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references

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• from: 03 Annette Gilbert (chapter)

  What referencesClay Shirky provocatively postulated for digital publishing has since become true for the world of printed books as well: “That’s not a job anymore. That’s a button. There’s a button that says ‘publish,’ and when you press it, it’s done.”³ Shirky was referring here primarily to the world of the Internet. But this button also exists in the world of POD providers. In the case of Lulu, for example, it literally says “Confirm and Publish” (see fig. 1).

• from: 03 Annette Gilbert (chapter)

  In addition, the POD platforms naturally attract particular interest in the sub-field of restricted production, to use Bourdieu’s term. In contrast to the sub-field of large-scale production, recognition and success here are not measured in terms of sales figures or money. Instead, it is characterized by “an anti-economic economy based on the refusal of commerce and ‘the commercial’ […] and on recognition solely of symbolic, long-term profits.”¹¹ In the field staked out by the Library of Artistic Print on Demand, it was artists’ initiatives like AND Publishing and ABC, as well as publishing collectives such as referencesTroll Thread, Gauss PDF, and TraumaWien that independently, but at around the same time (2010), recognized the potential of POD to “sustain an adventurous and inquiring creative practice without having to conform to the mass market.”¹² In this spirit, Troll Thread was founded primarily as a “place to put our poems that no one else wants.” As member Holly Melgard explains:

• from: 03 Annette Gilbert (chapter)

  Michael Mandiberg’s referencesPrint Wikipedia (2015), which squeezed the entire English Wikipedia into the medium of print, also plays with the shift of scale introduced by digitization. The over six million English-language articles on Wikipedia fill more than 7,500 volumes. Just by converting Wikipedia into the familiar book format, the project helps us comprehend the dimensions of the collective writing experiment and the scope of the knowledge that it has assembled. In just a few years, Print Wikipedia will be an invaluable historical document — a snapshot of the state of knowledge at a precise point in time.

• from: 03 Annette Gilbert (chapter)

  referencesJasper Eisenecker’s project also represents an attempt to expand the medium of the book by strategically exploiting the fundamentally hybrid nature of POD publications, where the printed book is always based on a digital master. His Camouflaged Books are intentionally configured as a double pack, comprising both a digital file and a printed copy. They make use of special visual camouflage strategies designed to distort the content of each publication in such a way that the PDF file would outwit the POD platform’s automated checking and control mechanisms, while ensuring the printed books would remain legible and present no difficulties for human readers.

• from: 06 Clusterduck (chapter)

  09:56 I feel a strong bond with the referencesNetArt community, so all the work that was in the scene of the early 2000s in Italy (where we are based). Clusterduck is a transnational collective, as the five co-founders are based in Germany and Italy. We collaborate with a broader community of creators all around Europe and in some cases also outside.

• from: 06 Clusterduck (chapter)

  10:40 My main reference before starting working with Clusterduck were of course referencesSalvatore Iaconesi and Oriana Persico and Les Liens Invisibles, all the kinds of cross-mailing list, cross-platform communities in Italy at the time, but through Clusterduck we collaborated with referencesFranco and Eva Mattes, a lot of other artists that were part of a common network when we started, but I’m sure any one of us had different connections to other scenes of the Internet. One of the things that brought us together was the wish to research and look at clusters of the web how they connected and overlapped and in which spaces they were taking place. The matter of publishing or ‘going public’ and the connection that this creates was a big part of our references at the beginning.

• from: 06 Clusterduck (chapter)

  10:40 My main reference before starting working with Clusterduck were of course referencesSalvatore Iaconesi and Oriana Persico and Les Liens Invisibles, all the kinds of cross-mailing list, cross-platform communities in Italy at the time, but through Clusterduck we collaborated with referencesFranco and Eva Mattes, a lot of other artists that were part of a common network when we started, but I’m sure any one of us had different connections to other scenes of the Internet. One of the things that brought us together was the wish to research and look at clusters of the web how they connected and overlapped and in which spaces they were taking place. The matter of publishing or ‘going public’ and the connection that this creates was a big part of our references at the beginning.

• from: 06 Clusterduck (chapter)

  Noel 12:06 An important reference are the communities and bubbles that we were part of when we started as a collective. For example, in the early 2010s this would have been the references“Weird Facebook” community. What we found interesting about them was that those people (and us too) were using those platforms in a way that was completely the opposite of what Zuckerberg and the other founders were hoping you to do with it. For example, anonymity, posting content that would go against the guidelines, and repeatedly opening up new profiles all the time. Trying to go around this very stark surveillance and rules that were put in place on those platforms. Somehow these communities were able to create something very meaningful and precious to us and to many people that lived through it at the time. And I think if one traces this back to the topic of publishing, maybe one could even go as far as to say that this goes back to certain communitarian practices, like self-published zines in the referencespunk communities or political communities. This DIY ethos of doing your own thing and not caring about what the rules and consequences are.

