I recently did a presentation at the Open Fields conference in Latvia. It was about how art shaped how I think about publishing. It was a very personal pondering. I’m not sure how interesting it was to the audience but it gave me some moments to contemplate this for myself and, as a result, I produced these two mappings. The first shows my journey from art to publishing:
The next is the same journey but with the themes of Tech, Community, and Process threading through the mix.
I was trying to articulate how I am still the same person now, working in publishing, as I was when I was an artist. I think what I do hasn’t changed (it has, a little, utility has its own laws after all, but for the most part is the same) but the operational context has changed. I live (literally) in/on the publishing world, whereas previously it was the art world. In between was an interesting half-way house for my artist self – FLOSS Manuals which I founded when I ‘gave up’ the art world after I came back from Antarctica. This half-way house gave me the skills to transition from the art world to the ‘real’ world. In that period I developed the basics of the Book Sprint method, learned how to build community, and started building publishing tools.
Interestingly I never thought I was ‘entering the real-world’ (my apologies for the use of the term ‘real-world,’ it’s not to imply an invalidation of the art world, but it feels like a better term than ‘non-art world’ or any other term I tried to use instead). When I started FLOSS Manuals I thought I was doing what I did as an artist – making the interestingly ridiculous possible. I sought to establish the largest community in the world producing free manuals about free software. It didn’t have much reality attached to it and I never really thought through the sustainability options for this path. I just did it and trusted I’d work it out (a skill artists need all the time). So FLOSS Manuals is, in retrospect, a handy transitional moment and very important to all I do now, but at the time I just did it purely as a challenge and I didn’t want to get “a real job.” 😉
It’s important to me to drill down into this a little because I think art, like philosophy, enables you to choose ways of thinking. I think I’m still an artist, and its important to me to identify as that. I don’t go around saying “I’m an artist,” because the world reads artist with a capital A. Artist. Most would laugh if I said I was an Artist because in this world that sounds self-aggrandising. “Oh. he thinks he’s an artist of systems design”… sounds a little ridiculous. Like I’m claiming the mantle of Steve Jobs. But.. .a good friend of mine (Jaromil) once invited me to join an Italian hacker collective (dyne.org). I was flattered but I said I wasn’t a hacker (or Italian) and his reply was ‘hacking is an attitude’ (I think being Italian might be an attitude too. 😉 I appreciated that and I think the same is true for artists. It’s a way of thinking, an approach. For me, it means being critical of what you do and not listening to the legacy ways. Of dreaming and allowing ideas to bubble through from of a cacophony of interesting ponders and hooks. Of allowing you to invest in the ridiculous as part of the journey to the succinct. At least that’s some of it.
Open Fields was an interesting event, perhaps more from a personal point of view too as this community was once my world (the art world). It was great to see some old buddies… particularly Tim and Tina from TimesUp. Still doing great work:And of course…Marko Peljhan…never there even when he is there. haha 🙂
Some of my projects. As you can see, partially complete. Will add more and then make this a static page.
Publishing-related
Collaborative Knowledge Foundation
Current
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.
Shuttleworth Foundation
Current
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.
Recent Presentations
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
London, Sept 2016 http://www.alpsp.org/2016-Programme
Adam was invited to present at the annual ALPSP conference about ways that Open Source could change publishing.
International Society of Managing & Technical Editors
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
Aperta
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.
"At its core, this new PLOS editorial environment brings simplicity to the submission and peer review process by providing advanced task-management technology and a vastly improved user interface, which will enhance the publishing experience for our community of authors, editors, and reviewers."
http://blogs.plos.org/plos/2015/07/publishing-initiatives-at-plos-a-look-back-and-a-look-ahead/
NB: I only work on Open Source systems. The sources are not yet available for this project.
PubSweet
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
2012
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.
2012 book.js is a Javascript library that you can use to turn a web page into a PDF formatted for printing as a book. Take a web page, add the JavaScript, and you will see the page transformed into a paginated book complete with page breaks, margins, page numbers, table of contents, front matter, headers etc. When you print that page you have a book-formatted PDF ready to print.
book.js has given inspiration to a number of other JS pagination engines. See Vivliostyle, bookJS Polyfil, Pagination.js, simplePagination.js, and CaSSiuS.
Booktype
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.
Bookimobile
2011
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
2008
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
2006
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
2006
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
Writings
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.
Geek-o-system
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.
Wifio
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.
