.fyifrance.com
File 3: Ejournal & archive, by Jack Kessler,kessler@well.sf.ca.us
-- archive copy of an issue of the FYI France ejournal, ISSN 1071-5916, distributed via email on April 15, 2012, and a little later here on http://fyifrance.blogspot.com, and at Facebook on Jack Kessler's Notes.

Friends in France have asked me what is the most exciting thing going on in US digital librarianship, these days, and I have told them it is EPub.

That needs some explanation... It's "ebooks", a variant edition of the even more general "digital libraries" topic: EPub is an essentially industry-led effort to standardize all or most of the work of uploading all that invaluable stuff lurking on your hard disk, plus all your offline archives, & DVDs & CDs & floppies & tapes & the rest, & photos, & paper, onto the Internet -- the enormous & cavernous Online Digital World is out there, now, and it's hungry!


It's not an easy process, yet. But digital publication, and crucially its current development process, must be understood -- by anyone in publishing, or in libraries, or anyone with authorial intentions, pretensions, occupations, obligations...

The easiest and most interesting introduction to the "ebooks standards" topic I've found so far is provided by the Webinars offered online by NISO, the US standards organization: these Webinars can be viewed, and viewers even may participate, online from anywhere --

 NISO is the US "National Information Standards Organization": every major nation has its standards outfit, some have several -- in France for example there is AFNOR, http://www.afnor.org/ -- ISO, the International Organization for Standardization, is the umbrella group, http://www.iso.org/iso/home.htm -- and all I'm sure are worrying over ebooks now, but I'm not sure that anyone else is doing a better job yet at explaining all this and inviting public participation, than is NISO.

So I suggest these NISO Webinars to all of you: not only because they are out there on the cusp of controversy -- "ebooks", "metadata", the question of the online digital survival of "the book as a thing" as versus "the text" -- but also because these online NISO resources are reached easily online, by someone in France or elsewhere, either for research and simple lurking and contemplation, or even for active participation via Skype and Cisco's latest and very elegant Cisco econferencing software --

* NISO is at, http://www.niso.org/home/

* and NISO's 2012 online offerings are at, http://www.niso.org/news/events/2012/

 -- librarians in France can participate in these! -- en américain peut-être, mais... --

* the NISO 2012 Webinar schedule still includes,

April 9: Open Discovery Initiative (NISO Open Teleconference)

April 11: What to Expect When You're Expecting a Platform Change: Perspectives from a Publisher and a Librarian (NISO Webinar)

April 25: Schema.org and Linked Data: Complementary Approaches to Publishing Data (NISO/DCMI Webinar)

May 14: IOTA: OpenURL Quality Metrics (NISO Open Teleconference)

May 16: Part 1: Can I Access the World? Involving Users in E-book Acquisition and Sharing (NISO Webinar)

May 23: Part 2: Heritage Lost? Ensuring the Preservation of E-books (NISO Webinar)

June 13: Making Better Decisions with Usage Statistics (NISO Webinar)

June 21-26: NISO at American Library Association / ALA Annual 2012 (Anaheim, CA)

June 21: NISO/BISG Forum: The Changing Standards Landscape (Pre-conference workshop, Anaheim, CA)

August 8: Content on the Go: Mobile Access to E-Resources (NISO Webinar)

August 22: Metadata for Managing Scientific Research Data (NISO/DCMI Webinar)

September 10: KBART (Knowledge Base And Related Tools) Update (NISO Open Teleconference)

September 12: Understanding Critical Elements of E-books: The Social Reading Experience of Sharing Bookmarks and Annotations (NISO Webinar)

September 24: Tracking it Back to the Source: Managing and Citing Research Data (NISO One-Day Forum - Location: Denver, CO)

September 26: Discovery and Delivery: Innovations and Challenges(NISO Webinar)

October 8: NISO E-Book Special Interest Group (NISO Open Teleconference)

October 10: MARC and FRBR: Friends or Foes? (NISO Webinar)

October 18-19: The E-Book Renaissance, Part II: Challenges and Opportunities (NISO Two-Day Forum - Location: Boston, MA)

October 24: Embedding Linked Data Invisibly into Web Pages: Strategies and Workflows for Publishing with RDFa (NISO/DCMI Webinar)

November 12: Specification for Resource Synchronization (NISO/OAI Effort) (NISO Open Teleconference)

November 14: Beyond Publish or Perish: Alternative Metrics for Scholarship (NISO Webinar)

December 12: Connecting the Dots: Constellations in the Linked Data Universe (NISO Webinar) *


Also, and I think invaluable to librarians outre-Atlantique and elsewhere whose English & l'américain may be "rusty", the NISO Webinar archives are online, and they include full session audio tapes & presenter slides & even live-participant-chat-discussion records -- I myself am in these somewhere :-) -- the event in which I just participated, not as a presenter altho I did ask some questions, is described with its slides and some Questions & Answers / Q&A at the following links --

NISO Two Part Webinar: Understanding Critical Elements of E-books: Standards for Formatting and Metadata

Part 1: EPUB3: Putting Electronic Books into a Package -- March 14 http://www.niso.org/news/events/2012/nisowebinars/ebooks_epub 3/ -- outline & slides

-- and its audio archive for Part 1 now is available online at, http://tinyurl.com/7xstqc4

-- and event Q&A is transcribed from chat to text at, http://www.niso.org/news/events/2012/nisowebinars/ebooks_epub 3/questions

 Part 2: Find That E-book, or Not: How Metadata Matters -- March 21 http://www.niso.org/news/events/2012/nisowebinars/ebooks_meta data/ -- outline & slides

 -- and its audio archive for Part 2 now is available online at,
  http://tinyurl.com/c4m3hdj

 -- and event Q&A is transcribed from chat to text at, http://www.niso.org/news/events/2012/nisowebinars/ebooks_metadata/questions


* The NISO Webinars appear generally to follow a standard format of including representatives of industry and actual user institutions -- formal presentations, by such people, with slides -- and then Q&A conducted via chat. The presentations assume some prior knowledge, but there is enough intro done by each presenter to provide at least the general context to anyone remotely familiar with the general problem involved. At the same time, though, there is not too much topic-drift, the great enemy of most online discussion of these things: these NISO Webinar presenters are professionals, so your time will not be wasted in hearing what they have to say -- those I heard in these two sessions were very concise and detailed and on point. 

* Costs: live participation in these NISO Webinars is not free-of-charge, access to the 2 sessions described above cost US$179, $74 for a student -- but that was "per site", so several participants gathered around someone's big iMac, or a screencast in a nice meeting room, or at a comfortable-if-noisy cafe table somewhere, may join in, sharing costs. The outline & slides, and the Q&A, both apparently are free-of-charge, online; a password is required for hearing the audio archives, but I suggest NISO may provide that free-of-charge as well, at least to some, upon application to them.


 --oOo--


A Note... though... about "standardizing" things:

I am somewhat of a sceptic, about NISO's and other standards efforts generally, myself. I am not certain that there is not a category-mistake at work, in fact, in standards development here: that if a "book" is what is sought, in information search & retrieval, then copious metadata about that object understandably may be useful, yes -- but if what is being sought nowadays is a "text", an æthereal thing sometimes contained in a book but increasingly not, then metadata assisting in the search for a book may be "un ange qui passe" -- exactly like, yes, the visiting newly-minted & presumably-US philosopher standing in Carfax, at the middle of Oxford, and demanding, "But where is the university?" -- see Gilbert Ryle & Jonathan Miller, both, on that... 

The standards groups -- NISO, ISO, AFNOR, the many others -- may represent our best chance for eventually establishing some order in the current chaos surrounding ebooks, then. For now it seems the commercial folks rule, with their secrets and competing approaches and furious incompatibilities. I remember the similar "protocol wars" of the early Internet, where tcp/ip fought against OSI. And we all remember the earlier famous rivalries of Messrs. Steve Jobs & Bill Gates. Only the Paranoid Survive, was what Intel chief Andy Grove entitled his memoirs book about that ferocious era. The ebook is in its own such critically-incunabular(?) phase now.

