Re: the pop-up bookshop by Katalog (m)

â&#x20AC;&#x153;The Pop-up Digital Bookshopâ&#x20AC;?

this copy belongs to:

29 August 2012, version 1.0

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“The Pop-up Digital Bookshop”

if yo u ca n he lp

d th e tex t be low

be ca us e it’s

drivel

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19 August 2012. It is almost 1:30 am on a Thursday and I have assigned myself the task of writing 3,000 words by the end of tomorrow. Given my ‘jet-lag’ which I put in quotes because I over think and I am not sure if it is a word or not, I am beginning to understand the temptation for writers to drink heavily. It just occurred to me the task at hand and I would prefer to ‘settle into myself ’ with the help of some device of the liquid sort. I have never had a thought like this before but I feel desperate (a little bit) and also fear that I won’t be able to finish this writing in time for the end of August deadline. It feels immense. Really the project itself will be what it will be. ‘It will just become something’, I say… because the mind joins things together much like those black splotches of ink happen to form the image of the Dalmatian in every slide lecture on Gestalt Theory ever presented. Of course, those are well placed splotches of ink! This is what I have to think at least, in order to quell the panic. This is a ‘Master’s’ program and so therefore I should show some sort of mastery in a chosen subject, I suppose that would be on a small cluster of ideas around the changes from print to digital in the publishing industry. There is a quality to this small culture that I want to look at. Something that is interesting in it.

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contents moving foreward 5… to begin 8… The independent bookshop as an experimental cultural space 15… A bookshop called Motto in Berlin 16… XMarks the Bökship, a project space in Hackney 18… ‘Print It”: brunch, discussion, a pop-up bookshop in Sheffield 24… conclusion so far 29… The Progressive Publishing System 31… A mission restated 33… AN OPEN CALL 34… #whatidid 35… a conclusion 100… bibliography 102…

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image source: The New Yorker, July 19-16 2012.

moving foreword This paper marks a year’s worth of study in both the ‘social’ and ‘media’ part of a university master’s program in ‘creating social media’. It is conclusive in my intention to design a project that responds to the world as well as draw out a discussion about it based on the accumulated knowledge and experiences that form the study. Also, this is a document that marks what I have done in practical terms, and serves as part of a reflection in which I share some of the ideas and issues that the work brings to mind. It is also collection of questions and ponderings I have yet to investigate. It combines much of what I have learned this year regarding social theories, new ways to think about media and other projects which try to test the political, social, and cultural boundaries in digital space. When making something to be most effective in the world, I think it is

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important to understand the history and the contexts of the subject you are entering. For this paper, some of that belief is also reflected in the articulation of the author’s own perspectives and reflections, so that my own biases may also be unpacked. This is also written in a conversational style. I have presented things in an open and loose structure allowing the reader the possibility to also draw her or his own connections, ideas, and critique that could lead to inspiration later on. The process is on-going … For my project there is a description of the historical background and current social contexts of independent publishing and bookshop projects as a response to the social and economics conditions that the prevalence of the internet has influenced. I am interested in the potential for a community to develop and support itself by the use of new media. The social group I am responding to is connected through their activity and interest in independently producing and distributing books, outside of the large ‘publishing industry’. An interesting aspect about this group is the notion that the printed and bound book is a dying medium. Much reverence is given by some to the physical qualities of the book, as much if not even more then to the content of the book itself. I see the book as a changing medium, where there is potential in its digital version for new ways of distributing ideas and connecting people, outside of the large internet distributors such as Amazon or Apple. I hope to create a bridge between a community that supports the idea of ‘books’ as carrying knowledge and the efforts to bring it into the digital realm. This process of creating social media includes actively finding communities with which to work with and understanding ways in which they use media to maintain connections. The practical part of this investigation then responds and seeks to interact with this community, possibly even by helping them move towards stronger or more sustainable bonds. We can consider our habits on Twitter, Facebook or Pinterest as practices in socializing to various extents, but a community is still a different kind of formation. It is a complex social practice that calls for different, and nuanced constructs for membership and stainability.

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When you do a Google image search on the word ‘publish’ this is one of the very first image results brought back to you. From Wikipedia, this is a very beautiful and dramatic illustration of a printer working at an early Gutenburg Press. [web source accessed 22 August 2012. http://en.wikipedia.org/wiki/Publishing]

The way I, and millions of people ‘publish’ everyday, by pressing this button in WordPress. [web source accessed 22 August 2012. http://wordpress.com/]

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to begin Publishing in the most general sense is the ‘production and dissemination [of information to the public]’. (web source from Wikipedia 10 August 2012. http:// en.wikipedia.org/wiki/Publishing) With this definition, most of us could easily consider the ubiquitous internet and with it, the different abilities one has to create and share content whenever, to whomever, and from wherever they like. Still, this word publishing holds much meaning from the enterprise of traditional book publishing, which has always been a coordinated endeavor, at the mercy of technology and between those involved in the writing, editing, design, and distribution of content. It has the status of a major industry. The development of the printing press is seen as a major technological advancement in modern human history as it gave us the chance to record, reproduce and widely distribute information and thus also communicate faster over greater distances. This also helped to amplify our sense of culture, that is, the potential for knowledge and art to be shared; overriding previous constraints set by time and distance. An emancipation took place with the technological innovation of Gutenburg ‘s moveable type printing press. Before, books were painstakingly hand scribed by monks and news was delivered through word of mouth. The new innovation allowed bibles as well as scientific knowledge and politics to spread faster and wider across European borders. As early as 1600, printing in England was seen by the monarchy as a potential threat to the government. Censorship laws were put in place and taxes levied to control who the printers were and what was to be printed. (Kovarik, 29) The power in democratizing information was also well understood by English intellectual, inventor, printer and publisher, Benjamin Franklin who used his printing press to distribute newspapers and books while in colonial America. Through his press he became influential among his reading public. A pamphlet he printed, titled ‘Plain Truth’ led to the organization of a volunteer militia amongst the English colonials to fight against the French and Indians. Presses later became one of the most important tools for the colonials in their eventual

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struggle to gain independence from England. ‘The most powerful weapons in this struggle were the colonial newspapers’. (Kovarik, 34) Franklin was brilliant in exploiting the power of the press, and made very good use of producing newspapers to update colonies of new political ideas. The history of the individual press and the independence that this invention enabled is still reflected in the name of many newspapers today, such as the ‘Detroit Free Press,’ or the ‘Chattanooga Times Free Press’ (Ohio). Printing and distributing independently —outside of government or corporate jurisdiction— has since then been popularly thought of as an important way for citizens to check the power of ruling governments. In much more modern times, the ability to publish by the individual was greatly advanced by access to cheap materials such as paper, stamps, and staples for binding. All you really needed were scissors, glue, and an idea. Later desktop publishing and access to photocopy machines added to the creator’s toolset. Independent publishing was used as a strategy for spreading ideas to influence political change. The pre-revolutionary war Russian avant-garde produced books at a low cost with handmade stamps and staples. Their activity was called ‘samizdat’, or ‘self-publishers’. The significance of their name was in its opposition to ‘gosizdat’, which meant ‘state publishers’. Their interest was in circulating information outside of government control. (Spencer, 2005. Kindle Edition ) Many artists groups have also recognized it as an empowering means for cultural resistance, a statement against the too often elite world of art, and a means to directly engage with the public. The Dadaists, Situationists and Fluxus artists were all working with independent publications in this way. Zines are another name for publications with a small print run which are not made for profit but express a ‘minority’ or an obscure interest of the author. Often they are made with the use of photocopiers and include original and also borrowed text and images from other sources. Early zine making was started by fans of science fiction in the 1930s in the US who were interested in writing their own material and sharing it amongst each other and at trade shows. In the late 1940s, the Beat Generation in America also figured out ways to produce and

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distribute their own writings, which voiced a lifestyle and way of writing that rejected the increasingly conservative and mainstream values of the country within that period. In an interview with Steve Clay, who researched and wrote about the Beat writers and their self-publishing activities, he says, ‘One might even say that without the small presses and self-published magazines many of these writers would not have been published, would not have received early support to help their work develop and blossom.’ (Spencer, 2005. Kindle Edition )

Zines were also written by fans of a type of music or sub-culture, like punk publications in the 1970s in the UK, or a specified political point of view such as Feminist Riot grrrl fanzines in the early 1990s. Some zines like ‘The Duplex Planet’, by David Greenberger, which he started in 1979 (and still runs today), represented voices of the elderly living in a nursing home in upstate New York (web accessed 23 August 2012, http://www.duplexplanet.com) . Zines, while produced to satisfy personal interests of the authors, circulated and reinforced sub-cultures and alternative ideas based on zine making, music, art, a particular non-conformist life-style or political standpoints.

Zines at the OffMarket Collective squat in Hackney, London. (http://www.thesidewalksociety.com/?p=1178)

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The library at the OffMarket Collective squat in Hackney, London (http://www.thesidewalksociety.com/?p=1178) I am interested in this ‘do it yourself’ (D.I.Y.) culture of self-publishing, as a way individuals have been able to contribute to a more varied environment of independent media channels. Designer and writer, Julia Lupton speaks about D.I.Y. culture in relation to labor and in Marxist terms, which could explain the appeal of D.I.Y. as a practice. ‘Capital works by separating ownership from labor. The capitalist owns the means of production and distribution (the factory, the tools, the retail stores), while the worker does the producing (earning a wage instead of owning what he or she makes). When you design your own products and publications, you get to engage both creatively and critically with capital. You can embrace the productive possibilities of capital while finding places to fracture the corporate monopoly of style and short-circuit the widening divide between production and consumption.’ (Lupton, web accessed 26 August 2012)

Zines, fan-based publications, or politically driven ones were conceived and produced with the gumption of the individual rather than relying on a hierarchy of jobs, investment schemes and contracts. The approach is more direct and less filtered. As Spanish sociologist Manuel Castells has observed from his own experience as a young man, that previously those who have had political power

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also had control of the communication channels in the past. Now, the internet has been a major restructuring influence on the relationship between the way people organize themselves to oppose ruling parties. People are now more able to communicate with each other faster without relying on the control and restrictions of authority. He sees this as a major influence on recent political events such as the Arab Spring, the Occupy Movement and the 2011 revolution in Spain. (Castells, ‘Social Movements in the Age of the Internet’. [video] 2011. ) The space of the internet should be maintained as a communication channel for the public, as a pathway for diverse ideas and creative thinking. Peter Lunenfeld, in his book ‘The Secret War Between Downloading and Uploading’, views the internet is a space of social interrelations. He differentiates between two kinds of participants on the internet, passive ‘downloaders’ and active ‘uploaders’. The internet itself still remains to be a relatively free space, where images, music, and video can be accessed without a fee. Increasingly though, corporations and web services are beginning charge for the accessibility to the videos and music. Thus the writer encourages readers to be more active ‘uploaders’, to participate in the activity of open sharing, which is what he sees is vital to the survival of the internet as a social place. In the beginning of his book he summarizes his view of the way cultural power in the western world has changed hands since World War II; through generations, and has influenced the development of the computer and the current social politics of the internet. ‘The first generation, the Patriarchs, established these foundational memes in the early years after World War II. They were followed by the Plutocrats, who turned computing into a business during the 1950s and 1960s. In opposition to the profit-minded Plutocrats, the 1960s and 1970s brought us the Aquarians, who proposed the visual, personalized, networked computers. In the 1980s and 1990s, the Hustlers took this vision and turned it into a commodity, getting it on to desktops worldwide. The next generation, that of the Hosts, connected these machines together into a truly World Wide Web, and pushed participation to the next level. We are now living through the sixth generation, that of the Searchers. For this generation, the wealth of information produced by the braiding of simulation and participation is so great that merely finding our way through the morass has become a signature quality of our engagement with the culture

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machine.” (Lunenfeld xv)

This is a notable statement regarding the development of the distribution of media as a way to control culture. We are also talking here about the widening of these channels, that is the internet, which is often likened to a ‘super highway’ distributes more media in quantity and variety, and at greater speeds. There is then also the idea that media and information are being constantly present and available to us and our condition is now about refining our searches to also discover and refine our own interests. Media distributes content in specific ways, and these paths are not to be thought of as a neutral, impartial supports. Although at times our interactions with things such as TV, the car radio, a book, or downloading movies from the internet make us feel very ‘tuned out’ of the world, they effect our behaviors in how we engage in our social, political and sometimes economic relationships to the real world. In recent times, there have been efforts in publishing to translate the ‘book’ into the digital form and make it amenible to the economics of the digital environment. We now see very thin, portable screens such as Kindles, iPads and Nooks, made exclusively for reading digital books, being sold on-line, in bookstores and electronics shops. The lower cost of production and ease of distributing an e-book makes it seem like the printed book will soon become an artifact of the past. These compact devices serve the reader as the platform with which to read books, and store books (up to 1,500). The popularity of these readers and use of digital books has yet to be proven. It is not yet certain if and when it could ultimately replace printed book sales. Many who work in publishing see it as an industry in a crisis. The French government has even taken measures to protect it smaller bookshops and merchants. “We are in a time of exploration, trial and error, experimentation,” Bruno Racine, president of the French national library, wrote in his 2011 book, “Google and the New World.” (Sciolino, New York Times article, published June 20, 2012; web accessed 22 July 2012)

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In a New York Times article by Elaine Sciolino, she begins by comparing the fact that in the United States independent bookstores are going out of business, while in France they are doing fine. It seems to be a cultural difference as the French seem to appreciate the printed page, while in the US, digital booksales have increased five percent more than in France from 2003 to 2011. The article states that the French seem to revere their writers as artists more than for instance, Americans or Germans. Another fact that saves bookstores in France, is the government’s own intervention by price fixing, as they prohibit larger distributors like Amazon from offering lower prices to the same books. This prevents larger merchants from out pricing the smaller shops. E-books in France are now also undergoing the same kind of control, where publishers decide the price of e-books and any discounting is forbidden. The self-publishing industry is itself in a time of flux, and large publishers like Penguin books are also trying to keep up with changes in the industry. In an article published by the Guardian, they talk about self-publishing as now becoming a more common practice. ‘“Self-publishing has moved into the mainstream of our industry over the past three years,” said John Makinson, the chief executive of Penguin, who described the deal as vital to the future of the company. “This acquisition will allow Penguin to participate in perhaps the fastest-growing area of the publishing economy”.’ (Sweney, The Guardian article, published 19 July 2012; web accessed 22 July 2012)

The news article discusses Penguin’s acquisition of ASI (Author Solutions Inc.), a large company that specialised in ‘self-publishing services. Here, writers are also warned that they would have to give up rights to their work and possible profits in exchange for distribution deals from the major publisher. Currently, in a few cities at least (ex. London, Berlin, Vancouver), there seems to be a development of local initiatives through individuals, students, gallery spaces, and other non-corporate ventures to bring awareness to the printed book and to D.I.Y. publishing. A project called ‘the London Bookshop map’ that was launched in September 2011 at the London Independent Book Fair. Its aim was to make connections

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and support the community of independent bookshops, and other merchants that distribute independent publications by locating and distributing the map freely. On their website the mission statement read:

‘Independent bookshops fill the gaps in the high street, stocking thoughtful and idiosyncratic selections rather than market-driven choices of books. They sustain local interests and offer different ways for communities to participate in a range of cultural activities. They are crucial platforms for alternative publishing.’ (web accessed 26 August 2012, http://www.thelondonbookshopmap.org/)

I had come across this project by attending the book fair last year when I had first arrived in London. I was interested in seeing what this community might look like. It was set up at the White Chapel Gallery where smaller independent book vendors set out there wares. There were also organized presentations on various aspects of publishing, including one on digital publishing, which talked mostly about marketing and the iPad… The recent outcropping of new forms of independent bookstores are also becoming not only a retailer for cultural artifacts but also a propagator of them by inviting events and conversations in their spaces.