Sound Elevator
2007
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-TASC
2006/2007 Antarctica
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
2006/2007, Antartica
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.
Mobicast
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.
2001-2004, International
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.
re:Play
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…”
Thing FM
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.
Radio Astronomy
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…
RT32
2001, Latvia
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.
Open Sauces
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.
net.congestion
2000, Amsterdam
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
2000
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.
HelpB92
1999, Amsterdam
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
This was one of the earliest r a d i o q u a l i a projects and how I learned to program. To understand this project you have to understand the dark ages of the internet when video and audio hardly existed. Essentially we built a media scheduling system that allowed you to build archives of live and pre-recorded content, tag them, and then schedule them. All built in JavaScript… remembering these were these days when Javascript was very rudimentary.
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.
Sound Performances
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
Or eg:
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
Work: re:Play
Exhibition at Artspace in Auckland, New Zealand
Work: re:Play
Exhibition & education programme, South Africa
Work: re:Play
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
Work: Illata
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
Work: gl^tch.bot
Performance and presentation at net.radio.days 98, Berlin, Germany
Work: self.e x t r a c t i n g.radio (.ser)
Online Project
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
Work: Balance
This series is based on HTML as a source file format for book production platforms. I have looked at many HTML editors over the years and can remember when the first in-browser editors appeared…it was a shock. Prior to that, all HTML creation was done by writing directly in HTML code, then came fully-featured environments like Front Page and Dreamweaver which allowed you to create HTML in a desktop app, then came wiki mark-up to liberate us all from the tedium of writing HTML, and then finally…the browser-based WYSIWYG editor…
It’s worth noting that the Wiki markup and WYSIWYG solutions were a different category to the previous solutions in that they weren’t designed for creating web pages, rather they were designed to enable the production of wikis and content management systems.
What-You-See-Is-What-You-Get at that time was a refreshing and liberating idea, a newcomer to this scene (although WYSIWYG as a concept and approach to document creation predates the web, with the first true WYSIWYG editor being a word processing program called Bravo, invented by Charles Simonyi at the Xerox Palo Alto Research Center in the 1970s, the basis for MS Word and Excel). Many WYSIWYG strategies have been explored, and many weaknesses unearthed, including the very important critique that What-You-See-Isn’t-What-You-Get, because the HTML created by these editors is unreliable, but more on this later…
As far as I can tell, the first HTML-based WYSIWYG editor was Amaya World, first released in 1996. I don’t know what WYISWYG editor was the first to be embedded in a browser (if you know, please email me). However, I remember TinyMCE like it was a revelation. According to the Sourceforge page, they started building it around 2004 to solve the need to produce HTML in content management systems. It was, and is a great product. The strategy at the time was pretty much to emulate rendered HTML within an HTML text field. TinyMCE (and the others that followed until contenteditable came along) used a heap of JavaScript to turn a simple editable text field into a window onto the browser’s layout engine.
alt.typesetting
From this point, a number of plugins were developed for use with WYSIWYG editors like TinyMCE to extend the functionality.
Some of these plugins ventured into the ever-important area of typesetting. TinyMCE even tried at times to make up for the lack of browser functionality in this area – for example, there were some early and workable attempts to bring equation editing into TinyMCE. I can’t remember when it was, but surely around 2006/2007 that IMathAs had an experimental jab at this. I thought it was pure genius at the time as there was no other solution (I searched! a lot!). As I can remember they used a very clever round-tripping to achieve the result… essentially, since browsers didn’t then support Math, IMathAs supported inline equation writing using ASCIIMath syntax. When the user clicked out of the field, the editor sent the equation markup to the server, and the server returned the rendered equation as either a bitmap (PNG, JPG etc) or as vector graphics (SVG). It was genius and I built it into the workflow for FLOSS Manuals around 2010 because we wanted to write books with equations for software like CSound (produced in 2010/11). It worked great – the equations always looked a bit ‘bit-mappy’ but we could write and print books with equations using in-browser editors and HTML as source (the HTML produced included equations as images so we could render PDF direct from the HTML). Awesome.
It’s also worth noting that these days math typesetting has largely moved to the client side with the evolution of fantastic libraries like MathJax and KateX. These are JavaScript typesetting libraries designed to be included in web pages and render math from markup on the client side. There are one or two tools that still use server-side rendering, notably Mathoid, and this is often used to reduce the burden on the client’s browser, however, they have possible additional bandwidth costs as the client and server must remain in communication with each other, otherwise nothing will be rendered or displayed.