Eventually things do settle down and "standards" do win -- the EPub standard is our current best hope for that -- these NISO Webinars present and discuss that topic simply and thoroughly.

What happens, however, if our current Age of Digital Incunabula, unlike the 15th c. Age of Print Incunabula, does not adopt the book container used by the text paradigm which preceded it? Gutenberg's printed work was crafted to resemble the manuscript formats of his own era -- but already and increasingly the "texts" used by modern readers look and feel and act nothing like "books".

There is little resemblance, in other words, between two phenomena:

1) a multimedia online digital "texts" search & reading session through, say, Wikipedia plus a cellphone / mobile Web browse plus several online Webinars & econferences & downloaded course-reader pdf selections all supplemented with a few music clips & videos from YouTube..., and,

2) the albeit-thorough read-through of a single or even several cardboard & paper printed "books".

So which of the above two is being done more by users, now? It depends, somewhat, on which users... To me it appears that, most places, the younger generation(s) and active workers -- professionals, of any sort -- do #1 above, now, nearly entirely, while only the elders and those with much leisure time do much of #2.

And so all the attention devoted exclusively to e"books", of any design or format, may be misplaced: the market may have moved on, to "texts" irrespective of their containers -- and thus precise definition of "book"-style formats and metadata and the rest, imitating the printed-book format with which fewer and fewer of us really are familiar, may be an idea the time of which has past. The young student being guided through the reference room by the librarian is said to have remarked, when shown the multi-volume ancient leather-bound encyclopedia-set, "Whoa, you mean somebody actually downloaded the entire thing?!"

But then maybe all this is just a realignment: maybe, instead of either 100% "texts" formats versus 100% "books" formats, we are headed for some new balance, perhaps 60/40, or 80/20, maybe there always will be "books"... digital or otherwise... Such, anyway, perhaps is, or appears to be, the dream of the e"books" people. Kudos then to them for trying...

I happen to be of a generation and by persuasion raised on book formats, and I love to see the mise-en-page and page-turning properties of e"books" -- to me it is fun, and importantly it gets me "involved" with the text, to highlight, and scribble notes, and jump from Table of Contents to Chapters and back, in downloaded files from my Kindle & iBooks & GoogleBooks collections, and do all the other tricks already enabled greatly by standards such as EPub.

But to others, perhaps younger and less book-bound than me, it may be cumbersome and, even worse, unnecessary... "Whoa, you mean somebody actually downloaded the entire thing?!"... that young student may find the elaborate arrangements and conventions of the old "book" paradigm to be unnecessary, in a multimedia & interactive & essentially-immediate online digital etext world... 

But it's an Age of Incunabula, one even more adventurous than that of the 15th century, so nowadays, both virtually and In Reality, anything can happen.


  Jack Kessler, kessler@well.com

Thursday, March 15, 2012

FYI France : Multilingualism in an epub... what in *&%##!!@!* is an epub?... I'll have a pint...

FYI France (since 1992) -- http://www.fyifrance.com
File 3: Ejournal & archive, by Jack Kessler, kessler@well.sf.ca.us -- archive copy of an issue of the FYI France ejournal, ISSN 1071-5916, distributed via email on March 15, 2012, and a little later here on http://fyifrance.blogspot.com, and at Facebook on Jack Kessler's Notes.

The new book announced below, by C&F Éditions of Caen in France, describes the very old problem of multilingual access -- albeit in some of its latest & online-digital forms. And the book itself appears in some of the latest & online-digital formats: so latest, in fact, that I and many others now are spending our days and some nights trying to figure out how they work...

Multilingual access was the beginning, of my own efforts online here: as I've mentioned, a certain Michael Hart and I plus lots of others all discussed, long ago, whether in online text the French language ought to be depicted "comme ca", or "comme c,a" -- and we both wondered whether it ever would reach the point of appearing "comme ça".

Now that we are there, though, it seems there are even more issues, multilingual access has blossomed: it never has been a mere matter of extended ASCII character sets -- neither of us fooled ourselves, or one another, into believing that -- now comes a book, from Hervé Le Crosnier and his energetic teams at C&F, which elaborates the full panoply of 21st c. multilingual issues and confusions, and they are numerous. Hopefully there is light, here.

Hervé's announcement: [tr. JK] --

 

--oOo--

 

> March 4, 2012 3:10 PM

> Salut,

> The latest offspring of C&F éditions is a book devoted to multilingualism, and particularly to the condition of languages on the Internet.

> Net.langue : how to succeed in multilingual cyberspace

> http://net-lang.net

> -- 27 authors and as many articles, evaluating the evolution of languages on the information network, the capacity of technologies to aid in the maintenance, even the revitalization, of languages which are in danger, and to debate the ramifications of multilateral / transnational politics and of the global inclusion of multi-lingualism...

> Net.lang is published under the ægis of the "association internationale Maaya". It is edited by Laurent Vannini and Hervé Le Crosnier. The translators -- from English to French, but also the reverse, the original articles having been received in both languages, and the book appearing now simultaneously in French and in English -- have played a significant role in crafting the final product. They are: Laura Kraftowitz, John Rosbottom, Laurent Vannini, Francisca Cabrera and Alexandre Mussely.

> Initial lesson: dominant today, English is losing ground on the Nets, returning to its normal scale of nearly-equal shares of web pages in English and users of English. English will not be the lingua franca of the Internet and, even more significant, an "economics of languages" has pushed "translation" to the fore as the true language of the Nets.

> Normative efforts in standardization as in digital text, in its written forms but also spoken and signed (sign language for the deaf), enable communication in the digital world comparable to the linguistic complexity of the real world.

> The Net.lang book is supported and made possible thanks to several international institutions: UNESCO, la Francophonie, the Union Latine, l'ANLoc in South Africa and the CRDI of Canada. Personnel of these institutions have reviewed the publication of this book.

> The book is published simultaneously in French and in English. The articles are published under a Creative Commons by-sa (Attribution -- Share-Alike) license, to facilitate translations-to-come in all languages of interest to any editors.

> Finally, Net.lang is available in both digital and print versions. The digital versions -- currently in pdf, and soon in ePub -- are distributed free-of-charge on the site http://net-lang.net

> Orders for the print version, in French or in English, as always are possible at bookstores and on the website of C&F éditions, http://cfeditions.com

> Happy reading

> Hervé Le Crosnier

 

--oOo--

 

Net.langue : how to succeed in multilingual cyberspace

Table of Contents

* Forewords

  • Irina Bokova, General Director, Unesco
  • Abdou Diouf, General Secretary, La Francophonie
  • José Luis Dicenta, General Secretary, Union Latine
  • Dwayne Bailey, Research Director, ANLoc
  • Daniel Prado, Executive Secretary, Maaya Network

* Part 1 -- When Technology Meets Multilingualism

  • Daniel Prado
    Language Presence in the Real World and Cyberspace

  • Michaël Oustinoff
    English Won't Be the Internet's Lingua Franca

  • Éric Poncet
    Technological Innovation and Language Preservation

  • Maik Gibson
    Preserving the Heritage of Extinct or Endangered Languages

  • Marcel Diki-Kidiri
    Cyberspace and Mother Tongue Education

* Part 2 -- Digital Spaces

  • Stéphane Bortzmeyer
    Multilingualism and the Internet's Standardisation

  • Mikami Yoshiki & Shigeaki Kodama
    Measuring Linguistic Diversity on the Web

  • Joseph Mariani
    How Language Technologies Support Multilingualism

  • Vassili Rivron
    The Use of Facebook by the Eton of Cameroon

  • Pann Yu Mon & Madhukara Phatak
    Search Engines and Asian Languages

  • Hervé Le Crosnier
    Digital Libraries

  • Dwayne Bailey
    Software Localization: Open Source as a Major Tool for Digital Multilingualism

  • Mélanie Dulong De Rosnay
    Translation and Localization of Creative Commons Licenses

* Part 3 -- Digital Multilingualism: Building Inclusive Societies

  • Viola Krebs & Vicent Climent-Ferrando
    Languages, Cyberspace, Migrations

  • Annelies Braffort & Patrice Dalle
    Accessibility in Cyberspace: Sign Languages

