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Fri Nov 22 10:42:51 EST 2013
<br>
Physical media =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0Streaming media<br>
Local servers =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 Clouds<br>
GUI and WIMP =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 Other multimodal<br>
interfaces (affective, conversational, haptic, immersive, direct<br>
manipulation, perceptual)<br>
Storyspace =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0 iOS<br>
Floppy disks =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0Apps with bonus features<br>
Amateurism =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0Venture capital<br>
Listservs<br>
CommentPress, SocialBook<br>
Monograph =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0 Excerpts,<br>
chapters, paragraphs<br>
Library =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=
=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0Repository<br>
Xerox copies =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0Open Access as<br>
idea; paywall as practice<br>
Transcription =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0Digitization<br>
Adaptations, versioning (sequential) =A0 =A0 =A0 =A0Transmedial storytellin=
g<br>
(simultaneous)<br>
File structures =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=
=A0 =A0 =A0 =A0 =A0 =A0 =A0Slider bar<br>
Collage aesthetic (static) =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0Networked books,<br>
liquid books (dynamic)<br>
Artists books =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0The neo-analog<br>
Book as artifact =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 The expanded book<br>
(not-codex, not-digital, not-game, not-conversation, not-collaborative<br>
content creation but situated in the interstitial field)<br>
Pay to read =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=
=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0Pay to publish<br>
Editions =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0Browser<br>
and system compatibility<br>
Bookseller =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0Amazon<br>
Project Gutenberg =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 Google books<br>
Borrower records, purchasing history =A0 =A0 =A0 =A0Granular data collectio=
n<br>
File sharing =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0File sharing<br>
Market monopolies =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
=A0 =A0 =A0 =A0Market monopolies<br>
-------------------------<br>
<br>
Thanks David and Rita for these,<br>
<br>
I guess diagrammatics or concept maps are always something of a last<br>
resort during any period of disorientation, so thanks for putting<br>
together this thought-provoking set of distinctions to provide some<br>
coordinates.<br>
<br>
For whatever it's worth, I find Rita's map a bit more recognizable,=
if<br>
only because I'm ultimately not sure how some of these binaries are<br>
supposed to operate in David's model. I can't tell if something lik=
e<br>
"games | world", for instance, should be considered more along th=
e<br>
lines of, say, Kostas Axelos or Jane McGonigal (maybe both?).<br>
Similarly, "art | aesthetics" also seems problematic: art discour=
ses<br>
have always been deeply intertwined with aesthetic frameworks since<br>
Kant's engagements with Baumgarten; and the concept of media,<br>
moreover, itself arises alongside these genealogies of aesthetic<br>
thought. I wonder what kind of distinction is being made here, unless<br>
this is just a veiled reference to Bridle's New Aesthetic project? On<b=
r>
the more technical side of things, why place a distinction between<br>
"Web 2.0 | The Stack"? Besides the fact that your list already re=
calls<br>
Tim O'Reilly's own set of marketing distinctions, surely this is<br=
>
actually a more or less consistent trajectory of intensification<br>
towards the consolidation and enclosure of internet infrastructures<br>
through corporate services. A key moment here would be the<br>
introduction of Amazon Web Services geared toward selling server-space<br>
to corporate clients in 2006, more or less contemporaneous with the<br>
user-generated content hype.<br>
<br>
On the other hand, maybe I'm just being a bit nit-picky. Perhaps it'=
;s<br>
best to just take the list as a provocation or speculative map for<br>
discussion. In this case, one thing I want to ask about is what kind<br>
of references are you drawing from to sketch out the post-digital. As<br>
opposed to the art-orientated definition from Alessandro and Florian -<br>
which they tend to trace back to Kim Cascone's 'Aesthetic of Failur=
e'<br>
essay - there is a competing corporate literature that you're alluding<=
br>
to here. Can unpack that discourse in a bit more detail, especially<br>
when it comes to these points about it being a zero-sum game?<br>
<br>
For Rita's set of terms, meanwhile, I also wondered how I should read<b=
r>
these - should I take it as a straight transition from left to right?<br>
Or something more like a dialectical situation, or Greimasian binary<br>
oppositions? The latter approaches actually might not be too<br>
far-fetched with some of these terms, since artist books and<br>
booksellers, for instance, are being recontextualized and revived in<br>
specific ways as a result of whatever's going on to the right. Just<br>
think about the fetishization of the print book as technical object by<br>
Visual Editions, or the maker-like slow theory artisanal processes of<br>
Univocal Publishing, or the revival of post-digital Xeroxed zines with<br>
Motto.<br>
<br>
I wonder if I could ask Rita whether it might be useful to also<br>
provide some explicit case studies, artworks, books or projects that<br>
might populate or transform the set up you've provided? There's<br>
material I know you've taught and written criticism on, but it might<br=
>
be useful to explicitly propose some cases to help us to grasp the<br>
stakes of the formation you're proposing.<br>
<br>
Cheers,<br>
<span class=3D"HOEnZb"><font color=3D"#888888"><br>
--<br>
Michael Dieter<br>
Lecturer<br>
Media Studies<br>
The University of Amsterdam<br>
Turfdraagsterpad 9<br>
1012 XT Amsterdam<br>
<a href=3D"http://home.medewerker.uva.nl/m.j.dieter/" target=3D"_blank">htt=
p://home.medewerker.uva.nl/m.j.dieter/</a><br>
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