label

traditional publishing practices

Linked to 5 items

• from: Clusterduck (chapter)

  1:04:23 traditional publishing practicesWe try to go for more recent technologies rather than books, to evaluate which are the benefits and which are the possibilities of each medium we cross. For sure, books do have the possibility of reaching a very broad audience and a more unlimited target, in comparison with our web projects.For example, people who don’t understand how web projects can work can benefit from the existence of a book like “The Detective Wall Guide” to understand Meme Manifesto as a project.

• from: Geoff Cox (chapter)

  Ilan 44:43 Just to add something here, traditional publishing practicesprint-on-demand is one option, but what happens, when we do the printings, is that we do offset, we only change the cover, and then send the books to different countries with a marginal cost again. I mean, it's logistics, and shipping. So, offset is a technology that scales, right? So the more you print, the less it costs. So, the more partners you can find, the better the product can survive in their local markets.

• from: Irene de Craen (chapter)

  As for the second part of your question: traditional publishing practicesI am absolutely a book fetishist. The material and the paper are important to me. And I always try to play with that. We are the only magazine or book in the world that has a smell. Not all copies have a smell, and on some copies, they disappeared, but two of them still have their smell. For this I worked with Mediamatic in Amsterdam. To me, this is also about how we communicate language and a story. I have not advertised the smell because I kind of like how people get very confused. For example, the second issue smells of cucumber. It’s very light, but it’s there — if you had a book in your bag for a while, and you open the bag, that’s when you smell it. I’ve told some people this, and they said, “I was wondering where that salad smell came from all the time!” So, if we are talking about expanded publishing, this is a fun way for me.

• from: Kenneth Goldsmith (chapter)

  I remember the first time I published a book, I think it was 1991 or something like that. I remember saying to Cheryl, my wife, if I never do anything else, I got this fucking book. This is amazing, right? I remember that feeling and traditional publishing practicesI think publishing is, to me, a trace. It's a sense of permanence, right? Particularly when I was really in the digital flow, I began to question, why publish? There's a flow, but if you don't publish, then it's just all flow and it just flows and it's meaningless. I always thought of them in the height of digital publishing around 2010. I thought, why should I still publish books? But then by publishing a book, I felt it was a way of stopping the flow, like putting a rock in the middle of a stream. Making a statement. It somehow made sense of that chaos. It was a dialectical constellation. That’s where I found Benjamin to be useful. A dialectical constellation that came together, even if to temporarily stop the flow and to try to make sense around it. I always thought that was the reason to continue to publish books.

• 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 that is coming out now for Spector Books, “Library of Artistic Print on Demand: Post-Digital Publishing in Times of Platform Capitalism”.