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My big news today is that I’m leaving the New York Public Library to take a new position at the Alfred P. Sloan Foundation, where I’ll be the Program Director for Digital Information Technology and the Dissemination of Knowledge, effective September 1. You can watch this space and others for more on where I see [...]

Order ambien without prescription, Over the past few weeks, I've spent a lot of time thinking about library circulation, and where it's heading as collections are increasingly accessed via networks rather than shelves. South Dakota SD , I'd like to kick some of these ideas out to the world; first, a brief history of a related context I know quite well, cheap ambien, Wisconsin WI Wis. , the video store. Draw your own conclusions, generic ambien, Order ambien from canada, and I'll lay out some of my own tomorrow when I can get them down...

When movies were first released on videocassette in the mid-1970's, the assumption was that individual film lovers would buy them for personal use and build home libraries, cheap generic ambien. Pharmacy ambien, Until that point, one could only watch a movie on a pay-per-viewing model (i.e, order ambien online without prescription. Om ambien online, by paying for a seat at a theatrical showing), and since a VCR owner could watch a purchased movie countless times, generic ambien, Cheap ambien pills, individual cassettes were priced at dozens of times the going rate for a box-office ticket.

While a handful of enthusiasts did begin to build home libraries, home video didn't become a mass phenomenon until a different model emerged, order ambien without prescription. Beginning with a handful of entrepreneurs, köpa ambien online, Ambien farmacia a buon mercato, video store owners began sinking substantial up-front resources into buying inventories of movies, then recouping that investment (and hopefully a profit) by charging a rental fee every time a customer borrowed that movie, North Dakota ND . Comprare ambien sconto, Successful storeowners plowed profits into more locations and broader collections, and built a thriving industry between home viewers and movie studios by enabling home viewers to have limited access to items they couldn't or wouldn't purchase on their own, Indiana IN Ind. . Cheap ambien online cheap, This "circulating library" model was opposed by the movie studios, who were never satisfied with the loss of control of their intellectual property (and their ability to monetize it) after its "first sale" to the video storeowner, ambien without a prescription. Order ambien online cheap, Thus, in the late 1980's a new model emerged, where to buy cheap ambien, Kjøpe billig ambien, largely facilitated by a company called Rentrak that offered video stores a license-based rather than purchase-based business model. Order ambien without prescription, Rentrak would supply a store with as many copies of a given movie as the storeowner wanted at a minimal cost, collecting a percentage of each rental transaction (as monitored by Rentrak's software on the store's computers). This enabled video stores to offer guaranteed availability of new releases, comprar ambien baratos, Ambien pills, limited only by physical shelf space - remember the wall containing shelf after shelf of a given movie (replaced the following week by that week's new release, and so on) that became common in the early 1990's, comprar ambien. Cheap ambien online without prescription, Video stores, particularly large chains, shifted to a hybrid business model, relying on licensing agreements for new releases and already-purchased cassettes for the back catalog.

In 2002, Netflix was pitched as a hyper-efficient version of this hybrid video store. Much has been made of the elimination of the physical store in the Netflix model, but the real breakthrough lay in convincing patrons to manage all of their rental choices well in advance of the moment of delivery. By shifting from a store full of movies waiting to be checked out to a "queue" of customer requests that would be steadily filled, Netflix gained the ability to efficiently manage its inventory and anticipate demand across a nation of viewers, order ambien without prescription. Licensing agreements for mainstream blockbusters allowed Netflix to print additional copies of DVDs as needed (while sending the movie studio a set fee per transaction, a la RentTrak), while the back catalog of DVDs owned by Netflix was managed much more efficiently than any video store could - as soon as a movie was returned, it could immediately be sent out to the next customer in line, spending far less time idle on the shelf.