Mature solutions for math and other typesetting issues are only just starting to come online – no surprise to historians who inform us that notations such as math and music were the last to come online for the printing press as well. The first book to contain music notation post-Gutenberg, the Mainz Psalter, was printed with moveable type, and the music notation was added manually by scribe. It seems the first thing to get right is the printing of text, all other notations come later in print systems. These solutions are slowly evolving – even music notation has its champions. However what is really surprising, is that Google, a company priding itself on being built from ground up by math-heads, seems to struggle to bring native math typesetting to their own browser . I would say that is embarrassing.
Contenteditable
Moving on from typesetting… The initial WYSIWYG editors proved an admirable solution for many content management systems. The name persisted but the background technology fundamentally changed in when the first implementations of the W3C contenteditable specification for HTML5 was brought to the browser. Contenteditable is an attribute that you can add to a number of HTML container elements (like ‘P’ or ‘div’) that make their contents editable. So, in essence, you are directly editing the content in the browser rather than through some JavaScript text field trickery. This strategy might be called WYSI (What-you-see-IS). This strategy also spawned a whole new generation of editors leveraging this new native browser functionality. Aloha Editor was one of the first to grab the spotlight but there were many many others to follow. Additionally, the big legacy WYSIWYG editors such as TinyMCE and CKEditor added support for contenteditable although they were a little slow to the party.
Contenteditable at first promised a lot… native editing of the browser … phew … that certainly lowers the technology burden and opens the door to innovation and experimentation. Additionally, the idea that this is a read-write web suddenly comes more keenly into focus when you can just edit the web page right there and inherit all the same JavaScript and CSS that operates on the element you are editing. It’s good stuff.
Inevitably, though, some problems soon emerged, first some wobbly things about not being able to place a caret (your mouse pointer) between block elements (eg between two divs) was really a problem, but later a more serious issue was identified – contenteditable does not produce stable results across different browsers, such that if you edit one page in browser A, the resulting HTML could look different if you edited the same page in browser B. That might not affect many people – if you just want some text with bold and italics and simple things, then it doesn’t really matter… the HTML created will render results that will look pretty much the same across any browser. However there are use cases where this is a problem.
In the world I work in at the moment – scholarly publishing – we don’t want a manuscript that contains inconsistent HTML depending on the browser it was edited in … it hurts us down the road when we want to translate that HTML into different formats (eg JATS) or if we want to render that HTML directly to PDF and get consistent results.
So, unfortunately, editors like CKEditor (used by many book production platforms including Atlas), and TinyMCE (used by Press Books AKA WordPress), or Aloha (used by Booktype 2) have to use a lot of JS magic to produce consistent HTML to overcome the problems with contenteditable, and this doesn’t always succeed. I would recommend reading this article from the Guardian tech team about these issues. You also may wish to look at this video from the Wikimedia Foundation Visual Editor core devs for the comments on contenteditable (audio is lousy, jump to 1.14.00) (readable subtitles can be found here .
A better way
So…what can you do? The answer is kind of threefold.
First choice: decide not to care – an entirely legitimate approach. You can still do huge amounts with these editors, and if you need to tweak the HTML now and then, so what? I can clean up the HTML by hand for a 300-page book in an hour, not too tough really and it enables me to cash in on all the other enormous gains to be had from a single-source HTML environment.
Second choice: provide client-side and server-side cleanup tools. Most editors have these built in, but it’s also good to implement backend clean up tools to ‘consistify’ the HTML at save-time (or at least at pre-render time).
Third choice: find an editor that is designed to produce consistent HTML.
In my opinion, the third choice is the best long term option and the ‘right way’ to do things. Being able to produce reliable results with ease, and without having to do things twice, will make everyone’s life easier.
Thankfully there is a new editor on the scene that is designed to do just this – the Wikimedia Foundations Visual Editor. This editor was developed to help the Wikimedia Foundation solve an uptake problem … essentially there are not enough people these days prepared to sit around learning Wiki markup (which is pretty much a complicated scripting language these days). The resulting need to drop the threshold on the foundation’s contributions environment has resulted in the development of the Visual Editor (VE). New contributors can use an easy WYSIWYG-like environment instead of having to learn markup.
