[-empyre-] HYBRID BOOKWORK, Week Two - Paradoxical Publishing, Postmedia, Critical Aesthetics

verlag at traumawien.at verlag at traumawien.at
Sat Feb 15 21:48:33 EST 2014

1 Literary Trojan Horses
2 Augmented Reality
3 Post-Digital
4 Print on Demand

1 Since our Ghostwriters (
Intervention we put a great effort in manipulating huge bunchs of text
algorithmically. During the whole last year we have been working on an
algorithm to contaminate contents by subversively contaminatig them with
advertising. This is focused on german ebook piracy mechanisms which turn
ot to be by far most progressive experiments in terms of distribution. Just
for the case as they also constantly invent alternative economic systems,
always on nomadic moves, where they curate contents, as opposed to raw
bunches of material like all german bestellers at once like this 1 >
if they are what they are labeled, by your self]. If you are
interested, a driving force behind ever changing 'domains of distribution'
here has been and still is 'spiegelbest', here is an essential interview
with him > http://traumawien.at/stuff/texts/interview-mit-einem-buchpiraten/,
also he has a blog where he writes about where the scene locates at the
moment. They truly are always on the move, and they are huge and that s why
i wonder why this discussion is so much skipped in publishing.

2 Augmented Reality. To me AR still is the most close to working science
fiction concept in digital and i am highly fascinated thinking about it. To
put it short > as long as we need our hands for computers, we'll have to
wait, and no, i don't like 'glasses'. We have been greatly influenced here
by the fantastic Mez Breeze Blog Augmentology which stopped in 2010 >
We are open to any collaborations here. Please contact. We have our own
software and some Scheme concepts. AR does need a lot of work.

3 Post-Digital. After reading the mails from last week i asked my friend
about 'post-digital' and he said 'Alzheimers'. I thought this was
something, as it brought up the human connection, which i completely miss
in your notes. Also, it could be turned in as the 'space left by the
absence of the digital' - a generative amnesia, sort of. Unlearning
learning, Tech drugs and the Kurzweil Cyborg, all the archives etc come in
here. Just my thoughts without juggle-stretch terms too much.

4 Pod. We, of course, used pod in the beginning for most of the reasons
Domenico listed. Still, in June 2012, when Amazon terminated our Accounts
life-long because of the 'Ghostwriters' Intervention, we decided to not use
pod (and it's Amazon gateway) anymore and instead have our books printed
locally, in limited runs of 50-100. Our orderings through Lulu where really
marginal and their quality was just bad. Not to mention tax and check
issues with the US you suddenly have to deal with. To have our backlist (
http://traumawien.at/prints/) out of print is a thing, nowadays. Sticking
back to great quality prints is also the (.) left by the absence of the
digital and therefore probably post-digital. Our posters, for example, are
printed at a letterpress in St. Gallen. We just want best, long lasting
quality you can get, again. Those products are data carriers to survive.

Don't get me wrong, but it will be true pod if espresso book machines
arrive to print the pdf at the copy shop around the corner.

I am also having problems to use the word book in general for any digital
processes. Just to avoid tedious (especially 'ebook') discussions.

>>> Apologize for my late introduction. I have a familiy emergency here in
switzerland and been offline most of the last week. Also, this is written
from a cafe. Hope to add more to the discussion, later. See you around, L

On Thu, Feb 13, 2014 at 11:07 PM, domenico quaranta <
quaranta.domenico at gmail.com> wrote:

> ----------empyre- soft-skinned space----------------------
> Dear Michael,
> thanks for your reply and your questions!
>> That said, something about your move into becoming a publisher appears
>> to be informed by your wider concerns with the location of art today,
>> something you've written about in terms of the so-called digital
>> divide between media and contemporary art practices
> of course, any time you start producing content of any kind, you do it
> because you see room for that - to fill a hole, so to speak. In Italy,
> there is very little literature about art and new media, and just a few of
> the books I enjoy in English are translated, often quite lately. That said,
> Link Editions publishes mainly in English for an international audience
> that have access to a wide literature on this subject. What I felt was
> missing, and what the "Clouds" series is trying to offer, was a fast
> translation of the vast literature we experience online in the shape of a
> book. Most of what we read today is on a screen. Sometimes, a blog post or
> a short essay published online has a stronger impact than a book or an
> article on a printed magazine. But the web is fluid, permalinks decade,
> retrieving content that we forgot to save, archive, tag or post to Facebook
> is hard. A book - be it a paperback or a digital file - is more reliable;
> it lasts longer, and can be quoted years later.
>> how you've seen these works received in different contexts? Do these
>> publications end up in unexpected settings and contexts? How far and
>> wide do they travel to reach diverse audiences? Perhaps you've got
>> some interesting stories and insights here.
> One of the faults of working online is that you don't hear stories, you
> just see facts and figures. I can tell you that the books have been
> downloaded and bought from all over the world, mostly from the US, Europe
> and Australia, and that the proportion between free downloads and sales is
> more or less 1:10; I can tell you that bookstores don't like to buy from
> Lulu - so they don't buy our books, even if we offer them to buy at
> author's price; but the only feedback I get comes from people that bought
> or downloaded the books, when I meet them. Also, it's funny when I make a
> presentation and say "you can buy the paperback or download the book for
> free" - many people still look at me like if I was an alien...
>> Some other quick follow up questions: Link Editions seems to have been
>> born from an archival impulse; to what extent have, for instance,
>> libraries acquired print copies of these publications? Is that
>> something you're interested in pursuing? Have you also considered
>> feeding back this publishing momentum into print distribution for
>> galleries or more specialty bookshops beyond the Lulu.com platform?
>> Would it make sense to do so?
> It would definitely make sense, even if it has been, so far, quite hard to
> do. We don't have the budget to buy copies and send them to selected
> bookstores or galleries, and we can't do donations to public libraries, but
> we suggest to do it to people that download our books for free (a strategy
> we learnt from Cory Doctorow). It has been possible for specific
> publications, though. The F.A.T. Manual was co-produced with MU, Eindhoven
> and supported by XPO Gallery, Paris - they both have copies for sale. Soon,
> you will be able to find some Link Editions books at Eyebeam, New York.
> Hopefully in the future we will work more on this.
> Talking about the archival impulse, of course you are right. But it's not
> just about libraries - I think disseminating the digital file goes in the
> same direction. When I think that only 100 copies of "Peer Pressure" have
> been sold, but some thousands have been downloaded, I feel that this book
> is somehow "safe". I know, you don't always read what you downloaded, but
> you always store it somewhere for later reading. Maybe at some point people
> will start donating their old Kindles and Kobos to public libraries - and
> they will accept them.
> My bests,
> Domenico
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
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