what the devil may well be used Twitter?
- To know the color of the cat
first novel published in French on Twitter is called thixotropy. His broadcast began on 1 August
can follow @ christophesims
Twitter tweet just to chirp that means in English. Where the bird logo. This is the latest microblogging service fashion whose principle is to respond in less than 140 characters to the question "What are you doing right now?" Question
apparently without any interest . Because who cares what I do now? Curiously, Twitter knows However, since 2006 exponential growth. Does this mean that the same virtual exhibitionism is the main motivation of the users of the Net?
Especially as opposed to other platforms such as Facebook, Twitter is fundamentally asymmetric: each chooses who he wants to follow without that tracking can not do anything about it.
Unless Twitter offers something new.
Twitter The basic rule is elementary: not more than 140 characters per tweet (message).
Fragmentation of a novel packet of less than 140 characters may seem contradictory to the very nature of a story-book, be closed (although the novel can open up unlimited opportunities) and tangible.
For 15 years, all attempts by publishers to create an electronic book failed. For one simple reason: to give an e-book looks like a paper book combines the disadvantages of both. It's a bit like giving the shape of a horse to a car: we s'arriérait above.
No, the electronic medium must be used for what it is, like Slate, for example: a support intangible, weightless, free pages, not paper, more nomadic in its way as his ancestor's book, it is available from any terminal connected to the Internet.
This new mode of publication raises substantive issues in the literature especially as the movement does not stop there. One can easily anticipate the medium term a market system, with subscription and pay twitters.
It allows, however, explore new avenues as an editorial writer started by the literary blogging.
From a literary standpoint, The Twilivres (books published on Twitter) have an impressive success in the Far East and especially in Japan, where several authors have reached the one million followers. Manga culture is a relatively easy extension to this literature. But there is one other unknown reason, linguistic one. The rules also apply to 140 characters ideograms, which are more than signs. Ideograms 140 equivalent or less the same number of words in an alphabetic language, or French, with an average of 5 characters per word, an equivalent of 600 to 700 characters. The texts are no longer fractionated with the same frequency somewhat destructuring (or too structuring) that the rule requires alphabetic systems.
In France, the limit on the number of signs refers to the work of the Oulipo. The group Twitter 140car working in this direction. A distinguished grammarian says that Twitter even improves cognitive and language of those who engage in it.
But if the media requires the fragmentation of the text, thixotropy, as did The French Revolution novel twitterisé - could we not write in French chirped? - USA by Matt Stewart since July 14, did not provided written under duress of the 140 signs.
it is more an adaptation of a matrix medium of writing.
The most innovative aspect of Twitter for the publishing world.
By definition, a book buyer does not know what it contains, since by definition it can not know what it contains once it has read. Except to fall back on literary critics or word of mouth. But the ruling
criticism is not impervious to all sorts of pressures, patterns, references elevator or simply miscalculation. Word of mouth, like the telephone game for children, is of relevance particularly distorted the chain of interlocutors is long.
Hence the emphasis placed by publishers in terms of marketing, as that term is ugly - the title, illustration and the back cover of the book to differentiate the mass of publications.
In all cases, it is to trust others. The reader could not rely on it directly to the author?
It remains only to rely on the reputation of the writer or engage at random. All this is very human, but ultimately we do not know what you buy.
Basically, buy a book is to buy a pig in a poke. There is
Perhaps the revolution brings Twitter: there is no need to pay the book to find out. The author coos freely within the network and the reader can enjoy, appreciate, fragment by fragment, the text.
He knows the color of the cat before you buy.
Then, if he wishes, he may then decide to put their hands in the pocket, knowingly. Is not very price to download an electronic version, load it to print (without ultimately having a real book.)
If it is intrinsically bibliophile or, it may also order the paper book directly to the author (PoD) or through a publisher and / or a bookseller, who can still play a role if they adapt to this new .
Roland Barthes wrote so presciently: "A text is made of multiple writings, from several cultures and come together with others dialogue ... But there is a place where this multiplicity comes together, and this place is not the author ... it is the reader: the reader is the space where part ... all the citations is done writing, the unity of a text is not in its origin but in its destination. "(in The rustle of language, Critical Essays IV, 1984).
Many wonder what the devil can use Twitter. It is in its multiple destinations that saw the book, ie its readers. So that at the very least, Twitter should reflect the world of literature: a new form of relationship with its readers the writer is being born.