• from: 06 Clusterduck (chapter)

  Noel 12:06 An important reference are the communities and bubbles that we were part of when we started as a collective. For example, in the early 2010s this would have been the references“Weird Facebook” community. What we found interesting about them was that those people (and us too) were using those platforms in a way that was completely the opposite of what Zuckerberg and the other founders were hoping you to do with it. For example, anonymity, posting content that would go against the guidelines, and repeatedly opening up new profiles all the time. Trying to go around this very stark surveillance and rules that were put in place on those platforms. Somehow these communities were able to create something very meaningful and precious to us and to many people that lived through it at the time. And I think if one traces this back to the topic of publishing, maybe one could even go as far as to say that this goes back to certain communitarian practices, like self-published zines in the referencespunk communities or political communities. This DIY ethos of doing your own thing and not caring about what the rules and consequences are.

• from: 06 Clusterduck (chapter)

  30:54 It’s about finding a method to survive all this content, survive all this rhythm that somehow we are imposing onto us. The people that work in culture are doing it a lot. You are self-exploiting the enthusiasm that you and your peers have, while we should find a way to protect ourselves from these so that we don’t exhaust all the energies that we have. referencesOur last work, which is called Deep Fried Feels and that we haven’t presented, is also about our feelings and how the media and communications together are kind of destructive.

• from: 06 Clusterduck (chapter)

  39:55 The community is diverse. Every time we go places, we invite people as a follow-up to join our Telegram chats. communityAnd then there is a network of people who we collaborate with in our jobs. And so during the years, every time that we wanted to do something, and we wanted to collaborate, for example, with a developer or with a designer, people were adding up to the cluster family. For example, the collaboration with referencesJules Durand, an interesting (type) designer, was vital while working on the Meme Manifesto. There are others, developers like Pietro Ariel Parisi (aka superinternet), and Gregorio Magini, that are helping us with the development of websites we did.

• from: 06 Clusterduck (chapter)

  1:15:21 referencesFanzines are an imaginary we refer a lot to. Many times they are in their printed shape and they are very local, very specific projects that do not tend to cross borders and arrive at very different places and times in the world. With the internet, you can bridge this gap and make ends meet. So, I would say to think about the node of diffusion and distribution also in a cross-media environment such as the one that we live in.

• from: 14 Dušan Barok (chapter)

  Dušan 07:40 To briefly introduce my background: I studied Information Technologies in Bratislava, Slovakia, where I grew up. Parallel to my studies, I was involved in the local non-profit culture scene, mostly between art and technology. In the late 90s, I started a small cultural magazine, but we soon lost the funding needed for print runs. 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. That’s how I discovered digital objectsweb publishing. We redesigned our first website, which was called referencesKoridor, every few months, exploring different ways it could be organised and designed. At the time, we called it a “portal”. The idea emerged to set up a website that would document our work, which grew into Monoskop, two or three years after Wikipedia arrived. Suddenly, there was toolssoftware that allowed people to put things online without understanding programming. This was before content management systems like WordPress existed. The MediaWiki installation we set up is still there and operating. It has grown into a huge, lively, multilingual wiki for arts and studies.

• from: 10 Geoff Cox (chapter)

  Geoff 15:29 Well I could talk about some referencesreferences for this. For example, Stevphen Shukaitis is one. There’s a really excellent essay written in collaboration with Joanna Fiegel. It’s called Publishing to Find Comrades. I think it’s really excellent. They draw upon the relationship between publishing, politics and labor. They reference people like Ned Rossiter and logistical media. This notion of logistics is quite important. Through Stevphen, it’s hard not to make the connection to The Undercommons, by Stefano Harney and Fred Moten, to think about that. So I suppose there’s that intersection of ideas, I think, that we’ve tried to draw upon to, the management of pedagogy and the management of research, which is, in academic circles at least, tied to particular companies and to big tech, to Google and other institutions of that kind. So that would be a further concern in answering the political question about what’s happening to higher education currently as it becomes more and more attuned to neoliberal structures and the market. This is particularly apparent with a lot of restructuring going on at the moment in the UK. I think something similar is happening in the Netherlands, actually, and probably everywhere else, too.

• from: 13 Kenneth Goldsmith (chapter)

  referencesNow, the second part of that is maybe my retreat. I’ve just been spending this year reading like mad because I’m offline. I always read a lot, but this year, I’ve actually had the time and the space to dig and to read extraordinarily deeply. I read on a Kobo because I can’t, in Croatia, I’m not going to get too many English books. I like the Kobo. I love the Kobo, and Marcell Mars runs Memory of the World and LibGen and everything’s available. So that’s fun. I’m doing a lot of reading this year.

