label
digital objects
Linked to 14 items
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from: Caroline Busta (chapter)
A container need not just be a physical object. digital objectsTo use the example of New Models, we have this podcast, and people may not listen to it, but it has this wider cloud of language and people that are associated with it, and that gives it context.I know this gets back to Frankfurt School Theory, the human voice, I think, is a very important part. It’s a frequency. I don’t know if container is the right word, but a frequency that definitely helps transmit language or transmit ideas in a more dimensional way. One could think of a container also in terms of all these other forms practically.
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from: Caroline Busta (chapter)
(00:18:41) digital objectsOne thing we really liked about podcasts is that it's like fast theory. I’m still so old school that I really like a well-edited text. And I realize that’s not the case, especially working with so many publications these days. It’s rare to have a real exchange on editing, but I do like well-edited text and podcasts. We also edit a lot. I respect the listeners’ time, although I know that’s not everyone’s style. Some people appreciate the parasocial aspect of just, hitting play and letting that go. For things that are more theoretical, I think it’s really helpful to try to cut something clearer together.
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from: Caroline Busta (chapter)
digital objectsPodcasts are maybe two days of editing, whereas putting together an essay and a book is going to be a lot longer for the text production and the editing. People are busy and sometimes, getting the freshest thoughts in circulation, there's a value to that. That's what Twitter before X was so valuable for, is like journalists would just get their idea out so they didn't give it away, get scooped. The pace of the thinking was moving much faster than publishing. So podcasting is somewhere between just posting on social media and publishing a book. It's also obviously way less expensive and logistically way simpler. You just need an RSS and a computer. So that’s a big value. Video is interesting though. Julian and I think a lot about that. We think about just how popular YouTube is and how the way that most people are taking information now is multiple channels at once. And video is an important node in that.
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from: Caroline Busta (chapter)
digital objects[[community | And who goes back and watches a live stream? I participated in live streams before. I guess there's a little bit of kismet to it. Are people on? Is it hitting at the right moment? What just happened politically at that time? I just keep thinking that all these forms of media are still contingent on the audience. With the rapport with the audiences and how connected they are to the subject matter.]] I personally hate giving video lectures to students. I’d much rather be in the room live. But that’s logistically more complicated and more expensive for everybody.
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from: Clusterduck (chapter)
1:14:24 I think Noel’s intervention summed up a lot of points. I do agree that distribution is key, as we mentioned before. digital objectsThe only thing that I would add would be the role of cross-media and trans-media experiences. I do agree with Silvia about bringing the internet on a printed page. On the other hand, there are a lot of interesting and compelling projects about bringing paper to the Internet, so archiving and documenting all the different publications which may have not been accessible to everybody if they weren’t distributed online.
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from: Dušan Barok (chapter)
07:40 Hello everyone, it’s a big pleasure to be part of this. To briefly introduce my background: I studied Information Technologies back in Slovakia where I grew up. Parallel to my studies, I was involved in the local culture scene, mostly between art and technology, as part of the non-profit sector. printed objectsIn the late 90s, I started a small culture magazine, but then we lost the funding for printing. A friend introduced me to HTML and I realised that it could be a better solution than paper because, at that time, people already had access to the web. So it became quite exciting, and that’s how I discovered web publishing. We would redesign the first website, called referencesKoridor, every few months. digital objectsIt was so exciting to discover the ways websites could be organised and designed. We would use the word “portal” at the time. I was still living in Bratislava when I was part of this collective. The idea of setting up a new website that would document our work emerged, which then became Monoskop, two or three years after Wikipedia entered the market. toolsSuddenly, there was this exciting software where people could put stuff online without understanding programming, FTP and all the kind of nerdy things only accessible to a few. This was before content management systems, and already parallel to blogging. At the time, people still struggled to publish online, so we got quite excited. This MediaWiki installation is still there and operating.
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from: Dušan Barok (chapter)
18:24 In a way, digital objectsprint is archiving of the digital, so the digital is changing all the time. Oftentimes it disappears and it kind of lives in the web archive. However, even with live websites, things are being reformatted, designs, content and embedded media are changing, and so on. So with digital publishing, you never really have a final version, unlike the print. So at least in my practice, I see the print as a kind of archiving of digital publishing. This is also how any print publishing operates, working with the PDF as an intermediary between content production and the print.