Obviously, the entire Wikimedia universe is already stored as wiki markup, so the editor needs to be able to translate between HTML and wiki markup on-the-fly (interestingly, it is actually part of much larger plan to store all Wikimedia Foundation content in HTML. To do this there is a back end called Parsoid that converts markup to HTML and vice versa. Also, the HTML produced by the editor obviously needs to be tightly controlled, otherwise the results are going to be a mess when converting back to wiki markup. VE does this by replicating the content in its own internal (JSON) model and displaying the results in a contenteditable region. When the content is edited, the edits are strictly controlled by the VE internal rules, and then rendered to display. The result… consistent HTML is produced across any edit session regardless of the browser used…
That’s pretty good news. This is one reason amongst many that the platform I am working on for the Public Library of Science has adopted VE software (we were the first to use it outside of the Wikimedia Foundation) and we are extending it considerably and contributing the results upstream to the VE repos. So far we have added table, equation, and citation plugins – all of which are in an early alpha state. If you want a peek, you can see some of the work here.
I highly recommend to anyone building a book platform, or any other kind of knowledge production platform, that you examine VE more closely. It is a sophisticated software and has been carefully thought through. It is still relatively immature, and development is happening at an incredible pace, which can make testing new plugins against an unstable API a little arduous … still, it is a great solution. VE also approaches content editing in a way that will open the door to concurrent editing via operational transformations in HTML, which is a hard problem and currently only solved by Google and Wikidocs (recently acquired by Atlassian.)
If you are in the process of choosing an editor, choose VE and contribute to the effort to make it not just the best Open Source solution to editing in the browser, but the best solution, full stop.
Many thanks to Raewyn Whyte for improving this article.
In the past few years, I’ve been constructing a set of practices around knowledge production. Its been a Lego-like process. I add one brick, move it a bit, choose one of another colour and try and work out where it fits… It’s not so much a process of deconstruction of publishing as the construction of something else. Mainly because I don’t know enough about publishing to deconstruct it, so I have to start with what I know.
Sometimes, however, I realise just how odd that construction is. Usually, this occurs when I see an articulation of ‘how things are’ in ‘the real world’ and I realise… oops! I don’t at all relate to that or see the sense in it. That occurred recently with a discussion on the Read 2.0 list. Someone made a throwaway comment about how books might be changing and one day we might not think of them as static objects. A few comments followed about what the future of the book might be. I was left feeling very much on the outside in my Lego- constructed world. The only thing I could add to this conversation would have to pull apart the founding assumptions of the future ponderings – and I just didn’t know where to begin.
Books are mostly static objects in this world. You make them, ship them, consume them. Next. However, my experience with FLOSS Manuals is that this is exactly what we are trying to avoid. Since 2006, we have been avoiding staticness – rather the aim was, and is, to keep books alive. To a certain extent manuals about software present an obvious case where the value of ‘live’ books is evident. However, I don’t think that advantage is restricted to books about software. Books should be living entities and grow with time, expanding or contracting with input from many people.
So, staticness, through the lens of FLOSS Manuals and a ‘living book’ practice is actually a symptom of an ‘unwell’ book. A book that is not growing is a neglected work. It is left alone on the shelf to gather dust and die, where, by comparison, healthy books are attended to. They have growth spurts, or sometimes slower, prolonged periods of affection. They may fork, or become a central discussion, they might transit into other contexts entirely, or traverse languages. They are alive and more useful to us, vibrant and engaging. They also reveal the fundamental humanity behind the text… the living book as a conversation between living beings. A book, at its best, is a thriving community.
So, I have learned to look for staticness, and when I find it I literally get sad. I see this as a failed work, something that we were not able to diagnose, or failed to get to in time. At the same time, each failed work is a study and we have much to learn about how and why books die.
I think it’s important to learn to look for staticness as an early symptom of a failed book.
Kickstarter.com has taken up the concept of crowdfunding with significant success. The premise is simple: an individual defines a project that needs funding, defines rewards for different levels of contribution, and sets a funding goal. If pledges meet the funding goal, the money is collected from pledgers and distributed to the project creator, who uses the funding to make the project. If the project does not reach the funding goal by the deadline, no money is transferred. Most projects aim for between $2,000 and $10,000.
Kickstarter approaches have their issues, but they raise an interesting point – people are prepared to fund a book before it is produced. Or to put it another way and one which covers a wider spectrum of emerging book economics – people are willing to pay for books that don’t yet exist.
