Amazon Kindle
- Thread starter Ambrose
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Kindling moments.
Σχετικό:
Ο Jonah Lehrer εκφράζει σκεπτικισμό για τη δυσκολία εντοπισμού λαθών σε ηλ. οθόνη (αυτό θα μου πείτε είναι γνωστό):
"Ι sometimes wonder why I’m only able to edit my own writing after it has been printed out, in 3-D form. My prose will always look so flawless on the screen, but then I read the same words on the physical page and I suddenly see all my clichés and banalities and excesses. Why is this the case? Why do I only notice my mistakes after they’re printed on dead trees? I think the same ventral/dorsal explanation applies. I’m so used to seeing my words on the screen – after all, I wrote them on the screen – that seeing them in a slightly different form provides enough tension to awake my dorsal stream, restoring a touch of awareness to the process of reading. And that’s when I get out my red pen." http://www.wired.com/wiredscience/2010/09/the-future-of-reading-2/
Ο Jonah Lehrer εκφράζει σκεπτικισμό για τη δυσκολία εντοπισμού λαθών σε ηλ. οθόνη (αυτό θα μου πείτε είναι γνωστό):
"Ι sometimes wonder why I’m only able to edit my own writing after it has been printed out, in 3-D form. My prose will always look so flawless on the screen, but then I read the same words on the physical page and I suddenly see all my clichés and banalities and excesses. Why is this the case? Why do I only notice my mistakes after they’re printed on dead trees? I think the same ventral/dorsal explanation applies. I’m so used to seeing my words on the screen – after all, I wrote them on the screen – that seeing them in a slightly different form provides enough tension to awake my dorsal stream, restoring a touch of awareness to the process of reading. And that’s when I get out my red pen." http://www.wired.com/wiredscience/2010/09/the-future-of-reading-2/
ΛΟΛ! Μα αυτό το φαινόμενο δεν είναι καινούργιο. Η εκτυφλωτική εξοικείωση με την εικόνα των λέξεων είναι κάτι το απόλυτα γνωστό σε ορισμένους παλιούς εξ ημών (γκουχ, γκουχ) που είχαν τις πρώτες τους επαφές με τυπωμένα κείμενα ξεκινώντας από γραφομηχανές, στοιχειοθέτες, λινοτύπες κλπ. Δεν ήταν τυχαία η συμβουλή που πήρα μικρός από έμπειρο τυπογράφο, να μάθω να διαβάζω τα κείμενα και κρατώντας τη σελίδα ανάποδα. Έτσι, όποτε ένιωθα την κούραση με τη συνακόλουθη αφηρημάδα που οδηγούσε τα μάτια να φτερουγίζουν ανέμελα πάνω από τυπωμένα σωστά και λάθη, αρκούσε το τουμπάρισμα της σελίδας για να επανέλθουν οι αισθήσεις σε ετοιμότητα.
Η αντίστοιχη συμβουλή για την εποχή της 100% ηλεκτρονικής επεξεργασίας είναι να μη γράφετε το κείμενό σας όπως ακριβώς θα τυπωθεί, ώστε να υπάρχουν τουλάχιστον κάποιες διαφορετικές εικόνες. Χρησιμοποιήστε άλλες γραμματοσειρές, χρώματα κ.ά. ανάλογα κόλπα. Βέβαια, αν έχεις δουλέψει ένα κείμενο σε βαθμό αποστήθισης, τίποτε δεν βοηθάει. Εκεί χρειάζονται άλλα μάτια.
Νομίζω ότι έχει σχέση και με το πώς έχεις μάθει. Κι εγώ προτιμώ το τυπωμένο, αλλά έτσι έμαθα...
Υλικό είναι πολύ πιθανό να μην υπάρχει. Αναρωτιέμαι αν υπάρχει αρκετό σε Kindle. Και φυσικά κάνει διαφορά αν η ανιψιά σου είναι 8 ή 14 ετών. Σε όποιον κάνετε δώρο ένα Kindle, να του παίρνετε και προστατευτικό κάλυμμα. Αν δεν υπάρχει υλικό, να μάθει να φτιάχνει. Κάνουμε μαθήματα μετατροπής κειμένων σε βιβλία για Kindle.
(Αν δεν μπορείς να πάρεις ένα καλό Kindle, υπάρχουν και τυπωμένα βιβλία, από ελληνικά βιβλιοπωλεία.)
(Αν δεν μπορείς να πάρεις ένα καλό Kindle, υπάρχουν και τυπωμένα βιβλία, από ελληνικά βιβλιοπωλεία.)