  • Tjeerd de Graaf
    How Oral Archives Benefit Endangered Languages

  • Evgeny Kuzmin
    Linguistic Policies to Counter : Languages Marginalization

  • Tunde Adegbola
    Multimedia and Signed, Written or Oral Languages

  • Adel El Zaim
    Cyberactivism and Regional Languages in the 2011 Arab Spring

  • Adama Samassékou
    Multilingualism, the Millenium Development Goals, and Cyberspace

* Part 4 -- Multilingualism on the Internet : A Multilateral Issue

  • Isabella Pierangeli Borletti
    Describing the World: Multilingualism, the Internet, and Human Rights

  • Stéphane Bortzmeyer
    Multilingualism and Internet Governance

  • Marcel Diki-Kidiri
    Ethical Principles Required for an Equitable Language Presence in the Information Society

  • Stéphane Grumbach
    The Internet in China

  • Michaël Oustinoff
    The Economy of Languages

  • Daniel Prado & Daniel Pimienta
    Public Policies for Languages in Cyberspace

* Conclusion

  • Adama Samassékou, President of Maaya
    The Future speaks, reads, and writes, in all languages

 

--oOo--

 

And a Note:

NISO just treated me and I guess many others -- yesterday, for an hour and a half -- to a fascinating Webinar introduction to the immense efforts now pouring into the new & exciting & for-some-distressing "ebook" --

-- and I see that Hervé and his team(s) as described above are issuing their new text in the following formats --

  • in print (french or english)
    446 pages, 17×22.5 cm, softcover
    Price: 34 euros
    French: ISBN 978-2-915825-08-4
    English: ISBN 978-2-915825-09-1
    In bookstores or at http://cfeditions.com

  • ebook (french or english)
    DRM free
    French: ISBN 978-2-915825-25-1
    English: ISBN 978-2-915825-26-8
    http://net-lang.net

  • Pdf (french or english)
    DRM free
    French: ISBN 978-2-915825-23-7
    English: ISBN 978-2-915825-24-4
    http://net-lang.net

-- and, covering-all-contingencies -- there assuredly will be other new formats coming... KF9?... -- C&F adds --

...

So: is all of this nowadays what we must do, to "publish"?

It makes the bad-old / good-old days of print(only)-publishing sound simple...

Are "print" and "pdf", and "KF8" (Kindle) and "Epub3" (everybody else, for now), plus dozens of similar abbreviations and mnemonics for supporting and affiliated formats -- HTML5 and MPEG and OEB and CSS3 and JavaScript, SVG, DublinCore, MathML, OpenType & WOFF, Media Overlays, Ruby, ONIX & CNI & PLS & SSML -- and, yes, even something called MARC... -- all really necessary, just to "spread the word", nowadays?

And for an editor in Caen wishing to reach readers in California, now, is all this really to be mastered? More English-only "instruction manuals" to puzzle through, then... which we all now know from long experience mostly are unreadable to even a native-speaker of that language, much less to someone saddled with a non-English linguistic structure, and maybe working laboriously via GoogleTranslate... you say "potato" and I say "potato"...

'Sounds like a lot. 'Sounds, too, as though regional and commercial variations -- the former called "nationalism", the latter "product differentiation" -- will be having a field-day with all of this -- thousands of local "varieties", "flavors", aggressively and sometimes belligerently-competing "products" & "services"...

 

I remember sort-of-fondly that we had flavors of ASCII, long ago: first came "just plain ASCII" -- the then-new digital world's equivalent of Henry Ford's famous, "You can have any color you want as long as it's 'black'" -- then came "extended ASCII", and strange things like "IBM ASCII" and "Microsoft ASCII". Later on the Internet folks brought us TCP/IP & OSI, and the US / European "protocol wars" between the two: which TCP/IP won, in case that's at all unclear to anyone now.

So this same embarrassment-of-riches variety again descends upon us -- or explodes around us, like a cluster-bomb or minefield -- just the way it did back in the late-80s and early-90s.

The maelstrom had a good result, back then, and this one can have a good result this time too. Per the above links, NISO in the US, and its opposite numbers overseas, once again boldly are trying to pull these things together, to create the much-valued "invisibility" which characterizes truly-successful technologies -- the theory being, certainly in telecoms, that if you can see it then it's complicated... For users, that's true: few of them want to know how the thing works, they just want to drive it -- so to get us there we need format integrations, standards normalization, some degree of uniformity.

But the very forces bringing innovation to us now work against that normalization, as well: a commercial firm must do "product differentiation" -- show how its particular widget or technique is better than and therefore different from that of Apple, or Amazon, or Google or any other competitor -- so the firms both want and don't want everything to look the same, it's an ongoing tug-of-war, among one another and with the "standards" bodies and also internally -- it's the "development" war, in which the hope is that nobody ever really wins, because then the process would stop and all would lose.

I'm not sure how understood this process is, overseas. I know many in France who understand but do not embrace it. In other places I have friends who simply do not comprehend: it's expensive, they tell me, a small or poor nation or economy cannot afford the vast amounts needed for such duplicative R&D -- "First industrial innovation, then standardization, then more innovation which invalidates that? The sheer inefficiency of it...", they say, "the waste".

"Yes, but look at the results", Americans reply, "they make the risks worth running." I hope so. We got our Internet, and now The World has it too. So perhaps an Epub standard will do the same, for ebooks, as TCP/IP and others have done for networking -- one approach, rather than the acronym-chaos now reigning. Or maybe that single standard becomes the, "One ring to rule them all... and in the darkness bind them." I hope not. Not that last, anyway...

For now it looks as though there's little danger, of either too much chaos or becoming too narrow: normalization is proceeding steadily, and the untamed lions still are healthily out-there but at least are collared and less-destructive than before -- Amazon's Kindle(tm) still doesn't speak "standard ebook", so well, but Apple's iBook(tm) does, and apparently Google's books do too.

I can't help wondering, however, whether there is some format somewhere in China slowly awakening, and stretching, before it languidly arises and sets out, its hour come round at last, slouching toward Bethlehem to be born?

For it's the Chinese, not the Americans, who will be the readers and text-producers before this century is through: "Ruby" apparently can arrange characters in columns, in an ebook... -- that and much more will be needed and, per this C&F Éditions book about things-multilingual, I can't help thinking that the eventual standards and even the innovations will have to come from China, too.

 

Jack Kessler, kessler@well.com

Wednesday, February 15, 2012


FYI France : Book History Workshop, Lyon, June 18-22

Once again -- 9th Edition! -- the Institut d'histoire du livre is offering you and other book-lovers you may know a chance to:

* travel to France,

* do so in the Springtime,

* do so to Lyon, fabulous city of two beautiful rivers, the traboules and bouchons and Canuts, La Croix Rousse,

* indulge, there, in your favorite past-time of noodling-around in the rarefied worlds of analytical bibliography, printed ephemera, and gold-tooled book bindings -- rare and ancient books, and the fine arts of printing them -- guided by experts, a chance to meet and exchange views with interesting peers,

* eat & drink & relax -- tripe, chocolate, sauces, les cuisines novellas and not-so,

* leave your iPhone at home...

 
--oOo--

 
> BOOK HISTORY WORKSHOP
> Lyon, 18-22 june 2012

> For the 9th edition of its Book History Workshop, organized in collaboration with the Rare Book School (University of Virginia), the Lyon-based Institut d'histoire du livre is offering 3 advanced courses in the fields of book and printing history.

>Courses on offer this year are:

> Dominique Varry, Physical (analytical) bibliography

> Michael Twyman, Printed ephemera under the magnifying glass

> Isabelle de Conihout and Pascal Ract-Madou, French gold-tooled bindings 1507-1967: major workshops and collectors

> Fee : 450 euros for one course (4 days)
> information and inscriptions : ihl@enssib.fr



> * Physical (analytical) bibliography

> The largely Anglo-Saxon discipline of analytical bibliography offers an archaeology of the printed book. The course offers a practical introduction to the analysis and description of documents typeset by hand and printed on the common press before 1800. The aim is to familiarize students with the many ways in which books reveal how they were produced, who printed them, and where.

