I understand, agree to and accept the "Small Print!" statement.

The Project Gutenberg Etext of E-Books and E-Publishing (TrendSiters Digital Content And Web Technologies) by Sam Vaknin #4 in our series by Sam Vaknin

• This is a COPYRIGHTED Project Gutenberg Etext, Details Below **
• Please follow the copyright guidelines in this file. **

Copyright (C) 2000 Copyright Lidija Rangelovska.

We encourage you to keep this file, exactly as it is, on your own disk, thereby keeping an electronic path open for future readers. Please do not remove this header information.

This header should be the first thing seen when anyone starts to view the etext. Do not change or edit it without written permission. The words are carefully chosen to provide users with the information they need to understand what they may and may not do with the etext.

**Welcome To The World of Free Plain Vanilla Electronic Texts**

**Etexts Readable By Both Humans and By Computers, Since 1971**

*****These Etexts Are Prepared By Thousands of Volunteers!*****

Information on contacting Project Gutenberg to get etexts, and further information, is included below. We need your donations.

The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541

Title: E-books and e-publishing

Author: Sam Vaknin

Release Date: December, 2003 [Etext #4742] [This file was first posted on September 15, 2002]

Edition: 11

Language: English

Character set encoding: ASCII

The Project Gutenberg Etext of E-books and e-publishing by Sam Vaknin *******This file should be named ebpub11.txt or ebpub11.zip******

Corrected EDITIONS of our etexts get a new NUMBER, ebpub12.txt

We are now trying to release all our etexts one year in advance of the official release dates, leaving time for better editing. Please be encouraged to tell us about any error or corrections, even years after the official publication date.

Please note neither this listing nor its contents are final til midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg Etexts is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so.

Most people start at our sites at:
http://gutenberg.net or
http://promo.net/pg

These Web sites include award-winning information about Project Gutenberg, including how to donate, how to help produce our new etexts, and how to subscribe to our email newsletter (free!).

Those of you who want to download any Etext before announcement can get to them as follows, and just download by date. This is also a good way to get them instantly upon announcement, as the indexes our cataloguers produce obviously take a while after an announcement goes out in the Project Gutenberg Newsletter.

http://www.ibiblio.org/gutenberg/etext03 or ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

Just search by the first five letters of the filename you want, as it appears in our Newsletters.

Information about Project Gutenberg (one page)

We produce about two million dollars for each hour we work. The time it takes us, a rather conservative estimate, is fifty hours to get any etext selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. Our projected audience is one hundred million readers. If the value per text is nominally estimated at one dollar then we produce $2 million dollars per hour in 2001 as we release over 50 new Etext files per month, or 500 more Etexts in 2000 for a total of 4000+ If they reach just 1-2% of the world's population then the total should reach over 300 billion Etexts given away by year's end.

The Goal of Project Gutenberg is to Give Away One Trillion Etext Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion] This is ten thousand titles each to one hundred million readers, which is only about 4% of the present number of computer users.

At our revised rates of production, we will reach only one-third of that goal by the end of 2001, or about 4,000 Etexts. We need funding, as well as continued efforts by volunteers, to maintain or increase our production and reach our goals.

The Project Gutenberg Literary Archive Foundation has been created to secure a future for Project Gutenberg into the next millennium.

We need your donations more than ever!

As of January, 2002, contributions are being solicited from people and organizations in: Alabama, Alaska, Arkansas, Connecticut, Delaware, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Michigan, Missouri, Montana, Nebraska, Nevada, New Jersey, New Mexico, New York, North Carolina, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, and Wyoming.

As the requirements for other states are met, additions to this list will be made and fund raising will begin in the additional states. Please feel free to ask to check the status of your state.

In answer to various questions we have received on this:

We are constantly working on finishing the paperwork to legally request donations in all 50 states. If your state is not listed and you would like to know if we have added it since the list you have, just ask.

While we cannot solicit donations from people in states where we are not yet registered, we know of no prohibition against accepting donations from donors in these states who approach us with an offer to donate.

International donations are accepted! For more information about donations, please view http://promo.net/pg/donation.html We accept PayPal, as well as donation s via NetworkForGood.

Donation checks should be sent to:

Project Gutenberg Literary Archive Foundation PMB 113
1739 University Ave.
Oxford, MS 38655-4109

The Project Gutenberg Literary Archive Foundation has been approved by the US Internal Revenue Service as a 501(c)(3) organization with EIN [Employee Identification Number] 64-622154. Donations are tax-deductible to the maximum extent permitted by law. As fundraising requirements for other states are met, additions to this list will be made and fundraising will begin in the additional states.

We need your donations more than ever!

***

If you can't reach Project Gutenberg,
you can always email directly to:

Michael S. Hart <hart@pobox.com>

Prof. Hart will answer or forward your message.

We would prefer to send you information by email.

**Information prepared by the Project Gutenberg legal advisor** (Three Pages)

***START** SMALL PRINT! for COPYRIGHT PROTECTED ETEXTS ***

TITLE AND COPYRIGHT NOTICE:

E-books and e-publishing, by Sam Vaknin Copyright (C) 2000 Copyright Lidija Rangelovska.

This etext is distributed by Professor Michael S. Hart through the Project Gutenberg Association (the "Project") under the "Project Gutenberg" trademark and with the permission of the etext's copyright owner.

Please do not use the "PROJECT GUTENBERG" trademark to market any commercial products without permission.

LICENSE
You can (and are encouraged!) to copy and distribute this Project Gutenberg-tm etext. Since, unlike many other of the Project's etexts, it is copyright protected, and since the materials and methods you use will effect the Project's reputation, your right to copy and distribute it is limited by the copyright laws and by the conditions of this "Small Print!" statement.

[A] ALL COPIES: You may distribute copies of this etext electronically or on any machine readable medium now known or hereafter discovered so long as you:

(1) Honor the refund and replacement provisions of this "Small Print!" statement; and

(2) Pay a royalty to the Foundation of 20% of the gross profits you derive calculated using the method you already use to calculate your applicable taxes. If you don't derive profits, no royalty is due. Royalties are payable to "Project Gutenberg Literary Archive Foundation" within the 60 days following each date you prepare (or were legally required to prepare) your annual (or equivalent periodic) tax return.

[B] EXACT AND MODIFIED COPIES: The copies you distribute must either be exact copies of this etext, including this Small Print statement, or can be in binary, compressed, markup, or proprietary form (including any form resulting from word processing or hypertext software), so long as *EITHER*:

(1) The etext, when displayed, is clearly readable, and does *not* contain characters other than those intended by the author of the work, although tilde (~), asterisk (*) and underline (_) characters may be used to convey punctuation intended by the author, and additional characters may be used to indicate hypertext links; OR

(2) The etext is readily convertible by the reader at no expense into plain ASCII, EBCDIC or equivalent form by the program that displays the etext (as is the case, for instance, with most word processors); OR

(3) You provide or agree to provide on request at no additional cost, fee or expense, a copy of the etext in plain ASCII.

LIMITED WARRANTY; DISCLAIMER OF DAMAGES This etext may contain a "Defect" in the form of incomplete, inaccurate or corrupt data, transcription errors, a copyright or other infringement, a defective or damaged disk, computer virus, or codes that damage or cannot be read by your equipment. But for the "Right of Replacement or Refund" described below, the Project (and any other party you may receive this etext from as a PROJECT GUTENBERG-tm etext) disclaims all liability to you for damages, costs and expenses, including legal fees, and YOU HAVE NO REMEDIES FOR NEGLIGENCE OR UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES.

If you discover a Defect in this etext within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending an explanatory note within that time to the person you received it from. If you received it on a physical medium, you must return it with your note, and such person may choose to alternatively give you a replacement copy. If you received it electronically, such person may choose to alternatively give you a second opportunity to receive it electronically.

THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Some states do not allow disclaimers of implied warranties or the exclusion or limitation of consequential damages, so the above disclaimers and exclusions may not apply to you, and you may have other legal rights.

INDEMNITY
You will indemnify and hold Michael Hart and the Foundation, and its trustees and agents, and any volunteers associated with the production and distribution of Project Gutenberg-tm texts harmless, from all liability, cost and expense, including legal fees, that arise directly or indirectly from any of the following that you do or cause: [1] distribution of this etext, [2] alteration, modification, or addition to the etext, or [3] any Defect.

WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? Project Gutenberg is dedicated to increasing the number of public domain and licensed works that can be freely distributed in machine readable form.

The Project gratefully accepts contributions of money, time, public domain materials, or royalty free copyright licenses. Money should be paid to the:
"Project Gutenberg Literary Archive Foundation."

If you are interested in contributing scanning equipment or software or other items, please contact Michael Hart at: hart@pobox.com

*SMALL PRINT! Ver.12.12.00 FOR COPYRIGHT PROTECTED ETEXTS*END*

TrendSiters
Digital Content
And Web Technologies

1st EDITION

Sam Vaknin, Ph.D.

Editing and Design:
Lidija Rangelovska

Lidija Rangelovska
A Narcissus Publications Imprint, Skopje 2002

Not for Sale! Non-commercial edition.

(C) 2002 Copyright Lidija Rangelovska.
All rights reserved. This book, or any part thereof, may not be used or reproduced in any manner without written permission from:
Lidija Rangelovska - write to:
palma@unet.com.mk or to
vaknin@link.com.mk

Visit the TrendSiters Web Site:
http://samvak.tripod.com/busiweb.html

ISBN: 9989-929-23-8

Created by:LIDIJA RANGELOVSKA
REPUBLIC OF MACEDONIA

Additional articles about Digital Content on the Web:

http://samvak.tripod.com/busiweb.html

Sam Vaknin's eBookWeb.org articles:

http://ebookweb.org.master.com/texis/master/search/?q=Vaknin

Sam Vaknin's "InternetContent" Author Archive:

http://www.internetcontent.net/AuthorProfile.asp?AuthorID=14

Essays dedicated to the new media, doing business on the web, digital content, its creation and distribution, e-publishing, e-books, digital reference, DRM technology, and other related issues.

http://samvak.tripod.com/internet.html

Visit Sam Vaknin's United Press International (UPI) Article Archive - Click HERE!

This letter constitutes a permission to reprint or mirror any and all of the materials mentioned or linked to herein subject to appropriate credit and linkback.

Every article published MUST include the author bio, including the link to the author's web site.

AUTHOR BIO:
Sam Vaknin is the author of Malignant Self Love - Narcissism Revisited and After the Rain - How the West Lost the East. He is a columnist for Central Europe Review and eBookWeb , a United Press International (UPI) Senior Business Correspondent, and the editor of mental health and Central East Europe categories in The Open Directory and Suite101 . Until recently, he served as the Economic Advisor to the Government of Macedonia.
Visit Sam's Web site at http://samvak.tripod.com

The Articles (please scroll down to review them):

E-books and e-publishing

The Future of Electronic Publishing

I. The Disintermediation of Content

II. E(merging) Books

III. Invasion of the Amazons

IV. Revolt of the Scholars

V. The Kidnapping of Content

VI. The Miraculous Conversion

VII. The Medium and the Message

VIII. The Idea of Reference

IX. Will Content ever be Profitable?

X. Jamaican OverDrive - LDC's and LCD's

XI. An Embarrassment of Riches

XII. The Fall and Fall of p-Zines

XIII. The Internet and the Library

XIV. A Brief History of the Book

XV. The Affair of the Vanishing Content

XVI. Revolt of the Poor - The Demise of Intellectual Property

XVII. The Territorial Web

XVIII. The In-credible Web

XIX. Does Free Content Sell?

XX. Copyright and Free Online Scholarship

XXI. The Second Gutenberg

XXII. The E-book Evangelist

Web Technology and Trends

I. Bright Planet, Deep Web

II. The Seamless Internet

III. The Polyglottal Internet

IV. Deja Googled

V. Maps of Cyberspace

VI. The Universal Interface

VII. Internet Advertising - What Went Wrong?

VIII. The Economics of Spam

IX. Don't Blink - Interview with Jeffrey Harrow

X. The Case of the Compressed Image

The Internet and the Digital Divide

I. The Internet - A Medium or a Message?

II. The Internet in the Countries in Transition

III. Leapfrogging Transition

IV. The Selfish Net - The Semantic Web

Author: Sam Vaknin

Contact Info: palma@unet.com.mk; vaknin@link.com.mk

E-BOOKS AND E-PUBLISHING

The Future of Electronic Publishing
First published by United Press International (UPI) By: Sam Vaknin

UNESCO's somewhat arbitrary definition of "book" is:

""Non-periodical printed publication of at least 49 pages excluding covers".

