With Coko, I am involved in producing book (Editoria) and journal platforms (xpub). As it happens, two of the main competitors for these platforms are a book platform I founded (Booktype, about 8 years ago or so) and a journal platform I designed (Aperta, about 5 years ago or so).
Booktype and aperta are good platforms. However, what I’m involved with now -Editoria and xpub – are just so much more rockn 🙂 Turns out you learn something (a lot!) each time you make a platform and the next one is always better. But competition is a great thing. It helps us all do better. It’s just …it is a little existentially weird to think I’m in competition with past versions of myself 🙂
I recently went over some publishing systems with Yannis and Christos from Coko. We looked at various systems and discussed them. As we did this, I realised that I’d actually built quite a few! Although we weren’t just talking about those I had built, I began to think through what I had done right and wrong when building those earlier systems. Each development is a learning process and you will always get things both wrong and right at the same time. The trick is to get less wrong the next time round…
In the ten years that I have been building these systems, I have worked with some pretty talented people, including Luka Frelih, Douglas Bagnall, Alexander Erkalovic, Johannes Wilm, Remko Siemerink, Juan Gutierrez, Lotte Meijer, Fred Chasen, Michael Aufreiter, Oliver Buchtala, Nokome Bentley, Andi Plantenberg, Mike Mazur, Rizwan Reza, Gina Winkler and many others including the entire team of Coko – the most talented bunch of them all. Coko team:
Kristen Ratan – CoFounder, San Francisco
Jure Triglav – Lead PubSweet Developer, Slovenia
Richard Smith-Unna – PubSweet Developer, Kenya
Yannis Barlas – PubSweet Frontend Developer, Athens
Christos Kokosias – PubSweet Frontend Developer, Athens
Charlie Ablett – INK Lead Developer, New Zealand
Wendell Piez – XSL-pro, East Coast USA
Julien Taquet – UX-pro, France
Henrik van Leeuwen – Designer, Netherlands
Kresten van Leeuwen – Designer, Netherlands
Juan Guteirez, Sys Admin, Nicaragua
Alex Theg – Process, San Francisco
All systems except, unfortunately, one (see below) are open source.
The first publishing system I designed and built didn’t have a name really. It was the glue behind the FLOSS Manuals English site. FLOSS Manuals was, and is still, a community focussed on building free manuals about free software. I started the development in English but the system needed to be useful to a number of different language communities, of which Farsi was the most interesting. Today, only the French and English communities are still operational.
I built the FLOSS Manuals system in Amsterdam in about 2006. It was based on TWiki, an open-source Perl-based wiki. I chose TWiki because back then it was the only wiki around that had good PDF-generation support – I think this came from some of its plugins. TWiki had a good plugin and template system and I came to think of it as a rapid prototyping application – it was pretty malleable if you knew how. I was a crap programmer so I cut and pasted my way to a system that became usefully functional.
After I reached the limit of my coding skills, a friend, Aco (Alexander Erkalovic), helped build the next bits. I found some money to pay him and that is when things started to move forward. I can’t remember all parts of the system, although it’s still in up and running for some FLOSS Manuals language sites. The core of the system was the manual overview page. This contained a list of all chapters in a manual. You could also set the status, add new chapters, view overall progress etc. from this one page. We had a separate mechanism for creating an ordered table of contents (index) for a manual.
Index builder, essentially a dynamic drag and drop mechanism for arranging chapters
The overview page
Essentially, you added a chapter on the overview page and then opened the index builder and arranged the chapters. When saved, the (refreshed) overview page displayed the correct (new) order of chapters. We had to do it like this because back then, in the era of the ‘page refresh,’ it wasn’t possible to synchronise dynamic elements across multiple clients. So we couldn’t have one ‘shared’ index builder that would dynamically update all user sessions simultaneously. Nevertheless, it worked pretty well.
From the overview page, you could choose a chapter to edit. When you did so, you locked the chapter and, through some JS trickery Aco cooked up, we wereable to do this across multiple clients so everyone could see in real time who was editing what.
When editing a chapter, you could save the document and then, when ready, publish it. This way you could have an ‘in progress’ state of a chapter and a published state. At publish time the chapter was copied across to the system’s web delivery cache.
We also added chapter status markers, as you can see from the above image. It was pretty basic but nifty.
Next I hacked in a live chat, initially using IRC (freenode) for a global FLOSS Manuals-wide chat:
Then I hacked a fancy AJAX script into the chapter edit interface so each manual could have its own chat with the interface present while you were editing a chapter. It also looked a little nicer than the IRC channel. From the beginning, I tried to make everything look like it was meant to be there, even if it was a fiddly hack.
FLOSS Manuals also had a lot of other interesting goodies. We had federated content, for example. This was established so one language site could import an entire manual from another and set up a translation workflow.
We also had a simple side-by-side editor set up for translation that worked pretty well for translators.
In addition, we had a remix system for generating new versions using mixed content from other manuals. This was useful for workshops and for making personal manuals, for example.
One of the cool things about the remix is that you could output in many formats such as PDF and zipped HTML, add your own styles through the interface, PLUS you could embed the remix in your own website 🙂 The embed worked similarly to methods used today to embed YouTube or Vimeo videos in websites (by cut and pasting a simple snippet). The page delivery was ‘live,’ so any updates to the original manual were also displayed in the embed. I thought that was pretty cool. No one used it of course 🙂
The system also had diffs so you could compare two versions of a chapter. It was good for seeing what had been done and by whom. In addition, it was possible to translate the user interface of the entire system to any language using PO files and a translation interface we custom built:
But by far the most interesting thing for me was building FLOSS Manuals to support Farsi. It was interesting because, at the time, no PDF-renderer I could find would do right-to-left rendering. Behdad Esfahbod advised me to just use the browser to do it. Leslie Hawthorn from Google Open Source Programs Office introduced me to him after I went on a naive search in the free software world for ‘someone that knew something about RTL in PDF’. I was very lucky. The guy is a generous genius. He just suggested an approach a new way to think about it and later I worked with Douglas Bagnall (see below) to work out how to do it. The basic idea being that HTML supported RTL and the PDF print engines rendered it nicely…so…it was my first realisation that the browser could be a typesetting engine.
Implementing RTL in the FLOSS Manuals system was so very tricky, and I was unfortunately on my own for working out Farsi regex .htaccess redirects and other mind-numbing stuff. Just trying to think in right-to-left for normal text did my head in pretty fast, but somehow I got it working.
Outputs of all language books were PDF and HTML, later also EPUB. I initially used HTMLDoc for HTML-to-PDF conversion. It was pretty good but didn’t really think like a book renderer needs to. This was my first introduction to the overly long wait for a good HTML-to-PDF typesetting engine. Later I found some money and employed Luka Frelih and then Douglas Bagnall to make a rendering engine separate from the FLOSS Manuals site (see Objavi below). Inspired by my chats with Behdad (above) Douglas introduced some clever PDF tricks with the Webkit browser engine to get book formatted PDF from HTML. I can’t remember exactly how he did it but essentially he used xvfb frame buffer to run a ‘headless browser’. In short, and for those that don’t know those terms, he came up with a very clever way to run a browser on a server to render PDF. It did it by rendering HTML to PDF in pages (using the browser PDF renderer) and then rendered another set of slightly larger blank PDF with page numbers etc and embedded one within the other. Wizard. Hence we were able to make PDF books from HTML. It also supported RTL 🙂 I think I need to say here that this whole process was immensely innovative and we did it on a dime. Also, because we refused to use proprietary systems we were forced to innovate. That was a very good thing and I welcomed the constraint and the challenge.
Later we also used WKHTMLTOPDF to make PDF. It worked and we worked with that for a long time. I even tried to start a WKHTMLTOPDF consortium with Jacob Trulson, the founder of the project, it got some way but not far enough (I am very happy WKHTMLTOPDF is still going strong!).
