The link below is to an article that looks at the new LibraryThing’s iPhone app.
For more visit:
http://the-digital-reader.com/2015/10/20/librarything-launches-an-iphone-app/
The link below is to an article that looks at the new LibraryThing’s iPhone app.
For more visit:
http://the-digital-reader.com/2015/10/20/librarything-launches-an-iphone-app/
The link below is to an article that provides 10 reasons why print is better than digital – do you agree?
For more visit:
http://38enso.com/?p=1949
The links below are to articles that take a look at the latest from Epic, an ebook subscription service for kids.
For more visit:
– http://goodereader.com/blog/e-book-news/epic-unlimited-books-for-kids-reaches-10-million-e-books-read
– http://www.digitalbookworld.com/2015/ebook-service-epic-is-netflix-for-kids/
The link below is to an article that takes a look at the recent Goodreads iOS update for book pages.
For more visit:
https://www.goodreads.com/blog/show/567-will-i-like-this-new-book-page-on-goodreads-ios-app-has-the-answer
Virginia Barbour, Australian National University; Danny Kingsley, University of Cambridge; James Bradley, University of Melbourne; Keyan Tomaselli, University of Johannesburg; Lucy Montgomery, Curtin University, and Tom Cochrane, Queensland University of Technology
Open access means making peer reviewed works freely available in digital form, so that anyone with internet access can use them, without financial, legal or technical barriers. It allows users to download, copy, print and distribute works, without the need to ask for permission or to pay.
To the mark the eighth annual Open Access Week, we asked what readers wanted to know about the initiative.
Why do we need open access? How can I use it? Is it better for the sciences or the humanities?
Lucy Montgomery: Open access is a powerful mechanism for widening access to knowledge and for increasing the impact of research beyond universities. Because it makes peer-reviewed scholarship free at the point of use, open access helps ensure people who need knowledge can access it, even if they can’t afford to pay for it.
Patients scouring the internet for the latest information about rare medical conditions, scholars in the developing world, and practitioners who want to apply evidence-based research to challenges they face every day, are just a few examples of groups who benefit from open access.
The global shift to open access is being driven by a consensus that the public has a right to access publicly funded research outputs. Closed publishing models rely on recovering the costs of publishing research by selling access to it. This made sense in a print-dominated world, when the marginal costs associated with making and distributing physical copies of books and journals was high; it makes much less sense in digital landscapes where the costs of making additional copies of a work once it’s been published are very low.

Gideon Burton/Flickr, CC BY-SA
Once a work has been made open access, it’s free for anyone in the world to read or download. This is a boon for anyone who has ever been frustrated by a pay wall, for teachers looking for resources that can be shared easily with students, and for scholars who hope their work will contribute to a wider body of knowledge.
Although open access has been faster to take off in the sciences, it also has important benefits for scholars working in the humanities: helping authors to share their work with the communities that they write both for and about, and making knowledge and ideas available to new audiences.
How can journals meet the costs of editing, typesetting, proofreading, website construction and management if they move from subscriptions to open access?
Keyan Tomaselli: One of the key blind spots in open access discussions is the cost it poses to publishers. Journals that are not funded by foundations or universities are financially vulnerable in an open access environment unless they start charging for publishing articles. This is because their “permissions income stream”, which are paid to journals through national copyright agencies when their articles are reproduced in student course packs, will dry up.
In this model, the burden of payment will shift from reader or library payment for downloads or subscriptions, to author or institution for articles to be published. The assumption that open access is free – after data charges are paid – is wrong because though readers can access articles for free, authors and their institutions will end up paying so journals can recoup their costs. Data charges relate to the cost of internet access and downloading.
Too often one forgets that such accessing of the internet has cost implications too. And then there are journal post-production costs, including online platform hosting, marketing, discoverability, and archiving, among other things.
Open scholarship includes open notebook, open data and open review as well as open access. What are more systematic and rigorous treatments of open scholarship?

