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traditional publishing

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• from: Geoff Cox (chapter)

  Geoff 06:30 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 All these sort of outdated, outmoded 19th century practices, which they have inherited from print publications.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, is a book series with Sternberg Press, and another is called Data Browser, which is with Open Humanities Press. 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.