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    <title>We’ll soon find out what is truly special about human writing | Psyche Ideas</title>
    <dc:date>2026-04-21T06:25:34+00:00</dc:date>
    <link>https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI can take over many writing tasks. But there is something irreplaceable about a text with an author standing behind it"

...

"In the mid-15th century, when Johannes Gutenberg began experimenting with movable type, the scribes who had spent their lives copying manuscripts by hand could not have known they were witnessing the end of their profession. The texts maintained a deceptive continuity, circulating the same liturgies and legal canons that had always been reproduced, possibly camouflaging the massive shift that was occurring in the mechanics of cultural production. Whether the scribes saw beyond the unchanged content to the upheaval in its origin, who can say; but we, looking back, can see what they couldn’t: that the revolution was invisible in the output – it lived entirely in the means.

Nearly six centuries later, we find ourselves at another such juncture. Large language models (LLMs) can produce prose that is, by most functional measures, indistinguishable from competent human writing. The question that might eventually have come to haunt the scribes of the 15th century – what happens to us when machines can do what we do? – has resurfaced with some vengeance. What happens to writing when the production of prose no longer guarantees the presence of a mind behind what is written?

The answer, if there is one, will possibly be found in what writing has always asked of the person who does it: a willingness to stand behind words, to mean them, and to accept the consequences of having claimed to have written them.

Writing has always been understood as a trace of human thought; when we read, we assume that behind the words lies a consciousness that selected them, a mind that deliberated over their arrangement, a person who stands accountable for their claims. This assumption is so deeply embedded in literate culture that we rarely articulate it – it is simply what writing is. Generative AI disrupts this assumption, producing text that has no author in any meaningful sense, no one who meant it, no one who can be held responsible for it, and no one who was changed by the act of composing it. The words exist, but the covenant that once connected writer to reader has been severed.

The professional consequences of this severance are already visible. Journalism, criticism and the broader ecosystem of writing-for-pay have already been contracting for two decades, squeezed by the ruthless logic of attention economics. Generative AI arrives at this moment as an accelerant, further breaking down the transaction that once sustained writing as labour – time exchanged for text exchanged for money.

Writing has weathered previous technological upheavals but, while the history is instructive, it is not reassuring in the way some of us might hope because the threat this time is of a different kind.

The printing press didn’t destroy writing, but democratised its distribution, making books cheap and abundant, creating new publics and new genres. The intimate relationship between scribe and text, the sense that each manuscript was a unique artefact bearing the marks of its maker, gave way to something less personal.

Up until the late 19th century, handwriting was the dominant form of creative literary expression. This changed in the 1870s, when the first commercial typewriters came to market. Where handwriting had long been understood as an extension of the body, a kind of graphological fingerprint, the typed page was uniform, mechanical, depersonalised. Writers like Henry James and Mark Twain, who were among the first to compose on typewriters, reported that the machine changed not just how their prose looked but how it felt to produce it. The clatter of keys imposed a different rhythm and a different relationship to revision. Something was lost; something else was gained.

The word processor, and later the networked computer, accelerated this logic. The ease of editing made prose more fluid, more provisional, and the internet dissolved the gatekeeping structures that had once controlled publication. Anyone could write and publish, resulting in an explosion of text. Blogs, comments, social media posts, emails – by the early 2000s, written language was being produced on a scale unprecedented in human history. Writing became ubiquitous, ordinary and, in many of its manifestations, sadly disposable.

Each of these transitions was accompanied by predictions of catastrophe and claims of liberation, and each changed writing without eliminating it. The lesson that triumphalists like to draw is one of resilience, that writing adapts and survives, and finds new purposes as old ones become obsolete.

But generative AI represents a rupture of a different order, because, where previous technologies changed how writing was produced or distributed, LLMs change what writing is, or, more precisely, what it can be assumed to be. When a reader encounters a text, they can no longer take for granted that a human being composed it – as long as LLMs exist, there will always be doubt as to whether a piece was entirely written by a human.

The implications ramify in unexpected directions. Academic writing, which depends on the assumption that authors have actually done the thinking their papers represent, faces a crisis of verification. Legal documents, contracts and medical records, genres where accountability is essential, become newly uncertain. Even personal correspondence, the most intimate form of writing, is shadowed by doubt. Did my friend write this message, or did they prompt a machine to write it for them?

This contamination of doubt has spread quickly, most notably online, as the internet, once imagined as a vast library of human knowledge, is filling with synthetic text. Search results, product reviews, news aggregators and social media feeds are increasingly populated by machine-generated content designed to capture attention or manipulate behaviour. It’s harder than ever to identify trustworthy content.

But the question of writing’s future cannot be answered by cataloguing losses. If writing is to survive as something more than a nostalgic practice, it must find a new basis for its value. When it can now be almost entirely simulated by machines, what remains?

The answer is probably not in the properties of text but in the nature of the relationship that text enables. Human writing is only partly concerned with the production of words; more essential to its essence is the assumption of responsibility for those words. When a person writes, they are committing themselves, something a language model cannot do. They are saying, in effect: ‘I stand behind this; I am willing to be held accountable for the attempt.’

This dimension of writing, what we might consider its testimonial function, has always been present, but it has been obscured by more practical concerns. We valued writing for its usefulness, like how it conveyed information, made arguments, entertained, and persuaded. These functions can now be performed by machines with considerable competence, but what machines cannot do is bear witness or stake a claim grounded in lived experience and personal judgment. Large language models cannot enter into the implicit contract that says: here is a mind engaging with a problem, here is a person who cares about getting it right.

In an environment saturated with synthetic text, this testimonial function becomes newly precious. Readers may stop asking whether a piece is well written and begin asking who wrote it, under what conditions, and why they should be trusted. Evidence of human deliberation will not take a single form, but may reside in the traces of process that machines tend to smooth away: in the presence of hesitation, idiosyncrasy, revision and judgment made under constraint. Imperfection itself might acquire a different valence. Even forms long thought obsolete, such as handwritten notes or materially specific modes of composition, may regain appeal as visible reminders that a particular person was present at the act of writing. Essentially, the criteria for valuable writing might shift to provenance, from fluency to accountability, and writing that matters will be writing that can still function as evidence of human deliberation – work that cannot be faked because it carries the marks of genuine thought.

The transition will be messy, and many forms of writing will not survive it. But writing that depends on trust and the willingness to be present to a reader – work grounded in first-hand experience or attributed to an author with a hard-earned reputation – well, this may find itself valued in ways it has not been for decades.

The future of writing may look less like the frictionless content economy of the recent past and more like the older, slower forms of correspondence and publication that preceded it. Letters, essays, criticism, investigative journalism, genres where the identity of the writer matters, where readers seek out particular voices and measure what is written against what has been written before. To hold a writer to account, in this sense, is not simply to agree or disagree, but to respond, to challenge, to cite, to remember and, when necessary, to withdraw trust. Such forms cannot be automated without losing what makes them valuable, because they are, by their nature, resistant to scale. We might think of this moment, nearly six decades since the theorist and critic Roland Barthes proclaimed the death of the author, as a moment of revival, as the rebirth of the author.

Whether such writing can sustain itself economically is another question. Writers have always struggled to make a living, and the coming years will intensify that struggle. But the deeper question is not whether writers will be paid – though that is, of course, vitally important – but whether writing will continue to mean something, and whether the act of composing prose will still carry the weight of human intention.

Real, human writing may become rarer and more deliberate – more visibly marked by the presence of the person behind it. It might slow down, retreat from the platforms that have commodified it, and find refuge in spaces where trust can still be built between writer and reader. It may take place in settings and forms that reward patience rather than immediacy, where words are written with an awareness of who will read them and remembered for having been read. It might become more like it was before the age of mass media – a practice defined by the quality of attention it embodies, rather than volume or reach, gathering value through continuity and recognition rather than constant circulation or amplification.

The scribes of Gutenberg’s time could not have imagined the world that movable type would create, and we are no better positioned to foresee what lies ahead. But if writing survives this rupture, it will be because it offers something that no machine can replicate: the irreducible fact of a human being, thinking in public, willing to be known by their words."]]></description>
<dc:subject>writing howwerwrite jameso'sullivan 2026 ai artificialintelligence generativeai genai human humanism language communication stories storytelling literature technology media rolandbarthes llms publishing henryjames marktwain gutenberg history change wordprocessing chatbots howwewrite gutenberh print printing printingpress</dc:subject>
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    <title>Only 3 machines left in Japan?! See how the iconic LIFE Noble Notebook is made! - YouTube</title>
    <dc:date>2026-03-25T06:50:59+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=c_UvVavl-eE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Shop here https://to.jetpens.com/3OO9Y9V. We visited LIFE's factory in Japan, to see how their iconic Noble Notebooks are made. 

▬▬ ✦ P R O D U C T S ✦ ▬▬

LIFE Notebooks: https://to.jetpens.com/3OO9Y9V

▬▬ ✦ T I M E S T A M P S ✦ ▬▬

0:00 Intro
0:30 Cutting Covers & Pages
1:27 Prepping for Sewing 
2:17 Sewing Notebook Spines
3:05 Folding Notebooks
3:31 Pressing Notebooks
4:09 Gluing Notebooks
5:10 Separating Notebooks 
5:36 Binding Notebooks
6:06 Cutting Notebooks
6:19 Outro

▬▬ ✦ L I N K S ✦ ▬▬

N E W S L E T T E R : http://www.jetpens.com/newsletter/sub...
B L O G : http://www.jetpens.com/blog "

[via:
https://www.robinsloan.com/newsletters/good-trains/ ]]]></description>
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<item rdf:about="https://nautil.us/the-internet-has-not-killed-reading-or-attention-spans-1279171">
    <title>The Internet Has Not Killed Reading—or Attention Spans</title>
    <dc:date>2026-03-25T05:46:19+00:00</dc:date>
    <link>https://nautil.us/the-internet-has-not-killed-reading-or-attention-spans-1279171</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with Kevin Ashton, MIT technology pioneer and author of The Story of Stories"

...

"British author and technology pioneer Kevin Ashton has been puzzling over the nature of storytelling for the past 25 years. That’s how long it took him to research and write his latest book, The Story of Stories: The Million-Year History of a Uniquely Human Art.

The first seed of the book for Ashton lay in two seemingly contradictory questions posed by American philosopher and linguist Noam Chomsky. The first, known as Plato’s problem, asks how we can know so much with so little information. Babies, for instance, learn to speak based on what might seem like a poverty of inputs. The second question is known as Orwell’s problem, and it asks the opposite: How could we know so little, given that so much information is available to us?

Ashton—best known for coining the term “The Internet of Things” in 1999, to describe the rise of a whole economy of sensors and other objects connected to the World Wide Web—also began asking himself how the rise of the smartphone might transform the human relationship to storytelling and to the world. “By the mid 2010s, I could be pretty confident that by 2026, some 9 out of 10 people in the world would have a smartphone, and I wanted to know what that might mean,” he recently told me. “The smartphone was an incremental step in the developed world, but in the developing world, it was everything at once.” In the developing world, most people had skipped over radio, television, personal computers.

Ashton knew a revolution was coming. But to grasp what that revolution would look like required him to go back and understand the entire evolution of storytelling across human history—which was initially just a footnote in his research.

I recently spoke with Ashton about why cell phones are so revolutionary in the long history of storytelling technologies, why social media might not be as terrible for young people as some believe, why long-form narratives aren’t dead, and why he’s still hopeful about our newest storytelling technologies.

You divide The Story of Stories into two parts: the first act, which is a million years long and comes to its end with the smartphone, and then everything after that. What is so fundamentally different about the smartphone from earlier storytelling technology?