The independent bookshop as an experimental cultural space I am assuming at this point, that the chosen subject of this project is not something immediately found on a Google search, as for me at least, it has been discovered through persistent efforts, dilligent use of public transportation, and casual conversations with friends and other people to find out about events. It is the kind of culture that is not consummable in ‘one-go’; nor is it produced by branding, businesses or by a platform on-line. One of these encounters happened upon first arriving in Berlin, finding the bookstore Motto. I begin with this as it was my first experience with a new kind

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of shop that not only sells independent books and magazines by designers and artists, but also holds events, book fairs, and feels like a meeting point for a community of people. Since then, I have come across other independent publishing and distribution projects that to double as a public space for discourse. A researcher in library studies, Ksenia Cheinman, in her essay on bookshops as ‘uncommon common’ spaces, says, “According to Charlotte Hess and Elinor Ostrom, historically, in Europe, for example “‘commons’ were shared agricultural fields, grazing lands, and forests,”(4) while in the United States, “commons has most often referred to shared spaces that allow for free speech and the democratic process”(5). It is only in the mid-1990s that the concept of knowledge commons started infiltrating the interdisciplinary conversation, with libraries representing the knowledge commons par excellence. It seems that in its colloquial form, the Commons has taken on a more generic meaning of shared resources that may be used either collectively or in a participatory fashion. While varieties of Commons proliferate in both urban and academic contexts, the artistic and publishing arena has taken this concept further, creating new cultural ecologies at the intersection of commerce, culture, and community spaces.” 4 Charlotte Hess and Elinor Ostrom, eds., Understanding Knowledge as a Commons: From Theory to Practice (Cambridge: MIT Press, 2005), 12. http://site. ebrary.com/lib/ubc/Doc?id=10173555&ppg=27 5 Ibid., 13. [Cheinman, ‘Uncommon Commons’. web accessed, 2012]

Perhaps part of the design of these events in bookshops is a way of attracting attention to the store, and also to further promote books as a medium that produces, propagates and distributes cultural knowledge. Often the events are free and open to the public. Drinks, food, and some printed ephemera are also provided without charge.

A bookshop called Motto in Berlin A vertical back lit sign of white perspects with the word ‘MOTTO’ written in a

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bold, cobalt blue typeface, juts out in a perpendicular fashion from the building over the sidewalk. The bookshop is located on the ground floor of a central courtyard in this building located on the side of a busy street. When viewed from the courtyard, two large commercial windows frame the interior of the well lit space. One can see the shop inside is filled floor to ceiling with books. Two large tables that have been pushed together, stand in the center, and display a carefully selected collection of new releases and ‘favorited’ publications by the workers in the shop… I suppose it has been a common practice for a bookshop to host book launches and readings and Motto does much of the same. Unlike other bookshops, it is more specifically embedded in a Berlin’s local culture of artists, designers, curators and self-publishers than other bookstores in the city. They have also hosted to plays, touring performances and zine fairs in their space. The events, which happen regularly, keepi guests loyal and interested in going to the space and it is often a stop over for anyone in the arts when sightseeing in Berlin. Motto sells a few well selected small-print-run art magazines and journals, such as the White Review (London), Fillip (Vancouver, CA) and Quick Magazine (Berlin). There is an entire wall for zines, another for art publications, artists books and other small pressings. Accounting for their large inventory keeps them busy, as I had spoken to Alexander who runs Motto in Berlin about his stock. He expressed being overwhelmed as he pointed towards the density of books on the shelves, and said they were currently no longer able to take in more books for distribution from independent book makers, as their shelves were currently too full to manage. I participated at an event at Motto a few years ago, out of curiosity. I was at work in my office, at the time when I received a message in my e-mail box from Facebook. There was a call sent out from one of the Facebook groups I had belonged to, asking for volunteers to participate in a play to be staged at Motto in Berlin. I was living in Hamburg at the time, but travelling to Berlin quite often to see friends and get away for the weekend. I thought that this could give me an excuse to make that trip again, and also to participate in something that I was curious about. I volunteered myself and a ^lucky^ friend by replying to the e-mail. I was soon contacted by the artist involved in the project. On the day that I arrived, there were many people sitting in the courtyard, drinking and listening to music. In the store,

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guests also browsed the books in the shop. I was a part of one of three (or four?) ‘shifts’ of volunteers, about eight to ten of us in each group. We were herded into an empty room with three microphones on stands that were set up. On one side of the room was a large window and the people who were drinking and chatting outside could see us like display mannequins in a shop window. We were all given a copy of play manuscript by the artist, and elected a part to read… The afternoon of readings of the play ended with an ‘open mic’ event at 8 pm.

(pause) artist: Eva Weinmayr with Occasional Papers, hosted by Motto in Berlin, Germany. 4 September 2012. photo from Eva Weinmayr.

XMarks Bökship, a project space in Hackney, London Located in Hackney, in East London XMarks the Bökship is run by Eleanor Vonne Brown. The shop displays many publications produced locally by artists and designers, as well as a few screen printed posters that hang from the ceiling. I visited her shop and talked to her about XMarks being more than a retail space for small publications but also doubling as a project space and community gathering place. When I first went to XMarks the Bökship it was for an event on independent

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publishers and the web. They had started a digital project called, ‘eShelf ’ which catalogued digital independent publishing projects on the internet. I found this interesting and much like something I thought I had wanted to do at the time. (web source accessed 31 July 2012, http://bokship.wordpress.com/2012/05/16/ eshelf-friday-18-may-7pm/) (web source accessed 31 July 2012, http://www. eshelf.info/) This was the second event they had of this sort, unofficially titled ‘N-Z’, as on the eShelf website, as the digital projects were listed in alphabetical order. There was free beer, several benches and an old couch arranged in a facing circle in the small store. Two blank walls were used as projection screens. There were presentations by a few of the participants in the eShelf, as they described their publication projects and ways they utilized the internet. Some spoke of the way they used a blog space, in coordination with their project, to engage a larger community of readers, while others spoke about creating their publications that existed solely on line. Researcher Ksenia Cheinman, although she had never visited the space or contacted Eleanor writes about her similar observation about the shop: ‘Yet what is most unique about Bökship, positioning it at the crossroads of art and life, is the incorporation of communal eating as part of its regular programming. For instance, a Studio Cookbook Launch is accompanied by a lunch (11); moreover, Publisher lunches and brunches are a common occurrence at the space, including such homemade goodies as soups, quiche, swamp brownies, wine, and bread. In fact, judging from one of the events, “an evening of book presentations, readings, and soup, alongside a one night‐only exhibition and presentation by [a] poet” (12) seems to be a good description of the general Bökship activities, where guests may be strangers and strangers guests, exploring uncommon subject matter in a welcoming communal space.” ‘ 11 http://bokship.wordpress.com/2011/07/17/book‐launch‐lunch‐ studio‐cookbook‐by‐ken‐kirton‐saturday‐23‐july‐1pm‐ %E2%80%93‐6pm/ 12 Bökship’s Blog, “Evergreen / Friday 30th March 2012, 7pm – 9pm”, Archive, March 2012, http://bokship.wordpress.com/2012/03/ [Cheinman, ‘Uncommon Commons’. web accessed, 2012]

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Eleanor and I discussed her projects and the stainability of an experimental independent bookshop. She thinks of the bookshop as an extension of her interest in publishing, as she defines it as making information public. The bookshop also publishes by making things ‘more transparent, more accessible and connecting the book with its public.’ [interview with the author, 27 July 2012] She says publishing includes a whole process in terms of production, editing, content, distribution and dissemination. Each of these steps contain their own possibilities, and it is important then, to know each of these areas further. She also hosts workshops and services to teach others how to make books and learn in detail more about publishing. She says, ‘Do you want to know how to make this? This is what content is about and this is how to distribute a book.’ XMarks still maintains to be a shop, as she is also interested in the idea of the small business model. Eleanor expresses the fact that there is a careful balance between being a commercial space and being a community space that should be maintained. ‘If it feels too commercial, it looses the feeling of being a community space; if one enters and has to always pay to do things. There is a certain generosity, and feeling of community and friendliness in the space.’ So there is a commercial aspect to this in which books are sold, but also a social part to the store as a project, as beer and food are provided and the furniture is set up in a way to create a comfortable even intimate space for gathering, where people can share their projects, information and interests in publishing. Eleanor always had a fascination with books. With a Master’s degree in publishing, as an artist she feels that it is something that is useful to know about for her own practice. With her bookshop, she is interested in the idea of conventional and new practices in publishing and getting this to a broader public. As for the space itself, she ‘inherited ‘it while working at another small bookshop, Donlon books. After the store vacated, she received the opportunity to corent the commercial space. The location has a lot to do with the shop itself, as Eleanor has been a resident of East London for over fifteen years. She expressed knowing the community of artists in Hackney quite well, and describers herself as a ‘serial event goer and socialized in that way. There was a history and

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tradition - groups of artists, creative galleries, artists run project spaces - those people used their spaces in a similar way’. Still, she sees the shop as a ‘project’ more than a business with a long-term plan. She believes she is within a trend in self-publishing, and that interest in it will eventually fade or her own energy and money will run out. For this reason, she does not plan more than six months ahead. As a potential ‘phase two’ to the shop, her next idea is to tour XMarks/XArchive and make it a placeless, moveable project, perhaps a ‘reading room’. If she has to give up the space, for whatever reason, she hopes that one day someone else may run it, just as she had taken over the space from Donlon books.

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Images on previous page courtesy of the author, from the eShelf event, 18 May 2012. Hosted and organized by XMarks the Bökship, London, UK.

The Art Writing Guild, South London When I first moved to London in August 2011, my friend Amanda was so nice as to introduce me to Rebecca whom she had become friends with, as they were both Canadian, living in Berlin, and into knitting. Rebecca had since moved to London and was at Goldsmiths in the Art Writing program. I e-mailed her when I first arrived to see if she wanted to get a coffee. She was out of town at that time, but eventually we met. She had a project called the Art Writing Guild, in a space where she was offering an empty desk to rent. I went to look at it, but I could not afford it at the time. Later, she also invited me to a reading group at the ICA that she was attending with friends, which I particpated in. Later, I would invite her to my own reading group that I had organized. When embarking on this project, I thought of Rebecca again and staging something in between a formal interview and informal conversation with her about the Art Writing Guild, which, since I had met her last year, published a few books. I spoke to Rebecca LaMarre about her Art Writing Guild, which is located in a small studio space in South London. The AWG is dedicated to publishing critical texts within the art conversation. I asked her about the original impetus

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for the Guild. She said it was pragmatic, as there was no studio space in the art writing program at Goldsmiths, so her and a few other classmates founded the space. Later participation fell off, but Rebecca still remained interested in it, ‘Why not use it as an excuse to make a publication?’ She said that it evolved naturally, as there were people around who were interested in writing, others who knew how to design, and those who knew about ISBNs. The first book they did, was a photography book for Lorenzo Durantini, a curator in Milan. He said, ‘I am curating this exhibition and I also want a publication to go along with it. I want it to be more than just a catalogue…’ The Art Writing Guild allowed Rebecca to work on projects and have an excuse to distribute it. She saw that ‘having the name was really helpful.’ She explained that as a part of the ethos behind this project is that the design of the form of the book should become an integral part of it, ‘the format should be paperback… or why not do a box with sheets in it? The way the form creates the meaning of the publication should be considered.’ Rebecca, as the primary organizer of this project, sees The Guild as a framework to ‘get things done’. A space was important to have a place to go and have conversations and to bring people in. Rebecca answered the question on how she sees the Art Writing Guild in terms of sustainability. She raised important questions that I feel are in line with a lot of the considerations I am taking in this project and the research for it. “I want to talk to people that I find interesting and it is a testing ground for the longevity of an idea. How long term is this idea? Does this have impact? Is this something that others are interested in? Is it something that will cause a change in the world around me? In terms of sustainability, I like to think about writing as a tool box, you’re creating critical tools for others to use. It is definitely future oriented.”

I also asked her about the social aspect to her project, if she finds herself embedded within a kind of community, and how she responds to it. She felt that The Guild was delivering a space for Art Writing, as a continuation of what

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other independent bookshops/projects were also providing in terms of community. ‘The name “Art Writing” is problematic because no one knows what that is. It is the publications they sell at XMarks or at Motto, which is the intersection of art and philosophy, academics, rigorous writing, or research that needs a place to exist. It is writing that is interested in thinking very carefully, on things like aesthetics or questions about art.’ She sees independent publishing as a place for less censored critical writing and thinking, and a place for experiment. “It’s a thing that - so if you’re trained in literature and you want to write, you are aware of these limitations because of the field that you are working in. You invest and investigate those limits...” When referring to the Art Writing Guild, Rebecca states “It’s a place for collaborations and interdisciplinary forms of writings.” I also think of how this can refer to independent publishing as a whole.

