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Theorem Indie

This is the title of a post appeared on BookCafè.net . Here's the content that we, Kipple, we agree completely. E 'guidance, this thought, the new course of culture and publishing in particular, we believe blindly.


This morning I mentioned here to a community of practice, that of writers who jump publishers, who share information and strategies to address the market. There is a certain rhetorical background (that of "thousands" of copies sold per month) that a little 'remember the first hype about Second Life, when everyone told us how the earth promise to get rich. And in this context Konrath -the first case of which all are inspired by success-is a little 'l' Anse Chung of Second Life then.
However, without the tare weight to the tips of speech, many of the bestsellers on Amazon in the categories hot (suspense, thriller, mystery) are works indie . It costs an average of 99 cents. "Traditional publishers," writes Kait Nolan for example, "do not understand that the demand push prices lower. And the indie literature is filling the void. " Perhaps it is not the only possible explanation, but it is convincing enough to think about it. The wave can not be underestimated. The theorem
indie , what is moving into the mainstream during this period, is based on the characteristics of ebooks (well reproducible at zero cost) and says that if you lower the price earnings multiple, because the number of copies sold far exceeds those sold to higher price. And even if half revenues (Amazon cuts 35% royalties for prices under $ 2.99) on a much lower price, total revenues increased at the end.
The challenge is simple: if I take 70% on a copy at a price of 2.99 to 0.99 I sell, I take 35% and hopes to sell at least six times more copies. And the data under certain conditions, seem to agree with those who make this choice. Obviously these
maths have many variables (the ratio 1 / 6, applied for licenses 40k example, can vary from 1 / 5 to 1 / 8 for a number of issues that would take too long to explain here). But then counted so many other factors (gender, appeal of the book, the author's platform, etc.). What I understand (but I still want to study us above) is that-in an optimal situation, to buy the book at 0.99 (which is a potential impulse buying easier by Buy Now With 1 Click the Kindle) can produce a number of copies so high as to compensate for plenty of critical success factors and minimum revenues on each transaction.
Simply the desirability of the book, in that band price, is extended to a number of people who would find it interesting to a higher price.
Many authors are looking for the 'fair price' and collectively they are building a very interesting series.
I'm not totally convinced (there are important factors in play, as the perceived value of the book, etc.), especially because the price is only one variable among many, often equally important than the platform of the author and other considerations. Although, for the sake of the border, we are doing some experiment USA.
In any event, even if the theorem indie can hardly be applied to a publisher, what is happening in the United States should be observed more carefully. Because above the 99 cents, there is a ferment and a continuous testing that large organizations have ever had. And on the indie side of literature should, I suspect, have the humility to recognize that there can be a lot to learn.

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RESULTS 2011 AWARD SHORT Kipple

announce that the 2011 Award for Short Kipple
saw fantastic short stories as ranked equal first WINNERS:

1, ex aequo " whales Maath " Joseph Agnoletti
1, ex aequo " Carpocalypse Zombie" by Domenico Mastrapasqua

Tales winners will be published paper in the series " Capsule "
eBook in the series " eCapsule ," the magazine and in NeXT 'anthology eBook version along with the finalists.

REPORTED for the magazine NeXT:

* "Alba 211 " Grace Gironella
* "The house escaped time " Dario Moroni
* " whales Maath Joseph Agnoletti
* " Carpocalypse Zombie" by Domenico Mastrapasqua

The stories reported will be published in the next issues of the journal paper "NeXT".

FINALISTS:

* "Alba 211 " Grace Gironella
* "Alcantara " by Maurizio Del Santo
* "black Flames" by Giuseppe Agnoletti
* "The wheat of God "Philip Radogna
*" The master of the strings "Joseph Agnoletti
*" Toyland "by Daniela Picchi
*" Deep "Richard Gazzaniga
*" The house escaped time "by Dario Moroni
*" whales Maath Joseph Agnoletti
* "The meeting " Marco Parlato
* "The Last Flight " Grace Gironella
* " Carpocalypse Zombie" by Domenico Mastrapasqua

The final story will be published Award in the anthology of short stories in eBook version.