A lot of people are like, “New technology comes along, and kids can’t understand stories anymore. Kids can’t read, nobody talks, bad things happen, words change, and nobody’s got any attention.” And that didn’t stand up to research very well. But what I did realize was that these major new technologies, each change the scale of storytelling: How many people can tell stories, and how many people they can tell stories to. That started to look really interesting. I was beginning to realize that big new storytelling technology generally leads to big new revolutions.

Of course, one of the early ones is printing. We didn’t all read happily ever after because of printing. There were like 50 or so wars between Protestants and Catholics over whose story was right, and 12 million people were killed. That’s an example of the kind of revolution that happens when new stories become more broadly available. The smartphone really feels like the end of that arc, because now anybody can tell a story to anybody. There is someone in Mongolia right now using Facebook, and if they publish something viral enough and interesting enough that catches enough attention, it’s five shares away from being something everybody sees.

You write in the book that storytelling is uniquely human. Do we know for sure that other species don’t tell stories?

You don’t really see any symbolic behavior in other species. All species communicate, but very few species communicate through visual means. Crows do a little bit of pointing. Dogs can understand humans pointing. But wolves don’t use pointing in the wild. They will mark the ground and use urine for signaling behavior, most of which is olfactory. But what you don’t get is any rigid system where a scratch like this means one thing, or a scratch like that means another thing. And vocalizations are primarily calls and cries that convey warning or attraction. A lot of the information in those sounds is how big is the person making the call or the cry? How old or young is the person making the call or the cry? So there’s nothing remotely like storytelling or story comprehension in any species that we’ve ever studied or discovered.

Humans started telling stories when we sat around the fires. We were primates who wanted to socialize. We couldn’t see gestures. We started making sounds. The sounds we had were, “Look over there,” and “Oh my god, run.” And those sounds were actually very useful sitting around the fire. What you want to talk about around the fire is stuff that’s not there. Maybe it’s about tomorrow or yesterday or something you remember, or something you imagine or something you desire. Over a long period of time, hundreds of hundreds of thousands of years, those sounds start to evolve into something which becomes language. And the reason they evolved into language was so that we could have these conversations about things not present, which is storytelling.

You argue that a fundamental purpose of stories is to distribute glory and shame, in the form of heroes and villains. But literary critics might argue that good stories don’t have clear-cut heroes and villains. They have antiheroes. They have gray areas rather than certainties.

We have to distinguish between stories that tend to be long lasting and successful when told to large audiences—and ones that are not. In successful stories, the antiheroes are still heroes. Batman still saves Gotham City. He just does it wearing black. An antihero isn’t a villain. And there are no anti-villains. The antihero exists as a reaction to the heroic archetype, the pure goody-two-shoes heroes that were in earlier stories. The tweedy literary people in their Brooklyn brownstones who try to write stories where it’s very ambiguous who’s the good guy or the bad guy—it’s all a bit muddled, but there’s still someone you’re supposed to be rooting for. There’s still someone the author identifies with. You cannot tell a story that anyone will enjoy if there’s absolutely nobody doing anything virtuous at any stage. That wouldn’t be a compelling story. But really, the more emotion a story evokes, the better the story. Different things evoke different emotions in different people. But these more experimental white guy books that everyone pretends they read where nothing ever happens …

Like which ones?

I’m not going to name any names! But if you’re not evoking an emotion, you aren’t going to find a lot of readers. A lot of people who want to be high-art storytellers will experiment: “Well, what if they take out these elements? What am I left with? How does it work?” My answer is generally it’s an intellectually interesting exercise that I don’t want to return to. Depending on what kind of mood I’m in, I sometimes have some very salty conversations with literary critics.

Read more: “We Can Be Heroes”

If storytelling has been so utterly transformed by these new technologies, why do the earliest forms of storytelling stick around? People are constantly saying, poetry is dead, novels are dead, but they aren’t dead. They don’t go away even though we keep getting new storytelling technologies. Why do you think that is?

The real deep answer is we’re exactly the same people with exactly the same brains and behaviors that we were 100,000 years ago or more when storytelling first evolved. The things that appeal to us about stories today are the things that appealed to our ancestors. That hasn’t changed. The hard-wiring is the same. And more people can read than ever before. More novels are being sold than ever before.

I’ve been talking about this a long time because I get really tired of this old post-literate world thing. Marshall McLuhan was declaring the world post-literate when only 40 percent of people could read. Give me a break. We live in a world right now where there’s been a democratization of reading, an egalitarianism of reading. People who like romance and fantasy books are writing their own romance and fantasy books and they’re self-publishing them. And some of them get the attention of traditional publishers and become very successful.

I’m not generally very welcome on panel discussions, but you get, “The kids these days, they have no attention spans.” And: “The kids these days, they’re always looking at their phones.” And I’m like, “Well, hang on a minute. Both of those things can’t be true.” Either they have no attention or they can’t stop looking at their phones, by which you mean paying a lot of attention to their phones. What’s on their phones is words, most of the time, even if you go look at some dumb TikTok video, they put words on top of things. There are captions that help it make more sense when they’re communicating with one another. They’re sending text messages. Children today are writing more words than you or I did when we were teenagers.

The other day I was talking to an educator, and they asked, “What do you think about AI? It’s writing all the essays.” My reply is, “I think you should stop assigning people essays.” Why has nobody come up with this idea? Tell the students, “I want you to do the reading, and then you and I are going to sit down for five minutes, one-on-one, and we’re going to talk about it.” That solves the whole freaking problem.

But if our brains haven’t changed since we first started writing down and consuming stories, wouldn’t it be a good thing to continue to write essays? Evidence suggests writing is such an important part of the thinking process.

Writing is just a technology of story. It’s one of the earliest technologies of story. And older people always hold the things that they did when they were kids in higher regard. I’m a writer. I write books. I love writing. I can talk for days about why writing is good and why books are good, but are they better than everything else? That’s an unchallenged assumption based on the fact that it’s old and not based on the fact that it’s better.

The standard academic essay is an example of what Paulo Freire called banking education. The teacher deposits a question; the student retrieves content, formats it per conventions, returns it for grading. The product is assessed, not the thinking that was supposed to happen in the middle. What the essay actually measures is socioeconomic class and family income. Essay content and style correlate more strongly with household income than even SAT scores. Higher-income students deploy abstract reflection, complex syntax, and so on, not because they think more clearly, but because those conventions are part of their linguistic inheritance. Lower-income students write differently, not worse, but get marked down. And here’s the kicker: Rich kids have always been able to pay tutors, writing coaches, and consultants to help them write essays. AI has simply made that service free and universal. The scandal isn’t that students aren’t writing their own essays. The scandal is that we’re only worrying about the problem now that the cheat is available to everyone.

What about long-form versus very short-form storytelling? Can a 5-second post on a social media app really sustain attention or require you to think about ideas in the way that a novel or a nonfiction book would?

You can get equally enthralled by a short story and a 10-book series. Martin Luther’s 95 Theses was this one-page document. The first viral meme broke the world’s greatest power at the time—the Roman Catholic Church—in two. It really isn’t how you say it, it’s what you say. If you’re going to write long-form, you have to do it well. If you’re going to write short-form, you have to do it well. All of that stuff seems values-neutral to me.

But also, social media content isn’t always short-form. A teenager spending three hours on social media might be watching long-form YouTube essays, reading Reddit threads, participating in BookTok, or creating content. Collapsing all of that into a single variable and drawing conclusions about format isn’t justified. The most popular YouTube creators built massive audiences on long-form content. PewDiePie—110 million subscribers, nearly 30 billion total views—averages 28 minutes per video, more than double the platform average. Penguinz0, who has 17.5 million subscribers and 12 billion views, averages 27 to 60 minutes per video depending on measurement window. The generation supposedly incapable of sustained attention built two of YouTube's largest channels on content running 30-60 minutes per video.

And long-form reading is booming. United States young adult print sales went from approximately 23 million copies in 2018 when TikTok launched to a record 35 million in 2022, a 52-percent increase. Sales in 2024 remain 31 percent above 2018 levels. The primary driver of that growth, according to Circana BookScan, was TikTok. Those 30 million annual copies average roughly 70,000 words each, approximately 2 trillion words, of long-form reading per year in a single book category, from a generation supposedly incapable of sustained attention. That’s about the same number of words per capita as any other age group. Americans aged 11-18 read about one novel a year on average. So do Americans over 19.

Read more: “Our Brains Tell Stories So We Can Live”

What about recent studies that suggest kids’ social media use is linked to lower memory, vocabulary, and reading scores?
The claim that social media is measurably harming cognition isn’t supported by the evidence. The one genuinely controlled experimental result is a 2023 study, which found TikTok degraded prospective memory. Specifically, the ability to remember to execute a planned intention—in a between-subjects design—while Twitter, YouTube, and a no-activity control did not. This is a real finding. But it measures one narrow cognitive function under artificial lab conditions, not, say, reading, vocabulary, critical thinking, or abstract reasoning. 

Assessments like reading scores don’t measure things like narrative construction, persuasive communication, editing judgment, or audience awareness, all of which content creation develops. Participation matters. TikTok follows the 90-9-1 pattern common to all interactive media. One percent create, 9 percent interact and the rest read, watch, or whatever. But on a platform with 150 million U.S. users, even 1 percent is 1.5 million American content producers. And the 9 percent who comment, stitch, and duet are doing something cognitively active.

Research from University of Oxford experimental psychologists Amy Orben and Andrew Przybylski suggests technology use explains only around 0.4 percent of variation in adolescent well-being. The concern about bedtime screens, often treated as established fact, wasn’t supported when measured properly. Cognitive psychologist Lan Nguyen and colleagues reviewed some 100,000 participants and found a moderate correlation between short-form video and poorer attentional performance, but the causal direction isn’t proven: Children with pre-existing attention difficulties may gravitate toward high-stimulation short-form content, producing the observed correlation without any platform effect.

You write that critical literacy—the ability to look at the context of a story, to ask follow-up questions, to recognize that everybody tells you something with an agenda, is the only way to protect yourself from manipulation today. Is anyone successfully teaching critical literacy?

The way I conclude the book is, “No one is coming to save us.” We ourselves have to get more humble, more experienced, recognize our own cognitive biases, recognize when we’re mad about something because we forgot to eat breakfast, and actually understand that we see the world in stories. People often think, “What he’s saying to me is, ‘I’m already a good critical thinker, but I’ve gotta help the other people.’” But no, I’m saying “I, Kevin, have to get better at it. And you, Kristen, have to get better at it.” One of my favorite cognitive biases is bias blindness: People who know there are cognitive biases, but are absolutely convinced these biases don’t apply to them.

It seems like you’re hopeful, though, that this new era of storytelling can bring about progress of some kind.

It already has. I have a nice little chart that I show when I talk about the book. Even today, about 2 to 3 percent of the silent generation will identify as gay, lesbian, bisexual, or trans. It’s about the same for the Boomer generation, and it’s a little bit more for Generation X. But for millennials, it’s about 15 percent, and for Gen Z, it’s about 25 percent. A lot of that has roots in the Internet becoming a place where people could find one another and build community and learn to come out. You see supportive groups forming that allow people to be themselves.

The trans revolution, a historic movement that we’re now living through, is in many ways a result of the Internet and digital photography allowing people to tell their stories more loudly and more clearly than they could before. And a lot of the horrible things in the world are backlash against that. We look at this horrible Epstein situation and it’s all terrible, but the fact of the matter is that in the 1950s, that just would’ve been no big deal. We see a lot of progress. Particularly right now, we can rightly and reasonably get very focused on the backlash to the progress, but they can’t reverse it all the way. 