‘Print It’: a brunch, a discussion and a pop-up bookshop in Sheffield, England I conducted another investigation into the social community involved in independent book publishing and sat in on a conversation organized by Site Gallery in Sheffield on the subject. I attended the first weekend event which was ‘sold out’–although it was a free talk, there was a pre-determined number of spots and you had to add yourself to the list via EventBrite. I could tell that a part of the chemistry of the event was due to the fact that many of the main speakers and other guests knew each other, at least professionally. They were from different parts of the country, some were based in Sheffield, others in Glasgow, Norfolk and London. I could also hear some American accents in the group. The age range varied, from the moderators who were still at University to an older gentleman who looked to be in his early 60s. There was a sense of a shared history that these people in particular were involved in. They knew of certain book projects and artists that I had never heard of. The exhibition itself was of the Coracle Books Archive, which has been publishing artists books for over twenty years. This history

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“The Pop-up Digital Bookshop”

felt like it was particularly relevant to these people who knew of the same artists and publications in the past and also knew of each other personally and professionally. There was a mix of generations and also new people who were approaching the guests later on and speaking to them about getting more information. Clearly there was a discrete and independent social group around art publishing in at least the UK. The exhibition, titled ‘Print It’, was planned as a three-part show which included a program of events dedicated to independent publishing. The first part of the exhibition gives space to works that were produced and distributed by Coracle Press from 1989 to 2012. The second part of the exhibition involved conversations mediated by Joanna Loveday and Charlotte A. Morgan who together formed COPY, the artist pair in residence during the four running weeks of the exhibition. The third component of the exhibition was a pop-up artist bookshop. Each weekend event was mediated by the two in COPY, which was to result at the end with the relatively spontaneous creation of a book which encapsulated together the other components of the exhibition as well as the recorded discussions generated from the free and public weekend ‘Saturday brunch’ conversations. COPY is interested in artists working with the written word and also how live performance and events could coincide with the publication. Their residency at the Gallery was going to span four weeks and within that space of time, there would be a themed discussion and brunch every weekend. Each conversation was going to be photographed, audio recorded and the notes that were also taken were all going to be brought together somehow into a publication at the end of their residency. For this conversation, there were invited guests; people that were currently involved in independent-publishing. Although they had each prepared a small presentation, the format still intended to be informal so guests, like myself, were also encouraged to openly interject and participate in the discussion. The moderators introduced the guests, who were: Chloe Brown, David Osbaldeston, Lynn Harris, and Simon Cutts and Erica Van Horn from Coracle.

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“The Pop-up Digital Bookshop”

Chloe went first. She was an early member of RGAP, an organization that was interested in ‘artists books as a means of connecting art ideas to the viewer... by making their work available to all at low costs.’ At least that’s my paraphrase of it. She read a quote from conceptual artist Sol LeWitt, one of the founders of Printed Matter in New York, a bookstore dedicated to the sale of artist’s publications. The quote went something like this: ‘…artists want their work to stay around for years, and be understood by many. Books accomplish this.’ She emphasizes, ‘So this is not about preciousness, this was the ethos and positioning.’ The next introduction was by Lynn Harris from AND publishing, which was as she stated, ‘dedicated to conceptual art publishing, and print-on-demand production.’ They were supported by Central St. Martins Art College in London. She described their name as originating from a quote by Deleuze; thinking of the word ‘and’ as a stutter and like this, she says the ‘book is not a full stop. There is a before, during and after…’ They discussed the book, ‘Business as Usual’, by an artist who created the work in 2008. He met members of Publication Studio who had an Espresso book machine and he was able to create a fully bound book instantly from a pdf on the memory stick that was in his pocket. This moment impressed the artist and influenced him to later publish ‘The Book on Books on Artist Books’. Aside from machines that made book publishing seem instantaneous, Lyn also mentioned other groups such as the Newspaper Club, that were providing print-on-

katalog projects

“The Pop-up Digital Bookshop”

demand (POD) kinds of production for publications as a service. She exclaimed, ‘It’s really exciting to see! Your book is made in front of you.’ Lyn also talked about producing different versions of a book –as a pdf, a limited edition silk screened, hand-bound version for 200 GBP, and a ‘mass produced’ printed copy for sale at 24 GBP. Simon Cutts from Coracle made a comment about one of the books being passed around in the audience. He used what sounded like his own term to describe the materials used, that is ‘office publishing’ with ‘terrible paper.’ He said that with this kind of standard, the ‘book will remain incidental’. He said this with a bit of urgency, and I felt, without understanding why, that this was an important matter. Simon later made the connection that the .pdf file format is perhaps the new ‘office publishing’, ‘because it’s the same language’… he observes.

The discussion also turned towards the issue of ‘preciousness’ and the essential motivations behind makers of artists books. One person mentioned that they were first, tied to craft and that this called for the reader to be more sensitive to it. A woman near him says, ‘there’s a lot of shit out there.’ A few people lightly chuckle at this comment. Lynn softens the harsh tone of the comment by elaborating, ‘It’s true —which means you have to be more engaged as a reader.’ The

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“The Pop-up Digital Bookshop”

concept of ‘preciousness’ in books was again raised. One older man in a blue blazer who had not yet spoken (I later found out that his name is David), talked about ‘care’ as a theme of interest in independent publishing practices. He went on to say that ‘preciousness’ was important as the intention is to ‘stop you’ in the normal rhythm of the day. “I still enjoy the conversation with the postman, it’s so much more exciting then what happens online…” The next guest was also named David (Osbaldeston). He introduced himself and passed around two publications. He explained that he wanted to discuss ‘tautology’. He went on to speak about how he sees self-publishing as fundamentally, a form of romanticism, as it is a space where an artist can engage with an imaginary audience but at the same time be completely out of control of that engagement. He then talked about ‘presentation’ and ‘representation.’ As books are first one of representation; to communicate, disseminate and democratize information and second, a product and alternative platform for artistic expression. He says that books are also another form of art marketing and with that can come a ‘loss and displacement’ of artistic representation for presentation. Another guy in the group reminisces, ‘…printed media formed me, my learning and understanding.’ David, the speaker passed around two zines, that looked like simple photocopies on white legal sized paper folded in half. One was called ‘The Pen’ and the other called ‘The Stellar’. The first was about artists books as a product of art as a business, it was a lithographic print on nice paper made to look like a photocopy. The second zine was a pure photocopy, and he explained, it was closer to what we understood a fanzine to look like… Both publications were out to emulate in their style the speed of the photocopy and the visual energy of this process. The guy in the brown tweed commented, ‘We are all in this romantic condition. The art world needs it, the possibility of self-publishing. It is also how we experience art.’ He mentions a publication from 1972 called ‘The Dreamer’ which

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came out in two issues, and that he says encapsulates all conceptual art was thinking regarding the book. One blurts, ‘We tend to smell books a lot; digital books don’t have smell’. And another comments: ‘What should I look at tonight? It doesn’t matter it’s on my iPad’. One of the young moderators, pointed to the handout they had for the event. She showed how the printed and designed paper also doubled as a digital pdf, in which the design catered to both forms of publication systems. The webaddresses on the flyer were underlined, much like active links look when on a web page and the A4 sized paper when folded in half looked like a well designed pamphlet. David in the blue jacket, notes that some books do make it to the national collection. As he points out that the Victoria & Albert and Tate museums in London both have artists books in their archives, but usually this is ephemera from an already canonized artist in their collection. After the group made some more comments such as ephemera being as fragile as a ‘butterfly’s wing’ and that the preciousness made it necessary to be kept in a museum archive, there was further discussion on the motives behind book publishing. They talked about ‘vanity publishing’, and said that many book publishing services being advertised out there were catering to this market, and that it only mimicked poorly all the processes and services involved in producing a book. ‘It was also the look of high-tech’, one had commented.

conclusion so far One can see the nostalgic fascination some have attached to the artifact of the book; its smell, the texture and quality of the paper, even an interest in its binding. No one can yet speak (or rather those children are now just learning how to talk!) of growing up with digital readers in the same way we recall our earliest memories of holding our favorite books. We can speak about the great things

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we feel books do, but we have never had anything else to compare it to before. Clearly, independent bookmakers are fascinated with the physical aspect of it, and the connection of its design to further represent the content of the book. This adds to the reader’s connection to the book (to books), as they can also appreciate the ‘art’ or the ‘craftsmanship’ of its form. While I can understand and appreciate the attraction these members have to the whole ‘idea’ of the book as it now stands, I am also interested in its future and the definition of what a ‘book’ is now or what it can be when compared to other forms of writing on blogs, or posting tweets. Also, to go beyond the printed, bound and covered object raises the question: What is its potential now when it exists as a pdf or ePub? Or when printed out from your printer or when read on your Kindle? Media historian and theorist, Harold A. Innis, with his book ‘The Bias of Communication’ (first published in 1951), considered the role of communication technologies and its effect on social change and politics in both ancient and modern societies. He distinguished two features of media in that it served to carry knowledge across ‘time’ and ‘space’; or in his terms, ‘time-binding’ and ‘space-binding’. Without fully discussing Innis’s theory in detail or engaging in a critique of it, his distinction in terms is still useful when thinking of the function of printed books in their physical relationship to the transmission of knowledge and culture in comparison to digital books, which exist within the vast expanse of the textual, immediately publishable, digital environment of the internet, i.e. blogs, Twitter, Facebook, Instagram, Pinterest and Posterous. As Innis had noted, printed books, in their ability to pass knowledge over generations of people within a culture, are seeing the book as predominantly a ‘time-binding’ media. Books are seen as an object that carries information over temporal boundaries. In one way this idea needs to have a rethink, in our digital age, as printed books as carriers of knowledge and culture; even digital ‘books’ can no longer really compete with the speed at which culture changes. It seems as though ‘catching’ cultural knowledge in the space between a back and front cover will be an on-going chase, and even too fast for print-on-demand production strategies. The digital affords a way to publish and distribute faster, and it will be the army of eyes and readers out there that decide what stays on the

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front shelves of our infinite archive and what does not. Digital books and their ephemeral quality also challenge our assumptions of knowledge that for a long time was seen as officially validated and archived when affixed to the page. We are beginning to see the formulation of knowledge and culture as a social process and less like something bound in and upheld by a select few. Perhaps it is worth then following the idea of the book as it tries to change with technology. I’ve never been a fan of the ‘us and them’ mentality so I propose to create a bridge between the independent publishers who admire the printed book, and — while still embracing the traditional idea of it as a medium for distributing kinds of knowledge and contributing to the cross-pollinations of culture and social change — to consider the book in its digital form, and the opportunity for distributing through new channels to readers, giving them access to alternative sources for content from less censored filtering structures. As Rebecca LaMarre had noted when I had spoken to her, she found that there ‘really were not that many distribution opportunities out there’. Amazon is the largest, and most well-known, allowing users to create their own ‘seller bookshops’. For many independent publishers, this channel is too vast and does not feel as sympathetic to their own ideals of a smaller less corporate place for their work.

The Progressive Publishing System The inception of this project starts with my placement at Mute magazine, a small independent magazine dedicated to politics, art and culture. One of my main responsibilities was to do work around what was at the time called the Progressive Publishing System. What we were in the midst of preparing, when I came into the job, was a presentation to the London Technology Board, to ask for a grant to continue the project. An aspect of what interested me in the PPS, was the conscious effort to create a piece of software that interjected itself into the political aspects of the production culture, while also seeing itself as a part of the cultural stream. Inspired by the potential for the PPS, its real functionality still needed to be

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tested by users, beta testers. I thought about ways in which we could approach and interview participants, publishers in the industry, as well as independent producers and hobbyists. How could we get a range of users and also get their opinions on it? I thought of people I knew that I could ask to use the PPS. I decided to approach Nick who was at the time editing the next issue of the journal Nyx, and also my friend Alan, an independent writer who was coming out with his first Novella shortly, who may know of other people we could approach. Through this mission I came to the idea of starting this pop-up digital bookstore. Part of the initial intention was to also test the Progressive Publishing System, of which, by the way, later came to be named ‘The Washing Machine’. For practical purposes in this text, I will just refer to it using to the old name. The Progressive Publishing System does not envision a future but interjects itself into ‘now’; working against what is seen as a boundary within the digital ‘line of production’ for books. Here is where things can become ‘open’ again. The PPS intends to effect independent writers or professional publishers by making the use of their software free. They believe they are offering a better file conversion system for books in digital formats such as .docx or .pdf, to e-reader formats such as .mobi or ePub. They propose that they are offering an improvement and an update to the digital publisher’s workflow in the claim that their freely providing a system that also converts Google doc files, which is not currently available yet by other on-line services. The significance in the ability to convert Google docs is also interesting in that the use of Google docs is one way in which people do collaborate and share writing over the internet, thus enabling a smoother work-flow to the new ways in which people work together remotely, to publish work to e-readers. Additionally the intention with the bookshop is to create not only a way for independent writers and artists to access readers on these e-book reading devices, but to investigate and possibly reflect the social aspects of what seems to be a new out-cropping of practices by new independent bookstores. The ‘pop-up shop’ has also been a bit of a trend that I have noticed, mostly with retail shops. I suppose it is a marketing gimmick to create excitement and rarity around a product or brand. It also makes the retail space feel more like an ‘event’ then a static spot. I see the desire to create an ‘event’ common in the book-

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shops I had visited. This temporal aspect also contrasts with the feeling of the internet and websites being ‘ever-present’, this aspect is the definition of ‘web surfing’: as a process of reading by paying minimal attention, not comprehending information deeply, skimming the surface, and moving on to the another web page. I have perhaps dozens, if not hundreds of web pages I have saved, ie. bookmarked, and never returned to. Digital files are also infinitely downloadable, as they take up little-to-no physical space or effort to ‘copy’ or ‘reproduce’. One of the ideas is then to distribute some of these publications for a discrete amount of time, to play against this idea of the ‘ever present’ internet, and to also encompass a feeling of the site being an ‘event’, that something discrete is happening, apart from the infinte flow.

A mission statement restated A successful project to me is one that gathers interest from an audience and encourages others to participate in it, thus creating a new kind of social exchange. The idea of the digital bookshop intends to do this by 1) Defining new practices of independent bookshops as a kind of cultural production. 2) Observing this as a reaction to social conditions that have been influence by the presence and use of the internet. 3) Responding to new digital practices in independent publishing. 4) Acting socially by creating and establishing conversations with various practitioners. This can help with understanding how to be more effective in this social atmosphere. 5) Create a presence into this social crowd by hosting or organizing events to further support the culture or scene as itself.

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6) Provide information by producing a manual or resource guide. The idea behind this is to share, inspire, and even teach others about independent publishing and to help further along ideas related to what could be possible in the future in self-publishing. Most of the discussion on the internet and what impresses us about it, is the collection of large numbers, or the use of the internet to gather, distribute and organize information and people on massive scales. What I am talking about is not operating in these numbers, but wonders more about how a specific audiences can be found and supported. The following text titled an ‘Open Call’ was distributed at the start of the project, to a private e-mail list, as an announcement to potential participants.