Christopher Sims.
- To know the color of the cat
first novel published in French on Twitter is called thixotropy. His broadcast began on 1 August
can follow @ christophesims
Twitter tweet just to chirp that means in English. Where the bird logo. This is the latest microblogging service fashion whose principle is to respond in less than 140 characters to the question "What are you doing right now?" Question
apparently without any interest . Because who cares what I do now? Curiously, Twitter knows However, since 2006 exponential growth. Does this mean that the same virtual exhibitionism is the main motivation of the users of the Net?
Especially as opposed to other platforms such as Facebook, Twitter is fundamentally asymmetric: each chooses who he wants to follow without that tracking can not do anything about it.
Unless Twitter offers something new.
Twitter The basic rule is elementary: not more than 140 characters per tweet (message).
Fragmentation of a novel packet of less than 140 characters may seem contradictory to the very nature of a story-book, be closed (although the novel can open up unlimited opportunities) and tangible.
For 15 years, all attempts by publishers to create an electronic book failed. For one simple reason: to give an e-book looks like a paper book combines the disadvantages of both. It's a bit like giving the shape of a horse to a car: we s'arriérait above.
No, the electronic medium must be used for what it is, like Slate, for example: a support intangible, weightless, free pages, not paper, more nomadic in its way as his ancestor's book, it is available from any terminal connected to the Internet.
This new mode of publication raises substantive issues in the literature especially as the movement does not stop there. One can easily anticipate the medium term a market system, with subscription and pay twitters.
It allows, however, explore new avenues as an editorial writer started by the literary blogging.
From a literary standpoint, The Twilivres (books published on Twitter) have an impressive success in the Far East and especially in Japan, where several authors have reached the one million followers. Manga culture is a relatively easy extension to this literature. But there is one other unknown reason, linguistic one. The rules also apply to 140 characters ideograms, which are more than signs. Ideograms 140 equivalent or less the same number of words in an alphabetic language, or French, with an average of 5 characters per word, an equivalent of 600 to 700 characters. The texts are no longer fractionated with the same frequency somewhat destructuring (or too structuring) that the rule requires alphabetic systems.
In France, the limit on the number of signs refers to the work of the Oulipo. The group Twitter 140car working in this direction. A distinguished grammarian says that Twitter even improves cognitive and language of those who engage in it.
But if the media requires the fragmentation of the text, thixotropy, as did The French Revolution novel twitterisé - could we not write in French chirped? - USA by Matt Stewart since July 14, did not provided written under duress of the 140 signs.
it is more an adaptation of a matrix medium of writing.
The most innovative aspect of Twitter for the publishing world.
By definition, a book buyer does not know what it contains, since by definition it can not know what it contains once it has read. Except to fall back on literary critics or word of mouth. But the ruling
criticism is not impervious to all sorts of pressures, patterns, references elevator or simply miscalculation. Word of mouth, like the telephone game for children, is of relevance particularly distorted the chain of interlocutors is long.
Hence the emphasis placed by publishers in terms of marketing, as that term is ugly - the title, illustration and the back cover of the book to differentiate the mass of publications.
In all cases, it is to trust others. The reader could not rely on it directly to the author?
It remains only to rely on the reputation of the writer or engage at random. All this is very human, but ultimately we do not know what you buy.
Basically, buy a book is to buy a pig in a poke. There is
Perhaps the revolution brings Twitter: there is no need to pay the book to find out. The author coos freely within the network and the reader can enjoy, appreciate, fragment by fragment, the text.
He knows the color of the cat before you buy.
Then, if he wishes, he may then decide to put their hands in the pocket, knowingly. Is not very price to download an electronic version, load it to print (without ultimately having a real book.)
If it is intrinsically bibliophile or, it may also order the paper book directly to the author (PoD) or through a publisher and / or a bookseller, who can still play a role if they adapt to this new .
Roland Barthes wrote so presciently: "A text is made of multiple writings, from several cultures and come together with others dialogue ... But there is a place where this multiplicity comes together, and this place is not the author ... it is the reader: the reader is the space where part ... all the citations is done writing, the unity of a text is not in its origin but in its destination. "(in The rustle of language, Critical Essays IV, 1984).
Many wonder what the devil can use Twitter. It is in its multiple destinations that saw the book, ie its readers. So that at the very least, Twitter should reflect the world of literature: a new form of relationship with its readers the writer is being born.
Christopher Sims.
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