I can absolutely guarantee you that the Supreme Court will not reverse the miscegenation laws that prevented Black and white people from getting married in the late 1960s, because Clarence Thomas is a Black man married to a white woman. There are a lot of horrible, bloody, brutal things that happen because we made progress. And some of them push us back a little way, but they never push us back all the way."]]></description>
<dc:subject>kevinashton attention internet web online howweread reading kristenfrench 2026 smarthphones internetofthings technology print printing human humans stories marshallmcluhan democratization novels fictions writing howwewrite essays ai artificialintelligence thinking howwethink class longform socialmedia youtube tiktok memory vocabulary cognition twitter communication persuasion narrative narrativeconstruction amyorben andrewprzbylski well-being wellbeing bedtime lannguyen video children criticalliteracy cognitivebiases community transrevolution photography radio television tv computing personalcomputers paulofreire bankingmodelofeducation</dc:subject>
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<item rdf:about="https://printingfilms.com/">
    <title>Printing Films - Printing Films Archive</title>
    <dc:date>2026-02-07T02:17:42+00:00</dc:date>
    <link>https://printingfilms.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["PrintingFilms.com is a collection of vintage films that showcase the technologies and processes of printing, journalism, and typography. It was established by Doug Wilson in 2012 after his work as director of Linotype: The Film.

The collection started when Doug was given a box of 16mm Linotype promotional films in 2011 by Dave Seat for digitization.

In 2013, Carl Schlesinger (a former Linotype operator at The New York Times) donated his extensive collection of films to the Museum of Printing, which assisted with preservation in 2015."]]></description>
<dc:subject>film typography printing print archives technology video lettering</dc:subject>
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<item rdf:about="https://www.plutobooks.com/product/from-printing-to-streaming/">
    <title>From Printing to Streaming: Cultural Production under Capitalism, by Michael Chanan (2022) - Pluto Press</title>
    <dc:date>2025-12-04T06:47:31+00:00</dc:date>
    <link>https://www.plutobooks.com/product/from-printing-to-streaming/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media.

Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code.

Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age."]]></description>
<dc:subject>2022 michealchanan marxism culture culturalproduction digitalage consumption culturecreation cultureconsumption technology photography soundrecording news printing orality capitalism karlmarx creativity labor commodification countercurrents analog digital autonomy aesthetics</dc:subject>
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<item rdf:about="https://www.robinsloan.com/shop/aspire-zine/">
    <title>Robin's Shop: Aspire Zine</title>
    <dc:date>2025-09-21T05:13:42+00:00</dc:date>
    <link>https://www.robinsloan.com/shop/aspire-zine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An argument and a model for a new kind of e-book, one that takes seriously the standard set by physical books. On one side, you’ll find a pitch for a new approach to selling and circulating e-books. On the other, a poster with an undeniable exhortation.

This zine contains a brisk, uncompromising manifesto, titled This Is How E-books Should Work. It describes a new model—then demonstrates it! The zine comes with access to a digital version, delivered in a way that I think is healthier and more interesting than the current model.

Regardless of whether you find my model compelling, I invite you to contemplate the exhortation on the poster side. Digital design is thick with traps and seductions, but/and if you consistently ask “how would this work in print?” you will rarely go wrong.

Two-sided print on 11" × 17" Speckletone from French Paper in Niles, Michigan. Printed in two color passes on a Risograph SF9450 at the Murray Street Media Lab in Berkeley, California.

First printing, September 2025"

...

"THIS IS HOW E-BOOKS SHOULD WORK

Twenty-five years into a digital century, and the e-books are dismal.

We can do better-as publishers, booksellers, and readers alike— and we ought to try. This zine is an argument and a model, and we'll take things in that order.

Physical books-hereafter, "books" —are useful machines refined over many centuries. My argument is that e-books must, at minimum, meet the standard they set. So, to begin, here is

The Standard

E-books must match the speed, privacy, and reliability of the printed page.

The book loads instantly! It is perfectly responsive in your grip, operating at precisely the speed of your thought and curiosity. The book never, ever makes you wait.

Human life is now surveilled from every angle: state, corporation, doorbell. One space that remains totally private is the one inside your head. Because of the way text works in the mind, the book-distinct from other media-has always defended and enriched this space."

[see also:
https://www.robinsloan.com/newsletters/monochrome-gambit/  ]]]></description>
<dc:subject>robinsloan 2025 zines ebooks print printing printedweb</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=IfjtP2QVsOQ">
    <title>Political Islam’s 120-year story - from anti-colonial struggle to now | John Esposito | UNAPOLOGETIC - YouTube</title>
    <dc:date>2025-08-10T21:26:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IfjtP2QVsOQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of UNAPOLOGETIC Professor John Esposito — one of the world’s foremost scholars on political Islam — unpacks 120 years of modern Islamic movements. From Afghani and Abdu’s 19th-century reformist vision, through Hassan al-Banna and Maududi’s activism, to Sayyid Qutb’s radical turn, we trace the intellectual and political forces that shaped the Muslim world. We explore the Iranian Revolution, the Afghan war, democratic Islamists, authoritarian crackdowns, and how the West’s perceptions of Islamism were forged. This is a masterclass in the history, ideas, and global impact of political Islam.

UNAPOLOGETIC is hosted by Ashfaaq Carim

Chapters
 0:00 – Intro & episode setup
 2:33 – Esposito’s unlikely journey
 5:41 – Immersion in Muslim scholarship
 10:14 – Plan: 120 years’ history
 12:14 – Afghani & Abdu’s vision
 15:45 – Islam as civilization & faith
 18:09 – Abdu’s modernist reform ideas
 22:02 – Anti-colonial political Islam roots
 23:54 – Al-Banna & Maududi emerge
 26:44 – Movements spread transnationally
 30:58 – Ideas spread without media
 33:15 – Critique of elites & clerics
 38:58 – Sayyid Qutb’s radical turn
 43:39 – America through Qutb’s eyes
 47:14 – Nasser’s crackdown & prisons
 50:33 – Cross-pollination of movements
 52:47 – Iranian revolution reshapes politics
 55:03 – Authoritarianism fuels radicalisation
 57:12 – Gradualists vs violent factions
 1:04:05 – Revolution’s impact on perceptions
 1:09:58 – Shah, hostage crisis, US errors
 1:18:22 – Afghan jihad to al-Qaeda
 1:27:05 – Democratic Islamists in power
 1:35:48 – Post-Cold War Islamism shifts
 1:40:19 – 9/11 & war on terror
 1:49:15 – Arab Spring & Brotherhood
 1:53:32 – Egypt’s coup & repression
 2:02:08 – Islamism, democracy & inclusion
 2:07:39 – Misrepresentation in Western discourse
 2:12:22 – Closing reflections & lessons"]]></description>
<dc:subject>johnesposito ashfaaqcarim 2025 islam history politics politicalislam anticolonialism modernism iran transnationality iranianrevolution revoution society muslims democracy arabspring brotherhood islamicbrotherghood sayyidqutb 9/11 egypt repression us afghanistan movements civilization faith muslimbrotherhood abula'lamaududi muhammad'abduh jamalal-dinal-afghani afghani abdu abduh pakistan 'abduh maulanamaududi india panislamism turkey modernity 1960s 1970s malaysia indonesia transnationalism islamism wwi ww1 authoritarianism radicalization 20thcentury sudan syria jamaat-e-islami jamaat uk jihad britishempire imperialism france corruption elites religion islamicmovements activism worship hassanal-banna maududi al-banna west europe science technology printing writing publishing ottomanempire westernization secularism culture economics materialism coldwar palestine israel russia secularnationalism osamabinladen ayatollahkhomeini necmettinerbakan receptayyiperdoğan erdoğan isis al-qaeda neocolonialism mohamma</dc:subject>
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<item rdf:about="https://www.robinsloan.com/newsletters/shopkeeper/">
    <title>Shopkeeper</title>
    <dc:date>2025-03-15T15:31:06+00:00</dc:date>
    <link>https://www.robinsloan.com/newsletters/shopkeeper/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best time to establish alternative, non-algorithmic networks of communication & affinity was five years ago.

The second best time is today!

Over the years, I’ve distributed many zines through the mail. Those have been one-off productions, which is to say, pageants of minor chaos, always with the sense, as the last zine went out the door, of skidding into home plate.

For a while, I have wondered if I could rectify this, making distribution via mail both (1) easy for me, & (2) reliable for you. I know it’s possible — we’ve been doing it for years with the olive oil company!

So, that’s all to say, I’ve opened a little shop, which is today stocked with two items:

- A limited-edition poster print from the launch of Moonbound
- The inaugural zine of a new era, combining a poster print with a mini-manifesto

My goals here are manifold:

1. Make printing & distribution a regular, ongoing activity, i.e. not something I totally forget how to do between mailings.

2. Develop & refine this particular format, the 11″ × 17″ Risograph print, tri-folded — unprecious, but not unspectacular.

3. Establish a real physical network. It’s fun to mail things, & fun to receive mail.

And this isn’t only for fun.

A premonition is growing. I believe large swaths of the internet will be ceded, like it or not, to the creatures of the digital night: ghostly bots, cackling trolls, the baying hounds of attention. I imagine this future internet as a vast, boiling miasma, punctuated by signal towers poking up into the clear air: blogs & shops, beacons of reality & sincerity, nodes of a human overlay network.

So, I am planning ahead, contemplating new (old) systems that might be better suited to the media ecology & economy of the 2020s & beyond. No grand launch here — just the quiet ignition, vroom, of a hopeful machine:

https://www.robinsloan.com/shop/

***

A note on the printing method, for those unfamiliar.

The Risograph is a duplicating machine designed & manufactured by the Riso Kagaku Corporation of Japan. It is spiritual heir to the mimeograph, designed for organizations that need to crank out a ton of printed material, every day, under their own steam — think of schools & churches.

Observing a Riso, big & beige in the corner of the office, you’d assume it was a copier, but in fact it works like an automatic silkscreen. For each new design, the machine cuts a physical stencil. Prints are produced not by blending microscopic CMYK droplets, a la inkjet, but rather by pressing thick ink (made from rice bran oil!) through that stencil. Because the Riso lays down real sheets of spot color, that color can have special physical properties, e.g. the ocular assault (impossible to capture with a camera) of Riso Fluorescent Pink.

The Risograph has, over the past decade or so, developed a cult following among artists & zine-makers, thanks to the machine’s balance of quality & economy. It’s also because the printing process imposes all sorts of appealing limitations & imperfections — little analog bulwarks against the march of digital perfection. No two Riso prints are quite the same.

I really love this machine, & I’m proud to use it both for practical, business-y purposes (all the collateral for Fat Gold is Riso-printed) & also in this zine-y context.

***

My project is also, of course, an exercise in USPS fandom — a way to revel in the capacity of this democratic infrastructure, its profound invitation.

Now, I think it’s important that admirers of the USPS (of which I am an extreme example) avoid the trap of Post Office Eternalism. It is very, VERY tempting to appeal to the institution’s flashy constitutional cameo, & to remind readers that it was founded before the United States itself … but the truth is that the postal service has been, from 1775 onward, restless & contested. Form & function, scope & mandate: all in flux.

So, rather than gesture meaningfully in the direction of the past, I think it’s better — more honest — to simply state what we want from this institution here & now in the 21st century.

Turns out, what I want is pretty close to what we have, because the USPS is the only distribution network in the United States that connects everyone to everyone. If the mail is frustrating sometimes, it’s because this is a huge, weird country, with a lot of long lonely roads in it. UPS doesn’t deliver to those places. Amazon doesn’t, either.

The USPS does it all, everywhere.

And its rates are still sort of shockingly low when you consider the scope &, yes, the speed of that service. There’s more on this subject in my inaugural zine, but/&, I’ll confess here that a central catalyst for my excitement has been the Global Forever stamp: $1.65, & it carries an ounce of mail anywhere in the world.

Anywhere in the WORLD!

