Program Booklet Digital Publishing Toolkit

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The Digital Publishing Toolkit initiative is working on a ‘how-to’ guide for electronic publishing in the arts, along with a collection of open-source software tools for editing and designing electronic books.

Institute of Network Cultures presents:

may 22 & 23, 2o14 #Confere n c e , # W o r k s h o p s , # B a z a a r , # A r t s & C r a f t s


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#Introduction Digital publications are on the increase. In our daily lives we read more material than ever on electronic devices, while paper books – once everyday objects – are becoming collectible design objects. In the arts, electronic publications such as the e-flux journal and websites like Ubuweb have enormous impact and have taken over many of the traditional functions of non-electronic arts publications. For publishers, visual designers and artists it can be difficult to keep up with these developments; few possess the knowledge and resources to develop a digital publishing practice of their own. For arts and design-oriented books, going electronic can be an extra challenge because form and content are deeply intertwined, while electronic book formats were not engineered with visual publications in mind. The Off The Press conference will address the following questions: how can arts publishers make their own e-publications and use the medium in a conceptually and aesthetically interesting way? How do new forms of digital publishing change the role of the designer? What changes are needed in your production workflow, from manuscript to publication, if you want to switch to hybrid electronic and paper publishing? The Digital Publishing Toolkit initiative – a network of two applied universities and art school research departments, four Dutch art and design publishers, and several graphic and media design bureaus – is working on a straightforward ‘how-to’ guide for electronic publishing in the arts, along with a collection of open-source software tools for editing and designing electronic books.



#CONFERENCE CONTENT #Thursday may 22 @Museum Boijmans van B e u n i n g e n 09.30 – 10.00

Doors open

p. 7

10.00 – 11.00

Session 1: Today’s Book Publishing

p. 7

11.00 – 13.00

Session 2: One Thousand and One Publishing Workflows,

p. 8

Tools, and Platforms

13.00 – 14.00

Lunch break

p. 10

14.00 – 15.00

Session 3: Introducing the Digital Publishing Toolkit

p. 10

15.00 – 15.30

Tea break

p. 12

15.30 – 17.00

Session 4: Showcases

p. 12

#Thursday May 22 @WORM 20.00 – 22.00

‘Digital Arts & Crafts in the Field of Publishing’

p. 15

#Friday may 23 @WORM 09.30 – 10.00

Doors open

p. 21

10.00 – 14.30

Workshop: Paper to Code: Transforming the Future of Reading

p. 21

10.00 – 14.30

Workshop: Electronic Publishing Workflows:

p. 21

(Multi)Markdown & Pandoc

10.00 – 14.30

Workshop: Superglue: Reshaping the Web?

p. 22

14.30 – 15.00

Tea break

p. 23

15.00 – 16.30

Session 5: Underground e-Publishing

p. 23

16.30 – 17.30

Bazaar and Drinks

p. 24

Bibliotecha @ Off the Press

p. 24

Biographies

p. 25

Colophon

p. 31



Doors open, coffee and tea

#SESSION 1 TODAY’S·BOOK· PUBLISHING

speakers session 1

J o o s t Kircz_NL (P.27) Going·Electronic Art and design books are joining the fashionable fever of ‘going electronic’. Here, in contrast to novels, images are more important than text. In the arts the text explicates the image, whilst in many other genres the image illustrates the text. This fun-

10.00 – 11.00

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09.30 – 10.00

damental difference makes an electronic arts book a atic project. Firstly, we encounter the same issues as

the role of images and artistic inventions in the

with purely textual works; secondly, we have also to

publishing domain. Publishing in the arts is not

address the issues of image quality, colour control,

just about catalogues or art history monographs.

the spatial relationship between text and image,

How do artists respond to the growing diversity

and the relationship between ‘items’ (parts of text,

in platforms and to cross-overs between paper

images of cutouts) and large repositories, such as

and digital? What is the status of the image in

those of museums. Lastly, art printing can choose

an increasingly multimedia world? What artistic

between many different qualities and types of paper

strategies can be identified in today’s networked

to print on, but the screen is a glowing, often flick-

age, when image and text are starting to have a

ering substrate; so it must also be decided which

new relationship to each other?

substrate works best for which reader or consumer.

Moderator: Geert Lovink (P.28)

A l e s s andro L u d o v ico_IT (P.28) Networks·as·agents·in·the· clash·between·persoNAl·and· industrial·post-digital·print The post-digital print era has definitely begun. On one hand, the boom in net content or IT process-based artists’ books, and the collective effort to scan underground print culture and share it in digital repositories, is revamping the production and rediscovery of critical content in a classic form. On the other hand, the unveiling of Google’s huge industrial scanning plans, the growing unsustainability of newspapers’ business models, the growing role of software in literary and journalistic production, and the constant fine-tuning of commercial e-publications’ rules are slowly changing the industrial printed mediascape. The resulting scenario helps to shed new light onto the role of networks in these processes, and the possibility of considering them as agents rather than as media per se.

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much more demanding, challenging and problemIn this opening session of the event we focus on


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#SESSION 2 ONE·THOUSAND· AND·ONE·PUBLISHING·WORKFLOWS·TOOLS· AND·PLATFORMS 10.00 – 11.00 ... Shahrazad awoke and signalled to her sister Dunyazad who sat up and said, “Allah upon thee,

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • s p e a k e r s THURSDAY m a y 2 2

O my sister, recite to us some new story, delightsome and delectable, wherewith to while away the waking hours of our latter night.” ... and thus, on the first night of the Thousand Nights and a Night, she began... This panel explores the diversity of tools and processes for publishing online from highly designed and specialised platforms and content management systems to more DIY heterogeneous and dynamic toolchains. What are the advantages and disadvantages of the different approaches. A group of practitioners representing a range of disciplines and approaches share their experiences. Moderator: Michael Murtaugh (US/BE) (P.28)


Eliz a b e t h C a s t r o _ US (P.25) CatalanTalk—Publishing·multilingual·interviews, from· Twitter·to·e-books·to·paper

John Haltiwanger _US/NL (P.26) Free·Your·Objects·(And·Let·the· Subject·Follow) Textuality and Reciprocity in the Metastability Tools evolve reciprocally with their use, as do the

This talk will explore the use of social media and an

users of those tools. What we can do and what we

active volunteer community to publish and distrib-

wish we could do are enabled and limited not only

ute multilingual interviews first on Twitter and then

by the tools we have access to but also by the larg-

convert them into e-books and paper form in order

er socio-economic conditions that determine these

to raise awareness about Catalonia.

tools and their modes of production and operation.