We integrated FLOSS Manuals with the Lulu API (now defunct). This allowed us to generate books automatically from HTML using Objavi (below) and they would be automagically uploaded to the Lulu print-on-demand marketplace for sale…that was amazing! Ah…but also no one used it. Lulu shut down the API as soon as they realised no one was using it.
We made many many manuals with this setup. Many of them printed from the auto-PDF magic and were distributed as paper books. Many of the books were in Farsi. The One Laptop Per Child community even built a FLOSS Manuals app that was distributed on all OLPC laptops with the documentation made with FLOSS Manuals.
The system produced loads of manuals and printed books about free software. All free content.
The FLOSS Manuals platform didn’t have a name. It was a hack of TWiki. While you could get all the plugins online, it would have been a nightmare to deploy. I did deploy it many times but I essentially copied one install to another directory and then cleaned out all the content and user reg etc. and went to town rewriting all the .htaccess redirects. It sounds stupid now, but I spent a lot of time doing URL redirects to ditch the native TWiki URLs (which were extremely messy) and make them readable. Hence the system was a pain to deploy or maintain. It was feeling like we needed a standalone, dedicated, system….
Booki was the next step. It was clear we needed something more robust and also it was clear no web-based book production system existed, hence the hackery Twiki approach. So it was about time to build one. At the time, though, I remember it being very difficult to convince anyone that this was a good idea. I didn’t have access to publishers, and everyone else thought books were just soooo 1440. What they didn’t realise is that we were building structured narratives and that, IMHO, will have a lot of value for a long time. Call it a book or not. Anyway, we built Booki on Django (a Python framework) and the first time we used it was a Book Sprint for the Transmediale Festival in Berlin.
Aco literally would be building the platform as it was being used in the Book Sprint – restarting when everyone paused to talk. It was an effective trick. We learned a lot working with the tool and building it as it was being used.
At the time I couldn’t imagine book production being anything other than collaborative. FLOSS Manuals collaboratively built community manuals. Book Sprints were short events building books collaboratively. So Booki was meant to be all about collaboration. Booki also was run as a website (booki.cc) which was freely available for anyone to use.
Many groups used it which was cool.
Booki.cc run from with the OLPC laptop
Booki had all the basic stuff the FLOSS Manuals system had and we advanced the feature set as our needs became more sophisticated, but the basics were really the same.
The main differences were that we had a dynamic ‘table of contents’ where you could add and rearrange chapters etc and the updated ToC would be dynamically updated across all user sessions. Hence the ToC became a kind of ‘control panel’ for the book.
We also experimented with data visualisations of book production processes.
We did some cool stuff with the visualisations. For example, during the Open Web Book Sprint (also in Berlin) we worked in the Hungarian Embassy. They had a huge window that you could backwards project onto so people could see the projections on the street. So we made a visualisation of text from the book being overlayed as we wrote it. Below is an image shot with us standing in front of the projector…I mean..c’mon…how cool is that? 🙂
Booki also had federation. You could enter the target URL of a book from another install and Booki 1 would make a portable archive (booki.zip) and send it to Booki 2. Booki 2 then unpacked the zip and populated the book structure complete with images etc. I liked the idea very much of using EPUB instead as a transport technology instead and was later able to do so for Aperta and PubSweet 1 (see below).
In general, Booki didn’t advance much further from the FLOSS Manuals set up. It kind of did ‘more of the same’. I think the only stuff that went further than the previous system was the dynamic table of contents plus it was easier to install and maintain. Having groups was also new, but that wasn’t used much. It was in some ways just a slightly different version of the previous system.
Booki was also used for producing a tonne of books.
Objavi 1 & 2
Alongside the development of the FLOSS Manuals system and Booki, I headed up the development of Objavi. Objavi is basically a separate code base that was used as a file conversion workhorse. Objavi 1 was a little bit of a hacky maze but it did a good job. It would basically accept a request and then pipe that through a preset conversion pipeline. It did a good job. What I found most useful from this is that each step left a dir that I could open in a browser to inspect the conversion results. So if the conversion needed several steps, this was very helpful in troubleshooting.
Objavi 2 was meant to be an abstraction. However I don’t think it really got there, and Booki, which later became Booktype, came to internalise these conversion processes after I left the project. I always thought internalising file conversion was a bad idea because file conversion is resource-intensive, making it better to throw it out to another external service. And having a separate conversion engine enables you to completely overhaul the book production code without changing the conversion code. Hence FLOSS Manuals could migrate to Booki but still use the same external conversion engine. This was a HUGE advantage. Further, all the FLOSS Manuals instances, as well as booki.cc could use a single Objavi install for their conversions.
Objavi was actually also the magic behind the federated content in both the FLOSS Manuals system and Booki. All content would be passed through Objavi for import and export so Objavi became the obvious conduit for passing a book from one system to another. This gave me a lot of ideas about federated publishing which I have written about elsewhere and archived here.
Booktype was really Booki taken to market. I was frustrated by not getting much uptake, so I took Booki to Sourcefabric in Berlin and headed up the development there. Booktype gained a UX cleanup. The editor was changed after an event I organised in Berlin called WYSIWHAT. The event was meant to catalyse energy around the adoption of a shared editor for many projects. It was of many things I did in pursuit of the perfect editor. At that event, we chose the Aloha contenteditable editor. I don’t think that was as useful a change as expected at the time, but back then contenteditable looked like the way to go despite there being few editors that supported it. Since then TinyMCE, CKEditor and others all have contenteditable support, further econtenteditable became a bit of a lacklustre implementation in browsers.
Booktype was literally the same code as Booki but rebranded. So many of the same features persisted for quite some time until Booktype eventually took on a life of its own.
Displaying ‘diffs’ (differences) between 2 different versions of a chapter
Activity stream of a book
I prototyped some interesting things in Booktype but not much of it got built. For example, I was keen on editing content in the style of the final output. The example below is using the CSS layout of Open Design Now which I mentioned below with reference to BookJS.
I also made a task manager prototype based on kanban cards but it was never integrated into Booktype.
I think there are only really three parts of Booktype’s development that occurred while I was in charge of the project. First was the integration of a short messaging system into a user’s dashboard and into the editor. Essentially you could highlight text in a chapter, click on the msg widget and a short message could be sent with that text to whoever you wanted (in the system). It was intended for fact checking or editing snippets etc. The snippets were loaded into an editor to assist with this kind of use case.
A good idea but seldom used.
In addition, Booktype supported groups, so users could form groups which were populated by users and books. The idea behind this was that you could form a group to work on a collection of books collaboratively.
Lastly, the renderer was integrated in a more sophisticated way so you had more control of the output from within Booktype. Essentially you could choose a number of output options and style them from within Booktype.
These were all interesting additions, but in the end, Booktype was really only Booki taken a step further as a product without offering much that was new. I think we should have probably actually removed a lot of things rather than adding new things that didn’t get used.
Booktype developers added some interesting stuff after I left. I particularly like the image editor and the application of themes to the content.
The image editor enables you to resize and effect an image from within the chapter editor.
The theme editor allows you to choose from an array of styles/themes and edit them.
Booktype 2 has since been released. It has become a standalone business and is doing good work. Also, the Omnibook service is a ‘booki.cc’ online service based on Booktype 2.
Booktype has been used by many organisations and individuals to produce books.
I think Booktype 2 is good software but I didn’t particularly like the direction of the Booktype UX after I left the project – it was becoming too ‘boxy’ and formal. ‘Good UX’ is not necessarily good UX. So I eventually developed another system with a much simpler approach, specifically for using with Book Sprints (but it has had other uses as well). More in this in a bit.