***

The best time to establish alternative, non-algorithmic networks of communication — to forge durable links in physical space — to insist upon the democratic necessity of a muscular, universal postal service — was five years ago.

The second best time is today."

[Update: referenced here:
https://blog.ayjay.org/distributed-localism/ ]]]></description>
<dc:subject>zines riso risograph print printing papernet 2025 robinsloan usps mail posters snailmail networks communication softbank masayoshison cheguevara marxism truth abuse</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=Syp1DVQgN_g">
    <title>The invention that broke English spelling - YouTube</title>
    <dc:date>2024-09-28T21:14:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Syp1DVQgN_g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The invention of the printing press ushered in a literary revolution, helping to create the world as we know it. However... it also made a terrible mess of English.

In my latest YouTube video I explore the impact of Johannes Gutenberg's contraption on the world and on our language. Plus, with the help of design master and font fanatic ‪@LinusBoman‬, I delve into the everyday terms we get from the world of printing.

==CHAPTERS==
0:00 Introduction
0:28 Invention of the printing press
2:50 William Caxton
4:25 Chancery English
4:48 NordVPN
7:17 The H in ghost
8:58 HW words become WH
10:03 Silent letters
11:04 Great Vowel Shift
12:45 Terms from printing
13:13 Linus Boman
13:52 Font or typeface?
16:00 "Out of sorts"
16:32 "Mind your Ps and Qs"
17:10 "Uppercase" and "lowercase"
18:18 "Cliché" and "stereotype"
20:00 "Logo"
21:29 Dodgy printing vocabulary"]]></description>
<dc:subject>printing print history gutenberg moveabletype robwords johannesgutenberg english language spelling latin linusboman williamcaxton silentletters typefaces fonts england uk greatvowelshift linguistics pronunciation phonetics typography idioms uppercase lowercase stereotypes cliches clichés logos logograms logotypes typecasts typecasting vocabulary words</dc:subject>
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<item rdf:about="https://jeffbilbro.com/books/words-for-conviviality/">
    <title>Words for Conviviality: Media Technologies and Practices of Hope, by Jeffrey Bilbro (2024)</title>
    <dc:date>2024-09-16T19:32:34+00:00</dc:date>
    <link>https://jeffbilbro.com/books/words-for-conviviality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Endorsements

“Words for Conviviality embodies a unique project: a cultural and technological history of a particular American era that is also a handbook to living more wisely in our digital age. Jeffrey Bilbro has written a wonderful, provocative, and illuminating book.”

~Alan Jacobs, The Jim and Sharon Harrod Endowed Chair of Christian Thought and Distinguished Professor of Humanities in the Honors Program, Baylor University

It is difficult to assess our media technologies–the dangers and delights of social media, technology, news outlets, and smartphones–while avoiding breathless alarmism on the one hand and starry-eyed techno-positivism on the other. It is yet harder to do this while offering a rich, hopeful way forward: one steeped in visions of attentive virtue and communal wholeness. Somehow, Jeffrey Bilbro achieves all this with his usual wit, wisdom, and grace. This is a beautiful and necessary book.

~Grace Olmstead, author of Uprooted: Recovering the Legacy of the Places We’ve Left Behind

Description

Radical innovations in communications technologies are transforming culture and disrupting journalism and publishing. Fierce partisan and geographic divides are fueling political realignment. Theological disputes are undermining the institutional church while spiritual energy is being redirected into new religious movements and cults.⁠ These statements describe our current situation, but they apply equally to 1850s America.

The industrialization of print technologies in the early nineteenth century transformed print culture in ways that parallel the transformation of reading wrought by the digital revolution. Understanding how a previous era was shaped—and in some ways warped—by the assumptions print technology engendered may enable us to recognize more clearly how our own verbal habits and practices are formed and deformed by our enmeshment in digital technologies. Perhaps the convivial reading practices that some antebellum authors imagined can guide us toward healthier ways of reading today.

On the eve of the Civil War, the printing press had become a subject of fierce dispute. Just a few generations earlier, during the excitement of the Revolutionary War and the drafting of the Constitution, printing was almost universally seen as a good, a technology that was the sine qua non of the American experiment. But by the late antebellum period, print’s products seemed a mixed bag: print circulated news and stories throughout the nation, and it inflamed partisan and regional differences; print diffused the Bible, and it reified sectarian divides; print spread scientific discoveries, and it lent legitimacy to quack medicine.

In The Confidence Man Herman Melville stages an exchange that encapsulates contemporary disputes about print technologies. Two con-men argue over which press, the printing press or the wine press, produces the true antidote to polarization and tyranny and ignorance. While Frank claims the printing press is an “iron Paul,” an “Advancer of Knowledge,” and a “Defender of the Faith,” Charlie considers it akin to an erratic Colt revolver and a mob boss like Jack Cade. To promote “conviviality” Charlie recommends the “cheery benediction of the bottle.” Charlie’s alcoholic conviviality is clearly flawed, but can the printing press foster authentic community and a healthy civil society?

Frank’s optimism about print had some warrant. In part, it was fueled by the general American faith in the progressive power of technology. More particularly, the American revolutionaries bequeathed a potent myth to subsequent generations about the power of print to unify the nation and diffuse republican virtue.⁠ The supreme authorities in the early republic were printed texts, and in the relative absence of authoritative institutions, print took on an outsized importance. But steam-powered printing technologies made texts cheaper and more abundant, and the printed word that had once unified the colonies became an atomizing force, one that served to fragment culture, church, and union.

Industrial printing technologies in the first half of the nineteenth century finally realized the promise of Gutenberg’s invention—texts were actually becoming reliable, standardized, and accessible—and yet the consequences of this realization were unexpectedly mixed—misinformation spread, discourse fragmented, and readers suffered from information overload.⁠ Today, we tend to think such problems are the result of the digital revolution, but antebellum Americans experienced them first.⁠ The printing press amplified charlatans, cult-leaders, and sensational stories more than it diffused republican virtue. Improving print technologies didn’t improve the signal-to-noise ratio; it amplified noise.⁠

Yet when powerful new verbal technologies come along, our only options are not either booster optimism or resigned pessimism. We have alternatives to seeing print—and now pixels—as either an iron Paul or a Colt’s revolver. And some of the most helpful guides in charting a path toward genuinely convivial modes of reading are the literary authors who lived through the antebellum industrialization of print. These authors experienced the powers and perils of the steam-powered printing press, and they sought to understand its effects through the most fundamental tool that language provides: metaphor. Evocative metaphors are a potent way to raise cultural awareness regarding the hidden affordances and subtle nudges that are latent within dominant communications technologies.

The argument of my book follows a pilgrimage with three stages. Each stage considers a set of metaphors that antebellum authors deployed to answer three underlying questions: What does industrial print tempt optimistic readers to imagine themselves as? What does it lead its victims to fear they will become? And what alternative metaphors might ground more convivial reading?

The metaphors of hope that I discuss in the third stage suggest that to wield textual technologies well, we need to develop cultural practices and institutions that strengthen our relationships with one another and our commitment to a common good. We need to be tied more deeply to others and to our places in order to respond to the atomizing pressures of print and pixel. Instead of developing new technologies to solve the problems that technologies have caused, these authors propose that we develop better readers—readers who are more attuned to the power of the textual technologies they use and better able to imagine and practice healthy, convivial forms of discourse. These authors obviously did not eschew industrialized print; they did not simply give up on the technologies of their day. Rather, they developed metaphors that might inspire us to beat textual swords—or Colt revolvers—into plowshares.

Table of Contents

Introduction: Trust, Watersheds, and America’s Industrial Print Culture

26 Theses on Textual Technologies

Section One: Utopia, or What does industrial print tempt optimistic readers to imagine themselves as?

1. Transparent Eyeballs (Emerson)
2. Men of Adamant (Hawthorne)
3. Encyclopedists and Map-Plotters (Melville)
4. Celebrities (Whitman)
5. Benevolent Bosses (Twain)

Section Two: Dystopia, or What does industrial print lead its victims to fear they will become?

6. Loose Fish (Melville)
7. Macadamized Minds (Thoreau)
8. Commodities (Dickinson)
9. Slaves (Douglass)

Section Three: Hope, or What alternative metaphors might orient more convivial reading?

10. Walkers (Thoreau)
11. Conversationalists (Fuller)
12. Friends (Hawthorne)
13. Cross-Bearers (Melville)"

[See also:
https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/">
    <title>Twenty-Six Theses on Textual Technologies - Front Porch Republic</title>
    <dc:date>2024-09-16T19:26:59+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Presenting a set of theses for disputation is an old form, with Martin Luther’s “Disputation on the Power and Efficacy of Indulgences” being the most famous instance. As Luther’s title reminds us, these theses were printed to set the stage for a verbal disputation (though it appears that Luther’s ninety-five theses were never formally debated in Wittenberg). Similarly, the theses that follow are not summative declarations so much as provocations to thought and discussion. (For another example of this genre, see Alan Jacobs’s “Attending to Technology.”) As Francis Bacon notes, aphorisms, because they represent “only portions and as it were fragments of knowledge, invite others to contribute and add something in their turn; whereas methodical delivery, carrying the show of a total, makes men careless, as if they were already at the end.” So if these raise questions or stir fierce disagreement, my hope is that readers will have a keener appetite for the pilgrimage that follows.

These theses are by no means original to me, but rather than including references here, I will more fully acknowledge my sources in the subsequent pages. To make it easier for interested readers to trace these connections, I will refer back to these theses throughout the book (e.g., see thesis 22). Given the primary role the alphabet plays in all subsequent textual technologies, I thought it fitting to include the same number of theses as there are letters in the modern English alphabet. Finally, in keeping with a digital disputatious technology, these aphorisms are all fewer than 280 characters, the limit on tweets after 2017. While arranging theses for a disputation is an old genre, it is also a contemporary one.

1. Language is primarily a relational (rather than a representational) technology. Words articulate our relationships to God, other humans, our environment, and even ourselves.

2. Because meaning arises from relationships, metaphor and analogy are at the heart of language.

3. In the Christian tradition, Christ’s role as mediator and reconciler between God and Creation flows from his identity as the Word. The Word mediates. This mediating Word is the one who declares himself the Truth.

4. Beauty and truth and goodness name harmonious forms of relationships.

5. Truth is ultimately dramatic or symphonic, not propositional.

6. To know the truth is to be in tune with a complex, polyphonic reality. One might say that a “fact” is “true” if it helps us relate to the world in a more proper, harmonious, beautiful, healthy, or just manner.

7. Harmony is experienced more fully in artistic or poetic forms rather than in rational exposition. Metaphor, poetry, and narrative invite readers to participate in a harmonic order rather than to map it analytically.

8. The highest use of language is to serve friendship, and the kinds of conversations our textual technologies encourage will shape the kinds of friendship that are imaginable.

9. Cultures develop the technologies they desire, and the technologies a culture uses shape its desires. One might call this recursive causation.

10. Convivial technologies and practices cultivate friendships—they foster harmonious relationships among different members (including other humans, creatures, God, and the self).

11. The history of textual technologies in the West—the alphabet, punctuation, spaces between words, moveable type, digital pixels—is a history of atomization.

12. These textual technologies have caused words to migrate from an aural habitat to a visual one.

13. These textual technologies have also led readers to imagine ideas as objects that are extended in space. Like type and pixels, ideas become bits (or bytes) that can be manipulated and rearranged to form new meanings.

14. Print and pixels do have certain differences: Print renders ideas as solid—they feel graspable, reliable, fixed. Pixels render ideas as ephemeral—they appear from a distant cloud or web, and we surf them as they float away.

15. Both, however, contribute to a spatial view of language and reality that leads us to imagine reason as a faculty for the perception and manipulation of objects. However, the highest mode of reason is an imaginative participation in reality.

