Lídia Pereira
5 years ago
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<title>The Afterlife of Publications</title> |
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<h1>The Afterlife of Publications</h1> |
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<h2>Minke Vos</h2> |
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<p>As publishing professionals, we are always looking for new ways to ‘keep a publication alive’ post-production, as well as new ways to design for the sustainability of a publication. What can we do to prevent books from collecting dust on bookshelves? During the Urgent Publishing conference presentation <em>The Afterlife of Publications</em> Marc van Elburg, Krista Jantowski, Cristina Garriga and Karolien Buurman each show how they strive to keep their publications sustainable.</p> |
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<h3>Readers & Publishers</h3> |
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<img src="../images/photo-Afterlife-ReadersPublishers-Miriam.jpg" title="Photo:Cristina" alt="Photo:Cristina" /> |
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<p class="caption">Photo:Cristina</p> |
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<p>Cristina Garriga explains that there is a need among artists and writers to know how publishers work and how to reach each other. Readers and publishers, an online directory for independent publishers tries to close this gap by giving a potential author a clear and concise idea of what the publisher stands for, what kind of books they publish and what their submission policies are. <span class="highlight-blue">Connecting the right authors and audience to the right publisher can ensure the sustainability of the publication</span>.</p> |
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<img src="../images/notes-Afterlife-Miriam-1.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<h3>NXS</h3> |
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<p>For Karolien Buurman, the answer lies in collaborating and creating a community. She works for NXS, a collaborative research project that explores “the self” in the age of digital technology. NXS publishes twice a year. <span class="highlight-cornflower">Each contributor responds and reflects on the work of another contributor</span>. In addition to the publications, NXS hosts lectures, performances and exhibitions around the theme of the publication. <span class="highlight-pink">In this way, they create a community that is much broader than their readership</span>.</p> |
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<h3>Parasiting Zineculture</h3> |
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<p>Mark van Elburg talked about the Zinedepo zinelibrary in Motel Spatie in Arnhem. He explained that the zine culture, particularly that of the 1990s, acted outside commercial consumerism culture, and therefore outside of convention. <span class="highlight-blue">The zine culture was a close-knit community.</span> One zinester might have included the names of several other zines on the same topic, and where to get them. Van Elburg referred to this as DIY culture.</p> |
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<img src="../images/notes-Afterlife-Kimmy-1.png" title="Notes:Kimmy" alt="Notes:Kimmy" /> |
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<p class="caption">Notes:Kimmy</p> |
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<img src="../images/photo-Afterlife-MarcvanElburg-Miriam.jpg" title="Photo:Marc" alt="Photo:Marc" /> |
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<p class="caption">Photo:Marc</p> |
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<img src="../images/notes-Afterlife-Miriam-2.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<h3>A Much Needed Location for a Community of Readers</h3> |
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<p><span class="highlight-pink">Krista Jantowski of Walter Books in Arnhem explained the importance of the bookshop not just as a place of commerce or a temporary storage room for books, but as the starting point of the circulation of knowledge. Bookstores are places where communities can come together and share knowledge and opinions</span>.</p> |
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<img src="../images/notes-Afterlife-Miriam-3.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<img src="../images/tweet-Afterlife-INC1.png" title="Tweet:INC" alt="Tweet:INC" /> |
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<p class="caption">Tweet:INC</p> |
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<p>Each in their own way, the speakers highlighted that it is important for publishers to actively work towards bridging the gap between authors, readers and themselves, to build communities, to bring people together, and to collaborate within and outside of your own network. It is high time to stop looking at the book simply as a product. The speakers of The Afterlife of Publications have shown that the book, or any other publication, can serve as a catalyst for connection in the ‘post-truth’ era.</p> |
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<img src="../images/notes-Afterlife-Kimmy-2.png" title="Notes:Kimmy" alt="Notes:Kimmy" /> |
