Spent an interesting Wednesday afternoon, last week,  visiting exhibitors at the Bio-IT World Conference & Expo –several of whom won “Best of Show” Awards later that day.

The judges, listed below,  named winners in six categories: Data Integration & Management; Analysis & Data Computing; Genomic Data Services; Data Visualization & Exploration; Storage Infrastructure & Hardware; and the Judges’ Prize.  Attendees also voted on the People’s Choice Award, selecting products that they believed measurably improve workflow or capacity, enabling better research.

One of my favorites was Nanome, which won best in show for Data Visualization and Exploration.
Nanome uses virtual reality to improve the drug discovery process, according to its award application. The company offers applications for experimentation, collaborattion, and learning at the nano-scale– leveraging  VR hardware such as the Oculus Rift and HTC Vive to create immersive virtual workspaces allowing users to visualize, design, and simulate molecules, proteins, and more.

At  Nanom’se i BIO–IT World booth, Marketing Director Jarrell James handed me a pair of VR goggles and two joysticks (?) with which  I could explore within a molecule–by seeming to make components larger, smaller or revolve.

A more sophisticated user might be able to:

• -Import molecular structures from a local machine or an online database such as RCSB or DrugBank.
• – Manipulate molecular structures by literally grabbing, rotating, or enlarging the area of interest with their hands.
• – Apply different representations to their selection of Atoms, Residues, Chains, or Proteins such as Stick, Wire, Ball & Stick, or Van der Waals.
• – Measure distances and angles between atoms.
• – Mutate amino acids and cycle through rotamer libraries.
• – Design small molecules by building with any element from the periodic table.
• – Minimize manipulated molecules to prevent clashes and provide a local energy minimum conformation.
• – Duplicate or Split any selected area of your structure to modify or export independently.
• – Export your molecular structures to PDB.
• – Join a virtual reality session as a guest with or without virtual reality hardware.

• – Present and collaborate in the same virtual environment with colleagues to demonstrate proposals or compare before and after results.

Nanome plans next to enter the education space. The company’s VR technology wil help high school and college students , likely already proficient in gaming technology,  better understqand biologic processes, James said.

The Hyve 

I also spent some time with the folks at Hyve…whose fake robot ( that is, a “robot inhabited” by a human) did make me  curious about Hyve’s work.

RADAR-base
radar-cns.org

As described in the company’s award submission,  the company’s RADAR-base, developed in the framework of the IMI RADAR-CNS project, is an open source platform designed to securely collect, store and share readings from wearable devices and smartphone sensors to enable remote monitoring. The RADAR-base platform consists of three major categories of components:

• Data ingestion: Recognizing and registering data-sources (including smartphones and wearable devices), collecting the data via a direct Bluetooth connection or through a 3rd party API and streaming in near real time to the server (green box in the figure). Using Apache Kafka, the collected data is streamed to dedicated topics in real-time where the data is optimally schematized using Apache Avro;
• Data storage and management: Consists of two centralized storage systems behind an authorized security layer. A cold-storage based on HDFS that is scalable and fault-tolerant focusing on storing large volumes of high frequency raw-data, and a hot-storage based on MongoDB storing aggregated data to provide a near real-time overview of the raw-data. (blue box in the figure);
• Data sharing: Visualizing aggregated data in a live dashboard and exporting raw data for further analyses in various formats including AVRO, JSON and CSV (yellow box in the figure).

The platform is highly secured by a centralized management system of users and their authorities, participants, allowed devices and their specifications. RADAR-Base platform is distributed as Docker containers with associated scripts and configuration files to enable easy installation.

 In addition, I  visited Sinequa, which took the prize in the Analysis & Data Computing category. 

Sinequa ES v10
sinequa.com

The Sinequa Cognitive Search and Analytics platform handles all structured and unstructured data sources and uses Natural Language Processing (NLP), statistical analysis and Machine Learning (ML) in order to create an enriched “Logical Data Warehouse” (LDW). This LDW is optimized for performance in delivering rapid responses to users’ information needs. Users can ask questions in their native language or ask that relevant information be “pushed” to them in a timely fashion when it emerges.