The emergence of electronic publishing was supposed to change all that. Yet a bloodbath of unusual proportions has taken place in the last few months. Time Warner's iPublish and MightyWords (partly owned by Barnes and Noble) were the last in a string of resounding failures which cast in doubt the business model underlying digital content. Everything seemed to have gone wrong: the dot.coms dot bombed, venture capital dried up, competing standards fractured an already fragile marketplace, the hardware (e-book readers) was clunky and awkward, the software unwieldy, the e-books badly written or already in the public domain.

Terrified by the inexorable process of disintermediation (the establishment of direct contact between author and readers, excluding publishers and bookstores) and by the ease with which digital content can be replicated - publishers resorted to draconian copyright protection measures (euphemistically known as "digital rights management"). This further alienated the few potential readers left. The opposite model of "viral" or "buzz" marketing (by encouraging the dissemination of free copies of the promoted book) was only marginally more successful.

Moreover, e-publishing's delivery platform, the Internet, has been transformed beyond recognition since March 2000.

From an open, somewhat anarchic, web of networked computers - it has evolved into a territorial, commercial, corporate extension of "brick and mortar" giants, subject to government regulation. It is less friendly towards independent (small) publishers, the backbone of e-publishing. Increasingly, it is expropriated by publishing and media behemoths. It is treated as a medium for cross promotion, supply chain management, and customer relations management. It offers only some minor synergies with non-cyberspace, real world, franchises and media properties. The likes of Disney and Bertelsmann have swung a full circle from considering the Internet to be the next big thing in New Media delivery - to frantic efforts to contain the red ink it oozed all over their otherwise impeccable balance sheets.

But were the now silent pundits right all the same? Is the future of publishing (and other media industries) inextricably intertwined with the Internet?

The answer depends on whether an old habit dies hard. Internet surfers are used to free content. They are very reluctant to pay for information (with precious few exceptions, like the "Wall Street Journal"'s electronic edition). Moreover, the Internet, with 3 billion pages listed in the Google search engine (and another 15 billion in "invisible" databases), provides many free substitutes to every information product, no matter how superior. Web based media companies (such as Salon and Britannica.com) have been experimenting with payment and pricing models. But this is besides the point. Whether in the form of subscription (Britannica), pay per view (Questia), pay to print (Fathom), sample and pay to buy the physical product (RealRead), or micropayments (Amazon) - the public refuses to cough up.

Moreover, the advertising-subsidized free content Web site has died together with Web advertising. Geocities - a community of free hosted, ad-supported, Web sites purchased by Yahoo! - is now selectively shutting down Web sites (when they exceed a certain level of traffic) to convince their owners to revert to a monthly hosting fee model. With Lycos in trouble in Europe, Tripod may well follow suit shortly. Earlier this year, Microsoft has shut down ListBot (a host of discussion lists). Suite101 has stopped paying its editors (content authors) effective January 15th. About.com fired hundreds of category editors. With the ugly demise of Themestream, WebSeed is the only content aggregator which tries to buck the trend by relying (partly) on advertising revenue.

Paradoxically, e-publishing's main hope may lie with its ostensible adversary: the library. Unbelievably, e-publishers actually tried to limit the access of library patrons to ebooks (i.e., the lending of e-books to multiple patrons). But, libraries are not only repositories of knowledge and community centres. They are also dominant promoters of new knowledge technologies. They are already the largest buyers of e-books. Together with schools and other educational institutions, libraries can serve as decisive socialization agents and introduce generations of pupils, students, and readers to the possibilities and riches of e-publishing. Government use of ebooks (e.g., by the military) may have the same beneficial effect.

As standards converge (Adobe's Portable Document Format and Microsoft's MS Reader LIT format are likely to be the winners), as hardware improves and becomes ubiquitous (within multi-purpose devices or as standalone higher quality units), as content becomes more attractive (already many new titles are published in both print and electronic formats), as more versatile information taxonomies (like the Digital Object Identifier) are introduced, as the Internet becomes more gender-neutral, polyglot, and cosmopolitan - e-publishing is likely to recover and flourish.

This renaissance will probably be aided by the gradual decline of print magazines and by a strengthening movement for free open source scholarly publishing. The publishing of periodical content and academic research (including, gradually, peer reviewed research) may be already shifting to the Web. Nonfiction and textbooks will follow. Alternative models of pricing are already in evidence (author pays to publish, author pays to obtain peer review, publisher pays to publish, buy a physical product and gain access to enhanced online content, and so on). Web site rating agencies will help to discriminate between the credible and the in-credible. Publishing is moving - albeit kicking and screaming - online.

The Disintermediation of Content
By: Sam Vaknin

Are content brokers - publishers, distributors, and record companies - a thing of the past?

In one word: disintermediation

The gradual removal of layers of content brokering and intermediation - mainly in manufacturing marketing - is the continuation of a long term trend. Consider music for instance. Streaming audio on the internet ("soft radio"), or downloadable MP3 files may render the CD obsolete - but they were preceded by radio music broadcasts. But the novelty is that the Internet provides a venue for the marketing of niche products and reduces the barriers to entry previously imposed by the need to invest in costly "branding" campaigns and manufacturing and distribution activities.

This trend is also likely to restore the balance between artists and the commercial exploiters of their products. The very definition of "artist" will expand to encompass all creative people. One will seek to distinguish oneself, to "brand" oneself and to auction one's services, ideas, products, designs, experience, physique, or biography, etc. directly to end-users and consumers. This is a return to preindustrial times when artisans ruled the economic scene. Work stability will suffer and work mobility will increase in a landscape of shifting allegiances, head hunting, remote collaboration, and similar labour market trends.

But distributors, publishers, and record companies are not going to vanish. They are going to metamorphose. This is because they fulfil a few functions and provide a few services whose importance is only enhanced by the "free for all" Internet culture.

Content intermediaries grade content and separate the qualitative from the ephemeral and the atrocious. The deluge of self-published and vanity published e-books, music tracks and art works has generated few masterpieces and a lot of trash. The absence of judicious filtering has unjustly given a bad name to whole segments of the industry (e.g., small, or web-based publishers). Consumers - inundated, disappointed and exhausted - will pay a premium for content rating services. Though driven by crass commercial considerations, most publishers and record companies do apply certain quality standards routinely and thus are positioned to provide these rating services reliably.

Content brokers are relationship managers. Consider distributors: they provide instant access to centralized, continuously updated, "addressbooks" of clients (stores, consumers, media, etc.). This reduces the time to market and increases efficiency. It alters revenue models very substantially. Content creators can thus concentrate on what they do best: content creation, and reduce their overhead by outsourcing the functions of distribution and relationships management. The existence of central "relationship ledgers" yields synergies which can be applied to all the clients of the distributor. The distributor provides a single address that content re-sellers converge on and feed off. Distributors, publishers and record companies also provide logistical support: warehousing, consolidated sales reporting and transaction auditing, and a single, periodic payment.

Yet, having said all that, content intermediaries still overcharge their clients (the content creators) for their services. This is especially true in an age of just-in-time inventory and digital distribution. Network effects mean that content brokers have to invest much less in marketing, branding and advertising once a product's first mover advantage is established. Economic laws of increasing, rather than diminishing, returns mean that every additional unit sold yields a HIGHER profit - rather than a declining one. The pie is getting bigger.

Hence, the meteoric increase in royalties publishers pay authors from sales of the electronic versions of their work (anywhere from Random House's 35% to 50% paid by smaller publishers). As this tectonic shift reverberates through the whole distribution chain, retail outlets are beginning to transact directly with content creators. The borders between the types of intermediaries are blurred. Barnes and Noble (the American bookstores chain) has, in effect, become a publisher. Many publishers have virtual storefronts. Many authors sell directly to their readers, acting as publishers. The introduction of "book ATMs" - POD (Print On Demand) machines, which will print
every conceivable title in minutes, on the spot, in "book kiosks" - will give rise to a host of new intermediaries. Intermediation is not gone. It is here to stay because it is sorely needed. But it is in a state of flux. Old maxims break down. New modes of operation emerge.

Functions are amalgamated, outsourced, dispensed with, or created from scratch. It is an exciting scene, full with opportunities.

E(merging) Books
By: Sam Vaknin

A novel re-definition through experimentation of the classical format of the book is emerging.
Consider the now defunct BookTailor. It used to sell its book customization software mainly to travel agents - but such software is likely to conquer other niches (such as the legal and medical professions). It allows users to select bits and pieces from a library of e-books, combine them into a totally new tome and print and bind the latter on demand. The client can also choose to buy the end-product as an e-book. Consider what this simple business model does to entrenched and age old notions such as "original" and "copies", copyright, and book identifiers. What is the "original" in this case? Is it the final, user-customized book - or its sources? And if no customized book is identical to any other - what happens to the intuitive notion of "copies"? Should BookTailor-generated books considered to be unique exemplars of one-copy print runs? If so, should each one receive a unique identifier (for instance, a unique ISBN)? Does the user possess any rights in the final product, composed and selected by him? What about the copyrights of the original authors? Or take BookCrossing.com. On the face of it, it presents no profound challenge to established publishing practices and to the modern concept of intellectual property. Members register their books, obtain a BCID (BookCrossing ID Number) and then give the book to someone, or simply leave it lying around for a total stranger to find. Henceforth, fate determines the chain of events. Eventual successive owners of the volume are supposed to report to BookCrossing (by e-mail) about the book's and their whereabouts, thereby generating moving plots and mapping the territory of literacy and bibliomania. This innocuous model subversively undermines the concept - legal and moral - of ownership. It also expropriates the book from the realm of passive, inert objects and transforms it into a catalyst of human interactions across time and space. In other words, it returns the book to its origins: a time capsule, a time machine and the embodiment of a historical narrative. E-books, hitherto, have largely been nothing but an ephemeral rendition of their print predecessors. But e-books are another medium altogether. They can and will provide a different reading experience. Consider "hyperlinks within the e-book and without it - to web content, reference works, etc., embedded instant shopping and ordering links, divergent, userinteractive, decision driven plotlines, interaction with other e-books (using Bluetooth or another wireless standard), collaborative authoring, gaming and community activities, automatically or periodically updated content, ,multimedia capabilities, database, Favourites and History Maintenance (records of reading habits, shopping habits, interaction with other readers, plot related decisions and much more), automatic and embedded audio conversion and translation capabilities, full wireless piconetworking and scatternetworking capabilities and more".

INVASION OF THE AMAZONS
By: Sam Vaknin

The last few months have witnessed a bloodbath in tech stocks coupled with a frantic re-definition of the web and of every player in it (as far as content is concerned).

This effort is three pronged:

Some companies are gambling on content distribution and the possession of the attendant digital infrastructure. MightyWords, for example, stealthily transformed itself from a "free-for-all-everyone-welcome" e-publisher to a distribution channel of choice works (mainly by midlist authors). It now aims to feed its content to content-starved web sites. In the process, it shed thousands of unfortunate authors who did not meet its (never stated) sales criteria.

Others bet the farm on content creation and packaging. Bn.com invaded the digital publishing and POD (Print on Demand) businesses in a series of lightning purchases. It is now the largest e-book store by a wide margin.

But Amazon seemed to have got it right once more. The web's own virtual mall and the former darling of Wall Street has diversified into micropayments.

The Internet started as a free medium for free spirits. Ecommerce was once considered a dirty word. Web surfers became used to free content. Hence the (very low) glass ceiling on the price of content made available through the web - and the need to charge customers less than 1 US dollars to a few dollars per transaction ("micro-payments"). Various service providers (such as Pay-Pal) emerged, none became sufficiently dominant and all-pervasive to constitute a standard. Web merchants' ability to accept micropayments is crucial. Ecommerce (let alone m-commerce) will never take off without it.

