No subject

Physical media                                        Streaming media
Local servers                                           Clouds
GUI and WIMP                                       Other multimodal
interfaces (affective, conversational, haptic, immersive, direct
manipulation, perceptual)
Storyspace                                               iOS
Floppy disks                                            Apps with bonus features
Amateurism                                            Venture capital
Listservs
CommentPress, SocialBook
Monograph                                               Excerpts,
chapters, paragraphs
Library                                                    Repository
Xerox copies                                            Open Access as
idea; paywall as practice
Transcription                                            Digitization
Adaptations, versioning (sequential)        Transmedial storytelling
(simultaneous)
File structures                                            Slider bar
Collage aesthetic (static)                            Networked books,
liquid books (dynamic)
Artists books                                            The neo-analog
Book as artifact                                     The expanded book
(not-codex, not-digital, not-game, not-conversation, not-collaborative
content creation but situated in the interstitial field)
Pay to read                                                Pay to publish
Editions                                                    Browser
and system compatibility
Bookseller                                                Amazon
Project Gutenberg                                       Google books
Borrower records, purchasing history        Granular data collection
File sharing                                                File sharing
Market monopolies                                    Market monopolies
-------------------------

Thanks David and Rita for these,

I guess diagrammatics or concept maps are always something of a last
resort during any period of disorientation, so thanks for putting
together this thought-provoking set of distinctions to provide some
coordinates.

For whatever it's worth, I find Rita's map a bit more recognizable, if
only because I'm ultimately not sure how some of these binaries are
supposed to operate in David's model. I can't tell if something like
"games | world", for instance, should be considered more along the
lines of, say, Kostas Axelos or Jane McGonigal (maybe both?).
Similarly, "art | aesthetics" also seems problematic: art discourses
have always been deeply intertwined with aesthetic frameworks since
Kant's engagements with Baumgarten; and the concept of media,
moreover, itself arises alongside these genealogies of aesthetic
thought. I wonder what kind of distinction is being made here, unless
this is just a veiled reference to Bridle's New Aesthetic project? On
the more technical side of things, why place a distinction between
"Web 2.0 | The Stack"? Besides the fact that your list already recalls
Tim O'Reilly's own set of marketing distinctions, surely this is
actually a more or less consistent trajectory of intensification
towards the consolidation and enclosure of internet infrastructures
through corporate services. A key moment here would be the
introduction of Amazon Web Services geared toward selling server-space
to corporate clients in 2006, more or less contemporaneous with the
user-generated content hype.

On the other hand, maybe I'm just being a bit nit-picky. Perhaps it's
best to just take the list as a provocation or speculative map for
discussion. In this case, one thing I want to ask about is what kind
of references are you drawing from to sketch out the post-digital. As
opposed to the art-orientated definition from Alessandro and Florian -
which they tend to trace back to Kim Cascone's 'Aesthetic of Failure'
essay - there is a competing corporate literature that you're alluding
to here. Can unpack that discourse in a bit more detail, especially
when it comes to these points about it being a zero-sum game?

For Rita's set of terms, meanwhile, I also wondered how I should read
these - should I take it as a straight transition from left to right?
Or something more like a dialectical situation, or Greimasian binary
oppositions? The latter approaches actually might not be too
far-fetched with some of these terms, since artist books and
booksellers, for instance, are being recontextualized and revived in
specific ways as a result of whatever's going on to the right. Just
think about the fetishization of the print book as technical object by
Visual Editions, or the maker-like slow theory artisanal processes of
Univocal Publishing, or the revival of post-digital Xeroxed zines with
Motto.

I wonder if I could ask Rita whether it might be useful to also
provide some explicit case studies, artworks, books or projects that
might populate or transform the set up you've provided? There's
material I know you've taught and written criticism on, but it might
be useful to explicitly propose some cases to help us to grasp the
stakes of the formation you're proposing.

Cheers,

-- 
Michael Dieter
Lecturer
Media Studies
The University of Amsterdam
Turfdraagsterpad 9
1012 XT Amsterdam
http://home.medewerker.uva.nl/m.j.dieter/