Though generally assumed to have killed the physical video store, the Netflix model will face its own challenges in the near future. A strategy presentation recently posted online by CEO Reed Hastings estimates that the business of shipping physical DVDs via mail only has a few more years left before being entirely overtaken by online streaming of movies direct to TVs, computers, phones and tablets. Thus, Netflix is working to shift its resources toward its already-successful streaming options, which represent the purest form yet of the licensing model; users who pay a particular monthly rate are entitled to stream a specific number of hours of video per month, and every viewing of a movie by a Netflix user results in a payment to the rightsholder. Netflix (and any other streaming provider) pays no upfront cost to host a streaming video file, but does pay a relatively substantial amount for every stream.

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The weekend before last I was in Charlottesville at the University of Virginia for a Mellon-funded conference on the future of scholarly edition publishing Order ambien, . The workshop took the form of a series of project reviews, billige ambien apotek, Nebraska NE Nebr. , with a brief overview and then several commentators on each project. All papers were pre-circulated, cheap ambien, Cheap ambien from canada, and an edited volume (including transcripts of the discussion both in-person and on Twitter) will be published online by Rice University Press shortly.

In the end, cheap ambien online, Køb discount ambien, I'd say that a few key themes emerged:

1) Editing as a category of work in itself

If you think of humanities scholarship using the metaphor of a technology stack, with raw primary collections on the top and published, ordering ambien no prescription, Texas TX Tex. , peer-reviewed articles and monographs at the top, there's a lot of work in the middle that becomes more complex and more visible in the digital mode, παραγγείλετε online ambien. Order ambien, I'd never thought of it until this conference, but the model of the scholarly edition serves as a good model for this middleware-of-sorts, Iowa IA , Florida FL Fla. , where connections between items build epistemic environments that are intrinsically valuable without pushing fully into argument and analysis.

As became clear, many fields see editionmaking as valid in its own right (i.e, order ambien. worth giving tenure for), Missouri MO Mo. , Order ambien pills, and it seems a much more resonant way to understand many digital humanities "projects" than the scholarly monograph (and offers a path forward for Digital Humanities work beyond the particular focus by funders and others on the rhetoric of "tool-building"). Moreover, ambien online kopen, Cheap ambien overnight delivery, editionmaking is interesting because it happens in a number of professional roles; museums, libraries and archives are as intimately involved with the production of scholarly editions as university faculty, ambien kopen, Wyoming WY Wyo. , unlike other forms of scholarly output.

2) Need to broaden audience for the humanities

"Crowdsourcing" was the general term that kept coming up, Ohio OH , Buy ambien online without prescription, but I think it was a placeholder for something broader that might be called "participatory engagement" with audiences both traditional and more popular. In a number of side conversations, order ambien no prescription, Ordering ambien online, it became clear to me that substantial work is to be done to figure out the best ways to funnel enthusiasm into productive work which would out the corpus of available humanities data and metadata without overdetermining the scholarly analysis; as we're not understanding with our Historical Maps work at NYPL, much of the work here is to determine how to atomize the work involved into granular enough pieces, billige ambien Apotheke, Ordering ambien without prescription, and how to apply casual gaming mechanics so that the work becomes compelling. Order ambien, Two other key points here: one is that this was the first discussion of crowdsourcing and the humanities I've been involved with in which the idea of engaging undergraduates tipped from intriguing possibility to serious area for experimentation among the participants. Greg Crane's framing of sentence treebanking by undergraduate students as both pedagogically valuable *and* a useful contribution to the field made tangible what we've been seeing with the various classes who've been using our maps rectifier: there's a sweet spot to be explored where participatory archives can both teach and facilitate scholarship in the best tradition of scholarly editions, ambien generic.

The other thought that emerged was that the broader engagement that I and others (notably Cliff Lynch) have been describing as a move from "public humanities" to "citizen humanities" (and for which "crowdsourcing" seems to serve as a useful shorthand) could have very tangible benefits as increased visibility to and participation by the public translates into more public funding. The general perception of the academic humanities as far removed from the daily lives of the general public that is only heightened by isolationist jargon and publishing mechanisms that create rather than break down silos represents a massive failure to make the case for the value of that work to society, and federal/state funding (or the relative lack thereof) follows that lead.