AN OPEN CALL Digitisation, the Internet and mobile “smart” devices have all had a liberating effect on how we engage with the culture of our time; liberating and, in addition, also somewhat deadening. Such technologies - and they way in which they encourage us to ever more quickly process, create and respond to culture - have reduced the opportunities for independent, somewhat unknown spaces to open up in the digital arena and communicate innovative writing to the users of digital devices. Whatever issues one might have with digital devices, however, one cannot simply ignore their presence nor the opportunities they present for new and interesting writing. The Katalog digital pop-up bookstore is an experiment concerned not with ignoring the digital, therefore, but rather with liberating these digital devices from the mainstream and opening them up to a variety of independent, experimental media, adapted for their form. Katalog wants to germinate and repopulate the variety of digital devices that people use with something more engaging and experimental than whatever is provided only on the Amazon of the day.

katalog projects

“The Pop-up Digital Bookshop”

Katalog is not however, turning its back on printed matter and the book; for Katalog, the debate over digital or paper is not either/or, but rather an ongoing process that makes the most of what both have to offer. In addition, Katalog wants to engage with the often forgotten oral potential of the written word, and the events, actions and happenings that stem from or result in such writing. Katalog therefore plans to stage readings and events relating to the texts made available on the digital bookstore, and also to issue certain texts in beautiful, innovative and experimental small run prints, using the full variety of printing methods, papers and materials available. Texts made available from Katalog for digital viewing will be priced in accordance with the wishes of the author, from a price of zero and up to a maximum price of 1 pound/euro. Katalog will also consult with the author in relation to what percentage of the price they want to keep and what percentage they wish to return to Katalog. All proceeds from sales returning to Katalog will be used only for the maintenance of the site or the printing of texts. Katalog is not-for-profit, but is all about paying the author (if they so wish) and being able to keep the practice going. Katalog will also discuss with the author as to how they want the rights concerning their text respected; Katalog will not impose a “rights management” regime but will respect the wishes of the author. The pop-up element of Katalog relates to the planned “limited” availability of many of the texts. Katalog is concerned with surprising and stimulating. Katalog wants a continual yet uncertain engagement with both the site and the physical book object, as and when they appear. This explains the limited temporal nature of the texts on Katalog.

#whatidid Actually the first thing I did when starting this project, was write the first version of the very document you have been reading for the last thirty-three pages…

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“The Pop-up Digital Bookshop” | #whatidid

My first goal was to write as much as I could and in doing so, also brainstorm about the possibilities and edges of my project. I also started using twitter to track my progress and pace myself. I will be using excerpts from those tweets in this section of the document. Using tweetdownload.net I downloaded my tweets here for you and I’ll add them in periodically. This was the first tweet:

18/07/2012 00:30 Notes to self made public. An experiment (or attempt) in making work productive and fast... 18/07/2012 00:30 The place of my new ‘to do’ and ‘done’ lists.. 18/07/2012 00:38 #currently a lot of loose ideas some of which have to take a form, and certainly, a lot of writing ahead. 18/07/2012 00:38 #goal 1000 words per day over the next 10 days. 18/07/2012 02:48 it’s almost 4 a.m and I’m up with tech support in the US.. At this point I made an attempt to set up an initial page for the site. I had some problems once I bought a domain name www.katalog-bookshop.com and bought the hosting service.

18/07/2012 10:54 11:53am #workday number 2 begins. 19/07/2012 00:05 Tuesdays ended w/ technical difficulties with my website. #smallprogress 19/07/2012 00:06 tomorrow 3,000 words. and some technical things again. 19/07/2012 00:06 wed ended w a more final name of store, interview next wk with Eleanor, start of a logo, a draft of the web-

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

site and a plan with Alan. Something I had initially thought to do, was to understand what the possibilities were in this social community itself. I did this by realizing who my own personal connections or local connections might be regarding this subject. I wrote down a list of people, shops, friends or even websites of projects that were based elsewhere and saw these groups and individuals as potential contacts, resources or part of my network. Eleanor was a woman who owned a bookshop close to my apartment, in East London that also staged events and engaged in publishing and digital projects as well. Alan was a friend who was also interested in the same thing and was willing to donate a piece of work to the first inception of the digital bookshop. I thought that I would arrange a series of conversations with Alan, Eleanor and also Rebecca, a girl I had been introduced to when I first moved to London. I knew that she had something called the Art Writing Guild that she had started while studying art writing at Goldsmiths. I contacted all of them and arranged to have recorded conversations with them. I was able to get drinks with Alan first since he lived about two minutes walking distance away from me. I showed him a sketch of what I wanted to do to. Initially, he was going to be an editor or ‘curator’ for the project, sourcing artists and writers in London and Berlin. I believe he may still be doing this in the future. At first I came up with some logo sketches and also a drawing of the site, just something visual to look at for conversation.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

CUNNINGHAM & JAREUNPOON

POP-UP DIGITAL BOOKSHOP

ON PO

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N EU PO R

CUNNI

& JA

J M & A RE

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NGH NI

M A

CU N ON

POP-UP DIGITAL BOOKSHOP

KSHOP

ITAL BOO POP-UP DIG

NGH NI

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CU N ON

Pictured above were some ideas for the logo.

& JA

x N EU PO R

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Here was the first mock up of the site.

19/07/2012 11:43 up with the new website.. finally.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

At first I tried what I thought to be the ‘simplest’ solution, or at least what I was familiar with and could immediately attempt to implement. I also worked on the writing simultaneously and was able to write a draft to an ‘open call’ for work to try to get some submissions for the site.

20/07/2012 13:06 in the end it seems to me that it’s just the words that count. So far I have 1,200.. Just 3,000 more to go for today. 20/07/2012 13:36 1,411 words of draft one still 2,600 more to go. 20/07/2012 14:39 Maths: 1,859 words. 2,251 to go. 20/07/2012 15:38 2,649.. 1,461 to go 20/07/2012 18:03 3,800.. 22/07/2012 11:20 to do by the end of Monday - 7,000 words 22/07/2012 11:21 so far only 4,300 Eventually through conversation and a bit of writing I was able to flush out some kind of mission statement right away, a kind of public introduction and notice. It was also a call for writers and other participants. Alan sent it out to his e-mail list using an e-mail I had set up for the site and the bookshop. I decided not to make this too big of a deal yet, as I already had a few documents I was going to try to convert into an e-reader format and couldn’t handle more work.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Besides I was still at the testing phase and didn’t need commitment from many others yet.

http://www.katalog-bookshop.com/opencall/ Above is the open call and mission statement of the Katalog-bookshop.com. Which was sent out to writers in an e-mail from hello@katalog-bookshop.com.

22/07/2012 11:21 To do next week: finish digitized issue of Nyx, Vessel pub finish.. And possibly also start David’s..? Along with having to learn how to do as simple or as basic a website as possible, I also had to learn about digital readers and ePub files. I started sourcing out already existing small publications that I could work with. I had talked to Nick who is/was the current editor at Nyx, and their seventh issue, Machines, and

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

how I could use it to learn to convert publications, that were designed for print to ePub or digital book specifications. The group working on Nyx were happy to be part of my project and also to get their issue into a new potential audience. I had set out to also convert the issue of Nyx.

22/07/2012 11:22 Also to do, wireframe, ‘beta test’ the PPS and contact Simon.. By Monday/Tuesdays... At first my idea was to also to get some advice from Simon, and initiate a kind of possible conversation about file conversion software by creating a wireframe for the PPS (progressive publishing system), one that would change and reflect our dialogue.

22/07/2012 11:22 Thursday interview w/ Eleanor, catch up w/ Alan by the end of the week? #todo Along with contacting Simon, I thought it was important to also gather real sources, of practitioners or members of this community that my project was responding to. This included Eleanor and Alan. I wanted to arrange meetings with them, casual conversations and record them.

22/07/2012 11:24 #todo Sunday, 6,000 words.. 1,700 to go. 22/07/2012 11:34 #done 4,642 #todo 2,468 22/07/2012 13:10 #done 769 + 4642 = 5411, #todo 589 22/07/2012 13:57 #done 4968 + 793 = 5761 #todo 239 22/07/2012 14:23 Sunday #done close enough to 6,000 words. I wrote a lot, sitting in trains and writing on my laptop while in transit. I typed away while at social functions and when waiting to meet friends.

23/07/2012 12:00 #done no more word counts. I have enough for now. Currently doing research on the PPS system.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

I wrote the following just thinking about the way I was approaching this project so far… I begin, To note: this will be written as a script, a narrative, as I have no other way to approach this analysis of the PPS system that isn’t completely dry and mundane, and would bore to tears, until I become a small puddle on the floor. And why not write this as a script? One day this software will enter into someone’s life-drama, and we need to think this through for all its hidden cues. I begin (again). I am accompanied by a few things, aside by a burning urge to do anything but the incredibly boring thing I am about to do, I am propelled forward because I need to learn how to use this software. My attitude might not be entirely my own fault, as I have used this software once before, and so I am aware of how confusing and mundane this revisit could potentially be. One can note at this point, that this software isn’t the new version of ‘Angry Birds’ or something fun or entertaining like that. This software signifies something to do with ‘work’, something I am fairly good at avoiding. (Hence this text, which I hope will keep me on track!)

25/07/2012 08:53 #work right now researching.. 25/07/2012 16:48 #workinprogress current time crunch has me working out the technical stuff, researching and doing the “final” presentation - simultaneously. I tried to outline what I was doing from the very beginning… and I had conceived of this document eventually being re-arranged to become a kind of instruction manual to try to teach others how to produce their own digital book for distribution on e-reading devices. A very dry and wit-less, if that’s a word, text on what I am about to do, that is teach myself the technical specifics of starting an e-bookshop. Unless a lack of time gets in the way, I hope that this document will become an instruction manual to help others with their own publishing projects. act 1: it’s at first obvious… Look it up. Yes, use Google. I Googled something to the effect of ‘e-readers,

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

file formats, conversion, pdf conversion’. I clicked one or three or several of the links that showed up at the top of my search, the ones which seemed the most relevant. act 2: take note of a few new things you’ve learned. I learned about a e-book file management system that is free and open source. You can download it immediately, it’s called Calibre. One or two of the sites I clicked on recommended this. One key element is that it comes with a file conversion system built into it. While downloading Calibre, I saw the immense list of e-book device makers, I count about fifteen… And many of these have their own special file formats. Is this to protect or ensure that you buy more of their products!?

The assumption here so far is that you have a e-book devices and, also a main computer where you can organize and store (additionally) your books. The e-book device also seems to function as a storage device, as many of them can store thousands of books I believe. Of course I have to check this fact. Within that same search I found a tutorial from this website: [web source accessed Wednesday 25 July 2012] http://www.howtogeek.com/69481/how-to-convert-pdf-files-for-easyebook-reading/

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

‘How to Convert PDF Files for Easy E-book Reading’ This site claims that while most e-book readers annoyingly support different file formats, they all, natively convert pdfs. The problem herein may lie in the fact that not all pdfs are formatted (i.e. text size, margin width etc.) to convert and look legible on all the devices, especially with screen sizes that are smaller than A4 or letter size - which is often the size that pdfs are formatted to for easy viewing on a standard size, printed page. I want to use the PPS (progressive publishing system) because I am interested in the opportunity to convert pdf files for digital e-readers. To begin, I perform a Google search of “progressive publishing system” and the first page of the results yield me the following websites: https://mute-www.lshift.net/nuxeo/login.jsp http://www.metamute.org/services/r-d/progressive-publishing-system

Above: the progressive publishing system website log in page.

As an ‘independent’ and non-technical publisher, I read this website and I learned two things, one that I have to mind the data and differentiate it from the metadata of my file, and that the PPS seeks to facilitate the flows between the ‘publisher’s workflow, distributor’s sales services and platform conversion...’ Still I find this jargon technical, dry and unimpressive, and I still do not understand what I have to do just to get the file converted. Nothing is better than

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

feeling like I can envision the steps I need to take to get my desired end result. I have learned something but nothing useful. I would prefer a first description to be like so: Dear Independent Publisher, you have probably found yourself on this page because you are interested in the world of publishing and are excited by the chance to show and distribute your work to a larger audience of readers. Through the PPS system, you will be able to convert your digital files which are in formats such as .doc, CMS files or InDesign files, to a format that can be read with e-readers such as e-book, tablet or mobile devices… I also found this slideshare: http://www.slideshare.net/metamute/progressive-publishing-system Which was more informative than that first chart. This is helpful: ‘PPS converts, publishes, remixes, manages, and administers remuneration for written content on multiple electronic platforms and mobile devices (POD, e-books, iPhone and mobiles, Apps and iPad/tablets).’ This managing and administration part is new to me, but also very good as it may help me understand what I can do once my file has been converted. Technically, I am still confused as to what this system does exactly and how I should prepare my files in terms of page numbers, cover, back cover and the table of contents. The Process in the Slideshare states: ‘The Publisher: Makes content comply with PPS’s XML standard. Organizes (free and paid) content on an articleby-article basis. IDs articles accordingly.’ I should ask Simon about what readers is best for me to currently test this on, and which kind of file currently converts most cleanly to that file type. Also I should ask about covers, index, pagination, retaining pagination and other special pages.. Here is another website: http://www.openmute.org/projects/pps ‘PPS will look to format content into an XML-structured document, with an XML rule set for the content to adhere to and then CSS-styled outputs.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Secondly, it will provide the XML metadata crucial to a systematic integration into other sales/distribution systems. PPS is designed to function as providing a ‘stepping stone’ service facilitating access to other content conversion services (Smashwords, Lulu, Le-tex), together with the panoply of sales/distribution platforms existent on the Net.’ and this: https://mute-www.lshift.net/nuxeo/login.jsp A new idea would be to workshop this software to others at Eleanor’s bookshop!

