The business of literature and the algorithms of culture
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Richard Nash will explore the development of publishing as an industrial enterprise. An enterprise that has been central to the development of capitalism and democracies. Richard will continue to explore the changes from the industrial revolution to todays networked economy and what will come after that, and how this has and will affect marketing, using examples and comparisons from Amazon to Netflix and beyond. Presentation given at Abu Dhabi International Book Fair Professional Program 2015. The session was part of the ADIBF Academy Certificate - Future Proof Publisher 2015.
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The business of literature and the algorithms of culture
- 1. The Business of Literature and (the Algorithms of) Culture n: Richard Nash e: rnash@rnash.com t: @R_Nash
- 3. early 1500s: Publishing 1.0
- 4. early 1500s: Writing 2.0
- 11. early 1500s: Writing 2.0
- 12. The Digital Publishing Revolution begins... July 1985:
- 13. 1950: 8K
- 15. 1950: 8K 1990: 35K 1997: 120K
- 16. 1950: 8K 1990: 35K 1997: 120K 2004: 275K
- 17. 1950: 8K 1990: 35K 1997: 120K 2004: 275K 2010: 315K
- 18. 1950: 8K 1990: 35K 1997: 120K 2004: 275K 2010: 315K
- 19. 1950: 8K 1990: 35K 1997: 120K 2004: 275K 2010: 315K 1993: MP3 standard released 2001: iPod goes on sale 2005: ProTools on a sub$1.5K computer
- 20. The 20th century was about sorting out supply...
- 21. The 20th century was about sorting out supply... The 21st century will be about sorting out demand.
- 24. A book is more than a verbal structure or series of verbal structures; it is the dialogue it establishes with its reader and the intonation it imposes upon his voice and the changing and durable images it leaves in his memory. A book is not an isolated being: it is a relationship, an axis of innumerable relationships. —Borges, “A Note on (toward) Bernard Shaw”
- 26. culture is.
- 30. “We’re writing things that we can no longer read.”
- 35. “We’re writing things that we can no longer read.”
- 36. “As the teams have grown better at predicting human preferences, the more incomprehensible their computer programs have become, even to their creators. Each team has lined up a gantlet of scores of algorithms, each one analyzing a slightly different correlation between movies and users. The upshot is that while the teams are producing ever-more-accurate recommendations, they cannot precisely explain how they’re doing this. Chris Volinsky admits that his team’s program has become a black box, its internal logic unknowable.”— Clive Thompson in the New York Times Magazine, writing on the Netflix Prize algorithms
- 37. Novels
- 38. Novels Break
- 40. Filter vs Map
- 46. Infinite Stories
- 47. I’m Richard Nash. You can email me anytime at rnash@rnash.com I mean it. (It’s the freemium consulting model.) There’s also Twitter: I’m @R_Nash. And my website is http://RNash.com (And my secret project is http://Sirens.io)