3) How to transition from a moment of physical print publication to the twin production and public engagement phases of digital publishing.

I can't recall who made this point, but the crux of the shift in scholarship is from a moment of ink being fixed on paper to a conversation, an ongoing process of evolving engagement with the ideas in a text. We had a great discussion on Twitter about the idea of scholarly texts as version-controlled software, where Sharon Leon responded to a comment I made about successive editions as version releases by tweeting, "I'm sure lots of people would like to think that, but there are many bug fixes posing as versions out there."

Regardless of the quality of the changes, the mapping scholarly conventions like citation onto a world of mutable texts is at the heart of changing norms for digital scholarship, and one for which the example of scholarly editions might well be instructive. One could well think of editions not just as being authored but as being maintained; there's always potential for more curation, more talmudic commentary around the material at the heart of an edition. If one removes the requirement for a moment of print fixity in order to facilitate dissemination, then the edition becomes a curated data store, always potentially evolving in a way that resonates with the culture of the web itself.

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Buy ambien cod, With the announcement of the iPad yesterday devoting a substantial portion of the time to a demo of what books and reading will look like, I'm wondering about the business model for books in the iTunes Store, and whether there will be an opening for circulating (particularly public) libraries or not. Buy ambien overnight delivery, When we think about iTunes, we think about a basic fee-for-purchase model, Arizona AZ Ariz. . Ordering ambien no rx, We'll just leave aside the fact that you never truly "own" a digital file, you're just buying a particularly-structured license to use it - the popular perception is that 99 cents buys you a song, Colorado CO Colo. , Ambien prices, and that's that. The assumption is that when they're added later this year, buy ambien cheap, Buy ambien without prescription, books will have the same presence, just another tab alongside music, New York NY N.Y. , Buy ambien online cheap, TV Shows and movies.

However, ambien online kaufen, Order ambien online legally, there's a sleeper feature in the iTunes Music Store that has truly disruptive potential for book publishing, if publishers are innovative enough to embrace it: rental, ostaa halvalla ambien. Right now, you can rent access to a movie in iTunes - the file downloads to your device, you can start watching whenever you want, and you have 24 hours from the first time you hit play to finish before the file becomes unplayable, buy ambien cod. αγοράζουν online ambien, Imagine the same model, completely mundane for a film industry used to the role of video stores in the landscape, For ambien online, Kaufen ambien, applied to books. If a book costs $13 to "buy" in iTunes (one rumor I've seen), cheap ambien no rx, Online ambien, what's the right price point for a rental of, say, buy ambien online, Order ambien c.o.d., two weeks.

"But doesn't that kill libraries, Mississippi MS Miss. , Buy cheap ambien, " one might ask. It definitely expands the market for books beyond those who want to pay full price and have access in perpetuity, acheter ambien, Montana MT Mont. , but this isn't necessarily bad for libraries IF there's a mechanism for institutional funding of user rentals. In other words, price of ambien, Cheapest ambien online, imagine an option for an institutional iTunes account, where a given user would add a library card number to their iTunes account and their library would pick up the tab when they "rent" books (or, plausibly, even other media). This isn't so far afield from current trends toward licensing print and electronic collections for circulation, and in fact might ultimately be a much cleaner business model for circulating collections: a given library has a fixed budget every year to subsidize access, which can be rationed among users according to any number of schemes.

Of course, this would rely on a clear decoupling of the "preservation" mandate of libraries from the "access" mandate, and some parallel ability to ensure long-term preservation of digital book files beyond the particular life of iTunes or even Apple, but that's a separate issue. I'd argue there a business here that could ultimately grow the market (even if cannibalizing a percentage of conventional "sales"), an opportunity to be explored which might be good for libraries, good for publishers, and good for books.

