Title: The Carrier Bag Theory of Non-Fiction Date: May 28, 2019 at 11:55 am Remix of a blogpost by Maisa Imamović and debris of notes, pictures, and audio. *What promises does modular, non-linear publishing hold for writing and reading, research and collaboration? What potentialities of collectivity, collaboration, and commons can hybrid publishing processes set free? How would that challenge existing roles and practices? Modularity in form and process, after proving itself in software development, has conquered the world at large. It fits the dynamics of the market and allows us to communicate in bits and pieces, fierce, hyped-up, and snappy. Efficient medium, efficient messages.* *But modularity and non-linearity also contain a notion of critique. They can challenge myths of origin and originality, authoritarian authorship, single-voiced narratives, hero perspectives, and definitive truths. They can inspire a Carrier Bag Theory of Non-Fiction: publications holding grains of knowledge and experience of various kinds and species, which can be laid out in different ways and directions. How would these forge meaningful connections and complex relations between contents, people, places, and futures?* ![The carrier bag theory of non-fiction. --> Ursula le Guin. Human evolution transposed to writing. They do not focus on hero's, focus on process & relationships; non-linearity. New & urgent ways of knowledge production. The form influences the message of urgent publishing.](images/01_Notes_Day1andDay2_KimmySpreeuwenberg_Pagina_2.jpg) ### The Carrier Bag Theory of Non-Fiction *Janneke Adema is a Research Fellow at the Centre for Postdigital Cultures at Coventry University. In her research, she explores the future of scholarly communications and experimental forms of knowledge production, where her work incorporates processual and performative publishing, radical open access, scholarly poethics, media studies, book history, cultural studies, and critical theory. Gary Hall is Professor of Media in the Faculty of Arts & Humanities at Coventry University, UK, where he directs the Centre for Postdigital Cultures and its research studio The Post Office, which brings together media theorists, practitioners, activists, and artists.* ![Publishing of practice instead of something that reports on the practice](images/03_Notes_Day1andDay2_KimmySpreeuwenberg_Pagina_3kopie.jpg) ![](images/08_notes-all-Miriam-Rasch5.jpg) ![Photo collage screenshot by Miriam Rasch](images/photo-collage-screenshot-Miriam.jpg) Janneke Adema and Gary Hall investigate modular publishing from a post-humanities perspective. They criticize what publishing does rather than what it is. According to them, culture which is remixed and made modular in digital environments creates new forms of communication.

Manovich's understanding of modularity.

![critique on modular publishing which emphasizes the object/the book --> Lev Manovich. He relates it to the ochject nog ebing bound. Culture is 'made' modular. Remixing becomes possible. Standardization for possibilities of sharng & moving around content of cultural objects. 'Helping' cultural bits move around more easily. --> Alighns to capitalism, defying it as bound, finished compartments. --> emphasizes stability still. -> does not see cultural objects as themselves being fluid en complex but as soemthing becoming modular through new media. --> capatilism/commodity, book as markatable object. -> how we *do* scholarly work.](images/02_Notes_Day1andDay2_KimmySpreeuwenberg_Pagina_3.jpg)

Tara McPhersons critique on modular thinking.

What’s important to remember is that not all analogue objects can be translated to digital forms. Doing so mirrors lack of appreciation for books, for example. It’s like putting trees, minerals, and shops in one-and that’s all. It’s a commodity.

A lack of appreciation of fluidity.

They argue that in order to re-invent performing a book, one needs to embrace everything what is given with the book, and focus on these questions. Where should we cut them? Who is making decisions? Who moderates the decisions? What’s kept/ what’s preserved in the process? ![But: is cutting up always possible? and wanted? seeing the world as discrete (Tara McPherson) holding back complexity. Is digital publishing even possible like this? --> commodification of culture.](images/07_notes-all-Miriam-Rasch5.jpg)

What boundaries do we take responsibility for?

### Pervasive Labour Union zine ![Permisseveness of the format of the zine.](images/Lidia_01_Notes_Day1andDay2_KimmySpreeuwenberg_Pagina_3kopie.jpg) *Lydia Pereira presents Pervasive Labour Union Zine which brings together personal rants, academic texts, poetry, photo montages, collages, drawings, etc. addressing topics such as Terms of Service, Advertisement or Pervasiveness. Each issue attempts to establish an interconnecting discourse around these topics.* Lidia Pereira’s graduation project, touching upon the topic of labour on social platforms which later becomes a product designed by social experiences, questions why we are not organizing. According to her, it’s because we don’t consider it work. Her project is an attempt to create a medium where there is discourse, instead of a definite conclusion(s). Perhaps even a platform for changing minds? That’s how she came up with a zine, as a research medium for her research to continue growing. ![Who is involved in producing. It takes more people to publish. --> multi-voiced: is this reflected in the arguments?](images/Lidia_02_Notes_Day1andDay2_KimmySpreeuwenberg_Pagina_3kopie.jpg)

Arriving at conclusions, or maybe not.

During the discussion the following questions were raised: Why do old formats persist? Who has the privilege to own the new platforms? What is the future of archive? ![](images/Lidia_03_Notes_Day1andDay2_KimmySpreeuwenberg_Pagina_3kopie.jpg) ### Post-digital Publishing and the Return of Locality *Axel Andersson investigates the role of locality for contemporary Publishing.* ![Tweet of Axel Andersson at Urgent Publishing by Institute of Network Cultures](images/Axel_ScreenShot2019-12-05at09.37.06.jpg) Then Axel, oh Axel Andersson, who was asked not to give an academic ted talk, did not mind sharing a B&W image of him, in which he is thinking about Smithson; a fact which opened up his presentation of thoughts on topics of locality and post-digital publishing. As his position of being a critic was challenged by extinction, he was faced with having to experiment his way forward and think what might be wrong with media that critique doesn’t work?

The dead end of critiques?

A funded experiment, an online book fair where online users get to publish, amateurization of critique, and the last mass mail at the Supermarket art fair (2018) where a critical journal written by the visitors is printed on spot, are projects that call for further thinking about how to be in the context? ![Expanding the editorial practice literally in the space, making visible. Place(one story)/site (fractured stories). The story of a place - locality.](images/Axel_01_notes-all-Miriam-Rasch5.jpg) The context in this case, can be further defined as not a place, but physicality which has locality…In other words: How to expand public/private spheres?

What does it mean to be of a place?