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speakers session 2

Tools actively participate in shaping our identity

Adam H y d e _ NZ (P.27)

as producers, makers, and appreciators. Through the the case study of a multi-output typesetting explore a vocabulary to think differently about

Adam will talk about his experiences over the last

how we work with text today, one that focuses on

eight years with different free software tools and

qualities of re-composition and the dynamics of a

methodologies for creating digital books. Tools

different type of ownership.

include Booktype, Lexicon, PubSweet, Objavi, BookJS, Booki and others. Methodologies include Book Sprints, Collaborative Knowledge Production,

Oli v er Wise_US (P.30)

and others.

Making·epubs·easy·with·The· People’s·E-book Oliver Wise from The People’s E-book will walk the audience step by step through the creation of an .epub using The People’s E-book. He will explain the advantages of creating something that limits your options and explain the founding principle of keeping things as simple as possible. He will also showcase the open source node.js module ‘pe-epub’ that was developed for The People’s E-book, and expand on the possibilities for its use in a wide variety of settings.

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workflow that uses only libre software, the talk will

Books·are·Evil


13.00 – 14.00

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Lunch break

#SESSION 3 INTRODUCING· THE·DIGITAL· PUBLISHING· TOOLKIT

speakers session 3

Florian Cramer_ DE/NL (P.25) Electronic·publishing·in·the· arts - what·does·work·and·what· doesn’t The computer industry promises for electronic publishing - better audiovisuality, more interactivity, easier distribution, lower costs, easier do-it-yourself publishing - often don’t quite match the reality of what is possible with e-books and magazines, especially for small and low budget publishers. On

14.00 – 15.00

the other hand, there new yet not-so-obvious oppor-

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • s p e a k e r s THURSDAY m a y 2 2

tunities and possibilities for publishers that go digital. The Digital Publishing Toolkit initiative, a net-

This presentation will summarize some of the expe-

work of two applied universities and art school

riences designers and publishers gathered in one year

research departments, four Dutch art and design

of conducting the Digital Publishing Toolkit project.

publishers and several graphic and media design bureaus, is working on an accessible “how-to” guide for electronic publishing in the arts along

M i r i am Rasch_NL (P.28)

with a collection of open source software tools session will give an overview of the Digital Pub-

Hybrid·Workflows·for·Hybrid· Publishing

lishing Toolkit initiative research results and their

Any publishing workflow that takes into account

most interesting findings in the field of electronic

not only print but also digital publications – be it a

publishing.

website, an online PDF, ePub or other form – has to

for editing and designing electronic books. This

be flexible. In order to be open to different outputs, Moderator: Margreet Riphagen (P.29)

the workflow should comprise different strategies and tools – while at the same time being clear and transferable between authors, editors, and designers, just as the content is clear and transferable between output formats and platforms. The Institute of Network Cultures subgroup tries to establish precisely that, balancing between technological constraints and possibilities, between high qualitative standards and a flexible and creative handling of materials. We hope to present an outcome that illustrates precisely this: your own personal ePub, collected from a range of articles, blogs, photos, or videos. Want to know about social media without mentioning Facebook? Curious to see a collection of videos and essays on web search, with a focus on algorithms? What new forms of personalized publication become possible when editing, compilation, and design processes themselves become partially algorithmic?


Pia P o l _ NL (P.29)

Arj e n de Jong_NL (P.27)

Digitizing·CoNtext·Without·Walls, Creating· ePubs·through·the·Epubster· Generator

Ske t c h i ng·Skills

Valiz and the art publicist Daphne Pappers are

on multiple devices, at a reasonable cost? They

currently developing a new series of publications

show the problems and solutions encountered in

named Context Without Walls. The publications

their case study Sketching Skills, an App version

in this series are focused on artists from all over

of Sketching, the bestselling book that teaches

the world. The books are multilingual and contain

sketching to industrial designers, by Koos Eissen

essays as well as images. The paper versions of

and Roselien Steur.

The BIS Publishers workgroup set out to research the following issue: how can we make highly

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interactive rich media publications, accessible

Context Without Walls are being designed by Meeus Ontwerpt. Valiz, the designers of Meeus Ontwerpt and the developers of PUNTPIXEL have together attempted to create a digital version of Common Skin, the first publication in the Context Without sibilities and questions of design, they have sought a solution for the issues that arise when turning a paper book into an e-book: the Epubster. The Epubster is generator which enables a publisher to create ePub3s with extensive designs as well as images in the format of a series.

Loes S i kk e s _ NL (P.29) Highli g h t s – e P u b p e r s o n a l i z e r Rotterdam-based designer Loes Sikkes (Medamo) will present the Highlights research project, designed in collaboration with the nai010 publishers and the PUNTPIXEL developers. This example shows how users can compose an ePub. Within a digital edition the content of a collection can be handled dynamically, providing new possibilities in comparison to a static printed publication. The Highlights research project focuses on the translation of existing information/content to a new product, with the added value of allowing users to influence the composition of the content of the digital edition. The research focuses on selecting within existing collections and personalizing the digital publications. The evolving open-source application is suited to other topics provided it concerns a collection and is a concrete product for the Toolkit originating from this research.

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Walls series. Taking into account the technical pos-


15.00 – 15.30 Tea break

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#SESSION 4 SHOWCASES 15.30 – 17.00

speakers session 3

J o a q u ín González_SP v i s u a l M ANIAC (P.26) Setting·up·an·art·digital· book·store, or ‘Working out how to do something is better than waiting for a magic formula’ visualMANIAC was born with the intention to

As the field of electronic publishing continues

preserve the role of the specialist publisher and

to expand, it is giving rise to new possibilities in

bookseller in the digital world. We love the papery

design, distribution and modes of publishing.

smell of a good book or a magazine fresh off the

A wide range of designers, artists, or (designer/

press, but we’re also strongly drawn to pixels, their

artists as) publishers will elaborate on their prac-

immediacy and lightness. With digital publishing

tices, present new approaches to book design,

now an industry dominated by major corporations,

and give insights into how they are tackling the

is it possible to create independent spaces where

challenges of electronic publishing.

specialized publishers can find their own routes into the digital domain, away from the interests of the

Moderator: Kimmy Spreeuwenberg (P.30)

big groups? We have been developing this project for almost three years, and we have learned that digital will not be a worthwhile sales channel until publishers take it seriously. They should devise a strategy and assess whether it is worth developing sophisticated apps, editing ePubs, offering PDFs, or embracing all of these possibilities at the same time. Nobody knows what the future of publishing looks like, so we had better start working on how we want it to be.