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from: Geoff Cox (chapter)
38:45 digital objectsMy interest in that is more conceptual, so this project (ServPub)[https://servpub.net/] digital objectsis an attempt to think through what autonomous publishing might look like. Our speculation following a book that Winnie and I did together called (Aesthetic Programming)[https://aesthetic-programming.net/], digital objectswhich was published by Open Humanities Press, we released all the materials, all the writing on GitHub with the invitation that you could do anything you wanted with the contents of this book. printed objectsYou could add a chapter, you could rewrite it, you could fork it essentially. Some people took up that invitation. We're really interested in that as a model of academic publishing, where you just produce an iteration of a book and someone can then make their own.
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from: Geoff Cox (chapter)
38:45 digital objectsMy interest in that is more conceptual, so this project (ServPub)[https://servpub.net/] digital objectsis an attempt to think through what autonomous publishing might look like. Our speculation following a book that Winnie and I did together called (Aesthetic Programming)[https://aesthetic-programming.net/], digital objectswhich was published by Open Humanities Press, we released all the materials, all the writing on GitHub with the invitation that you could do anything you wanted with the contents of this book. printed objectsYou could add a chapter, you could rewrite it, you could fork it essentially. Some people took up that invitation. We're really interested in that as a model of academic publishing, where you just produce an iteration of a book and someone can then make their own.
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from: Geoff Cox (chapter)
38:45 digital objectsMy interest in that is more conceptual, so this project (ServPub)[https://servpub.net/] digital objectsis an attempt to think through what autonomous publishing might look like. Our speculation following a book that Winnie and I did together called (Aesthetic Programming)[https://aesthetic-programming.net/], digital objectswhich was published by Open Humanities Press, we released all the materials, all the writing on GitHub with the invitation that you could do anything you wanted with the contents of this book. printed objectsYou could add a chapter, you could rewrite it, you could fork it essentially. Some people took up that invitation. We're really interested in that as a model of academic publishing, where you just produce an iteration of a book and someone can then make their own.
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from: Irene de Craen (chapter)
54:08 As for your first question, I’m used to working with artists because of my background. I’m trying to create a situation where people feel very free to just come with me with whatever, including artists wanting to expand on the publishing platform. You can leave it up to artists to come up with ideas. digital objectsI was very happy that during the last issue, we published a sound piece from someone who responded to an open call with the idea of a sound piece, which in a way is separate from the publication, but it's still part of the publication. So I thought that was nice and was happy to be able to give the space to this person to produce, and I was able to pay them for that. So, you can let the artist or the contributors lead. Sometimes, the limitation is cost. But overall, the people I work with are very happy to have their work appear in a physical paper publication.
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from: Silvio Lorusso (chapter)
08:07 I see it as crucial. traditional publishing practicesThe point in which “Entreprecariat” and small independent publishing intersect is in the fact that making a book in the traditional sense, in a way that lasts, is distributed, has an ISBN, et cetera, is very difficult. The actors that are active in making this happen are very minimal. Especially for the kind of literature that I’m interested in both reading and writing, the options are small and they are becoming smaller. Currently, that’s my primary concern. I’m sorry if I take too long, but I think it’s a crucial point to articulate my understanding of expanded publishing. alternative publishing practicesIn the past I’ve been mostly interested in the weird experimental EPUBs or booking a JPEG, booking a floppy disk, a super long form that is interactive and so on… Nowadays, it’s a bit of a disappointment that many of digital objectsthese experiments, after about 10 years, are completely forgotten unless there is someone who, again, converts them into the traditional book — by the way, that’s what happening, for example, with the book by Annette Gilbert that is coming out now for Spector Books, “Library of Artistic Print on Demand: Post-Digital Publishing in Times of Platform Capitalism”.
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from: Yancey Strickler (chapter)
digital objectsIf I think about the future of Metalabel, I believe physical books and physical magazines and physical media of all kinds are important. And I celebrate them. But I don't think that that's an audience that can grow hugely from collectors. But I think digital can be a huge space of growth with formats. Creating digital formats that feel legit and make an artist feel legit and that make a consumer feel willing to pay for this. And that’s where I think there’s white space and opportunity. And any creation of viable formats there is a net win for the entire creative community because it’s just a new vehicle for all of us to express work.
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from: Yancey Strickler (chapter)
digital objectsThis is where we have this concept of a record. Think of a vinyl album‚ a record of work that has a cover, there's a package, and inside it contains a number of pieces. And those pieces can include a digital work, a physical work, a talk, an invitation. And that's exactly what Metalabel is. printed objectsThe Dark Forest book, you got the PDF, a physical edition, and you got to join a Zoom call with the authors all spoke together. That was $45. It's allowing you to think beyond the boundaries that the market has created for us and to redefine them.