A while ago I worked with a Dutch organisation by the name of greenhost.nl. They are a small hosting provider based in Amsterdam with a staff list of about 8. The boss wanted to bring their team to Berlin to make a book about basic internet security so they hired me to facilitate a Book Sprint. We invited some locals to help and organised a venue for four days. In total, about 6 people were in attendance (including myself as facilitator) and we started one Thursday and finished the following Sunday – one day earlier than expected. The book is a great guide to the topic and quite comprehensive – 45,000 words or so written in 4 days with lots of nice illustrations.
The following morning the book went to the printers and then was presented in print form two days later at the International Press Freedom Day in Amsterdam.
The presentation at International Press Freedom Day was complemented by a PR campaign driven by Greenhost. The attention worked very well as the online version of the book received thousands of visits on the manual within a few hours (slowing our server down considerably at one point) and there was also a lot of very nice international and national (Dutch) press attention. This worked very well for Greenhost as this is the kind of promotional coverage that is otherwise very hard to generate. That makes sponsoring of Book Sprints a very good marketing opportunity for organisations.
Many of the organisations I work with approach Book Sprints with similar ideas in mind. They think about what kind of book their organisation would want to bring into the world, then design a PR strategy around the book. The book is often given away free in electronic form to their target market, maximising the reach and goodwill created.
Of course, this approach does not come without its issues. Organisations that pay to have something produced generally do not like it if the product disagrees with them. Worse is the mindset that this possibility can produce in the producers. Anticipating and avoiding disagreement is in effect a kind of self-policing that can stifle creativity, especially when you are working collaboratively. However, this can be mitigated by hiring a good facilitator.
Lastly, The Long Tale. The long tail was popularised in the age of the net by Chris Anderson. It’s the familiar strategy of selling a large number of books to small niche markets, the idea being that a lot of sales of niche items adds up to a good profit, or as he put it in the title, Why the Future of Business Is Selling Less of More.
However, there is another possible ‘long tale’ market here – instead of seeing a total inventory as having a ‘long tail,’ each book in itself can be customised for resale over a number of smaller markets – one book distributed over several markets, each with its very own version of the book. We have experimented with this a little in FLOSS Manuals – customising the same book for specific markets. Remixing books can be considered to be exactly this strategy but on a very small scale. Many workshop leaders use the remix feature of FLOSS Manuals to generate workbooks with content taken from several existing books. We have also encouraged consultants to take books from FLOSS Manuals, clone them, and customise the book to speak directly to their potential and existing customers. It is a powerful pre- and post- sales device. The long tale here has a market of 1 – the client. This is the very end of the long tale but the return can be lucrative for the consultant that secures a sale or return sale because of their valued-added services powered by customised documentation.
I believe there is a business here – either creating or customising content as a service or providing the tools for people to customise their own content. In either case, we are seeing a broad willingness for organisations and individuals to pay to get the content they want before it is available ‘off-the-shelf’.
It’s easy to understand the problems with attribution. In the one book = one author days, it was easy – put the author’s name on the cover. 50 years later, same book, same solution.
However, this does not work for collaboratively-produced works and it is one of the most difficult issues for free culture going forward. Already in FLOSS Manuals, we have books that have 8 pages of credits – each chapter individually referenced with the copyright and attribution data. Some books have 40-50 chapters and some chapters have 20+ collaborators, all of which need to be listed. For FLOSS Manuals, we solved the problem by generating these lists – when edits are done in Booktype, there is a digital record of who did what, so we just automatically generate this list. However, this is just the beginning and we are already asking ourselves – are 8 pages of credits really necessary?
The answer is no, it is not necessary. Attribution is not as important with collaboratively-produced works as one might have suspected. Those involved in the process are not too worried about it – there is some kind of excitement generated by pushing your name forward as a protagonist at some key moment in the life of a book but this can happen in the text, as part of the book’s story, or in press releases, blog posts and so on. We don’t actually need attribution – the prominent foregrounding of all the names of the individuals involved in the book’s production. What we need is backgrounding of this information and the ability to know the history and lineage of a book.
We need standards to maintain history records for a book’s development and we also need this to be stored in publicly- accessible repositories so we can check this information for interest’s sake or more meaningful uses such as historical records, or research.
These records of book history could be also very necessary for verification of content. If, for example, we use open licenses or (one day) no copyright then how do we verify quotes, for example? (In reality, provenance is orthogonal to copyright restrictions, and indeed such restrictions are an obstacle to maintaining provenance, but still. people often ask this question.) How do I know that this book, which purports to be the thoughts of the author, actually does present the thoughts of the author and not some maliciously invented text masquerading as such ?
