Smile Software’s TextExpander and TextExpander Touch

TextExpander from Smile Software is a nifty piece of software for Mac OS X and iOS 4.x that allows you to type special abbreviation codes, and then the software, hovering in the background, expands the abbreviation to whatever snippet of text you’ve associated with that particular abbreviation. TextExpander will also correct common typos and misspelled words using a list you create, or one of the many downloadable collections of snippets. I’ve been using it for a little over a month, and it’s made my work much easier. Instead of copying and pasting standard tech support emails to help users, I open a new email form, and type the user’s name followed by an abbreviation for the specific boilerplate email. It saves the copying-and-pasting clicks. That may not seem like a lot, until you realize that I may send 100 or so basic tech support emails a day, with essentially the same text customized for the particular user’s situation.

I also use TextExpander for things like sigs, frequently typed addresses, or URLs, or chunks of HTML and CSS. Smile Software also offers TextExpanderTouch for iOS devices like the iPhone, iPod Touch, and iPad. TextExpander touch can share your TextExpander snippets over local WiFi, and there’s a list of iOS apps that support TextExpander Touch, and can use its snippets. TextExpander Touch is extremely useful on my iPad.

There are a number of useful pre-defined snippits you can download to use with TextExpander; I think the page at Smile Software is the most useful starting place.

There’s a free 30 day trial of TextExpander; you can download it here. If you’re ready to purchase TextExpander, you can purchase TextExpander from Apple’s App store or from Smile.

TextExpander Touch is $4.99 from Smile Software or from the App store.

ETA:
I also enthusiastically recommend the Take Control of TextExpander book.

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The iPad Projects Books and Web site

I’ve been a bit remiss in not posting about this before, here.

In 2010, with Michael E. Cohen, and Dennis R. Cohen, I wrote The iPad Project Book. It was published by Peachpit. You can read about it here.

Then, in May, we wrote The iPad 2 Project book. That’s it over in the sidebar on the right. It’s a pretty good book.

We have a Web site about the books and about the iPad called iPad Projects: Stuff You Can Do With Your iPad.

On Tuesday, Peachpit released the first 3 iPad Project Singles.

iPad Project Singles are special self-contained ebooks with complete step-by-step instructions for iPad projects.

iPad Project singles are great way to sample the style of the iPad Project Books, even though each iPad Project Single is a stand-alone project, not covered or included in the iPad Project books.

The singles are available as ebooks only, from the iBooks Bookstore on your iOS device, and in the iTunes Store on your computer. Each iPad Project Single costs only .99 cents.

The first three iPad Project Singles are:

Borrow Library e-books for Your iPad. By Lisa L. Spangenberg and Michael E. Cohen

Build a Comicbook (and PDF) Library for Your iPad. By Dennis R. Cohen.

Convert your E-books to the EPUB format for your iPad. By Dennis R. Cohen.

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Google Adds Dynamic Views to Blogger

This is a tool that the owner of a blog can set preferences for in Blogger’s Dashboard, under the Setting | Formatting tab.

Some caveats:

  1. The blog must be public; no password/login needed to read the blog.
  2. Your blog must have feeds/atom/rss enabled. In the Settings | Site feed tab of your Blogger Dashboard, you have clicked/turned on either Full or Jump Break for posts.

These views take the feed for your blog, and extract the text or image data to make it easier for readers to read and navigate your blog in different ways.

A reader can use one of the Dynamic views by adding /view/dynamicviewname to the end of your URL.

There are five Dynamic Views:

  • Flipcard: available at [blogURL]/view/flipcard
  • Mosaic: available at [blogURL]/view/mosaic
  • Sidebar: available at [blogURL]/view/sidebar
  • Snapshot: available at [blogURL]/view/snapshot
  • Timeslide: available at [blogURL]/view/timeslide

You can read Dynamic Views for Authors and Dynamic Views for Readers for more specific information.

This could be really cool, and visually stunning especially for blogs with lots of images, like food blogs, or art / photography blogs.

For instance: here’s my Blogger blog Something Pacific, about life in the Pacific Northwest.

Here’s the same blog in each of the new Dyanmic Views:

Flipcard
Mosaic
Sidebar
Snapshot
Timeslide

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LAP LAMBERT Academic Publishing AG & Co. KG and VDM Verlag Dr Mueller

About six months after I filed and defended my dissertation at UCLA, I received the following email from LAP Lambert:

Dear Lisa Luise Spangenberg ,

While researching publishable academic papers at the Library of University of California, Los Angeles University, I came across a reference to a work entitled “The games fairies play: Otherworld intruders in medieval literary narratives”.