Michelle Kasprzak_ CA/NL V2_ (P.27) The·e-book· as·a·vehicle· for· re-dissemination·and·creation In this talk, Michelle Kasprzak, Curator at V2_ Institute for the Unstable Media in Rotterdam, will discuss the creation of an e-ook series as a complement to public events at V2_. The strategies behind its series of Blowup Readers – including using the series as a vehicle to mix old and new content, experiment with different forms of collaborative writing, re-purpose archived material, disseminate artistic research, and reach new audiences – will be analyzed and discussed.


Matt h e w S o _ US (P.29) Badlands·Unlimited: We·Make· Books·in·an· Expanded·Field Badlands Unlimited publishes books on a range of topics that do not cover specific genres, but which have included a .gif-filled e-book as an an English translation of three essays by Saddam Hussein on the purposes of democracy, entitled

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art-advertising White Pages, entitled AD BOOK;

On Democracy; a series of formerly unpublished interviews of Marcel Duchamp by the New Yorker art critic Calvin Tomkins, entitled Marcel Duchamp: The Afternoon Interviews; and most recently, a book of drawings by the art curator and critic Hans Ulrich Obrist, entitled Think Like Clouds. Matthew So, an associate of Badlands, will speak about the will be shown. Matthew handles sales, distribution and inventory operations at Badlands. Questions in relation to these functions will be answered, and unrelated questions will make for interesting conversation.

Angie Keefer_US (P.27) Meta· The· Difference· Between· The·Two Historically, the birth of a new language was an arduous drama played out in slow motion over what may as well be units of geologic time compared to the minute scale of an individual human lifespan. Today, the process can be practically instantaneous, as in the case of computer languages, when a given linguistic anatomy fully integrates a new technology. In fact, technological change has consistently catalyzed language change. Our written phonetic languages descend from relatively complex, non-standardized pictographic systems, in which individual signs represented single concepts or things, rather than sounds. Only as technologies of inscription evolved and literacy increased accordingly did it become necessary to make writing more expedient. Even still, our written languages were conceived almost inadvertently; design followed inception.

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • s p e a k e r s THURSDAY m a y 2 2

more important and recent titles. A few book trailers


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ART I STS

Six : Thirty D a n i l o Di Cuia(UK), James C u d d y ( U K ), Roma Levin(UK) (P.26, P.26 & P.27)

Experiments·in· Collaborative· Publishing For the Off The Press conference, Six:Thirty explores

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Digital Arts & Crafts in the Field of Publishing @ Worm

the significance of online networks to the role of the 20.00 – 22.00

designer. During an experiment at the V&A museum publication with visitors, using images automatically

enhancements.” This is how e-book designer

downloaded from a creative commons resource.

Peter Mayers drily summarized the recent history

The installation and resulting book represent a new

of experimental digital publishing in the

collaborative approach to publishing, where design-

New York Times.

ers define a process and users determine the result.

It is time to look closely at the plethora of

Six:Thirty create new experiences with design and

available functionalities and the value they have

technology. As designers and technologists they

beyond the rhetoric of innovation. If not in the

use a broad range of experience to deliver projects

baroqueness of rich media, slick interfaces and

for brands and cultural institutions. Six:Thirty’s work

smooth gestures, where does the core of digital

is realised in branding, creative direction, and user

publishing lie? What happens when, instead of

experience design.

asking what e-books can technically do (especially in comparison to print), we ask how can they be produced, altered, stored and distributed?

M o n o space Press

During the session, artists and designers will

D e l p h i n e Bedel(NL) (P.25)

present their own practices and approaches to question the current modes of content produc-

T h e ·N e t worked· Book – P u bli s h i ng·as· Artistic· Practice

tion and dissemination. The presented cases will

Artists’ books seem not to have yet taken the digital

open the debate on possible strategies to build

publication as a means of production and creation

sustainable, networked or hybrid publishing

of its own, and seem to keep ‘paper books’ as their

models.

model. Facing the complexity of understanding the

digital publishing that both take advantage of and

challenges of the current revolution in publishing, Curator: Silvio Lorusso (P.28)

Bedel’s PhD research aims to address the transition in the publishing industry and digitalization of content, from the perspective of the book as a privileged medium for artists. Shifting from print to software culture, how are we to frame and create the relevant and urgent critical tools (theory, softwares), and challenges to be investigated by artists/publishers? New modes of production, appropriation, distribution and collaborative practices, as well as extended forms of ‘books’ will be presented.

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entitled Collate, the studio set out to co-create a “We pursued distractions and called them


TRAUMAW I EN

Gre y s cale Press

Lukas J o s t Gr o s s ( AT) (P.26)

M a n u e l Schmalstieg(CH) (P.29)

Ghostwriters·and·Literary· Trojan·Horses WRITERS: bots that compiled and uploaded hun-

Black·holes· in·the·Gutenberg· Galaxy: Non-books, anti-books, maybe-books, and·everything· in· between

dreds of e-books on Amazon.com with text stolen

This talk will review the latest productions of

from YouTube video comments. And the 2013-on-

Greyscale Press, and expose the promiscuous

going work HIJACKED EBOOK BESTSELLERS AS

workflows and methodologies it puts in place to fit

LITERARY TROJAN HORSES, which uses piracy dis-

its needs, urges and dreams.