16. The atomization of language makes discrete bits of information appear increasingly interchangeable and manipulable.

17. Powerful textual technologies can spread ideas widely, but insofar as they render meaning atomized and fungible, they threaten the intelligibility of truth and beauty and goodness.

18. Atomization can free individuals from diseased bodies or communities, but the atomizing effects of print and pixel are like the toxins of chemotherapy—better than cancer, but not, in themselves, healthy.

19. The recombinations that atomization makes imaginable fragment old syntheses and lead to new forms of meaning.

20. The introduction of new textual technologies dissolves old communities and forms new ones (nations, denominations, political parties, factions, fandoms, interest groups).

21. As textual technologies mature, they diversify and fragment conversations they sustained in their youth.

22. The tension between the liberative power of atomization and meaning’s dependence on relationships defines the paradoxes inherent in the disparate effects of textual technologies.

23. There is always an analogy between our dominant way of imagining words and our dominant metaphors for the mind and the self.

24. If words are imagined spatially, the human self becomes a bounded container with manipulable contents, and other selves appear to be objects, commodities, or avatars (“Its” rather than “Thous”).

25. The Enlightenment subject, the buffered self, is a creature of print. The postmodern subject, the anxious, lonely, identity-morphing self, is a creature of pixels.

26. In an atomized world inhabited by commodified subjects, convivial friendship—loving, intimate participation in the life of other creatures, humans, and God—is deeply longed for, yet elusive."

[See also:
https://jeffbilbro.com/books/words-for-conviviality/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
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<item rdf:about="https://daily.jstor.org/printing-anarchy/">
    <title>Printing Anarchy - JSTOR Daily</title>
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    <link>https://daily.jstor.org/printing-anarchy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The stock figure of the “anarchist” is a bomb-thrower or assassin, but political scientist Kathy E. Ferguson argues it should be a printer."]]></description>
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<item rdf:about="https://sfstandard.com/2024/05/18/san-francisco-arion-press/">
    <title>San Franciso’s Arion Press turns the book into an art object</title>
    <dc:date>2024-05-18T19:29:11+00:00</dc:date>
    <link>https://sfstandard.com/2024/05/18/san-francisco-arion-press/</link>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cardboard Media and the Geographic Imagination"
]]></description>
<dc:subject>shannonmattern 2024 cardboard boxes shipping packaging geography history chewy amazon blueapron logistics packages communication communications homeless homelessness mariarentetzi capitalism society marshallmcluhan commodoties delivery labor containers herbertbayer paper wood manufacturing ryandezember atglen internationalpaper printing thomashine graphicdesign design graphics robertgair machinery albertjones matthewvierengel williamchapin cardboardboxes usda nwayer earnestelmocalkins rubytandoh walterdorwinteague normanbelgeddes henrydreyfuss raymondloewy advertising ads distribution maps mapping nabisco extraction walterpaepcke justusnieland egbertjacobson jeancarlu leoleonni herbertmatter fernandléger manray henrymoore willemdekoonig agnesdenes robertgordon-fogelson lászlómoholy-nagy courtneyschum benjaminbenus cca pederanker johnmassey globalization robinlynch montgomeryward marcor mobiloil chrisbradley neilshankar emilysundberg kylechayka davidbiderman us china recycling joshdzieza matthewshaer</dc:subject>
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    <title>Type In Your Hand. A subjective guide through fascinating… | by Marcin Wichary | Vantage | Medium</title>
    <dc:date>2023-06-15T05:39:29+00:00</dc:date>
    <link>https://medium.com/vantage/type-in-your-hand-512a5a6cbb98</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So yeah, okay, on-screen typography can be a lot of fun. From writing algorithms for proper quotation marks to fighting obscure type bugs, or even just exploring modern digital fonts. But sometimes it’s good to step outside and smell some antimony.

This photo essay talks about four fantastic places in California (San Francisco + Los Angeles) that allow you not just to observe, but experience pre-digital typography.

Are you ready to actually touch type? Wait, that came out wr"]]></description>
<dc:subject>sanfrancisco losangeles california type typesetting letterpress print printing 2015 marcinwichary</dc:subject>
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<item rdf:about="https://www.dukeupress.edu/letterpress-revolution">
    <title>Letterpress Revolution: The Politics of Anarchist Print Culture - Duke University Press (2023)</title>
    <dc:date>2023-04-12T05:50:58+00:00</dc:date>
    <link>https://www.dukeupress.edu/letterpress-revolution</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While the stock image of the anarchist as a masked bomber or brick thrower prevails in the public eye, a more representative figure should be a printer at a printing press. In Letterpress Revolution, Kathy E. Ferguson explores the importance of printers, whose materials galvanized anarchist movements across the United States and Great Britain from the late nineteenth century to the 1940s. Ferguson shows how printers—whether working at presses in homes, offices, or community centers—arranged text, ink, images, graphic markers, and blank space within the architecture of the page. Printers' extensive correspondence with fellow anarchists and the radical ideas they published created dynamic and entangled networks that brought the decentralized anarchist movements together. Printers and presses did more than report on the movement; they were constitutive of it, and their vitality in anarchist communities helps explain anarchism’s remarkable persistence in the face of continuous harassment, arrest, assault, deportation, and exile. By inquiring into the political, material, and aesthetic practices of anarchist print culture, Ferguson points to possible methods for cultivating contemporary political resistance."]]></description>
<dc:subject>anarchism literature history letterpress 2023 kathyferguson printing print resistance uk us radicalism printculture culture politics</dc:subject>
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    <title>Toshi Omagari | Ink traps and pals</title>
    <dc:date>2023-03-04T15:19:36+00:00</dc:date>
    <link>https://tosche.net/blog/ink-traps-and-pals</link>
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    <title>An alternative way to show off your images! - YouTube</title>
    <dc:date>2022-08-26T17:38:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=V9ghjz1rbnM</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>photography print zines polaroids self-publishing magazines books printedweb 2022 tedforbes publishing selfpublishing papernet printing</dc:subject>
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    <title>Two or Three Things I Know About Provo - On printing Provo</title>
    <dc:date>2021-08-25T18:29:56+00:00</dc:date>
    <link>https://2or3things.tumblr.com/post/161316248271/printing-press-at-bloemstraat-amsterdam-1966</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Printing press at Bloemstraat, Amsterdam (circa 1966). Page from ‘Het Witte Gevaar’ (Meulenhoff, 1967). The caption reads “Work-shy Provos, Rob Stolk (in the foreground) and Fred Fontijn (in the background), operating the Provo press”.

On printing Provo

‘Je Bevrijden van de Drukpers’ (‘To Liberate Yourself from the Printing Press’) was a Dutch article published in 1991 in the magazine ‘Jeugd en Samenleving’ (‘Youth and Society’). Written by the archivist, activist and artist Tjebbe van Tijen, the article featured interviews with a selection of people that were, each in their own way, involved in the printing of independent youth magazines. One of the persons being interviewed was Rob Stolk. What follows is a translation of the full interview.

Provo 1965–1967

I never attended a school for printing, so I wasn’t fully aware of all the possibilities available for publishing pamphlets. And if you aren’t aware of that, there’s only one thing you’re focused on, and that’s the costs. When you have an idealistic background, and you want to publish printed matter (an anti-war pamphlet, for example), it basically means that you won’t recover your money.

My first produced pamphlet was related to the activities we undertook as pacifist-socialist youngsters. We used a stencil duplicator (mimeograph machine) owned by a comrade of the PSP [Pacifist Socialist Party] at his place on the Westzijde in Zaandam. That thing was ancient, you had to operate it manually.

If we wanted to add something fancy, like an illustration, we had to order a ‘photo stencil’, as we didn’t own a stencil-making machine ourselves. A stencil like that costed us seven and a half guilders, a considerable sum in those days. We picked up those stencils in Amsterdam, at the Spuistraat.

When we mimeographed the first issue of Provo, we were offered the use of the machine of mister De Groot, a subscriber to ‘Recht voor Allen’ [a Dutch anarcho-socialist magazine, originally founded in 1879], who had one of those machines standing in his attic. We were printing there until the early hours. That guy really enjoyed that he could support us that way. He had always hoped that a new generation would keep his ideals alive.

The first issue of Provo was mimeographed in an edition of 500, of which approximately 100 copies were actually distributed. The rest was confiscated by the police because of a text on how to manufacture bombs, a 19th century nonsense article that came illustrated with a glued-in firecracker.

This immediately meant that there was enormous demand for the second issue. We printed 2000 of those; a gigantic task. Part of that edition was eventually printed at Roneo in the Spuistraat. Imagine those guys dressed in tidy suits and grey dust-coats, printing our magazine surrounded by office machines.

At a certain point, we started relocating our stencil machine. We had so much trouble with pamphlets being confiscated, because of insults to the queen and pranks like that – we just had to keep on moving the machine.

One time, we were printing an issue of Provo in a tiny room in the Staatsliedenbuurt, in the house of a lady who had no idea what the magazine was about, but she assumed it was alright since her son was involved. I was constantly dragging suitcases and piles of paper around; nobody knew the location of the machine but me.

Very quickly, it became clear to us that the distribution of Provo was dependent only on our ability to produce it. The demand was huge. The public had no idea what these Provos were about, and much to everybody’s surprise, these kids also published a magazine! That was a huge difference compared to the previous image of ‘pleiners’, ‘dijkers’ and ’nozems’ [Dutch youth cultures, comparable to mods, rockers and teddy boys], thugs no one really understood. In that sense, the Provos were perceived quite differently: at least, they published a magazine!

We then bought an offset press, and installed it in a tiny basement. That was in the Bloemstraat, at Henk Raaf’s place, who ran a small travel agency from there. This was around 1966. After the 10th of March [the riots during the wedding procession of Princess Beatrix and Claus von Amsberg], we were all arrested. The police had a rough idea where the press was located; they had the feeling that if they would manage to the confiscate the press, the trouble would be over – that’s the way they thought back then. It never occurred to them that the press would be located in a neat building, in the basement of a travel agency. They were searching for long-haired people who were walking in and out of houses carrying printed matter, but of course, carrying printed matter in and out of a traveling agency was considered to be very normal. So they never found that press.

The print run of later editions of Provo reached 10,000. These copies were paid for only partially. If a new issue of Provo rolled off the press, youngsters came by to take stacks of magazines with them. Loe/Lou van Nimwegen [responsible for the administrative part of the printing] gave them 25 copies each. They sold those copies for 70 cent or so, and had to pay us part of that. Some of these guys you never saw back, while others just kept on selling.

Some of them sold a couple of hundred copies on a single day; they immediately had enough money on them for the whole month. Maybe that was the problem; there was not enough stimulus to keep things going. We also tried to distribute the magazine through Van Gelder. Maybe that was exactly the strength of the magazine: the fact that the supply never met the demand, so that it always stayed something of a curiosity. If you managed to get a copy, it was special. It was never professionally organized, in terms of distribution.

Swiftly setting a text is a difficult task. You always had to search for the right typewriter, with the best letter. You wanted to act quickly, so you didn’t want to rely on suppliers of professional typography. This meant that aesthetically, things could get problematic. But of course, this was exactly what made the design so specifically subcultural. It went against the commercial design of mainstream printed culture – a mainstream culture that was boring and annoying.

True, within the Provo movement there were also designers who, within other contexts, designed beautiful things; costly productions that were in a different league compared to the printed matter of Provo. But then again, we never had the pretension to measure ourselves against that. Subversive printed matter simply wasn’t meant to be beautiful.

I have always operated from the absolute minimum of money and assets. The people who were participating in these publications didn’t have a dime to spare. The plan was to produce it as cheap as possible, and to distribute it as wide as possible.