One innovation, and a further exploration of using the browser as a typesetting engine, that resulted from my time with Booktype is book.js. Essentially I had been looking for a new way to render books from HTML using the browser. I wanted to understand how Google docs could have a page in the browser and then render it to PDF with 1-to-1 accuracy. Surely the same could be done with books? However, no one could tell me how it was done. So I researched and eventually found out about the nascent CSS Regions that would allow you to flow text from one box to another in HTML. I worked with Remko Siemerink at a workshop in Amsterdam to explore PDF production from CSS. We made an interesting book with some of the Sandberg designers.
After more research and breaking down what I thought could happen, Remko worked with CSS Regions (& js) to replicate the page design of a book called “Open Design Now.” It was amazing. He got the complex design down plus it was all just HTML and CSS, it looked like a page AND when printed from the browser it retained a 1:1 co-relation. Awesome.
The following summer I was able to employ someone for Booktype to work on the tech and I hired a developer (Johannes Wilm) to work on the PDF rendering. From there we eventually had BookJS that enabled in-browser rendering of books which could then be exported to print-ready PDF by just printing from the browser. Whoot!
After time, BookJS (original site still available) could also formulate a table of contents etc. It was, and is, pretty cool and IMHO is the right way to do this. Unfortunately, Google Chrome decided to discontinue CSS Regions so if you now want to use BookJS you have to use a very old version of Google Chrome. However, better technologies have come along that support the same approach, namely Vivliostyle (which Johannes later worked on).
During the time with Booktype, I also did some experiments in other processes. One was using Github as the store for an EPUB and using the native zip export that Github offered to output EPUB (since EPUB is just a zip formatted in a specific way). Juan Gutierrez put together a quick demo and I published about it here: http://toc.oreilly.com/2013/01/forking-the-book.html
PubSweet was very simple. Essentially 3 components – a dashboard, a table of contents manager, and an editor. It would later evolve to include more features but it was really the same as the systems I had developed earlier, though simpler. I wanted to get to a cleaner interface and bare basic features. I also wanted to retain some book elements, hence the table of contents manager looks a little like a book table of contents (except the garish colors ;).
PubSweet 1 is still in use by the Book Sprints team and functions well. It uses BookJS for rendering paginated books and for PDF rendering straight out of the system. It can also generate EPUB directly. Apart from that, it is pretty simple and effective. I used a basic card-based task manager for this, based on an earlier prototype I made when working with Booktype. It was a simple kanban type board but we never properly integrated it.
We included annotation using Nick Stennings Annotator project:
PubSweet 1 has been involved in producing more books than I can count, for everyone from OReilly books to Cisco, to the World Bank, UNECA, IDEA etc etc etc
Somewhere along the way, I developed a simple system for creating Pleigos – one-page books created by folding a single piece of paper which has text and images. The system places text and images so that when you fold a single page after printing, a small book is formed. It was more an artistic experiment than anything but it was fun. http://www.pliegos.net/
Note: the Pleigos project was by my good friend Enric Senabre Hidalgo, I just developed the initial Pleigos software.
The UNDP approached me to build software for developing a tri-lingual lexicon of electoral terminology. The languages to be supported were English, French, and regional Arabic. It sounded interesting so I used PubSweet as the basis for this.
The main difference between Lexicon and PubSweet was that you could choose to create a chapter from 2 different types of editor. Editor 1 (‘WYSI’) was a typical WYSIWYG editor. This was used for producing chapters with prose. The second type of editor (‘lexicon’) allowed you to create a list of terms, each with three different translations – English, French, and Arabic. This opened my eyes to the possibilities of having different types of editors for different content types, a strategy I hope to use again.
The ‘lexicon’ editor in action
The final print output looked pretty good:
The system enabled a dozen or so people from different Arabic regions to discuss translations and work collaboratively through a list while at remote locations. We built a specific discussion forum for them as part of the system and had up and down voting etc. I liked this project a lot because it was very different from any other project I had worked on yet it employed many of the same strategies.
Along the way I was approached by John Chodacki of PLOS to build a Journal system for them. I knew nothing about scientific journals, so I went through a process of re-education 🙂 It sounded interesting! I spent a year-and-a-half heading up a team to design and develop this system. This is pretty much the first time I wasn’t scraping together pennies to build a system.
Journal systems aren’t that different from book production systems, in fact doing this project helped me realise that the production of knowledge, in general, follows a particular high-level conceptual schema:
Each artifact (journal article, chapter, book, issue, legislation, grant application etc) follows its own kind of path, with its own unique processes, through these four stages. I have written more about this elsewhere in this blog so won’t go into more detail about it here.
Research articles, (Aperta wasn’t initially intended to deal with Journal Issues which are a collection of articles) come into a Journal as (predominantly) MS Word. They then need to follow a process of checks (eg. to make sure the article is right for the journal etc) before going through the hands of various editors (handling editors, academic editors, etc) and reviewers, including a back-and-forth with the author(s) and a final pass through a production team and/or external vendor to prep the files for publication. The biggest difference I found from my previous experience with book production systems is that there is more to-and-fro involved. Simply put, there is more workflow. So Aperta addresses this with a simple workflow engine based on the Trello/Wekan kanban card-based model.
Aperta was built in Rails with Ember JS. The front end was pretty much decoupled from the backend. It was pretty ambitious and we decided to use the Wikimedia Foundations Visual Editor at the heart of the project. It was the most sophisticated editor available at that moment. I have come to learn that you have to take what you have at the time and work with it. We committed to adopt it and make contributions. I hired the Substance.io chaps (Michael and Oliver) to work on the editor. They did a great job. (Subsequent development of their own editor libs has enabled us to work with them for Coko (more below). )
Aperta’s approach was to simplify the submission process that was managed by Aries Editorial Manager. We leveraged the OxGarage project for MSWord-to-HTML conversion and imported the manuscripts into Aperta. Then workflow templates could be set using kanban cards (as per above). These cards then enabled a flexible method for gathering information (submission data) from the authors at submission time. A lot of time was spent on getting good clean, simple, UX. The kanban card system was very modular – the cards themselves were their own applications, enabling anyone to build a card to their own requirements. This made the cards extremely powerful as they were essentially portable applications.
Aperta is in production now for PLOS Bio but unfortunately the code still isn’t available.
I think Aperta radically rethought how Journal workflows might be managed. I learned a lot through this process and it informed decisions and architecture for the next platform I was to work with – PubSweet 2, developed by Coko.
I also think taking a step into another realm where many concepts were transferable but the use case was different was very good for me. It helped me abstract a few notions. It was also good to build a sophisticated framework in another language and to have the resources to try things out. It was an excellent incubation period where I learned a lot while building a pretty good platform.
During this period I also developed a kind of Objavi 3 but I’m not sure now what it is called or if it is used.
The following systems are a result of a team of very talented people at Coko. This has been the first group of people that I have worked with that enable the systems to get close to what I believe is an ideal state for the problems at hand, the time we live in, and with the technology available. If I have learned one thing over the past years, it is that, generally speaking, development teams often prevent good solutions from happening. The Coko team is a rare case where the solutions can flourish and become what they need to be. I’m very lucky to be working with such people.
With all the other platforms I have been involved with I have always learned something. So the next platform is always better. Strangely enough, because when I look back I remember, for example, thinking that Booki was the best platform ever, and perhaps the best I could do. But not so. Each subsequent platform has been much better. So… why not build a framework that enables the rapid development of many platforms at once? good idea! Imagine what you could learn… Indeed!
Using PubSweet, we have developed two platforms to date. Science Blogger and Editoria. For the purposes of this blog post I’ll just focus on Editoria as Science Blogger is more of a reference implementation. However, all these front components can be developed independently of each other, and independent of the core framework. Hence we have released some PubSweet NPM modules (sort of like front end plugins) online:
What is interesting about Editoria is that I didn’t design it. I facilitated the staff at the University of California Press to design it. And what is really interesting is that it is a better book production software than any of the above that I did design…. That’s not to say that I finally realised I was a crappy designer 😉 , rather I came to realise that given the right guidance and parameters, the people with the problems can solve the problem with more deep understanding and nuance than I could as an outsider to their processes. It was a great thing to realise.