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<p class="caption">Notes:Kimmy</p> |
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<img src="../images/notes-Afterlife-Miriam-4.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<img src="../images/tweet-Afterlife-Nikola.png" title="Tweet:Nikola" alt="Tweet:Nikola" /> |
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<p class="caption">Tweet:Nikola</p> |
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<p>Displaced Editor's Note: <span id='disped'>Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.</span></p> |
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<img src="../images/notes-Afterlife-Kimmy-3.png" title="Notes:Kimmy" alt="Notes:Kimmy" /> |
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<p class="caption">Notes:Kimmy</p> |
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<p class="caption">Notes:Kimmy</p> |
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<p class="caption">Notes:Kimmy</p> |
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Title: The Afterlife of Publications |
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Date: 2015-12-02 10:29 |
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Authors: Minke Vos |
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As publishing professionals, we are always looking for new ways to ‘keep a publication alive’ post-production, as well as new ways to design for the sustainability of a publication. What can we do to prevent books from collecting dust on bookshelves? During the Urgent Publishing conference presentation *The Afterlife of Publications* Marc van Elburg, Krista Jantowski, Cristina Garriga and Karolien Buurman each show how they strive to keep their publications sustainable. |
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Cristina Garriga explains that there is a need among artists and writers to know how publishers work and how to reach each other. Readers and publishers, an online directory for independent publishers tries to close this gap by giving a potential author a clear and concise idea of what the publisher stands for, what kind of books they publish and what their submission policies are. <span class='hightlight-blue'>Connecting the right authors and audience to the right publisher can ensure the sustainability of the publication</span>. |
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For Karolien Buurman, the answer lies in collaborating and creating a community. She works for NXS, a collaborative research project that explores “the self” in the age of digital technology. NXS publishes twice a year. <span class='highlight-cornflower'>Each contributor responds and reflects on the work of another contributor</span>. In addition to the publications, NXS hosts lectures, performances and exhibitions around the theme of the publication. <span class='highlight-pink'>In this way, they create a community that is much broader than their readership</span>. |
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Mark van Elburg talked about the Zinedepo zinelibrary in Motel Spatie in Arnhem. He explained that the zine culture, particularly that of the 1990s, acted outside commercial consumerism culture, and therefore outside of convention. <span class='hightlight-blue'>The zine culture was a close-knit community.</span> One zinester might have included the names of several other zines on the same topic, and where to get them. Van Elburg referred to this as DIY culture. |
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<span class='hightlight-pink'>Krista Jantowski of Walter Books in Arnhem explained the importance of the bookshop not just as a place of commerce or a temporary storage room for books, but as the starting point of the circulation of knowledge. Bookstores are places where communities can come together and share knowledge and opinions</span>. |
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Each in their own way, the speakers highlighted that it is important for publishers to actively work towards bridging the gap between authors, readers and themselves, to build communities, to bring people together, and to collaborate within and outside of your own network. It is high time to stop looking at the book simply as a product. The speakers of The Afterlife of Publications have shown that the book, or any other publication, can serve as a catalyst for connection in the ‘post-truth’ era. |
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<h1>The Afterlife of Publications</h1> |
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<h4>Minke Vos</h4> |
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<h2 id="introduction">Introduction</h2> |