> Physical bibliography is an indispensable tool for scholarly editors of rare books, for historians who need to check the validity of printed sources, and for librarians and collectors requiring a full understanding of the books in their collections. It provides the means of reconstituting the genealogy of successive editions of a given text, of identifying forgeries and pirate editions published under false addresses in order to circumvent the censors, and of identifying 'manipulations' by unscrupulous booksellers, and fakes which have been put on the market at various times.

> Topics include: basic concepts and definitions; history of the theory and practice of analytical bibliography; the organization of early printing shops; precise methods of book description (in particular collation formulae); the importance of comparing different copies of the same book (variants, press corrections, cancels, re-printings); the detection of counterfeit copies, false imprints and forgeries; the identification of typical booking styles.

> Tutor: Prof. Dominique Varry. The course is in French.



> * Printed ephemera under the magnifying glass

> This course will look at printed ephemera in several different ways, though the main objective for participants is to understand and be able to identify the techniques used in the production of such documents.

> In addition to the craft processes of etching and engraving on copper, woodcut and wood-engraving, ink and crayon lithography and engraving on stone, we shall study engraving on steel, stereotyping, the electrotype process, transfer lithography, typo-lithography, different methods of color printing (from relief blocks, the Congreve process, the Baxter process, chromolithography, chromo-typography), and the application of photography to printing processes (with and without screens and on one or more colors).

> We shall also consider the design of printed ephemera, and particularly the relationship between technique, form, and use.

> At the end of each session we shall take a look at original documents of the 19th and 20th centuries (mainly French and English), including letterpress and lithographed posters, forms, bill-heads, sheet music covers, invitations, publicity of various kinds, calendars and labels.

> The course will be taught in French, but discussion is possible in both French and English.

> Tutor: Michael Twyman.



> * French gold-tooled bindings 1507-1967: major workshops and collectors

> Since the publication in 1951 of Louis-Marie Michon's La reliure française -- an excellent but sparsely-illustrated study which is now, inevitably, rather out of date -- there has been no serious study of French bookbinding as a whole.

> Isabelle de Conihout and Pascal Ract-Madoux aim in their course to fill this gap by offering a close examination of a large number of remarkable bindings from the period 1507-1967. A hundred or so original bindings (and several hundred photographic reproductions) will be presented and described. Although bindings are physically inseparable from the content which they enclose, they also have to be considered as autonomous artifacts. French deluxe bindings in particular have to be considered as works of art as much as historical objects.

> Tutors: Isabelle de Conihout, Pascal Ract-Madou. The course is in French.



--oOo--



The above annonce, translated a little en américain by me and an Apple -- I think, or maybe Microsoft -- spelchecker, from the version in English posted online February 8. For the version in French, and additional details and course inscription, please consult the resources which follow:

 
* Institut d'histoire du livre, Lyon

 
-- and definitely see also, whilst (?) in Lyon --

 
* Musée de l'imprimerie de Lyon -- wonderful printing museum...

 
* ENSSIB / École Nationale Supérieure des Sciences de l'Information et des Bibliothèques -- national library school, near one of the world's most beautiful city parks...

 
* Bibliothèque municipale de Lyon


-- a great "public" library, but not only -- in the French style, as public libraries go -- for example see also, for those with "rare & ancient" interests --

    * une bibliothèque carolingienne dont certains manuscrits remontent au xe siècle ;

    * 1 300 incunables ;

    * de nombreuses impressions lyonnaises du xvie siècle (Rabelais, Maurice Scève, etc.) ;

    * les 400 000 volumes de la collection des Fontaines des jésuites de Chantilly ; en 2002, elle est enrichie par le fonds slave des jésuites (issue de la Bibliothèque slave de Paris (le fonds Gagarine) et de la bibliothèque du Centre d.étude russe Saint-Georges (le fonds Saint-Georges)).

    * un important fonds de partitions musicales anciennes, de disques d'archives et de chansons populaires ;

    * plus de 120 000 estampes anciennes (Dürer, Rembrandt, Callot, etc.) ;

    * un fonds en langue chinoise de réputation internationale ;

    * d'importantes collections photographiques (André Kertesz, Robert Doisneau, William Klein, etc.) ;

    * près de 13 000 titres de périodiques, dont 4 000 vivants ;

    * le dépôt légal pour les 8 départements de Rhône-Alpes.




Bonne route,



Jack Kessler, kessler@well.com



--oOo--

Sunday, January 15, 2012

FYI France : "Do you have a book about horses?..." -- digital access

That phrase, "Do you have a book about horses?", being a cornerstone of librarianship both digital and eyeball-to-eyeball: the parsing of same... key to "the reference interview", in old-style librarianship, and to "information search & retrieval", in the new... "Just what does this user 'mean' by that?" -- epistemology. And admitting to a personal love of horses, and of France and of The Internet -- eclectic combination -- and of finding some way of combining the three: and apparently I'm not the only one...
Digital Percherons... libraires hippiques... in France... -- among which:

* Cavalivres.com

W3: http://www.cavalivres.com/
W3 newsletter: http://www.cavalivres.com/newsletter.php
W3 contact: http://www.cavalivres.com/contact.php
postal: B816, 60732 Ste-Geneviève cedex
address: Librairie du Cheval, 21 rue du Sentier, 75002 Paris
orders: (0)3.44.62.43.95
shop: (0)1.55.35.24.84
office: (0)3.44.12.52.30, fx. (0)3.44.12.57.44

and note:

W3 Livres anciens XXe:
http://www.cavalivres.com/sous_categorie.php?id_cat=4&id_sscat=19

exemplaire:
Généralités Hippiques.
A. Confex - Lachambre
Plon
Référence : 811026
170.00 €
Format : in-8°
Année de publication : 1907
Nombre de pages : 283
Résumé :
Unique édition de ce texte peu courant dans lequel l'auteur, publiciste et hippologue, traite de toutes les connaissances utiles à un cavalier, dont le dressage et l'attelage. L'ouvrage est illustré de nombreuses planches et figures dans le texte et hors texte. Bon exemplaire de cet ouvrage complet et bien fait.
Divers :
Paris, Plon-Nourrit et Cie, 1907.- in-8° de 4 feuillets pour les titres et la préface. Demi-toile verte à coins à la Bradel, plats marbrés verts, dos lisse orné de sa pièce de titre en lettres dorées sur maroquin marron.

also:

W3 Livres anciens XIXe:
http://www.cavalivres.com/sous_categorie.php?id_cat=4&id_sscat=20

exemplaire:
Paris au Bois.
Crafty
Henri Plon
Référence : 809363
450.00 €
Format : in-4°
Année de publication : 1890
Nombre de pages : 325
Résumé :
Unique édition de ce bel ouvrage dont la plupart des illustrations diffèrent de celles des éditions précédentes. Crafty a abandonné le petit format des nombreuses vignettes ornant ses précédents ouvrages pour adopter une iconographie privilégiant les planches de plus grande taille, voire à pleine page et dont certaines sont ici en couleurs.
Divers :
Paris, Plon, Nourrit, 1890.- in-4° de 325 pages. Pleine toile gris bleuté, dos lisse orné du titre en lettres dorées.

and, even:

W3 Livres XVIIIe:
http://www.cavalivres.com/sous_categorie.php?id_cat=4&id_sscat=21

exemplaire:
L'art du Bourrelier et du Sellier.
François de Garsault
Référence : 809199
460.00 €
Format : in-4°
Année de publication : 1790
Résumé :
Tiré à part de ce texte bien documenté provenant de l'Encyclopédie de Panckoucke. Il a été copié sur l'originale ayant fait partie des 113 cahiers composant Description des Arts et Métiers faite et approuvée par l'Académie des Sciences éditée à Paris entre 1761 et 1789. Les seize planches qui illustrent l'ouvrage comprennent un grand nombre de figures dont quelques-unes détaillent de façon précise la fabrication des voitures. Garsault signe le dessin de toutes les estampes, elles sont d'un dessin beaucoup plus sûr, plus modelé et plus précis que celles du Nouveau Parfait Maréchal. Elles ont été copiées sur celles qu'avait gravées Ransonette et ramenées à un format plus petit par Sellier pour cette édition.
Divers :
Paris, sans date (vers 1790). 139 pages pour le texte (de la page 429 à la page 568), l'explication des planches et des vignettes, la table des chapitres, 16 planches en hors-texte. Broché, cartonnage avec le titre en lettres dorées sur une pièce de maroquin marron centrale, papier polychrome de l'époque.


