label

traditional publishing

Linked to 3 items

• from: Conversation_with_Geoff_Cox (pad)

  traditional publishingWell, I'll go on to this as well, but because the processes are so painful, slow, and inefficient. They often have very small readership. If they make mistakes, they have very sort of weird procedures of how to correct mistakes, like adding addendums and things like this, rather than just actually going into an online portal and making a change. All these sort of outdated, outmoded 19th century practices, which they have inherited from print publications. I just don't think they're very good at what they do. Obviously they often operate with paywalls as well, they rely on academic institutions subsidizing, ostensibly this is a commercial practice. So I would oppose that as well. It's a longer discussion, maybe we'll come back to it. So what I've tried to do is operate within a realm more of self-publishing, so working currently on two book series, which, again, are collaborations. One, which is called (The Contemporary Condition) [https://www.sternberg-press.com/series/the-contemporary-condition-series/], is a book series with (Sternberg Press) [https://www.sternberg-press.com/], and another is called (Data Browser) [https://www.openhumanitiespress.org/books/series/data-browser/], which is with (Open Humanities Press) [https://www.openhumanitiespress.org/]. So there’s sort of a sense of more independence in those sorts of infrastructures through which they operate, Open Humanities Press, I suppose, being the best example of that. That book series was previously with Autonom Media. So it’s another example, I suppose, of relative autonomy over a publishing process. So I’m interested in those kinds of publishing houses, either Open Humanities Press, which is run by academics, or something like Autonomedia, which is an anarchist press.

• from: Conversation_with_Geoff_Cox (pad)

  traditional publishingWell, definitely the question of the sharing of the development of these tools that was just mentioned. I mean, that's a kind of major challenge, and it would be really sensible to try to network those practices and groups developing tools together in a more comprehensive way. My concern is more about working in a university, it is more the inner mechanics and the politics of academic publishing, and the way there's still this bizarre reliance on these companies that have a very particular profit model, and to encourage academics and students to intervene in these processes, to realize that publishing isn't something that just comes, you produce work, and then you just hand it over to someone to publish. But that is, the choices that you make at this point are part of the work, that they need to be folded into a reflection upon the way that the content is developed and the way the content is made public. So to be more concrete, to use publishers like Open Humanities Press, or set up a means of publishing as collectives for research groups to take responsibility for this as a very particular decision that they're making about how works come into the world, how they reach people, and to see that as our responsibility to engage with these questions, especially in universities where you can draw upon funding. You can build this into research projects, you can think about the distribution of the work, the way the findings are made public of any research project, and take ethical decisions on that.

• 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”.