Currently, in free software circles, there are at least three major strategies for dealing with this kind of issue:
Use a publicly-trusted source for the distribution of content so people know that if the book comes from a trusted source it is what it says it is.
Use a ‘checksum’ – a method for verifying of any errors have been introduced in the text during the transmission (delivery) of the content.
Digitally-sign content so that it can be verified as coming from the purported source.
Libraries or public archives could play a very strong role here. Records of history would become very important in a federated or prolific free-content environment, not just for research but for providing public mechanisms and standards for the ongoing verification of sources.
Attribution is the star system of the single author = single book publishing system. With the breakdown of these models, or at least with the diversification of these models, author attribution will, out-of-necessity, become a more transient commodity. Collating version and contribution history, however, might become a business in itself.
Which is all to say that lowercase attribution (a useful bit of provenance info) is sustainable. By contrast, Attribution to Authors as creator-gods is suspect and superfluous.
Annotation is an interesting world. It has survived the many changes in book technologies until, interestingly enough, the net. It’s not that we have never needed it, it’s that we haven’t been able to do a good job of it. There have been some good attempts – CommentPress was one by Bob Stein and the Future of the Book Institute. Comment Press was useful, I installed it myself and used it – it was built on top of WordPress. But Bob and crew learned their lessons and improved the idea with the yet-to-be released Social Book.
On top of that has been Purple Numbers (by Douglas Engelbart – you know! the guy that invented the mouse!) , and the code known as Marginalia, and there have been three of four attempts using Jquery to get this right. While Marginalia did get included into Moodle, which is pretty cool, it didn’t really take off and none of the other attempts got anywhere.
I think that might be about to change with a very nice relatively new project called AnnotateIt. It is built on top of Jquery and is built by the crew behind the Open Knowledge Foundation, which in turn has been supported extensively by the Shuttleworth Foundation.
It’s good stuff. Very simple to use as either a free and centralised service, or you can establish your own annotation server. I am trialling it at the moment wíth FLOSS Manuals. You can create an account at http://annotateit.org/
Booki provides an RSS feed for every book. This means you can follow a book and see the edits made. Each RSS feed is linked from the info page. For example, the book about OpenMRS has an info page here and the RSS is linked from the bottom.
A few weeks ago, we asked for some help creating a visualisation using this source. Pierre Commenge responded and started developing a Processing visualisation of the RSS feed. Processing is a free software used a lot for creating visualisations.
Pierre has a prototype available that runs in a java applet. So this look pretty cool. The live version enables you to play a timeline and see the development of the book over the period of 1 day.
This not only looks cool but it enables you to see how a book is being made. This is extremely interesting – imagine if we had all the data about how every book has been made up until now… it would tell us a lot of things about the book production process and the differences between different models etc… It’s a very exciting idea and we hope to be able to explode this idea in the following weeks and months in our experiments. Many thanks to Pierre for getting this underway.
One of the key memes in free culture has been the remix, freely licensed content combined to make something new. Remixing of books is of obvious interest and there have been many explorations of this in various forms including the Rice University project Connexions. FLOSS Manuals has had the ability to take existing manuals about free software and remix it since 2008. Remixing of books is of obvious interest and there have been many explorations of this in various forms including the Rice University project Connexions.
FLOSS Manuals has had the ability to take existing manuals about free software and remix it since 2008. It’s easy to use this mechanism to add a chapter or chapters of a manual with other chapters from other manuals. The output is templated HTML or customised PDF. Although the remix feature (very easy to use with a nice drag and drop process) always gets very positive responses when demonstrated, however, it does not get used very much.
After some years thinking about this lack of use, I have come to the understanding the ‘remix’ as such has only a limited use when it comes to constructing books from multiple sources. A remix of a book in this fashion is not a good remix as we might understand it. DJs make good mixes out of several tracks but they have various tempo, tone, and volume controls to integrate the sources. A book remixed by the (outmoded) remixing tool we built for FLOSS Manuals is not like a music remix but more like playing back selected tracks using shuffle. The chapters are not integrated to flow well into each other, they are instead compiled into some kind of anthology.
