label

printed objects

Linked to 12 items

• from: Caroline Busta (chapter)

  With a Dark Forest and Yancey’s MetaLabel, it’s much easier to aggregate funds in order to get those things produced. printed objectsWith print-on-demand you can do a run of two or three hundred and then have an object. That’s how we produce our archive, not by Google Drive or Dropbox or whatever, but by printing moments, de-virtualizing, precipitating moments of thought. I think it's so important.

• from: Caroline Busta (chapter)

  Caroline (00:15:00) printed objectsWhen 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.

• from: Caroline Busta (chapter)

  printed objectsI think there will always also be a place for very good longer form theory. I think the best longer form theory just needs to be in text because that's how we can take in information that's complex and there should still be a place for it. The books that transport themselves through you, they circulate themselves through you. You can very quickly pull out a line and in a conversation, they're kind of currency. That’s the way philosophy has always worked in a certain sense. It’s a kind of currency. It sort of infects you. It’s this idea that infects you. I do think that we’re going to be reading the very quick way. So ways to reduce and refine ideas, as sort of toxic as that sounds, is actually important for people to read deeper. alternative publishing practicesWe should consider making books that are non-linear, that pull out big ideas so that people and their attention can be secured, and they'll be enticed to read deeper.

• from: Caroline Busta (chapter)

  I think we have to be really respectful of people’s time and be respectful of the fact that people have all these choices of media. printed objects[[digital objects | What way can a book, a print form, best support the way that our brains are being reorganized now, as opposed to trying to battle it? How can we integrate with this kind of vision? Can books be an AR layer to the way that we are experiencing the world? Could you imagine reading while also something else is happening? I know that's probably not the ideal form, but that seems to be the real form. That's what I imagine for the future of reading.]]

• 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 54:49 That’s a big question! For example, there is a multimedia institute — MaMa — in Zagreb that has been around for many years. They do amazing stuff with the public. Hardt and Negri published a theory book with them in Croatian in 2003. They find books that are in English and a few months later, translate them. In the 2010s, I visited MaMa and found out they really like Monoskop, so they decided that they would share all their publications with us. Each time there was something new, they would send me a PDF and it became like a huge MaMa library. printed objectsThey also promoted this in their own media, that one can always buy the book or download it from Monoskop. They never really went into selling PDFs, they stick to the print. It's been working out very well. This is one really good example of how free digital distribution supports print sales because the more people read it, the more it's discussed.

• from: Geoff Cox (chapter)

  Geoff 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.

• from: Geoff Cox (chapter)

  Geoff 48:16 printed objectsThis 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. alternative publishing practicesAlso 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: Kenneth Goldsmith (chapter)

  I remember somebody had asked John Cage what’s gonna happen to his reputation after he would die? And Cage, who was really publishing very traditionally, said, well, there’s so much of me around that it’ll really be hard to get rid of me. printed objectsYou think about the lifespan of physical books. I mean, they don't get thrown out. I mean, maybe they get burned once in a while, but they get circulated. They have these like really, really long pun intended shelf life. So if I stopped, if I withdrew now, there’s so fucking much of me out there that I really don’t have to worry about legacy in that way. Even in a small press, (Hillary Clinton emails book) [https://www.neroeditions.com/product/hillary/] that I did with Nero. We didn’t do too many of them, but I guarantee you, all of them that we did probably are still in existence somewhere. They’re beautiful, they’re substantial, they’re interesting, and they might have some kind of resale value in the world anyway. So that’s never gonna disappear.

• from: Kenneth Goldsmith (chapter)

  Kenneth 42:36 Yeah, yeah, it’s true, and, you know, I’ve never seen the giant, giant, big, world’s biggest book that you published with (JBE) [https://www.jbe-books.com/products/onepiece-by-ilan-manouach]. I have never seen it, but I’m so impacted by the thinkership of that work. Your books are propulsive in thinking, but they’re also extraordinary in their physical presence. printed objects[[digital objects | So that was the kind of thing that we were thinking around 2010 was that we could stop publishing physical objects, but that never really happened. I noticed also around 2010, when everybody was talking about digital publishing, that actual publishing got so much more beautiful.]] Magazines, which were just shitty ones, became books, and they also got really expensive because nobody was buying them. Right, these are all regular magazines. They still make them. If you go into a magazine store in New York now, particularly fashion magazines, they’re not like Vogue or Elle. Then now they’re like [FUORI!!!] (https://www.neroeditions.com/product/fuori/). What you guys did with the Francesco Urbano Ragazzi’s- every fucking fashion magazine looks like FUORI!!! now, which I have sitting on my table, as, again like it’s just sitting here because Francesco Urbano Ragazzi brought me a copy and it’s just the most beautiful object. It’s the most beautiful thing. Oh, you can say, I republished every issue of the 70s gay magazine from Italy. I was just with those guys in Venice and they showed me those incredible sleek, (sequined jackets with the cover of FUORI!!!) [https://www.gucci.com/ch/it/st/stories/article/gucci-twinsburg-fashion-show-details]. There’s this sort of funny play I think that Ilan is getting at between the thinkership and the physical object. I would not want to live, Ilan, without your physical objects, even though they are extraordinarily propulsive.

• 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 printed 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.

• 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.