Annotated Bibliography:
- Gilbert, A. and Bajohr, H. (eds) (2016) Publishing as artistic practice. Berlin: Sternberg Press.
This book explores the evolving landscape of publishing in the context of changing media, artistic, and political environments. It investigates the renegotiation of concepts such as ownership, authorship, work, accessibility, and publicity in the face of institutional upheavals. The book discusses recent publishing concepts emerging from the experimental literature and art scene, emphasizing how publishing is often an integral part of artistic practice. It brings the question of publishing to the forefront of aesthetic and academic discourse. The reference challenges my understanding of publishing by highlighting the intersection of diverse developments and the new ruptures occurring within the field.
2. Ludovico, A. and Cramer, F. (2018) Post-digital print: the mutation of publishing since 1894. Third edition. Eindhoven: Onomatopee (Onomatopee, 77).
Ludovico explores the coexistence and transition between analog and digital publishing in the post-digital age. He examines the history of avant-garde arts as a prelude to bridging the gap between paper and electronic publishing. Ludovico’s work challenges the dichotomy between the analog and the digital, and informs my understanding of how these mediums can mix, transition, and cross over. As a practitioner at the forefront of both print and digital publishing, Ludovico’s insights offer valuable perspectives on the future of publishing.
3. Goldsmith, K. (2005) ‘If It Doesn’t Exist on the Internet, It Doesn’t Exist’, in. Available at: https://writing.upenn.edu/epc/authors/goldsmith/if_it_doesnt_exist.html
Goldsmith’s essay delves into the influence of the internet on contemporary culture and the perception of existence. It challenges the traditional notion of publishing as a physical manifestation and raises questions about the materiality and accessibility of published content. Goldsmith’s work enhances my understanding by drawing attention to the growing significance of digital platforms in shaping the contemporary publishing landscape.
4.Coover, R. (1992) ‘The End of Books’. Available at: https://archive.nytimes.com/www.nytimes.com/books/98/09/27/specials/coover-end.html
Coover’s piece explores the transformative potential of electronic publishing and challenges the traditional concept of books as physical objects. He examines the possibilities of storytelling, narrative structures, and reader engagement in a digital era. Coover’s perspective challenges my understanding of the materiality of physical publications and pushes me to consider how digital mediums can shape the experience of reading and engagement with content.
5. Paterson, K. (no date) Future Library, 2014 – 2114. Available at: https://www.futurelibrary.no
Paterson’s project reimagines the concept of publishing by commissioning authors to write manuscripts that will not be read for 100 years. This long-term perspective challenges the instant gratification culture of publishing and raises questions about the temporality and preservation of published works. Paterson’s project prompts me to consider how the methods of publishing can influence the experience of reading by incorporating a sense of anticipation and time into the process.
6. Studio Naranjo – Etxeberría (2018) Newspaper design for Chapelle Saint-Jaques. Available at: https://www.behance.net/gallery/64117917/En-Mille-Morceaux-2018 (Accessed: 26 May 2023).
This project explores the intersection of graphic design and publishing by creating a newspaper as an artistic medium. The design experiments with format, layout, and content to challenge traditional notions of how information is presented and consumed. This practice challenges my understanding of publishing by highlighting the potential of innovative design approaches to shape the reading experience and challenge established conventions of materiality.
Critical Analysis 1:
‘On Publishing: Fugitive Materiality and the Future of the Anthropocene Book’ in the Context of Newspaper Design
In the chapter “On Publishing: Fugitive Materiality and the Future of the Anthropocene Book” from the book “Publishing as Artistic Practice,” the concept of fugitive materiality and its relationship to the future of publishing are explored through the lens of Katie Paterson’s Future Library project. This critical analysis will delve into the specificities of the project and examine how the ideas and positions presented in the reference are shaped by their form, rhetoric, production, and circulation, with a particular focus on how newspaper design can inform this discourse.
Katie Paterson’s Future Library project introduces a visionary approach to publishing, where the written word extends beyond the traditional boundaries of time. The project invites a different author each year to contribute a text that will remain unpublished until 2114. The manuscripts are stored in a specially designed room in the New Public Library in Oslo, constructed from the wood of the thousand trees planted at the project’s inception. This act of preservation, combined with the delayed publication timeline, challenges the conventions of publishing and raises questions about the materiality, temporality, and purpose of the book.
When considering the influence of newspaper design on the Future Library project, we can examine the role of newspapers as transitory and disposable objects. Unlike books, newspapers are typically consumed and discarded after a short lifespan, reflecting the concept of fugitive materiality discussed in the chapter. The design elements of newspapers, such as layout, typography, and visual hierarchy, serve to capture readers’ attention within a limited timeframe and convey information efficiently. By drawing parallels between newspaper design and the temporal nature of the Future Library project, we can discern how the methods of publishing, including form and production, shape the experience of reading and engage with the materiality of physical publications.