Δες και αυτή τη σημερινή διαφήμιση νέου ηλεκτρονικού βιβλιοπωλείο που ήρθε στο κουτί μου. Στα παιδικά δεν έχει e-book, στα εφηβικά έχει 4-5. Αλλά και από τους ιστότοπους των εκδοτών ή βιβλιοπωλεία θα δεις αν διαθέτουν βιβλία σε ebook. Κοίτα π.χ. κι εδώ.
SBE
¥
Αν δεν μπορείς να πάρεις ένα καλό Κιντλ υπάρχει και το Νουκ και το Κόμπο, έπρεπε να πεις, Νίκελ.
Ευχαριστώ για τις πληροφορίες, βλέπω υπάρχει υλικό και φυσικά το νόημα είναι να έχει το μαραφέτι, μπας και διαβάσει (καλά, ναι...).
Οι τιμές των ηλεκτρονικών βιβλίων στα ελληνικά είναι λίγο τσιμπημένες ή μου φαίνεται;
Των βιβλίων, γενικότερα...
SBE
¥
Ναι, αλλά κοιτάζοντας το τελευταίο του Νταν Μπράουν (που είναι φρέσκο και που θα θέλουν να κερδίσουν). βλέπω τιμή βιβλίου 16,92 και τιμή ηλεκτρονικού βιβλίου 14,99, οικονομία 1,93, ποσοστό 12%
Αντίστοιχα στην γαλλική Αμαζόνα βλέπω:
η ιταλική έκδοση 9,99 ευρώ σε ηλεκτρονική μορφή και το βιβλίο (σκληρό εξώφυλλο) σχεδόν 40
η Γαλλική έκδοση 15,99 και 21,96 με μαλακό εξώφυλλο, 28%
η Καταλανική έκδοση 12,98 και 21,37, 40%
Στις τιμές του Κιντλ υπάρχει διευκρίνιση ότι η τιμή καθορίστηκε από τον εκδότη, δηλαδή δεν είναι τιμή του Άμαζον. Αντιθέτως, στα έντυπα βιβλία η τιμή είναι η τιμή του Άμαζον, όχι η επίσημη (αντίστοιχα στην αγγλική έκδοση η έκπτωση είναι 10%, αλλά το έντυπο βιβλίο είναι ήδη με εκπτωση 55%).
Αντίστοιχα στην γαλλική Αμαζόνα βλέπω:
η ιταλική έκδοση 9,99 ευρώ σε ηλεκτρονική μορφή και το βιβλίο (σκληρό εξώφυλλο) σχεδόν 40
η Γαλλική έκδοση 15,99 και 21,96 με μαλακό εξώφυλλο, 28%
η Καταλανική έκδοση 12,98 και 21,37, 40%
Στις τιμές του Κιντλ υπάρχει διευκρίνιση ότι η τιμή καθορίστηκε από τον εκδότη, δηλαδή δεν είναι τιμή του Άμαζον. Αντιθέτως, στα έντυπα βιβλία η τιμή είναι η τιμή του Άμαζον, όχι η επίσημη (αντίστοιχα στην αγγλική έκδοση η έκπτωση είναι 10%, αλλά το έντυπο βιβλίο είναι ήδη με εκπτωση 55%).
Ωχ, Χριστέ μου, ζημιά:
Kindle MatchBook: Re-Purchase your Library from Amazon for $2.99 or less
In October Amazon launches Kindle MatchBook, an arrangement that lets you purchase the Kindle edition of books you've already bought from them in print for $2.99 or less.
The agreement currently covers about 10,000 books from a variety of publishers, and the prices are valid for any book published from Amazon back to 1995, when the online bookstore opened its virtual doors.
http://www.fastcompany.com/3016707/...hase-your-library-from-amazon-for-299-or-less
Kindle MatchBook: Re-Purchase your Library from Amazon for $2.99 or less
In October Amazon launches Kindle MatchBook, an arrangement that lets you purchase the Kindle edition of books you've already bought from them in print for $2.99 or less.
The agreement currently covers about 10,000 books from a variety of publishers, and the prices are valid for any book published from Amazon back to 1995, when the online bookstore opened its virtual doors.
http://www.fastcompany.com/3016707/...hase-your-library-from-amazon-for-299-or-less
Digital books stagnate in closed, dull systems, while printed books are shareable, lovely and enduring. What comes next?
by Craig Mod
From 2009 to 2013, every book I read, I read on a screen. And then I stopped. You could call my four years of devout screen‑reading an experiment. I felt a duty – not to anyone or anything specifically, but more vaguely to the idea of ‘books’. I wanted to understand how their boundaries were changing and being affected by technology. Committing myself to the screen felt like the best way to do it.