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TRAUMAWIEN will present the 2012 work GHOST-

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tribution mechanisms to massively publish altered/ contaminated book contents exploiting what will

The electronic publishing disruption has induced

be known as ‘native advertising’ in digital journalism

a range of uncanny side-effects: print-on-demand

and digital book publishing.

spam is lurking on library bookshelves, publisher-entrepreneurs are buying into the infinite

TRAUMAWIEN.AT (Vienna, Austria and St. Gallen,

monkey theorem, and a whole generation of writers

Switzerland) published conceptual digital literature

is turning SEO-aware. The Gutenberg Galaxy is

from 2010 to 2013: these included continuous

full of black holes. Embracing these phenomena,

algorithmic works as well as asynchronous ‘Artclub’

Greyscale Press deliberately runs against the tide of

Events merging theatre, digital literature, acid tech-

analogue-to-digital conversion, turning born-digital

no and art exhibitions. Since 2014 it has focused on

materials into physical forkbombs.

a definition of ‘relational publishing’ as a practice. Greyscale Press, a post-digital publishing house, is

The P e o p l e ’ s E - B o o k El eano r H a n s o n ( US ) , Oli v e r Wise(US ) (P.26 & P.30)

crafting book-like artifacts and merging the tool sets inherited from 20th-century modernist avantgardes, post-structuralism, the free software and copyleft movement, and the latest strains of crypto and cypherpunk activism. Recent publications

Publ is h i n g ·C o n s t i t u t e s ·a · P u b l ic

include L’Eve future, a crowdsourced collection of

Oliver Wise and Eleanor Hanson Wise of The

typographic specimens for over 200 libre and open-

Present Group and The People’s E-book will present

source fonts; netfahcsnegiE enhO nnaM reD, a

an overview of their current and past projects in

mirrorview edition of Robert Musil’s A Man Without

order to showcase the different community-based

Qualities; and the freshly-launched #freespeech

funding models they use to support their practice.

collection, a series of readers on privacy and data

They will present an artistic production and

politics.

publishing practice rooted in both the physical and digital worlds, and how their experiences shaped the building of The People’s E-book. The People’s E-Book is a free e-book creation platform for artists, authors, and alternative presses who want to experiment, publish new types of books, and push into new territory. After raising almost three times its Kickstarter goal in 2013, The People’s E-book is now in beta and its community is outputting reflowable .ePubs for free everyday.


Will e m d e K o o n i n g Acad e m y s t u d e n t s _ NL Trial & Error With the Digital Publishing Toolkit project and its ensuing Off The Press conference event as a catalyst, second-year students at the Graphic Academy were asked to research the theme of digital publishing. What are its consequences, its

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Design Department of the Willem de Kooning

opportunities, its effects on reading, production, distribution, and so on? As the upcoming generation process of ideation and design? How relevant do they feel that it is? The first part of the assignment consisted of extensively testing and reviewing various tools and platforms related to the digital publishing field. For the second part (still in progress) the students were asked to apply their findings, not only from the testing of tools, but also from their design research, to the transformation of a non-digital text into a digital text. They worked with texts originating from Octavo Publishers’ publication Een ruimte om in te bewegen by Serge Daney. They translated these texts into a digital publication for computer, tablet, e-reader or smartphone – with design approaches ranging from the experimental, critical and provocative to the functional, practical and all-embracing.

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of graphic designers, what role can they play in the


#ARTS AND CRAFTS #COnFERENCE


#WORKSHOPS

#BAZAAR



09.30 – 10.00 Doors open, coffee and tea

#WORKSHOPS @ WORM

WORKSHOPS

M e g a n Hoogenboom_NL (P.26)

P a p e r ·t o·Code: Transformi n g ·t h e ·Future·of·Reading .ePub 3? Which elements are lost and which elements have to be added? In this workshop .ePub 3

Please note that there is a limit of 30 participants

will be explored on the basis of a transformation of

per workshop, and it is necessary to buy a sepa-

a visual poem. We will go from paper to code, from

rate ticket to participate. No prior knowledge or

page to HTML, from analogue to digital.

skills necessary. Bring your own laptop.

Hogeschool van Amsterdam instructor Harold

http://digitalpublishingtoolkit.org/ticket

Konickx will select two poems to work with. During

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What happens when a visual poem is translated to

the transformation some elements will have to be deleted (the page, for example), while others can be added to enrich the poem (such as hyperlinks and audio files). By working with part or all of a visual poem the shortcomings and opportunities of the .ePub are quickly discovered. Every person reads or interprets a poem in their own way, which results in a different transformation. The different outcomes also influence the way one reads the original poem. This workshop provides a creative introduction to .ePub 3: a crash course in .ePub 3 and in making a personal translation of a poem.

J o h n Haltiwanger _ US/ NL (P.26) Electronic·Publishing·Workflows: (Multi)Markdown & Pandoc Pandoc is a minimalist open source program that converts documents between different formats including HTML, epub, PDF. In conjunction with Markdown, a way of marking up plain text files with easily readable formatting signs popular for E-Mail and blogging, it can be used as a powerful system for publishing in different document formats and media (web, print, e-book...) from one single source document file. In this workshop John Haltiwanger, and Eric Schrijver (from Open Source Publishing) will teach participants the practical use of Pandoc and

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10.00 – 14.30


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Markdown, departing from their own particular

Participants will receive a Superglue router and the

backgrounds, needs and expectations. We will take

download links to the Superglue plugin that enables

individually selected online texts and convert them

you to edit your webpage directly in the browser,

to Markdown. From there we will craft Pandoc

and the firmware that turns your Superglue router

translation templates for HTML/CSS and PDF (using

into a personal web server. Superglue is ‘hosted’

the open source typesetting framework Context).

by WORM (http://worm.org) together with the

These templates may be context-specific (only

Libre Graphics Research Unit (http://lgru.net) and

fitting one particular type of publication) or generic

supported by Stimuleringsfonds Creatieve Industrie

(suitable for a broad range of publications) as we

(http://www.stimuleringsfonds.nl/) and the

design them. But they will nevertheless be univer-

European Union (http://europa.eu/).

sally applicable to any Markdown source document. Participants will leave with a small arsenal of Open Source, cross-media typesetting and document generation tools, and their own design templates

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for these tools.

Josc h a J a e g e r _ GE & Danj a V a s i l i e v _ RU, Mich a e l Z e d e r _ US (P.27, P.30 & P.30)

Superglue: Reshaping·the·web? Web 2.0 promised that everyone could become a free and creative media publisher, but had exactly the opposite result. Today, most people’s web content is locked into the proprietary services of only a handful of Internet social media giants. Individual freedom of expression fits perfectly in a consumerist environment of templates and themes. Privacy is not an issue because “we have nothing to hide”. And cloud computing refers to everything except the clouds of CO2 that are being emitted by data centres all over the world. Superglue is the successor to Hotglue (http://hotglue.me), a tool to intuitively create your own website that is being used by thousands of users. Superglue not only allows Internet users to simply and cheaply design websites, but also run a energy saving micro-webserver and bring personal data back to your home and thus truly own it again. In this workshop you will join the Superglue development team for a four-hour exploration and alpha testing. Evaluate Superglue and provide your feedback on its design and functionality. Learn how to build Superglue websites and find out how to get involved in the project.