Enter Amazon. Its "Honour System" is licenced to third party web sites (such as Bartleby.com and SatireWire). It allows people to donate money or effect micro-payments, apparently through its patented one-click system. As far as the web sites are concerned, there are two major drawbacks: all donations and payments are refundable within 30 days and Amazon charges them 15 cents per transaction plus 15(!) percent. By far the worst deal in town.

So, why the fuss?

Because of Amazon's customer list. This development emphasizes the growing realization that one's list of customers - properly data mined - is the greatest asset, greater even than original content and more important than distribution channels and digital right management or asset management applications. Merchants are willing to pay for access to this ever expanding virtual neighbourhood (even if they are not made privy to the customer information collected by Amazon).

The Honour System looks suspiciously similar to the payment system designed by Amazon for Stephen King's serialized enovel, "The Plant". Interesting to note how the needs of authors and publishers are now in the driver's seat, helping to spur along innovations in business methods.

Revolt of the Scholars
By: Sam Vaknin

http://www.realsci.com/

Scindex's Instant Publishing Service is about empowerment. The price of scholarly, peer-reviewed journals has skyrocketed in the last few years, often way out of the limited means of libraries, universities, individual scientists and scholars. A "scholarly divide" has opened between the haves (academic institutions with rich endowments and well-heeled corporations) and the haves not (all the others). Paradoxically, access to authoritative and authenticated knowledge has declined as the number of professional journals has proliferated. This is not to mention the long (and often crucial) delays in publishing research results and the shoddy work of many under-paid and over-worked peer reviewers.

The Internet was suppose to change all that. Originally, a computer network for the exchange of (restricted and open) research results among scientists and academics in participating institutions - it was supposed to provide instant publishing, instant access and instant gratification. It has delivered only partially. Preprints of academic papers are often placed online by their eager authors and subjected to peer scrutiny. But this haphazard publishing cottage industry did nothing to dethrone the print incumbents and their avaricious pricing.

The major missing element is, of course, respectability. But there are others. No agreed upon content or knowledge classification method has emerged. Some web sites (such as Suite101) use the Dewey decimal system. Others invented and implemented systems of their making. Additionally, one click publishing technology (such as Webseed's or Blogger's) came to be identified strictly to non-scholarly material: personal reminiscences, correspondence, articles and news.

Enter Scindex and its Academic Resource Channel. Established by academics and software experts from Bulgaria, it epitomizes the tearing down of geographical barriers heralded by the Internet. But it does much more than that. Scindex is a whole, self-contained, stand-alone, instant self-publishing and selfassembly system. Self-publishing systems do exist (for instance, Purdue University's) - but they incorporate only certain components. Scindex covers the whole range.

Having (freely) registered as a member, a scientist or a scholar can publish their papers, essays, research results, articles and comments online. They have to submit an abstract and use Sciendex's classification ("call") numbers and science descriptors, arranged in a massive directory available in the "RealSci Locator". The Locator can be also downloaded and used off-line and its is surprisingly user-friendly. The submission process itself is totally automated and very short.

The system includes a long series of thematic journals. These journals self-assemble, in accordance with the call numbers selected by the submitters. An article submitted with certain call numbers will automatically be included in the relevant journals.

The fly in the ointment is the absence of peer review. As the system moves from beta to commercialization, Scindex intends to address this issue by introducing a system of incentives and inducements. Reviewers will be granted "credit points" to be applied against the (paid) publication of their own papers, for instance.

Scindex is the model of things to come. Publishing becomes more and more automated and knowledge-orientated. Peer reviewed papers become more outlandishly expensive and irrelevant. Scientists and scholars are getting impatient and rebellious. The confluence of these three trends spells - at the least - the creation of a web based universe of parallel and alternative scholarly publishing.

The Kidnapping of Content
By: Sam Vaknin

http://www.plagiarism.org and http://www.Turnitin.com

Latin kidnapped the word "plagion" from ancient Greek and it ended up in English as "plagiarism". It literally means "to kidnap" - most commonly, to misappropriate content and wrongly attribute it to oneself. It is a close kin of piracy. But while the software or content pirate does not bother to hide or alter the identity of the content's creator or the software's author - the plagiarist does. Plagiarism is, therefore, more pernicious than piracy.

Enter Turnit.com. An off-shoot of www.iparadigms.com, it was established by a group of concerned (and commercially minded) scientists from UC Berkeley.

Whereas digital rights and asset management systems are geared to prevent piracy - plagiarism.org and its commercial arm, Turnit.com, are the cyber equivalent of a law enforcement agency, acting after the fact to discover the culprits and uncover their misdeeds. This, they claim, is a first stage on the way to a plagiarism-free Internet-based academic community of both teachers and students, in which the educational potential of the Internet can be fully realized.

The problem is especially severe in academia. Various surveys have discovered that a staggering 80%(!) of US students cheat and that at least 30% plagiarize written material. The Internet only exacerbated this problem. More than 200 cheatsites have sprung up, with thousands of papers available online and tens of thousands of satisfied plagiarists the world over. Some of these hubs - like cheater.com, cheatweb or cheathouse.com - make no bones about their offerings. Many of them are located outside the USA (in Germany, or Asia) and at least one offers papers in a few languages, Hebrew included.

The problem, though, is not limited to the ivory towers. Ezines plagiarize. The print media plagiarize. Individual journalists plagiarize, many with abandon. Even advertising agencies and financial institutions plagiarize. The amount of material out there is so overwhelming that the plagiarist develops a (fairly justified) sense of immunity. The temptation is irresistible, the rewards big and the pressures of modern life great.

Some of the plagiarists are straightforward copiers. Others substitute words, add sentences, or combine two or more sources. This raises the question: "when should content be considered original and when - plagiarized?". Should the test for plagiarism be more stringent than the one applied by the Copyright Office? And what rights are implicitly granted by the material's genuine authors or publishers once they place the content on the Internet? Is the Web a public domain and, if yes, to what extent? These questions are not easily answered. Consider reports generated by users from a database.

Are these reports copyrighted - and if so, by whom - by the database compiler or by the user who defined the parameters, without which the reports in question would have never been generated? What about "fair use" of text and works of art? In the USA, the backlash against digital content piracy and plagiarism has reached preposterous legal, litigious and technological nadirs.

Plagiarism.org has developed a statistics-based technology (the "Document Source Analysis") which creates a "digital fingerprint" of every document in its database. Web crawlers are then unleashed to scour the Internet and find documents with the same fingerprint and a colour-coded report is generated. An instructor, teacher, or professor can then use the report to prove plagiarism and cheating.

Piracy is often considered to be a form of viral marketing (even by software developers and publishers). The author's, publisher's, or software house's data are preserved intact in the cracked copy. Pirated copies of e-books often contribute to increased sales of the print versions. Crippled versions of software or pirated copies of software without its manuals, updates and support - often lead to the purchase of a licence. Not so with plagiarism. The identities of the author, editor, publisher and illustrator are deleted and replaced by the details of the plagiarist. And while piracy is discussed freely and fought vigorously - the discussion of plagiarism is still taboo and actively suppressed by image-conscious and endowment-weary academic institutions and media. It is an uphill struggle but plagiarism.org has taken the first resolute step.

The Miraculous Conversion
By: Sam Vaknin

http://www.ideavirus.com

The recent bloodbath among online content peddlers and digital media proselytisers can be traced to two deadly sins. The first was to assume that traffic equals sales. In other words, that a miraculous conversion will spontaneously occur among the hordes of visitors to a web site. It was taken as an article of faith that a certain percentage of this mass will inevitably and nigh hypnotically reach for their bulging pocketbooks and purchase content, however packaged. Moreover, ad revenues (more reasonably) were assumed to be closely correlated with "eyeballs". This myth led to an obsession with counters, page hits, impressions, unique visitors, statistics and demographics.

It failed, however, to take into account the dwindling efficacy of what Seth Godin, in his brilliant essay ("Unleashing the IdeaVirus"), calls "Interruption Marketing" - ads, banners, spam and fliers. It also ignored, at its peril, the ethos of free content and open source prevalent among the Internet opinion leaders, movers and shapers. These two neglected aspects of Internet hype and culture led to the trouncing of erstwhile promising web media companies while their business models were exposed as wishful thinking.

The second mistake was to exclusively cater to the needs of a highly idiosyncratic group of people (Silicone Valley geeks and nerds). The assumption that the USA (let alone the rest of the world) is Silicone Valley writ large proved to be calamitous to the industry.

In the 1970s and 1980s, evolutionary biologists like Richard Dawkins and Rupert Sheldrake developed models of cultural evolution. Dawkins' "meme" is a cultural element (like a behaviour or an idea) passed from one individual to another and from one generation to another not through biological - genetic means - but by imitation. Sheldrake added the notion of contagion - "morphic resonance" - which causes behaviour patterns to suddenly emerged in whole populations. Physicists talked about sudden "phase transitions", the emergent results of a critical mass reached. A latter day thinker, Michael Gladwell, called it the "tipping point".

Seth Godin invented the concept of an "ideavirus" and an attendant marketing terminology. In a nutshell, he says, to use his own summation:

"Marketing by interrupting people isn't cost-effective anymore. You can't afford to seek out people and send them unwanted marketing, in large groups and hope that some will send you money. Instead the future belongs to marketers who establish a foundation and process where interested people can market to each other. Ignite consumer networks and then get out of the way and let them talk."

This is sound advice with a shaky conclusion. The conversion from exposure to a marketing message (even from peers within a consumer network) - to an actual sale is a convoluted, multilayered, highly complex process. It is not a "black box", better left unattended to. It is the same deadly sin all over again - the belief in a miraculous conversion. And it is highly US-centric. People in other parts of the world interact entirely differently.

You can get them to visit and you get them to talk and you can get them to excite others. But to get them to buy - is a whole different ballgame. Dot.coms had better begin to study its rules.

The Medium and the Message
By: Sam Vaknin

A debate is raging in e-publishing circles: should content be encrypted and protected (the Barnes and Noble or Digital goods model) - or should it be distributed freely and thus serve as a form of viral marketing (Seth Godin's "ideavirus")? Publishers fear that freely distributed and cost-free "cracked" e-books will cannibalize print books to oblivion.

The more paranoid point at the music industry. It failed to co-opt the emerging peer-to-peer platforms (Napster) and to offer a viable digital assets management system with an equitable sharing of royalties. The results? A protracted legal battle and piracy run amok. "Publishers" - goes this creed - "are positioned to incorporate encryption and protection measures at the very inception of the digital publishing industry. They ought to learn the lesson."

But this view ignores a vital difference between sound and text. In music, what matter are the song or the musical piece. The medium (or carrier, or packing) is marginal and interchangeable. A CD, an audio cassette, or an MP3 player are all fine, as far as the consumer is concerned. The listener bases his or her purchasing decisions on sound quality and the faithfulness of reproduction of the listening experience (for instance, in a concert hall). This is a very narrow, rational, measurable and quantifiable criterion.

Not so with text.

Content is only one element of many of equal footing underlying the decision to purchase a specific text-"carrier" (medium). Various media encapsulating IDENTICAL text will still fare differently. Hence the failure of CD-ROMs and elearning. People tend to consume content in other formats or media, even if it is fully available to them or even owned by them in one specific medium. People prefer to pay to listen to live lectures rather than read freely available online transcripts. Libraries buy print journals even when they have subscribed to the full text online versions of the very same publications. And consumers overwhelmingly prefer to purchase books in print rather than their e-versions.

This is partly a question of the slow demise of old habits. Ebooks have yet to develop the user-friendliness, platformindependence, portability, browsability and many other attributes of this ingenious medium, the Gutenberg tome. But it also has to do with marketing psychology. Where text (or text equivalents, such as speech) is concerned, the medium is at least as important as the message. And this will hold true even when e-books catch up with their print brethren technologically.

