As I mentioned some time ago, I was invited to participate in this year’s Non-Fiction Conference sponsored and organized by the Dutch Foundation for Literature. This year’s focus was on “Quality Non-Fiction in the Digital Era,” so there were a number of presentations about new developments, the future of publishing and reading, etc.
Unlike some of the other digitally-focused conferences I’ve attended (such as TOC Frankfurt), this was less about “what’s possible” and more about “what this means.” Which was refreshing and very interesting.
The foundation did record all of the talks, and has made most (soon to be all?) available on YouTube. (I personally love all the stills . . . We all look a bit over-enthused with our hand gestures and what not.)
All of the speeches were great, and to make this even easier, here are links and quick summaries to the speeches that are available:
Sara Lloyd of Pan Macmillan gave a great overview of where we are in terms of ebooks and the digital market.
Richard Nash’s speech isn’t online (yet), but he talked about the coming Age of Abundance and how economic theory provides a basis for arguing that this abundance will force prices to zero.
Jos de Mul talked about the impact of technology on human imagination from a philosophical perspective.
Harry Blom’s speech isn’t up yet either, but he talked about Springer and publishing edatabase versions of journals.
Henry Volans from Faber and Faber talked about this as well, but from a publisher’s perspective.
Nicky Harman discussed the role of translators in this digital age.
Finally, I talked about reading and discovery in the Age of Screens. But I’ll talk more about that in a separate post . . . For now, I just want to encourage you to check out some of these videos. I think you’ll find them very interesting and enjoyable. (And we were all limited to 10 minutes, so they’re short.)
Not sure how long this has been available online, but you can now download a lot of the presentations from the inaugural Tools of Change Frankfurt conference.
Lot of interesting ones, including:
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .