book, which they have ignored so far. This is, I believe, the only way of saving hardcopy books from obliteration by electronic media.
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
620 Matching Annotations
- Oct 2016
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haart.e-kei.pl haart.e-kei.pl
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The book (from Latin “liber”) is a part of the work; its physical shape and structure constitute its integral part. So it is not easy to take out the text and place it in the virtual space since in the liberatic work the space in which words are con-tained is not neutral.
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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However, there is no reason for constraining oneself to the traditional form of the codex.The work can assume any shape at all and be made of any material
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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Otherwise, one would have to agree with Raymond Federman and admit that one shares the au‑thorship of one’s masterpieces with the editor, typesetter, and man‑uscript reviser; and what writer would like to do that?
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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I believe that it is his responsibility to consider the physical shape of the book and all the matters entailed, just as he considers the text (if not to the same extent, he should at least bear them in mind). The shape of the book should not be determined by generally accepted conventions but result from the author’s autonomous decision just as actions of his characters and the choice of words originate from him.
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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There are literary works in which the artistic message is transmitted not only through the verbal medium, but also through the author “speaking” via book as a whole.
https://hyp.is/Aan6_GkvEearTHfhz1OFHA/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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www.bookarts.uwe.ac.uk www.bookarts.uwe.ac.uk
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So the concept of “liberature” grew out of Oka-leczenie, the book we labelled assuch, partly in order to avoid the term “the artists' book”. We had to come up with anappropriate term to describe it, or to give critics an appropriate tool to handle it if wewanted them to take it seriously. Otherwise, it would have been labelled “the artists'book” or a typographic happening, as someone called it, and relegated to the margins ofliterature. Instead of getting to libraries and bookshops, it would have ended up ingalleries and exhibitions. But we wanted it to be read. Our priority in writing anddesigning it was not to make it visually appealing, but to find an appropriate form thatwould suit its subject:
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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In preparing each publication we pay special attention to the author's intentions,trying to establish or restore the original layout usually ruined by editors who, strange asit may seem, usually disregard the author's design.
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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it is the writer who intentionally shapes the form of the book to suit the text.
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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If I emphasise this bodily, material aspect so much, it is because Polish literarystudies seem still dominated by scholars indebted to Roman Ingarden, a Polishphilosopher who ventured into literary studies to produce a highly influential theory ofthe literary work of art6 in which he denied its “material foundation” (as he called it)any significance. It was to be passed over and not interfere with reading.
https://hyp.is/8jYmImk4EearXYuM-qUXqQ/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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The talk traces the development of liberature (Polish liberatura, fromLatin liber, i.e. 'book'), a literary genre that integrates text and its material foundation into a meaningfulwhole
https://hyp.is/Aan6_GkvEearTHfhz1OFHA/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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In spite of the networked condition of textual produc-tion, the design of digital platforms for daily use has hardly begun to accommodate the imaginative possibilities of con -stellationary composition, graphic interpretation, and dia-grammatic writing. We may use mind mapping or other schematic approaches to outline a plan, sketch an argument, organize information flows, or do other tasks that abstract process into graphic forms. We may read through our links and click trails, follow our associations of thought in tracking one thing after another through browsers and faceted search-ing. But very few acts of composition are diagrammatic, con -stellationary, or associative. Fewer are visual or spatial. The predominant modes of composition in digital displays have remained quite linear, even when they have combinatoric or modular underpinnings.
https://hyp.is/pbYfGG0NEeaDM8eVUq0LCg/disruptivemedia.org.uk/thepoliticalnatureofthebook/about.html
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disruptivemedia.org.uk disruptivemedia.org.uk
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What is certain is that poetics in general, and narratology in particular, must not limit itself to accounting for existing forms or themes. It must also explore the field of what is possible or even impossible without pausing too long at that frontier the mapping out of which is not its job. Until now, critics have done no more than interpret literature. Transforming is now the task at hand. That is certainly not the business of theoreticians alone; their role is no doubt negligible. Still, what would theory be worth if it were not also good for inventing practice?