Moreover, newspaper design can inform the discourse surrounding the Future Library project by highlighting the interplay between printed text and the digital realm. In an era dominated by digital media, newspapers retain their relevance as physical artifacts that offer a tangible and immersive reading experience. This contrast between the digital and physical realms becomes particularly relevant when discussing the future of publishing, as digital formats challenge the traditional notions of materiality and permanence. By juxtaposing newspaper design practices with the Future Library project, we can explore how different methods of publishing inform and challenge one another, contributing to the evolving field of graphic and communication design.
In dialogue with the reference “The End of Books” by Robert Coover, we can further delve into the tension between digital and physical publishing. Coover’s essay explores the potential obsolescence of books in the face of electronic media, reflecting on the transformative impact of technology on the publishing landscape. This dialogue allows us to examine how the Future Library project, with its focus on physical manuscripts and long-term preservation, provides a counterpoint to the predictions of the death of the book. By extending the lifespan of books and engaging with the materiality of physical publications, Paterson’s project challenges the dichotomy between digital and print media, suggesting alternative futures for publishing.
In conclusion, the critical analysis of “On Publishing: Fugitive Materiality and the Future of the Anthropocene Book” in the context of newspaper design reveals the intricate relationship between different publishing methods and the experience of reading physical publications. The Future Library project, with its emphasis on temporality, preservation, and the materiality of books, engages in a dialogue with the transitory nature of newspapers and challenges the conventions of publishing. By examining the influence of newspaper design and engaging in a dialogue with references like Robert Coover’s “The End of Books,” we gain a deeper understanding of how the methods of publishing inform and shape the field of graphic and communication design, especially within the evolving landscape of digital media.
Critical Analysis 2:
‘If It Doesn’t Exist on the Internet, It Doesn’t Exist’ by Kenneth Goldsmith
Kenneth Goldsmith’s essay “If It Doesn’t Exist on the Internet, It Doesn’t Exist” offers a thought-provoking perspective on the relationship between existence, information, and the digital landscape. This critical analysis will delve into the specificities of Goldsmith’s argument and explore how the ideas and positions presented in the reference are shaped by their form, rhetoric, production, and circulation. Additionally, we will examine how Goldsmith’s perspective informs, or is informed by, the field of graphic or communication design.
In his essay, Goldsmith challenges the notion of existence in the context of the internet age, suggesting that if something is not accessible or available online, it is rendered invisible or nonexistent in contemporary society. He emphasizes the increasing reliance on digital platforms for the dissemination and storage of information, leading to the exclusion of non-digital or offline sources. Goldsmith’s argument highlights the profound impact of digital technology on our perception of reality, knowledge production, and cultural memory.
When considering the influence of graphic or communication design on Goldsmith’s perspective, we can explore how design shapes and mediates the way information is presented and accessed online. Design elements such as typography, layout, color schemes, and user interfaces play a crucial role in enhancing accessibility, readability, and engagement with digital content. The design choices made in the creation of websites, apps, and online platforms contribute to the overall user experience and influence the perception of existence within the digital realm.
Furthermore, Goldsmith’s essay prompts a critical examination of the ethics and implications of relying solely on digital platforms for the preservation and dissemination of information. In the field of graphic or communication design, this raises questions about the role of design in balancing accessibility with the need to preserve diverse forms of knowledge and cultural heritage. Designers are challenged to create inclusive interfaces and digital experiences that consider the broader socio-cultural contexts and cater to diverse audiences, ensuring that multiple voices and perspectives are represented and not overshadowed by the dominant digital landscape.
In dialogue with the reference “Publishing as Artistic Practice” by Paul Benzo and others, we can further explore the intersection between publishing, design, and the internet age. “Publishing as Artistic Practice” delves into the transformative shifts occurring in the publishing landscape, including changes in ownership, authorship, accessibility, and publicity. By examining these shifts through the lens of Goldsmith’s argument, we can discern how design practices in publishing respond to the challenges and opportunities presented by the digital realm.
Goldsmith’s essay also raises questions about the role of graphic or communication design in preserving and reimagining offline forms of existence and knowledge. It invites designers to explore innovative ways to bridge the gap between the digital and physical realms, fostering a more nuanced understanding of existence beyond the confines of the internet. This may involve the creation of hybrid experiences that integrate digital and physical elements or the development of alternative platforms that value and promote diverse forms of expression and information dissemination.
In conclusion, the critical analysis of “If It Doesn’t Exist on the Internet, It Doesn’t Exist” by Kenneth Goldsmith highlights the profound influence of digital technology on our perception of existence and information access. By examining the role of graphic or communication design within the digital landscape, we gain insights into the complex interplay between design, information dissemination, and cultural memory. Goldsmith’s perspective encourages designers to critically reflect on the ethical implications and possibilities of design in the digital age, emphasizing the need for inclusivity, preservation of diverse knowledge forms, and the exploration of hybrid experiences that transcend the binary distinction between online and offline existence.