More than 180 connectors ready for use “out of the box” make the process of connecting multiple data sources fast and seamless. Company and industry-specific dictionaries and ontologies can be easily integrated, putting specific knowledge “under the hood” of the Sinequa platform, making it an intelligent partner for anyone in search of relevant subject information.

Other awards, as descrbed in company literature: :

Genomic Data Services

Diploid
Moon 1.0
diploid.com/moon

Moon is the first software to autonomously diagnose rare diseases from WES/WGS data. By applying AI to the domain of rare disease diagnostics, Moon brings speed and scalability to the genome interpretation process.

The software only requires the patient’s gender, age of onset and his/her symptoms – in addition to the genetic data. Moon then goes from whole genome variant data (VCF) to pinpointing the causal variant in less than 5 minutes.

The software highlights one or a few variants that could explain the patient’s phenotype. For every variant, Moon displays an extensive list of annotations that it mined from the literature, allowing geneticists to easily verify decisions from the AI algorithms. Moon’s speed does not only save a lot of time and money, it also saves lives: Moon has already proven its utility in the NICU at Rady Children’s Hospital (San Diego): https://goo.gl/7TDrQD.

Unfortunately, about 50% of rare disease patients remain undiagnosed, even after whole genome sequencing and expert interpretation. Most hospitals don’t have the resources to keep analyzing negative cases even though new correlations between genes and disorders are published every day. Moon changes all this: as the software autonomously mines the literature and analyses samples, it can reanalyze older, negative cases in the background. Only when new information that might lead to a diagnosis becomes available, the assigned geneticist is notified. That way, hospitals can frequently reanalyze thousands of cases with minimal labor, providing a perspective to undiagnosed patients.

Storage Infrastructure & Hardware

PetaGene
PetaSuite Cloud Edition – Version 1.2
petagene.com

Launching at Bio-IT World 2018, PetaSuite Cloud Edition (CE) combines two innovations: (i) the ability for a user’s software tools and pipelines to seamlessly integrate with a wide variety of cloud platforms without modification, and (ii) significantly improved, high-performance, scalable PetaSuite genomic compression technology. 

For example, users can now directly run, without modification, their custom BWA-mem, GATK, Python, Java, shell scripts, and other POSIX-based software/pipelines streaming directly to/from AWS, Google Cloud, Azure, and private cloud storage, as though they were local filestores. PetaSuite CE supports each platform’s object encryption during transfer and at rest. User applications can connect to multiple cloud platforms, buckets and regions as desired, transparently, and on demand, in user-mode, without needing to modify their pipelines, setup mounts, or have administrator privileges.

Whether running on bare-metal, in VMs, or within Docker containers, for public, private or hybrid cloud, PetaSuite CE enables organizations to unlock the power of distributed object storage seamlessly from their POSIX-compliant tools and pipelines.

PetaSuite CE is built from the ground-up for the extremely high performance streaming and random-access workloads demanded by genomics applications. The integrated, transparent PetaGene compression has been significantly improved to deliver even faster compression and greater reductions of up to 6x of both BAM and FASTQ.GZ files, enabling large costs savings in cloud storage and data transfer times. Moreover, PetaGene compression can also preserve the MD5 checksum of the original BAM or FASTQ.GZ file and not just the internal raw SAM/FASTQ data.

The Judges’ Prize went to 

 Linguamatics and its iScite 2.0 (iscite.com) provide a Software-as-a-Service search application that puts the power of text analytics directly into scientists’ hands, according to the company writeup.

Using Linguamatics’ Award-winning Natural Language Processing
Researchers can extract and analyze relevant data to rapidly answer business-critical questions. iScite utilizes Linguamatics’ award-winning Natural Language  L(NLP) based blend of analytical methods. By understanding the semantics and structure of text, iScite handles the variety of ways people express the same information, ensuring searches are comprehensive and accurate.