Based on this idea, I bring this up in my conversation with Eleanor and she loves the proposal and agrees to it. Unfortunately her shop is closed for the summer to re-open in September… e-book file computability chart: http://portables.about.com/b/2009/10/10/the-ebook-file-compatibilitychart.htm

23/07/2012 12:57 sent e-mail to Simon, proposed idea of PPS workshop (also for Eleanor).. now.. break. and then continue with Vessel.. tomorrow cont.. On Jul 23, 2012, at 1:24 PM, J wrote: Hi Simon! I hope this e-mail finds you well. Are you working mostly out of London or Berlin? I think you’re in Berlin right now... For my final Thesis, I finally decided to go through with this digital bookstore idea, which is intended to distribute the work of independent writers and artists in file formats downloadable for Kindle, iPad, other e-readers etc.. I looked up the PPS online to see if there were any updates or additional information on the system/service, as I wanted to start using it - and also be a kind of beta tester for the software. I’m adding my analysis of it to my final project as well. For my first conversion, I have the latest copy of Nyx | Machines on my computer as an InDesign file. For starters, I was wondering what you recommend - as a file type to begin the conversion and also, I may have to get a Kindle or other digital reader device to test it? Also, the journal I am going to convert has page numbers.. How do I retain the same page numbering

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

and connect these page numbers to the table of contents? Are the front and back covers treated in a specific way that I should know about? Thanks for your help on all of this! I’m also going to keep close documentation on my use of this as a guide for other independent publishers/artists etc.. Best, J Am 23.07.12 14:52, schrieb J: one more thing.. I was thinking that once I can figure out/master the current version of the PPS, I could organize a workshop about it at a local bookstore? let me know what you think... best, J

23/07/2012 13:06 #done Say, if I were to do a word count manual includes 5,000 words, and additional sections are 1500 words, In total 6500.. 23/07/2012 13:07 therefore #todo just 500 words from today’s goal of 1000 words per day. 23/07/2012 13:08 #todo write Rebecca, write Eleanor, design Vessel, edit Vessel 24/07/2012 09:44 #done two hours of admin.. I don’t even know if that was personal admin or for work.. #blendingtogether 24/07/2012 09:45 #meetingsthisweek e-mailed Eleanor about Thurs/Fri, E-mailed Simon about this week and also David. 24/07/2012 10:02 writing is going well! I wrote 6,500 and I only have 2,500 more to write until end of August.. now stuck on technical... @MartynRichard 24/07/2012 12:55 #todo Vessel: edit, finish graphics, Site: work on.., and technical specifics.. I had not thought of this before, but my research into file conversion has me thinking about file formats and the openness and closedness of various ones, such as the pdf, which is only readable by Adobe software, or the .mobi format

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

which is Kindle’s own format, and the new standard ePub, which is open source. I lean towards the ePub format, and consider a future discussion on the importance in being aware of this file format ‘politics.’ More regarding formats: ‘In the rest of this article I will focus on (1) the Kindle which supports the Mobipocket format, aka MOBI, and (2) the Sony Reader line (the PRS machines like the PRS-600), which supports the ePub format. Conversely, the Kindle does not support the ePub format, and the Sony line does not support the Mobipocket format. The Nook, the new reader from Barnes and Noble, can read ePub, the same format as the Sony although there are now some catches with DRMed books.’ [web source accessed 25 July 2012 Wednesday] http://www.teleread.com/drm/the-abcs-of-format-conversion-for-thekindle-sony-and-nook-plus-some-calibre-tips/ Therefore gathering from the above information, I could also get the Kindle and the Sony device, covering two incompatible devices. According to this same website, there are many formats, for two main reasons. One is due to advancements in technology and another is due to companies wanting to ‘lock in’ their business by offering licenses the ability to also implement compatibility to their devices and to avoid having to purchase rights usage from their competitors, and to stay independent from other businesses. Apparently the ePub format is the standard for the industry. This variety in formats is much like the developments of video formats, like Beta, VHS and Blue Ray… Also to do: I can create a chart here and also compare all the readers. I also found this site about converting InDesign files to formats for e-readers but in the end the instructions said that it was best to convert the InDesign file to a pdf format first. https://www.createspace.com/en/community/thread/21696

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Through reading the comments on the forum I had to look up one term that I did not recognise: ‘sigil’. I also found this, the International Digital Publishing Forum: http://idpf.org/

I downloaded the Sigil ‘WYSIWYG; book editor for ePub documents as well.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

and this website: http://www.obooko.com/writers9.html

This is a site that supports free e-books for downloading for everyone. I should start an account here as well. ePub is standard for e-readers and ....mobi is the format for Kindle. On their site on the about page, they it states the following: ‘By offering free copies of work, under Standard Copyright or Creative Commons licences, authors can benefit from valuable feedback from obooko members. This can be used to improve work before it is listed for sale on retail sites or sent to publishers for consideration. In many cases this negates the need for extensive professional editing. “Our primary e-book file type is PDF because this is the most versatile format and one of the most efficient ways of distributing books. PDF (Portable Document Format) is the same format used for commercial printing so it’s the closest you’ll get to a ‘real’ book; the visual integrity of the document cover and layout being retained. However, pdfs don’t work too well with handheld e-reading devices; with this in mind we are gradually introducing ePub and ...mobi (Kindle) formats. Printing free e-books for personal use is encouraged. By printing and binding e-books at home, our members can enjoy the benefits of viewing tan-

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

gible pages and cover art. What’s more, it gives schools, colleges and hospitals in underdeveloped countries the option to print a few copies of books, which under normal circumstances, they would never be able to access or afford. How do we stay free? The site is hosted on servers in England and is independently owned and operated. obooko does not receive sponsorship, nor do we ask for donations. Maintenance costs are supplemented by display and text advertising.’” -------I downloaded Sigil and read the overview.

I also went over a tutorial on creating an ePub [internet source accessed Wednesday 25 July 2012] http://web.sigil.googlecode.com/git/files/OEBPS/Text/tutorial_create_epub.xhtml The first step was to convert my file to HTML. My file that I am using is an InDesign file, so I had to export it first to a PDF. But first, after reading that converting a file from a PDF renders it rather poorly, I found on Adobe’s website instruction on how to export an .indd file into an .html file. Then I went into InDesign and saw that there was an Export > to ePub in my software. I looked at the options in the export dialogue boxes and saw that one option was to export TOC (Table of Contents) data in InDesign. I real-

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

ized then that this may also be a key to making my life a while lot easier…

24/07/2012 13:33 @MartynRichard yes! I’m afraid some things were moved to the “ #todo tonight” list! 25/07/2012 08:52 #done Vessel cover and title, and lots of progress on the layout as well. emails sent to Simon, Eleanor and David. Meeting w/ V on future.. Wednesday 25 July 2012 The amazing weather outside did stall me a bit yesterday in my work progress. I did though send an e-mail to Simon asking some specifics about the gaps still in the PPS system. I guess for now I will make due. While I wait for him I will start a record of what I discover thus far.

25/07/2012 08:53 #todo that boring technical stuff and documentation of the process. Learning to program my first e-book. I then looked for some tutorials on the internet on how to use the interactive TOC (table of contents) functions in InDesign (this would be the way a navigation bar would work on a web page). I realized that this might be the way to easily convert chapter headings on the contents page to the right section of the book automatically when ‘flipping’ through a digital book. I found these sources to help me. One was the Adobe website, “InDesign help: Exporting to HTML” [web source accessed on Wednesday 25 July 2012] http://helpx.adobe.com/InDesign/using/export-content-html-cs5-5. html

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

An another was this video on YouTube, which provided step-by-step instructions on how to do it. ‘How to create an e-book table of contents | lynda.com tutorial’ internet source accessed Wednesday 25 July 2012. http://www.youtube.com/watch?v=uYfC8tvCtzQ

After going over the video and reading, I mapped out the learning path that I thought I would have to take. I wrote my understanding of it step by step… including questions that I still had about this technical process. My learning path will go like this… or rather, here is the rough idea I have so far on what I have to do… --> learn how to do TOC in InDesign export InDesign file as an ePub document. --> import that ePub document into new software I just downloaded, Sigil --> figure out Sigil.… … … --> preview it and sell it as an ePub file? or as XTML? --- how might Caliber factor into this workflow? Will I have to use it for

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

conversion? HTML? --> how does this work along side or compared to possible workflows enabled by the PPS (XTML?) See also Adobe Digital Editions [web source accessed Wednesday 25 July 2012] http://www.adobe.com/products/digitaleditions/ It is another free downloadable software that supports ePub documents, and it is also a platform for authoring and delivering e-books across different devices.

25/07/2012 16:49 #workinprogress is slow but hopefully I think in the end time saving... Initial deduction… Thus here, I have already come to the conclusion that what I may have to do first is to convert my test file into a well formatted pdf. What ‘good’ formatting is in this case, I have yet to find out. Next steps: - I realize that I’ll have to actually buy an device, to preview and test out these documents. - Next research question: What are the two most widely used e-reading devices? Kindle and iPad? or the Amazon one? - I think for now I have to get one for Kindle, as the tutorial provides this support: http://www.willus.com/archive/#kindle [web sourced accessed Wed 25 July 2012] ‘K2pdfopt, a PDF/DJVU optimizer for mobile e-readers such as the Kindle, now has its own page (as of 9-18-11) with an easier-to-remember URL (willus.com/k2pdfopt)’

25/07/2012 17:04 the work schedule has been created #finally! 25/07/2012 17:06 #workschedule 1. This Sun first book completed. 2. Next Fri phase one website done. 3. Following Mon book two due? 4. 2wks work on text.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

See also past project in digital publishing, A wireframe for AUGUST 7th, DUE August 3rd Friday, A MANUAL due august 29th, A test site - Due August 7th, figure out how to add responsive design - more of grid than line, figure out how to add social media, figure out how to immediately download file after successful payment!

30/07/2012 09:14 #todo contact two people from Rebecca’s e-mail.. for next text and also book pub.. #worktoday After spending more days than I thought I would need to get the basic understanding and background on how digital books may work, and then also get a basic technical understanding so that I could proceed with actually converting files, I switched gears a bit and had a Skype meeting with Rebecca LaMarre, who was in Berlin at the time ‘escaping the Olympics’, as she put it. My intention was to make contact with her as she had started the Art Writing Guild, which was basically comprised of her and various collaborations she had with designers and artists. And get an understanding on people who participate in an independent publishing community in London. The Art Writing Guild was as she said, a framework that pre-exists, to support writing collaborative projects and publications. I also wanted to see if there was potential in the future to work with her for this project, Katalog. In the end she offered a publication she had done called ‘Genuflex’ to be part of the first suite of publications we would distribute. She put me in contact with the designer of the publication to get the original InDesign files from him and Yve Lomax who worked at Copy Press, a London based independent publishing company. I contacted the designer for the files and Yve Lomax a well to see if she would be interested in speaking with me about Copy Press. I went to their website where they had their manifesto, which states in the first sentence, ‘There are times when publishing is, in itself, immediately a political act.’ [web source accessed 20 August 2012. http://www.copypress.co.uk/index/?page_ id=103 ] She eventually wrote me back but said that she would not be able to meet with me until mid-September, which will therefore not be included in this version of the writing. The notes from my meeting with Rebecca: Roundabout: Finding my way again on Monday, the beginning of week 3…

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Here I am again. I took a nice break over the weekend for Saturday and Sunday. I didn’t feel ultimately productive on Friday although I did spend that day in two meetings, one with Rebecca LaMarre and the other with Eleanor who runs and owns the Bökship. What is perhaps the relationship with these things? Perhaps I can also interview White Chapel and etc. for more input from larger institutions? Also AND books, and Rebecca’s contact. A Conversation with Rebecca Conducted 27 Friday 2012, over Skype, while Rebecca was in Berlin escaping the Olympics and I was here in London. http://www.rebecca-lamarre.com/ http://b--k.co.uk/

31/07/2012 13:37 #workhours 8-10 / 2:30 - 8:30 31/07/2012 21:30 #work 7:30-10:30 video tutorials...

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

31 July 2012 Tuesdays Back to the technical. I spent the last few days working on establishing connections. I spoke with Rebecca LaMarre and also Eleanor from XMarks the Bökship in Hackney about my project. They both gave me some good advice and also some other people to get in touch with. I wrote to two of them today, one being the designer for Rebecca’s ‘Genuflex’ book, the other being the Site Gallery in Sheffield which is putting on an exhibition August 10th/11th on publishing. I also spent Monday writing and starting to reflect on Friday’s interviews. Today I did wake up and go over some of the writings again for two hours. I’m not sure how helpful all this writing is, if it’s helpful or worth the time. If it’s a document of the learning process as well, I feel that is good. At least it helps me sort out what my project is and also helps me articulate the steps I am taking and why I am doing it. As a designer, I do tend to articulate everything so that I can also show why or how I have done something. There is a ‘design’ in everything you do, all you have to do is to show it somehow. Design I guess, is really an articulation of an idea. As an instinct, I do know that something indicative to what might make digital reading a pleasurable experience…

…a more enjoyable reading experience. If one has an e-reading device, one expects a certain kind of experience to have with it. This is interesting as the file, the digital thing itself has to ‘behave’ in a predicable way within the device, as this file itself is a product that the reader is paying for. Thus this file is a separate and also integral part of the device, the hard object itself, as it separately

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

contributes to the reading experience. Before, one designed the book and could also determine the type size, paper dimensions or margin width that contributed to the reading experience. These days, the hardware device, the screen size, and resolution are currently pre-determined factors. The reader may choose the type size. The interactive table of contents can become very important as a feature a reader may expect from their ‘book’. This is of course an electronic device ‘offering’ ‘flexibility’ that it didn’t have before, but that a real book would always have. The gestures of reading have changed, and perhaps now people also want to be sociable with their reading, like, by making comments on it etc. How can we further put book clubs on-line and make reading experiences more interactive? More thought provoking? This is also an interesting idea. So Mission one, after having done some preliminary work, is to figure out how to make an interactive table of contents through InDesign from the tutorial I had found on-line. http://www.youtube.com/watch?v=uYfC8tvCtzQ Creating an e-book TOC in the text. http://www.youtube.com/watch?v=-15ghxJQmrY&feature=relmfu - an internal linked TOC - by adding hyperlinks in the text. - or, by making a ‘cross-reference’ Adding a Navigational TOC [http://www.youtube.com/watch?v=-15ghxJQmrY&feature=relmfu] - using paragraph styles. as a navigation TOC on the left. - using one long text document. - heads and subheads The InDesign e-book to ePub workflow [http://www.youtube.com/watch?v=9cGlByDpEFk&feature=relmfu] - start with an InDesign file (can also start w/ HTML file etc.) - tweak Text formatting

