Post- Digital Print - Monoskop

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andom. The types released by FontFont feature three levels of randomness, allowing the nodes to move within a small, medium, and large radius, in order to generate unpredictable printed results in the context of a heavily computed, digitally-supported production. 3.8 print and digital are getting married, and that’s exactly where the real problems start. The business model of traditional periodical print is still based on selling copies as well as advertisements. The free distribution model, on the other hand, though entirely dependent on advertisers, also brings greater flexibility to try out innovative distribution models – including experiments such as combining a free newspaper with a morning coffee, or handing out a free fashion magazine at a fashion store. Nevertheless, the independent press, in its many incarnations, is nowhere near dead. Various digital technologies are being widely deployed in order to support production, sales and visibility. During the past few decades, print and digital have progressed from flirting, to dating, to being engaged. And now they’re finally getting married – which is exactly where the real problems start. 82
chapter 4 The end of paper: can anything actually replace the printed page? In 1894 Octave Uzanne and Albert Robida declared in La fin des livres (see chapter 1.2): “Books must disappear, or they will ruin us. In the whole world there are eighty to a hundred thousand books published each year, and at a thousand copies each this is more than one hundred million specimens, of which the majority contain only trash and errors.” 150 More than a century later, a strikingly similar rhetoric is being used in order to promote electronic books, by discrediting the ‘obsolete’ printed medium. But can anything ever actually ‘kill’ the printed page? If so, it will have to comprehensively emulate print’s intuitive ‘user-friendly’ interface; it should also weigh about the same, and enjoy a continuous and seamless connection for downloading new content. That fatal bullet may indeed be on its way – but it’s clearly following a slow (and potentially long) trajectory. One of the loftiest promises of the emerging e-book market, is the amount of space it will end up saving us (see chapter 3.4). In a nutshell, the propaganda mantra suggests that consumers will have more space in which to store more goods – a perfect, endless cycle of consumption. In fact, printed materials are one of the few consumer objects that generally do not expire or become obsolete, meaning they can’t be quickly ‘consumed’ and discarded, but just sit there taking up space, for years or even decades. And so, the magical process of digitisation is supposed to free up all this precious space, which seems to be in such tragically short supply in the Western world. But will this eventual obsolescence of paper really liberate our shelves of all their printed content? Actually, if we observe what has happened in the case of music, we can see that vinyl records have not been comprehensively discarded; more than three decades after the launch of the compact disc, they are still very much there – and still taking up precious space. In fact, many record shops still have vinyl sections; there are various magazines focusing on ‘vinyl culture’; and a substantial number of releases are still (or again) being pressed in limited vinyl editions. Which begs the question: could printed paper some day become the ‘vinyl’ of publishing? 83
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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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immaterial times - explores the cur
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keywords and concepts are listed in
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called into question by a number of
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One of the postcards from the serie
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style reflecting the machine’s st
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every hour, twenty-four hours a day
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central role by other media.” 19
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from George E. Pake, then head of X
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text. When the boundless cultural s
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Actually, paper and pixel seem to h
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
Page 52 and 53: A screenshot from William Gibson’
Page 54 and 55: Cover page of New York Times Specia
Page 56 and 57: Chapter 3 The mutation of paper: ma
Page 58 and 59: Standard in the U.K. 84 ) in order
Page 60 and 61: Michael Mandiberg, Old News, 2009 u
Page 62 and 63: Less than a decade later, the finan
Page 64 and 65: McCormick School of Engineering (in
Page 66 and 67: Screenshot of Jonathan Puckey’s T
Page 68 and 69: B. Richter and Dirk Reinbold, which
Page 70 and 71: The three phases of Helmut Smits’
Page 72 and 73: 3.5 print on demand, the balance of
Page 74 and 75: Espresso Book Machine, 2008 books a
Page 76 and 77: Fiona Banner, Book 1 of 1, 2009 mom
Page 78 and 79: Karsten Schmidt’s generated Faber
Page 80 and 81: Using FLOSS software for publishing
Page 82 and 83: Amsterdam Weekly imaginative fundra
Page 86 and 87: A vision of the book reader of the
Page 88 and 89: Jeff Bezos on the cover of Newsweek
Page 90 and 91: using a free program called KindleG
Page 92 and 93: - A well-organised online platform
Page 94 and 95: Knight Ridder’s Roger Fidler with
Page 96 and 97: These have always been two more or
Page 98 and 99: Clockwise from top left Little Prin
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Page 102 and 103: Amazon interface after installing t
Page 104 and 105: published by mimoZine218 ), informa
Page 106 and 107: A vision of a future ‘electronic
Page 108 and 109: Robotlab, bios [bible], 2007 amount
Page 110 and 111: Cover of Cory Doctorow’s book Wit
Page 112 and 113: Tim Devin, Email Flyer Project, 200
Page 114 and 115: exceptions such as Pete Jordan’s
Page 116 and 117: content, we might refer to its URL
Page 118 and 119: content actually (perhaps even pred
Page 120 and 121: chapter 5 Distributed archives: pap
Page 122 and 123: A female hand, probably turning pag
Page 124 and 125: Internet Archive containers designe
Page 126 and 127: The Playboy Cover to Cover Hard Dri
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Page 130 and 131: cover images, tables of contents an
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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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