Easy to use on any device
iScite’s intuitive HTML interface includes a simple search box and auto-complete suggestions. The innovative answer-routing engine lets users answer simple or complex questions using puzzle-piece building blocks – simplifying access to powerful queries that extract concepts, relationships, numerical data such as drug dosages, mutations and more.

Get answers to questions, not just documents
Data sources include Linguamatics’ cloud-hosted content. MEDLINE, Clinical Trials.gov, FDA Drug Labels, PubMed Central, and Patent Abstracts are annotated with curated terminologies for diseases, drugs, genes and organizations. Scientists can answer questions such as:

• What genes are involved in breast cancer?
• What protocol designs have been used for immuno-oncology trials?
• What are the adverse events for kinase inhibitors?

Actionable results
Results are presented in structured form, with bar chart facets for dynamic, visual results-filtering, a document viewer that highlights key terms and relationships, and relevant link-outs. Users can curate, save, and export their results.

iScite allows users across drug discovery and development to cut through the vast information landscape and discover the most valuable insights.

The People’s Choice award went to 

OnRamp BioInformatics, Inc. and itsROSALIND™ platform:  the first-ever genomics analysis platform specifically designed for life science researchers to  analyze and interpret datasets, while freeing up more time for bioinformaticians.

Named in honor of pioneering researcher Rosalind Franklin, who made a major contribution to the discovery of the double-helix structure of DNA with her famous photograph 51, OnRamp’s ROSALIND platform aims to simplify the practice of genomic data interpretation. According to the company’s writeup,  ROSALIND puts the researcher into the driver’s seat of data analysis and democratizes bioinformatics by broadly expanding access to genomic and proteomic technologies for cancer research, precision medicine and sustainable agriculture.

While many open-source tools remain the lifeline of genomic analysis, a simplified and innovative user experience for the biologist can empower them to run their own analyses, while utilizing these tools without the need for typing any command-line instructions.

ROSALIND is powered in partnership with Google Cloud and features scalable compute power and economical cloud-based storage. ROSALIND is a swarming docker-based genomic analysis solution incorporating the industry’s most trusted open-source tools and algorithms, with an angular front-end and secure RESTful API. ROSALIND is also deployable on-premise.

On Ramp technololgists believe that empowering biologists with “an intuitive and comprehensive platform” to explore their data and collaborate with colleagues and bioinformaticians, they  can help accelerate their industry and the widespread adoption of genomic technologies by dramatically lowering costs, reducing  complexity and, ultimately, focus more on what what to do with results, rather than on how to get to them.

In the words of Allison Profitt, BIO-IT World’s editor,” The awards program recognizes the best of the innovative product solutions for the life sciences industry on display at the conference,

“It’s always a treat to explore what’s new in our industry.

” The innovation on display by Bio-IT World exhibitors never disappoints, and we are excited to shine a spotlight on the best life sciences has to offer.”

Judges
“The Best of Show program relies on a panel of expert judges from academia and industry who screen eligible new products and hear presentations from a list of finalists on site. This year our judges considered 46 new products and viewed presentations on site from 18 finalists.”

The 2018 judging panel included Joe Cerro, BostonCIO; Chris Dwan, Bridgeplate; Richard Holland, New Forest Ventures; Eleanor Howe, Diamond Age Data Science; Phillips Kuhl, Cambridge Healthtech Institute; Steve Marshall, Marshall Data Solutions; Michael Miller, Genentech; Art Morales, Analgesic Solutions; Nanguneri Nirmala, Tufts University School of Medicine; Alexander Sherman, Massachusetts General Hospital; Subi Subramanian, Vertex Pharmaceuticals; Bill Van Etten, BioTeam; and Proffitt.

–Anita M. Harris
Anita Harris is a science writer based in Cambridge, MA. 
New Cambridge Observer is a publication of the Harris Commmunications Group, also in Cambridge, ma.  

Walking into the Lacoste Gallery in Concord, MA I was struck by the  lightness, strength and movement in the work of Shozo Michikawa, a Japanese ceramicist who combines both slab and wheel methods to create pots resembling objects formed by nature.