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

- layout - images - Then export to ePub format, or Adobe Digital Editions which is viewing by default. (ADE) - This is rough preview, not same as iBooks or Nook. - At this point you want to validate the ePub file. It checks that everything works. (Apple ibookstore, Sony reader or Amazon bookstore) - then editing the file itself. - adding metadata - then proof and validate it again. - when you proofing it, you want to go beyond digital editions, Nook or Kindle, or iPad. - then Final validation then upload it (or Apple iBookstore, Amazon Kindle store.. they will convert to Kindle for you, ....mobi - convert to ...mobi files. you can do this yourself and preview it on kindle previewer.) - Previewing ePub e-books with e-readers [web accessed 31 July 2012 Tuesdays] [http://www.youtube.com/watch?v=ftZUe0KJ82g&feature=relmfu] There are always new e-readers on deck and most so far as of March 2011 [web accessed 31 July 2012] [http://www.youtube.com/watch?v=ftZUe0KJ82g&feature=relmfu] - Adobe Digital Editions - Caliber, open source for Mac or Windows. - runs though the variety of ePub readers to check the document with. Publishing from InDesign to iPad and other Tablets with the NEW Folio Builder Panel. [web accessed 31 July 2012] http://www.youtube.com/watch?v=Tk-LxGM4p4E&feature=related - via InDesign one can ‘publish’ wirelessly to their iPad device via the cloud. Interesting although at the moment seems not applicable to my current project. It could though become a kind of experiment in the future! This is for people who want to send work right to their reader.. I could also look into publishing via DropBox. - this is for DIGITAL Publishing, meaning websites, blogs, etc.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Write a PhD thesis in record time and keep your sanity while you do it (part 2/3) [web source accessed 31 July 2012]http://www.youtube.com/watch?v=hlij 0rNJpVQ&feature=relmfu

31/07/2012 22:22 #work 10:30 pm -11:30 pm one hour of video tutorials.. zzz... Video tutorials again - InDesign - to ePub, Kindle and iPad - To get content to e-reading devices and software. - determine format you are using - InDesign tinkering to make it ePub friendly - tinker w/ ePub files to make it usable - publication and distribution posting - set up images and other graphics for best presentation - add and edit metadata = building custom TOC and covers for finals. - these are the steps… - InDesign to ePub workflow. - Edits in InDesign and edits in ePub editor. - Examining each steps. - Start with an InDesign file. - preview in iBooks / iPad - or Nook... downloaded Adobe Digital Editions for first proofing.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

- There are three kinds of e-book types, ePub, pdf and ...mobi - ...mobi is for Kindle. - an ePub is an open source e-book format. - In a pdf, the type does not resize, the layout is frozen into position. - an ePub, (Barnes and Noble e-reader) - it is a ‘re-flowable’ format. the lines change according to screen or window browser size. it can be flowed. - so, a pdf on an iPhone will shrink. if you opened it on an iPhone, then you can see that the e-book would re-flow on an iPhone. See also Kindle Previewer. Or Kindle viewer for Macintosh - you can read them on dedicated devices - or on the computer as well. - if you are on the computer you can download viewers. - Adobe Digital Editions is a quick proofer. See also Stanza - for iPhone viewer - or Ibisreader.com - organize and view pubs. Amazon uses ...mobi format - Amazon has free kindle reading apps, you can install Kindle reader app on any of your devices. Firefox has an ePub plug-in for your browser. epubbooks.com/books - where you find and how to sell e-books. - how do you get your e-books up for sale. if you want to get started down-

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

loading e-books, there are free ones here. feedbooks.com/ - readers have links to feedbooks. projectgutenberg.org - free books in public domain and being converted to ePub books. amazon.com - anything you download can’t be read in software that downloads ...mobi files. you have to use one of amazons own kindle e-readers. but not hard to get your book into the kindle store. the Sony readers store - ebookstore.Sony.com/ - get your books listed here. Barnes and noble nook books Google ebookstore, books.Google.com/e-books - many for sale and also free - all re-flowable ePub format. you can have your own publishing company. ‘take control e-books’ - See also: take control books.com (1 August 2012) Understanding the ePub format - an ePub is essentially a little website and e-readers read that website. - ePub is a compressed collection of files. - change ePub to a .zip file and then decompress the .zip file. - inside the folder the content of the ePub file are exposed. xml file folder w/ xml file OEBPS content folder w/ xml files, or a chapter in the ePub books data has png and jpg files, or the images. loads context of book - xml files.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

InDesign creates XHTML files and exports images as jpegs and gifs. - each file is a web page. you can open them in safari or any web browser. - ePub readers is like mini web browser. - basically creating a website out of the book layed out in inDesign. - just go ahead and export to ePub - I used the NYX Machines issue. I had asked Nick the current editor for permission. - I downloaded adobe digital editions, already. Immediate issues I could see upon this ‘cold’ export from InDesign to ePub: -the cover and the text on the cover - the contents - the foot notes for each article. - no formatting, all formatting is gone. esp for article headers. - in general all text gets exported - except anything any text from masterpage.. anything on masterpage does not get included.. (running headers, footers and page numbers) - which is good as ePub documents automatically get their own Headers and footers. - formatting of images including edge effects are maintained. - no concept of page size or facing pages are gone. - auto generated TOC is ignored - links, hyper links don’t work - movies and sound can be added later into ePub and not all readers support rich media - art work such as graphics, get ignored, created w/ diagrams and pen tool these are gone - only text and images - you can convert InDesign art to an ePub. - spacing between things are ignored. - soft returns are for the most part honored. search and replace can also be used to find these. Fixing my InDesign document - first, I’ll have to break up the text into navigable chapters by creating a navigational table of contents. - I built upon my knowledge of InDesign. - Exporting from InDesign to ePub means reordering from left to right and

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

top to bottom. I have also to learn how to add xml tags before exporting the document to an ePub file format. - Break apart the document into elements. much of our social media suggests our social interactions as mediated or constrained by bits of code. code alone cannot sustain a community.. for InDesign artwork: for objects w/ graphics you can use a script written for InDesign than automatically makes it into a file and links it to the ePub. to remember: Toc -Nav Toc -- map styles to tags Headline, byline, caption, image, picture, pull quote, body, bold, italic, - each chapter separate html file - xhtml file naming guidelines lowercase only a-z 0-9 _ [HOW Can I make a document INTERACTIVE?] Clean up InDesign files - soft returns are okay no multiple spaces no returns no tabs - through Paragraph and Character styles all through it. - ‘find/change’ - default size 600 px wide x 800 pixels - high res images resize to 72 jpg and for full page images, 600 w x 860 h px - half page, 600 w x 430 h

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

02/08/2012 10:29 1.5 + days of video tutorials. exhausted. Trying something new now for a change. #workflow #monotonous 02/08/2012 11:10 #nts.. learning a language also involves learning its culture 02/08/2012 11:11 #nts I think I just invented a new hash tag “note to self” #nts.. 2 August 2012 - Pay pal tutorials and attacking wordpress…or perhaps doing one from scratch... - downloaded html fluid baseline grid looking for html to start with unpackaged folder.. used this structure to start. - also did ‘view source’ and found website design of guy I liked, opened file cut copy paste into Simultron.

I thought I wanted my site to have ‘responsive design’ meaning the layout would change depending on the device you were viewing the site on. I found this site that came with the basic framework for a responsive design layout. I downloaded the file…

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

â&#x20AC;&#x153;The Pop-up Digital Bookshopâ&#x20AC;? | #whatidid

After downloading the basic framework for the responsive design grid, Pictured above is what the code looked like when viewed in the browser. I put that aside for now as I had also found this site (shown below). The simple design was one that I also liked at first. I also liked the way the items on the page seemed to pass underneath the main navigation at the top when scrolling down. [web source accessed 21 August 2012. http://theofficeofoptimism. com/]

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

I looked at the designers code and copied it into a new file on my own computer. I saw that there were javascript files and css files he referenced, I copied the labels of his folder structure, and Googled the javascript and css file names he had referenced. Finding them, I downloaded these files into my own ‘js’ or css folder. Then I changed what code I understood in his metadata.. title etc.. replacing it with information that was relevant to my website. I also went through a tutorial on CSS. I replaced some of his image files with my own.

I had to adjust the size of the images in the code, and then I added the images from the actual books I was to use:

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

I added a pay pal button.... A bit more on what I managed to do today: - worked on pay pal and adding buttons - still have to figure out how to integrate downloading after the payment has been approved. How can they download to their device? ** - Also visually, the site is okay, still would like to arrange books in a grid or a flow and also add responsive design to this site. - then add social media as well.. experiments about pages etc. and add archive. Next I Googled this: “how to make download available after Paypal purchase”

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

-- next looking at CSS “float’ concept and also looking at videos about responsive design, as I am not sure how these two things relate but they are both concerning the layout and id like to figure out how to arrange the books in a row that expands or contracts and changes relative to screen size.. also tested posting a product on the wordpress site:

for later: http://www.alistapart.com/articles/responsive-web-design/ http://wordpress.org/support/topic/to-make-a-page-available-onlyafter-a-Paypal-payment

03/08/2012 14:26 #work Four hours of work today spent reframing, simplifying and making the project a lot ‘cleaner’.. (and more technical, bah!) to do: See also past project in digital publishing A wireframe for AUGUST 7th DUE August 3th Friday. A MANUAL due august 29th. A test site - Due August 7th. figure out how to add responsive design - more of grid than line figure out how to add social media figure out how to immediately download file after successful payment!

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Defining social media? 500 words What would the community think? The community that is already there. 500 words …as an author or as an agent… 200 words who I am 100 words …critique… 300 words = 1,500 words previous projects 500 words start a wiki

03/08/2012 14:27 I need a break and then new sketches #work #todo August 3 2012 Today I looked over what I had done yesterday, which was to try two different approaches. One was through using Wordpress and a shopping cart friendly theme. The plus side to this is that it can track inventory and organize shipping for you, and much of the check out process in automated. the downside to this is that the design choices are limited and I am not able to select the functionally i would like. In a sense it’s a bit too functional. The other thing I tried was to build my own site from scratch. The only thing is that I couldn’t figure out how to do the download part, after purchase. I think I still want to try this idea. And also add a time stamp. Basi-

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

cally i”m combining two of the following ideas: I also want to include in the row of publications, the manual v. 1.0... Id still like to create that social lock, I have to create that as a project still... Also realizing ** that the serving library makes the pdf formatted so that it’s easy viewing on a kindle or e-reader anyway. I may have to do this for now. this is also changing the way I design things. meaning that this manual itself will have to be redesigned soon.. I can also experiment with the pdf page itself.

http://www.servinglibrary.org/ looked at the code. When I didn’t understand what was going on, in the code I Googled the code also comparing it to the code I already had…

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

http://www.xym.no/ [also see: amazon website. write text about pdfs ...mobi and ePub]

06/08/2012 09:41 #pacing spent weekend just putting together the site myself.. working on design etc. 6 Aug 2012 10:30 I am currently trying to figure out time.. or rather the code to do a kind of clock that counts down the amount of time left that the file or ePub book will be available on the internet. The first things I did was that I took code

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

from the lending library site and added it, or inserted it into my code. Putting part of it within the <header> part of the site and another part of it to the <body>. - I had to download processing code and add a new folder into my own files. It didn’t work. - Also, I borrowed from a past project on CSS and font styling I had done during sandbox and added that into my code. - http://html5reset.org/ - all ePub documents and concept of time limits…by making it only ePub Amazon / Kindle ...mobi. - enclosure... and open... - text on pdf vs ePub........ I also tried doing it in Dreamweaver and again used tutorials on the internet and old code for the Fontface thing.. As of Monday night, 6 of August 2012, I found this code for the javascript which I will have to continue in a few weeks… http://www.hashemian.com/tools/javascript-countdown.htm http://www.developphp.com/view.php?tid=1246 http://www.youtube.com/watch?v=u_6CqjQ-L8Q Notes from Dan and Goetz meeting August 7th 2012 Floss manuals: manual vs. report. manual is a whole art form... think about it.. - Giving people the ability to self publish - temporality - pop up collaborative writing.. book type Doug - Floss manuals / floss DIY / ‘sew your own spirit’ ePub format.. G: Desc it as an alternative version of long tale about small publishers amazon provides the long tail - web 2.0 commercial stories - radically alternative story w/ POP Up and DIY maybe its great that every small book is avail in amazon - don’t buy it anymore b/c buy it next week - come across the book and one chance buy now or gone.. re create that a pop up bookshop scene - set rules is only if it doesn’t exist more that 3 days.. and then try to set up a scene - books should not be avail anywhere else.. no central hub - live in lots of people learn how to set up again and again.. it really plays w/ desire - that comes out of unavailability that becomes lost at

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

the moment - more deadly than anything else.. - make it difficult - DIY and teaching culture - start a movement. Do something conceptually against the internet. cultural expression movement - Booktype- sourcefabric.org/en/booktype - G: should things be easy or difficult, in a game way - its difficult. “Easy to understand difficultness.” - Push the form of the project - how to make it recursively to fold in idea of publishing - pop up - check w/ g and d.. - Project - bend the form - August 17th - theory - process - describe about decisions and why.. - event - experiences what worked and didn’t work and prototype - concept desc.. future - page of failure.. - appendix e-mail from Dan http://www.sourcefabric.org/en/booktype “Booktype is a free, open source platform that produces beautiful, engaging books formatted for print, Amazon, iBooks and almost any ereader within minutes. Create books on your own or with others via an easy-to-use web interface. Build a community around your content with social tools and use the reach of mobile, tablet and e-book technology to engage new audiences”. it comes out of http://www.flossmanuals.net/ Handmade & Bound http://www.handmadeandbound.com/

08/08/2012 07:44 #work re-adjusting schedule. 08/08/2012 15:40 #work only worked 2 hours so far today. need to do 4 more hours at least! currently working on a new outline. 08/08/2012 17:19 #done tickets to Sheffield.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

08/08/2012 17:19 #todo 3 hours more of work. 08/08/2012 18:44 #todo 2 more hours of work (allowed). 08/08/2012 22:31 #work forgot to time it but I think i have 2 hrs left? 08/08/2012 22:38 #doneish only 5,000 words 08/08/2012 22:39 #doneish the appendix? 8,800 words. hm 8 August 2012: My process is very much incorporated with time. So I should do entries that express time and my twitter documentation as well. As well as my thought process that went into it. I could make it more interesting like a diary entry.. I could do it by hand perhaps? Lay it out that way? I think i have to have this book bound and finished *by the 27th of August so that I can have it ‘bound’. I could bind it myself and later add an “appendix” if I need to add more information later perhaps.