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- Sep 2016
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journal.disruptivemedia.org.uk journal.disruptivemedia.org.uk
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Within the digital world, the cost of publishing and distribution drops dramatically (not to zero, but much closer than ever before)
Is this true within an academic publishing context? First copy costs remain substantially high: editing, review, typesetting, server and band with costs, marketing etc. are still part of a digital only model. One thing that is important to explore though is what these first copy costs consist off in a digital context, to explore from there what the profit margin is that publishers put on top (plus cost for printing etc.). This could lead to the development of perhaps a more fair and transparent system based on actual costs. For books the OAPEN-NL project tried to do exactly this: https://openreflections.files.wordpress.com/2011/03/oapen-nl-final-report.pdf
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There is a fruitful argument for the cost of these more “traditional” publishing houses, as they spend a good amount of time with editing, formatting, and distribution (often in paper form)
One of the complaints I hear more and more often from academics is that traditional publishing houses are actually no longer doing this work. Editing and formatting are increasingly outsourced to academics themselves (as are indexing etc.) and even marketing is something publishers ask authors to so themselves using their social media profiles and academic brands. This is one of the issues many scholar-led publishing initiatives are trying to address, by highlighting for example the various processes that go into creating a scholarly publication and giving these due recognition. Mattering Press is at the forefront of this:https://www.matteringpress.org/
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Unpaid Labor
If this special issue of Ephemera ever comes out (I have been keeping an eye out for it but nothing as yet) it might be highly relevant for this discussion: http://www.ephemerajournal.org/content/labour-academia-0 Back issues of Ephemera do cover topics related to this discussion too though, so might be a relevant resource anyway (and OA!)
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- Jul 2016
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journal.disruptivemedia.org.uk journal.disruptivemedia.org.uk
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disruptive if it remains behind a paywall?
I would be interested to hear more about issues of academic labor in relationship to OA in specific. One of the issues that we continue to encounter in forms of what we have called more 'radical' open access practices, in specific academic-led projects and experimental publishing endeavours, is that the amount of free labour increases significantly (and this is of course what publishers traditionally offer to researchers, they facilitate many of the publishing processes). So, where there has been a call to only give one's free academic labour to NFP or open access initiatives (and not to Elsevier or Academia.edu for example), although this might be a more ethical use of academic labour, this does not solve the underlying issue of 'un(der)paid labor' in academia as such. So does this mean we need to work towards more recognition for the types of free labor academics do (from reviewing to editing, to board memberships, to what have you?) and to have this included more directly in impact statements etc. Or does this just lead to a further instrumentalisation of academic job specifications? Is there a tension here too between narratives that see this kind of work as part of an academic 'gift economy' versus those that stress 'free and un(der)paid labour'?
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journal.disruptivemedia.org.uk journal.disruptivemedia.org.uk
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possibilities
One possibility of the blog as a research method might perhaps be that it aids in the creation of what I have called elsewhere 'differential publications'. In my own thesis, which made use of a research blog as part of its practical methodology, I used a blog to specifically highlight the processual and collaborative nature of research. A blog allowed me to do this better than traditional print-based (or email-based) forms of communication could in that respect. Yet, it also remains rather limited in what it can do as a medium, and blogs still tend to have a strong authorial voice, and remain limited in their collaborative and multimodal possibilities. Also see: http://www.openreflections.org/?page_id=45
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Can a researcher blog be considered a reliable and legitimate (triangulating) method of working?
The research blog or blogging as a research method is an intriguing question indeed. But what makes a blog, or better said, the specific usage of a blog into a suitable scholarly 'method' -- for you and/or for others? A blog in itself is a medium/a publishing platform. A method then is a certain approach to a blog, how you implement it into research strategies. If you make the case for (a specific use of) a blog, what makes it a potentially more useful research method (for you and others) than, for example, methods based on the usage of other (print-based) media?
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- Nov 2015
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p-dpa.net p-dpa.net
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A similar project that explores the potential and limits of POD is AND's Variable Format: 'a sample book, a model, a serial system that explores the technological margins of print on demand and how reading is informed by the materiality of the book object'.
This project has been conceived by Lynn Harris, published by AND and designed by Åbäke with Pierre Pautler:
http://www.andpublishing.org/variable-format/and-variable-format/
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