LAP Lambert Academic Publishing AG & Co. KG specializes in the publication of theses and dissertations.

I am therefore wondering if you would be interested in cooperating with us towards a worldwide marketed publication of your work.

Your reply including an e-mail address to which I could send an e-mail with further information in an attachment would be greatly appreciated.

Looking forward to hearing back from you.

The sig area of the email included a link to their web site: www.lap-publishing.com and the information that their Board of Directors included: Dr. Wolfgang Müller (CEO), Christoph Schulligen, Jürgen Gerber, Esther von Krosigk Supervisory Board: Prof. Dr. Johannes G. Bischoff (Chairman), RA Thomas Bischoff, RA André Gottschalk

Then last May, I got another email from them:

I am writing on behalf of an international publishing house, Lambert Academic Publishing.

In the course of a research on the University of California, I came across a reference to your thesis on “The Games Fairies Play: Otherworld Intruders in Medieval English and Celtic Literary Narrative”. We are an international publisher whose aim is to make academic research available to a wider audience. LAP would be especially interested in publishing your dissertation in the form of a printed book.

Your reply including an e-mail address to which I can send an e-mail with further information in an attachment will be greatly appreciated.

The LAP website notes:

LAP publishes academic research worldwide—at no cost to our authors.

We are one of the leading publishing houses of academic research. We specialize in publishing theses, dissertations, and research projects.

What they are is an academic author mill; they exist to exploit the work of naive scholars who think they’re a legitimate academic/scholarly publisher, the kind that counts for tenure and hiring committees. There are several similar companies who offer to print your dissertation or thesis. LAP has a number of other branches; one of them is their German alter-ego VDM Verlag Dr Mueller

Victoria Strauss of SFWA Writer Beware, has observes that:

VDM uses digital technology (which it dubs “print-to-order [PTO], a further development of the print-on-demand [POD] procedure”) to make its books and monographs “available” (which just means they can be special-ordered) through online and physical booksellers. There’s no cost to authors, who receive a “fee” plus “up to” 20 free copies of their book. There’s also no editing or proofreading: what you turn in is what’s printed, and the process for doing so, in which authors essentially create their own books and covers, is very similar to uploading content to a self-publishing service. Retail prices are absurdly inflated, even for a digitally-based publisher. As for marketing, “data is optimized by the publishing house and entered in all relevant catalogs worldwide. The book is offered to the leading international book distributors.” Put another way: there isn’t any.

VDM, in other words, is an academic author mill.

They aren’t really publishing your dissertation, they aren’t making it available for other scholars, and they most certainly aren’t going to help you pay off your student loans. Do go read all of Victoria Strauss’ post; she knows what she’s talking about. By the way; it’s not terribly bright to waive all your rights to your dissertation—it puts paid, among other things, to you revising and publishing your work as a scholarly monograph from a publisher who will help you up the tenure-track ladder, and quite possibly, put money in your pocket. Victoria Strauss and I are not alone in being less than delighted at the practices of LAP et al.

Nothing in the Ph.D. process prepares us for this kind of thing. When I was filling out all the paperwork for filing at UCLA, not even the library seemed terribly clued in to copyright. For instance, as part of the filing process, UCLA students are asked to grant permission to ProQuest to microfilm the dissertation. Page 26 of the UCLA Graduate Division Policies and Procedures for Thesis and Dissertation Preparation and Filing states:

Students are required to complete and sign the ProQuest Agreement form regardless of whether they do or do not copyright the dissertation. Signing the form does not affect control of the manuscript; it simply allows ProQuest to microfilm the manuscript for UCLA.

I did not waive my copyright; despite having the library return the form to me, with the instruction to waive my copyright, I refused. I also did not give ProQuest/UMI permission to sell my dissertation.

So imagine my surprise when in June of 2009 I received a letter from ProQuest that included the following:

We see that you didn’t order pre-publication with our previous discount, but you can still order at a special price. The standard hardbound edition, which is normally $74, is just $46 now, a 40% savings! And if you order multiple copies, you can save even more. Consider who else might want to have a quality-bound copy of your work: your advisor, your committee, the graduate school, mentors, or even colleagues or family.

Remember, I explicitly indicated that I did not want my dissertation offered for sale; the reason I didn’t want it offered for sale is that ProQuest/UMI charges too much, even for unbound copies. Graduate students, the people most likely to be purchasing dissertations for research, don’t really have spare cash.

I wrote ProQuest; I got back a form letter basically saying, yes, in fact, there were “two restrictions” on my dissertation and they would remove it from their catalog. As far as I know they have, and I’m gratified, but I also less than happy that UCLA provided ProQuest/UMI with my contact information; UCLA did not have my consent.

