[-empyre-] OSW: open source writing in the network

Simon Biggs simon at littlepig.org.uk
Fri Jan 13 03:53:05 EST 2012


Perhaps we are confusing authorship and publishing (Dmytri's distinction between production and consumer good could also be understood as a similar distinction). OS software is as much about writing software as distributing it, with people having the right to re-write, re-purpose or add to code. OS publishing could be seen in this model as a Wiki-like conflation of writing and distributing the artefact. Alternatively, we can consider the artefact as something authored conventionally but released under an open license. But these are not the same thing. Which model are we discussing - or are we discussing both (my preferred option)?

best

Simon


On 12 Jan 2012, at 16:26, adam wrote:

> 
> 
> On 01/12/2012 05:02 PM, Simon Biggs wrote:
>> I'm an academic and an artist and totally champion the open book. Knowledge is made best when it is made shared.
>> 
> 
> There is a conflation often between open books as a product and open production as a process. It seems to be that Open in the field of publishing usually refers to distribution - the book has an open license that enables it to be distributed. More often than not however the books are not available to be altered and changed (ie the digital source is either PDF or not made available at all).
> 
> In software circles the differences in these kinds of freedoms has been spelled out:
> https://www.gnu.org/philosophy/free-sw.html
> 
> 1. The freedom to run the program, for any purpose (freedom 0).
> 2. The freedom to study how the program works, and change it so it does your computing as you wish (freedom 1). Access to the source code is a precondition for this.
> 3. The freedom to redistribute copies so you can help your neighbor (freedom 2).
> 4. The freedom to distribute copies of your modified versions to others (freedom 3). By doing this you can give the whole community a chance to benefit from your changes. Access to the source code is a precondition for this.
> 
> 
> Open publishing largely doesnt seem to abide by these kinds of freedoms. Especially with regard to making the source available for change which is stated as a precondition for two of the above ie. "Access to the source code is a precondition....".
> 
> I have the feeling that Open mostly means free to distribute in the open publishing world. It does not mean or imply the right to have access to the editable sources, nor does it mean the right to fork.
> 
> It seems to me the reluctance to embrace these freedoms is closely related to the fear of losing control of a book and the fear of 'poor quality' creeping in. Hence open production seems pretty untenable for the majority of the academic world as far as I can see.
> 
> 
>> I'm not sure what you mean by texture Adam, but the open source ethic certainly gives life a different texture than a capitalist model.
>> 
> 
> Well I think the open source ethic is well aligned with capitalism. There is no disconnect there. Apache, Mozilla, Ubuntu, Blender...all seem to function pretty well within capitalism. The question for open source or open publishing is not it vs capitalism but more how open collaboration can effect the texture of production. Do books read differently and 'become different' in open models against the dominant paradigm which has been closed single authorship within proprietary publishing.
> 
> adam
> 
> 
> 
> 
> 
> 
>> best
>> 
>> Simon
>> 
>> 
>> On 12 Jan 2012, at 13:42, adam wrote:
>> 
>>> hi,
>>> 
>>> A happy new year to all :)
>>> 
>>> On 01/11/2012 10:44 AM, tterranova wrote:
>>>> 
>>>> I'm not saying that I agree with all these different perspectives, but
>>>> my questions to the list would be: in which ways do open practices of
>>>> publishing, writing and reading interact with the general attention
>>>> economy of networked media, where attention is defined as a 'scarce
>>>> commodity'? How can they be used to counteract some of the
>>>> compulsive/destructive dynamics of Internet readership? What do your
>>>> experiences tell us of the difference between social interaction on
>>>> corporate media platforms and social interaction on alternative, open
>>>> platforms? What is it that in your opinion ultimately defines the
>>>> quality and affective texture of communication on succesful open platforms?
>>> 
>>> What defines the quality and affective texture of books on open and closed platforms? - is there anyone that can comment on the differences between books produced by open and closed platforms? It seems to me that there are some wonderful opportunities to transform the texture of books even within a linear container because of open production models enabled by the web. Yet there are many, academics being near the top of the list, that shoot down the idea of open book production.