Michikawa is “inspired by the power and energy of nature in its every form” and the belief that “nature will  ultimately triumph over science and civilizations,” he writes. “The beauty that nature offers as seen in the formation of rocks, mountains, deserts and the seas are unparalleled and conversely natural disasters brought on by tsunamis, earthquakes and erupting volcanoes cannot be underestimated.”

Accordingly, Michikawa throws clay to build block-like formations on a potter’s wheel, and, often, places a stick in the interior of the form and spins the wheel in different directions–thus creating, according to Atlanta’s  Catherine Fox “torqued, spiraling forms and a sense of dynamism.”   The pots, some of which resemble rocks, riverbeds, or other natural formations, may appear to be as unpredictable as forms created by natural forces.

Writing in Artsati, Fox  describes the pots as “irregular in shape, asymmetrical, roughly textured, and deceptively primitive.” She points out that, ” Unlike most ceramists, who center the clay o n the wheel and build up the walls of the vessel with two hands — one on the interior, one on the exterior — Michikawa effects his sculptural forms by working the decentered clay from the inside out, often poking the interior with a stick to get the shape he wants.” After spinning it on the wheel, Michikawa may “cut away at the exterior with a wire to shape the rodlike protrusions, wedges, flaps and origami folds that give his work an earthy tactility.”

Each piece is then faceted and glazed to mimic the effects of nature, according to Lucy Lacoste, the Concord gallery proprietor.”Built on the potter’s wheel and often twisted on an internal axis, ” the works are sculptural yet retain a core of functional pottery.” That functional core is critical, the artist says, because pottery has been so integral to people’s lives in Japan.”.

Shozo Michikawa at Lacoste Gallery, Concord June 4, 2017

Michikawa was born on the Island of  Hokkaido, the most northern area of Japan, in 1953. After graduating from Aoyama Gakuin University in 1975, he worked in business until evening classes “gave him a passion for clay,” according to a gallery writeup.  Ultimately, he settled in Seto,  one of the sites of the six ancient kilns in Japan.   His exhibitions are held widely in Japan and also internationally, such as Philippines, Mongolia, France, USA, and UK.
“Michikawa’s is a unique talent based on his personal expression of pottery as an art form, Lacoste says.  “His voice is contemporary and poetic. ”

 At  the Lacoste Gallery, 25 Main Street
Concord, MA until June 28, 2917.

–Anita M. Harris

Anita Harris is a Cambridge writer, photographer and communications consultant based Cambridge, MA.
New Cambridge Observer is a publication of the Harris Communications Group, also located in Cambridge.

Yesterday, the news from DC was not good, nor was the weather, nor was my writing! So I quit work at 3:30 and headed for the Kendall Square T. where I came upon the delightful Keytar bear, who immediately raised my spirits. I’ve long wanted to share the work of Boston area street musicians– Keytar said it would fine to post a video. I’m hoping this will be the first of many–and would welcome your contributions!

Anita M. Harris

Anita Harris is a writer and communications consultant based in Kendall Square, Cambridge.
New Cambridge Observer is ia publication of the Harris Communications Group, an award-winning PR and market development firm baswed in Cambridge, MA.

Bernie and Phyl sofas

Riding on the MBTA this past weekend, I was struck  by the sexually (S&M)  suggestive “personal” ads for Bernie and Phyl’s furniture stores that pretty much dominated the car I was in.

One, for “one night stand” suggested going to the bedroom;  another, from “long, dark, and goodlooking–capable of satisfying ten people at one time;  into candlelight dinners and a little hot wax”, turned out to be a table.  Yet another read, “I’m really into the group thing….go both ways,  welcome blondes, brunettes and redheads, and “if you love leather,’ you’ll love me.'” It was for sectionals.

I believe in the first amendment, get the humor and enjoy double-entrendres as much as the next person. But as a female who has used dating apps and ads, my first thought was that these give the wrong idea about people looking to meet others-suggesting it’s all about kinky sex.