In general, Editoria follows the same model as PubSweet 1. It is a simple collection of 3 interfaces – dashboard, book builder (in PubSweet 1 we refer to it as a table of contents manager) and a chapter editor. Very similar to PubSweet 1 and also these components fit into the conceptual schema I mentioned above of:
produce – this happens outside the system and we convert authored MS Word files to HTML
improve – styling, editing, reviewing, all occurs in the editor component
manage – basic workflow managed by the Book Builder component
share – when done we export to book formatted PDF, and EPUB
Editoria is a very simple and elegant solution. It’s the only one of the systems I have worked with that is not in production but I’m looking forward to seeing it up and running soon.
It uses the Substance.io libraries to build a custom made and elegant editor. Finally with some real $ to spend on moving this field forward, and as part of my 2015 Shuttleworth Fellowship I committed $60,000 USD (10k a month) or so to Substance, Coko followed it by a similar amount, so they could focus on the development of their libraries to 1.0. Coko also put considerable effort into founding a consortium around Substance (although I’m not convinced it is really working well yet). http://substance.io/consortium/
Editoria brings some nice implementations to the table including the use of Vivliostyle to render PDF from HTML. Plus MSWord-to-HTML conversion, front and back matter divisions plus body content. Pagination information (left/right breaking) etc. In addition, we are building into Editoria various tools in the editor including its own annotation system and a host of publisher-specific markup options for different styles (quotes, headings etc). Coko has employed Fred Chasen for some part time work to contribute to the Vivliostyle development (although we are still working out what we should work on).
In many ways, Editoria is the system I always wanted to be involved in. It is better than any other system I have seen or been involved in and this is a result of two critical factors:
the technologies have matured, including Vivliostyle and Substance.io, that enable critical solutions to be solved
the people who need the system have designed it
There is more to come from Editoria, so stayed tuned…
INK is like Objavi on steroids. It is possibly an Objavi 4 😉 but done the right way. INK is a Rails-based web service which is primarily built to manage file conversions. However, it can actually be used for the management of any job you wish to throw at it. These jobs are what we call steps, and steps can be compiled into recipes. For example, you might have a step ‘convert MS word to HTML’ and then a second step ‘Validate HTML’. Hence INK enables you to chain together these steps.
Additionally, these steps are plugins written as Gems. A gem is a Ruby-based plugin architecture. Accordingly, you can develop gem steps and distribute them online for others to use. We hope in time there will be a free (as in beer) market around these steps.
I think I learned a lot from writing this personal ‘sense making’ piece. I didn’t realise just how strong some of the themes were that I pursued until a wrote them down…for example, I pursued collaborations from inter-organisational consortiums a number of times and none of them have worked. Huh. Interesting. I’ve also seen various practices evolve from an idea to being mature thoughts, prototypes, workable solutions and eventually, eventually, adopted. But over many more years than I expected. Also interesting.
It is also obvious that there are some big ticket technological problems that still need to be solved for good to really move forward. They are mostly there but still in need of work, the top two being:
browser as typesetting engine
sophisticated editor libraries
I add a third which I haven’t noted much in the above. I have worked on this since Aperta onwards and it is necessary only in the publishing world where content is authored in the legacy ‘elsewhere’ (ie MSWORD):
reusable, sensible, MSWord to HTML conversion
This has been solved many times but has not yet been solved well.
These all need to be open source solutions. At Coko we are trying to move all these on and we are making good contributions. We, as a sector, are nearly there. Although it would be good to work more together to solve these problems by either making contributions to the existing efforts, or using their technologies. This is really the only way things move forward.
Finally, in the tech world people sometimes quote “Being too far ahead of your time is indistinguishable from being wrong,”. I’m not sure who said it but when I look through the evolution of technologies I have written about above, seeing various things evolve from idea to a production implementation many years later, I’m also thinking that perhaps sometimes waiting might be indistinguishable from being right 🙂
Some of my projects. As you can see, partially complete. Will add more and then make this a static page.
Collaborative Knowledge Foundation
The Collaborative Knowledge Foundation’s mission is to evolve how scholarship is created, produced and reported. CKF is building open source solutions in scholarly knowledge production that foster collaboration, integrity and speed.
CKF envisions a new research communication ecosystem that gives rise to wholly unique channels for research output.
CKF was founded in October 2015 with support from the Shuttleworth Foundation.
I have just been awarded a Shuttleworth Foundation Fellowship. I’m deeply honoured to have been selected. I was awarded a second year of Shuttleworth Fellowship for my work on reformulating how knowledge is produced.
The Future of Text
Google Headquarters in Silicon Valley, Aug 2016 http://www.thefutureoftext.org/
Organised by friends and followers of Douglas Englebart, Adam was invited to present on collaboration and book production.
Association of Learned and Professional Society Publishers
2008 – present, New Zealand http://www.booksprints.net/
Book Sprints is a methodology and a company I founded to rapidly produce books.
Nov 2016: transitioned from founder and CEO to the board. I appointed Barbara Rühling as CEO.
A Book Sprint is a collaborative process where a book is produced from the ground up in just five days. But even more important, this collaborative process captures the knowledge of a group of subject-matter experts in a manner that would be nearly impossible using traditional methods. The result at the end of the Book Sprint is a high-quality finished book in digital and print-ready formats, ready for distribution.
Book Sprints Ltd, is a team of facilitators, book-production professionals, and illustrators specialised in Book Sprint facilitation and rapid book production. Our organisation developed the original methodology and has refined it since 2008 through the facilitation of more than 100 Book Sprints. Topics have ranged from corporate documentation to industry guides, government policies, technical documentation, white papers, academic research papers, and activist manuals.
Book Sprints clients include Cisco, PLOS, F5, the World Bank, USAID, African Development Bank, Open Oil, Liturgical Press, Ausburg Fortress, Cryptoparty, OpenStack, European Commission, JISC CETIS, UNECA, Mozilla, IDEA, Engine Room, Heidy Collective, Transmediale, Google… to name a few.
"If Book Sprints did not exist, we would be forced to invent them, so powerful is the knowledge production paradigm."
--Allen Gunn, Aspiration
"Book Sprints get more brilliant work out of bright people in 1 week than most project can evoke across many months."
--Loy Evans, Cisco
"Writing a book through a Book Sprint turned out to be efficient, thorough and enjoyable; I can’t imagine a better outcome."
--Phil Barker, JISC CETIS
2013 – July 2015. Public Libary of Science, San Francisco
In 2013, I designed a platform for the Public Library of Science (PLOS), originally called Tahi but renamed to Aperta. In 2014 I was asked to lead a team to build the platform. I led the 15 strong team to the production-ready 1.0 release of this multi-million dollar project to completion, on time and under budget in June 2015.
Aperta is an entire submission and peer review platform for multiple scientific journals housed within the single instance. The entire system is designed to be highly collaborative and concurrent. The platform includes a manuscript production interface, HTML and LaTeX document editing support, Word ingestion, a workflow management system, task management interfaces, admin interfaces, reports, and user dashboards. The platform was built in Ember-CLI, Rails, implements a highly customised Wikimedia Foundations Visual Editor, and uses Slanger for concurrency. It is an HTML-first system, has many innovative new approaches to journal systems, and solved many long-standing problems in this space. The project also involved a separate codebase named iHat that provides Aperta with an API service for queue-managed file conversions.
NB: I only work on Open Source systems. The sources are not yet available for this project.
2012 – present
PubSweet is a platform designed to assist the rapid production of books in Book Sprints. The platform is very simple to use, with very little overhead for new users. The system provides dashboards, publishing consoles, card-based workflow management (task manager), discussions, data visualisations of contributions, a dynamic table of content management, and support for multiple chapter types. PubSweet can produce EPUB and leverages book.js (see below) to produce print-ready PDF (paginated in the browser). PubSweet is written in PHP, using Node on the backend, and CKEditor as the content editor.