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<p><del>What remains of a publication after it has been published? How does its status change in the post-production phase? Does it survive and thrive or will it suffer a slow, unnoticed death? Some works keep circulating, others do not. Fragments live on in search engines, on platforms, or in physical space, aggregated, fragmented, or re-contextualized. How does the materiality,</del> <span class="highlight-lilac">positioning</span>, <del>and</del> <span class="highlight-green">design</span> <del>of the work influence this afterlife? How to design for</del> <span class="highlight-cornflower">sustainability</span> <del>of the publication? The constellation of readers, publishers, designers, and editors is under consideration. Why do we even publish and for whom? What does it mean to actually read nowadays? Why are aspects of time and space important in the</del> <span class="highlight-lilac">positioning</span> <del>of a publication? When we shake off the idea of the book as a static object, we can start to look at other -</del> <span class="highlight-blue">social</span> <del>, emotional,</del> <span class="highlight-pink">material</span> <del>, and spiritual - aspects of publishing. The echoes of the afterlife will reverberate through new publishing strategies.</del></p> |
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<p><del>As publishing professionals, we are always looking for new ways to ‘keep a publication alive’ post-production, as well as new ways to</del> <span class="highlight-green">design</span> <del>for the</del> <span class="highlight-cornflower">sustainability</span> <del>of a publication. What can we do to prevent books from collecting dust on bookshelves? During the Urgent Publishing conference presentation <em>The Afterlife of Publications</em> Marc van Elburg, Krista Jantowski, Cristina Garriga and Karolien Buurman each show how they strive to keep their publications sustainable.</del></p> |
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<h3 id="readers-publishers">Readers & publishers</h3> |
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<p><em>Cristina Garriga presents Readers & Publishers, an online directory of independent publishers. ( <a href="http://readersandpublishers.org" class="uri">http://readersandpublishers.org</a> )</em></p> |
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<p>Cristina Garriga explains that there is a need among artists and writers to know how publishers work and how to reach each other. Readers and publishers, an online directory for independent publishers tries to close this gap by giving a potential author <span class="highlight-lilac">a clear and concise idea of what the publisher stands for, what kind of books they publish and what their submission policies are.</span> <span class="highlight-cornflower">Connecting the right authors and audience to the right publisher can ensure the sustainability of the publication</span>.</p> |
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<div class="figure"> |
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<img src="../images/notes-Miriam-1.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<h3 id="nxs">NXS</h3> |
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<p><em>NXS is an Amsterdam based research collective that ex-plores ‘the self’ in the age of digital technology through publications, exhibitions, art works, public events, and a working lab. <a href="http://nxs.world/" class="uri">http://nxs.world/</a></em></p> |
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<p>For Karolien Buurman, <span class="highlight-blue">the answer lies in collaborating and creating a community</span>. She works for NXS, a collaborative research project that explores "the self" in the age of digital technology. NXS publishes twice a year. <span class="highlight-green">Each contributor responds and reflects on the work of another contributor</span>. In addition to the publications, NXS hosts lectures, performances and exhibitions around the theme of the publication. <span class="highlight-blue">In this way, they create a community that is much broader than their readership</span>.</p> |
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<div class="figure"> |
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<img src="../images/notes-Kimmy-1.png" title="Notes:Kimmy" alt="Notes:Kimmy" /> |
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<p class="caption">Notes:Kimmy</p> |
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<h3 id="parasiting-zine-culture-by-marc-van-elburg">Parasiting Zine Culture by Marc van Elburg</h3> |
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<p><em>Marc van Elburg reflects on his personal experience as a zinemaker who started in the early 90s: How did the arrival of online social networks affect the zine culture of the 1990s? How did zine culture adapt and survive, and what is its current state? From within Motel Spatie, a project has started to promote a conjunction between zine culture and parasitism: What are the motives behind this choice and why is this relevant today?</em></p> |
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<p>Mark van Elburg talked about the Zinedepo zinelibrary in Motel Spatie in Arnhem. He explained that the zine culture, particularly that of the 1990s, acted outside commercial consumerism culture, and therefore outside of convention. <span class="highlight-blue">The zine culture was a close-knit community. One zinester might have included the names of several other zines on the same topic, and where to get them</span>. Van Elburg referred to this as DIY culture.</p> |
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<div class="figure"> |
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<img src="../images/notes-Miriam-2.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<h3 id="a-much-needed-location-for-a-community-of-readers-by-krista-jantowski">A Much Needed Location for a Community of Readers by Krista Jantowski</h3> |