09/08/2012 08:52 #work my favorite thing: organizing 09/08/2012 13:41 @MartynRichard always wonderful to catch up with you! i’m home again finished the peanut sauce for later.. now to work.. hope the rest of.. 09/08/2012 13:41 @MartynRichard ..of the day is productive! 09/08/2012 13:42 #work today: I need to log in 5 hrs.. No heading here yet but more comments on what’s next. Perhaps I should work on really creating a beautiful text, a great, handmade book along with an ePub format and a pdf? I could make it all on my printer and glue bound? The way I used to make it... I should also then work on the text this week and figure out how I am going to teach and write up a workshop to do the DIY “Pop-Up” idea for real. This IS social media! I should

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

work on the writing of the DIY part this week and then propose and even to someone next week or by the weekend. The technical stuff that I still have to do is finish converting the ePub files, connecting the shopping card/pay pal functionality and also lastly, figure out the time stamp - java script code. I can do this in the last week as the most important things are the MANUAL and the Workshops now. That seems to be what Dan and Goetz are focused on for me to do and also the form of the final text. I think I should write up the paper so that it is in different file formats. So for now I should 1. Work on the Workshop/Manual, and 2. work on the Text on the paper or the essay, especially the theory part! Then 3. work on the final bound ‘book’ and the ePub document for it! How does one ‘workshop’ a pop-up bookstore? How do I help others make one and make it fast? Who am I helping? I’m helping independent publishers, distributors and writers so that they can make ePub documents. So therefore I should see how I do this and then I should see how I should upload it or what distribution channels are out there. I can talk about ePub vs. Mobi vs. pdf. - this is about ePub in particular because it is XML. It is a web page. - I can talk about the basic structure of a book. - What can you use to create an ePub? Google Docs, Text edit. [- I could eventually make a twitter theme or my own engine that connects to Paypal and teaches you how to set this up. With a Time stamp at the top. It can be Twitter to ePub and you can set Twitter to Private, where you keep the text?? and also have a front part? Or use that wordpress theme and modify it? ] - Since it is difficult to just make this social/cultural movement of pop up shops now, I can talk about it as a trend and also talk about it on the internet about it’s potential. Should I write a document that encourages you to publish and post your own things? Or the importance of curation? and Archive and releasing it into the internet? What about art books? Why don’t we have that as an ePub? ** I could make a quick fanzine of art books I find.. things I like that I don’t see as an ePub that I like. an example of what can be done? -I can provide a list of resources.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

What and who exactly would I teach this to? Who: Whoever is interested in publishing their own work. What: How to go about creating the document and then converting it to an ePub. Also what avenues to publish it through or how to provide it on their own website. new things you can do with an ePub, interactivity that you couldn’t do before. - TOC - Navigation w/in the book It’s up to you where you want to put it, or distribute it. Pop up workshop in InDesign you can convert it to ePub is there a converter for Google documents or for something else? Can you also code an ePub file yourself???? How would you preview it? Find local places like the library where I could set up workshops for free. Also see small cafes? I could make a flyer or something? “Pop-up Workshop”/”Pop-up Bookshop” Brain storming & Research: What is en ePub? (other formats and what is out there?) Creating an ePub - words and image on the computer, onto a file. Google Docs, Text editor, or straight coding? [see also InDesign] see how *each* handles Text and images see how *each* can be converted. New stuff: navigation, hyper links and TOC.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Distribution? - uploading it somewhere. ePub to print? --Who had content laying around? Is there a group of people interested in this stuff in a normal way? “Pop-up Workshop”/”Pop-up Bookshop” Does it come in a paper/zine format that is distributed to different places independent bookshops, squats, politically active organizations, homeless shelters... - how would I workshop this to children? to the elderly? to homeless people? to art students? - how would I start a movement. Would I start a logo/branding thing? How would I generate interest? At a fair? At a picnic? Get an Office space? A small cafe? How would I make it ‘artsy’ or ‘interesting’? A ‘manifesto’ of some sort? a “KIOSK”? Everyone makes that kind of roving library. A touring library -The Bookmaking store near Foyle’s? The Young foundation? Martin’s place? A friend’s living room? A squat? A park? The Bookclub in Hackney? What makes people feel special? What makes them feel like they are getting something special and important? This is also about encouraging people to UPLOAD and not download. How to get people that are passive to not be passive. I think I’m actually trying to change behavior which is difficult. How would I change the behavior of my parents and get my mom or dad to do this? This is for people that have content or are fans or something. so I should make a zine of sorts about making an ePub... almost like an “anarchists cookbook” of sorts. For a workshop to mostly work, people like to do ‘hands on’ crafty stuff. Oh that knitting/craft cafe I went to with Olga! I can do one there.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

It can be about ‘cut and paste’ and then upload onto a kindle or something.. I should get a device to show or demonstrate to people. Would Rebecca’s art writing guild be interested in housing this workshop!? Would Goldsmiths students be interested in learning how to do this? Designers? I should personally invite THREE people to do this with me. Say Cook them dinner and drinks and then teach them this. At my house? My roommates? at Rebecca’s place? I can do it at my house.... Who is in town? Who is a writer? Guest List? - Making content? A call for THREE people. - Vegan baking club etc. - do this at OTO? - Destroy all Monster’s book? - Fandom? Hand made books to digital publications.. - I may see the importance of this but no one else does. I would have to start a kind of ‘campaign’ to see who’s on board or to jog up interest. - the unchangeable artifact and the/vs. the on-going document?/process... ‘as if you were a product of my own time’.. frank o’hara. are there small publishing groups out there already? yes, Eleanor XMarks. That Site gallery? any other places that are London based? Brighton? used

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

bookstores? Archive books? What do we like to see? The digital ePub archive... an ARCHIVING project? things you can see on a reader and no where else? A project where I archive things and teach you how to do it? Collections.. what kind of collections do you have and what can you tell me about them..? I learn from you and I teach you how do do something? ** Flea markets? I am really creating a katalog of things.. zines of your things. funny culture. *** “Pop-up digital archive” “Post card project” “Pop-up Post card project” Content.. Photos of London project - a flikr group I could contact? but how is this helpful as their photos are already on the internet? What is NOT on the internet yet.. What cannot be accessed? I can ask David for work? a magazine? for ePub only? a magazine on FreeCycle?? Get and Give..** I could post on Free Cycle for people who want things? this can be an art project really where I give stuff away and I get to interview them or I get stuff and then I can post again. What if I make this into an ePub document? What about Gift giving or DIY.. something to do with Freecycle????? What else is DIY in this universe? I should try this first...

09/08/2012 14:12 Thu, Fri, Sat, Mon, Tue.. one book per day &amp; Wed all text due for first draft. 09/08/2012 14:13 RT @plmd: “Always be yourself. Unless you can be a unicorn. Then always be a unicorn.” 10/08/2012 09:55 #done for friday 2 hrs work. 4 more to go.

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

13/08/2012 08:00 #work #todo please August, when can you be over? (no smarmy answers here.. you understand the sentiment..) 13/08/2012 08:01 #workonmonday ‘my settling’ in ritual before work today involves uploading movies to my YouTube account. 13/08/2012 09:18 RT @OpeningApp: yes. hmmm. “@katalogm: #work #todo please August, when can you be over? (no smarmy answers here.. you understand the sen ... 13/08/2012 09:19 @OpeningApp I have no life until then.. #endofAugust 13/08/2012 09:26 10:30 I begin to work. 13/08/2012 12:55 #work 3.5 hours just flew by. 2.5 hours left or if extra points.. 4.5 hours left 13/08/2012 12:57 #workbreak 2pm late lunch is the best. #strategiestomakethedaygobyfaster I tried an experiment to quickly jot down the steps I had taken in the project so far and write it all out in twitter. I don’t know really what I was going for, I was just trying it out.

13/08/2012 13:24 #doing ok about to conduct an experiment right now. bear with me and the next few hundred tweets. #waystoloosefollowersfast 13/08/2012 13:32 #steps organize thoughts through writing. #whatidid to get a jump start on things assigned myself 1,000 words per day until 6,000 were down. 13/08/2012 13:33 #done not to mention starting to design the book first.. (before content). every rehearsal is a dressy one..

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

13/08/2012 13:34 #done after lots of organizing, brainstorming, writing, reflecting, writing, organizing, scheduling.. 13/08/2012 13:34 #done #steps next thing to do is to PRIORITIZE.. constantly. 13/08/2012 13:35 #done figure out *what* to research and *when* to research it. (see also: schedule) 13/08/2012 13:36 #done #steps then began research. also laid out what I thought would be sources and resources and wrote reflective paragraphs on why.. 13/08/2012 13:40 #done #steps among those source sought also established the ‘local community’ of people or organizations that could collaborate, participate 13/08/2012 13:41 #done #work ..or help out. Potential live people we could speak to. 13/08/2012 13:41 #done #steps ah also forgot to mentioned, created own interface, perspective, platform, name.. a way to interact with the outside world. 13/08/2012 13:43 #work #done folks can also keep you grounded (not over conceptual and theoretical) and your project feeling very much ‘alive’. 13/08/2012 13:49 #done #steps in first week did manage to meet with Alan, record a conversation #thingsItried #failed 13/08/2012 13:55 #steps conversation with Alan did help to sketch out first draft of website and also the mission statement.. which was done by week 1 13/08/2012 13:56 next two weeks felt like a wash.. as research is not so immediately satisfying and video tutorials

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

get really boring. 13/08/2012 13:57 #yet within those two weeks was also able to contact and converse with Rebecca at Art Writer’s Guild and Eleanor at XMarks the Bökship. 13/08/2012 13:57 #steps was able to get an extra publication on board for the project as well as a possible workshop at XMarks. Also got some handy info.. 13/08/2012 13:58 #steps on the Print It show in Sheffield. After check up meeting w/ D and G realized that I should try to workshop it sooner. 13/08/2012 13:59 #steps got to a point technically but not perfectly w/ site but still within the middle of phase one on hold until writing can be pushed. 13/08/2012 14:00 with loads of tutorials, web research and boring stuff and basic semblance of site up, went to do a good ol’ ethnog report in Sheff.. #steps 13/08/2012 14:03 #summaryagain wk1 writing brainstorming, wk 2 technical research wk3 tech production.. #steps 13/08/2012 14:04 #summaryagain2 wk4 meeting checkpoint, writing &amp; research.. wk 5? triage.. 13/08/2012 14:06 #triage #projection #future writing until Wednesday. Break and apartment move Thursday. Friday nothing gets done anyway... 13/08/2012 14:07 #nextweek #projection next Monday to Thursday back to technical. after that complete writing. then finish Aug. #ThankSomeonesGodAugustisOver 13/08/2012 14:12 #done an open call.. http://t.co/IWLZMfUL

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

13/08/2012 14:12 #stuffitried #falied Friday 2:15 pm July 20 2012. After Twitter: A series of short bursts, comments on the process. 13/08/2012 14:13 looked at articles: “The French Still Flock to Bookstores” By Elaine Sciolino, New York Times article, published: June 20, 2012 13/08/2012 14:19 start somewhere. http://t.co/rb0hEsvc #research 13/08/2012 14:20 #research http://t.co/dSE59wT7 13/08/2012 14:20 #research http://t.co/3NoEcVPP 13/08/2012 14:24 #theboringexperiment okay it’s almost 3:30... #todayswork 13/08/2012 14:26 #work #todo either 1.5 hours left of work or 3.5 hours for a full 8 hr work day? (without the lunchbreak?) 13/08/2012 15:02 I am exactly the age of being not quite old and not quite young. #hm 13/08/2012 15:04 4pm. #work ..until 6pm... 13/08/2012 16:41 #worktime 20 more minutes today. then nap and yoga. 13/08/2012 23:31 #done #sleepy worked 2 extra hours tonight.. 10 hr day 14/08/2012 09:03 I began work at around 9:30 w/ coffee and breakfast in the kitchen. Pouring over text today... #itsnow10 #worktoday

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

14/08/2012 10:25 #working despite injuries from working at my computer too much! repetitive stress or ‘carpel tunnel’ in my right hand and pulled shoulder.. 14/08/2012 11:20 #workhours started at 9:30 today, it’s now 12:30, 3 hours. Work one more hour before lunch (4hours). then from 2:30 to 4:30 (6 hours total) - after Un-Designing the file, by putting all images, quotes and text into one continuous column of flowing text, much like the way new eReaders handle texts and reading. - I then changed the file size the the eReader standard size of 800 x 600 pixels. - Interesting comment on standards? http://yopnik.com/publish/guidelines.html - Changed to 800 x 600 with a 6 mm margin all around each side. - readjusted all boxes to fit within these boundaries. - removing design decisions, for the sake of how the machine works. - remove styling and make everything less styles.. - title, sub heading, text, captions, notes...and paragraph styles should also be less and correspond.. left justify and center.. justify.. - tell a bit about design.. Donald Norman....** - I basically have to ‘tag’ everything from styles to tags as their function Titles, Chapters, and Subheadings. and also divide into styles, since styles dictate for a designer choices based on hierarchy and structure, placing importance or emphasis over certain things, this for the most part is a logical step, or can be translated. - don’t forget that the ePub does not honor certain characters so the design must compensate for this in the styling.. - ignore things like widows because the page size will change all the time..

14/08/2012 14:34 #work #organizing collaging text together 14/08/2012 14:58 RT @OprahsQuotes: Deep doubts, deep wisdom; small doubts, little wisdom.-Chinese Proverbs 15/08/2012 11:09 #work a bit burned out on writing will take the day off and pack. #movingapartments

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

16/08/2012 09:24 #movingtoday #work i get 4 hours minimum. 16/08/2012 09:24 great day off yesterday but it was hard not to worry about work... old apartment is cleaned out. #work 16 August 2012 I worked heavily on Monday and Tuesdays on my paper, and was able to print out an 17,000 word, 100 page draft at a reduced 25% size. I’m a little stumped on how to proceed with the writing, and a bit burnt out on it. I think I need a break from it to muster the inspiration and energy again to continue with the flow, language, organization, and conceptual underpinnings of this project. Yesterday tired and a bit injured from working at my computer - stiff neck, pain in the left shoulder, and pain in my right hand - I decided to stay off the computer for the day, and pack up my room. As I’m moving today (Thursday) Today I’m switching gears and I’ll start again with the coding aspect to the project. Last night before bed, I sketched just the simplest things I would have to do to complete phase one of this project, show proof of the concept and get what I can working. The first thing I should do to begin again is to review the design. I want to ‘clean it up’ and make it look neat and presentable. That may involve more CSS customization and also more HTML5. Next, what I should do is to finish setting up the Paypal account to the website, using my test ePub document as the sample I use. Those two things should be the focus until next week. Next week I should focus on finishing at least 2 or 3 of the ePub documents and then cleaning up the writing. As I’ve looked at a few of the designs I have been working on, I have decided on one with affords a clean enough presentation and description of each of the publications. Furthermore, if the publisher has their own Paypal account I can use their buy it now button.. possibly. Things I should really do!:

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop” | #whatidid

Quite possibly this may call for a more through investigation on Paypal and the way it works, and its potential and also a discussion on Pdf vs ePub vs Mobi. Along with a walk through workshop - also do Javascript Time.. Copy final one I want to use, make new copy and remove the others.. make it look like final one I want to use now. and work on NYC.

