University Presses & Libraries Turn to Pinterest to Promote Books

in Books, Web/Tech | October 8th, 2012

I’ll admit it: I’m not a big Pin­ter­est user. Until very recent­ly I thought the social net­work­ing site was a bit twee—too much about cute clothes and crafts, not enough about ideas.

Turns out the web’s 15th largest site has a lot more to offer.

Open Cul­ture has its own embry­on­ic Pin­ter­est page. But, more impor­tant­ly, uni­ver­si­ty press­es are mak­ing wide­spread use of Pin­ter­est to pro­mote new book titles. Like­wise, aca­d­e­m­ic libraries are using their Pin­ter­est pages to pro­mote events and help fund major cap­i­tal improve­ments. For libraries and archives, a major ongo­ing mis­sion is to keep the col­lec­tions vis­i­ble. It’s not easy to let the world know about your one-of-a-kind hold­ings, and Pin­ter­est poten­tial­ly offers a great way to bring these mate­ri­als to new and  younger audi­ences.

Big retail­ers haven’t fig­ured out how to make real mon­ey off of Pin­ter­est yet, though one the­o­ry holds that the site’s high­ly visu­al nature puts peo­ple in the mood to click and buy. True or not, uni­ver­si­ty press­es and libraries need all the help they can get to gin up sales, so they’re wad­ing into the Pin­ter­est waters and see­ing what hap­pens.

Alice Northover has cre­at­ed a Tum­blr that cat­a­logues a few of the best uni­ver­si­ty press­es that have Pin­ter­est pages. The list is a handy map of trea­sures to be found online.

There are the usu­al, and com­plete­ly worth check­ing out, sus­pects: Of course, Har­vard Uni­ver­si­ty Press has a page that fea­tures, among oth­er things, inter­views with Har­vard Press authors. Watch math­e­mati­cian Paul Lock­hart, author of Mea­sure­ment, trip out on par­al­lel­o­grams.

The Uni­ver­si­ty of Mis­sis­sip­pi has a robust pres­ence that fea­tures an exten­sive col­lec­tion of Faulkn­er crit­i­cism and appre­ci­a­tion.

Syra­cuse Uni­ver­si­ty’s page links to its audio archive, which includes a fun, episod­ic pro­gram called “Wait? They Banned What?”. You might be sur­prised to find out that Bing Cros­by song was banned dur­ing World War II for being too catchy.

One of the best may be one of the most unsung, how­ev­er. New Zealand’s Vic­to­ria Uni­ver­si­ty of Welling­ton’s library hous­es a major col­lec­tion of Samoan his­tor­i­cal objects. Check out the library’s repos­i­to­ry of amaz­ing South Pacif­ic his­to­ry.

These sites offer very few dec­o­rat­ing tips for your Air Stream trail­er, and I found no links to loca­vore jam-mak­ing busi­ness­es, but Alice, whomev­er she may be, has cre­at­ed a great cura­to­r­i­al tool for explor­ing a new trend in book pro­mo­tion.

But wait. Cam­bridge Uni­ver­si­ty Press has a pin on its page called “Lib­ri­an­ista” that links to short-hem­line clothes mod­eled by bespec­ta­cled cuties. I guess even the world’s old­est pub­lish­er gets to have a lit­tle fun.

Thanks to Kirstin But­ler for send­ing Alice’s Tum­blr our way.

Kate Rix is an Oak­land-based free­lance writer. See more of her work at .

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Steve Martin, “Home Crafts Expert,” Explains the Art of Paper Wadding, Endorses Bob Kerrey

in Comedy, Current Affairs, Politics | October 8th, 2012

Fed up with polit­i­cal ads? Had enough? Nev­er want to see anoth­er one as long as you live? Con­sid­er watch­ing just one more. Because this one is fun. No, real­ly! Steve Mar­tin, who made prop com­e­dy respectable, endors­es his friend Bob Ker­rey for Nebras­ka Sen­a­tor by pos­ing as a “Home Crafts Expert.” This is the most unob­tru­sive, watch­able piece of polit­i­cal adver­tis­ing I’ve seen, one that trades on what every­one knows to be true—political ads are annoy­ing and dull and politi­cians are not often the most like­able peo­ple. Martin’s ad avoids these pit­falls, and it also makes a very sub­tle point, per­haps with­out even intend­ing to: pol­i­tics is the busi­ness of the every­day (or should be any­way), as essen­tial to us as the com­mon house­hold items we rely on all the time but take for grant­ed.

Now it’s true, of course, not every can­di­date has, or needs, celebri­ty friends. But no mat­ter your pol­i­tics, Martin’s endorse­ment of Ker­rey works as an exam­ple of how polit­i­cal adver­tis­ing could be done dif­fer­ent­ly.