Lexicon is a platform produced for the United Nations Development Project to collaboratively produce a tri-lingual (Arabic, French, English) lexicon of electoral terms for distribution in Arabic regions. Lexicon provided concurrent editing for chapters with multiple terms, sorting by language, discussion forums and voting. Lexicon was written quickly in php with Node.
book.js has given inspiration to a number of other JS pagination engines. See Vivliostyle, bookJS Polyfil, Pagination.js, simplePagination.js, and CaSSiuS.
2010 / 2012 Booktype is a book production platform. I brought this platform to Sourcefabric (Berlin) as ‘Booki’ in 2012. Booki was started in 2010. Booktype is written in Python (Django).
“Booktype resolves challenging issues in collaborative knowledge production resulting in high quality print and ebooks.” – Erik Möller, deputy director, Wikimedia Foundation
Google Summer of Docs
2011, 2012, 2013
The GSoC Doc Camp was an annual event over three years. It was a place for documenters to meet, work on documentation, and share their documentation experiences. The camp improved free documentation materials and skills in GSoC projects and helped form the identity of the emergent free-documentation sector.
The Doc Camp consisted of 2 major components – an unconference and 3-5 short form Book Sprints to produce ‘Quick Start’ guides for specific GSoC projects.
Each Quick Start Sprint brought together 5-8 individuals to produce a book on a specific GSoC project. The Quick Start books were launched at the opening party for the GSoC Mentors’ Summit immediately following the event.
The Bookimobile was a a mobile print lab in a van – essentially a van that contained all the equipment necessary to create perfect bound books. It was designed to take the ideas of Booki to people and make real books that have been created in Booki. The first Bookimobile was based on the Internet Archives Book Mobile and we took it to several book fairs and events throughout Europe. It was sponsored by Mozilla, CiviCRM, Archive.org, Francophonie.org, Google Summer of Code, and iCommons.
Objavi is an API-software service originally written for Twiki Book (see below) but also serviced Booki and later Booktype. Objavi converts books from their native HTML into PDF for printing. It also handled other file conversions (eg HTML to ODT, HTML to EPUB etc). I later produced a similar API-based conversion software for PLOS known as iHat. Objavi is written in Python.
TWiki Book didn’t have a real project name at the time. The project was the first publishing system I built. TWiki Books was created solely to meet the needs of FLOSS Manuals (see below) and it was built on top of TWiki, a Perl-based wiki. TWiki Book included book remixing features, side by side translation, table of contents building, publishing interfaces (I actually wrote a separate php-based system to manage this), edit notifications, versioning, diffs, live chats and many other features. It was a good system but reasonably difficult to extend and maintain since it re-purposed an existing wiki software (hence my approach to building purpose-built book production systems after this point).
FLOSS Manuals was the project I founded in 2006 that got me started on this whole publishing thing. FM was, and is still, an active community of volunteers that creates free manuals about free software. There is now a foundation and several language communities (notably French and English). The contributors include designers, readers, writers, illustrators, free software fans, editors, artists, software developers, activists, and many others. Anyone can contribute to a manual – to fix a spelling mistake, add a more detailed explanation, write a new chapter, or start a whole new manual on a topic. The aim was produce high quality free works and we succeeded – creating many fantastic manuals in over 30 languages (and still growing).
“Introduction to the Command Line” is at least as clear, complete, and accurate as any I’ve read or written. But while there are countless correct reference works on the subject, FLOSS’s book speaks to an audience of absolute beginners more effectively, and is ultimately more useful, than any other I have seen.”
-- Benjamin Mako Hill, Wikimedia Foundation Advisory Board, Free Software Foundation Board
Presentations about publishing
I am asked to talk about publishing from time to time. The following are some links to some of those presentations.
Choosing a document network
August 2015, Vancouver, Public Knowledge Project
Open Access and Open Standards Oct 2014, San Francisco, Books in Browsers
Books are Evil May 2014, Rotterdam, Off the Press
Regional Lexicon Project May 2014, San Francisco, I Annotate
Changing the Culture of Learning
May 2013, San Francisco, I Annotate
The Death of the Reader
Oct 2013, San Francisco, Books in Browsers
A Web Page is a Book May 2012, Berlin, re:publica
I have been writing about publishing here and there. Since last year these efforts have been focused on this site. The following are some links to some of my other works:
Fantasies of the Library : After the Proprietary Model
Interview with me about the future models for publishing, published by k-verlag (Berlin).
Radar O’Reilly posts
When Paper Fails
What happens when books, ownership, authority and authors are all challenged by a network.
2008, Quarantine Island, New Zealand
This project was actually called ‘Intertidal’ but I like the name Seaweed better. Douglas Bagnall and I created a one-day community project to discover a new species of seaweed. We hosted this on Quaratine Island in the Dunedin Harbour and invited anyone to come work with us and a marine biologist from the local research center to search for a new species. The project was a community project and a reflection on the notions of species as an out-moded idea, and on taxonomy as a dying art. About 50 or 60 people – individuals, groups, and families – came out on the free boat (provided by the local sea scouts) and hiked across the island to participate on a coldish Dunedin day to search for and document seaweed. We possibly discovered a new species.
throwing into focus the ever-present potential for new knowledge. Drawing upon 19th century methods of species discovery, involving collecting, looking and drawing, their work formed questions around what we don't know.
2008, Christchurch, New Zealand
Julian Priest, Dave Merritt and I drove about a tonne of old electronics 700km or so in an old landrover (top speed 35km/hr) from Daves warehouse in Wanganui to an art gallery in Christchurch, New Zealand. In the gallery, we served up the old electronics as a participatory art project and invited anyone to come and build new objects from the old. It took 3 days to get there. It was an adventure.
A Geekosystem was a participatory workshop based on a redundant technology collection created by David Merritt. Items were selected from the collection and packed into a Landrover and driven to The Physics Room in Christchurch. A call for participation was issued by The Physics Room and a group of geeks gathered to re-configure the technology into artworks. A workshop space was created and plinths were placed at once end of the gallery and populated with artworks made from the e-waste. The workshop was open to the public and continually added to during the duration of the show. Old technology books were formed into a library. Proprietary software manuals were shredded and mixed with coffee grounds. This was mulched into soil and silver beet seedlings were successfully germniated in floppy disk trays.
A Geekosystem was shown first at the Physics Room in Christchurch in 2008 and then at The Green Bench during the Whanganui Open studio week in 2008. The Geekosystem garden was transferred to a permanent location and produced vegetables for a number of years.
Paper Cup Telephone Network
2006, Exhibited at the Exploratorium in San Francisco, Zero One Festival in San Jose, and many other venues.
This was a project I made with Matthew Biederman and Lotte Meijer. The Paper Cup Telephone Network (PCTN) was a free communication system and comment on how ‘simplicity’ in technical systems is trickery, and problematising the corporatisation and ever increasing individualisation of modern communications.
The PCTN was a network of paper cup telephones. Just like the games played by children, anyone could put a PCTN cup to their ear to listen, or to their mouth to speak. However, the difference between the PCTN and the original game is that the “string” is connected to the World Wide Web where your voice is streamed to all the cups on the network carrying it, blocks or even miles or a continent away. We built the entire system from free software telephony systems (asterisk and SIP phones), open and standards-based telephony protocols, cups, and string.
As simple as it was, it remains the most difficult technical project I have ever undertaken.
2006, exhibited at the Waves exhibition in Riga, Latvia
Wifio was a project I did with Lotte Meijer and Aleksandar Erkalovic. Wifio was a comment on the naivety in which we broadcast our personal information. It was a hardware UI and software that allowed anyone to tune into the World Wide Web wifi traffic. If someone near you was browsing the web on a wifi network, you could simply tune in with Wifio by selecting the right channel and tuning into their IP address.