Gideon Burton/Flickr, CC BY-SA
Danny Kingsley: There’s an increasing amount of research and discussion about open scholarship about integrity and researcher support; research management; assumptions and challenges; and about how we capture what’s being produced in repositories.
But although the nature of research is changing profoundly, the current system still only rewards and recognises traditional publication. Opening up scholarship has multiple benefits: research claims can be verified, work doesn’t have to be repeated to recreate the data, and data can be analysed from other perspectives.
It’s now possible to put a digital “stamp” on different scholarly outputs, called digital object identifiers (or DOIs). This means a researcher can be cited when another uses their work, and receive recognition.
By having an “open process” in research, we can put digital stamps on all aspects of research, such as progress in thinking through an online discussion paper, for instance; new techniques; and approaches and experiments. These can themselves be cited and therefore rewarded, rather than only recognising traditional published outputs.
How do we ensure research published under open access continues to have a system of rigorous quality checks, such as peer review, that can cope with the enormous load of research looking for publication?
James Bradley: We can’t ensure rigorous peer review of research will be undertaken under open access. Not only that, we know for sure that the explosion of open access journals has allowed for the publication of not just bogus work, but also work that’s irrelevant or useless for scientific or the whole academic enterprise.
How do we know this? For starters, there was an infamous sting in late 2013 that revealed a nonsensical piece of research was accepted for publication by a large number of open access journals. Then, there’s the research showing the huge numbers of “predatory” journals, which are basically in it for the money. The academic or the academic’s institution pays for publication and the piece gets in, regardless of quality. That’s why so many researchers often get emails from start-up journals soliciting our work — for a fee. It’s all about profit.

Gideon Burton/Flickr, CC BY-SA
To mitigate this situation, there’s the Directory of Open Access Journals, which is supposed to act as quality control. If you make it on to the list, then you are supposed to be reputable. But some of the journals that have made it to the list are, in fact, “predatory”.
But it’s false to assume that all research that makes it into a front-rank publication is great or that all work in pay-for-publication journals is junk. The peer review system has always had flaws. Ultimately, there’s another form of quality control that transcends peer review and lies in the after-life of a publication — the opinion of your peers.
And this can, to some extent, be measured by metrics through citation databases. But it’s also reflected in the status and reputation accorded by your peers. It was ever thus, and most definitely remains the best form of quality control.
To what extent does this issue go beyond the machinations of open access versus the nuances of what’s free and not free, to the problem of the role of the university in a world where capitalism and the internet frame much of what we do?
Tom Cochrane: Open access has three points of origin. These, in no particular order, are the interests of the researcher in greater exposure and readership; the distorted economics of the price of scholarly communication (as distinct from the true cost of academic publishing); and the fact that the internet has made open access possible in the first place.

Gideon Burton/Flickr, CC BY-SA
As the debate about open access has matured, it has also become clear that greater openness can also provide protection against research fraud or dishonesty. Openness in access to research outputs, research data and research processes, enhances replication capability, and allows review.
Open access has no particular correlation or causal relationship with the broader role of universities, other than to improve the efficiency and integrity of research and to increase the likelihood of greater integration with their various communities. It’s certainly true that we wouldn’t have seen it develop without the internet and, as such, the movement is another case of innovation and disruption of legacy models.
Where are we getting with the movement, year to year? How much concrete progress has there been as opposed to awareness raising?
Virginia Babour: There’s no doubt that the open access has come a long way. There are now mandates for open access in many countries and institutions globally.
These mandates vary in what they require. Some, like the one in the United Kingdom, are primarily supported through publication in open access journals. Others, like Australia’s funding councils’ mandates, are via deposition of an author’s research in university repositories.
There’s also been an explosion of different technologies around open access, including new ideas on what can be published – just parts of articles, such as figures, fir instance – and new models for publishing open access books.
Finally, the infrastructure to support open access is developing with licenses for publishing, which lay out clearly how articles can be used. And identifiers for people and documents (even parts of documents), so there can be better linking of scholarly literature.
Open access is an evolving ecosystem. There will be different models to fit different specialities and probably different countries. But that’s fine if it works.
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Virginia Barbour, Executive Officer, Australasian Open Access Support Group, Australian National University; Danny Kingsley, Executive Officer for the Australian Open Access Support Group, University of Cambridge; James Bradley, Lecturer in History of Medicine/Life Science, University of Melbourne; Keyan Tomaselli, Distinguished Professor, University of Johannesburg; Lucy Montgomery, Director, Centre for Culture and Technology, Curtin University, and Tom Cochrane, Adjunct Professor Faculty of Law, Queensland University of Technology
This article was originally published on The Conversation. Read the original article.
Maya Sapiurka, University of California, San Diego

