label

digital objects

Linked to 12 items

from: Caroline Busta (chapter)

I don’t think huge runs of these books are important, but I do think Dark Forest communities, if we’re still using that term, should do that regularly because that’s how you can have memory. digital objectsThese platforms degrade and devices brick. It’s important to have these books. When it comes to the digital side, just as a layperson who uses a lot of these channels, I do feel like the internet is starting to disintegrate in various ways. I also think that there is a lot of promise in communities, and that could be my mom's flower club. It doesn’t have to be through an Urbit planet or something to avidly use these spaces or to create collective protocols to use these spaces. It’s the idea of making your own splinternet.
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 helps transmit language or transmit ideas more dimensionally. One could think of a container also in terms of all these other forms, practically.
from: Caroline Busta (chapter)

Caroline 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 like a well-edited text. And I realize that doesn’t always happen anymore, 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 the podcast 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. But for more theoretical things, I think it’s helpful to try to cut something clearer together.
from: Caroline Busta (chapter)

digital objectsPodcasts are around two days of editing, whereas putting together an essay and a book is takes a lot longer in terms of 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 thinking was moving much faster than publishing. So podcasting is somewhere between simply posting on social media and publishing a book. It’s also obviously way less expensive and logistically way simpler. All you need is 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 the popularity of YouTube and the way that most people are consuming information now is through multiple channels at once. And video is an important node in that.
from: Clusterduck (chapter)

Aria 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.
from: Dušan Barok (chapter)

Dušan 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.
from: Dušan Barok (chapter)

Dušan 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.
from: Geoff Cox (chapter)

Geoff 38:45 digital objectsMy interest in that is more conceptual. ServPub is 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, which was published by Open Humanities Press. We released all the materials, all the writing on GitLab 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 could then make their own.
from: Silvio Lorusso (chapter)

Silvio 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 and Andreas Bülhoff that is coming out now for Spector Books, “Library of Artistic Print on Demand: Post-Digital Publishing in Times of Platform Capitalism”.
from: Thomas Spies (chapter)

Thomas 57:16 digital objectsThere’s a game called Citizen Sleeper. And it’s, as I said, more a book than a game with very nice graphics, but not moving graphics. It’s like standing still all the time. It’s on only one view, you could say, and you see the characters that are talking. Other games did this as well, while thinking about how to present text in a modern way. So maybe there’s a connection. I think there were experiments in books, trying to look like Instagram or something like that, which doesn’t work very well most times, I think, but it’s more your expertise. Maybe you can think about if there’s a chance to somehow copy back games present text into the books, or the book cover or the marketing of the book. Also, if you have the resources to do a game around your book. But this could fail because people are used to good quality now. So even if you are doing a graphic novel, which is like this classic book where you can choose your own way. There’s a lot of expertise in the field and the presentation is very good and coming from people who know games. I think this is very important. If you want to publish in game or with games, you have to have people really knowing what the game is about or how games work. It’s like with school, everyone was in school and everyone thinks they can talk about school. But of course, you can talk about the game or have some opinions on that. Though if you want to appeal to the audience playing games, you have to have people experienced with games or assisting you in that, I think. Does this somehow answer your or is this your train of thoughts?
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.
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.