label

physical objects

Linked to 5 items

from: Conversation_with_Caroline_Busta_ (pad)

physical objectsMedia is always in motion or always in different forms. There was something that was just really irreversible that happened during the 2010s where it seemed like the print magazine alone was no longer a viable container for circulating information.
from: Conversation_with_Caroline_Busta_ (pad)

physical objects[[digital objects | When I was saying container in the first degree I was thinking of a book, that's straightforward. This one-to-one precipitation of a lot of ideas into a linear textual format that sits in a stable state on your shelf. That is a particular kind of container that I think is a nucleus of a lot of things. I think that's important. It's the archive. A container need not just be a physical object. To 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. There's of course the classic symposium. I think that what helps even more so than what's transmitted during the lectures is who ends up showing up and having the informal corridor talk. How can one rethink the container beyond just the modes that we all know? What are some of the threads that you all are interested in, or I'm curious if there's anything that feels like the hot topic there?]]
from: Conversation_with_Geoff_Cox (pad)

physical objects[[digital objects | Geoff (00:48:16) This is exactly what we tried to do with the aesthetic programming book, to think of the book as a computational object and to think of it as one, when the printed form is one iteration of possible versions that could be produced by multiple people. Also the reason I tend to work collaboratively and write collaboratively, I want to remove myself from this as much as possible from these 19th century models and reputational economies that are so prevalent in publishing. You know, try and develop collective names, for instance, for these kinds of things. That's the idea of the ServPub collective as well.]]
from: Silvio Lorusso (chapter)

Silvio 08:07 I see it as crucial. traditional publishingThe 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 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 physical 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, references“Library of Artistic Print on Demand: Post-Digital Publishing in Times of Platform Capitalism”.
from: Silvio Lorusso (chapter)

So if that kind of publishing has a value — of course, it’s beautiful, it’s interesting, it shapes things — but at the same time, it has a degree of volatility, that is still a problem. So the point is, how to make a lasting publication? When I say lasting, I don’t mean necessarily something printed and solid, but unfortunately, it seems to me that that kind of authoritativeness that the printed distributed book, meaning physical objectsthe book that you find in a shop with an ISBN, is still something that people take seriously, more seriously than the long-form. I know it by experience. I wrote many long-form essays and blog posts that were mostly ignored and now, that they are bound in a printed book, they are taken seriously. So the experimental part nowadays for me, from my point of view as an author and someone who wants to read good stuff and write good stuff, is the question of sustainability. That is the part where that requires more experimentation, more than coming up with a new file format. In a way, I think the file format derives more from the sustainability issue.