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<p><em>The bookshop, library, and other homes where words live and bodies enter, can be read as spaces concerned with 'the afterlife of the publication'. They store the remnants of the process of publishing, of making public. But of course, these spaces do or should do a whole lot more than merely store. They are spaces where the circulation of knowledge starts. And because the impact of knowledge is hugely dependent on its circulation, we should not, in the search for urgency in our publishing endeavors, forget to look at the possibilities of these in-between spaces as a much needed location for community, fostering new outcomes.</em></p> |
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<p><span class="highlight-pink">Krista Jantowski of Walter Books in Arnhem explained the importance of the bookshop not just as a place of commerce or a temporary storage room for books, but as the starting point of the circulation of knowledge. Bookstores are places where communities can come together and share knowledge and opinions</span>.</p> |
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<img src="../images/notes-Miriam-3.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<h3 id="from-snowballs-to-tumble-weeds-the-spectrum-of-publication-afterlives-by-alice-twemlow-padmini-ray-murray"><del>From Snowballs to Tumble-Weeds: The Spectrum of Publication Afterlives by Alice Twemlow</del> Padmini Ray Murray</h3> |
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<img src="../images/tweet-Afterlife-INC1.png" title="Tweet:INC" alt="Tweet:INC" /> |
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<p class="caption">Tweet:INC</p> |
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<img src="../images/notes-Kimmy-2.png" title="Notes:Kimmy" alt="Notes:Kimmy" /> |
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<p class="caption">Notes:Kimmy</p> |
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<h4 id="displaced-editors-note">Displaced Editor's Note</h2> |
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<p>Another important aspect of archival work, besides the ones previously mentioned, was brought forth by Padmini Ray Murray. Understanding the archive as activism, Padmini Ray Murray's calls for decentralized servers hosting DIY archives as a way of providing a counterpoint to massive archiving projects by the likes of, for example, Google. Giving the example of Google Arts & Culture's project "Women in India: Unheard Stories", Ray Murray highlights that all the material Google has received from many Indian cultural institutions is serving only as a corpus to train their machines, as the interface through which it is presented is cryptic at best. According to Ray Murray this relationship between interface and knowledge production is a very important one: whoever archives determines how the subject is represented. Ray Murray is therefore critical of the ability of profit-led corporations to truly forward the interests of the represented subjects. Thus, such an archive must be challenged. The taxonomies and categories of the Internet, as a consequence of the Enlightenment project, must be exploded: "As scholars, as thinkers, as makers it is also on us, I think, to jam the archive, and to make the ways that the digital archive thinks about how the world is represented, how history will be read, or how history will be understood."</p> |
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<img src="../images/notes-Miriam-4.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<img src="../images/tweet-Afterlife-Nikola.png" title="Tweet:Nikola" alt="Tweet:Nikola" /> |
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<p class="caption">Tweet:Nikola</p> |
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<img src="../images/notes-Kimmy-3.png" title="Notes:Kimmy" alt="Notes:Kimmy" /> |
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<p class="caption">Notes:Kimmy</p> |
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<h2 id="conclusion">Conclusion</h2> |
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<p>Each in their own way, the speakers highlighted that it is important for publishers to actively <span class="highlight-lilac">work towards bridging the gap between authors, readers and themselves</span>, <span class="highlight-blue">to build communities, to bring people together, and to collaborate within and outside of your own network</span>. It is high time to stop looking at the book simply as a product. <span class="highlight-blue">The speakers of The Afterlife of Publications have shown that the book, or any other publication, can serve as a catalyst for connection in the ‘post-truth’ era.</span></p> |
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<img src="../images/notes-Miriam-5.png" title="Notes:Miriam" alt="Notes:Miriam" /> |
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<p class="caption">Notes:Miriam</p> |
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<h1>Federated Publishing: Roel Roscam Abbing in conversation with Florian Cramer (Report)</h1> |
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<h4>Silvio Lorusso</h4> |