It was around that time that, at magazines such as Hitweek, a new form of design came into existence – one that was very different from the design that was common at advertising agencies. Also, with the rise of offset printing, it was no longer the typesetter who performed the job according to the instructions of the client; instead, the whole discipline of design became separated from the printing. The offset plate became the medium that could be filled with images and typography completely independent of the printer’s typesetting case.

I once cooperated with Chris Hahn on a booklet that included photos by Koen Wessing, documenting the riots during Beatrix’ wedding. It was printed quite weakly, but that was because we had a tiny offset press that was impossible to apply any ink on. Although we screened (‘rasterized’) the images quite decently, especially considering the time, the machine just couldn’t pull it off. We printed it on A4 sheets – it was still a pretty neat publication for those days. But again, the costs and the proceeds didn’t match up.

It just wasn’t organized well enough to sustain. That’s typical though for political projects: the distribution is geared mainly to get the publication to as many people as possible, not to get any money back.

Hitweek [a then ‘hip’ Dutch music magazine] was a commercial enterprise, where they took into consideration the costs, the office hours, the phone bills. If we would have produced Provo in such a way it would have had a larger reach, especially if we would have included music coverage. But there were a lot of people who weren’t into that. Roel van Duijn wasn’t exactly a fan of the Beatles.

In the end, a magazine is a conspiracy of people who all have a say about it. And if these people don’t agree on a subject, the tendency is to keep that subject out of the magazine. Cooperation consists of that what you do together.

It also depended on who was momentarily responsible for the content. This responsibility was handed over from person to person. In the beginning it was mainly Roel’s job, but if he dominated too much editorially, it was pulled from his hands. Which meant that he refused to take part in the following issue, resulting in a totally different editorial tone.

I always wanted to employ my own printing press, because I always longed to publish things, for example magazines like Bethaniënnieuws or Nieuwsmarkt [magazines affiliated with Aktiegroep Nieuwmarkt]. In my view, these initiatives could only be conceivable if you had your own printing press.

If you have to work with budgets like these, with print runs like these, on initiatives like these, and it lasts for only one or two issues – it’s impossible to deal with. In the end, we could only continue our activities by trying to make money with printing; by taking on assignments. Added to that, we owned some money from selling the Provo archive. So we had some resources to continue printing.

But it still remained a struggle to keep on going. Just look at the difficulties that Bluf [an ’80s squatting magazine] had, trying to sustain in a non-profit way.

On the rise of screen-printed posters, especially those designed in the ’60s by Ontbijt op Bed [a Provo-related group from Maastricht]:

These posters were of a beauty… Spectacular, wonderful, really incredible. So, just like Kees Graaf [printer of Ontbijt op Bed], I started screen-printing, but without the know-how and resources that he had.

The problem remained though: how to make a living…

On the rise of psychedelic posters, which also happened around that time:

That was something we had nothing to do with; this whole sphere of ‘alternative culture’… In our eyes, those posters were still commercial commodities. We did everything we could to avoid that scene. Which is why I also worked as a plasterer, doing construction work with Ronnie and Otto, because I’d rather do that than to print commercially. To me, printing was something sacred; it was my weapon, a way to manifest oneself, and to cause confusion.

More and more, I realized I didn’t want to stand in the foreground of the activities I participated in. That would have been very counterproductive as well: to give the impression that it was “always the same guys”. In that sense, Provo also became very counterproductive.

Everything that came after Provo had an easier time manifesting itself, because of the vacuum that Provo left behind. Provo stopped, but the ideas was still there, the newspapers took notice, there was a voice that wasn’t there before. People outside the official circuit were suddenly being heard. You only had to start a committee or group, and you were in the news. If people were agitated about certain issues, it was in the newspapers. Before Provo, that was unthinkable.

Apart from those printing companies who weren’t members of the Koninklijk Verbond van Drukkerijen [trade organization for printers] and artists printing independently, Provo was one of the first post-war presses that wasn’t being exploited as a commercial printing company. Many others followed that example.

After the liquidation of Provo, we handed over the press for 6000 guilders or so, which we used to pay off our debts at the paper suppliers. The press was passed on to ASVA [a left-wing student organization], who set up SSP, the Stichting Studentenpers [the Students’ Press]. The SSP still exists, but I don’t know if they are still affiliated with ASVA.

This whole counterculture of independent printers has more a political background than a cultural background, at least in The Netherlands. It was quite simple in those days to get hold of a cheap, reasonably functioning press. The bar to start a printing company wasn’t set so high: if you had a couple of thousand guilders, you had a pretty decent Rotaprint press. The clients weren’t so demanding, so all it took was a minimum of means.

If a client asks you to deliver a certain product, you have to deal with a totally different set of requirements than when you only have to meet your own requirements. If it’s your own initiative to publish something, then what matters most is the content, not the quality of printing. There was an urgency then to get the information out as quickly as possible, to as many readers as possible.

In fact, I still believe that a simple text can be more important than the most intricate design. It is certainly possible to express something original, without it being printed perfectly. You should be able to look beyond the design.

It seems very clear to me that a country without a free press is a country that sucks, because it is a country that conceals things. A society in which people have the possibility to organize themselves freely, to express themselves freely, is always a better society. I am fully convinced that the free press is one of the most important forces behind the progress of human society.

Rob Stolk (as interviewed by Tjebbe van Tijen), Amsterdam 1991”]]></description>
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<item rdf:about="http://www.documnt.net/experimental-jetset-two-or-three-things-i-know-about-provo">
    <title>Two or Three Things I Know About Provo, by Experimental Jetset</title>
    <dc:date>2021-08-25T17:41:44+00:00</dc:date>
    <link>http://www.documnt.net/experimental-jetset-two-or-three-things-i-know-about-provo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Introduction

In short, Provo was an Amsterdam anarchist movement that existed for just two years (1965–1967), although its existence resonated for years to come, in the Netherlands and abroad.

Through printed matter, conceptual activism and speculative political proposals (e.g., the ‘White Plans’), the Provo movement captured the imagination of a generation, and forever shaped the Dutch political and cultural landscape. Part art movement and part political party, Provo was a loose-knit collective, consisting of individuals with very different ambitions: subversive agendas, artistic motives, utopian ideas, concrete plans. Between1965 and 1967, these motives and agendas briefly overlapped, enabling a unique movement. A movement that liquidated itself in 1967, in a self-declared act of ‘auto-provocation’.

Looking at the strategies and methods of Provo, we are immediately reminded of a quote by Baudrillard, from ‘Utopia Deferred’ (Semiotexte, 2006):

Walls and words, silk-screen posters and hand-printed flyers, were the true revolutionary media in May 1968. The streets where speech started and was exchanged: everything that is an immediate inscription, given and exchanged. Speech and response, moving in the same time and in the same place, reciprocal and antagonistic.

Obviously, Baudrillard is talking here about the Parisian insurrection of 1968 – while Provo took place three years earlier. But still, we think this particular quote could also be used perfectly to describe the working methods of Provo.

At the heart of Provo is exactly the notion of the streets as a place of immediate “speech and response”. Magazines were distributed in the streets, posters were pasted to the walls, performances (‘happenings’) took place on public squares (and around specific statues and monuments), surreal slogans were being chanted (such as a repeated mantra of “ugh, ugh, ugh”), and pamphlets were handed out to unsuspecting bystanders. In the meantime, the (illegal) printing press of Provo had to be moved constantly, from one location to another, because there was always the danger of confiscation. So the printing press itself was on a constant ‘dérive’ through the city, echoing the way the Provos themselves were drifting through the streets of Amsterdam. In that sense, we do believe that the story of Provo is mainly one about the symbiotic relationship between the city and the printing press.

In fact, we even think that, in the case of Provo, the city itself became a printing press. Through the distribution of magazines and pamphlets, and through the use of site- specific performances (‘happenings’ and ‘situations’), Provo turned the city into a place where ideas were enlarged, multiplied and reproduced. In other words, through Provo, the city revealed itself as a device for reproducing ideas – a metaphorical printing press.

In this regard, a person that needs to be mentioned is Rob Stolk (1946–2001), one of the main founders of Provo. Coming from a socialist working class background, Stolk was involved in activism from a very young age. His involvement in Provo forced him to become a printer; since mainstream printing offices refused to handle the subversive and sometimes illegal Provo material, he had no other option than to print these publications himself. Reflecting on this situation, Stolk often quoted American journalist A. J. Liebling: “Freedom of the press is for those who own one”.”

[See also:
https://2or3things.tumblr.com/

“This online archive is part of an ongoing research project by Amsterdam-based graphic design studio Experimental Jetset (consisting of Marieke Stolk, Erwin Brinkers and Danny van den Dungen) on the subject of the Provo movement (and its post-Provo offshoots). 

So far, this research resulted in a series of exhibitions and installations, most notably ’Two or Three Things I Know About Provo’ (which took place in 2011, at Amsterdam artists’ space W139), ’Two or Three Things / The Brno Edition’ (which took place at the Moravian Gallery in the Czech Republic, as part of the 25th Brno Biennial 2012), and the poster series ‘Concrete Provo’ (made as a contribution to ‘Yes Yes Yes’, a group show at Colli Independent Art Space in Rome, 2015).

‘Provo Station: Models for a Provotarian City’, the most recent installation, took place between March 18 and May 22, 2016, at Galerie für Zeitgenössiche Kunst Leipzig. 

Within this research, the main subject is the relationship between Provo, the city, and the printing press. 

A figure that plays an important role in this narrative is Rob Stolk (1946–2001), one of the main founders of Provo. Coming from a socialist working class background, Stolk was involved in activism from a very young age. His involvement in Provo forced him to become a printer; since mainstream printing offices refused to handle the subversive and sometimes illegal Provo material, he had no other option than to print these publications himself. Reflecting on this situation, Stolk often quoted American journalist A. J. Liebling: “Freedom of the press is for those who own one”.

After the liquidation of Provo, Rob Stolk remained an important figure in various post-Provo movements, most notably in the early squatters’ scene (Woningburo de Kraker), and in Aktiegroep Nieuwmarkt (the action committee that successfully protested against the demolition of the Amsterdam Nieuwmarkt district and surrounding areas). In 1969, he was involved in the occupation of Het Maagdenhuis (the main building of the University of Amsterdam), operating a printing press from within the occupied building. 

From 1976 to 1983, he published the satirical/historical magazine ‘De Tand des Tijds’. In the 1980s and 1990s, he became one of the most prolific cultural printers in Amsterdam, until his untimely death in 2001, when he was only 55 years of age.”

…

“10 Maart: Dag van de Anarchie 
March 10: Day of Anarchy” [poster, in Europa Grotesk Nr 2 SH ExtraBold and Europa Grotesk Nr 2 SH]
https://2or3things.tumblr.com/post/158192023131/10mar1966

…

"Two or Three Things I Know About Provo
A small and personal archive of the Provotarian movement in Amsterdam (1965-1967), as installed by Experimental Jetset"
https://www.experimentaljetset.nl/provo/

…

"Counter Currents: Experimental Jetset on Provo"
https://walkerart.org/magazine/counter-currents-experimental-jetset-on-provo ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=l0FX4QLomhw">
    <title>Studio Visit with Bad Student! - YouTube</title>
    <dc:date>2021-03-03T20:12:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=l0FX4QLomhw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video also here: https://www.youtube.com/watch?v=tOl11c4O7tY ]

“In the weeks leading up to PMVABF, we shared special studio tours with Fair exhibitors. Here’s a new exhibitor at Printed Matter’s Art Book Fairs: Bad Student, based in Marikina City, Philippines.

Thanks Pau and Dyam for sharing a glimpse into your beautiful studio and your perspectives on riso printing, collaboration, and teaching.