17/08/2012 03:58 #insomnia 17/08/2012 04:00 @MartynRichard SW19 is uncharted territory! 20/08/2012 10:01 Catch up #weekend #busymovingapts Sunday 3 hrs of coding Monday 1 coding and 2 hours writing. #beforenoon 20/08/2012 10:01 #MondayWork Break for coffee and postoffice.. 20/08/2012 13:16 1.5 hours lunch and running errands #workMonday and then another 1.25 hours writing. 20/08/2012 13:16 another 3.75 hours of writing until 6pm.. would be decent.. #workschedule 21/08/2012 07:02 #8am beginning to write.. 22/08/2012 08:04 9:04 am Writing. 22/08/2012 09:24 10:22 350 words written for the “conclusion” of phase one. + 80 + 67 words.. total approx 500.. 22/08/2012 10:29 11:30 450 in the conclusion 22/08/2012 10:32 +134 +117 (+450) = approx 740, one hour is 250 more words

STUDENT ID 33225517 | MA CREATING SOCIAL MEDIA | GOLDSMITHS AUGUST 2012

“The Pop-up Digital Bookshop”

22/08/2012 12:20 1 hour lunch break back to work 1pm 22/08/2012 12:35 1:35 122 words 22/08/2012 19:21 pulling it together and it seems to be making sense so far. 23/08/2012 12:59 9-10, 12-2.. and closer... #writing 23 August 2012 At a point today where my paper and writing was at a stand still. I needed to take my brain and my eyes off of it, as I felt a little burnt out and I didn’t know how to proceed. I took a long break, for a few hours. I’m back and my computer again this evening where I have been reviewing my code for an hour. Here is where I had left off with a few different tries at layouts, grids, structures, platforms to see which one worked best for what I needed for the bookshop. Below were some first tried with WordPress. This one was going for a bloggy look.

Then I researched for very simple but strong designs that would give me a lot of options in the future. I found this very good theme for e-Commerce on Woo Themes.

katalog projects

“The Pop-up Digital Bookshop”

I tested out the site with an ePub file and another jpeg file. And attached it to a Paypal account that I also had to sign up for.

After playing around for sometime with WordPress and it’s inner workings, I felt that the Design and the way the functions were separated (i.e. how the Navigation was designed) was too, in my own terms, ‘wonky’. That means, basically awkward, unwieldy, confusing and not even very good looking. It was a bit too complicated in trying to accommodate ever user and every possible desire the user might have for an e-store. Although the look was simple, the navigation felt awkward. I decided to design from scratch my own website, by learning HTML5. I learned about responsive design at Mute, and I wanted my site to be viewable on all mobile devices and screen sizes.

katalog projects

“The Pop-up Digital Bookshop”

Simultaneously I had also come across an example of simple site whose design I really liked. One because it’s navigation felt very up-to-date but also because the layout looked plain and easy to understand for viewers. I downloaded the code onto my computer, changed the file structure and made changes to the text and images.

I got to an adequate point, setting up the Paypal button and pull-down menu below each publication but I still wanted the books to appear in rows and the grid to be flexible when the browser window changed sizes. I downloaded a good example of code for a site with a responsive design layout, and copied the file structure and added my own images and text inside. I added the image and Paypal button and pull down menu as well.

katalog projects

“The Pop-up Digital Bookshop”

I also borrowed my own code from a sandbox project I did teaching myself how to use custom fonts with CSS and fontface.

I also figured out how to make the background stationary while the rest of the site seemed to scroll over it. I had been wondering how to do that for sometime, seeing it on a lot of other sites that I liked. For now I’m leaving this design it, but a friend said it looked like something ‘everyone else is doing now’.. (true, true..) so I will probably take it down later..

I did try one last thing which was to find javascript code for setting a timer.

katalog projects

“The Pop-up Digital Bookshop”

The idea was to only make publications available for a distinct amount of time. Thinking of the ‘pop up’ bookshop and how it would create need through rarity. The internet seems to have an always present feeling about it, and often because of this we often bookmark websites or skip over information we think we will return to later. It is rare we return to all those bookmarked pages or saved articles later on... I will try to finish this part of the project soon enough, but for now I have to continue with another phase of the project, that is converting files to ePub and finding a way to show others how to do this as well. Below are two kinds of counters that I tried. The one on the right is has two kinds. The one of the top counts down from a set period of time, and when it is done counting down, you can set it to say a message or to go to a new web page. The image on the left shows this counter in the other ‘responsive design’ website made.

I chose the best version of the site I had done and I removed the wordpress site that was at www.katalog-bookshop.com. I uploaded the site that I was going to use. I also found this code to create a responsive design navigation bar. Which I will keep on my desktop for the time being. http://www.hongkiat.com/blog/responsive-web-nav/

katalog projects

“The Pop-up Digital Bookshop”

I also found this on-line site, to test or preview my page on different screen sizes. Responsive Design Testing site, http://www.responsinator.com/ From here I want to re-strategise what I am doing and schedule time.. First do the easiest things - remove the introductory text until I understand how I want to add that into my site, do I want a navigation at the top. Not sure yet. First remove this. - Remove all descriptive text. - what I want is *JUST the Book images - and the Paypal button when NYX is done. - I should provide information about “how to” / the Manual. I can make a very quick publication and version it. v. 1.o etc. Does this have to be downloadable? Perhaps this should be viewable from a website and downloadable if you want to do so. I should make this as a text file. Should this also be a Wikki that others can contribute to? Can people option to convert it to an ePub file? Yes! I could write the whole thing on Something public and editable? I could look into making a Wiki out of it or a simple wordpress page?

katalog projects

“The Pop-up Digital Bookshop”

- For Starters, instead of learning something new *now* and because I do not yet know of all the things that my comprise the Wiki page I should make a collaborative page, text writing - so other can contribute, that is linked from my site. 1. Simplify Site (Paypal, coming soon) 2. Finish Nyx 3. Page for the beginning of the ‘manual’. 4. Writing Conclusion for the Paper, including what is next for Phase 2

24 August 2012 Step 1: Simplifying the site: Yesterday I determined a few things I needed to complete for the project, before the 30th of September. Yes, that’s right I have less than a week = panic. I spent the two hours of my evening last night reviewing and re-configuring my strategy for the next and final steps to conclude phase one of the project, which culminates in the handing in of this paper and the website for marking. I spent one more hour before bed writing and cleaning up text in the paper. I woke this morning to finish the first step, which was to upload and simplify the site. I used Sublime Text 2 to write and edit my code, then I previewed the file in my browser window, and eventually uploaded the new file using Coda 2. This is what my workspace looked like:

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â&#x20AC;&#x153;The Pop-up Digital Bookshopâ&#x20AC;?

For now, here is the simplified site:

I also previewed my site on The Repositionator site which I had mentioned earlier:

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â&#x20AC;&#x153;The Pop-up Digital Bookshopâ&#x20AC;?

Android portrait and iPhone landscape

on Kindle

Next I started the Digital Publication Guide on RiseUp.net. This is where it will be for now, as it is an on-going and open process.

https://pad.riseup.net/p/digitalpublicationguide

katalog projects

“The Pop-up Digital Bookshop”

I added it to my site. Then I played a bit with the background and also added the Paypal button.

Eventually I also added the timer that I had experimented with a while ago. I set the timer to tomorrow, but later I’ll change this. I next also have to figure how to ‘disable’ the Paypal button and have a message read ‘time out’ or something when the countdown is done. Next, additional pages were added to redirect the visitor if they had cancelled their payment or if it was a successful payment, and they could then download their file. When they hit the Buy Now button they go to the Paypal page I had set up for the bookshop.

katalog projects

“The Pop-up Digital Bookshop”

If they hit ‘cancel’ at any point for some reason, I have it redirecting to a message that says they have cancelled their order and allows them to go back to the homepage.

I have to fix this page at the moment as the CSS didn’t apply to this ‘success’ page. When they finish their check out via Paypal they are redirected to this page where they can click a link to download their ePub file.

katalog projects

â&#x20AC;&#x153;The Pop-up Digital Bookshopâ&#x20AC;?

Here is an image the downloaded ePub file.

I added it to my site. Lastly I also added two free publications on zines and independent publications.

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a conclusion The investigation I have made involved both theory and practice. Therefore work does not solely rely on reading books and synthesizing the information to make a point. Rather actual engagement or insertion of yourself or your project must also happen, as well as an awareness of what kind of world you are engaging in. This text is an effort to weave together both the concepts, theories, reflections, practical experiments and lived experiences. Conversations much like the ones I had initiated in this project should be part of the process in order to understand its eventual strengths and weaknesses. In September (2012) I plan to run a workshop at XMarks the Bökship on digital publishing and continue to work on and update the site with information and a kind of instructive manual. I consider this part of the project, ‘phase one’ to be concluded. The intention was to create a framework for the project, which is to outline the community, understand its interests and contexualize my response to it through the practical project. The hardest part was converting the books I received into the ePub format. Namely, the first book I choose to convert was the Nyx, Machines issue, which currently still has a lot of issues. One problem is that the Machines issue is over one hundred pages long. I had to go through the magazine slowly several times, checking the formatting for each page, and ‘tagging’ everything with a name that corresponded to it’s style or function in the text, i.e. title, sub-title, image, caption etc. This took up an unexpectedly large part of my time. The other problem I ran into was that I had to separately ‘tag’ italic and bold stylings in the text in order for them to ‘carry over’ from an InDesign to an ePub file. It took a lot time just to organize each element in the magazine into a category or a tag. I tried to convert the magazine a few times to test it and many times it failed. In the end, I was able to convert the document with relative success in maintain much of the most important formatting decisions in Nyx, but I could not get the interactive table of contents to work, which is important to navigating a digital book. I will have to continue working on the ePub conversion and work around some of the bugs in InDesign. I would eventually like to learn how to convert

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other formats, including a pdf to epub. On the site, I have for now provided the pdf version of the document. I do not prefer using the pdf document on my site as it is a closed format. With its fixed layout, it does not always look correct on all reading screens. I prefer to provide documents in the epub version, which is also considered the current standard. For the practical part of the project, I believe it would need to be tested through time and use. I will continue adding publications to the site to see what kinds of feedback can be garnered. This brings to mind the thought that the production of software is also social, in that it takes many people to use and test the thing and deliver feedback. This is the judge today of the success or failure of a digital object (I wonder…). As far as bookshops are concerned, I do believe the creation of places inspire people, and giving them a tangible sense of community and audience to correspond with when making work. For the future, my intention is to hold a workshop to teach others how to create digital books. Eleanor at XMarks is interested in having me hold one in her shop in September but it is not in time to be added into this writing. I am interested in a lot of things, for the most part, and although at times it seems as though these things are diverse and varied, it still feels false to see these interests as discrete and separate. But rather than say everything is connected as if to be a part of a shapeless cloud or blob, perhaps it is useful to see these interests as things with their own structure, which also overlap or have permeable membranes. It has always been more interesting for me to see the way in which things connect rather then define them in separating terms. Of course, the dictionary will always be the most helpful place, but beyond the dictionary or Wikipedia, understanding things for the purpose of doing things has also required the skill of understanding the relationships between things, how they connect or interrelate. A study of ‘social media’ to me is this type of investigation. First defining the ‘social terms’ of what I am investigating and then also understanding the aspect and interaction of ‘media’ in this realm. (see also www.katalog-bookshop.com)

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bibliography Castells, Manuel. 2009. ‘Communication Power’. Oxford University Press. Castells, Manuel. ‘Social Movements in the Age of the Internet’. (video) London School of Economics, Sheikh Zayed Theatre. Recorded on 24 November 2011. Posted by admin on November 26, 2011. [web accessed 26 August 2012. http:// www.thesidewalksociety.com/?p=1256] Cheinman, Ksenia. ‘Uncommon Commons among catalysts, forums, frameworks, initiatives, loci, nodes, platforms, spaces’. [web accessed, 25 July 2012. http://archives.library.yorku.ca/iain_baxterand_raisonne/ ] The Duplex Planet (website) web accessed,23 August 2012 http://www.duplexplanet.com/visitorcenter.html] Innis, Harold A. 2006. ‘The Bias of Communication.’ University of Toronto Press. Kelty, Christopher M. 2008. ‘Two Bits: The Cultural Significance of Free Software’. London: Duke University Press. Kovarik, Bill. ‘Revolutions in Communication: Media History from Gutenberg to the Digital Age’. Continuum Press, 2011. [web source accessed 23 August, 2012. http://bit.ly/PKbh0F] The London Bookshop Map (website) web accessed, 26 August 2012. http:// www.thelondonbookshopmap.org/ Lunenfeld, Peter. 2011. ‘The Secret War Between Downloading and Uploading: Tales of the Computer as Culture machine’. MIT Press. Lupton, Julia. ‘D.I.Y. Theory.’ [web accessed 26 August 2012. www.designwritingresearch.org/mica_diy/master/Theory.pdf ]

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Sciolino, Elaine. ‘The French Still Flock to Bookstores’. New York Times. Published: June 20, 2012 [web accessed 22 July 2012, http://www.nytimes. com/2012/06/21/books/french-bookstores-are-still-prospering.html ] Spencer, Amy. 2005. ‘DIY: The Rise of Lo-Fi Culture’. [Kindle Edition] Marion Boyars. Striphas, Tedz. 2009. ‘The Late Age of Print: Everyday Book Culture from Consumerism to Control’. Columbia University Press. Sweney, Mark. ‘Penguin’s deal to buy self-publishing giant ASI could ‘mislead’ new authors’. The Guardian. guardian.co.uk, Thursday 19 July 2012 18.54 BST [internet accessed 22 July 2012, http://www.guardian.co.uk/media/2012/ jul/19/penguin-deal-self-publishing-asi?CMP=twt_gu] Wikipedia (article) web accessed, 10 August 2012. http://en.wikipedia.org/ wiki/Publishing

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