...........
The way we consume media changes over time. The largest changes can be explained, in part, through the lens of value proposition. For example: is the value proposition of reading a printed newspaper, with its physicality, its smell, its serendipity, its utility as a fly-swatter, greater than reading a newspaper’s website, which is immediate, universally accessible, networked, and sharable? Precipitous drops in print subscriptions indicate no. We readers see far greater value in the instant access and quick updates of the web than in the physicality of the printed broadsheet.
Granite, wood, wax, silk, paper, metal type, the Gutenberg press, Manutius’s octavo editions, Penguin paperbacks, desktop publishing software, digital type, on‑demand printing, .epub: the evolutionary path of ‘books’ has been punctuated by technological changes large and small. And so, too, with the Kindle.
The Kindle set the imagination alight. It looked and felt like no ‘computer’ we had ever seen. And because its progenitor was paper – but yet it was digital – there was something magical in holding it. It was The Hitchhiker’s Guide made manifest. (A role that the iPhone would go on to fulfill in totality.) Unlike a desktop – at which we read straight-backed, vertically, some distance away from the text – we could cradle a Kindle. And because it was globally networked and backed by a vast and instantaneously available library, we rarely found it to be limited. That 2007 object held implicit the promise of a universal book container.
.....
Containers matter. They shape stories and the experience of stories. Choose the right binding, cloth, trim size, texture of paper, margins and ink, and you will strengthen the bond between reader and text. Choose badly and the object becomes a wedge between reader and text.
............
The pile of unread books we have on our bedside tables is often referred to as a graveyard of good intentions. The list of unread books on our Kindles is more of a black hole of fleeting intentions.
Ένα από τα σχόλια
Mr. Mod's article seems to miss the point of the whole digital book enterprise. The two books he references in his article, the travel guide and the 'Conference of the Birds', with its 'die-cut pages', are poor comparative models for his subject. The travel book must be more of a talisman for the author than a useful guide; all he describes is the cover, the lettering, how smoothly it fits in his pocket. We have no idea whether this is filled with valuable information for the traveler, or if it's a piece of crap, guidebook-wise. I've purchased a number of Rick Steves books, but never because the cover was sensuous, or that the volume slid lovingly into my pocket. The concept of digital publishing, as I understand it, is to make the greatest amount of literature available to the largest reading audience, and to make such access convenient and affordable.
I've been an avid reader for over sixty years, and almost never have I purchased a book based on its 'feel', or how it would look on a shelf with a matching set of other volumes. I read something if I enjoy or appreciate what the author is saying, or want to understand what the subject matter is. Whether the book is a dog-eared paperback, a hardcover borrowed from the library, or a sumptuous leather-bound first edition, is of no consequence to me whatsoever. Granted there are 'coffee table books', those of photographs of Africa, or works of art, that are much more pleasurable to view on a large page, or specialty books (children's three-dimensional pop-up books come to mind), that are delightful to hold and view, and where I believe 'Conference of the Birds' may alight. But the vast majority of my reading involves getting into the author's story, the theme, what the story is; I rarely concern myself with the kind of paper the book is printed on, or the stitching of the cover, and I was a printer for some time. Only the typeface determines the ease of reading a book for me, and the ability to alter that typeface and size in the digital readers makes it even more appealing than a printed book.
I am one of those individuals that reads more than one book at a time. In ages past, I can remember toting several volumes around. Not any more. My iPad stores what I want and need, and it's always with me. And I seriously doubt that a 'stack' of unread digital books is any more forgotten than a stack of unread printed books- they're just easier to dust around.
The bookstores and libraries where I get printed works never come around to the house to ask me if I've finally read that Hemingway or Grisham I bought last year; why would I expect my iPad to do it?
I buy milk in several different containers- plastic, glass, paper. But it's still milk. I don't believe the "medium is the message".
And if Mr. Mod needs help in setting the 'list' sorting option in Kindle, tell him to call me.
William Rafferty
by Craig Mod
From 2009 to 2013, every book I read, I read on a screen. And then I stopped. You could call my four years of devout screen‑reading an experiment. I felt a duty – not to anyone or anything specifically, but more vaguely to the idea of ‘books’. I wanted to understand how their boundaries were changing and being affected by technology. Committing myself to the screen felt like the best way to do it.
...........
The way we consume media changes over time. The largest changes can be explained, in part, through the lens of value proposition. For example: is the value proposition of reading a printed newspaper, with its physicality, its smell, its serendipity, its utility as a fly-swatter, greater than reading a newspaper’s website, which is immediate, universally accessible, networked, and sharable? Precipitous drops in print subscriptions indicate no. We readers see far greater value in the instant access and quick updates of the web than in the physicality of the printed broadsheet.