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<h2 id="introduction">Introduction</h2> |
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<p><em>Florian Cramer and Roel Roscam Abbing talk about federated social networks, how they work, what they do, and what chances and pitfalls they present for the publishing domain.</em></p> |
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<p>A public conversation on federated publishing took place during the lunch break of the final day of the Urgent Publishing<sup><a href="#footnote-j1">1</a></sup> conference. Florian Cramer, reader in 21st Century Visual Culture/Autonomous Practices at Willem de Kooning Academy, asked Roel Roscam Abbing a few questions on federated networks, their origin, and their techno-social implementation.</p> |
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<img src="../images/federated-publishing_clusterduck-tweet.png" title="Tweet:Clusterduck" alt="Tweet:Clusterduck" /><figcaption>Tweet:Clusterduck</figcaption> |
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<p>Roel Roscam Abbing is a researcher and artist who works on networks, infrastructures and the politics that inform them. He’s a founding member of varia<sup><a href="#footnote-j2">2</a></sup>, a space for developing collective approaches to everyday technology located in Charlois (Rotterdam). Varia hosts and employs a series of federated networks, such as one based on XMPP<sup><a href="#footnote-j3">3</a></sup>, an open standard for messaging.</p> |
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<p>Cramer and Roscam Abbing started by explaining what is a federated network and why it matters nowadays. <span class="highlight-yellow">Federation allows diverse entities to preserve some internal rules while still being able to communicate with each other. In this way they are able to maintain a certain degree of autonomy. Roscam Abbing pointed out that federation is not new, email and the web being old examples of it which are still in use.</span> However, in a landscape characterized by an increasingly vicious centralization and by users’ growing awareness of their needs and the limitations of generalist platforms, federation acquires new meaning and relevance.</p> |
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<p>The subject of the conversation then became Mastodon<sup><a href="#footnote-j4">4</a></sup>, a Twitter-like federated social medium. <span class="highlight-blue">Unlike Twitter, Mastodon is comprised of multiple community-owned “instances”, that can define their own rules, modify user interface, etc.</span> Mastodon itself is part of a bigger network called the Fediverse<sup><a href="#footnote-j5">5</a></sup>, which includes different applications (such as the older GNU Social<sup><a href="#footnote-j6">6</a></sup> or the recent PeerTube<sup><a href="#footnote-j7">7</a></sup>) that are <span class="highlight-yellow">able to communicate with each other thanks to underlying federation protocols such as ActivityPub or OStatus.</span></p> |
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<p>Roscam Abbing is one of the admins of a Mastodon instance called post.lurk.org and dedicated to media, free software and the politics of technology. Post.lurk.org currently hosts 129 users and is invite-only (you can get in touch with the admins on <a href="https://talk.lurk.org/" class="uri">https://talk.lurk.org/</a>). Roscam Abbing explained Mastodon stands in a too long tradition of projects that reimplement the features of proprietary applications but in free and open source software. Mastodon initially emerged as a fork of GNU Social and was driven by a dissatisfaction towards social media like Twitter. Particularly in the wake of silencing techniques and the harassment campaigns that went through the hashtag #gamergate and the election of Trump. <span class="highlight-lilac">The urgency was that of modifying the software stack and to build organizational techniques to create safe spaces for targeted communities.</span></p> |
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<p>In order to join Mastodon, a user needs to pick up an instance, which might be confusing at first given the sheer diversity among the existing ones. <span class="highlight-yellow">Picking one instances doesn’t mean you can’t communicate with other ones, however.</span> They do however form their own distinct communities with rules and guidelines. Roscam Abbing highlighted the presence of code of conducts on many of these instances as well as shared customs, such as stating one’s pronouns in their bio. <span class="highlight-blue">These codes of conducts are meant to communicate to potential visitors on what that community considers (un)acceptable behaviour.</span></p> |
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<p>In this respect, Cramer remarked that safe space doesn’t necessarily mean progressive or left-leaning, but it can also be a zone that purposefully breeds far-right sentiments and ideas. From this point of view, Mastodon can be seen as “the perfect technology for distributing a troll farm”. In fact federated social media share a common ground with the interests of a subset of 4chan users, in particularly the board /g/ where free software and alternatives to commercial media are often discussed and promoted. Similarly interest in these networks can also be linked to cyberlibertarianism.</p> |