There is no doubting that finally e-books will surpass print books as a medium and offer numerous options: hyperlinks within the e-book and without it - to web content, reference works, etc., embedded instant shopping and ordering links, divergent, user-interactive, decision driven plotlines, interaction with other e-books (using Bluetooth or another wireless standard), collaborative authoring, gaming and community activities, automatically or periodically updated content, ,multimedia capabilities, database, Favourites and History Maintenance (records of reading habits, shopping habits, interaction with other readers, plot related decisions and much more), automatic and embedded audio conversion and translation capabilities, full wireless piconetworking and scatternetworking capabilities and more.

The same textual content will be available in the future in various media. Ostensibly, consumers should gravitate to the feature-rich and much cheaper e-book. But they won't - because the medium is as important as the text message. It is not enough to own the same content, or to gain access to the same message. Ownership of the right medium does count. Print books offer connectivity within an historical context (tradition). E-books are cold and impersonal, alienated and detached. The printed word offers permanence. Digital text is ephemeral (as anyone whose writings perished in the recent dot.com bloodbath or Deja takeover by Google can attest). Printed volumes are a whole sensorium, a sensual experience - olfactory and tactile and visual. E-books are one dimensional in comparison. These are differences that cannot be overcome, not even with the advent of digital "ink" on digital "paper". They will keep the print book alive and publishers' revenues flowing.

People buy printed matter not merely because of its content. If this were true e-books will have won the day. Print books are a packaged experience, the substance of life. People buy the medium as often and as much as they buy the message it encapsulates. It is impossible to compete with this mistique. Safe in this knowledge, publishers should let go and impose on e-books "encryption" and "protection" levels as rigorous as they do on the their print books. The latter are here to stay alongside the former. With the proper pricing and a modicum of trust, e-books may even end up promoting the old and trusted print versions.

The Idea of Reference
By: Sam Vaknin

http://www.britannica.com

There is no source of reference remotely as authoritative as the Encyclopaedia Britannica. There is no brand as venerable and as veteran as this mammoth labour of knowledge and ideas established in 1768. There is no better value for money. And, after a few sputters and bugs, it now comes in all shapes and sizes, including two CD-ROM versions (standard and deluxe) and an appealing and reader-friendly web site. So, why does it always appear to be on the brink of extinction?

The Britannica provides for an interesting study of the changing fortunes (and formats) of vendors of reference. As late as a decade ago, it was still selling in a leatherimitation bound set of 32 volumes. As print encyclopaedias went, it was a daring innovator and a pioneer of hyperlinkedlike textual design. It sported a subject index, a lexical part and an alphabetically arranged series of in-depth essays authored by the best in every field of human erudition.

When the CD-ROM erupted on the scene, the Britannica mismanaged the transition. As late as 1997, it was still selling a sordid text-only compact disc which included a part of the encyclopaedia. Only in 1998, did the Britannica switch to multimedia and added tables and graphs to the CD. Video and sound were to make their appearance even later. This error in trend analysis left the field wide open to the likes of Encarta and Grolier. The Britannica failed to grasp the irreversible shift from cumbersome print volumes to slender and freely searchable CD-ROMs. Reference was going digital and the Britannica's sales plummeted.

The Britannica was also late to cash on the web revolution - but, when it did, it became a world leader overnight. Its unbeatable brand was a decisive factor. A failed experiment with an annoying subscription model gave way to unrestricted access to the full contents of the Encyclopaedia and much more besides: specially commissioned articles, fora, an annotated internet guide, news in context, downloads and shopping. The site enjoys healthy traffic and the Britannica's CD-ROM interacts synergistically with its contents (through hyperlinks).

Yet, recently, the Britannica had to fire hundreds of workers (in its web division) and a return to a pay-for-content model is contemplated. What went wrong again? Internet advertising did. The Britannica's revenue model was based on monetizing eyeballs, to use a faddish refrain. When the perpetuum mobile of "advertisers pay for content and users get it free" crumbled - the Britannica found itself in familiar dire straits.

Is there a lesson to be learned from this arduous and convoluted tale? Are works of reference not self-supporting regardless of the revenue model (subscription, ad-based, print, CD-ROM)? This might well be the case.

Classic works of reference - from Diderot to the Encarta - offered a series of advantages to their users:

1. Authority - Works of reference are authored by experts in their fields and peer-reviewed. This ensures both objectivity and accuracy.
2. Accessibility - Huge amounts of material were assembled under one "roof". This abolished the need to scour numerous sources of variable quality to obtain the data one needed.
3. Organization - This pile of knowledge was organized in a convenient and recognizable manner (alphabetically or by subject)

Moreover, authoring an encyclopaedia was such a daunting and expensive task that only states, academic institutions, or well-funded businesses were able to produce them. At any given period there was a dearth of reliable encyclopaedias, which exercised a monopoly on the dissemination of knowledge. Competitors were few and far between. The price of these tomes was, therefore, always exorbitant but people paid it to secure education for their children and a fount of knowledge at home. Hence the long gone phenomenon of "door to door encyclopaedia salesmen" and instalment plans.

Yet, all these advantages were eroded to fine dust by the Internet. The web offers a plethora of highly authoritative information authored and released by the leading names in every field of human knowledge and endeavour. The Internet, is, in effect, an encyclopaedia - far more detailed, far more authoritative, and far more comprehensive that any encyclopaedia can ever hope to be. The web is also fully accessible and fully searchable. What it lacks in organization it compensates in breadth and depth and recently emergent subject portals (directories such as Yahoo! or The Open Directory) have become the indices of the Internet. The aforementioned anti-competition barriers to entry are gone: web publishing is cheap and immediate. Technologies such as web communities, chat, and e-mail enable massive collaborative efforts. And, most important, the bulk of the Internet is free. Users pay only the communication costs.

The long-heralded transition from free content to fee-based information may revive the fortunes of online reference vendors. But as long as the Internet - with its 2,000,000,000 (!) visible pages (and 5 times as many pages in its databases) - is free, encyclopaedias have little by way of a competitive advantage.

Will Content Ever be Profitable
By: Sam Vaknin

THE CURRENT WORRIES

1. Content Suppliers The Ethos of Free Content Content Suppliers is the underprivileged sector of the Internet. They all lose money (even sites which offer basic, standardized goods - books, CDs), with the exception of sites proffering sex or tourism. No user seems to be grateful for the effort and resources invested in creating and distributing content. The recent breakdown of traditional roles (between publisher and author, record company and singer, etc.) and the direct access the creative artist is gaining to its paying public may change this attitude of ingratitude but hitherto there are scarce signs of that. Moreover, it is either quality of presentation (which only a publisher can afford) or ownership and (often shoddy) dissemination of content by the author. A really qualitative, fully commerce enabled site costs up to 5,000,000 USD, excluding site maintenance and customer and visitor services. Despite these heavy outlays, site designers are constantly criticized for lack of creativity or for too much creativity. More and more is asked of content purveyors and creators. They are exploited by intermediaries, hitchhikers and other parasites. This is all an off-shoot of the ethos of the Internet as a free content area. Most of the users like to surf (browse, visit sites) the net without reason or goal in mind. This makes it difficult to apply to the web traditional marketing techniques. What is the meaning of "targeted audiences" or "market shares" in this context? If a surfer visits sites which deal with aberrant sex and nuclear physics in the same session - what to make of it? Moreover, the public and legislative backlash against the gathering of surfer's data by Internet ad agencies and other web sites - has led to growing ignorance regarding the profile of Internet users, their demography, habits, preferences and dislikes. "Free" is a key word on the Internet : it used to belong to the US Government and to a bunch of universities. Users like information, with emphasis on news and data about new products. But they do not like to shop on the net - yet. Only 38% of all surfers made a purchase during 1998. It would seem that users will not pay for content unless it is unavailable elsewhere or qualitatively rare or made rare. One way to "rarefy" content is to review and rate it.
2. Quality-rated Content There is a long term trend of clutter-breaking website-rating and critique. It may have a limited influence on the consumption decisions of some users and on their willingness to pay for content. Browsers already sport "What's New" and "What's Hot" buttons. Most Search Engines and directories recommend specific sites. But users are still cautious. Studies discovered that no user, no matter how heavy, has consistently re-visited more than 200 sites, a minuscule number. Some recommendation services often produce random - at times, wrong - selections for their users. There are also concerns regarding privacy issues. The backlash against Amazon's "readers circles" is an example. Web Critics, who work today mainly for the printed press, publish their wares on the net and collaborate with intelligent software which hyperlinks to web sites, recommends them and refers users to them. Some web critics (guides) became identified with specific applications - really, expert systems -which incorporate their knowledge and experience. Most volunteerbased directories (such as the "Open Directory" and the late "Go" directory) work this way. The flip side of the coin of content consumption is investment in content creation, marketing, distribution and maintenance.
3. The Money Where is the capital needed to finance content likely to come from? Again, there are two schools: According to the first, sites will be financed through advertising - and so will search engines and other applications accessed by users. Certain ASPs (Application Service Providers which rent out access to application software which resides on their servers) are considering this model. The recent collapse in online advertising rates and clickthrough rates raised serious doubts regarding the validity and viability of this model. Marketing gurus, such as Seth Godin went as far as declaring "interruption marketing" (=ads and banners) dead. The second approach is simpler and allows for the existence of non-commercial content. It proposes to collect negligible sums (cents or fractions of cents) from every user for every visit ("micro-payments"). These accumulated cents will enable the site-owners to update and to maintain them and encourage entrepreneurs to develop new content and invest in it. Certain content aggregators (especially of digital textbooks) have adopted this model (Questia, Fathom). The adherents of the first school point to the 5 million USD invested in advertising during 1995 and to the 60 million or so invested during 1996. Its opponents point exactly at the same numbers : ridiculously small when contrasted with more conventional advertising modes. The potential of advertising on the Net is limited to 1.5 billion USD annually in 1998, thundered the pessimists. The actual figure was double the prediction but still woefully small and inadequate to support the internet's content development. Compare these figures to the sale of Internet software (4 billion), Internet hardware (3 billion), Internet access provision (4.2 billion in 1995 alone!). Even if online advertising were to be restored to its erstwhile glory days, other bottlenecks remain. Advertising encourages the consumer to interact and to initiate the delivery of a product to him. This - the delivery phase - is a slow and enervating epilogue to the exciting affair of ordering online. Too many consumers still complain of late delivery of the wrong or defective products. The solution may lie in the integration of advertising and content. The late Pointcast, for instance, integrated advertising into its news broadcasts, continuously streamed to the user's screen, even when inactive (it had an active screen saver and ticker in a "push technology"). Downloading of digital music, video and text (e-books) leads to the immediate gratification of consumers and increases the efficacy of advertising. Whatever the case may be, a uniform, agreed upon system of rating as a basis for charging advertisers, is sorely needed. There is also the question of what does the advertiser pay for? The rates of many advertisers (Procter and Gamble, for instance) are based not on the number of hits or impressions (=entries, visits to a site). - but on the number of the times that their advertisement was hit (page views), or clicked through. . Finally, there is the paid subscription model - a flop to judge by the experience of the meagre number of sites of venerable and leading newspapers that are on a subscription basis. Dow Jones (Wall Street Journal) and The Economist. Only two. All this is not very promising. But one should never forget that the Internet is probably the closest thing we have to an efficient market. As consumers refuse to pay for content, investment will dry up and content will become scarce (through closures of web sites). As scarcity sets in, consumer may reconsider. Your article deals with the future of the Internet as a medium. Will it be able to support its content creation and distribution operations economically? If the Internet is a budding medium - then we should derive great benefit from a study of the history of its predecessors. The Future History of the Internet a Medium The internet is simply the latest in a series of networks which revolutionized our lives. A century before the internet, the telegraph, the railways, the radio and the telephone have been similarly heralded as "global" and transforming. Every medium of communications goes through the same evolutionary cycle:

Anarchy
The Public Phase
At this stage, the medium and the resources attached to it are very cheap, accessible, under no regulatory constraints. The public sector steps in : higher education institutions, religious institutions, government, not for profit organizations, non governmental organizations (NGOs), trade unions, etc. Bedevilled by limited financial resources, they regard the new medium as a cost effective way of disseminating their messages.
The Internet was not exempt from this phase which ended only a few years ago. It started with a complete computer anarchy manifested in ad hoc networks, local networks, networks of organizations (mainly universities and organs of the government such as DARPA, a part of the defence establishment, in the USA). Non commercial entities jumped on the bandwagon and started sewing these networks together (an activity fully subsidized by government funds). The result was a globe encompassing network of academic institutions. The American Pentagon established the network of all networks, the ARPANET. Other government departments joined the fray, headed by the National Science Foundation (NSF) which withdrew only lately from the Internet.
The Internet (with a different name) became semi-public property - with access granted to the chosen few. Radio took precisely this course. Radio transmissions started in the USA in 1920. Those were anarchic broadcasts with no discernible regularity. Non commercial organizations and not for profit organizations began their own broadcasts and even created radio broadcasting infrastructure (albeit of the cheap and local kind)dedicated to their audiences. Trade unions, certain educational institutions and religious groups commenced "public radio" broadcasts.
The Commercial Phase
When the users (e.g., listeners in the case of the radio, or owners of PCs and modems in the case of the Internet) reach a critical mass - the business sector is alerted. In the name of capitalist ideology (another religion, really) it demands "privatization" of the medium. This harps on very sensitive strings in every Western soul: the efficient allocation of resources which is the result of competition. Corruption and inefficiency are intuitively associated with the public sector ("Other People's Money" - OPM). This, together with the ulterior motives of members of the ruling political echelons (the infamous American Paranoia), a lack of variety and of catering to the tastes and interests of certain audiences and the automatic equation of private enterprise with democracy lead to a privatization of the young medium. The end result is the same: the private sector takes over the medium from "below" (makes offers to the owners or operators of the medium that they cannot possibly refuse) - or from "above" (successful lobbying in the corridors of power leads to the appropriate legislation and the medium is "privatized"). Every privatization - especially that of a medium - provokes public opposition. There are (usually founded) suspicions that the interests of the public are compromised and sacrificed on the altar of commercialization and rating.

Fears of monopolization and cartelization of the medium are evoked - and proven correct in due course. Otherwise, there is fear of the concentration of control of the medium in a few hands. All these things do happen - but the pace is so slow that the initial fears are forgotten and public attention reverts to fresher issues.
A new Communications Act was enacted in the USA in 1934. It was meant to transform radio frequencies into a national resource to be sold to the private sector which was supposed to use it to transmit radio signals to receivers. In other words : the radio was passed on to private and commercial hands. Public radio was doomed to be marginalized. The American administration withdrew from its last major involvement in the Internet in April 1995, when the NSF ceased to finance some of the networks and, thus, privatized its hitherto heavy involvement in the net.
A new Communications Act was legislated in 1996. It permitted "organized anarchy". It allowed media operators to invade each other's territories. Phone companies were allowed to transmit video and cable companies were allowed to transmit telephony, for instance. This was all phased over a long period of time - still, it was a revolution whose magnitude is difficult to gauge and whose consequences defy imagination. It carries an equally momentous price tag - official censorship. "Voluntary censorship", to be sure, somewhat toothless standardization and enforcement authorities, to be sure - still, a censorship with its own institutions to boot. The private sector reacted by threatening litigation - but, beneath the surface it is caving in to pressure and temptation, constructing its own censorship codes both in the cable and in the internet media. Institutionalization
This phase is the next in the Internet's history, though, it seems, few realize it.
It is characterized by enhanced activities of legislation. Legislators, on all levels, discover the medium and lurch at it passionately. Resources which were considered "free", suddenly are transformed to "national treasures not to be dispensed with cheaply, casually and with frivolity". It is conceivable that certain parts of the Internet will be "nationalized" (for instance, in the form of a licensing requirement) and tendered to the private sector. Legislation will be enacted which will deal with permitted and disallowed content (obscenity ? incitement ? racial or gender bias ?) No medium in the USA (not to mention the wide world) has eschewed such legislation. There are sure to be demands to allocate time (or space, or software, or content, or hardware) to "minorities", to "public affairs", to "community business". This is a tax that the business sector will have to pay to fend off the eager legislator and his nuisance value. All this is bound to lead to a monopolization of hosts and servers. The important broadcast channels will diminish in number and be subjected to severe content restrictions. Sites which will refuse to succumb to these requirements - will be deleted or neutralized. Content guidelines (euphemism for censorship) exist, even as we write, in all major content providers (CompuServe, AOL, Yahoo!-Geocities, Tripod, Prodigy).

The Bloodbath
This is the phase of consolidation. The number of players is severely reduced. The number of browser types will settle on 2-3 (Netscape, Microsoft and Opera?). Networks will merge to form privately owned mega-networks. Servers will merge to form hyper-servers run on supercomputers in "server farms". The number of ISPs will be considerably cut. 50 companies ruled the greater part of the media markets in the USA in 1983. The number in 1995 was 18. At the end of the century they will number 6.
This is the stage when companies - fighting for financial survival - strive to acquire as many users/listeners/viewers as possible. The programming is shallowed to the lowest (and widest) common denominator. Shallow programming dominates as long as the bloodbath proceeds.
From Rags to Riches
Tough competition produces four processes:

1. A Major Drop in Hardware Prices This happens in every medium but it doubly applies to a computer-dependent medium, such as the Internet. Computer technology seems to abide by "Moore's Law" which says that the number of transistors which can be put on a chip doubles every 18 months. As a result of this miniaturization, computing power quadruples every 18 months and an exponential series ensues. Organic-biological-DNA computers, quantum computers, chaos computers - prompted by vast profits and spawned by inventive genius will ensure the continued applicability of Moore's Law. The Internet is also subject to "Metcalf's Law". It says that when we connect N computers to a network - we get an increase of N to the second power in its computing processing power. And these N computers are more powerful every year, according to Moore's Law. The growth of computing powers in networks is a multiple of the effects of the two laws. More and more computers with ever increasing computing power get connected and create an exponential 16 times growth in the network's computing power every 18 months.
2. Content related Fees This was prevalent in the Net until recently. Even potentially commercial software can still be downloaded for free. In many countries television viewers still pay for television broadcasts - but in the USA and many other countries in the West, the basic package of television channels comes free of charge. As users / consumers form a habit of using (or consuming) the software - it is commercialized and begins to carry a price tag. This is what happened with the advent of cable television : contents are sold for subscription or per usage (Pay Per View - PPV) fees. Gradually, this is what will happen to most of the sites and software on the Net. Those which survive will begin to collect usage fees, access fees, subscription fees, downloading fees and other, appropriately named, fees. These fees are bound to be low - but it is the principle that counts. Even a few cents per transaction may accumulate to hefty sums with the traffic which characterizes some web sites on the Net (or, at least its more popular locales).
3. Increased User Friendliness As long as the computer is less user friendly and less reliable (predictable) than television - less of a black box - its potential (and its future) is limited. Television attracts 3.5 billion users daily. The Internet stands to attract - under the most exuberant scenario - less than one tenth of this number of people. The only reasons for this disparity are (the lack of) user friendliness and reliability. Even browsers, among the most user friendly applications ever -are not sufficiently so. The user still needs to know how to use a keyboard and must possess some basic acquaintance with the operating system. The more mature the medium, the more friendly it becomes. Finally, it will be operated using speech or common language. There will be room left for user "hunches" and built in flexible responses.
4. Social Taxes Sooner or later, the business sector has to mollify the God of public opinion with offerings of political and social nature. The Internet is an affluent, educated, yuppie medium. It requires literacy and numeracy, live interest in information and its various uses (scientific, commercial, other), a lot of resources (free time, money to invest in hardware, software and connect time). It empowers - and thus deepens the divide between the haves and have-nots, the developed and the developing world, the knowing and the ignorant, the computer illiterate. In short: the Internet is an elitist medium. Publicly, this is an unhealthy posture. "Internetophobia" is already discernible. People (and politicians) talk about how unsafe the Internet is and about its possible uses for racial, sexist and pornographic purposes. The wider public is in a state of awe. So, site builders and owners will do well to begin to improve their image: provide free access to schools and community centres, bankroll internet literacy classes, freely distribute contents and software to educational institutions, collaborate with researchers and social scientists and engineers. In short: encourage the view that the Internet is a medium catering to the needs of the community and the underprivileged, a mostly altruist endeavour. This also happens to make good business sense by educating and conditioning a future generation of users. He who visited a site when a student, free of charge - will pay to do so when made an executive. Such a user will also pass on the information within and without his organization. This is called media exposure. The future will, no doubt, will be witness to public Internet terminals, subsidized ISP accounts, free Internet classes and an alternative "non-commercial, public" approach to the Net. This may prove to be one more source of revenue to content creators and distributors.

Jamaican Overdrive - LDC's and LCD's
By: Sam Vaknin

OverDrive - an e-commerce, software conversion and epublishing applications leader - has just expanded an e-book technology centre by adding 200 e-book editors. This happened in Montego Bay, Jamaica - one of the less privileged spots on earth. The centre now provides a vertical e-publishing service - from manuscript editing to conversion to Quark (for POD), Adobe, and MS Reader ebook formats. Thus, it is not confined to the classic sweatshop cum production centre so common in Less Developed Countries (LDC's). It is a full fledged operation with access to cutting edge technology. The Jamaican OverDrive is the harbinger of things to come and the outcome of a confluence of a few trends. First, there is the insatiable appetite big publishers (such as McGraw-Hill, Random House, and Harper Collins) have developed to converting their hitherto inertial backlists into e-books. Gone are the days when e-books were perceived as merely a novel form of packaging. Publishers understood the cash potential this new distribution channel offers and the value added to stale print tomes in the conversion process. This epiphany is especially manifest in education and textbook publishing.
Then there is the maturation of industry standards, readers and audiences. Both the supply side (title lists) and the demand side (readership) have increased. Giants like Microsoft have successfully entered the fray with new e-book reader applications, clearer fonts, and massive marketing. Retailers - such as Barnes and Noble - opened their gates to e-books. A host of independent publishers make good use of the negligible-cost distribution channel that the Internet is. Competition and positioning are already fierce - a good sign. The Internet used to be an English, affluent middle-class, white collar, male phenomenon. It has long lost these attributes. The digital divides that opened up with the early adoption of the Net by academe and business - are narrowing. Already there are more women than men users and English is the language of less than half of all web sites. The wireless Net will grant developing countries the chance to catch up. Astute entrepreneurs are bound to take advantage of the business-friendly profile of the manpower and investmenthungry governments of some developing countries. It is not uncommon to find a mastery of English, a college degree in the sciences, readiness to work outlandish hours at a fraction of wages in Germany or the USA - all combined in one employee in these deprived countries. India has sprouted a whole industry based on these competitive endowments.
Here is how Steve Potash, OverDrive's CEO, explains his daring move in OverDrive's press release dated May 22, 2001: "Everyone we are partnering with in the US and worldwide has been very excited and delighted by the tremendous success and quality of eBook production from OverDrive Jamaica. Jamaica has tremendous untapped talent in its young people. Jamaica is the largest English-speaking nation in the Caribbean and their educational and technical programs provide us with a wealth of quality candidates for careers in electronic publishing. We could not have had this success without the support and responsiveness of the Jamaican government and its agencies. At every stage the agencies assisted us in opening our technology centre and staffing it with trained and competent eBook professionals. OverDrive Jamaica will be pioneering many of the advances for extending books, reference materials, textbooks, literature and journals into new digital channels - and will shortly become the foremost centre for eBook automation serving both US and international markets". Druanne Martin, OverDrive's Director of publishing services elaborates:
""With Jamaica and Cleveland, Ohio sharing the same time zone (EST), we have our US and Jamaican production teams in sync. Jamaica provides a beautiful and warm climate, literally, for us to build long-term partnerships and to invite our publishing and content clients to come and visit their books in production".
The Jamaican Minister of Industry, Commerce and Technology, the Hon. Phillip Paulwell reciprocates: "We are proud that OverDrive has selected Jamaica to extend its leadership in eBook technology. OverDrive is benefiting from the investments Jamaica has made in developing the needed infrastructure for IT companies to locate and build skilled workforces here."
There is nothing new in outsourcing back office work (insurance claims processing, air ticket reservations, medical records maintenance) to third world countries, such as (the notable example) India. Research and Development is routinely farmed out to aspiring first world countries such as Israel and Ireland. But OverDrive's Jamaican facility is an example of something more sophisticated and more durable. Western firms are discovering the immense pools of skills, talent, innovation, and top notch scientific and other education often offered even by the poorest of nations. These multinationals entrust the locals now with more than keyboarding and responding to customer queries using fake names. The Jamaican venture is a business partnership. In a way, it is a topsyturvy world. Digital animation is produced in India and consumed in the States. The low compensation of scientists attracts the technology and R&D arms of the likes of General Electric to Asia and Intel to Israel. In other words, there are budding signs of a reversing brain drain - from West to East.
E-publishing is at the forefront of software engineering, econsumerism, intellectual property technologies, payment systems, conversion applications, the mobile Internet, and, basically, every important trend in network and computing and digital content. Its migration to warmer and cheaper climates may be inevitable. OverDrive sounds happy enough.