The difference is not subtle and it’s easy to understand the problem when you look at the obvious popular example of remixes in DJ culture. A DJ takes multiple sources – some complete – some snippets – and works them into a continuous whole. For the DJ, remixing is part-curatorial process and part-production. The curatorial process is the choosing of the works and considering where and when the selected pieces will fit into the whole. The production process is changing the tone, speed, and colour of the sound and making it all work together. Without the production component, it’s not a remix at all – it’s just a shuffle of sound snippets.
Text requires the same kind of shaping. If you take a chapter from one book and then put it next to another chapter from another book, you do not have a book – you have two adjacent chapters. You need to work to make them fit together. Working material like this is not just a matter of cross-fading from one to the other by smoothing out the requisite intros and outros (although this makes a big difference in itself), but there are other aspects to consider – tone, tempo, texture, language used, point of view, voice etc as well as some more mundane mechanical issues. What, for example, do you do with a chapter that makes reference to other chapters in the book it originated from? You need to change these references and other mechanics as well as take care of the more tonal components of the text.
This is why remixing in itself is not that interesting and also another argument why some free licenses should be banned for free book production. An ND license (non-derivative) renders a ’free’ work useless for combining with other works. You can separate it from its original corpus but you cannot make it fit easily within a new one. You have no licensed right even to change the mechanical components. You cannot create chapters that will smoothly exit one book and enter another. You actually have to produce the mixed material to make it all work together – there is not really much point to trying to avoid this issue.
As a consequence of these experiences, at FLOSS Manuals we designed Bookspark to enable importing of chapters from one book to the editable environment of another book and we ditched the old remix approach. This means you can import chapters from other books and then edit the chapters to make them fit the context. That is the only sensible way we can work with this kind of re-use/remix.
See http://cnx.org/ to view and share free educational material in small modules that can be organised as courses, books, reports or other academic assignments.
Federated publishing takes all of the concepts I have dealt with so far – ease of online book production, collaboration, reuse – and applies them to a new networked model of publishing.
In the social software circles, there is a movement that advocates a Federated Social Web. The main advocates are ostatus and the free software micro-blogging platform status.net. The Federated Social Web is a vision of inter-operable social network platforms enabling “people on different social networks connect with each other as friends and colleagues,” says Evan Prodromou.
Federation of this kind is not new to the web, and there are many online services which work like this. Email is a federated system – it doesn’t matter where you have your email account, you can still communicate with other people who have email accounts elsewhere. However, federation of this kind is not the architecture of choice for monopolistic social network enterprises like Facebook. Facebook will not enable you to install your own copy of Facebook for your business or school, nor does it enable communication between users on Facebook and users on other social networks.
What we need is a federated architecture for online book production and publishing. Anyone should be able to set up their own online book production/publishing service and share books with other book production/publishing networks, enabling anyone to reuse any book, anywhere.
Federated publishing supports traditional, established book production techniques while fueling radically different approaches. To achieve healthy federated publishing on the web, four key elements need to be built up:
Fee content
Federated book production platforms
People participating
Suitable economic models
There is currently no prolific exploration of this model. Federated publishing is currently only illustrated, I believe, by FLOSS Manuals. In FLOSS Manuals, anyone can clone or migrate a book to another platform, reuse and change the book without permission, and publish it wherever they like. That is federated publishing.
Federated publishing was anticipated by this astonishing passage from Marshall McLuhan in Predicting Communication via the Internet (1966), in an interview with Robert Fulford, 8 May 1966, on CBC’s This Hour Has Seven Days):
“Instead of going out and buying a packaged book of which there have been five thousand copies printed, you will go to the telephone, describe your interests, your needs, your problems, and they at once xerox with the help of computers from libraries all over the world, all the latest material for you personally, not as something to be put out on a bookshelf. They send you the package as a direct personal service. This is where we’re heading under electronic conditions. Products increasingly are becoming services.”
This passage is usually quoted as a prophecy of the Internet to come. However it is not a vision of the Internet, rather a vision of the book-as-service through federated publishing – an open network of book production platforms connecting people and books.
In contrast, proprietary publishing dominates the search for new distribution formats and economic models, reward systems for authors and others, and fuels an unwillingness to make content interoperable on a technical, legal, or social cultural level. It was this context McLuhan imagined we were escaping.
Through collaborative publishing projects, we have found that not only is federated publishing highly productive, exciting, and fun but there are also economies evolving around it – organisations and ‘crowds’ pay to have books produced this way, and they pay you to help them to do it.
And of course…Marko Peljhan…never there even when he is there. haha 🙂