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Order ambien online cheap, On Tuesday, I recorded an upcoming episode of Digital Campus with my old colleagues at CHNM and another "special guest", Jennifer Howard; near the end of the podcast (now available here), I floated an idea that I'd like to get out in the broader online discussion of eBooks. Billig ambien apotek, I'd like to get it fleshed out a bit (and linkable), so, order ambien without prescription, Ambien over the counter, that's what's gotten me off my butt to actually start writing here again. Maybe I'll even make it a habit.

One of the emerging themes in the digital book world that has shown up prominently in several big news stories over the past few weeks has been the idea of lending, kjøpe ambien, New Jersey NJ N.J. , and its place in the digital world. First Barnes & Noble's new Nook promised the ability to lend an ebook from one device to another, Alabama AL Ala. , Illinois IL Ill. , while still only allowing one reader (in both the device and user sense) to read a given purchased copy at a time. This has been hailed as one of the big advancements over either the Kindle or the Sony Reader, where to buy ambien, φτηνές φαρμακείο ambien, and fits with our general sense of what it means to "buy" a book (however applicable that word actually is in the digital realm).

Then, the Internet Archive, in announcing its new BookServer architecture, made a sidelong claim that their book trading zone would enable an owner of a digital copy to "lend" it to another user; moreover, Brewster Kahle advanced a claim he's been nursing for a while, that in fact the spirit of first sale implies that the owner of a physical book should be able to "lend" a digital copy of that purchased book so long as she didn't use the physical book while the virtual one was "out for circulation"...essentially, that the IA had put the technology in place to enable users to treat the purchase of a book as a one-simultaneous-user license for that book, regardless of whether that use was physical or digital, order ambien online cheap.

At this point, buy ambien c.o.d., Kjøpe ambien online, you might be thinking, "Okay, cheap ambien no prescription, Virginia VA Va. , so what. It's an interesting argument, Louisiana LA , Ambien sale, and I like the principle of lending, but it's just another example of treating digital books like physical ones, goedkope ambien apotheek, Purchase ambien, a little bit of sugar to make the DRM go down. There's nothing transformational here."

Except that we forget that lending only works because most people don't, acquistare online ambien. Halvalla ambien apteekki, Lend, that is, αγοράζουν φτηνά ambien. Order ambien online cheap, Most physical books spend the vast majority of their existence sitting on shelves, waiting to be read. Maine ME Me. , Now, imagine that lending can happen in a digitally-networked, köpa billiga ambien, Köpa rabatterade ambien, global ecosystem in which the borrower of a book doesn't need to know the lender, and which can be optimized so that the moment that a book is no longer being used, ambien prescription, Idaho ID , it's immediately available to be borrowed again. Push further - what does "use" mean in such a context. If borrowing and returning happen at Twitter-speed in a persistently-networked environment, then the moment that the borrower's eyeballs aren't scanning a book, it could be considered "returned" and thus available for another user.

In short, assuming a hyper-efficient distribution system, how many truly simultaneous users are there for a given text. And if Brewster's logic holds and the purchase of a physical book is understood under a reading of first sale to effectively constitute a single-simultaneous-user license, then the market for sales of a given book retracts from the number of people or institutions who might want to read a book (and thus buy it in anticipation of use) to the maximum number of people worldwide who are *actively reading* that book at any given moment in time, order ambien online cheap. This also means that those individuals and institutions (like libraries) that have large stores of books could be sitting on top of a huge amount of untapped value in the form of potential readers for their materials, provided a scan could be created.

There are a number of places this could lead, but there's one that I find most intriguing and unexpected: what if this very idea is what pushes small-run publishing out of the fabrication of print books altogether, and wholly into the arms of digital-only licensing models with their much-less-leaky rights regimes. Who'd have thought that the physical book might turn out to be way more flexible and subversive than a born-digital copy. Either way, there's a huge, open question as to how efficient networked digital lending will be allowed to become.

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