I mistakenly supposed this "Cavalivres.com" might be the Québecois bunch, or was affiliated with that bunch, who brought their striking "Cavalia" show to California a few years ago from Montréal -- a sort of Cirque du Soleil centered upon horses, son et lumière et cheval -- I'm more interested in cheval than in son et lumière, myself, but the tents were fantastic, and the extraordinary effort was impressive, as were the horses --

http://www.cavalia.net

-- but no connection or affiliation, the folks at Cavalia tell me, although perhaps there ought to be.



* Librairie, Société Hippique Percheronne de France

W3: http://www.percheron-france.org/fr/catalogue/librairie/
email: shpf@wanadoo.fr
postal: 4 rue Rémy Belleau, 28400 Nogent le Rotrou
t: (0)2.37.52.00.43


* Librairie du voyageur, WorldTrailRides.com

W3: http://www.worldtrailrides.com/bookstore/Bibliotech.htm
email: gerard.barre@worldtrailrides.com

This site does a good and nicely-presented job of providing access to lists of books, available at amazon.fr and presumably elsewhere -- right-side column links, 4 headings,

Chevaux du monde
Éthologie
Récits de voyage
Techniques du voyage


* Sport et Hippisme en France

A well-done calendar, of horse events upcoming in France... call this "multimedia"...
http://sport.sorties.francetv.fr/hippisme-course-cheval-turf?page=3


* And some -- a little -- formal bibliography...

About horses, available via an excellent digital library online, although the thing itself appears to be "printed" and to have pages which may be "turned":

Essai de Bibliographie Hippique ... sur le Cheval et la Cavalerie.
Mennessier De La Lance, Gabriel Rene
Three volumes in two.
(Mansfield Centre : Martino Publishing 1999)
8vo.
cloth.
ix, 760; (iii), 736, iv, 64 pages.
ISBN 1578981786
Price: $ 175.00

"Reprint of the 1915-1921 first edition published in Paris by Librairie Lucien Dorbon. (Besterman 2913). This rare set remains a standard bibliography of books relating to all aspects of horses and horsemanship. Almost 8,000 works are described, many with valuable annotations. Includes the supplement of 1921."

http://www.oakknoll.com/detail.php?d_booknr=55637


--oOo--


A Note:

Is this a possible future, for bookshops? Specialization? For bricks & mortar, indie / independent, "real" retail bookshops... Subject-specialization, in books about wine, or about cars, or about horses...

I do know the old adage in business about "risk-spread"; but there's another old business adage about "product-differentiation", too.

I have extensive personal experience with Amazon.com's excellent search engine: that's how 150+ ebooks now come to lurk in my AmazonCloud, waiting to pounce upon my free time, complementing the 100's more in cardboard-and-paper gathering dust at my home.

Where is there time, to do all this...

But the search engine doesn't help much -- not Amazon's very good effort, not even Google's -- not with browsing, or subject-searching... If you know what you are looking for, then yes Google finds it fastest; and Amazon adds extra indexes so you conveniently can search across their myriad product-offerings and differentiate -- "Amazon" the ebook, from the printed book, the movie, the action-doll, the river, the giant corporation or perfume aroma or ice-cream flavor or whatever...

But if you don't know what you are looking for -- if yours is an "unknown"-item-search -- then the search-engines still do not do well; still your best bets, for finding your "book about horses", are to ask a flesh-and-blood & not-just-digital librarian, or to visit a bookshop specializing in your subject.

In San Francisco, near my home here, there is a shop offering, "books on food" -- and we have had, until he recently retired, a "mysteries" bookshop -- and in Paris, in the Sylvia Beach tradition and even near her old neighborhood, there is the San Francisco Book Company, a bookshop specializing, as Sylvia did, in the English-medium literature which folks from this city enjoy --

http://www.sanfranciscobooksparis.com
http://fyifrance.com/fyi5book.htm#SANFRAN0706

-- and now, in long-mercantile Paris, there is a bookshop specializing in horses...

So perhaps it is subject-specialization, which will save the indie bookshop -- preserving a place to browse, for those bored with or lost Sur La Toile -- as well as for those of us in love with La Toile, but located several thousands of miles away from the bookshop.



Jack Kessler, kessler@well.com

Thursday, December 15, 2011

FYI France : L'Ardèche!

FYI France (since 1992) -- http://www.fyifrance.com
File 3: Ejournal & archive, by Jack Kessler, kessler@well.sf.ca.us -- archive copy of an issue of the FYI France ejournal, ISSN 1071-5916, distributed via email on December 15, 2011, and a little later here on http://fyifrance.blogspot.com, and at Facebook on Jack Kessler's Notes.

In south-central France, south of Lyon, the rivers empty from the Massif Central into the Rhône -- some of them after falling a long way, through impressive gorges and in tremendous floods. The result is some of the country's most spectacular scenery, best fishing, simultaneously the richest alluvial-deposit farming and the most hardscrabble clay & rock survival existences, and tiny and picturesque villages -- and some libraries, impressive too for also being tiny and impoverished-yet-surviving, in some places, and for possessing wonderfully-interesting collections and providing extensive local information services, in others.

Many accounts have been written of life in this part of France, many of them by foreigners: Robert Louis Stevenson on the Cévennes, Peter Mayle on the Vaucluse...

To better-appreciate the Ardèche I just now am reading an account by ebullient Yale History Professor John Merriman, of his love affair with the place, also of his keen appreciation of its history, its temperament, and of the ups and downs of living in France and of being French -- Merriman has lived there himself for many years, in Balazuc, population recently a few over 300 --

John Merriman, The Stones of Balazuc: A French Village in Time (W. W. Norton, 2002) 352 pages ; ISBN-10: 0393051137, ISBN-13: 978-0393051131

From the publisher's description:

"Experience village France with its historical dimension in place. In a spirited history, John Merriman allows us to see the presence of the past in the people and ways of this beautiful village in the Ardeche.

"Balazuc is a tiny medieval village carved into a limestone cliff that towers above the Ardeche River in southeastern France. Its dramatic landscape and Mediterranean climate make it a lovely destination for summer visitors, but for its residents over the centuries life in Balazuc has been harsh.

"At times Balazuc has prospered, most notably in the nineteenth century through the cultivation of 'the golden tree' and the silkworms it fed, a process whose rigors and rewards are gleefully detailed in this splendid book. But the rewards proved fleeting, leaving only the rigors of life on the 'tormented soil.'

"Historical events from the French Revolution, through the Paris Commune and the two world wars, sent ripples through this isolated region, but the continuities of everyday life remained strong. Twenty-eight men from Balazuc signed the list of grievances against the king in the spring of 1789; the families of nineteen still live in the village. This is a story of resilience."