As someone who has done quite a lot of furniture shopping (even joked that I was “dating” sofas, because it took me so long to find the right one), I have to wonder who these ads are aimed at: millennials with loose morals? Desperate men with weird senses of humor?  I also wonder why Bernie and Phyl, whose TV ads used to show the two of them along with their grown children emphasizing that theirs is a family business, have changed their target market. (Their newer TV ads are also quite unappealing…in black and white, with unpleasant people,  sexual innuendos regarding headaches in the bedroom, family arguments and faked Brahmin accents).

Of greater concern is that the subway ads could offend people who are religious, concern those  travelling with children,  upset those who have been sexually abused, or suggest new behaviors to individuals with psychiatric disorders.

in fact,  other ads in the car encouraged riders to join a walk against sexual violence; offered help for autism spectrum disorder; or asked “Are you anxious?” (To which, I replied, “yes,” because of Bernie and Phyl’s ads). 

Clearly, the ads are provocative and will get lots of attention–after all, even I am writing about them.  Such attention might well bring new  customers to Bernie and Phyl’s stores. And it may well be true that “sex sells.”  But I’d bet that the ads will turn off their regular,  more traditional, customers.

I believe that people have a right to say what they wish and to do what they want  in the privacy of their  own homes and that most advertisers should be free to hype their stuff in  print,  radio, TV and on the Internet. But I also believe there should be limits to free speech in public places: (Hate speech, sex talk and some politics should not be inflicted).

It strikes me that the Bernie and Phyl  are walking a fine line with their sexually suggestive ads–in part because the subway is different from other advertising media. The signs are overhead whether you want to see them or not. Unlike ads you drive by on the highway or see in print or on TV or the internet, the subway posters remain in your face: you can’t drive past them or dismiss them by turning a page, changing a channel, or clicking to move on.

It is true that most subway riders can look away and focus on their smartphones. But at a time when mutual respect and consideration are so often sadly lacking,  I would much prefer to shop in stores promoting kindness, compassion and inclusion. As a communications consultant, I believe it would make good business sense for Bernie and Phyl to choose a more uplifting advertising strategy. In fact, I AM  looking for a new sofa. (And for a date!)

–Anita M. Harris
Anita Harris is a writer and communications consultant based in Cambridge, MA. She is the author of Broken Patterns: Professional Women and the Quest for a New Feminine Identity, and of Ithaca Diaries, Coming of Age in the 1960’s.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and content strategy firm based in Kendall Square, Cambridge. 

Much enjoyed the current show at Lacoste--which has long been my favorite Concord, MA, Gallery. This time, owner and former ceramicist Lucy Lacoste is featuring the work of ceramicist Don Reitz– pieces from as far back as the 1960s through equally-if-not-more exciting work from 2014, just before he passed away in his 80’s.

As Lacoste explains, “Don Reitz is one of the great geniuses of contemporary ceramics and was devoted to clay, color and expression throughout his career.

“The show  encompasses three periods in the Reitz’s career– the Sara series, in which he used color to narrative stories on earthenware clay, his wood-fire period using fire and ash for expression, and his color with wood-fire and salt, which was a summation of the many elements in his life works.

‘There are also connector pieces that led from one period to the next such as the colorful plates that preceded the use of color in the Sara series and earthenware with expressive brushwork that came at the end of his life.”

My favorite pieces were those embodying both painting and sculpture. That is, ceramics in the three-dimensional form of brush strokes, incorporating  and exhibiting both color and motion. 

 
According to Lacoste, “The driving force in Reitz’ life was to be an artist and communicate through his art.  As a youth with dyslexia, he found making marks in dirt to be expressive. He took this into his ceramics throughout his career with markings on clay being his personal language. His marks, symbols and signature were always important to him whether in his salt-fire work, where the salt melted in firing to become a revealing skin; or in the ‘Sara’ period where everything was a mark or symbolic imagery done with a colorful palette; or wood-fire where the marks were revealed through the ash. The artist has always approached his work intuitively and expressively.