>>> 
>>> adam
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>>> 
>>>> looking forward to the rest of the discussion
>>>> 
>>>> tiziana terranova
>>>> 
>>>> 
>>>> 
>>>> Il 09/01/12 12.07, Simon Biggs ha scritto:
>>>>> Welcome to all empyre subscribers and, especially, this months
>>>>> moderators and discussants, Penny Travlou, Smita Kheria, Tiziana
>>>>> Terranova, Dmytri Kleiner, Adam Hyde, Salvatore Iaconesi, Joss Hands
>>>>> and Marc Garrett. We have the collective responsibility of welcoming
>>>>> in 2012, during the year's first monthly theme. For much of the world
>>>>> 2011 was, at best, a challenging year, and 2012 looks like more of the
>>>>> same. This appears to be a period of socio-economic change as the
>>>>> shifting tectonic plates of geo-political power grind against one
>>>>> another. I've never been keen on futurology or fortune-telling but am
>>>>> confident 2012 will be another year of turbulent events that will have
>>>>> us end up in a different place to where we started.
>>>>> 
>>>>> In this globalised and highly mediated context, during the month of
>>>>> January, we wish to focus empyre discussion on how writing and
>>>>> publishing are currently evolving in the context of global networks.
>>>>> We wish to engage a debate about open models of writing and
>>>>> publishing. We hope to gain some insight into how changes in notions
>>>>> and practices of authorship, media, form, dissemination, intellectual
>>>>> property and economics affect writing and publishing as well as the
>>>>> formation of the reader/writerships, communities and social engagement
>>>>> that must flow from that activity. Specifically, we wish to look at
>>>>> examples of open publishing, whether they be FLOSS manuals, copyLeft
>>>>> or CopyFarLeft or other publication models, in order to look at new
>>>>> methods for knowledge making and distribution. We also wish to
>>>>> consider how communities of shared-value emerge through such
>>>>> initiatives and how their members are able to identify themselves to
>>>>> one another and others.
>>>>> 
>>>>> As usual, the month (the next three weeks) will be structured into
>>>>> weekly bite sized chunks, each led by a moderator and involving two
>>>>> discussants. Participants can choose to post to the list at any time
>>>>> but the discussants for each week will have the opportunity to focus
>>>>> the debate for that period. We hope that as many empyre subscribers as
>>>>> possible will feel engaged and contribute to the discussion.
>>>>> 
>>>>> Our guests are, in the order of the weeks they will participate:
>>>>> 
>>>>> Tiziana Terranova lectures and researches cultural studies and new
>>>>> media at the Università degli Studi di Napoli 'L'Orientale'. She is
>>>>> the author of Network Culture (Pluto Press, 2004) and has recently
>>>>> co-edited, with Couze Venn, a special issue of Theory, Culture and
>>>>> Society on Michel Foucault's recently published courses. She is
>>>>> currently working on a book about neoliberalism and digital social media.
>>>>> 
>>>>> Dmytri Kleiner describes himself as a Venture Communist. He creates
>>>>> miscommunication technologies, including deadSwap, Thimbl and R15N and
>>>>> is the author of the Telekommunist Manifesto. He lives in Berlin and
>>>>> his url is http://dmytri.info
>>>>> 
>>>>> Simon Biggs is an artist, writer and curator. His work focuses on
>>>>> interactive systems, new media and digital poetics
>>>>> (http://www.littlepig.org.uk). He is involved in a number of research
>>>>> projects, including the EU funded project Developing a Network-Based
>>>>> Creative Community: Electronic Literature as a Model of Creativity and
>>>>> Innovation in Practice (http://www.elmcip.net). He is Professor of
>>>>> Interdisciplinary Arts, directing the MSc by Research in
>>>>> Interdisciplinary Creative Practices, at the University of Edinburgh.
>>>>> 
>>>>> Adam Hyde lives in Berlin. In 2007 Adam started FLOSS Manuals, a
>>>>> community for producing free manuals for free software. Through this
>>>>> work he also started Booki (a book production platform) and has been
>>>>> pioneering Book Sprints - a methodology for collaboratively producing
>>>>> books in 5 days or less. Previously, as an artist, he was 1/2 of r a d
>>>>> i o q u a l i a, Simpel and other artistic projects engaging open
>>>>> source and free media.
>>>>> 
>>>>> Salvatore Iaconesi teaches cross media design at “La Sapienza”