Granite, wood, wax, silk, paper, metal type, the Gutenberg press, Manutius’s octavo editions, Penguin paperbacks, desktop publishing software, digital type, on‑demand printing, .epub: the evolutionary path of ‘books’ has been punctuated by technological changes large and small. And so, too, with the Kindle.
The Kindle set the imagination alight. It looked and felt like no ‘computer’ we had ever seen. And because its progenitor was paper – but yet it was digital – there was something magical in holding it. It was The Hitchhiker’s Guide made manifest. (A role that the iPhone would go on to fulfill in totality.) Unlike a desktop – at which we read straight-backed, vertically, some distance away from the text – we could cradle a Kindle. And because it was globally networked and backed by a vast and instantaneously available library, we rarely found it to be limited. That 2007 object held implicit the promise of a universal book container.
.....
Containers matter. They shape stories and the experience of stories. Choose the right binding, cloth, trim size, texture of paper, margins and ink, and you will strengthen the bond between reader and text. Choose badly and the object becomes a wedge between reader and text.
............
The pile of unread books we have on our bedside tables is often referred to as a graveyard of good intentions. The list of unread books on our Kindles is more of a black hole of fleeting intentions.
Ένα από τα σχόλια
Mr. Mod's article seems to miss the point of the whole digital book enterprise. The two books he references in his article, the travel guide and the 'Conference of the Birds', with its 'die-cut pages', are poor comparative models for his subject. The travel book must be more of a talisman for the author than a useful guide; all he describes is the cover, the lettering, how smoothly it fits in his pocket. We have no idea whether this is filled with valuable information for the traveler, or if it's a piece of crap, guidebook-wise. I've purchased a number of Rick Steves books, but never because the cover was sensuous, or that the volume slid lovingly into my pocket. The concept of digital publishing, as I understand it, is to make the greatest amount of literature available to the largest reading audience, and to make such access convenient and affordable.
I've been an avid reader for over sixty years, and almost never have I purchased a book based on its 'feel', or how it would look on a shelf with a matching set of other volumes. I read something if I enjoy or appreciate what the author is saying, or want to understand what the subject matter is. Whether the book is a dog-eared paperback, a hardcover borrowed from the library, or a sumptuous leather-bound first edition, is of no consequence to me whatsoever. Granted there are 'coffee table books', those of photographs of Africa, or works of art, that are much more pleasurable to view on a large page, or specialty books (children's three-dimensional pop-up books come to mind), that are delightful to hold and view, and where I believe 'Conference of the Birds' may alight. But the vast majority of my reading involves getting into the author's story, the theme, what the story is; I rarely concern myself with the kind of paper the book is printed on, or the stitching of the cover, and I was a printer for some time. Only the typeface determines the ease of reading a book for me, and the ability to alter that typeface and size in the digital readers makes it even more appealing than a printed book.
I am one of those individuals that reads more than one book at a time. In ages past, I can remember toting several volumes around. Not any more. My iPad stores what I want and need, and it's always with me. And I seriously doubt that a 'stack' of unread digital books is any more forgotten than a stack of unread printed books- they're just easier to dust around.
The bookstores and libraries where I get printed works never come around to the house to ask me if I've finally read that Hemingway or Grisham I bought last year; why would I expect my iPad to do it?
I buy milk in several different containers- plastic, glass, paper. But it's still milk. I don't believe the "medium is the message".
And if Mr. Mod needs help in setting the 'list' sorting option in Kindle, tell him to call me.
William Rafferty
Πολλά θα ήθελα να πω για τα ακόμα πιο πάνω, αλλά τα αδιάβαστα και τα μισοδιαβασμένα, είτε είναι στοίβες πλάι στο κρεβάτι και πάνω στα ράφια είτε γεμίζουν τις σελίδες 2 έως 103 των περιεχομένων του Kindle μου, πονάνε σαν ένα πλήθος που αυξάνεται με αντίστροφη αναλογία προς τον χρόνο. Στο Kindle τουλάχιστον δεν σκονίζονται και δεν με κουράζουν στα κουβαλήματα.
Καλημέρες. Το σχόλιο του κ. Rafferty μπήκε αργότερα και το διάβασα τώρα. Αυτά που λέει, αυτά είναι η ουσία της διαφοράς μεταξύ έντυπου και ψηφιακού βιβλίου, τα πρακτικά ζητήματα. Τα υπόλοιπα, του κύριου Mod, είναι προσωπικοί φετιχισμοί. Τους καταλαβαίνουμε αλλά δεν τους συμμεριζόμαστε.