I Go Without Fear, 1984, earthenware, low-fire salt with engobes,

“Among the pieces in the show is a  wall plaque I Go Without Fear, 1984, earthenware, low-fire salt with engobes, 2 x 25 x 20” from his ‘Sara’ series.  Reitz’s ‘Sara Series’ was born of adversity: while he recovered from a serious car accident and his young niece from cancer, the two exchanged drawings in what amounted to a healing partnership. A childlike sensibility with color and form in abundant informs Reitz’s work from this period. This is an endearing yet powerful work showing a stick figure cautiously and optimistically moving out into the world.

Jammin’

“Jammin’, 2013 is a powerful triptych being shown for the first time from the private collection of his family.  This piece stands out for its bold, dynamic color and free calligraphic painting.  It is one of the strongest and largest of his series of triptych showing the artist at his most painterly.”
The exhibition is free and open to the public and is wheel chair accessible.
Through March 27, 2017 at the
Lacoste Gallery
25 Main Street • Concord, MA 01742
978.369.0278 • www.lacostegallery.com

–Anita M. Harris

Anita M. Harris is a writer, photographer and communications consultant based in Cambridge, MA. 
New Cambridge Observer is a publication of the Harris Communications Group, also in Cambridge, MA. 

Hi! I’m thrilled with the outpouring of support for Ithaca Diaries– including that of current students and recent grads.

Alex Tomasi, a 2014 Boston University communications grad (and race car driver!)  has offered a beautiful, whimsical poster as a new reward–(shown below the cover photo).

You can meet Alex and other 20-something supporters– Erin Euler, Eric Morris (Cornell 2012),  Grant Randall  and Ben Whiting  via their brief You Tube videos….and I hope at the launch party in January.

Any and all contributions welcome–including $1 and $5.  Every little bit helps–and also raises projects in the kickstarter rankings and attracts more views. It would also be great if you’d’ share this email and the kickstarter link on social media.

Here’s the kickstarter link:
https://www.kickstarter.com/projects/1639099206/ithaca-diaries-coming-of-age-in-the-1960s.

It does look like we’ll reach the goal soon…which means that Ithaca  Diaries will be available for holiday gift giving. Additional $$ will allow a Kirkus review to let bookstores and libraries know it’s available–and still more will go toward an interactive Web site.

Many many thanks,
Anita M. Harris

Anita M. Harris is a writer and communications consultant in Cambridge, MA.
New Cambridge Observer is a publication of the Harris Communications Group, an award-winning public relations and marketing firm, based in Kendall Square, Cambridge.

When I checked out Yuvee, Inc.’s newly launched “map of the Web” for visual arts in the greater Boston area, I was pleased to find links to the various museums and galleries laid out on a single page that showed museums’ geographic relationship to one another–and leading to brief summaries of each museum’s collection, its Twitter, Pinterest, and other social sites, as well as its address and phone number.

But I was more than pleased–actually, I was  amazed to find a section devoted to public art –including small galleries and installations– some of which are in quite out-of the way places. For example, one link, to the City of Cambridge’s public art tour,   took me to a mesmorizing video installation I’d first discovered after attending a Yoga class at the youth center  on Huron Avenue.

The video, by The Cantabridgians”, by Michael Oatman, includes 23 1-minute portraits of Cambridge Residents posed with objects in locations of their choice, designed to provide a sense of them in their particular neighborhoods.

Other links from  Web Hub’s map of the “public”  visual arts go to the City of Boston Public Art sites and the Rose Kennedy Greenway.

The Boston Art Map, accessible at maps.webhub.mobi/boston-art, is one of the first sites brought to “life” by newly launched “Yuvee, Inc.,” under the auspices of “WebHub” and “A Social Atlas of the Web.”   According to Yuvee founder Tim Higginson, WebHub is focused on enabling the next generation of Web experience for the “cross device”‘ lifestyle in which individuals use smartphones to access the web.

