Post- Digital Print - Monoskop

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Less than a decade later, the financial viability of the U.S. underground press was dealt a severe blow with the bankruptcy of two of the major zine distributors. One of these, Desert Moon, which once distributed almost 700 zines, finally closed down in 2004. 95 This was followed, quite predictably, by a mass slaughter of independent magazines and small publishing houses, who understood too late the epochal change they were facing. In hindsight, those who were able to survive were those who best understood (and best responded to) the new online media, and who quickly evolved towards a smarter editing model focusing on more sophisticated content. Still, many of the well-established and professionally produced zines which managed to survive the original onslaught (such as Herbivore or the famous Punk Planet) eventually went out of circulation. 3.2 atomising content: implementing the apple/itunes paradigm. Marissa Mayer, Google’s vice-president of search products and user experience, stated during a U.S. Senate hearing: “The atomic unit of consumption for existing media is almost always disrupted by emerging media. (…) The structure of the Web has caused the atomic unit of consumption for news to migrate from the full newspaper to the individual article. As with music and video, many people still consume physical newspapers in their original full-length format. But with online news, a reader is much more likely to arrive at a single article.” Which is exactly what the Apple/iTunes model has done to the music industry, introducing a new paradigm of selling tracks instead of albums, and thus atomising content instead of gathering it into a greater whole. But buying a magazine or a newspaper means subsidising all of its content developers, whereas atomising its content means dropping the less popular sections – which introduces the risk of an entirely populist editing process. 96 Nevertheless, this atomising process is consistent with the trend of ‘customisation’, another buzzword in the marketing of online content. While breaking down the integrity of a single editorial product introduces scalability of content and price, it also means narrowing the audience. When done on a large scale, this also introduces the possibility of profiling readers in order to present them with customised advertisements. Which was precisely the purpose of Mine, an experimental 60
service by Time, Inc. (discontinued after 6 issues). Mine was a free magazine based on reader preferences, compiled using content selected from the publisher’s various titles (Time, Sports Illustrated, InStyle, Money, Travel+Leisure, etc) and featuring advertisements fine-tuned to the selected content. 97 Done on a smaller scale, this atomising process introduces a dangerous trend of paying journalists per article – a cutthroat ‘journalist-ondemand’ model, entirely focused on the stressful short-term deadlines characteristic of the flow of content on the Web. Another aspect of this cultural shift is that the function of content filter is moved away from the publisher (who would have previously dismissed such an idea by saying: “you’re not the publisher, I am”) and handed over to the user – which in turn means that the identity of the publisher is altered from being a reference, to being a brand. Thus the ‘editorial authority’ of established publishers risks becoming merely embodied in a brand name, rather than in sophisticated editorial products. 3.2.1 Automated content: the news follows the reader. The news is everywhere these days: recurring snippets of local, national and world news, constantly being delivered to mobile devices, computers of every size and shape, and (increasingly) on large display screens in public places. Usually this news consists of aggregations of items from a few reliable sources, and broadcast to a large number of recipients. These fragments of interpreted reality are part of an endless flow – disconnected from each other, and lacking context. It’s a bit like junk food: consuming too much of it and nothing else will end up dulling our senses, making us gradually lose the ability to appreciate better, more refined flavours. But such a ‘bite-and-run’ attitude seems an inevitable reality of our hectic modern times. Echoing the more famous Chatroulette, Daniel Vydra’s New York Times Roulette 98 is a website which redirects the reader to a random news item published by the New York Times within the last 24 hours. Waiting for a news article with unpredictable content caters to the same addiction as waiting for any fresh news item, leaving the news junkie suspended in a limbo of ‘what will happen now?’ Alternately, the project News at Seven 99 has developed a news-generating algorithm which automatically produces journalistic text. The website StatSheet has been testing the system using sports statistics; the ‘imitation’ is considered successful when at least 90 per cent of readers believe the text was created by a human writer. The Intelligent Information Laboratory of Northwestern Uni ver sity’s 61
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Post- Digital Print The Mutation of
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Post- Digital Print The Mutation of
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3.2.1 Automated content: the news f
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Newspaper extinction timeline, 2011
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The two media are clashing as well,
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Page 18 and 19: called into question by a number of
Page 20 and 21: One of the postcards from the serie
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Page 26 and 27: central role by other media.” 19
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Page 30 and 31: text. When the boundless cultural s
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Page 34 and 35: Example of a ‘Biblia Pauperum’
Page 36 and 37: journal of the Futurist movement, 3
Page 38 and 39: Autographic printing, a mimeograph
Page 40 and 41: ODD issue #9, a U.S. sciencefiction
Page 42 and 43: Advertisement for Aspen magazine, 1
Page 44 and 45: Cover of Liberation News Service #2
Page 46 and 47: an integral element of the Punk cul
Page 48 and 49: wished to publish, and then assembl
Page 50 and 51: Launch, commercial for CD-ROM magaz
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Page 54 and 55: Cover page of New York Times Specia
Page 56 and 57: Chapter 3 The mutation of paper: ma
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Page 60 and 61: Michael Mandiberg, Old News, 2009 u
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Page 70 and 71: The three phases of Helmut Smits’
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Page 78 and 79: Karsten Schmidt’s generated Faber
Page 80 and 81: Using FLOSS software for publishing
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Page 86 and 87: A vision of the book reader of the
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Page 108 and 109: Robotlab, bios [bible], 2007 amount
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Tim Devin, Email Flyer Project, 200
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exceptions such as Pete Jordan’s
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content, we might refer to its URL
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content actually (perhaps even pred
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chapter 5 Distributed archives: pap
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A female hand, probably turning pag
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Internet Archive containers designe
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The Playboy Cover to Cover Hard Dri
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solution to every imaginable proble
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cover images, tables of contents an
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small and independent publications
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Left Cody Trepte, 1 Year of Archive
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is rendered physically. In the seco
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A 19th-century scrapbook Although t
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chapter 6 The network: transforming
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the exorbitant stamp bonds and duti
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eadily embraced by the ongoing Punk
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Acoustic Space, Riga); Slavo Krekov
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the editors through an online platf
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The original and the ‘limited-edi
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which make it possible for us to ac
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new and sophisticated forms of conn
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computer-generated, thus disrupting
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structure (internal) 30 Colour addi
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Afterword by florian cramer The Ame
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Still - and despite its subject mat
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fear may already have expired by th
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36 http://en.wikipedia.org/wiki/Bib
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116 http://www.bookcrossing.com/ 11
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196 http://en.wikipedia.org/wiki/EP
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282 http://www.nytimes.com/ref/memb
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— D Colophon (symposium), 78 Comm
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La Nature (journal), 35 La Révolut
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eadme.cc, 150 Reason (magazine), 75
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— G — H — I — J — K Fitzp
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— Y — Z Wells, Herbert George,
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Post- Digital Print - Monoskop

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