Now, as well as not reading the WSJ, I also do not read this sort of Magazine. The mags I do read I scan, when I meet a full page of text, like this, I scan it for nuggets and then flip on - incidentally forwards, since I read mags, like Hebrew Bibles from right-to-left ;) If this Bible's intended audience read mags the way I do, they won't get quite (what I'd assume) the intended effect of
the opening of Joshua! Andrew links this to the Samuel
The Bible Illuminated is an example of a range of classic texts that are attracting new audiences through modern methods of storytelling.The diary of Samuel Pepys has been turned into a blog, with daily entries corresponding to the 17th-century original, at www.pepysdiary.com. The creator, British actor Phil Gyford, says the site gets around 35,000 unique visitors each month. "I thought I'd like to read the diaries, but the 10 volumes were a daunting prospect,"he says. Transmitting it as a blog "seemed obvious," he says.Now, it seems to me too, "obvious" that Pepys diary would make a good blog, the form and medium "fit". But I am not convinced that either the new Swedish Bible Magazine, or the earlier Teenage Mag versions, do fit form and medium to the content and genres of the Bible. Now, Joshua is not a good text for my argument, since narrative can perhaps be effectively transposed into very different forms and still "work", but imagine one of Paul's letters... One big glossy picture, and one page of Pauline prose... Yawn! As you know I prefer the audio route... (to check it out try some of the recent Romans from PodBible).
I also think i'll end up with a valuable platform for leveraging and disseminating my work over the long run — one that could radically revise conventional notions of shelf life. Cutting Loose, my book about women and divorce (HarperCollins, 1997) is still in print; imagine what sales would look like if it were at the hub of an ongoing social network, and what a rich site that would be?The early adopter in me, however, wonders - just a little - what the point of the print edition will be... especially in the light of all the rave reviews of Amazon's proprietary (lock you in to us as your supplier), pay as you go (even for "converting" your own PDFs), expensive (and not even available) Kindle over at Lifehacker ;)
The notion that the Bible has authority has been very significant in statements of faith and constitutions of many churches and Christian movements. Yet understandings of what textual authority might mean are inevitably different when the text is expressed in different media. Concepts of textual authority that have dominated understanding of such church documents have been drawn almost exclusively from print-dominated cultures. Yet, in addition to a historical progression from oral to written, from scroll to codex (at least in Christian circles), and from manuscript to print, the biblical text has always been variously mediated. Oral and written mediations of the text existed alongside each other since the precanonical phase. The biblical manuscript tradition remediated (Bolter's term) the text in many ways, adding spaces between the words, adding commentary around the text, illumination and other "decorations".
Contemporary remediation of the Bible is even more varied and extensive. In print medium a plethora of consumer Bibles each mediates the text in distinct ways, as each also imitates earlier mediations of the authoritative text. From early renderings of the Bible in audio tape and video film, more recently digital delivery and production of such non-written media has enabled an explosion of non-written biblical "texts".
This paper examines the "technologies of authority" (the term used in different fields by Akkermans and Schwartz, Katznelson and Zolberg, Salmón Muñiz, and Tatlock) that different mediations of the biblical text utilise. It will also explore how the concept of "aura" (Benjamin) throws light of discussion of biblical authority in an electronically dominated media culture. It then attempts to generate a framework for understanding how notions of the (biblical) text as authority interact with changes of medium.
Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. The MIT Press, 2000.
Katznelson, Ira, and Aristide R. Zolberg. Working-Class Formation: Nineteenth-Century Patterns in Western Europe And. Princeton UniversityPress, 1986.
Salmón Muñiz, Fernando. “Technologies of Authority in the Medical Classroom in the Thirteenth and Fourteenth Centuries.” Http://purl.org/dc/dcmitype/text. http://dialnet.unirioja.es/servlet/articulo?codigo=1312778.
Tatlock, Lynne . “Authority, Prestige, and Value: Professionalization in the Musicians' Novels of Wolfgang Caspar Printz and Johann Kuhnau .” In The Construction of Textual Authority in German Literature of the Medieval and Early Modern Periods . Edited by James F. Poag and Claire Baldwin. Chapel Hill: University of North Carolina, 2001.
…the new album, inBut if all you want is the music, of the basic album, why download it and pay whatever you think is right. That's right, you fix the price.
rainbows, on CD and on 2 x 12 inch heavyweight vinyl records.
A second, enhanced CD contains more new songs, along with digital photographs
The discbox also includes artwork and lyric booklets.
All are encased in a hardback book and slipcase.
Radiohead is trusting its fans to do the right thing, or something approximating the right thing.And I tend to think they will.File under "needless to say:" It's very hard to imagine an actual big-deal record label attempting anything like this.Amy Phillips on Pitchfork wrote:
Haha, the entire record industry is so fucked!AKMA expressed similar sentiments more verbosely but decorously:
You prosper in the digital environment by giving away what the internetI am convinced they are right... But how do people (say biblical scholars) who do not get paid mega-bucks for personal appearances and the like pay for the other people's work needed for a successful publication. Our own work is either a hobby or we are paid for it as part of our job, but whatever format we choose except the casual blog, we need proofreaders, designers, film editors etc... to help make the "product"... how do we pay them?
makes easy and by charging for what the internet doesn’t
facilitate (personal appearances, physical artifacts like packaging,
clothing, books, and so on). It’s that simple, but some
people and some corporate entities want to force the internet to
conform to the properties and characteristics of a pre-digital
environment. In the long run, they’ll be as successful as the
dinosaurs who commanded mammals to respond the the ice age by voluntary
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