“An atlas is a collection of geographic maps, which help people find their way from A to B, learn and explore what is in an area and see connections between places, Higginson explains.  “Maps” of the Web do the same thing for people who are using the Internet. They give people an Instant, organized way to find and explore a whole of resources and the ability to switch easily among maps on different topics. At http://WebHub. mobi, “anyone can make a map of the Web on any topic,  and share the map with others.

According to Higginson, the map concept is ” a vast improvement” over traditional search engines, which deliver long, linear lists with items separated from the others, and require individual searches and sifting through pages of results. Such lists do not convey interrelationships and structure among items. Other resources, such as Pinterest, Tumblr, Facebook and Youtube tend to focus on single types of information. In contrast, he explains , “maps” of the Web can pull all these relevant items together in a structure, organized and annotated way, in a single URL that is always available from anyone’s smartphone, tablet, laptop, pc or other Web-enabled device.

The maps are independent of browser and OS, do not require downloads, syncing, re-doing searches, typing urls, or even knowing a  know a URL on a topic covered by a map to get an in-depth experience of the Web on that topic. What is more, Higginson says, “WebHub is free and respects its users’ privacy. “We hope this Boston Art ‘map of the Web’ gives people a richer, faster, easier way to learn about and enjoy all the incredible things that are going on in the visual arts in and around Boston..and that people enjoy all the other maps available at www..webhub.mobi.”

I note that it’s possible to advertise on WebHub, which, Higginson says, is its business model.

–Anita M. Harris New Cambridge Observer is a publication of the Harris Communications Group, an award-winning public relations and marketing firm based in Cambridge, MA.

As an author, I’m having trouble getting my head around an email I received this morning from Amazon Kindle Direct publishing–charging Hachette Publishing Company with illegal collusion and asking me (and all authors) to demand that Hachette lower its ebook prices. Evidently, due to anti-trust settlement, Amazon can’t undercut Hachette e-book prices and is trying to renegotiate.  I ask you (and Amazon and Hachette): Are books a commodity? An art form? Something in-between? Does Hachette, with high-ish book prices, value the written word or is the company just out for high margins, of which most authors receive little?  Now, the New York Times reports, Amazon is calling on readers to pressure Hachette,  some best-selling authors are fighting Amazon,  and, as the following email shows, Amazon wants other authors to fight back.  I feel caught in the crossfire. Are we pawns in a battle between publishing giants? What is a  (literally) poor author to do? –Anita Harris, author, Broken Patterns, Professional Women and the Quest for a New Feminine Identity  and Ithaca Diaries.   Here’s this morning’s email from Amazon Kindle: Dear KDP Author,

Just ahead of World War II, there was a radical invention that shook the foundations of book publishing. It was the paperback book. This was a time when movie tickets cost 10 or 20 cents, and books cost $2.50. The new paperback cost 25 cents – it was ten times cheaper. Readers loved the paperback and millions of copies were sold in just the first year.

With it being so inexpensive and with so many more people able to afford to buy and read books, you would think the literary establishment of the day would have celebrated the invention of the paperback, yes? Nope. Instead, they dug in and circled the wagons. They believed low cost paperbacks would destroy literary culture and harm the industry (not to mention their own bank accounts). Many bookstores refused to stock them, and the early paperback publishers had to use unconventional methods of distribution – places like newsstands and drugstores. The famous author George Orwell came out publicly and said about the new paperback format, if “publishers had any sense, they would combine against them and suppress them.” Yes, George Orwell was suggesting collusion. 

Well… history doesn’t repeat itself, but it does rhyme.

Fast forward to today, and it’s the e-book’s turn to be opposed by the literary establishment. Amazon and Hachette – a big US publisher and part of a $10 billion media conglomerate – are in the middle of a business dispute about e-books. We want lower e-book prices. Hachette does not. Many e-books are being released at $14.99 and even $19.99. That is unjustifiably high for an e-book. With an e-book, there’s no printing, no over-printing, no need to forecast, no returns, no lost sales due to out of stock, no warehousing costs, no transportation costs, and there is no secondary market – e-books cannot be resold as used books. E-books can and should be less expensive.