After you’ve watched the ad, you might want to wan­der over to NPR and lis­ten to Mar­tin dis­cuss his 18 years as a stand-up com­ic and his move into act­ing and writ­ing, expe­ri­ences he details in his mem­oir, Born Stand­ing Up.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

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Miranda July Teaches You How to Avoid Procrastination

in Film, Life, Psychology | October 8th, 2012

I’ve always thought of writer, actor and film­mak­er Miran­da July as some­one who cre­ates her own oppor­tu­ni­ties. Long before her sto­ries in The New York­er, and before Me and You and Every­one We Know, the award-win­ning first fea­ture that cement­ed her indie dar­ling sta­tus, she was cir­cu­lat­ing video chain let­ters fea­tur­ing her own work and that of oth­er young, female film­mak­ers. She record­ed LPs and toured orig­i­nal per­for­mance art pieces.

What a relief to find out she’s a pro­cras­ti­na­tor, too.

July insists that her chat­ter­ing mon­key mind near­ly deprived her of the con­cen­tra­tion nec­es­sary to fin­ish writ­ing The Future, her sec­ond full-length film. One of its most com­pelling parts actu­al­ly wound up on the cut­ting room floor. In it (above), we see Sophie, the under-employed would-be dancer played by July, com­ing to grips with her own self-sab­o­tag­ing ten­den­cy toward pro­cras­ti­na­tion.

Of course, the rea­son we’re able to see it at all is that July, whose indus­tri­ous­ness sure­ly has earned her the right to spend a decade or so doing noth­ing but watch­ing YouTube and Googling her own name, repur­posed it as a short, instruc­tion­al film (A Handy Tip for the Eas­i­ly Dis­tract­ed), which offers an anti­dote for those of us who share her afflic­tion.

(Admit it. You’re pro­cras­ti­nat­ing now, aren’t you?)

In addi­tion to the sound­ness of her advice, her method­ol­o­gy is endear­ing­ly low-tech. As one who’s been known to attribute a lack of cre­ative out­put to a less than ide­al work­space, I found the clut­tered, shab­by apart­ment set both famil­iar and gal­va­niz­ing. If we’re going to make excus­es, we may as well own them. July takes yet anoth­er step by har­ness­ing them and forc­ing them to work for her.

Relat­ed Con­tent:

Life-Affirm­ing Talks by Cul­tur­al Mav­er­icks (Includ­ing Miran­da July) Pre­sent­ed at The School of Life

Ayun Hal­l­i­day is the author of any num­ber of books includ­ing The Zinester’s Guide to NYC and No Touch Mon­key! And Oth­er Trav­el Lessons Learned Too Late.

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Amazon Finally Gets the Kindle Right with the Paperwhite, Delivering on Price and Technology

in Amazon Kindle, e-books, Technology | October 7th, 2012

It took five years and five mod­els, but Ama­zon has final­ly released a new gen­er­a­tion of the Kin­dle — the Kin­dle Paper­white — that deliv­ers the goods. The prob­lem with the pre­vi­ous mod­els boiled down to this. The screens were fair­ly mud­dy. The con­trast, poor. The words did­n’t pop off of the page. If you ever tried read­ing a Kin­dle indoors, espe­cial­ly in low­er light con­di­tions, you know what I mean.

With the Kin­dle Paper­white, Ama­zon has made a pret­ty big leap ahead. They’ve made improve­ments to the font con­trast and screen res­o­lu­tion, which def­i­nite­ly enhance the read­ing expe­ri­ence. They’ve also added a touch­screen to the e‑ink mod­el. But the big stride for­ward is the built-in light that illu­mi­nates the screen. The screen is sidelit, not back­lit (à la the iPad). The point of the light isn’t to make the screen glow like a com­put­er screen. It’s to make the screen stay white, like the page of a book, under vary­ing light con­di­tions. If you move from brighter to dim­mer light­ing con­di­tions, you nudge up the bright­ness so that the page con­tin­ues to look white. And then you stop there.

It all works quite well, until you start read­ing with the Paper­white in pret­ty dim light con­di­tions. Then you’ll need to dial up the light until the screen actu­al­ly glows, and that’s when you’ll start to see some imper­fec­tions in the design. As David Pogue men­tioned in his New York Times review, the Paper­white has some hotspots (areas of uneven light­ing) along the bot­tom of the screen, which detract minor­ly from the read­ing expe­ri­ence.