• from: 08 Thomas Spies (chapter)

  Thomas 06:26 I could start with the theories which are sharpening our understanding of dealing with video games and then see how they translate into our practice, because they are intertwined in many ways. referencesFor our anthology, we relied on a range of critical theories, beginning with the Frankfurt School, and also drawing on Michel Foucault’s ideas about power, knowledge, resistance, and government, of course. We incorporated Edward Said’s postcolonial theories, highlighting how knowledge production can reinforce colonial power structures and perpetuate stereotypes. We had Judith Butler, her insights into subjectivity and resistance. And this is maybe where this connection I already mentioned comes in. We tried to have a connection between acting and thinking. Often in universities, you’re only thinking about some topics that the world does not deal with. So we tried to close this gap and think about things we can actually put into practice. What can this be and how can it be translated? We thought we can’t do this by ourselves, so we invited not only academics, but also people from the arts or from journalism to gather and think about how we can translate these theories into something practical. Which also then can be positive for our world or understanding of the world and of media and video games.

• from: 05 Ilan Manouach (chapter)

  According to referencesFlorian Cramer and Roscam Abbing’s discussion on the federated social media platform social mediaMastodon, a federation, much like a chimera, “allows diverse entities to preserve some internal rules while still being able to communicate with each other.” Silvio Lorusso, “Federated Publishing: Roel Roscam Abbing in Conversation with Florian Cramer (Report),” Making Public (blog), May 20, 2019 With Laurent de Sutter, writer and editor at Presses Universitaires de France, we had the opportunity to work together on a confederation plan for European cultural operators that could address the acute asymmetry in cultural funding across European countries and the fragmentation of different language markets and audiences. referencesIn Belgium, for instance, publishers and other book professionals are often subsidized as part of a cultural policy that supports the ongoing professionalization of cultural workers. However, this is not the case in Italy or Greece. For smaller presses, whose business model typically involves print runs of only a few hundred copies, offset printing — a technology reliant on economies of scale — makes the production of books prohibitively expensive. alternative publishing practicesThis often results in small print runs with low profit margins and high break-even points, making them either outright unaffordable or forcing the publisher to rely on print-on-demand services, staple-bound Xerox zines, or risograph printing. These alternatives, however, come with their own challenges, such as restricted print quantities and difficulties in securing widespread distribution. All of this makes it a challenge for small presses and young publishing workers (such as comics artists) to professionalize. A model of federalized publishing would allow smaller presses to collaborate and produce books that may be financially unviable to produce alone.

• from: 05 Ilan Manouach (chapter)

  According to referencesFlorian Cramer and Roscam Abbing’s discussion on the federated social media platform social mediaMastodon, a federation, much like a chimera, “allows diverse entities to preserve some internal rules while still being able to communicate with each other.” Silvio Lorusso, “Federated Publishing: Roel Roscam Abbing in Conversation with Florian Cramer (Report),” Making Public (blog), May 20, 2019 With Laurent de Sutter, writer and editor at Presses Universitaires de France, we had the opportunity to work together on a confederation plan for European cultural operators that could address the acute asymmetry in cultural funding across European countries and the fragmentation of different language markets and audiences. referencesIn Belgium, for instance, publishers and other book professionals are often subsidized as part of a cultural policy that supports the ongoing professionalization of cultural workers. However, this is not the case in Italy or Greece. For smaller presses, whose business model typically involves print runs of only a few hundred copies, offset printing — a technology reliant on economies of scale — makes the production of books prohibitively expensive. alternative publishing practicesThis often results in small print runs with low profit margins and high break-even points, making them either outright unaffordable or forcing the publisher to rely on print-on-demand services, staple-bound Xerox zines, or risograph printing. These alternatives, however, come with their own challenges, such as restricted print quantities and difficulties in securing widespread distribution. All of this makes it a challenge for small presses and young publishing workers (such as comics artists) to professionalize. A model of federalized publishing would allow smaller presses to collaborate and produce books that may be financially unviable to produce alone.

• from: 05 Ilan Manouach (chapter)

  Considering book production in a federated mode is an approach that writers such as referencesGeert Lovink, Florian Cramer, and Silvio Lorusso, among many others, have been exploring for some time. In comics, federalized publishing is a concrete reality. Many of my own conceptual comic books, as well as Tommi Musturi’s governance and ownershipwork and that of others, are published simultaneously by several publishers across Europe. This allows publishing shareholders to benefit from government support from countries they don’t have access to it, such as Belgium’s FWB or France’s CNL. When publishing my comic books, each publisher functions like a shareholder. business modelsPublishers pre-purchase only the number of copies they can distribute within their respective territories. This model presents the advantage of sharing investment and risk among stakeholders with different budgets and audience sizes. By pooling resources, every publisher invests based on its capacity, its risk tolerance, and its expected return, not because of economic demands that are hardwired into the technical processes of offset reproduction.