And here are some of the libraries which these tiny towns, so remote from the superbly-endowed Parisian monstre to their far north, stubbornly and gamely and proudly support:

-- entries are listed below "in no particular order", as the search engines and I expect the always-suspicious neighbors would say;
-- population figures are via Wikipedia.fr, and they say the numbers are from 2008;
-- colors & links & character sets here are Zimbra's, my own & The WELL's new & very magical Open Source email genie, Siri's cousine, they work OK on Zimbra and in Gmail and I hope you can read and use them OK direct from your own email, but if not please let me know;
-- the following is not an exhaustive list, either, so if anyone please would point me to omissions via email to kessler@well.com I will add them;
-- aaand browsers and email programs vary greatly in the way they treat links, in the following -- for example Zimbra un-helpfully shows both the underlined and the non-, below here, as links, but then for some functions does not go past the #... -- so below I have included both, both the embedded link to the left and the full ASCII contents of that link to the right, in the hope that if the former ends up not being too helpful, at least you can copy & paste the latter into your own browser and get to where you are going easily that way -- the Ouebbe still is a work in progress --

* Voulte sur Rhône, Bibliothèque Municipale Lucie Aubrac, La -- 5,017 hab. -- http://www.fyifrance.com/fyi1pli4.htm#VoulteSurRhone

* Annonay, Bibliothèque Communautaire -- 17,156 hab. -- http://www.fyifrance.com/fyi1pli1.htm#Annonay

* Coucouron, Bibliothèque Municipale -- 827 hab. -- http://www.fyifrance.com/fyi1pli1.htm#CoucouronBM

* Saint Péray, Médiathèque -- 7,268 hab. -- http://www.fyifrance.com/fyi1pli4.htm#Peray

* Charmes sur Rhône, Bibliothèque -- 2,384 hab. -- http://www.fyifrance.com/fyi1pli1.htm#CharmesSurR

* Alboussière, Bibliothèque -- 907 hab. -- http://www.fyifrance.com/fyi1pli1.htm#Alboussiere

* Saint Julien Labrousse, Bibliothèque du Pays du Cheylard -- 336 hab. -- http://www.fyifrance.com/fyi1pli4.htm#SaintJulienLabrousse

* Saint Just d'Ardèche, Bibliothèque Municipale -- 1,535 hab. -- http://www.fyifrance.com/fyi1pli4.htm#SaintJustdArdeche

* Villeneuve de Berg, Bibliothèque Municipale -- 2,845 hab. -- http://www.fyifrance.com/fyi1pli4.htm#VilleneuvedeBerg

* Devesset, Bibliothèque Municipale -- 292 hab. -- http://www.fyifrance.com/fyi1pli1.htm#DevessetBM

* Lamastre, Bibliothèque Municipale -- 2,608 hab. -- http://www.fyifrance.com/fyi1pli2.htm#LamastreBM

* Teil, Le, Médiathèque -- 7,929 hab. -- http://www.fyifrance.com/fyi1pli4.htm#Teil

* Guilherand Granges, Bibliothèque Municipale -- 10,791 hab. -- http://www.fyifrance.com/fyi1pli2.htm#Guilherand

* Valgorge, Médiathèque Intercommunale -- 454 hab. -- http://www.fyifrance.com/fyi1pli4.htm#ValgorgeM

* Privas, Médiathèque Municipale -- 8,552 hab. -- http://www.fyifrance.com/fyi1pli3.htm#Privas

-- all of these entries are most easily reached as a single groupe ardèchoise via the initial list of "New" entries shown currently at,

http://www.fyifrance.com/fyi1plib.htm

-- and, later on, hopefully by the end of this month in fact, via a search in the New & Improved FYI France Search Engine, on either "Departement Ardeche" or "Département Ardèche"...

--oOo--

A Multilingualism Note:

Search has been ASCII-only for a long time, here on FYI France: partly as protest, ever since a certain Michael Hart & I, a long time ago, first discussed the politics of inserting little diacritical marks -- "comme c,a" -- as a salute to broad-minded US trans-nationalism, also to recognize foreign integrities, also to keep a few ferocious francophiles happy, also to remind US friends that the Nets were not yet multi-lingual much less multi-cultural.

That was back in the days when, in France anyway, an "airbag" had to be a "coussin gonflable de protection", or there would be a jail sentence... loi Toubon... which some of us at the time thought was funny and others among us did not...

Since then, though, Search has improved, the French président has shown up at Le Web, and now there is a new outfit down in Mountain View -- they're also now over on the rue de l'Opéra plus a few other locations worldwide -- which not only does Search pretty well but they do it pretty well multi-ling-ual-ly... In the remaining meantime, then, entschuldigen Sie bitte.


Jack Kessler, kessler@well.com

Tuesday, November 15, 2011

FYI France : Online music research revolutions, in France

FYI France (since 1992) -- http://www.fyifrance.com
File 3: Ejournal & archive, by Jack Kessler, kessler@well.sf.ca.us -- archive copy of an issue of the FYI France ejournal, ISSN 1071-5916, distributed via email on November 15, 2011, and a little later here on http://fyifrance.blogspot.com, and at Facebook on Jack Kessler's Notes.

I am having lots of fun using an iPhone to hear and watch and research Hélène Grimaud's wonderful playing of the piano -- she of the lycanthropic tendencies, yes, the extraordinary artiste who in her free time established and runs a wolf sanctuary, in of-all-places Westchester County -- and I was wondering about the current state of music librarianship and information, digital and other, in France these days.

For example Grimaud, originally of Aix-en-Provence, may be heard and seen and found-out-about everywhere, online now: she has a website, there are websites about her, there are publishers' websites, and fan-sites and performance-sites, and Facebook pages, Wikipedia articles in various languages, and plenty of interesting and sometimes very elegant performances available for enjoyable hearing and viewing via YouTube.

The "formation", though, was in France -- her initial "education" was there -- herewith, then, a few of the finest library sites for classical and other music which happen to be located within the Hexagone: only four, here, there are many hundreds -- thousands, if the "disco" and "sonore" and music book collections scattered across France, in bibliothèques and médiathèques and other collections, all get included -- some collections enormous and some tiny, but all vitally-important to any local beginner -- France treasures its music documentation...


* Paris, Institut de Recherche et Coordination Acoustique et Musique / IRCAM, Médiathèque / Les Ressources, Centre Pompidou

    W3: http://ressources.ircam.fr/ (IRCAM, les ressources)
    W3: http://ressources.ircam.fr/?L=1 (in English)
    W3: (catalogue) http://ressources.ircam.fr/catalogue.html?
    W3: (catalogue) http://ressources.ircam.fr/catalogue.html?&L=1 (in English)
    W3: http://www.ircam.fr/ (IRCAM, l'IRCAM)
    W3: http://www.ircam.fr/?L=1 (in English)
    Minitel: (0)1.42.77.19.16
    GeoRef: 48|51|34.62|N,02|21|04.46|E
    Address: Centre Georges-Pompidou, 1 place Igor-Stravinsky, 75004 Paris
    t. (0)1.44.78.48.53

    "The IRCAM multimedia library is a resource center for contemporary music, science, and music and sound technologies. Boasting 35,000 documents, its collection grows in rhythm with the institute.s artistic season and research activities.

    "Created in 1996, the multimedia library is intended for a specialized population of students, instructors, researchers, scientists, musicians, professionals working in the domain of music, but also welcomes music lovers and those curious to learn more about artistic creation and sciences.

    "Books, scores, periodicals, theses, sound recordings, films, and program notes can either be consulted in situ in the reading room or borrowed (how to borrow materials). Our databases provide numerous musical and scientific resources online.

    "-- Our collection houses approximately 13,000 books on music from 1945 to the present (theory, aesthetics, composers, instrumental techniques), science and technology for music and sound (sound signal processing, instrumental acoustics, room acoustics, computer music technology, psychoacoustics). The ensemble is contextualized with the presence of works on history, philosophy, linguistics, and sociology.

    "-- Over 50 subscriptions to periodicals that cover the domains of musical creation, computer music, acoustics, perception, and technologies for sound.

    "-- Over 400 dissertations and theses in musicology and acoustics, signal processing and computer science applied to music.

    "-- Nearly 9,000 scores, essentially works from the 20th and 21st centuries, particularly works from the repertoire performed at IRCAM. Approximately 1,000 volumes of critiques from the Baroque to the modern period are also available.

    "-- Approximately 1,300 recordings dedicated to the music of the 20th century and today and 200 films (portraits of composers, documentaries, recordings of performances).

    "-- Databases accessible online from terminals in the reading room: the Grove (a dictionary of music and musicians), the RILM (International Repertory to Music Literature, from 1967 to present), the IIPA (International Index to Performing Arts), and the IIMP (International Index to Music Periodicals).

    "-- An information database on contemporary composers: Brahms. This database was entirely redone in 2007 and has been progressively brought up to date. It offers numerous biographies and catalogs of works (with detailed notices and program notes). Aesthetic texts written by musicologists relating the lives of the great figures of the music world from 1945 on. Detailed research modules on works and composers make very advanced searches possible. Users can search by orchestra size or musical genre, for example.