The last thing Ama­zon got right is the price. The entry mod­el starts at $119, which means that Ama­zon is basi­cal­ly sell­ing the e‑reader at cost, and then mak­ing mon­ey on book sales. But that does­n’t mean that you need to spend very much. You can always down­load texts from our col­lec­tion of 375 Free eBooks. Or, if you’re an Ama­zon Prime Mem­ber, you can bor­row up to 180,000 books for free.

For a com­plete tour of the new Kin­dle, watch this 20 minute video.

Relat­ed Con­tent:

Down­load 450 Free Audio Books

Read 160 Free Text­books Online

Down­load a Free Audio Book From Audible.com

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What an Astronaut’s Camera Sees (and What a Geographer Learns About Our Planet) from the ISS

in Astronomy, Video - Science | October 6th, 2012

Justin Wilkin­son has a pret­ty cool sound­ing gig. He’s the chief geo­sci­en­tist at NASA, and he learns all about plan­et Earth from space. When astro­nauts head to the Inter­na­tion­al Space Sta­tion (ISS), Wilkin­son asks them to snap pic­tures of var­i­ous geo­graph­i­cal loca­tions. And, from this van­tage point 250 miles above the plan­et’s sur­face, he learns many things — for exam­ple, he tells Slate, “there are a lot more exam­ples of a geo­graph­i­cal phe­nom­e­non called an inland delta or megafan—that is, deltas formed far from coastlines—than was once thought.”

Out of Wilkin­son’s research comes some great pic­tures and videos, and today we’re fea­tur­ing two clips. The first video above shows you what an astro­naut sees at night, giv­ing you an aer­i­al tour of cities and coast­lines in the Amer­i­c­as, the Mid­dle East and Europe. The equal­ly impres­sive video below gives you stel­lar shots (in day­light) of Namib­ia, Tunisia, Mada­gas­car, Sici­ly, Chi­na, Iran, and Utah. You’ll find these videos added to our col­lec­tion of Great Sci­ence Videos. Cours­es on astron­o­my can be found in our col­lec­tion of Free Cours­es Online.  h/t @stevesilberman

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Christopher Lee Narrates a Beautiful Animation of Tim Burton’s Poem, Nightmare Before Christmas

in Animation, Film | October 5th, 2012

Almost nine­teen years ago, the ide­al fall-hol­i­day ani­mat­ed film first opened: The Night­mare Before Christ­mas, direct­ed by stop-motion mas­ter Hen­ry Selick and pro­duced by Tim Bur­ton, pos­ses­sor of one of the best-known imag­i­na­tions of our time. Over a decade before that, in 1982, Bur­ton wrote a poem of the same name, telling essen­tial­ly the same sto­ry as would the film. Work­ing at the time as an ani­ma­tor at Dis­ney, he man­aged to catch his employ­er’s atten­tion by turn­ing these vers­es into con­cept art, sto­ry­boards, and char­ac­ter mod­els for adap­ta­tion into a poten­tial half-hour tele­vi­sion spe­cial fea­tur­ing Vin­cent Price. But the world, much less Dis­ney, did­n’t yet seem ready for the Bur­ton­ian sen­si­bil­i­ty, much less the par­tic­u­lar note of jol­ly grim­ness struck by The Night­mare Before Christ­mas. Years would pass, both in terms of get­ting the project into the right hands and in terms of the painstak­ing pro­duc­tion itself, before we could enjoy Jack Skelling­ton’s acci­den­tal jour­ney into Christ­mas Town and his well-mean­ing but ill-fat­ed attempt to take that hol­i­day for him­self.

But when we got to enjoy it, boy, did we ever enjoy it: in its near­ly two decades of exis­tence, The Night­mare Christ­mas has, with its dis­tinc­tive intri­cate dark-yet-light aes­thet­ics, askew humor, and sur­pris­ing intel­li­gence, spawned a vast inter­na­tion­al sub­cul­ture of enthu­si­asts. But you can still expe­ri­ence the core of every­thing the film is, and every­thing it has become in the zeit­geist, in Bur­ton’s orig­i­nal poem. So why not also see it ani­mat­ed and read aloud by Christo­pher Lee, as you can in the video above? “It was late one fall in Hal­loween Land, and the air had quite a chill,” the hor­ror vet­er­an intones. “Against the moon a skele­ton sat, alone upon a hill.” Night­mare Before Christ­mas fans know where this is going, but they’ll still want to hear the rest; though clear­ly the direct source of so much in their beloved movie, the poem looks on Skelling­ton and his mis­ad­ven­tures from a few angles they would­n’t quite expect.