Tea break

#SESSION 5 Underground e-Publishing

speakers session 5

S e b a stian Luetgert _ DE (P.28) Precarious·Publishing, Autonomous·Archiving, Collaborative·Collecting As every Western visitor to South and South-East Asia has to learn, no such thing as an ‘underground

15.00 – 16.30

P 23

14.30 – 15.00

scene’ can be found there, as the required historical other than a breathtaking abundance of unattain-

began as a non- or even anti-commercial sub-

able material wealth, is precarity of every hue. And

culture: with literary classics freely published

it is precisely precarity, a pragmatism of leakage

by Project Gutenberg, with underground books

and residue rather than a politics of ‘underground’,

and pamphlets such as the “Principia Discordia”

that independent publishing initiatives in these

and Abbie Hoffman’s “Steal this Book” circulating

regions usually stem from. As we shift from sharing

on electronic bulletin boards, computer hackers

files to sharing libraries, from a peer-to-peer to

swapping “disk mags”. Long before the Amazon

an archive-to-archive mindset, and from building

Kindle, ASCII e-books and e-zines were popular

download ratio to building institutions, the task is

underground media, with their own minimalist

to not just acknowledge, but to actively exploit the

aesthetics and radical politics. Since the 1990s,

practical contradictions faced by publishing projects

artists and media activists have entered this

outside the Western world.

field as well, building up pirate libraries with electronic versions of classical art and critical theory books, and extending the concept of free

M a r c ell Mars_HR (P.28)

software and peer-to-peer file sharing to pubwhat is its status quo, and what can mainstream

F r e e ·a ccess· to· resources· f o r ·e v e ry· member· of· society

publishing learn from it?

Public library embodies dreams and fantasies from

lishing. What has been achieved in this culture,

the past about the future where it is possible to proModerator: Florian Cramer (P.20)

duce knowledge about knowledge and where every member of society have free access to these resources. It is not a surprise that librarians who were dreaming about these epistemological heavens imagined the world without borders where people live in piece and prosperity. In only 100 years after Melvil Dewey, Paul Otlet, Henry La Fontain, Karl Wilhelm Bührer, Adolf Saagert, and many others were establishing Repertoire Bibliographique Universel, Mundaneum, Die Brücke - Internationales Institut zur Organisierung der geistigen Arbeit, League of Nations, International Institute of Intellectual Cooperation or just helping public libraries all around the world give access to knowledge to every member of society, only 100

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • s p e a k e r s FR I DAY MAY 2 3

and material preconditions do not exist. What exists, Just like mp3 in music, electronic publishing


years after, all of these dreams will die with the last of public library being shut down because of commercial interests of publishers and austerity measures.

P 24

Duša n B a r o k _ SK (P.25) Digital·Imprint: the· Motion·of· Publishing It has become an established fact that virtually all utterances in digital networks are being recorded. Vast archives spanning the globe – run not just by information agencies, but by the whole industry in the widest sense – are storing a treasure trove of mostly raw, unedited material they do not intend to publish. Regardless of what preventive measures are taken, the reality of their existence persistently

#Bibliotecha @ Off the Press

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • s p e a k e r s FR I DAY MAY 2 3

surfaces through ‘editorial intervention’ (typically in the form of leaks), today a genre in its own right.

Bibliotecha is a framework to facilitate the local

Framing this phenomenon as symptomatic of the

distribution of digital publications within a small

presence of digital networks in the very fabric of

community. It relies on a microcomputer running

cultural expression invites us to rethink the roles we

open-source software to serve books over a local

play online. As the subjects of tracking and surveil-

wifi hotspot. Using the browser to connect to the

lance, we tend to view this role as one of passive

library one can retrieve or donate texts. Bibliotecha

acceptance, defense, or an eventual exit. But viewed

proposes an alternative model of distribution of

in light of these ambiguities, what would it take to

digital texts that allows specific communities to

reclaim the emancipatory potential of networking

form and share their own collections.

formerly articulated in the positive ‘netizen’ notion of the user by reframing it to those of the author

An instance of Bibliotecha will be present at each

and editor?

venue from Off the Press. The initial titles present at Bibliotecha@Off the Press result from a contribution

Bazaar and Drinks @WORM

of digital publications relevant to the event, donated by its organization and participants. The Bibliotecha librarians encourage anyone in the vicinity to contribute or gain from the present

16.30 – 17.30

collection, by logging into the Bibliotecha wifi network and donate or lend e-books.

A number of artists, publishers and related practitioners of electronic publishing will be present

This project is initiated by:

during this Bazaar to showcase their projects in

Lasse van den Bosch Christensen (DK)

an informal way, looking forward to meeting

Michaela Lakova (BG) http://mlakova.org

visitors for acquaintance, discussion, and ex-

Max Dovey (GB) www.maxdovey.com

change of ideas.

Roelof Roscam Abbing (NL) www.roelroscamabbing.nl Yoana Buzova (BG) http://oyoana.com/ André Castro (PT) www.andrecastro.info


Dušan Barok_SK

screenings and lectures series. She has taught at the

Dušan Barok is an artist, writer and cultural activist

Geneva University of Art and Design / MFA (2009-

involved in critical practice in the fields of software,

2012), the Dutch Art Institute/ArTEZ (2009-2011), on

art, and theory. He is founding editor of Monoskop

the Studium Generale of the Rietveld Academy, and

(a wiki for art, culture and media technology), a

at the Sandberg Institute, Amsterdam. Her work is

graduate of the Piet Zwart Institute, Rotterdam, and

shown internationally.

a member of the collective La Société Anonyme.