>>>>> University of Rome, at Rome University of Fine Arts and at ISIA Design
>>>>> in Florence. He is the founder of Art is Open Source and of FakePress
>>>>> Publishing, focusing on the human beings' mutations through ubiquitous
>>>>> technologies and networks.
>>>>> 
>>>>> Penny Travlou is a social geographer and ethnographer lecturing in the
>>>>> Edinburgh School of Architecture and Landscape Architecture at the
>>>>> University of Edinburgh. Her research currently focuses on studying
>>>>> emergent network-based creative communities. She is Co-Investigator on
>>>>> the ELMCIP project.
>>>>> 
>>>>> Marc Garrett is an activist, artist, writer and co-director/founder
>>>>> (with artist Ruth Catlow) of internet arts collective
>>>>> http://www.furtherfield.org (since 96) and the Furtherfield Gallery&
>>>>> social space in London. Through these platforms various contemporary
>>>>> media arts exhibitions and projects are presented nationally and
>>>>> internationally. Marc also hosts a weekly media arts radio programme
>>>>> on Resonance FM, co-edited the publication "Artists Re: thinking
>>>>> games" and is editing a new publication "Conversations As We Leave The
>>>>> 21st Century". He is currently undertaking a PhD at Birkbeck
>>>>> University, London.
>>>>> 
>>>>> Joss Hands is a lecturer at Anglia Ruskin University where he is
>>>>> Director of the Anglia Research Centre in Digital Culture
>>>>> (ARCDigital). His research interests are at the intersection of
>>>>> technology, new media, politics and critical theory. His focus has
>>>>> been in two main areas. The role of technology in providing an arena
>>>>> for the expression of dissent and the organisation of resistance
>>>>> movements and the role of technology in more formal democratic
>>>>> procedures, specifically the role of the Internet in contributing
>>>>> towards the development of deliberative democracy. He has recently
>>>>> completed a book on digital activism, @ is for Activism: Dissent,
>>>>> Resistance and Rebellion in a Digital Culture, published by Pluto Press.
>>>>> 
>>>>> Smita Kheria is a lawyer and lecturer in law at the University of
>>>>> Edinburgh. Her focus of interest is intellectual property law and
>>>>> issues around authorship, especially concerning artists' practices
>>>>> with new media. Smita is an associate of SCRIPT: the AHRC Research
>>>>> Centre for Studies in Intellectual Property and Technology and is
>>>>> Supervising editor (Intellectual Property) for SCRIPT-ed, the journal
>>>>> of Law, Technology&  Society.
>>>>> 
>>>>> 
>>>>> best
>>>>> 
>>>>> Simon
>>>>> 
>>>>> 
>>>>> Simon Biggs
>>>>> simon at littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK
>>>>> skype: simonbiggsuk
>>>>> 
>>>>> s.biggs at ed.ac.uk Edinburgh College of Art, University of Edinburgh
>>>>> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
>>>>> http://www.movingtargets.co.uk/
>>>>> 
>>>>> 
>>>>> 
>>>>> 
>>>>> _______________________________________________
>>>>> empyre forum
>>>>> empyre at lists.cofa.unsw.edu.au
>>>>> http://www.subtle.net/empyre
>>>> 
>>>> 
>>>> _______________________________________________
>>>> empyre forum
>>>> empyre at lists.cofa.unsw.edu.au
>>>> http://www.subtle.net/empyre
>>> 
>>> --
>>> 
>>> --
>>> Adam Hyde
>>> Founder, FLOSS Manuals
>>> Project Manager, Booki
>>> Book Sprint Facilitator
>>> mobile :+ 49 177 4935122
>>> identi.ca : @eset
>>> booki.flossmanuals.net : @adam
>>> 
>>> http://www.flossmanuals.net
>>> http://www.booki.cc
>>> http://www.booksprints.net
>>> 
>>> _______________________________________________
>>> empyre forum
>>> empyre at lists.cofa.unsw.edu.au
>>> http://www.subtle.net/empyre
>>> 
>> 
>> 
>> Simon Biggs
>> simon at littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk
>> 
>> s.biggs at ed.ac.uk Edinburgh College of Art, University of Edinburgh
>> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/
>> 
>> 
>> 
>> 
>> _______________________________________________
>> empyre forum
>> empyre at lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
> 
> -- 
> 
> --
> Adam Hyde
> Founder, FLOSS Manuals
> Project Manager, Booki
> Book Sprint Facilitator
> mobile :+ 49 177 4935122
> identi.ca : @eset
> booki.flossmanuals.net : @adam
> 
> http://www.flossmanuals.net
> http://www.booki.cc
> http://www.booksprints.net
> 
> 


Simon Biggs
simon at littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype: simonbiggsuk

s.biggs at ed.ac.uk Edinburgh College of Art, University of Edinburgh
http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/






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