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music, entertainment and body-art. The post-human aspect in music and performance. Part IV: 1980-2000

continue the review of the music and art "posthuman". Between images and occult-mystical doomsday scenarios are to be reported the Current 93 (since 1983) and eclecticism Nurse With Wound (since 1980), which reviews a bit 'all electronoise subgenres.

Among the various groups of the period, those who seem more inspired by the concept of posthumanism are Coil, with a noise with moderate and cyclical trends morbid, which also has produced albums of spiritual abstraction (before esoteric) The Angelic Conversation as (1985) or Scatology (1986).

great frequenter of new and experimental music is definitely Brian Eno, ambient music and developing the new age with electronic drifts, rock opera and also broad. He has collaborated with many avant-garde musicians, including Cluster (Electronic unit that leaves the scene of German kraut-rock ) David Byrne and Laurie Anderson recently , multi-faceted personality that enters the right to be part of the posthuman artists. Laurie Anderson is a musician and performer who is quickly showing its nature transartistic collaborating with William Burroughs , organizing events and exhibitions in New York and became famous in the music world with the single O Superman .

back to rock, punk is the cyclone renewing the general drift towards addressing sometimes sterile, more creative, others posthuman. We quote Bauhaus and The Cure , devoted to a crepuscular sound, Gothic, sometimes lyrical, more desperate. On the same line Death in June, The Sisters of Mercy and Joy Division , while separate discussion deserve the Dead Can Dance, which are rooted in a deep and lyrical folk. Is the other cognate new wave (in fact the name is borrowed to the sci-fi genre created by the British magazine New Worlds ), first of all Depeche Mode, Soft Cell the and Ultravox.

without straying too far from essence of posthumanism, worthy of special mention are the Clock Dva (ie "Watch Two" puts the accent on time) with an original electro-jazz, quickly become a pure electronic hypnotic and dreamlike. Albums as Transitional Voices (1990), Buried Dreams (1991) or the more explicit (for posthumanism) Man-Amplified (1991) are the cornerstones of contemporary electronic posthumanism.

continue to throw ideas of possible sound paths posthuman trying to divide the players for coming.

From the United States arrive Ministry, which will begin to produce violence sound with pounding electronic beat and overdriven guitar, evolving, in just three years and four albums in a Technometal granite (the best in The Land of Rape dell'1988 and Honey and The Mind Is a Terrible Thing to Taste 1989). Their sound is picked up by Nine Inch Nails Trent Reznor of (since 1989), more electronic, but no less violent.

The research itself is at the forefront of environmental Mike Harris, active on many fronts but especially with the Scorn (since 1993), presenting a minimal and apocalyptic sound. The meeting between Mike Harris and Bill Laswell is essential for the continuation of research in this way, through all the possibilities of ambient-dub, reaching a new wave of isolationism which include Tortoise (1995).

Germany gives us the Einstuerzende Neubauten, which are distinguished by a personal style, characterized by rhythmic pieces played with industrial waste materials such as old appliances, circular saws, drills, scrap metal, plastic, chain, etc.., orchestrated by the voice-dark new wave of singer Blixa . The band gets to make absolutely lovely melodies worthy of a contemporary composer. Listen first Strategies Against Architecture II (1991, more structured of the first self-titled) and immediately after, Tabula Rasa (1993) and note that the artist first "look" and then "find."

then cite the Belgians Front 242 (since 1985), who with their physical and rhythmic music, will kick off a whole generation (and a body-music genre known for its nature, to move the body): Klinik (since 1987) and Insekt (best results in Dreamscape, 1992).

From Eastern Europe come the Slovenes Laibach since 1982, on a draft programmatic provocative and counter-cultural, martial rhythms and playing military marches by the sound very innovative. Posthuman certainly be considered if we consider the conceptual work that lies at the heart of their music: they founded the Neue Kunst Sloveniske , a real micronation with such a passport. A real "posthumanism political."