An Ambarrassment of Riches
By: Sam Vaknin

http://www.doi.org/

The Internet is too rich. Even powerful and sophisticated search engines, such as Google, return a lot of trash, dead ends, and Error 404's in response to the most well-defined query, Boolean operators and all. Directories created by human editors - such as Yahoo! or the Open Directory Project - are often overwhelmed by the amount of material out there. Like the legendary blob, the Internet is clearly out of classificatory control. Some web sites - like Suite101 - have introduced the old and tried Dewey subject classification system successfully used in non-virtual libraries for more than a century. Books - both print and electronic - (actually, their publishers) get assigned an ISBN (International Standard Book Number) by national agencies. Periodical publications (magazines, newsletters, bulletins) sport an ISSN (International Serial Standard Number). National libraries dole out CIP's (Cataloguing in Publication numbers), which help lesser outfits to catalogue the book upon arrival. But the emergence of new book formats, independent publishing, and self publishing has strained this already creaking system to its limits. In short: the whole thing is fast developing into an awful mess.
Resolution is one solution.
Resolution is the linking of identifiers to content. An identifier can be a word, or a phrase. RealNames implemented this approach and its proprietary software is now incorporated in most browsers. The user types a word, brand name, phrase, or code, and gets re-directed to a web site with the appropriate content. The only snag: RealNames identifiers are for sale. Thus, its identifiers are not guaranteed to lead to the best, only, or relevant resource. Similar systems are available in many languages. Nexet, for example, provides such a resolution service in Hebrew.
The Association of American Publishers (APA) has an Enabling Technologies Committee. Fittingly, at the Frankfurt Book Fair of 1997, it announced the DOI (Digital Object Identifier) initiative. An International DOI Foundation (IDF) was set up and invited all publishers - American and non-American alike - to apply for a unique DOI prefix. DOI is actually a private case of a larger system of "handles" developed by the CNRI (Corporation for National Research Initiatives). Their "Handle Resolver" is a browser plug-in software, which re-directs their handles to URL's or other pieces of data, or content. Without the Resolver, typing in the handle simply directs the user to a few proxy servers, which "understand" the handle protocols.

The interesting (and new) feature of the system is its ability to resolve to MULTIPLE locations (URL's, or data, or content). The same identifier can resolve to a Universe of inter-related information (effectively, to a mini-library). The content thus resolved need not be limited to text. Multiple resolution works with audio, images, and even video. The IDF's press release is worth some extensive quoting: "Imagine you're the manager of an Internet company reading a story online in the "Wall Street Journal" written by Stacey E. Bressler, a co-author of Communities of Commerce, and at the end of the story there is a link to purchase options for the book.
Now imagine you are an online retailer, a syndicator or a reporter for an online news service and you are reading a review in "Publishers Weekly" about Communities of Commerce and you run across a link to related resources. And imagine you are in Buenos Aires, and in an online publication you encounter a link to "D-Lib Magazine", an electronic journal produced in Washington, D.C. which offers you locale-specific choices for downloading an article. The above examples demonstrate how multiple resolution can present you with a list of links from within an electronic document or page. The links beneath the labels - URLs and email addresses - would all be stored in the DOI System, and multiple resolution means any or all of those links can be displayed for you to select from in one menu. Any combination of links to related resources can be included in these menus. Capable of providing much richer experiences then single resolution to a URL, Multiple Resolution operates on the premise that content, not its location, is identified. In other words, where content and related resources reside is secondary information. Multiple Resolution enables content owners and distributors to identify their intellectual property with bound collections of related resources at a hyperlink's point of departure, instead of requiring a user to leave the page to go to a new location for further information.
A content owner controls and manages all the related resources in each of these menus and can determine which information is accessible to each business partner within the supply chain. When an administrator changes any facet of this information, the change is simultaneous on all internal networks and the Internet. A DOI is a permanent identifier, analogous to a telephone number for life, so tomorrow and years from now a user can locate the product and related resources wherever they may have been moved or archived to." The IDF provides a limited, text-only, online demonstration. When sweeping with the cursor over a linked item, a pop-down menu of options is presented. These options are pre-defined and customized by the content creators and owners. In the first example above (book purchase options) the DOI resolves to retail outlets (categorized by book formats), information about the title and the author, digital rights management information (permissions), and more. The DOI server generates this information in "real time", "on the fly". But it is the author, or (more often) the publisher that choose the information, its modes of presentation, selections, and marketing and sales data. The ingenuity is in the fact that the DOI server's files and records can be updated, replaced, or deleted. It does not affect the resolution path - only the content resolved to.
Which brings us to e-publishing.
The DOI Foundation has unveiled the DOI-EB (EB stands for ebooks) Initiative in the Book Expo America Show 2001, to, in their words:
"Determine requirements with respect to the application of unique identifiers to eBooks
Develop proofs-of-concept for the use of DOIs with eBooks Develop technical demonstrations, possibly including a prototype eBook Registration Agency."
It is backed by a few major publishers, such as McGraw-Hill, Random House, Pearson, and Wiley.
This ostensibly modest agenda conceals a revolutionary and ambitious attempt to unambiguously identify the origin of digital content (in this case, e-books) and link a universe of information to each and every ID number. Aware of competing efforts underway, the DOI Foundation is actively courting the likes of "indecs" (Interoperability of Data in E-Commerce System) and OeBF (Open e-Book). Companies ,like Enpia Systems of South Korea (a DOI Registration Agency), have already implemented a DOI-cum-indecs system. On November 2000, the APA's (American Publishers' Association) Open E-book Publishing Standards Initiative has recommended to use DOI as the primary identification system for e-books' metadata. The MPEG (Motion Pictures Experts Group) is said to be considering DOI seriously in its efforts to come up with numbering and metadata standards for digital videos. A DOI can be expressed as a URN (Universal Resource Name - IETF's syntax for generic resources) and is compatible with OpenURL (a syntax for embedding parameters such as identifiers and metadata in links). Shortly, a "Namespace Dictionary" is to be published. It will encompass 800 metadata elements and will tackle ebooks, journals, audio, and video. A working group was started to develop a "services definition" interface (i.e., to allow web-enabled systems, especially e-commerce and m-commerce systems, to deploy DOI).
The DOI, in other words, is designed to be all-inclusive and all-pervasive. Each DOI number is made of a prefix, specific to a publisher, and a suffix, which could end up painlessly assimilating the ISBN and ISSN (or any other numbering and database) system.
Thus, a DOI can be assigned to every e-book based on its ISBN and to every part (chapter, section, or page) of every e-book. This flexibility could support Pay Per View models (such as Questia's or Fathom's), POD (Print On Demand), and academic "course packs", which comprise material from many textbooks, whether on digital media or downloadable. The DOI, in other words, can underlie D-CMS (Digital Content Management Systems) and Electronic Catalogue ID Management Systems. Moreover, the DOI is a paradigm shift (though, conceptually, it was preceded by the likes of the UPC code and the ISO's HyTime multimedia standard). It blurs the borders between types of digital content. Imagine an e-novel with the video version of the novel, the sound track, still photographs, a tourist guide, an audio book, and other digital content embedded in it. Each content type and each segment of each content type can be identified and tagged separately and, thus, sold separately - yet all under the umbrella of the same DOI! The nightmare of DRM (digital rights management) may be finally over.

But the DOI is much more than a sophisticated tagging technology. It comes with multiple resolution (see "Embarrassment of Riches - Part I"). In other words, as opposed to the URL (Universal Resource Locator) - it is generated dynamically, "on the fly", by the user, and is not "hard coded" into the web page. This is because the DOI identifies content - not its location. And while the URL resolves to a single web page - the DOI resolves to a lot more in the form of publisher-controlled (ONIX-XML) "metadata" in a pop-up (Javascript or other) screen. The metadata include everything from the author's name through the book's title, edition, blurbs, sample chapters, other promotional material, links to related products, a rights and permissions profile, e-mail contacts, and active links to retailers' web pages. Thus, every book-related web page becomes a full fledged book retailing gateway. The "anchor document" (in which the DOI is embedded) remains uncluttered. ONIX 2.0 may contain standard metadata fields and extensions specific to e-publishing and ebooks.

This latter feature - the ability to link to the systems of retailers, distributors, and other types of vendors - is the "barcode" function of the DOI. Like barcode technology, it helps to automate the supply chain, and update the inventory, ordering, billing and invoicing, accounting, and re-ordering databases and functions. Besides tracking content use and distribution, the DOI allows to seamlessly integrate hitherto disparate e-commerce technologies and facilitate interoperability among DRM systems.
The resolution itself can take place in the client's browser (using a software plug-in), in a proxy server, or in a central, dynamic server. Resolving from the client's PC, ebook reader, or PDA has the advantage of being able to respond to the user's specific condition (location, time of day, etc.). No plug-in is required when a proxy server HTTP is used - but then the DOI becomes just another URL, embedded in the page when it is created and not resolved when the user clicks on it. The most user-friendly solution is, probably, for a central server to look up values in response to a user's prompt and serve her with cascading menus or links. Admittedly, in this option, the resolution tables (what DOI links to what URL's and to what content) is not really dynamic. It changes only with every server update and is static between updates. But this is a minor inconvenience. As it is, users are likely to respond with some trepidation to the need to install plug-ins and to the avalanche of information their single, innocuous, mouse click generates. The DOI Foundation has compiled this impressive list of benefits - and beneficiaries:
"Publishers to enable cross referencing to related information, control over metadata, viral distribution and sales, easy access to content, sale of granular content Consumers to increase value for time and money, and purchase options
Distributors to facilitate sale and distribution of materials as well as user needs
Retailers to build related materials on their sites, heighten consumer usability and copyright protection Conversion Houses/Wholesaler Repositories to increase access to and use of metadata
DRM Vendors/Rights Clearing Houses to enable interoperability and use of standards
Data Aggregators to enable compilation of primary and secondary content and print on demand
Trade Associations facilitate dialog on social level and attend to legal and technical perspectives pertaining to multiple versions of electronic content eBbook software Developers to enable management of personal collections of eBooks including purchase receipt information as reference for quick return to retailer Content Management System Vendors to enable internal synching with external usage
Syndicators to drive sales to retailers, add value to retail online store/sales, and increase sales for publishers" The DOI is assigned to publishers by Registration Agencies (of which there are currently three - CrossRef and Content Directions in the States and the aforementioned Enpia Systems in Asia). It is already widely used to cross reference almost 5,000 periodicals with a database of 3,000,000 citations. The price is steep - it costs a publisher $200 to get a prefix and submit DOI's to the registry. But as Registration Agencies proliferate, competition is bound to slash these prices precipitously.