    "The IRCAM Archives

    "The multimedia library collects and conservers the sound and/or visual traces of events organized by IRCAM since its creation in 1977. The archives include over 1,200 concerts, other events (conferences, workshops, debates), and 800 program notes representing the institute's memory. This collection (the Archiprod database) is constantly added to with each new event. The complete sound archives are available only in the reading room at the multimedia library for copyright reasons. Three-minute long excerpts can be heard online. Program notes can be consulted in their entirety online.

    "Recently, IRCAM has developed an audiovisual activity based on the elaboration of works created at IRCAM (the series Images of a Work) or on the research carried out in the institute (notably the IRCAM Snapshots series). These films can be seen on the Resources portal and on Dailymotion.

    "Work by the IRCAM researchers (articles, reports, dissertations, contributions to a colloquium, etc.) are referenced in the Architexte database. This database functions according to the principle of open archives; the goal of which is to encourage the free dissemination of scientific publications.

    "Contemporary Music Portal

    "In 2007, IRCAM and other organizations with large collections in the domain of contemporary music came together to create a gateway. This gateway provides a common interface enabling users to peruse a number of catalogues and database, facilitating the localization of resources.

    "The founding partners of this project are the IRCAM multimedia library, the Cdmc, the Médiathèque Musicale Mahler, the Conservatoire national supérieur de musique et de danse de Paris, the Cité de la Musique, and the Ensemble intercontemporain. Twenty other institutions have joined the gateway since its inception."

    [http://ressources.ircam.fr/collection.html?L=1]

    Some history and description of the IRCAM: [verbatim from the website, see link below] --

    "IRCAM, the Institute for Research and Coordination Acoustic/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. IRCAM is a unique location where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006. IRCAM's three principal activities - creation, research, transmission - are manifest in IRCAM's Parisian concert season, in the institute's annual festival, and in productions throughout France and abroad.

    "IRCAM is a major center of musical creation as well as being a production location and a unique residence for international composers. The institute's season is full of unique encounters with composers and artists from the contemporary stage and it supports contemporary composition with a commission policy. Numerous artist-in-residence programs result in the creation of multi-disciplinary projects (music, dance, video, theater and film). Finally, the institute's annual festival, AGORA, makes contemporary music creation available to the public.

    "In the realm of music and sound, IRCAM is on the cutting edge of scientific and technological innovations. Research, carried out in partnership with several universities and international companies, covers a broad spectrum of scientific disciplines including acoustics, signal processing, computer science (languages, real-time, databases, man-machine interfaces) musicology, and musical cognition. IRCAM's scientific findings are often applied to other artistic domains (multimedia, fine arts, or live performances) as well as to diverse fields in the industrial world such as cultural industries, telecommunications, computer science, and transportation and automotive.

    "IRCAM is also a center for computer-music education. The institute is a reference point for professional training thanks to its Cursus program and workshops carried out in collaboration with researchers and composers from different countries. IRCAM's educational activities also include the general public and the institute has developed interactive teaching software programs in collaboration with the French Ministry of Education and music conservatories. IRCAM also offers a university-level program in collaboration with the University Paris VI. This master's program, ATIAM, concentrates on signal processing and information technology applied to music.

    "Since 2006, the institute's artistic policy has become the guiding principle for the institute. A series of reforms has invigorated artistic creation and technology as well as their transmission to the public. The concert season has been reformed with numerous co-producers and with new aesthetics. The Performing Arts Technology team has been reformed by moving it from a laboratory to musical and performance stages. The Cursus Program has been reformed by extending it to a two-year program and by working with new partners. The documentation of musical works has been reformed so that the transmission and continuity are assured. The 'Compagnie IRCAM', a company that brings the IRCAM repertoire to stages in France and abroad has been created. Cultural outreach and an journal of the artistic creation carried out at the institute as well as other means of communication with the general public have also been put in place. These changes place IRCAM at the heart of a shared space.

    "Founded by Pierre Boulez, IRCAM is an institute under the aegis of the Centre Pompidou and the French Ministry of Culture. Since 1995, IRCAM and the CNRS have come together to form the mixed research laboratory (Sciences et technologies de la musique et du son - UMR 9912)."

    [http://www.ircam.fr/ircam.html?&L=1]


* Paris, Conservatoire national supérieur musique et danse de Paris, Médiathèque Hector Berlioz



* Conservatoire de Lyon

    W3: (médiathèque) http://www.conservatoire-lyon.fr/mediatheque.html
    W3: (catalogue) http://media.conservatoire-lyon.fr/opacwebaloes/index.aspx?IdPage=51
    W3: (conservatoire) http://www.conservatoire-lyon.fr/
    Address: 4 montée Cardinal Decourtray, 69005 Lyon
    t. (0)4.78.25.91.39
    Email: mediatheque@conservatoire-lyon.fr

    "The Library is open to all!

    "The Conservatoire de Lyon has a library of great wealth. It plays an important role in the curriculum of the students and is an essential educational tool for teachers. It is also an invaluable resource for musicians in general, amateurs and professionals, as well as researchers in musicology.

    "60% of the collections are made up of donations from musicians and patrons from Lyon (Ennemond Trillat -1890-1980-, Léon Vallas -1879-1956-, Henry de Chaponay, Ninon Vallin -1886-1961-, Henri Dumoulin, etc.) and are distributed in four main areas, library, disk library and the reserves.

    "In total, 73,000 items are available on loan or for on-site consultation.

    "The Library provides loan and consultation services. It proposes 45 000 music scores, 6 000 books and music encyclopaedias, and 2 000 periodicals. Nearly 15 000 music scores are available on loan. The library also has a treasured collection of instrumental and vocal scores of the nineteenth and early twentieth centuries.

    "Borrowing is free for students and teachers of the Conservatoire.

    "The Disk Library provides a listening and reading room in which 10,300 CDs, 1,500 LPs, 50 DVDs and 500 books are made available.

    "This section has recently been enriched by several gifts and legacies of classical music and jazz music, the music critic Ferruccio Nuzzo, Lyon researcher and jazz record collector Yves-Alain Aimé Fournier (1945-2006), Roger Accart (1920-2007) founder and patron of "Musique du temps" and Anne-Marie Lamy, former professor of piano at the Conservatoire."

    [http://www.conservatoire-lyon.fr/mediatheque.html?lang=en]

    Some history and description of the conservatoire: [verbatim from the website, see link below] --

    "The Conservatoire de Lyon was founded in 1872 under the driving force of Mr. Mangin, the then orchestral conductor of the Grand Théâtre de Lyon.

    "Today classed as a Regional Conservatory, the Conservatoire de Lyon provides vocal, instrumental, dance and theatrical teaching to some 2,900 students and offers over 40 artistic disciplines. Two types of schooling are possible: a traditional program in addition to regular school hours or integrated in class timetables.

    "Relying on a teaching staff of 190, the Conservatoire aims to give everyone the artistic means and techniques to best achieve ones personal goals, whether that be, to master ones performance at an amateur level or to prepare a professional career. With a policy of decentralization in place for many years, it caters for a large number of children in the City of Lyon and its hinterland: each year 15 000 Lyon schoolchildren profit from an artistic initiation proposed by professors of the Conservatoire who intervene in their establishments.

    "Present in 7 arrondisements (adminstrative sections of the city), the Conservatoire promotes a policy of decentralization and proximity to the various sections of the city through, cultural centres, social centres, town halls, schools.

    "It is further intended to cater for young people who, having completed their course in a local school, wish to further their artistic studies.

    "An essential element of its teaching practice, in accordance with the guidelines laid down by the Ministry of Culture, is to train amateur dancers, musicians, and singers refining their talents. The Conservatoire therefore encourages a broad approach to the arts and gives great prominence to group projects. Many presentations contribute to these actions, thanks in part to a rich partnership with other cultural centres in the town, and with other comparable institutions in France and abroad."