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<p>There are several ways to preserve a sense of safety within an instance. For example, other servers can be silenced (users will still be able to get their content in their personal timeline) or fully blocked, in a process called ‘defederating’. <span class="highlight-yellow">Roscam Abbing pointed out that defederating caused quite a stir among inhabitants of the fediverse, as it goes against the principle of openness and unlimited interconnection that are the hallmark of web and free software ideology.</span> One way to motivate the implementation of silencing and blocking at the instance level can be summarized as “we don’t have to read your bullshit”.</p> |
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<p>“If silencing and blocking is possible, isn’t there the risk of creating the equivalent of an organic supermarket, of elitism, of leaving the territory unguarded?”, asked Florian Cramer, suggesting that it is important to “stay with the trouble”. Roel’s response was that federated networks and proprietary platforms are not mutually exclusive. <span class="highlight-blue">However, the safe spaces provided by a specific instance allow to strategize and to produce a different techno-social imagination.</span></p> |
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<p>The issue of privacy was also raised by Cramer, who spoke of synchronization while being reminded of bbs<sup><a href="#footnote-j8">8</a></sup>. Roscam Abbing clarified that privacy on Mastodon shouldn’t be understood in the classical sense of a private communication channel as it doesn’t implement any end-to-end encryption. This is because Mastodon has been conceptualized as a publishing platform where most messages are publicly readable. This makes Cambridge Analyitica-style mining still possible. It also means that direct messages can be potentially read by admins, just like on the major commercial platforms.</p> |
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<p>Cramer and Abbing discussed the “composition” of the people involved in a project like Mastodon: <span class="highlight-lilac">not necessarily male engineers rooted in computer science but often designers and media people with a particular attention to user interface (Mastodon looks much better than the average free software project) as well as communities typically underrepresented in free software development such as people of color, queer, etc.</span></p> |
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<p>The questions from the audience revolved around the notion of governance. Roscam Abbing responded that the development of the project is currently based on the “benevolent dictator” model, as the creator of Mastodon has the power to take final decisions (in fact there have been Mastodon fork-tryouts, where the main focus has been a different form of governance). <span class="highlight-green">Furthermore, not all labour that goes in the project is acknowledged: work that is not code is often rendered invisible.</span> This has lead to disenfranchisement from queer and POC communities that in the early stages contributed a lot to the platform. <span class="highlight-green">One of the most interesting spaces to understand where Mastodon is going is the issue tracker<sup><a href="#footnote-j9">9</a></sup>: this is where plenty of users, not necessarily developers, request, discuss, and criticize features.</span></p> |
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<hr class='fn'> |
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<p><span class='footnotes'> <a name="footnote-j1">1</a>: <a href="http://networkcultures.org/makingpublic/conference/" class="uri">http://networkcultures.org/makingpublic/conference/</a><br /> |
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<a name="footnote-j2">2</a>: <a href="http://varia.zone/" class="uri">http://varia.zone/</a><br /> |
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<a name="footnote-j3">3</a>: <a href="https://xmpp.org/" class="uri">https://xmpp.org/</a><br /> |
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<a name="footnote-j4">4</a>: <a href="https://en.wikipedia.org/wiki/Mastodon" class="uri">https://en.wikipedia.org/wiki/Mastodon</a><br /> |
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<a name="footnote-j5">5</a>: <a href="https://fediverse.party" class="uri">https://fediverse.party</a><br /> |
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<a name="footnote-j6">6</a>: <a href="https://gnu.io/social/" class="uri">https://gnu.io/social/</a><br /> |
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<a name="footnote-j7">7</a>: <a href="https://joinpeertube.org/en/" class="uri">https://joinpeertube.org/en/</a><br /> |
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<a name="footnote-j8">8</a>: <a href="https://en.wikipedia.org/wiki/Bulletin_board_system" class="uri">https://en.wikipedia.org/wiki/Bulletin_board_system</a><br /> |
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<a name="footnote-j9">9</a>: <a href="https://github.com/tootsuite/mastodon/issues" class="uri">https://github.com/tootsuite/mastodon/issues</a></p> |
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