Richard Lee/flickr, CC BY-NC-ND
One of the most interesting and entertaining parts of following my favourite authors on Twitter is witnessing a little bit of the writing process.
Getting a peek into how my favourite books are written is like watching a real-time behind-the-scenes DVD featurette. But not every update is a positive one. There’s something that haunts all writers, be they professional or amateur: writer’s block.
Writer’s block can be difficult to define, because no two people share the same experience of it. Probably the simplest and most straightforward definition comes from Dr. Patricia Huston:
a distinctly uncomfortable inability to write.
But what could be the cause of this vaguely described problem? Has a writer’s Muse simply deserted them, or can we find an explanation hidden somewhere in the brain?
While there haven’t been any published scientific studies on people with writer’s block, we can take a few different avenues to try and determine what parts of the brain may be affected. One of those is looking at where words come from in the first place.
Language has traditionally been thought to be one of the few skills found in a very specific location in the brain: on the left side of the front part of the brain, fittingly called the frontal lobe.
This is called Broca’s area, named after the scientist who first reported that damage to this area led to the inability to form words, called aphasia. Since writer’s block is, fundamentally, an inability to write down words, this makes the frontal lobe an excellent place to start in researching the underpinnings of writer’s block.

Database Center for Life Science, CC BY-ND
We can also look at writer’s block as an inability to come up with a story, be it fiction, non-fiction, or the story of how to program your remote. Most who experience writer’s block aren’t having trouble producing words – they simply can’t figure out what should happen next.
A small number of studies have looked at the concept of “story creation” and what areas of the brain might be involved. In one study from 2005, participants were presented with a set of three words and asked to create a story based around them.
On some trials, they were asked to “be creative” and on others to “be uncreative”.
When this task was done in an fMRI scanner, which measures blood flow to different regions of the brain as an indicator of increased or decreased activity, there was a significant increase in activity in the prefrontal cortex.

Wikimedia Commons
This increased activity was seen not just on the left side, where Broca’s area is located, but also in the right prefrontal cortex. Some of these areas, such as the anterior cingulate cortex, that are associated with making associations between unrelated concepts – a critical skill for a great writer.
In another study, from 2013, participants were asked to actually write a story while in the fMRI scanner. They were given the first 30 words of a familiar text, asked to brainstorm a continuation of that text, and then given two minutes to physically write out their story. These stories were then scored based on creativity and measured against the brain activity data generated while in the scanner.
Both the “brainstorming” and “creative writing” portions of the experiment showed strong increases in brain activity in the frontal lobe, particularly in the language areas.
In the “brainstorming” condition, the subregions involved included those associated with planning and control, whereas many of those regions involved in the “creative writing” condition were involved with memory and the motor areas related to the physical act of writing.
So when we speak of writer’s block, we may actually be talking about a “creation block” – the inability to make the connections and the plans that allow creative writing to occur.

Nata Luna Sans/flickr, CC BY-NC
So we’ve got an idea of where writer’s block is happening – but what can you do to fight against it? There’s no pill you can take to make it go away, but there are some simple things that you can try to loosen up your frontal lobe, all recommended by Dr. Huston in 1998:
Read someone else’s writing. Studies have shown that people are more creative when they’re exposed to the creative ideas of others. Just make sure you’re only inspired by their writing and not copying from it.
Break the work down into pieces. If you can’t get the introduction to flow the way you want it to, try something in the middle. Check off each part as you finish so you can get an accurate sense of how much you’ve completed.
Write without stopping. Try writing a whole draft without going back and re-reading what you’ve written. Some of it may not be great, but I bet a lot of it will be usable. At the very least, it will give you a place to start.
Plan breaks into your writing schedule. Many swear by the pomodoro technique, but find a rhythm that works for you. Go for a walk or grab a meal with friends or watch that video of the puppy that can’t roll over (a personal favorite). Relaxing will make it easier to get back into the writing spirit.
Don’t procrastinate. The more you put off what you have to write, the more anxiety you’ll feel. This is always my stumbling block (and why I’ve watched half of the second season of Fringe while writing this).
Ultimately, be kind to yourself. You’re not the first to go through this and you’re not the last. Being stuck doesn’t make you a bad writer or a bad person. It makes you a human being with a flawed (but marvellous) brain.
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Maya Sapiurka, Graduate Student, University of California, San Diego
This article was originally published on The Conversation. Read the original article.
The link below is to an article that takes a look at Windows Mobile ebook reading apps.
The link below is to an article that has something of an overview of ebook reading gadgets.
http://teleread.com/chris-meadows/so-many-e-reading-gadgets-so-little-time/
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