Relat­ed con­tent:

Six Ear­ly Short Films By Tim Bur­ton

Tim Bur­ton: A Look Inside His Visu­al Imag­i­na­tion

Tim Burton’s The World of Stain­boy: Watch the Com­plete Ani­mat­ed Series

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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Albert Camus Talks About Nihilism & Adapting Dostoyevsky’s The Possessed for the Theatre, 1959

in Books, Literature, Theatre | October 5th, 2012

If there is no God, said Fyo­dor Dos­toyevsky, life is mean­ing­less. And with­out mean­ing, men and women will “go stark, rav­ing mad.” For the deeply skep­ti­cal and agnos­tic Albert Camus, Dos­toyevsky’s books were a rev­e­la­tion. While he could­n’t agree with the Russ­ian nov­el­ist’s pre­scrip­tion of faith in an unseen deity, Camus felt Dos­toyevsky had con­vinc­ing­ly described the tragedy of man’s exis­tence in an indif­fer­ent uni­verse.

Camus first read Dos­toyevsky when he was 20 years old, and lat­er called it a “soul-shak­ing expe­ri­ence.” He was moved by the moral weight of Dos­toyevsky’s words. When the hor­rors of Stal­in’s purges came to light, Camus refused to look away. As he lat­er said, “The real 19th cen­tu­ry prophet was Dos­toyevsky, not Karl Marx.”

One of Dos­toyevsky’s works that affect­ed Camus the most was the apoc­a­lyp­tic 1872 nov­el The Pos­sessed, which in recent years has been trans­lat­ed as Demons or The Dev­ils. It’s a com­plex sto­ry of a con­flict­ed Russ­ian soci­ety as it descends into anar­chy and chaos with the spread of nihilism. The themes explored in The Pos­sessed were so absorb­ing to Camus that in 1959 he pub­lished a three-act stage adap­ta­tion, Les Pos­sédés. The play pre­miered on Jan­u­ary 28, 1959 at the Théâtre Antoine in Paris, and on that day he gave an inter­est­ing inter­view with Pierre Dumayet for French tele­vi­sion, which you can watch in the video above. In the pro­gram hand­ed out at the the­ater that night, Camus described the nov­el­’s impor­tance: “Les Pos­sédés is one of the four or five works that I rank above all oth­ers. In more ways than one, I can say that it has enriched and shaped me.”

You can down­load a copy of The Pos­sessed and oth­er works by Dos­to­evsky from our col­lec­tion of 375 Free eBooks. Major works by the great Russ­ian author can also be found in our Free Audio Books col­lec­tion.

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How Indie Video Game Makers Are Changing the Game

in Art, Technology, Video Games | October 5th, 2012

In a fol­low-up to its fea­ture on Glitch Art, which we wrote up in August, PBS’s Off Book series has released this short video pro­mot­ing indie video games. The video packs a lot of infor­ma­tion into a very short time frame, so it’s worth watch­ing twice. Over­all, the take­away here is that indie game design­ers can do inno­v­a­tive, quirky things the big guys–the so-called AAA games–can’t, since the indies can fund their own projects through enti­ties like Kick­starter and Indiegogo. It’s a per­sua­sive mes­sage giv­en the amaz­ing vari­ety of sound and vision on dis­play; in sev­en and a half min­utes, we get a glimpse of over two dozen indie games rang­ing from throw­backs to clas­sic 8‑bit ani­ma­tion to gor­geous, painter­ly envi­ron­ments and land­scapes.

The Off Book video breaks its sub­ject into four basic cat­e­gories, each one cov­ered by dif­fer­ent gam­ing jour­nal­ists or game cre­ators: Mechan­ics, Sound, Visu­als, and Sto­ry­telling. The last cat­e­go­ry is par­tic­u­lar­ly impor­tant since it real­ly is an emo­tion­al engage­ment with a game’s char­ac­ters and plot­lines that push­es peo­ple through the game. At least I can say that’s always been the case for me. My fond­est mem­o­ries of the games I sat up all night with are those that pulled me into a world through, yes, fan­cy graph­ics and com­plex moves, but even more so through nar­ra­tive: from the sim­ple, repet­i­tive tales of the Mega Man series to the glo­be­trot­ting intrigues of Tomb Raider. For some­one who remem­bers the first incar­na­tions of both of those games, it’s excit­ing to see indie game design­ers draw­ing on nostalgia—in graph­ic pre­sen­ta­tion and in the small craft stu­dio pro­duc­tion teams—while also inte­grat­ing con­tem­po­rary sounds and ideas. Like many of their con­tem­po­raries in var­i­ous indie music nich­es, indie game design­ers are push­ing the medi­um for­ward by scal­ing back to basics and by draw­ing on the trea­sures of their past.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

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