Bad Student is an independent Risograph art press & design studio working at the crossroads of printmaking, publishing, & design. The studio aims to empower and promote the DIY publishing community in the Philippines through Risograph printing. Bad Student actively organizes and participates in exhibits and events, both locally & internationally, with the sole intent of showcasing independently published works from Filipino artists. The studio was established in 2017 by Pau Tiu & Dyam Gonzales.”

[More Bad Student:
https://twitter.com/_badstudent
https://www.instagram.com/_badstudent/
https://badstudentpress.pmvabf.org/
https://www.youtube.com/channel/UCI8bAzszpAcahHoaivNwmOQ ]]]></description>
<dc:subject>pautiu dyamgonzales 2021 pmvabf studios risograph printing print learning howwelearn philippines badstudent riso teaching collaboration groups community art artbooks artprinting</dc:subject>
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</item>
<item rdf:about="https://mixam.co.uk/">
    <title>Online Printing Services - The UK's Best Price &amp; Quality | Mixam Print</title>
    <dc:date>2020-09-07T21:48:56+00:00</dc:date>
    <link>https://mixam.co.uk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/public_archive/status/1303051109599043584 

"Mixam’s quality is far superior to blurb or lulu"
https://twitter.com/soulellis/status/1302826183181172736]]]></description>
<dc:subject>printing papernet print books publishing selfpublishing self-publishing</dc:subject>
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<item rdf:about="https://www.ingramspark.com/">
    <title>IngramSpark: Self-Publishing Book Company | Print &amp; Distribute</title>
    <dc:date>2020-09-07T21:48:24+00:00</dc:date>
    <link>https://www.ingramspark.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/public_archive/status/1303051109599043584 ]]]></description>
<dc:subject>publishing papernet paper printing selfpublishing self-publishing print books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d9410c596851/</dc:identifier>
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</item>
<item rdf:about="https://github.com/jkriss/zinepdf">
    <title>GitHub - jkriss/zinepdf</title>
    <dc:date>2019-08-18T21:10:17+00:00</dc:date>
    <link>https://github.com/jkriss/zinepdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a short Python 2 script that will take a 7-8 page pdf, legal size, and turn it into a single sheet foldable zine."]]></description>
<dc:subject>jessekriss python zines papernet typesetting printing print</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6b2f54eeea46/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=3h7QTJuLqP0">
    <title>Review PAPERANG P1 Mini Wireless Paper Photo Printer Portable Bluetooth 🖨️ 😍 - YouTube</title>
    <dc:date>2019-03-04T00:35:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3h7QTJuLqP0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"PAPERANG P1 Portable Paper Printer - Gearbest.com"
https://www.youtube.com/watch?v=C8937p98s70

"HOW TO Journal Bullet with PAPERANG P1 Photo Printer"
https://www.youtube.com/watch?v=6xaAq0qdt4w

https://www.amazon.com/PAPERANG-P1-Wireless-Portable-Bluetooth/dp/B077YLF5XW
https://www.gearbest.com/printers/pp_009292443229.html?lkid=18819494 ]]]></description>
<dc:subject>papernet paper printers classideas hardware printing fun</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5d0215ce0200/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/95351775">
    <title>The Radical Tactics of the Offline Library on Vimeo</title>
    <dc:date>2018-11-08T20:04:11+00:00</dc:date>
    <link>https://vimeo.com/95351775</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[parts of the video (from the introduction): "1. Libraries existed to copy data. Libraries as warehouses was a recent idea and not a very good one 2. The online world used to be considered rhizomatic but recent events have proven that it is actually quite arboretic and precarious. 3. A method of sharing files using hard drives is slow, but it is extremely resilient. This reversalism is a radical tactic agains draconian proprietarianism. 4. There are forces and trends that are working against portable libraries."]

[Book is here:
http://networkcultures.org/wp-content/uploads/2014/06/NN07_complete.pdf
http://networkcultures.org/blog/publication/no-07-radical-tactics-of-the-offline-library-henry-warwick/ ]

"The Radical Tactics of the Offline Library is based on the book "Radical Tactics: Reversalism and Personal Portable Libraries"
By Henry Warwick

The Personal Portable Library in its most simple form is a hard drive or USB stick containing a large collection of e-books, curated and archived by an individual user. The flourishing of the offline digital library is a response to the fact that truly private sharing of knowledge in the online realm is increasingly made impossible. While P2P sharing sites and online libraries with downloadable e-books are precarious, people are naturally led to an atavistic and reversalist workaround. The radical tactics of the offline: abandoning the online for more secure offline transfer. Taking inspiration from ancient libraries as copying centers and Sneakernet, Henry Warwick describes the future of the library as digital and offline. Radical Tactics: Reversalism and Personal Portable Libraries traces the history of the library and the importance of the Personal Portable Library in sharing knowledge and resisting proprietarian forces.

The library in Alexandria contained about 500,000 scrolls; the Library of Congress, the largest library in the history of civilization, contains about 35 million books. A digital version of it would fit on a 24 TB drive, which can be purchased for about $2000. Obviously, most people don’t need 35 million books. A small local library of 10,000 books could fit on a 64 GB thumb drive the size of a pack of chewing gum and costing perhaps $40. An astounding fact with immense implications. It is trivially simple to start collecting e-books, marshalling them into libraries on hard drives, and then to share the results. And it is much less trivially important. Sharing is caring. Societies where people share, especially ideas, are societies that will naturally flourish."]]></description>
<dc:subject>libraries henrywarwick archives collection digital digitalmedia ebooks drm documentary librarians alexandriaproject copying rhizomes internet online sharing files p2p proprietarianism sneakernet history harddrives learning unschooling property deschooling resistance mesopotamia egypt alexandria copies decay resilience cv projectideas libraryofalexandria books scrolls tablets radicalism literacy printing moveabletype china europe publishing 2014 copyright capitalism canon librarydevelopment walterbenjamin portability andrewtanenbaum portable portablelibraries félixguattari cloudcomputing politics deleuze deleuze&amp;guattari web offline riaa greed openstudioproject lcproject collections collecting guattari gillesdeleuze</dc:subject>
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</item>
<item rdf:about="https://www.risottostudio.com/print-simulator-ink-shift/">
    <title>Print Simulator - Ink Shift – RISOTTO</title>
    <dc:date>2018-07-31T19:14:27+00:00</dc:date>
    <link>https://www.risottostudio.com/print-simulator-ink-shift/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The print simulator is a quick and easy way to experiment with your artwork!

See how your print will look on our variety of papers, switch ink colours at the click of a button and learn the foundations of artwork layering and preparation. 

There are 2 modes to play with..."

[via: https://are.na/block/2018171
https://are.na/benjamin-hickethier/riso-1498024805 ]]]></description>
<dc:subject>print papernet printing simulations risograph riso</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3d992e1869c2/</dc:identifier>
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</item>
<item rdf:about="https://www.presidio.gov/places/arion-press">
    <title>Arion Press | Presidio – San Francisco, CA</title>
    <dc:date>2018-03-10T02:51:01+00:00</dc:date>
    <link>https://www.presidio.gov/places/arion-press</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["​​​​​​San Franciscans are notably creative spirits. Amongst us you'll find artists, writers, bibliophiles, DIY enthusiasts, crafters, collectors, and art appreciators. Yet too few of us have visited, let alone are even aware of, the Arion Press, one of the nation's last printers of museum-quality, handmade books created with traditional letterpress printing equipment.

Founded in 1974 by publisher Andrew Hoyem, you'll find Arion Press in a former laundry facility in the Presidio, a space shared with its associated type foundry, M&H Type, and its non-profit and owner, the Grabhorn Institute. Together, the three divisions are a powerhouse dedicated to preserving the craft of fine printing and bookmaking.

While Arion Press only publishes about three books a year (up to 400 copies of each edition), every one is an exceptional work of art that's created using a human-touch process. Select literary texts are chosen and then matched with renowned contemporary artists who illustrate each work. M&H Type composes and casts the type from molten lead blocks, which is then handset and hand printed on 100-year-old letterpress machines. The printed pages are proofread by actually being read out loud. And then, once everything is perfect, the pages are meticulously hand bound – sewn, glued, and pressed together into a one-of-a-kind, tangible tribute to the literary work it houses.

Come for a Visit
The Arion Press gallery is free and open to the public Monday through Friday, 10 to 5 pm and by appointment. Here you'll find Arion's recent projects and publications. But for a truly memorable and awe-inspiring visit, make a reservation for a 90 minute public demonstration tour, where for $10 you'll see the whole printmaking process in action, browse the facilities, including the floor-to-ceiling walls of typefaces (more than 3,888 typecases, 100 tons of type!), and go home with your very own printmaking souvenir.

Once you've visited this unique printmaker, gallery, publisher, and living museum, should you ever hear anyone claim that print is dead, you can kindly point them to Arion Press.

Arion Press is located just inside the 14th Avenue Gate in the Presidio's Public Health Service District, adjacent to the Richmond District. You'll know you're at the right place when you approach a building with a tall smokestack."]]></description>
<dc:subject>classideas presidio sanfrancisco tovisit printing letterpress arionpress</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://en.wikipedia.org/wiki/California_job_case">
    <title>California job case - Wikipedia</title>
    <dc:date>2018-01-27T23:39:09+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/California_job_case</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A California job case is a kind of type case: a compartmentalized wooden box used to store movable type used in letterpress printing.[1] It was the most popular and accepted of the job case designs in America. The California job case took its name from the Pacific Coast location of the foundries that made the case popular.[2]

The defining characteristic of the California job case is the layout, documented by J. L. Ringwalt in the American Encyclopaedia of Printing in 1871, as used by San Francisco printers.[3] This modification of a previously popular case, the Italic, it was claimed reduced the compositor's hand travel as he set the pieces of type into his composing stick by more than half a mile per day.[4] In the previous convention, upper- and lower-case type were kept in separate cases, or trays. This is why capital letters are called upper-case and the minuscules are lower-case.[5] The combined case became popular during the western expansion of the United States in the 19th century."]]></description>
<dc:subject>letterpress printing california</dc:subject>
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</item>
<item rdf:about="http://www.creativebloq.com/print-design/risograph-printing-51411803">
    <title>Get started with Risograph printing | Creative Bloq</title>
    <dc:date>2018-01-01T21:37:47+00:00</dc:date>
    <link>http://www.creativebloq.com/print-design/risograph-printing-51411803</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>risograph print printing classideas riso</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a03d0dbb7b9e/</dc:identifier>
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<item rdf:about="https://www.line-us.com/">
    <title>Line-us: The little robot drawing arm</title>
    <dc:date>2017-11-14T05:47:40+00:00</dc:date>
    <link>https://www.line-us.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Line-us is a small internet-connected robot drawing arm.
 
Line-us mimics your motion with a pen and recreates whatever you draw on screen. Draw with your finger, mouse, stylus or 
Apple Pencil and watch as it copies your movements in real time. 
The Line-us App then lets you save your drawings and share them with friends or other Line-us machines!
 
Line-us is Durrell Bishop and Robert Poll. We both have many years of experience in product design and engineering. If you love drawing like we do Line-us and the Line-us community will be the start of something fun and exciting."