Elizabeth Castro_US Delphine BedeL_NL

Liz Castro has written bestselling guides to HTML,

Delphine Bedel works as a photographer, publisher

Perl, and most recently EPUB. She is currently the co-

and curator, based in Amsterdam. She is a PhD

ordinator for the English version of the Catalan news

researcher at Leiden University/PhDArts and a

site, VilaWeb, and publisher of English language

founder of Monospace Press. Her awarded editorial

books on Catalonia and its independence process.

work with artists and designers includes over 60 books. She regularly contributes to books and

Florian CrameR_DE/NL

magazines and is a frequent speaker at interna-

Florian Cramer is a reader for new media in art

tional conferences. She is also the author of All

and design at Hogeschool Rotterdam, and director

that is Solid Melts into Air – Notes on Tourism. Her

of the Creating 010 centre for practice-oriented

current curatorial practice focuses on publishing

research in support of creative professions. He

as artistic practice, and this is also the topic of her

also is dean of the Parallel University of WORM,

PhD research. Bedel has curated over 40 exhibitions,

the Rotterdam-based Institute of Avantgardistic

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • Bs IOG p e a Rk APHIES e r s THURSDAY A-C may 22

P 25

#BIOGRAPHIES


Recreation. Previously, he has been a university lec-

2009, John first taught at universities around the

turer in Comparative Literature and course director

city while participating in the caravan of design,

of the Media Design & Communication Masters

philosophy, and joy that is Open Source Publishing

programme at Piet Zwart Institute, Rotterdam. Last

where he and the other members worked with

publication: Anti-Media, NAi Publishers, 2013; What

artists, collectives, initiatives and public institutions

Is Post-Digital?, A Peer-Review Journal About, 2014.

– but most of all with ideas – until eventually arri-

P 26

ving at a full-time position as a programmer. At

James CuddY_UK

night he can be found tinkering with sounds,

James studied at Design at Goldsmiths College.

amongst other things.

Prior to co-founding Six:Thirty, James worked with a range of design and branding agencies in

Eleanor HansoN_US

London and Barcelona including 4Creative and

Eleanor Hanson and Oliver Wise are the co-found-

Base Design.

ers of The Present Group, a creative studio working

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • B IOG R APHIES C - H

at the intersection of art and technology. They

Danilo Di CuiA_IT

focus on devising and building systems that support

Danilo is an interactive developer with a back-

creators. Projects of The Present Group include an

ground in graphic design and a focus in

art subscription service, a web hosting service that

human-computer interaction. With six years of

funds an intermittent arts prize, Art Micro Patronage

experience in the development field, he has worked

(an experimental exhibition platform showcasing

in the US and in the UK for clients such as ITV, BBC,

and funding artwork online), The People’s E-book (a

BHF and many others.

free online tool for building e-books), and Compensation Foundation (an online database for gathering

Joaquín GonzáleZ_SP

and displaying information on how cultural produc-

VisualMANIAC is an independent book store spe-

ers are compensated).

cializing in art, architecture, design, photography, film, fashion and visual culture. Its aim is to offer

Megan HoogenbooM_NL

the best selection of e-books and digital magazines

Megan Hoogenboom finished her Bachelor’s degree

and to provide art publishers with an uncompli-

in Graphic Design at the Willem de Kooning Acade-

cated way to be present in the digital environment.

my with two projects. The first was a fictional new

For them, editorial goods are more than bundled

identity for Holland Festival; the second was a book

paper and beautiful objects to decorate book-

on two districts in Rotterdam. Both projects were

shelves. Publishers put a lot of effort into producing

created following a system and design strategy of

amazing content that ultimately becomes books

her own invention. Working with systems and a

and magazines, and we intend to give those pro-

fascination for the transformation from the ana-

ducts a longer, richer life. We have managed to

logue to the digital world played a big role in her

build a catalogue containing over 1000 digital titles

projects during her Master’s study at the Piet Zwart

published by more than 100 international publish-

Institute. These and other projects can be viewed

ers and art centers. Our books and magazines can

on her website www.meganhoogenboom.nl.

be read on computers, iPads and Android tablets.

Another project is the transformation of the poem Boem Paukeslag by Paul van Ostaijen to .ePub

Lukas Jost Gross_AT

format. In this project all elements of the e-book

Studied Digital Arts with Peter Weibel, University of

reader were explored by translating the fonts and

Applied Arts, Vienna. Working and living in Vienna.

the design to .ePub format. Megan is currently working as a independent designer with a focus on

John HaltiwangeR_US/NL

.ePub design. Her latest .ePub can be downloaded

Since arriving in Amsterdam to do a Master’s degree

at http://creating010.com/ebook.

in New Media at the University of Amsterdam in


subjects in the realm of contemporary culture. Her

Adam Hyde has been on the pioneering edge

writing has appeared in anthologies and exhibition

of publishing since he returned from an artist’s

catalogues in both Canada and Europe. In 2006

residency in Antarctica in 2006 and gave up art to

Michelle founded a leading blog on the subject of

start FLOSS Manuals. Since then Adam has founded

curating contemporary art, Curating.info. She is

many projects including the first browser-based,

also an active weightlifter with current personal

end-to-end book production platform (Booktype)

records of 80kg squat, 52.5kg bench press, and 90kg

and the Book Sprint methodology. Adam now

deadlift.

consults on projects ranging from the collaborative production of multilingual lexicons to collabora-

Angie Keefer_US

tive academic and scientific research production.

Angie Keefer is a writer, artist, and co-founder of

Twitter: @booksprint

The Serving Library, along with David Reinfurt and

P 27

Adam HydE_NZ

is a cooperatively-built archive that assembles itself

Joscha Jaeger is a freelance interface designer at

by publishing. Bulletins of The Serving Library is

filmicweb - Hypervideo Interface Design and a

their composite printed/electronic journal, which

research assistant at Merz Akademie Stuttgart. His

follows a direct line from Dot Dot Dot (published

work covers web-based hypervideo technology,

semi-annually by Dexter Sinister from 2000–2010).

search interfaces, web applications for educational

The “bulletins” that make up each issue are first re-

settings, and collaborative editing systems.

leased online as PDFs over a six-month period, then

http://filmicweb.org/

printed, bound, and distributed twice a year. Keefer received a BA from Yale University. She lives in the

Arjen de JonG_NL

countryside, somewhere north of New York City.