…but don’t worry, you don’t need to know what their “IP Address” is, in fact you don’t even need to know what an IP address is! Just move the dial until you hear their emails or what they are saying in chatrooms.
I was proud when Julian Oliver (an old buddy from NZ) referenced this project as inspiration for one of his works.
r a d i o q u a l i a (see below) were commissioned to make a new work for Forte di Bard in Valle d’Aosta in Italy for “Cima alle stelle (Stars)”, a large exhibition showing historical works by major masters like Durer, Tintoretto and Guercino; contemporary artists such as Pierre Huygue, Olafur Eliasson and others; and astronomical instruments and writings by Copernicus, Galileo, Kepler, Newton and Einstein.
We made a new site-specific sound installation inside two of the glass elevators which take visitors from the arrival area of Forte di Bard, to the gallery levels. Much of the elevator travel is external to the Forte (pictured below). Sound Elevator consisted of two linked sound environments inside the elevators. As the elevators ascended to the exhibitions halls, visitors experienced an auditory journey from the local celestial environment to the edges of the Universe. In the first elevator, visitors sonically travelled through the Earth’s ionosphere and magnetosphere, hearing our closest star, the Sun, interacting with our planetary atmosphere. The upward and outward journey continued in the second elevator, with sounds from our planetary neighbours, the sonic echo of distant stars, and finally the sound of the Big Bang itself.
I did a 2-month residency in Antarctica at SANAE (South African Research Base) as part of I-TASC, ultimately a failed network of individuals and organisations working collaboratively in the fields of art, engineering, science and technology on the interdisciplinary development and tactical deployment of renewable energy, waste recycling systems, sustainable architecture and open-format, open-source media. But it was still a great experience.
The coolest thing about it, was the 2 weeks each way on the beautiful icebreaker the SA Agulhas (now decommissioned). I kept some diary pages on the Interpolar site. I also did a few other projects while there including Polar Radio (see below).
The worst thing about it was that we shouldn’t have been there. There is no need for anyone to be in Antarctica. Most of the ‘science’ projects are strategic positioning for a land grab when the time comes. Some science might be justifiable… but arts projects?
Leaving Antarctica I cried my eyes out. It was just too much for me to deal with. Too amazing. After Antarctica, I gave up the art world. I couldn’t think of anything else the art world could do for me.
It was a conflicted but beautiful experience.
Polar Radio was a community radio project initiated by I-TASC and
r a d i o q u a l i a. The first prototype station began FM broadcasts on 29 December 2006 in the Dronning Maud Land sector of Antarctica, where South Africa maintains their base, SANAE IV. It was Antarctica’s first artist-run radio station. It was the first step towards establishing a permanent polar radio presence in Antarctica, which may eventually broadcast in between geographically dispersed Antarctic bases.
But y’know…I wish I hadn’t done it. When I first got to Antarctica I turned on a radio and went through many many frequencies… and I heard nothing… that was amazing. Where else in the world can you nothear anything on your radio? I then went ahead and polluted the spectrum. Darn. I regret it.
Polar Radio was part of a series of projects run by I-TASC – the Interpolar Transnational Art Science Constellation.
2005, Transiberian Express
Capturing the Moving Mind was a conference on board the Trans-Siberian train. It was about new forms of movement and control, war and economy, in the current situation. 50 international researchers, artists and activists participating in the mobile conference formed a mobile production unit aboard the train. For the audiovisual streams, Luka Princic and I developed a free software ‘mobicasting’ platform which enabled mobile transmission of material on the web from mobile phones on the train. Mobicast was initially developed during a residency I had at MAMA Media Lab (Zagreb, Croatia).
It was a great project but really really fragile. The tech of the time was not up to it. Mostly it ran on Puredata and some obscure bits of code from here and there. Still it worked. Best moments were hanging out on the train laughing at people trying to be ‘artists’ in real time… huh? …and getting sardonic with Dr Gillian Fuller – the world’s best queue hacker. Watching the train wind around the Gobi desert… also kinda cool.
mobicast was initially developed to overcome the problem of delivering live video from a moving train to the internet. Traditionally this is the domain of OB (Outside Broadcast) technologies or expensive vehicular satellite uplink hardware. However mobile phones are now very capable remote broadcast environments. Many modern phones record images, video, audio and allow the editing and transfer of these media through wireless data networks (eg. GPRS) with almost global coverage. The quality of these recorded media have generally been considered 'low-fi' but fidelity is increasing and importantly, the expectations of networked media are becoming more appropriate. Once upon a time there was a mythic "broadcast quality" threshold all media had to pass before being accepted by broadcast organisations and (theoretically) audiences. However, now there are active calls for content generated by "on the spot" accidental observers by large scale media organisations. The tide and scale of remote media is changing. The nature of experimental media on this type of platform is the intentional playground of mobicasting. With this emerging new type of media witness cultural forms are also emerging. Multiple networked media phones is in itself a platform for collaborative cultural development and opens interesting doors for experimental media.
For many years I had a wonderful mentor – Tetsuo Kogawa. He is the father of MiniFM. I saw Tetsuo build a mini FM transmitter at the Next Five Minutes festival in Amsterdam. Sometime after that, I asked him if he would teach me how to make them too, and he very generously spent a good deal of time making sure I understood the ins-and-outs of the process. Together we designed a workshop and Tetsuo worked out even simpler ways to build the transmitters. For many years I travelled the world leading transmitter-building workshops and often Tetsuo would stream in from his studio in Tokyo to talk about the idea and give a quick demonstration before we started building.
Later Tetsuo and I created a project called SilentTV which was the same idea but using simple elements to broadcast TV.
I’m forever grateful to Tetsuo for his kindness and mentorship.
November 2003, South Africa re:Play explored the world of the computer game. It featured an exhibition of artists’ computer games by Andy Deck, Josh On + Futurefarmers, Mongrel, Natalie Bookchin, the escapefromwoomera collective and Max Barry, and a programme of workshops and lectures. re:Play was a collaboration between the Institute for Contemporary Art, Cape Town and r a d i o q u a l i a. It launched at L/B’s – The Lounge at Jo’Burg Bar in central Cape Town, South Africa, and went on to be exhibited at Artspace and the Physics Room in New Zealand.
The games in the exhibition were not typical computer games. While all of them encouraged play, and involved a gaming objective, unlike regular computer games, they had a strong political dimension and explored how play, interaction and competition can be utilised in an artistic context.
The re:Play education programme included talks and workshops lead by Graham Harwood of Mongrel and r a d i o q u a l i a at Cape Town High School, Fezeka Senior Secondary School in Gugulethu; the Alexandra Renewal Project, Johannesburg and at Wits School of Arts, University of the Witwatersrand, Johannesburg.
Free Radio Linux
2002, The World
Another project that got a lot of attention for r a d i o q u a l i a, most notably through being exhibited at the New Museum in NYC, but it also at Banff and other places. I loved this project because it brought together several threads.
Formally, Free Radio Linux was an online and on-air radio station. The sound transmission was a computerised reading of the entire source code used to create the Linux Kernel, the basis of all distributions of Linux.
Each line of code was read by an automated computer voice – a speech.bot
utility I built for the work. The speech.bot’s output was encoded
into an audio stream, using the early open source audio codec, Ogg Vorbis, and was broadcast live on the internet. FM, AM and Shortwave radio stations from around the world also relayed the audio stream on various occasions.
The Linux kernel at that time had 4,141,432 millions lines of code. Reading the entire kernel took an estimated 14253.43 hours, or 593.89 days.