The Fall and Fall of the P-Zine

By: Sam Vaknin
http://home.wuliweb.com/index.shtml
http://www.pshares.org/

The circulation of print magazines has declined precipitously in the last 24 months. This dissolution of subscriber bases has accelerated dramatically as economic recession set in. But a diminishing wealth effect is only partly to blame. The managements of printed periodicals - from dailies to quarterlies - failed miserably to grasp the Internet's potential and potential threat. They were fooled by the lack of convenient and cheap e-reading devices into believing that old habits die hard. They do - but magazine reading is not habit forming. Readers' loyalties are fickle and shift according to content and price. The Web offers cornucopial and niche-targeted content - free of charge or very cheaply. This is hard to beat and is getting harder by the day as natural selection among dot.bombs spares only quality content providers.
Consider Ploughshares, the Literary Journal. It is a venerable, not for profit, print journal published by Emerson College, now marking its 30th anniversary. It recently inaugurated its web sibling. The project consumed three years and $125,000 (grant from the Wallace-Reader's Digest Funds). Every title Ploughshares has ever published was indexed (over 18,000 journal pages digitized). In all, the "website will offer free access to over 2,750 poems and short stories from past and current issues."
The more than 2000 (!) authors ever published in Ploughshares will each maintain a personal web page comprising biographical notes, press releases, new books and events announcements and links to other web sites. This is the Yahoo! formula. Content generated by the authors will thus transform Ploughshares into a leading literary portal.

But Ploughshares did not stop at this standard features. A "bookshelf" will link to book reviews contributed online (and augmented by the magazine's own prestigious offerings). An annotated bookstore is just a step away (though Ploughshares' web site does not include one hitherto). The next best thing is a rights-management application used by the journal's authors to grant online publishing permissions for their work to third parties.

No print literary magazine can beat this one stop shop. So, how can print publications defend themselves? By being creative and by not conceding defeat is how. Consider WuliWeb's example of thinking outside the printed box.
It is a simple online application which enables its users to "send, save and share material from print publications". Participating magazines and newspapers print "WuliCodes" on their (physical) pages and WuliWeb subscribers barcode-scan, or manually enter them into their online "Content Manager" via keyboard, PDA, pager, cell phone, or fixed phone (using a PIN). The service is free (paid for by the magazine publishers and advertisers) and, according to WuliWeb, offers these advantages to its users:
"Once you choose to use WuliWeb's free service, you will no longer have to laboriously "tear and share" print articles or ads that you want to archive or share with colleagues or friends. You will be able to store material sourced from print publications permanently in your own secure, electronic files, and you can share this material instantly with any number of people. Magazine and Newspaper Publishers will now have the ability to distribute their online content more widely and to offer a richer experience to their readers. Advertisers will be able to deploy dynamic and media-rich content to attract and convert customers, and will be able to communicate more completely with their customers."
Links to the shared material are stored in WuliWeb's central database and users gain access to them by signing up for a (free) WuliWeb account. Thus, the user's mailbox is unencumbered by huge downloads. Moreover, WuliWeb allows for a keywords-based search of articles saved. Perhaps the only serious drawback is that WuliWeb provides its users only with LINKS to content stored on publishers' web sites. It is a directory service - not a full text database. This creates dependence. Links may get broken. Whole web sites vanish. Magazines and their publishers go under. All the more reason for publishers to adopt this service and make it their own.

The Internet and the Library

By: Sam Vaknin
"In this digital age, the custodians of published works are at the center of a global copyright controversy that casts them as villains simply for doing their job: letting people borrow books for free."
(ZDNet quoted by "Publisher's Lunch on July 13, 2001) It is amazing that the traditional archivists of human knowledge - the libraries - failed so spectacularly to ride the tiger of the Internet, that epitome and apex of knowledge creation and distribution. At first, libraries, the inertial repositories of printed matter, were overwhelmed by the rapid pace of technology and by the ephemeral and anarchic content it spawned. They were reduced to providing access to dull card catalogues and unimaginative collections of web links. The more daring added online exhibits and digitized collections. A typical library web site is still comprised of static representations of the library's physical assets and a few quasi-interactive services.
This tendency - by both publishers and libraries - to inadequately and inappropriately pour old wine into new vessels is what caused the recent furor over e-books.

The lending of e-books to patrons appears to be a natural extension of the classical role of libraries: physical book lending. Libraries sought also to extend their archival functions to e-books. But librarians failed to grasp the essential and substantive differences between the two formats. E-books can be easily, stealthily, and cheaply copied, for instance. Copyright violations are a real and present danger with e-books. Moreover, e-books are not a tangible product. "Lending" an e-book - is tantamount to copying an e-book. In other words, e-books are not books at all. They are software products. Libraries have pioneered digital collections (as they have other information technologies throughout history) and are still the main promoters of e-publishing. But now they are at risk of becoming piracy portals. Solutions are, appropriately, being borrowed from the software industry. NetLibrary has lately granted multiple user licences to a university library system. Such licences allow for unlimited access and are priced according to the number of the library's patrons, or the number of its reading devices and terminals. Another possibility is to implement the shareware model - a trial period followed by a purchase option or an expiration, a-la Rosetta's expiring e-book.

Distributor Baker & Taylor have unveiled at the recent ALA a prototype e-book distribution system jointly developed by ibooks and Digital Owl. It will be sold to libraries by B&T's Informata division and Reciprocal.

The annual subscription for use of the digital library comprises "a catalog of digital content, brandable pages and web based tools for each participating library to customize for their patrons. Patrons of participating libraries will then be able to browse digital content online, or download and check out the content they are most interested in. Content may be checked out for an extended period of time set by each library, including checking out eBooks from home." Still, it seems that B&T's approach is heavily influenced by software licencing ("one copy one use").

But, there is an underlying, fundamental incompatibility between the Internet and the library. They are competitors. One vitiates the other. Free Internet access and e-book reading devices in libraries notwithstanding - the Internet, unless harnessed and integrated by libraries, threatens their very existence by depriving them of patrons. Libraries, in turn, threaten the budding software industry we, misleadingly, call "e-publishing".
There are major operational and philosophical differences between physical and virtual libraries. The former are based on the tried and proven technology of print. The latter on the chaos we know as cyberspace and on user-averse technologies developed by geeks and nerds, rather than by marketers, users, and librarians.
Physical libraries enjoy great advantages, not the least being their habit-forming head start (2,500 years of first mover advantage). Libraries are hubs of social interaction and entertainment (the way cinemas used to be). Libraries have catered to users' reference needs in reference centres for centuries (and, lately, through Selective Dissemination of Information, or SDI). The war is by no means decided. "Progress" may yet consist of the assimilation of hi-tech gadgets by lo-tech libraries. It may turn out to be convergence at its best, as librarians become computer savvy - and computer types create knowledge and disseminate it.

A Brief History of the Book

By: Sam Vaknin
"The free communication of thought and opinion is one of the most precious rights of man; every citizen may therefore speak, write and print freely."
(French National Assembly, 1789)
I. What is a Book?
UNESCO's arbitrary and ungrounded definition of "book" is: ""Non-periodical printed publication of at least 49 pages excluding covers".
But a book, above all else, is a medium. It encapsulates information (of one kind or another) and conveys it across time and space. Moreover, as opposed to common opinion, it is - and has always been - a rigidly formal affair. Even the latest "innovations" are nothing but ancient wine in sparkling new bottles.
Consider the scrolling protocol. Our eyes and brains are limited readers-decoders. There is only that much that the eye can encompass and the brain interpret. Hence the need to segment data into cognitively digestible chunks. There are two forms of scrolling - lateral and vertical. The papyrus, the broadsheet newspaper, and the computer screen are three examples of the vertical scroll - from top to bottom or vice versa. The e-book, the microfilm, the vellum, and the print book are instances of the lateral scroll - from left to right (or from right to left, in the Semitic languages). In many respects, audio books are much more revolutionary than e-books. They do not employ visual symbols (all other types of books do), or a straightforward scrolling method. E-books, on the other hand, are a throwback to the days of the papyrus. The text cannot be opened at any point in a series of connected pages and the content is carried only on one side of the (electronic) "leaf". Parchment, by comparison, was multipaged, easily browseable, and printed on both sides of the leaf. It led to a revolution in publishing and to the print book. All these advances are now being reversed by the e-book. Luckily, the e-book retains one innovation of the parchment - the hypertext. Early Jewish and Christian texts (as well as Roman legal scholarship) was written on parchment (and later printed) and included numerous inter-textual links. The Talmud, for example, is made of a main text (the Mishna) which hyperlinks on the same page to numerous interpretations (exegesis) offered by scholars throughout generations of Jewish learning.
Another distinguishing feature of books is portability (or mobility). Books on papyrus, vellum, paper, or PDA - are all transportable. In other words, the replication of the book's message is achieved by passing it along and no loss is incurred thereby (i.e., there is no physical metamorphosis of the message).

The book is like a perpetuum mobile. It spreads its content virally by being circulated and is not diminished or altered by it. Physically, it is eroded, of course - but it can be copied faithfully. It is permanent.
Not so the e-book or the CD-ROM. Both are dependent on devices (readers or drives, respectively). Both are technologyspecific and format-specific. Changes in technology - both in hardware and in software - are liable to render many e-books unreadable. And portability is hampered by battery life, lighting conditions, or the availability of appropriate infrastructure (e.g., of electricity).
II. The Constant Content Revolution
Every generation applies the same age-old principles to new "content-containers". Every such transmutation yields a great surge in the creation of content and its dissemination. The incunabula (the first printed books) made knowledge accessible (sometimes in the vernacular) to scholars and laymen alike and liberated books from the scriptoria and "libraries" of monasteries. The printing press technology shattered the content monopoly. In 50 years (1450-1500), the number of books in Europe surged from a few thousand to more than 9 million! And, as McLuhan has noted, it shifted the emphasis from the oral mode of content distribution (i.e., "communication") to the visual mode.
E-books are threatening to do the same. "Book ATMs" will provide Print on Demand (POD) services to faraway places. People in remote corners of the earth will be able to select from publishing backlists and front lists comprising millions of titles. Millions of authors are now able to realize their dream to have their work published cheaply and without editorial barriers to entry. The e-book is the Internet's prodigal son. The latter is the ideal distribution channel of the former. The monopoly of the big publishing houses on everything written - from romance to scholarly journals - is a thing of the past. In a way, it is ironic. Publishing, in its earliest forms, was a revolt against the writing (letters) monopoly of the priestly classes. It flourished in nontheocratic societies such as Rome, or China - and languished where religion reigned (such as in Sumeria, Egypt, the Islamic world, and Medieval Europe).
With e-books, content will once more become a collaborative effort, as it has been well into the Middle Ages. Authors and audience used to interact (remember Socrates) to generate knowledge, information, and narratives. Interactive e-books, multimedia, discussion lists, and collective authorship efforts restore this great tradition. Moreover, as in the not so distant past, authors are yet again the publishers and sellers of their work. The distinctions between these functions is very recent. E-books and POD partially help to restore the pre-modern state of affairs. Up until the 20th century, some books first appeared as a series of pamphlets (often published in daily papers or magazines) or were sold by subscription. Serialized e-books resort to these erstwhile marketing ploys. E-books may also help restore the balance between best-sellers and midlist authors and between fiction and textbooks. E-books are best suited to cater to niche markets, hitherto neglected by all major publishers.