Arjen de Jong is senior designer at Essense, an Amsterdam based service design agency. He was

Joost Kircz_NL

a founding member of Buro Duplex, a collective of

After science studies at the universities of

freelance programmers and designers. He also ini-

Amsterdam and Utrecht, Joost joined Elsevier as an

tiated the Stereo Publication project, a cross-media

international science publisher. Here he started his

publishing project avant la lettre.

research on electronic publishing with a first paper on database publishing, way back in 1987. In 1998

Michelle Kasprzak_CA/NL

he started KRA Publishing Research. In 2006 he

Michelle Kasprzak is a curator and writer based

joined the HvA as a part-time lector on electronic

in Amsterdam. She is currently Curator at V2_

publishing, and as of 2010 he has coordinated its

Institute for the Unstable Media in Rotterdam, the

electronic publishing programme. He chaired two

Netherlands; co-curator of the Dutch Electronic Art

conferences, the Unbound Book and Boek uit de

Festival 2014; and a member of IKT (the Interna-

Band. The proceedings of the first conference were

tional Association of Curators of Contemporary Art).

recently published by Amsterdam University Press.

Michelle has exhibited and lectured across North

All his publications are available on the KRA website.

America and Europe. In 2006 she was awarded a

www.kra.nl

curatorial research residency at the Nordic Institute for Contemporary Art in Helsinki, Finland; in 2010

Roma Levin_RU

she attended the Summer Seminars for Art Curators

Roma is a Russian born art director with a back-

in Yerevan, Armenia; and in 2011 she was a guest of

ground in design and advertising. Before co-found-

the BAM International Visitor’s Programme in

ing Six:Thirty, Roma worked in Moscow and London

Flanders. She has written critical essays for C

for a variety of clients ranging from Tate to Sir Bryan

Magazine, Volume, Spacing, CV Photo, Public, Mute,

Ferry.

and several online journals on a wide range of

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • B IOG R APHIES H - l

Stuart Bailey of Dexter Sinister. The Serving Library

Joscha JaegeR_GE


Silvio Lorusso_IT

He is currently a PhD scholar at Anglia Ruskin

Silvio Lorusso is an Italian artist and designer. His

University in Cambridge (UK). http://neural.it

P 28

ongoing PhD research in Design Sciences at IUAV University of Venice is focused on the intersections

Sebastian Luetgert_DE

between publishing and digital technology from

Sebastian Lütgert, a.k.a. Robert Luxemburg, is an

the perspective of art and design. He regularly

artist, programmer and writer. He is a co-founder of

collaborates with the Institute of Network Cultures

Bootlab and Pirate Cinema Berlin, software develop-

in Amsterdam. After he received his MA in Visual

er in residency at CAMP in Bombay, and the initiator

and Multimedia Communications in 2011, he spent

of several online media archives, most notably textz.

a period of study at the Networked Media course of

com, 0xDB.org, Pad.ma and Indiancine.ma. His

the Piet Zwart Institute in Rotterdam. He took part in

artistic work has been exhibited interna-

exhibitions, festival and events such as

tionally since the late 1990s, and his writing has

Transmediale (Germany), Unlike Us (Netherlands),

been published in FAZ, Süddeutsche Zeitung, taz,

and Fahrenheit39 (Italy). He has written for blogs

Jungle World and e-flux Magazine, among others.

and magazines such as Progetto Grafico and

He is currently working on a fictional documentary

Doppiozero. He launched the Post-Digital Publishing

film set in Dubai.

Archive (p-dpa.net) in 2013.

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • B IOG R APHIES L - r

Marcell Mars_HR Geert LovinK_NL

Marcell Mars is one of the founders of Multimedia

Geert Lovink is a media theorist, internet critic, and

Institute – mi2 and net.culture club mama in

the author of Zero Comments (2007) and Networks

Zagreb. He initiated Public Library, GNU GPL

Without a Cause (2012). Since 2004 he has been

publishing label EGOBOO.bits, started Skill sharing in

a researcher in the School for Communication

mama + Skill sharing’s satellites g33koskop, ‘Nothing

and Media Design at the Amsterdam University of

will happen’ and ‘The Fair of Mean Equipment’.

Applied Sciences (HvA) where he is the founding

Marcell participated in curating/producing mi2

director of the Institute of Network Cultures. From

yearly exhibitions: I’m still alive (2001), re:Con and

2004–2013 he also taught in the New Media

Freedom to creativity! (2005., 2006. 2007.) and in

Master’s programme at Media Studies, the University

conceptual exhibition System.hack() (2006).

of Amsterdam. Since 2009 he has been a media

When in Zagreb Marcell hangs out in Hacklab in

theory professor at the European Graduate School

mama, in Belgrade runs Wonder of technology,

(Saas-Fee) and in 2011 he became an associate

Hackers lenses and Programming for non-

member of the Centre for Digital Cultures at

programmers at Faculty of Media and Communica-

Leuphana University (Lueneburg/D).

tion. Through 2011-2012 did a research Ruling Class Studies at Jan Van Eyck in Maastricht. In 2013, he

alessandro Ludovico_IT

was fellow at Akademie Schloss Solitude in Stuttgart.

Alessandro Ludovico is an artist, media critic, and has been editor-in-chief of Neural magazine since

Michael Murtaugh_US/BE

1993. He has published and edited several books,

Michael Murtaugh (automatist.org) designs and

and has lectured worldwide. He is one of the found-

researches community databases, interactive doc-

ers of http://mag.net (Electronic Cultural Publishers

umentaries, and tools for new forms of reading and

organization). He has also served as an advisor to

writing online. He teaches in the Master’s Degree

the Documenta 12’s Magazine Project. He is Adjunct

programme in Media Design and Communication

Professor at OCAD University in Toronto, and

at the Piet Zwart Institute in Rotterdam, and is a

teaches at the Academy of Art in Carrara and NABA

member of Constant in Brussels.

in Milan. He is one of the authors of the Hacking Monopolism trilogy of artworks (Google Will Eat

Miriam Rasch_NL

Itself, Amazon Noir, Face to Facebook).

Miriam Rasch started working as a publication


(in 2001) and Aether9 (in 2007). Since 2008 he has

June 2012. She holds Master’s degrees in

run Greyscale Press, a postdigital publishing house.

Literary Studies (2002) and Philosophy (2005).

As a web designer and free software enthusiast, he

Since graduating she worked as a (web) editor and

is a contributor to the WordPress platform, and has

from 2008 on as a programmer for the Studium

kickstarted a lively local community in Geneva. He

Generale public lectures department at Utrecht

is currently guest editor of Libre Graphics Magazine,

University, organizing events and taking care of

for an issue dedicated to the Libre Type Design

digital broadcasts and online representation.

movement.

