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Submitted by on 12 May, 2020 – 4:32 am

Namir Ahmed Anthropologists 200 years in the future discover a traditional text about the Dot-com era. A lovelorn Brit earl fakes amnesia to win back his estranged other half.

Humanity is trapped in a living Nintendo game with no hope of escape.

Thru it all, a banana watches, ridiculing everybody around it as complete fools. These plot lines come straight from latest books — with a twist. Wiki writers stand in sheer contrast to the conventional picture of the solitary, tortured artist. In crowdsourced fiction and nonfiction writing, the social account can trump a literary one. Still, from the entire expressive liberty of “A Million Penguins” to the careful scripting of “These Cruel Games”, each crowd made concrete works, though massively different in length, content, salability, and last format.

“What I’ve learnt is that it’d be feasible to crowdsource a novel, but I suspect it would need to be done in a more controlled way than we did,” asserted Jeremy Ettinghausen, Digital Publisher for the U.K.’s Penguin Books.

“What we made a decision with ‘A Million Penguins’ is that it was ‘all or nothing’ and the experiment was about : there are no rules, there are no breaks, there is no allotment of folk. We had a goal in mind that it was an experiment, and we were all in it together.”. Not that crowdsourced storytelling is anything new. “The technologies are new, not the attitude,” claimed a representative of the Wu Ming Foundation, a Bologna, Italy-based artists collective which has invited crowds to work on books since two thousand.

“Folk culture ( legends, ballads, fairy tales ) has often been ‘crowdsourced’ since it was up to the crowd to form it.” With the expansion of wiki technology, the group has grown massive and gone worldwide with projects increasingly complicated and multi-faceted in scale. “We were getting ten hits a 2nd in the 1st few days, and so many folks accessing it and making so many changes that it was positively chaotic,” Ettinghausen declared in an interview.

This sounds like barely-controlled mayhem to me.

Would a hundred cooks in a kitchen be in a position to create an edible meal? Not bloody likely. Who cares if the end result isn’t perfect — it is a cool way for writers to get together and ( be ) cooperative. After some days, the bunch settled, though participators had no obviously outlined roles ; anyone could write, anyone could edit, at any point, on anything in the forming work. One, who came to be known as “Bananaman,” rewrote tiny sections along a banana-based theme. Ettinghausen described “one scene where someone got stabbed with a sort of stiletto knife, and he modified ‘stiletto knife’ to ‘a sharpened sliver of banana.'”. The finished “A Million Penguins” features a banana version. Another group started a “Choose Your Own Adventure” sub-novel, inviting others to “add to one of the stories, or launch your own genre or story.” Both works, wildly creative in their own right, wiped out the vision of an one-plot oeuvre. With chapter titles like “Les Reflections Dans L’Oeil d’un Chien : Or, How I Learnt French to delight My Daddy,” “The Da Vinci Cod,” and “Artie Wins Insignificant Pursuit” representing standard, it’s obvious a single account thread never formed. The march to the book’s end still led to large, boring output. The project, according to the site, produced “1,031 total pages in the database. This includes ‘talk’ pages, pages about PenguinWiki, minimal ‘stub’ pages, redirects, and others that potentially don’t qualify as content pages. Ignoring those, there are 491 pages that are potentially bonafide content pages.” Reading thru a sampling of these sections attests that liberty, opportunity, challenge, openhandedness, and fun dominated the five-week “here’s-a-blank-page, go-for-it” experiment.

When an objective of crowd sourced writing is to supply a normal book, the right structure helps, whilst permitting unpredictable crowd elements and behavior to shock — a vital component of crowdsourced book writing’s appeal and success. “A cooperative novel just does not work in a line. Giving one contributor a hundred words and giving the subsequent another a hundred words, it becomes this bizarre oneupmanship,” Douglass Rushkoff explained in an interview.

Rushkoff, a teacher and culture documentarian, produced the opensourced account “Exit Strategy,” released in June 2002 by Soft Skull Press. Rushkoff wanted his story of “the Dot-com time and all of the associated insanity” to remain intact.

So he published one role only for his online contributors : 23rd-century anthropologists “annotating the text so that audiences from their time would understand” the plot of Rushkoff’s draft.

“I thought it’d be an engaging way for people to make a tale around a tale without murdering it,” he revealed.

Wark wrote a first draft, and, with the assistance of the Institute for the prospects of the Book, made a custom internet site to border the debate.

“It’s highly useful to have a little number of good-quality dialogue, where you may have a conversation” about the book’s content, Wark related in an interview. Avon Books’ “These Cruel Games,” a crowd-written Regency love novel, was the plum of a six-week writing competition that ended late October 2006.

Avon revealed the contest rules and structured community interaction down to supplying each chapter’s basic plot line. These prompts led community members to write and to work towards creating a single first story. After writers submitted their finished chapter drafts every week, fellow crowd members voted on the “best.” Competitors submitted 1,705 chapters, and more than 147,000 votes were cast to figure out the best efforts.

Most inspiring of all was that folks were ready to contribute with no promise of credit. “The keenness that folks showed for it, for a project where there wasn’t any private recognition,” mused Penguin’s Ettinghausen.

“The quantity of work and time some folk put into it was truly surprising and actually inspiring. We did not desire this to be about folk writing in the hopes that Penguin would notice them and sign them up for a book deal.” writer Margaret Atwood took part, recounted Ettinghausen, and “said that it seemed to be a ton of fun, but that it was writing without responsibility.

So I believe it permitted folk to be quite free in how they wrote, and that was the entire idea that it was incognito and crowd-led, instead of ego-led.”. Crowdsourced book writing is a cultural child with a promising future.

Don Tapscott and Anthony Williams, co-authors of “Wikinomics : How Mass Collusion Changes Everything,” say established publishers and reports outlets will continue to play : they know the growing trend that “content won’t be ‘king’ — content partnership will be.” In an interview Tapscott, referencing from his book, asserted that “this new collusion is both a blessing and curse it will also cause great upheaveal, dislocation and danger for societies, companies and people that fail to keep up with relentless change.”. Social connection, a space to make and to receive immediate feedback, and the experience of something unique, galvanize wiki book writers to immerse themselves. Explained Kate Pullinger, who took part in “A Million Penguins,” “even now, 2 weeks after it’s come to a close, I find it hard to get any viewpoint on the wiki-novel experience. Definitely something where the sum of the parts is larger than the entire — that goes for the complete experience, as far as I’m anxious.

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