Perhaps channeling Orwell’s decades old suggestion, Hachette has already been caught illegally colluding with its competitors to raise e-book prices. So far those parties have paid $166 million in penalties and restitution. Colluding with its competitors to raise prices wasn’t only illegal, it was also highly disrespectful to Hachette’s readers.

The fact is many established incumbents in the industry have taken the position that lower e-book prices will “devalue books” and hurt “Arts and Letters.” They’re wrong. Just as paperbacks did not destroy book culture despite being ten times cheaper, neither will e-books. On the contrary, paperbacks ended up rejuvenating the book industry and making it stronger. The same will happen with e-books.

Many inside the echo-chamber of the industry often draw the box too small. They think books only compete against books. But in reality, books compete against mobile games, television, movies, Facebook, blogs, free news sites and more. If we want a healthy reading culture, we have to work hard to be sure books actually are competitive against these other media types, and a big part of that is working hard to make books less expensive.

Moreover, e-books are highly price elastic. This means that when the price goes down, customers buy much more. We’ve quantified the price elasticity of e-books from repeated measurements across many titles. For every copy an e-book would sell at $14.99, it would sell 1.74 copies if priced at $9.99. So, for example, if customers would buy 100,000 copies of a particular e-book at $14.99, then customers would buy 174,000 copies of that same e-book at $9.99. Total revenue at $14.99 would be $1,499,000. Total revenue at $9.99 is $1,738,000. The important thing to note here is that the lower price is good for all parties involved: the customer is paying 33% less and the author is getting a royalty check 16% larger and being read by an audience that’s 74% larger. The pie is simply bigger.

But when a thing has been done a certain way for a long time, resisting change can be a reflexive instinct, and the powerful interests of the status quo are hard to move. It was never in George Orwell’s interest to suppress paperback books – he was wrong about that.

And despite what some would have you believe, authors are not united on this issue. When the Authors Guild recently wrote on this, they titled their post: “Amazon-Hachette Debate Yields Diverse Opinions Among Authors” (the comments to this post are worth a read).  A petition started by another group of authors and aimed at Hachette, titled “Stop Fighting Low Prices and Fair Wages,” garnered over 7,600 signatures.  And there are myriad articles and posts, by authors and readers alike, supporting us in our effort to keep prices low and build a healthy reading culture. Author David Gaughran’s recent interview is another piece worth reading.

We recognize that writers reasonably want to be left out of a dispute between large companies. Some have suggested that we “just talk.” We tried that. Hachette spent three months stonewalling and only grudgingly began to even acknowledge our concerns when we took action to reduce sales of their titles in our store. Since then Amazon has made three separate offers to Hachette to take authors out of the middle. We first suggested that we (Amazon and Hachette) jointly make author royalties whole during the term of the dispute. Then we suggested that authors receive 100% of all sales of their titles until this dispute is resolved. Then we suggested that we would return to normal business operations if Amazon and Hachette’s normal share of revenue went to a literacy charity. But Hachette, and their parent company Lagardere, have quickly and repeatedly dismissed these offers even though e-books represent 1% of their revenues and they could easily agree to do so. They believe they get leverage from keeping their authors in the middle.

We will never give up our fight for reasonable e-book prices. We know making books more affordable is good for book culture. We’d like your help. Please email Hachette and copy us.

Hachette CEO, Michael Pietsch: Michael.Pietsch@hbgusa.com

Copy us at: readers-united@amazon.com

Please consider including these points:

– We have noted your illegal collusion. Please stop working so hard to overcharge for ebooks. They can and should be less expensive.
– Lowering e-book prices will help – not hurt – the reading culture, just like paperbacks did.
– Stop using your authors as leverage and accept one of Amazon’s offers to take them out of the middle.
– Especially if you’re an author yourself: Remind them that authors are not united on this issue.

Thanks for your support.
 
The Amazon Books Team

P.S. You can also find this letter at www.readersunited.com   New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and Marketing firm located in Kendall Square, Cambridge, MA.