She also worked as a lecturer for Liberal Arts and Sciences, and is teaching philosophy and media

Loes Sikkes_NL

theory in the Media, Information and Communica-

Loes Sikkes graduated cum laude in Globalization

tion department. She writes book reviews and guest

and National Identities. Since 2004 she has worked

posts for different websites and magazines; her

as a graphic designer, setting up multiple design

personal blog can be found on miriamrasch.nl.

studios, such as Medamo (a young Rotterdam-based

P 29

manager at the Institute of Network Cultures in

Lateur) in 2012. Signifying Medamo’s approach is

Margreet Riphagen started working at the Institute

the drive with which they translate new insights,

of Network Cultures (INC) in March 2008 and is

approaches and social involvement into a clear

involved in various research projects. She holds a

design. Conceptual and strategic design solutions

Master’s degree in Information Science (Human

evolve through thorough analysis and research.

Centered Multimedia), a post-Bachelor’s degree

They cross the traditional borders of the profession

in Business Science, and a Bachelor’s degree in

and feel most at home where graphic design, new

Communication Management. Besides working

media and typography meet. In addition, she has

at the INC at the Amsterdam University of Applied

been working at the Willem de Kooning Academy as

Sciences’ Knowledge Centre, CREATE-IT, Margreet

department coordinator of the visual communica-

also works for the MediaLAB Amsterdam, part of the

tions programme, and giving lessons on publication

knowledge centre. Before this Margreet worked at

to the illustration department.

Waag Society and Media Guild for over five years.

Matthew So_US Pia Pol_NL

Badlands Unlimited is a New York-based American

Pia Pol (Amsterdam, 1985) is Deputy Publisher at

publisher of e-books and paperback books with an

Valiz book and cultural projects in Amsterdam with

emphasis on contemporary art, culture and politics.

whom she has worked since 2008. She received a

The company was established in 2010 by Paul

BA in English Language & Culture and and an MA in

Chan, a New York-based artist, as a platform to

American Studies from the University of Amsterdam.

publish the writings and works of emerging and

She has been working in the (art) book trade for over

established artists whom Chan respects and

ten years, principally in book stores, international

champions. Since 2010 Badlands has also published

distribution, and publishing. At Valiz she focuses on

obscure and controversial historical works and one

production and digital development.

romance novel.

pia@valiz.nl, http://valiz.nl Chan considers Badlands as not only a press but

Manuel Schmalstieg_CH

also a publishing experiment. He has written:

Manuel Schmalstieg (1976) is an artist, designer and

‘Historical distinctions between books, files, and

educator, operating in the murky area between

artworks are dissolving rapidly. We publish and pro-

media art and hacker communities. A graduate of

duce new works by artists and writers that embody

HEAD Geneva and ASP Kraków, he founded multiple

the spirit of this emerging dissolution. We make

collaborative entities, including N3krozoft Ltd

books in an expanded field.’

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • B IOG R APHIES R - S

design bureau founded in collaboration with Barbara

MArgreet Riphagen_NL


P 30

Kimmy Spreeuwenberg_NL

Michael Zeder_DE

Kimmy Spreeuwenberg is a new media researcher

Michael Zeder is engaged with research into and

and graphic designer with a special interest in the

the development of tools for an information society.

areas where these two disciplines intersect.

He works currently on systems of knowledge distri-

She is currently project coordinator of the Digital

bution and learning environments. For Superglue,

Publishing Toolkit research project initiated by

Michael designed the client-side software architec-

the Institute of Network Cultures, with whom she

ture and an interactive development system.

collaborates regularly, and teaches at the Willem de

http://michaelzeder.de/

Kooning Academy in Rotterdam.

Danja Vasiliev_RU Danja Vasiliev has been involved in computer technology events, media art exhibitions and seminars around the world since 1999. He has received several awards and mentions at Ars Electronica, Japan Media Art Festival, and Transmediale, and is one of the creators of Hotglue. O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • Bs IOG p e a Rk APHIES e r s THURSDAY S-Z may 22

http://k0a1a.net

Patricia de Vries_NL Patricia de Vries is a project coordinator at the Institute of Network Cultures and is responsible for coordinating MoneyLab: Coining Alternatives. She has an academic background in Media Studies (BA), Cultural Analysis (MA) and Liberal Studies (MA). She has previously worked as a film programmer, researcher, and art magazine editor. From 2010 until 2012 she was based in New York where she worked as a research associate at the World Policy Institute think tank and as a teaching assistant of Professor James Miller at The New School for Social Research.

Oliver Wise_US Oliver Wise and Eleanor Hanson are the cofounders of The Present Group, a creative studio working at the intersection of art and technology. They focus on devising and building systems that support creators. Projects of The Present Group include an art subscription service, a web hosting service that funds an intermittent arts prize, Art Micro Patronage (an experimental exhibition platform showcasing and funding artwork online), The People’s E-book (a free online tool for building e-books), and Compensation Foundation (an online database for gathering and displaying how cultural producers are compensated).


[Colophon]

[PARTNERS]

Special thanks to Kimmy Spreeuwenberg, Silvio Lorusso, Arie Altena, and all participating Digital Publishing Toolkit members

Organized by P 31

Hogeschool van Amsterdam, Kenniscentrum CREATE-IT, Institute of Network Cultures in cooperation with Hogeschool Rotterdam, Kenniscentrum Creating 010

Off The Press team Florian Cramer, Joost Kircz, Harold Konickx, Silvio Lorusso, Geert Lovink, Pia Pol, Margreet Riphagen, and Kimmy Spreeuwenberg

Locations Museum Boijmans van Beuningen, Museumpark 18-20, Rotterdam WORM, Boomgaardsstraat 71, Rotterdam

Studio Mooijman en Mittelberg www.mooijmanenmittelberg.nl

Contact Margreet Riphagen Project Coordinator margreet@networkcultures.org Kimmy Spreeuwenberg Project Coordinator kimmy@networkcultures.org

All conference documentation will be available at: http://digitalpublishingtoolkit.org

[sponsored by]

O F F T H E P R E S S : E l e c tro n i c p u b l i sh i n g of the a rts • C O l o PHON

Visual Identity