III. Literature for the Millions
E-books are the quintessential "literature for the millions". They are cheaper than even paperbacks. John Bell (competing with Dr. Johnson) published "The Poets of Great Britain" in 1777-83. Each of the 109 volumes cost six shillings (compared to the usual guinea or more). The Railway Library of novels (1,300 volumes) costs 1 shilling apiece only eight decades later. The price continued to dive throughout the next century and a half. E-books and POD are likely to do unto paperbacks what these reprints did to originals. Some reprint libraries specialized in public domain works, very much like the bulk of e-book offering nowadays.
The plunge in book prices, the lowering of barriers to entry due to new technologies and plentiful credit, the proliferation of publishers, and the cutthroat competition among booksellers was such that price regulation (cartel) had to be introduced. Net publisher prices, trade discounts, list prices were all anti-competitive inventions of the 19th century, mainly in Europe. They were accompanied by the rise of trade associations, publishers organizations, literary agents, author contracts, royalties agreements, mass marketing, and standardized copyrights. The sale of print books over the Internet can be conceptualized as the continuation of mail order catalogues by virtual means. But e-books are different. They are detrimental to all these cosy arrangements. Legally, an e-book may not be considered to constitute a "book" at all. Existing contracts between authors and publishers may not cover e-books. The serious price competition they offer to more traditional forms of publishing may end up pushing the whole industry to redefine itself. Rights may have to be re-assigned, revenues redistributed, contractual relationships re-thought. Moreover, e-books have hitherto been to print books what paperbacks are to hardcovers - re-formatted renditions. But more and more authors are publishing their books primarily or exclusively as e-books. E-books thus threaten hardcovers and paperbacks alike. They are not merely a new format. They are a new mode of publishing.
Every technological innovation was bitterly resisted by Luddite printers and publishers: stereotyping, the iron press, the application of steam power, mechanical typecasting and typesetting, new methods of reproducing illustrations, cloth bindings, machine-made paper, ready-bound books, paperbacks, book clubs, and book tokens. Without exception, they relented and adopted the new technologies to their considerable commercial advantage. It is no surprise, therefore, that publishers were hesitant to adopt the Internet, POD, and epublishing technologies. The surprise lies in the relative haste with which they came to adopt it, egged on by authors and booksellers.
IV. Intellectual Pirates and Intellectual Property Despite the technological breakthroughs that coalesced to form the modern printing press - printed books in the 17th and 18th centuries were derided by their contemporaries as inferior to their laboriously hand-made antecedents and to the incunabula. One is reminded of the current complaints about the new media (Internet, e-books), its shoddy workmanship, shabby appearance, and the rampant piracy.

The first decades following the invention of the printing press, were, as the Encyclopedia Britannica puts it "a restless, highly competitive free for all ... (with) enormous vitality and variety (often leading to) careless work". There were egregious acts of piracy - for instance, the illicit copying of the Aldine Latin "pocket books", or the all-pervasive piracy in England in the 17th century (a direct result of over-regulation and coercive copyright monopolies). Shakespeare's work was published by notorious pirates and infringers of emerging intellectual property rights. Later, the American colonies became the world's centre of industrialized and systematic book piracy. Confronted with abundant and cheap pirated foreign books, local authors resorted to freelancing in magazines and lecture tours in a vain effort to make ends meet.
Pirates and unlicenced - and, therefore, subversive - publishers were prosecuted under a variety of monopoly and libel laws (and, later, under national security and obscenity laws). There was little or no difference between royal and "democratic" governments. They all acted ruthlessly to preserve their control of publishing. John Milton wrote his passionate plea against censorship, Areopagitica, in response to the 1643 licencing ordinance passed by Parliament. The revolutionary Copyright Act of 1709 in England established the rights of authors and publishers to reap the commercial fruits of their endeavours exclusively, though only for a prescribed period of time.
V. As Readership Expanded
The battle between industrial-commercial publishers (fortified by ever more potent technologies) and the arts and craftsmanship crowd never ceased and it is raging now as fiercely as ever in numerous discussion lists, fora, tomes, and conferences. William Morris started the "private press" movement in England in the 19th century to counter what he regarded as the callous commercialization of book publishing. When the printing press was invented, it was put to commercial use by private entrepreneurs (traders) of the day. Established "publishers" (monasteries), with a few exceptions (e.g., in Augsburg, Germany and in Subiaco, Italy) shunned it and regarded it as a major threat to culture and civilization. Their attacks on printing read like the litanies against selfpublishing or corporate-controlled publishing today. But, as readership expanded (women and the poor became increasingly literate), market forces reacted. The number of publishers multiplied relentlessly. At the beginning of the 19th century, innovative lithographic and offset processes allowed publishers in the West to add illustrations (at first, black and white and then in color), tables, detailed maps and anatomical charts, and other graphics to their books. Battles fought between publishers-librarians over formats (book sizes) and fonts (Gothic versus Roman) were ultimately decided by consumer preferences. Multimedia was born. The e-book will, probably, undergo a similar transition from being the static digital rendition of a print edition - to being a lively, colorful, interactive and commercially enabled creature. The commercial lending library and, later, the free library were two additional reactions to increasing demand. As early as the 18th century, publishers and booksellers expressed the fear that libraries will cannibalize their trade. Two centuries of accumulated experience demonstrate that the opposite has happened. Libraries have enhanced book sales and have become a major market in their own right. VI. The State of Subversion
Publishing has always been a social pursuit and depended heavily on social developments, such as the spread of literacy and the liberation of minorities (especially, of women). As every new format matures, it is subjected to regulation from within and from without. E-books (and, by extension, digital content on the Web) will be no exception. Hence the recurrent and current attempts at regulation.
Every new variant of content packaging was labeled as "dangerous" at its inception. The Church (formerly the largest publisher of bibles and other religious and "earthly" texts and the upholder and protector of reading in the Dark Ages) castigated and censored the printing of "heretical" books (especially the vernacular bibles of the Reformation) and restored the Inquisition for the specific purpose of controlling book publishing. In 1559, it published the Index Librorum Prohibitorum ("Index of Prohibited Books"). A few (mainly Dutch) publishers even went to the stake (a habit worth reviving, some current authors would say...). European rulers issued proclamations against "naughty printed books" (of heresy and sedition). The printing of books was subject to licencing by the Privy Council in England. The very concept of copyright arose out of the forced registration of books in the register of the English Stationer's Company (a royal instrument of influence and intrigue). Such obligatory registration granted the publisher the right to exclusively copy the registered book (often, a class of books) for a number of years - but politically restricted printable content, often by force. Freedom of the press and free speech are still distant dreams in many corners of the earth. The Digital Millennium Copyright Act (DMCA), the V-chip and other privacy invading, dissemination inhibiting, and censorship imposing measures perpetuate a veteran if not so venerable tradition.
VII. The More it Changes
The more it changes, the more it stays the same. If the history of the book teaches us anything it is that there are no limits to the ingenuity with which publishers, authors, and booksellers, re-invent old practices. Technological and marketing innovations are invariably perceived as threats - only to be adopted later as articles of faith. Publishing faces the same issues and challenges it faced five hundred years ago and responds to them in much the same way. Yet, every generation believes its experiences to be unique and unprecedented. It is this denial of the past that casts a shadow over the future. Books have been with us since the dawn of civilization, millennia ago. In many ways, books constitute our civilization. Their traits are its traits: resilience, adaptation, flexibility, self re-invention, wealth, communication. We would do well to accept that our most familiar artifacts - books - will never cease to amaze us.

The Affair of the Vanishing Content

By: Sam Vaknin

http://www.archive.org/
"Digitized information, especially on the Internet, has such rapid turnover these days that total loss is the norm. Civilization is developing severe amnesia as a result; indeed it may have become too amnesiac already to notice the problem properly."
(Stewart Brand, President, The Long Now Foundation ) Thousands of articles and essays posted by hundreds of authors were lost forever when themestream.com surprisingly shut its virtual gates. A sizable portion of the 1960 census, recorded on UNIVAC II-A tapes, is now inaccessible. Web hosts crash daily, erasing in the process valuable content. Access to web sites is often suspended - or blocked altogether - because of a real (or imagined) violation by the webmaster of the host's Terms of Service (TOS). Millions of other web sites - the results of collective, multi-annual, transcontinental efforts - contain unique stores of information in the form of databases, articles, discussion threads, and links to other web sites. Consider "Central Europe Review". Its archives comprise more than 2500 articles and essays about every conceivable aspect of Central and Eastern Europe and the Balkan. It is one of countless such collections. Similar and much larger treasures have perished since the dawn of the digital age in the 1920's. Very few early radio and TV programs have survived, for instance. The current "digital dark age" can be compared only to the one which followed the torching of the Library of Alexandria. The more accessible and abundant the information available to us - the more devalued and common it becomes and the less institutional and cultural memory we seem to possess. In the battle between paper and screen, the former has won formidably. Newspaper archives, dating back to the 1700's are now being digitized - testifying to the endurance, resilience, and longevity of paper. Enter the "Internet Libraries", or Digital Archival Repositories (DAR). These are libraries that provide free access to digital materials replicated across multiple servers ("safety in redundancy"). They contain Web pages, television programming, films, e-books, archives of discussion lists, etc. Such materials can help linguists trace the development of language, journalists conduct research, scholars compare notes, students learn, and teachers teach. The Internet's evolution mirrors closely the social and cultural history of North America at the end of the 20th century. If not preserved, our understanding of who we are and where we are going will be severely hampered. The clues to our future lie ensconced in our past. It is the only guarantee against repeating the mistakes of our predecessors. Long gone Web pages cached by the likes of Google and Alexa constitute the first tier of such archival undertaking. The Stanford Archival Vault (SAV) in Stanford University assigns a numerical handle to every digital "object" (record) in a repository.

The handle is the clever numerical result of a mathematical formula whose input is the number of information bits in the original object being deposited. This allows to track and uniquely identify records across multiple repositories. It also prevents tampering. SAV also offers application layers. These allow programmers to develop digital archive software and permit users to change the "view" (the interface) of an archive and thus to mine data. Its "reliability layer" verifies the completeness and accuracy of digital repositories.
The Internet Archive, a leading digital depository, in its own words:
"...is working to prevent the Internet -- a new medium with major historical significance -- and other "born-digital" materials from disappearing into the past. Collaborating with institutions including the Library of Congress and the Smithsonian, we are working to permanently preserve a record of public material."
Data storage is the first phase. It is not as simple as it sounds. The proliferation of formats of digital content has made it necessary to develop a standard for archiving Internet objects. The size of the digitized collections must pose a serious challenge as far as timely retrieval is concerned. Interoperability issues (numerous formats and readers) probably requires software and hardware plug-ins to render a smooth and transparent user interface.
Moreover, as time passes, digital data, stored on magnetic media, tend to deteriorate. It must be copied to newer media every 10 years or so ("migration"). Advances in hardware and software applications render many of the digital records indecipherable (try reading your word processing files from 1981, stored on 5.25" floppies!). Special emulators of older hardware and software must be used to decode ancient data files. And, to ameliorate the impact of inevitable natural disasters, accidents, bankruptcies of publishers, and politically motivated destruction of data - multiple copies and redundant systems and archives must be maintained. As time passes, data formatting "dictionaries" will be needed. Data preservation is hardly useful if the data cannot be searched, retrieved, extracted, and researched. And, as "The Economist" put it ("The Economist Technology Quarterly, September 22nd, 2001), without a "Rosetta Stone" of data formats, future deciphering of stored the data might prove to be an insurmountable obstacle.
Last, but by no means least, Internet libraries are Internet based. They themselves are as ephemeral as the historical record they aim to preserve. This tenuous cyber existence goes a long way towards explaining why our paperless offices consume much more paper than ever before.

Revolt of the Poor - The Demise of Intellectual Property By: Sam Vaknin
Three years ago I published a book of short stories in Israel. The publishing house belongs to Israel's leading (and exceedingly wealthy) newspaper. I signed a contract which stated that I am entitled to receive 8% of the income from the sales of the book after commissions payable to distributors, shops, etc. A few months later (1997), I won the coveted Prize of the Ministry of Education (for short prose). The prize money (a few thousand DMs) was snatched by the publishing house on the legal grounds that all the money generated by the book belongs to them because they own the copyright. In the mythology generated by capitalism to pacify the masses, the myth of intellectual property stands out. It goes like this : if the rights to intellectual property were not defined and enforced, commercial entrepreneurs would not have taken on the risks associated with publishing books, recording records, and preparing multimedia products. As a result, creative people will have suffered because they will have found no way to make their works accessible to the public. Ultimately, it is the public which pays the price of piracy, goes the refrain.
But this is factually untrue. In the USA there is a very limited group of authors who actually live by their pen. Only select musicians eke out a living from their noisy vocation (most of them rock stars who own their labels - George Michael had to fight Sony to do just that) and very few actors come close to deriving subsistence level income from their profession. All these can no longer be thought of as mostly creative people. Forced to defend their intellectual property rights and the interests of Big Money, Madonna, Michael Jackson, Schwarzenegger and Grisham are businessmen at least as much as they are art