By the way; while I’m not OK with someone else profiting from selling my dissertation, I’m quite willing to give it away. If you want a bound copy, why not take a look at lulu.com?

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A Response to Chris Hedges’ “Retribution for a World Lost in Screens”

Giusiniano Infortiatum 13th CenturyBob Stein posted a link to Chris Hedges’ essay “Retribution for a World Lost in Screens” on Stein’s Facebook page. I responded, and Stein asked for clarification; this is my attempt to provide a more complete response to Hedges’ piece. I think Hedges is too easily dismissive of “screens,” and, even more importantly, the people behind those screens. I also think his is a tired rehearsal of an old argument that has already proven false. I am far more optimistic about the people of the screen.

Plato asserted that text would destroy memory and lead to the end of civilization, resulting in men who “seem to know much, while for the most part they know nothing, and as men filled, not with wisdom, but with the conceit of wisdom, they will be a burden to their fellows.” While I share Hedge’s sense of impending doom, I think that pointing at the screen as even a contributing factor is daft. I think Hedge’s own isolation and egotism and elitism is fostering his talismanic associations with the printed page. He has created his own fetishistic idol, and his own demons.

For various reasons, I have no talismanic associations with the printed page; my allegiance is to the word, in text, in pictogram, and in the human voice. A book is merely a container for words, for text, for image, and yes, for data. I am about to leave with my partner for a writer’s workshop where there will be writers using pens and notebooks, and Macbooks, and digital styli, and memory to record their impressions of each other’s words, written and spoken, and where they will be interacting with each other one-on-one, in small groups, and over Twitter and text message and email.

We are still tellers of tales; we still experience narrative lust, and joy. We meet face to face through a glass, though it is not dark. My sense of optimism is spurred by several things— first, my experience in the college English lit and comp classroom, before and after the personal computer. I still teach students to read Chaucer in Middle English out loud; they still memorize his words, and those of Donne, and Shakespeare and Frost, and Keats and Monty Python for the sheer joy of it. We still parse text, whether it is rasterized or preserved on vellum, or on a digital reproduction of a manuscript too fragile to share, but which now the world may access.

I am optimistic because I have met life-long friends via the ‘net, and we gather together with familiarity and comfort in the flesh, though we meet for the first time in the analog realm. I am optimistic because one of the online communities I belong to has come together return a member of our community home after she was trapped by Katrina, shepherding her and her cat from one to another, passing her off to her next host and driver, until she and her cat arrived at their home. We have bought roofs, found adoptive parents, critiqued poems and plays and novels, cheered with each acceptance and commiserated with each rejection from a publisher, and mourned as a whole for the loss of a member.

I am optimistic because we are managing to share scholarship with scholars who are all over the world, affiliated and not, to engage in scholarly community via blogs and online communities. In that first community I mentioned, we have a vibrant politics forum where we require citations and analysis of argument for political discussions, and we have a single cardinal rule, respect for a fellow writer, and a single corollary; don’t be a jerk.

Hedges alludes to the ideal of the padeia, ekstasis, as a thing withering on the digital stalk; I submit that he is missing what blooms around him. Yes, we have have the idols of the tribe, the cave, the marketplace, and of theater; but Bacon’s Four Idols are hardly new. The fault lies not in our screens, but in our thought processes. We have generations who have not been taught to engage with content, to engage with text and image, but the organic ability, nay, the desire and even the compulsion to engage and parse and understand is still there; I submit it is our responsibility to future generations to demonstrate that rhetoric and conversation, whether on the screen or on vellum, still ties us one to another, and that we still have a greater community of shared ideas and ideals; we act like chickens with opposable thumbs, but we can be better.

The emphasis should not be on text in any specific container, but on words and on the ability to understand and communicate and share. The emphasis on the printed page is so misplaced that it should be laughable to any humanist; just as Plato denounced the arrival of text, so to did opponents of the incunabula decry the evolution of the printing press in that it made the luxury of the book affordable. This outcry too is being repeated, with objections to the liquidity of the digital text and the “death of the book.” The assertions about the authority of the codex book disappear for anyone who has ever seen what the early book was like; no word spacing, for one, and no, it was absolutely not linear. Even the early printed book bore with it the assumption of glossing as inherent, of text as conversation, much as the return to hypertext and the networked screen are doing for us now. The book has always been a container; whether the container was made of baked clay, or curling papyrus, or scraped animal hide, or fiber or silicon, the book is just the container; the screen is just a window.

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