From England the Nitzer Ebb , the Chakk , and dreamy Komputer .

From France Die Form (which you can enjoy to call the advocates of post-human sex, listen for yourself).

Since coming to Canada's first Skinny Puppy (born in 1983, but without being able to draw insights from their own merits) and the very active Front Line Assembly (listen Tactical Neural Implant of 1992 or Hard Wire 1995).

Finally, we have already mentioned Stelarc, who began with Suspension , move to new performance inspired by the ceremony O-Kee-Pa American Indian. With hooks inserted into the flesh attached to ropes, he was hoisted in the air with a crane, even for twenty minutes. But it is in the 80 Stelarc reaches its character more markedly posthuman. In collaboration with a team of university researchers specialize in robotics, he realizes Third Hand : you graft on his right arm a third artificial hand, controlled by the abdominal muscles and legs. He later worked in Hear Third (Third Ear). An extreme theory: the human body shows the limits of your system evolution.

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music, entertainment and body-art. The post-human aspect in music and performance. Part III: 1960-1980 Music

the late 60's popular music is open to experimentation (in the contemporary "revolution in parallel," which takes place in the art world, with the advent of body art). On the one hand, technological progress, the other the spread of drugs, opened wide and unexplored scenarios for musicians and bands.

Among the former are in Pink Floyd A Saucerful of Secret (1968) and Ummagumma (1969) to expand in haunted tales and fertilize the seeds of interplanetary space-rock, a genre of great fortune especially in the British alternative scene in the early '70s.

After Pink Floyd undoubtedly include the Kraftwerk (pupils Stockhausen), electropop group formed in 1970, I would say even some advocates of ecological posthumanism, absolutely not extreme, but determined.

regard strictly the music, the 70s are characterized by space-rock ( Tangerine Dream, Ash Ra Temple , Popol Vuh , most tribal Amon Duul The , the most lyrical Klaus Schulze and Faust, who in the name recalls the idea of \u200b\u200bGoethe superomismo). Important Cabaret Voltaire, experimenters, ironically, also open to the idea of \u200b\u200ba technology and filoumana The Residents, advocates of a "theory of Darkness", which can be considered the ancestors of plagiarism, the practice, that is, to quote, copy or sample of healthy plant parts pop or rock.

And the rock show at its most post-human: as a musician based in fact more "alien" of David Bowie 70s? Bowie creates a real character posthuman, confirming that his attitude in the discs ( The Man Who Sold the World of 1970 and The Rise and Fall of Ziggy Stardust And The Spiders From Mars 1972) and in the movies who plays ( The Man Who Fell to Earth , 1976).

Certainly posthuman is the album Metal Machine Music Lou Reed of . It is above all the posthuman of Throbbing Gristle Genesis P-Orridge (ex-mails and body artist). Their intent was to shock with the force of the impact visual, conceptual and music through noise, aesthetic Nazi military, pornography, etc.).. P-Orridge uses the term "industrial" accept as guru William Burroughs, James G. Ballard and post-modern philosophers like Michel Foucault , Jean Baudrillard, Gilles Deleuze and Felix Guattari .

Since the late 70s and 80s are increasing especially in the groups of musicians and non-ex-musicians who try new experiments. We mention, in a sort of brain storming the period, the New York duo Suicide , which in 1977 had translated into a language the traditional rock minimal-electronic Z'ev (frenzied percuotitore bins, the first of many imitators), the Department Test (early experimenters and political leanings of some industrial-dance), Foetus (authors of heavy sound mix that combines rock, electronic and industrial noise), The Hafler Trio (electronics noise musicologists, authors of sound research pseudocolte) not (the California Boyd Rice, author of eerie disks of pure noise that could either play at 16, 33, 45 or 78 laps), the Whitehouse (ultranoise in which frequencies are well mixed by the voice of British delusional William Bennett ) and The Haters (author of noise non-sense, with the merits of irony, which leads him to conceive of a disc without grooves and balls of vinyl).