    [http://www.conservatoire-lyon.fr/conservatoire.html?lang=en]



* Lyon, Conservatoire national supérieur musique et danse de Lyon, Médiathèque Nadia Boulanger

    W3: (médiathèque) http://www.cnsmd-lyon.fr/e.php?lsd=7&tc=5
    W3: (conservatoire) http://www.cnsmd-lyon.fr/
    Address: 3 quai Chauveau, 69266 Lyon
    Postal Address: C.P. 120, F-69266, Lyon cedex 09
    t. (0)4.72.19.26.26, fx. (0)4.72.19.26.00

    Some description of the médiathèque: [tr. JK]

    "The Médiathèque Nadia Boulanger of the Conservatoire national supérieur musique et danse de Lyon occupies beautiful space in what formerly was the library of the Ecole vétérinaire.

    "Established in 1980, the médiathèque at its origin held only the documents of the Nadia Boulanger Collection. Over only a quarter-century the collections have grown considerably: the médiathèque today manages nearly 80,000 documents using an online catalog accessible on the premises or at a distance via the Internet.

    "The Médiathèque Nadia Boulanger is a resource center both for the needs of music teaching and for the needs of research, it welcomes students, professors, musicologists, and researchers.

    "Some statistics --

    "Entire Collection:

    88,669 copies
    56,223 unique entries

    "of which, by number of copies :

    42,442 scores
    13,178 books
    9,225 sound documents
    370 videos
    digital resources (Internet sites and CD-ROMs)

    "Available for lending: 45,447 copies

    29,946 scores
    6,822 books about music
    1,584 books about dance, painting, sculpture, etc.
    4,919 compact-disks
    269 Internet sites internet searchable by keywords of the title, author, or subject

    "Available for reading on the premises: over 26,000 documents

    "with a capacity of 32 places, the reading room provides access to three major sections:

    the fonds Nadia Boulanger
    the éditions monumentales
    the reference works

    "Commercial databases -- Grove music online, RISM, RILM, RIPM, JSTOR... -- are available for consultation on the premises.

    "Periodicals Room: 189 titles

    130 music periodicals currently-subscribed, for consultation on the premises.
    59 music periodicals collections, no longer published, also are preserved.

    [http://www.cnsmd-lyon.fr/e.php?lsd=7&tc=5&lang=]

    Some history and description of the conservatoire: [tr. JK]

    "The Conservatoire national supérieur musique et danse de Lyon was established in 1980.

    "Administered by the Ministère de la Culture et de la Communication, the CNSMD de Lyon is an 'établissement public à caractère administratif'. It is managed by a conseil d'administration, the president of which is named by the Ministère. The establishment is the responsibility of the directeur du conservatoire assisted by a directeur-adjoint à compétence administrative, a directeur des études musicales, a directeur des études chorégraphiques and a conseil d'orientation pédagogique.

    "The teaching staff consists of 180 professors, assistants, and accompagnateurs. The administrative and technical staff is composed of 65 persons. Current students include 500 musicians and 80 dancers. Foreign students are 15% of the current total.

    "A public season of nearly 300 performances is an integral part of the teaching program, and allows the school to enrich the talent and the work of its students, professors and invited artists. The partners of the Conservatoire provide the students with professional opportunities. The CNSMD de Lyon is a member of a network of over 40 establishments of higher learning participating in the Socrates / Erasmus system of exchanges, and it also is expanding its projects with institutions outside of Europe. It benefits, for these projects and those of its students, from the contributions of SACEM, ADAMI, SPEDIDAM and the Mécénat Musical Société Générale."

    [http://www.cnsmd-lyon.fr/e.php?lsd=3x12&tc=5&lang=]



So, a great deal is going on in France, digitally and otherwise, regarding music: I am particularly interested, for example, in IRCAM's "Contemporary Music Portal -- In 2007, IRCAM and other organizations with large collections in the domain of contemporary music came together to create a gateway..." --


    * Contemporary Music Portal

    "The contemporary music portal is a search engine for art music resources from 1945 to this day held by French institutions. 209390 biographies, books, music scores, sound recordings, videos. available in 32 databases..."

    [http://www.musiquecontemporaine.fr/]


-- modern music and music research being, like modern engineering and mathematics and medical care and corporate management and seemingly everything else, a cooperative venture, "team"-and-"teamwork"-oriented... This to me is a strange thing, so much so that someone like me raised in an era of Individual Effort -- Horowitz striding out solo upon the stage, all eyes and ears on only him -- feels lost, sometimes, in this era in which everything apparently gets "Shared", or "Liked" or "Friended" or "Linked by Popularity" and so on. So as music becomes a teamwork thing too, perhaps, I will be very interested if still sceptical to learn about its "gateways" and "coming togethers".

But I was thinking initially, here, of a specific performer: my point being that Grimaud the artiste is online -- and to me the question this suggests is whether music institutions such as the above are online too, or are so sufficiently, yet. As with any activity, nowadays, commercial or governmental or any other, if the practitioners and patients and citizens and customers are out there now, out in the cloud and on their mobiles and wherever, how quick to follow will be institutions which train and promote and cater to them, or how slow? And how quick or how slow ought they to be?

Grimaud's initial education took place in France, as I said. Her education since, however, and certainly her practice now of her "profession", and her current "means of distribution", have been and are emphatically global, as she and so many performers have become expert in their use of digital media for music, for performance & production & distribution, discussion, education, research, so many other purposes.

These last are a function, too, of both performer and recorder, as observers since at least Barthes have pointed out: Grimaud has mastered the art of digital media interviews, it seems -- that direct wolf-like gaze into the camera, the sheer intensity of the communication and playing and recording and verbal explanation -- her fans too, though, unlike Lady Gaga's so far although hers as well, are adept at video & audio & editing, a great deal of fascinating presentation and discussion of Grimaud's art online is authored now not by her but by her listeners.

The YouTube result, to give just one example, is a wonderful chance to tour through the entire and ongoing life of this impressive artist: one may find there now full Grimaud performances of the Rach2 and other "greats", with good quality sound if you use the earbuds, backed up with online music scores nearly-instantly available via Wikipedia -- try External Links at the bottom of the articles there, several online places now mount massive varieties of classical music scores online -- also images and maps and texts related to Mozart and Bach and Cöthen and wolves and ashtanga yoga -- all of great help to anyone trying to follow the flying fingers of a Grimaud, or a Horowitz, or a Hilary Hahn.

Classical music perhaps is less for the initiated, today, as is so often said. Perhaps as well, though, as in so many areas, digital access and technique are creating a new generation of initiates now. Just as the salon gave way to the concert hall and the "general admission ticket", so now an artist such as Grimaud may have a performance life online, one similar in some ways to that which preceded it but one also very different.


--oOo--


Note:

For those of us with a great love of music, and an interest in libraries and digital information -- all those databases, all those indexes, and lists, and classifications!... mouth-watering... -- also with any tendency at all to be obsessive-compulsive, here is a weekend project:

If you ever have wanted to put all your Bach into-order by BWV number, to compare or simply enjoy the differences among versions of the same piece on a new recording by Grimaud, a treasured Horowitz, Hahn's amazing fiddle, Dogsounds' Moog... while you are in France, or on Kamchatka, or off the coast of Fukushima taking radiation-readings, or up in Rocinha fleeing bulldozers, or out in Kashgar building railroads, wherever you happen to be... and when-ever, too, as in The Matrix time-zones and national holidays present no barriers...

On iTunes you can make a playlist for each Bnumber and Knumber and so on, sorted automatically by the system, viz.,

B988 Jaccottet
B988 YoYoMa
B1006 Grimaud
B1006 Hahn
B1007 Casals
B1007 YoYoMa
K488 Curzon/LSO
K488 Grimaud
K488 Horowitz

-- then sync that to a music-enabled mobile -- iPhones, and et alia if & when iTunes will do that -- and then compare-&-contrast away!

Obtaining the music itself nowadays is no problem either, if your Kashgar wi-fi connection is good: just download from iTunes, the way everybody else does worldwide now. And the Kashgar local-income-relative prices for all of this, for the music & wifi & iPhone, will be dropping spectacularly, don't worry, from various global factors including Greek bond rates & euro parities & rmb revaluations.


Jack Kessler, kessler@well.com