Listeners tracked the progress of Free Radio Linux by listening to the
audio stream, or checking the text-based progress field in the ./listen
section of the website (which is no longer up)…
Essentially this was all about how free radio and free software were wierdly the same. If you ever worked with free radio geeks, you will know they are nerdy technophiles who believe in the purity of what they are doing. Very much the same as Open Source geeks at the time. Most were interested in the tech and the political ideal of the respective mediums (radio and software). So, FRL was a comment on this. It was also a comment on how free radio was, ironically, very difficult to achieve on the internet unless serious attention was made to developing free codecs. But also FRL had two other elements going for it. The first was to (again) poke fun at the ridiculous hyperbole that surrounded the open source movement. People were expounding this ‘amazing new phenomenon’ and extrapolating how it would change the world (much as they did about wikis a short time after) when they had never come into contact with code or geeks. So this was an attempt to expose those people to the code…or what it sounded like. But also, at the time there was a lot of early talk about how to preserve digital media (a problem still not solved) and radio waves apparently never die… so by broadcasting the Linux kernel into space we were preserving it on the oldest medium ever, forever. Hehe…
I did, however, feel very sorry for the attendants at the New Museum who had to work 8-hour shifts listening to “one dollar sign dollar sign comma hatch four new line seven two dollar sign dollar sign…”
2002, New York City
This was, in theory, a radio network but in reality, just a few transmitters got installed. Still, it was fun. Thing FM was based in NYC and built during a residency I did at the Thing in NYC. The same week that the Yes Men came into the office to film their ‘shit burger’ stunt. They came into the Thing and asked who wanted to go and I didn’t go! doh! Anyway, we built the network using internet audio (via wireless and wired connections) and miniFM. Each of the transmitters was about 0.1 W output and sourced their audio live from the internet using the Frequency Clock scheduling system I had built earlier.
This partly adopts the ethic of micro-radio as founded by Tetsuo Kogawa, where many low powered FM transmitters are coupled to create an effective broadcasting entity that ‘falls beneath the radar’ of the communication authorities. fm.thing.net combined this ethic with that of net.radio which was a relatively new phenomenon focusing on the use of the internet as a carrier signal, best illustrated by the practices of the Xchange network. By combining the net.radio and micro-radio we hoped to build an efficient radio network in New York that used the internet as a primary carrier of the audio for re-broadcasting on legal or almost legal microFM broadcasts.
Hanging with Ted Byfield and Jan Gerber was a highlight of this experience. Wolfgang Strauss was also pretty fun but I was so intimidated by him. He was just so cool. Also sharing a tenement apartment in Ludlow Street with 3 people (bath in the kitchen) was pretty fun.
2001 Radio Astronomy was an art and science project which broadcasts sounds intercepted from space, live on the internet and on the airwaves. The project was a collaboration between r a d i o q u a l i a, and radio telescopes located throughout the world. Together we were creating ‘radio astronomy’ in the literal sense – a radio station devoted to broadcasting audio from our cosmos.
Radio Astronomy had three parts:
a sound installation
a live on-air radio transmission
a live online radio broadcast
Listeners heard the acoustic output of radio telescopes live. The content of the live transmission depended on the objects being observed by partner telescopes. On any given occasion, listeners may have heard the planet Jupiter and its interaction with its moons, radiation from the Sun, activity from far-off pulsars or other astronomical phenomena. Honor from rQ later made a TED Talk about it.
Dino, drummer from HDU, did the website design…thats gotta rate…
In 2001 I had the good fortune to be part of the Acoustic.Space.Lab project which started a long love affair with the RT32 radio telescope. Formerly a cold war device, this telescope was liberated when the Russian Army pulled out of Latvia. I worked with this telescope as an artistic device and with the generous scientists for many years after. The doco clip below introduces the explorations of the international Acoustic Space Lab Symposium which took place on the site of RT-32 in 2001.
Highlights of this period in Latvia included being evicted by Russian builders, getting a hernia, and being amazed Marc Tuters survived eating so many dodgy looking mushrooms he found in the forest.
May 2001, Scotland and also later…
I have come to realise there is just too much stuff I have tinkered with to comment on. Open Sauces falls into that bucket. Google tells me this was 2001. Essentially I got sick of all the Open Source blah blah of the time.. everything was suffixed by OPEN and it got very tiring (Open Gov, Open Hardware, Open Society…). No critical reflection on the fact that geek methods are geek methods and they are not transportable – AND – OPEN processes, methods etc existed well before geeks came along and inherited the word. No geek invented openness. I’m still tired of this I have to say…still…. I created Open Sauces which was an open database of recipes… anyone that did a residency could add their favourite recipe and you could just tick all the ingredients you have in your fridge and get a recipe to suit… doesn’t sound too revolutionary but at the time this sort of thing didn’t exist. It was a comment on this abuse of the use of the word ‘open’ and how cooking way preceded sharing of ‘code’ / ‘instructions’ etc… and also how food is probably the most important part of any collaborative project, whereas unsocial nerdy talk is optional. Later Fo.am in Brussels were inspired by the idea and started an Open Sauces theme.
I’m particularly proud of this project. It came about when I was a very naive newly arrived resident of Amsterdam. I suggested to Geert Lovink this idea for a festival and he said to speak to Erik Kluitenberg. Both huge legends in my mind you understand… I mustered the courage up to suggest it to Erik who was a cultural curator at De Balie at the time. He said he would think about it and I thought I wasn’t very convincing. A week later he called me up and said let’s do it! Whoot!
The festival was held in Amsterdam in October 2000. Net.congestion was an intensive three-day celebration and critique of the new cultures that have arisen from all forms of micro-, narrow- and broad- casting via the internet, now collectively known as streaming media.
The event covered most of the interesting ground of the time for streaming media, from the transformation of issues surrounding intellectual property to the uses of streaming as a mobilisation tool for global resistance through to the more rarefied questions of aesthetics and how narratives are transformed when embedded in networks. The overwhelming experience of many visitors to Net.congestion was a sense of tools, networks and sensibilities being re-purposed, returning us, again and again, to a primary experience of the net as a social space.
Net.congestion occurred just months before dot.com bubble burst, exploding the ‘new economy’ and ‘the long boom’ with its fantasies of a world in which the economic laws of gravity had been repealed. There is no doubt that if the same event were to be held now, the atmosphere would be markedly different. It is not that Net.congestion was an industry event which depended on the hype for its existence, as the very title indicates that we mixed a healthy dose of skepticism with our festivities. But none of us, however critical, can entirely escape the zeitgeist and there is no doubt that in those brief heady days Warhol’s aphorism was re-written; we could all dream of becoming billionaires, if only for 15 minutes. A strange historical phase when (particularly for anyone involved in streaming media) the normally fixed boundaries between business, art, technology, science fantasy and just plain bullshit temporarily blurred to create a moment of unique cultural hysteria. In that sense our timing was perfect.
The Theory Machine
In an attempt to make theorists a little more funky, I made a software they could use to put their brainy thoughts to glitchy syncopation. It was mainly used by Eric Kluitenberg including one memorable performance at Club Otok in Dubrovnik.
I helped found an organisation during the Nato bombing of Serbia and Kosovo in 1999. The international support campaign for independent media in Yugoslavia, including the famous Radio B92 media centre, in operation between March and July 1999. We did some pretty cool things but mostly I was very happy to be involved in what must have been one of the web’s early large-scale activist campaigns. It was also the start of my longish relationship with Amsterdam as XS4ALL offered me a job and I stayed for a few years. I still have a bike there somewhere.
What was tricky, though, is that I agreed to go to Skopje to assist an Albanian refugee radio station (Radio 21). It was kinda nerve wracking. There were literally bombs set to explode to take out as many Albanians as possible. Some kids lost their legs across the street from where I was working. I was a milk and cookies boy from NZ.. what was I doing here? Still, I stuck it out and we managed to set up quite an innovative way of getting radio transmissions out of the refugee camps to Radio Netherlands Shortwave.. .I’ll write that up when I get time.
The Frequency Clock
1998 – 2004 or so, The World
The Frequency Clock was originally conceived as a mechanism to control FM transmitters over the internet. In essence it was a networked timetabling system, connecting globally dispersed FM transmitters so they could broadcast the same internet audio simultaneously. The original player was a popup window but we also built desktop apps to do the same thing using VisualBasic (Win) and RealBasic (Mac). All open source.
However… then we realised that video could also work… and we used it to control community TV channels in Amsterdam and Linz and we also controlled giant video billboards in Estonia and a whole lot of other things. It was exibited a lot, most notably at the Walker when Steve Dietz was still there. We even installed a transmitter in the roof of De Waag! It was a remarkable experiment for its time. Yes, yes, pre-Napster and YouTube and all those other toys… while writing this I found some kind of prototype online.
1996 – 2008, the world.
Performing solo as ‘eset’ and with Honor Harger as r a d i o q u a l i a I did a lot of sound performances, most using sounds from space and either live performances in real space or on radio. Some stuff still exists online: https://soundcloud.com/radioqualia
r a d i o q u a l i a
This was the project that liberated me from the south and the reason I moved to Europe with no money and no return ticket. My plan was to make coffee and do some arty stuff in London. Thankfully, Nato bombed Serbia (hoho) and everything changed.
What I really loved about this time, was that I felt part of a lovely international community of artists. We used to travel around and bump into each other in various crazy places. This group included people like Marko Pelijhan, Heath Bunting, Rachel Baker, James Stevens, Luka Frelih, the Mama crew, Lev Manovich, Steven Kovats, Matthew Beiderman, Giovanni D’Angelo, Zita Joyce, Adam Willetts, Rasa Smits, Raitis Smits and so many many others…it was an awesome time.
r a d i o q u a l i a was an artist project that consisted of myself and Honor Harger. I have described some of our exhibitions and performance projects above, and listed some below. There were many more.
In August 2004, r a d i o q u a l i a was awarded a UNESCO Digital Art Prize for the project Radio Astronomy. In September 2003, we were awarded the Leonardo-@rt Outsiders 2003 New Horizons Prize together with the participants of the Open Sky installation at the @rt Outsiders exhibition at the Museum of European Photography in Paris.
Selected r a d i o q u a l i a exhibitions and performances:
Lecture & performance at the Centre Pompidou, Paris, France
Work: Sonifying Space, as part of the Space Art conference
Exhibition at the New Museum of Contemporary Art, New York, USA
Work: Free Radio Linux, as part of the OpenSourceArt_Hack exhibition
Exhibition at the NTT InterCommunication Centre, Tokyo, Japan
Work: Radio Astronomy, as part of open nature, a show curated by Yukiko Shikata
Online exhibition / commission / installation at Gallery 9, Walker Art Centre, USA
Work: Free Radio Linux
Exhibition at Arsenals Exhibition Hall, Riga, Latvia
Work: solar listening_stations, part of WAVES
Exhibition at HMKV, Dortmund, Germany
Work: solar listening_stations, part of Solar Radio Station
Exhibition at the Walter Philips Gallery, Banff, Canada
Work: Free Radio Linux, as part of The Art Formerly Known As New Media
Exhibition at Centre d’Art Santa Monica, Barcelona, Spain
Work: Radio Astronomy, as part of Sonar 2005
Performance at Tesla, Berlin, Germany
Work: from polar radio to solar wind
Performance, La Batie Festival, Geneva, Switzerland
Work: signals as part of signal-sever
Exhibition at Ars Electronica, Linz
Work: Radio Astronomy
Exhibition at ISEA 2004, Helsinki, Finland
Work: Radio Astronomy
Symposium & Performance, Ventspils International Radio Astronomy Centre, Latvia
Work: Acoustic Space: RT32: Orchestrating the Solar System
Broadcast on Radio New Zealand
Work: Revolutions Per Minute 1: Frequency Shifting Paradigms in Broadcast Audio
Broadcast on Radio New Zealand
Work: Revolutions Per Minute 2: Little Star
Exhibition at Small Gallery, Los Angeles, USA
Work: comma.data.space: 11 Ghz
Performance at the Moving Image Centre in Auckland, New Zealand
Work: comma.data.return :: 56:30 – 21:1
Performance at Version festival, Auckland, New Zealand
Work: listening_stations v0.3: langmuir waves
Exhibition at the Physics Room, Christchurch, New Zealand
Exhibition at Artspace in Auckland, New Zealand
Exhibition & education programme, South Africa
Exhibition at the Reg Vardy Gallery, Sunderland, UK
Work: Free Radio Linux, as part of the Art for Networks exhibition
Exhibition at Museum of European Photography/ Maison Europeenne de la Photographie, Paris, France
Work: listening_stations, as part of @rt Outsiders exhibition
Exhibition at the Physics Room, Christchurch, New Zealand
Work: data.spac.ereturn, as part of the Audible New Frontiers exhibition
Locative media Residency at K2, Karosta, Latvia
Work: Locative Media
Exhibition at Turnpike Galleries, Leigh, UK
Work: Free Radio Linux, as part of the Art for Networks exhibition
Exhibition at Fruitmarket Galleries, Edinburgh, UK
Work: Free Radio Linux, as part of the Art for Networks exhibition
Radio show on Resonance 104.4FM, London, UK
Work: r a d i o q u a l i a on resonanceFM
Exhibition at the Generali Foundation, Vienna, Austria
Work: listening_stations as part of the Geography and the Politics of Mobility exhibition
Exhibition at Chapter, Cardiff, UK
Work: Free Radio Linux, as part of the Art for Networks exhibition
Performance & Broadcast, Ars Electronica, Linz Austria
Work: Radiotopia @ Ars Electronica
Radio Broadcasts on Austrian National Radio, Vienna, Austria
Work: i s o l
Exhibition at CCCB, Barcelona, Spain
Work: frequency clock – gallery installation – [sNr v.0.1]
Sonar 2001, Barcelona, Spain
Action & Broadcast, Ars Electronica, Linz, Austria
Work: Take Over Cultural Channel
Performance, Residency & Symposium at, Ventspils International Radio Astronomy Centre, Latvia
Work: Acoustic Space-Lab
Exhibition at Video Positive, Liverpool, UK
Work: Frequency Clock – gallery installation – [ vp00 v.0.0.3 ]
Workshop & Performance, Adelaide Festival of the Arts, Adelaide, Australia
Work: Closing the Loop 2000
Seminar & Performance at Lux Centre, London, UK
Work: Tuning the Net
Performance at the Stockton Festival, Stockton, UK
Work: transitions & undercurrents part of live-stock
Exhibition & Performance at OK Centrum, Ars Electronica, Linz, Austria
Work: pso.Net, as part of Sound Drifting
Exhibition at Experimental Art Foundation, Adelaide, Australia
Work: Frequency Clock – gallery installation – [ eaf v.0.0.2 ]
Exhibition at Experimental Art Foundation, Adelaide, Australia
Exhibition at Contemporary Art Centre of South Australia, Adelaide, Australia
Work: e Q
Performance at LADA98 Festival, Rimini, Italy
Work: we are alive and well but terribly uncommunicative
Exhibition, Ars Electronica, Linz, Austria
Work: Frequency Clock – gallery installation – [ aec98 v.0.0.1 beta ]
Performance, Ars Electronica, Linz, Austria
Work: 56h LIVE!: Acoustic Space
Exhibition at Bregenz Festival, Bregenz, Austria
Performance and presentation at net.radio.days 98, Berlin, Germany
Work: self.e x t r a c t i n g.radio (.ser)
Work: self.e x t r a c t i n g.radio (.ser)
Exhibition at the Machida City Museum of Graphic Arts, Tokyo, Japan
Work: The Qualia Dial
Exhibition at Fabrica New Media Art Institution, Italy