[via: http://interconnected.org/home/2017/11/13/filtered ]]]></description>
<dc:subject>robots drawing printing printers 2017</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=QzOKtYSe5-E">
    <title>HANDJET® EBS 250 portable printer Part 1 - YouTube</title>
    <dc:date>2017-08-07T07:33:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QzOKtYSe5-E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[more videos:
https://www.youtube.com/watch?v=vuFbSPpTuqw
https://www.youtube.com/watch?v=id4zfCv5mzg
https://www.youtube.com/watch?v=Va3A7QcBlLE ]

[See also: https://www.amazon.com/EBS-InkJet-250-Ink-Jet-Printer/dp/B01MR46AZ0 ]

[via: 
https://twitter.com/businessinsider/status/892963251343970304
https://twitter.com/businessinsider/status/892846738934964224 ]]]></description>
<dc:subject>printing labeling printers hardware</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cd20df232477/</dc:identifier>
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<item rdf:about="https://lesliewatts.blogspot.com/2017/08/drypoint-wtih-pasta-maker.html">
    <title>Leslie Watts Fine Art: Drypoint with a pasta maker</title>
    <dc:date>2017-08-05T19:31:35+00:00</dc:date>
    <link>https://lesliewatts.blogspot.com/2017/08/drypoint-wtih-pasta-maker.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/lesliewattsart/status/893142096139440128

"Did you know that you can use a pasta maker as a printing press? My first drypoint, scratched on the lid of a plastic salad container.

I used a scalpel.

The soft white lids from yogourt containers are interesting, but the lines are mushier. I like these transparent, more rigid plastic.

So [to prevent slippage] now I roll card+printing paper in 1" and then carefully place the plate between. Then roll slowly & pull it out the bottom."

"I first put a drawing under the plastic for guidelines. Then I rub graphite powder into the scratches so they show against white paper."

"Takua intaglio, Mars Black."

"You can find lots of videos on YouTube. Search for drypoint technique and pasta maker printmaking. Also intaglio techniques."]

[Some videos:

Rosie Scribblah: "In this short and informative film Rosie Scribblah shows you how to use use a recycled, domestic pasta machine for dry point etching. Yes it works. And the cat helped too."
https://www.youtube.com/watch?v=nEE1hzz_xdI

Paul O'Dowd: "Vlog 0037 - Pasta Machine Print Press"
https://www.youtube.com/watch?v=SrPIZkocAOA

Pasta press modified to be better for regular printmaking: "What stops a lot of people from printmaking at home is that they don't have a press. By adapting a pasta press there is a cheap easy to use press that can make small postcard size prints."
https://www.youtube.com/watch?v=2IywvwD8shg

World of Woodcraft: "Printing with a pasta press and learning an art cheat at the same time. In this video I share an inexpensive method of creating interesting prints."
https://www.youtube.com/watch?v=gtuEL2mSOtk ]]]></description>
<dc:subject>classideas printmaking printing art 2017 sfsh pastamakers lesliewatts glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:552fb87a257b/</dc:identifier>
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<item rdf:about="https://medium.com/@mwichary/my-experiences-printing-a-small-batch-of-books-c04141b63dfe#.mtr6v545p">
    <title>My experiences printing a small batch of books – Medium</title>
    <dc:date>2016-10-25T02:24:26+00:00</dc:date>
    <link>https://medium.com/@mwichary/my-experiences-printing-a-small-batch-of-books-c04141b63dfe#.mtr6v545p</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A comparison of four online printing services: Blurb, BookBaby, Lulu, and Nook Press"

…

"Printing services I compared

I wanted to find a printing service that would allow you to get a small batch of 15 copies, preceded by a 1-copy proof print, relatively cheaply. I found these four:

• Blurb
• BookBaby
• Lulu
• Nook Press

A few others I learned of were too expensive (Lightning Press, Infinity Publishing, Best Book Printing), offered only paperback (CreateSpace), or seemed cumbersome (Lightning Source required a new account to be approved manually!?) If there are more that fit the bill, please let me know.

I ordered one copy of the book from each of the four services. Here’s how they compared."]]></description>
<dc:subject>papertnet books lulu blurb printing print publishing marchinwichary 2016 bookbaby nookpress ondemand</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.stickermule.com/">
    <title>Stickers - Sticker Mule</title>
    <dc:date>2016-07-11T19:10:06+00:00</dc:date>
    <link>https://www.stickermule.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>stickers classideas printing print glvo srg edg labels magnets decals projectideas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.colpapress.com/collections/frontpage">
    <title>Colpa | Colpa</title>
    <dc:date>2016-06-30T06:21:59+00:00</dc:date>
    <link>http://www.colpapress.com/collections/frontpage</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["COLPA is the collaborative art practice of Luca Antonucci and David Kasprzak. We work together as a publisher, designer, printer and curator.  

COLPA PRESS publishes art books, limited edition prints and art objects, often working with artists on unique projects. 

Founded by Carissa Potter and Luca Antonucci in 2010, with great assistance from Hailey Loman, COLPA has grown to include international events and exhibitions.

COLPA has exhibited with SFMOMA at the FOG Design + Art Fair, The NY Art Book Fair at PS1 MoMa, The LA Art Book Fair at the Geffen Contemporary MOCA, the Kadist Foundation and the Headlands Center for the Arts. 

Our publications are in the permanent collection of The Getty Foundation, The Los Angeles County Museum of Modern Art, The Museum of Contemporary Art, The Museum of Modern Art, The Whitney Museum, Stanford University, Reed University and The Kadist Foundation. 

We are lucky to have worked with amazing assistants such as Eva Struble, Cecile Legnaghi, Maëlle Brientini, Nino Galluzzo, Sarah Kim, Jenna Jorgenson, Jackson Brinkley, Madison Voekel, Nelly Ansruther, Lindsey Watson and Amy Burek. 

For a quote or other inquiry, please contact us at hello@colpapress.com."]]></description>
<dc:subject>art books artbooks sanfrancisco lucaantonucci davidkasprzak publishing design printing curation carissapotter colpa artistsbooks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.iprc.org/">
    <title>Independent Publishing Resource Center | Independent Publishing Resource Center</title>
    <dc:date>2015-12-30T02:15:01+00:00</dc:date>
    <link>http://www.iprc.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["IPRC’S Mission & Vision

The IPRC’s Mission is to facilitate creative expression, identity and community by providing individual access to tools and resources for creating independently published media and artwork.

About

Since its inception in 1998 the center has been dedicated to encouraging the growth of a visual and literary publishing community by offering a space to gather and exchange information and ideas, as well as to produce work.

We’ve empowered thousands of people to create and publish their own artwork, writing, zines, books, websites, comics and graphic novels.
 
In our 18 years of operation, we’ve provided artistic services to upwards of 27,000 Oregonians through membership, use of the Center, workshops and outreach programs. By gathering such diverse people under one roof, the IPRC nourishes an expansive and productive community. In fact the IPRC is at the very heart of Portland’s vibrant do-it-yourself (DIY) artistic and literary communities is a creative home for many local artists, and an incubator for the independent creative spirit that makes Portland unique.
 
We’ve helped community members find their artistic voices, especially disenfranchised youth (including GLBT, minority, at-risk, and homeless youth) whose lifestyles and experiences tend to be marginalized in the major media.
 
We’ve helped countless individuals to discover themselves through art, and to reach and inspire others in the community by publishing and sharing their work. We’re always looking for volunteers to help our outreach programs."

[via: http://theokbb.tumblr.com/post/136224475227/one-of-the-first-places-that-i-visited-when-i ]]]></description>
<dc:subject>portland oregon diy books publishing zines lcproject openstudioproject art printing iprc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:01add6171da6/</dc:identifier>
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<item rdf:about="https://paom.com/">
    <title>PRINT ALL OVER ME</title>
    <dc:date>2015-11-30T02:44:26+00:00</dc:date>
    <link>https://paom.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Print All Over Me is a creative community of people turning virtual ideas into real world objects. Join us to create, share, sell, produce and buy great design!"

[via: https://twitter.com/TheFutureLab/status/667009564068487168
and https://www.lsnglobal.com/seed/article/18543/clothes-by-algorithm ]]]></description>
<dc:subject>clothing fashion printing clothes fabric printalloverme fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3b94ebf15a14/</dc:identifier>
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<item rdf:about="http://aeon.co/magazine/culture/how-textiles-repeatedly-revolutionised-technology/">
    <title>How textiles revolutionised technology – Virginia Postrel – Aeon</title>
    <dc:date>2015-06-10T00:29:44+00:00</dc:date>
    <link>http://aeon.co/magazine/culture/how-textiles-repeatedly-revolutionised-technology/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Older than bronze and as new as nanowires, textiles are technology — and they have remade our world time and again"

"In February 1939, Vogue ran a major feature on the fashions of the future. Inspired by the soon-to-open New York World’s Fair, the magazine asked nine industrial designers to imagine what the people of ‘a far Tomorrow’ might wear and why. (The editors deemed fashion designers too of-the-moment for such speculations.) A mock‑up of each outfit was manufactured and photographed for a lavish nine-page colour spread.

You might have seen some of the results online: an evening dress with a see-through net top and strategically placed swirls of gold braid, for instance, or a baggy men’s jumpsuit with a utility belt and halo antenna. Bloggers periodically rediscover a British newsreel of models demonstrating the outfits while a campy narrator (‘Oh, swish!’) makes laboured jokes. The silly get‑ups are always good for self-satisfied smirks. What dopes those old-time prognosticators were!

The ridicule is unfair. Anticipating climate-controlled interiors, greater nudity, more athleticism, more travel and simpler wardrobes, the designers actually got a lot of trends right. Besides, the mock‑ups don’t reveal what really made the predicted fashions futuristic. Looking only at the pictures, you can’t detect the most prominent technological theme.

‘The important improvements and innovations in clothes for the World of Tomorrow will be in the fabrics themselves,’ declared Raymond Loewy, one of the Vogue contributors. His fellow visionaries agreed. Every single one talked about textile advances. Many of their designs specified yet-to-be-invented materials that could adjust to temperature, change colour or be crushed into suitcases without wrinkling. Without exception, everyone foretelling the ‘World of Tomorrow’ believed that an exciting future meant innovative new fabrics.

They all understood something we’ve largely forgotten: that textiles are technology, more ancient than bronze and as contemporary as nanowires. We hairless apes co-evolved with our apparel. But, to reverse Arthur C Clarke’s adage, any sufficiently familiar technology is indistinguishable from nature. It seems intuitive, obvious – so woven into the fabric of our lives that we take it for granted.

We drag out heirloom metaphors – ‘on tenterhooks’, ‘tow-headed’, ‘frazzled’ – with no idea that we’re talking about fabric and fibres. We repeat threadbare clichés: ‘whole cloth’, ‘hanging by a thread’, ‘dyed in the wool’. We catch airline shuttles, weave through traffic, follow comment threads. We talk of lifespans and spin‑offs and never wonder why drawing out fibres and twirling them into thread looms so large in our language."

…

"As late as the 1970s, textiles still enjoyed the aura of science. Since then, however, we’ve stopped thinking of them as a technical achievement. In today’s popular imagination, fabric entirely belongs to the frivolous world of fashion. Even in the pages of Vogue, ‘wearable technology’ means electronic gadgets awkwardly tricked out as accessories, not the soft stuff you wear against your skin – no matter how much brainpower went into producing it. When we imagine economic progress, we no longer think about cloth, or even the machines that make it.

This cultural amnesia has multiple causes. The rise of computers and software as the very definition of ‘high technology’ eclipsed other industries. Intense global competition drove down prices of fibres and fabric, making textiles and apparel a less noticeable part of household budgets, and turning textile makers into unglamorous, commodity businesses. Environmental campaigns made synthetic a synonym for toxic. And for the first time in human history, generations of women across the developed world grew up without learning the needle arts."

…

"Textiles illustrate a more general point about technology. The more advanced a field is, the more blasé we are about its latest upgrades. Success breeds indifference. We still expect Moore’s Law to hold, but we no longer get excited about the latest microprocessor. The public has largely forgotten the silicon in Silicon Valley.

New and improved fabric technologies haven’t attracted public enthusiasm since the backlash against leisure suits and disco shirts made synthetics declassé in the early 1980s. ‘Pity poor polyester. People pick on it,’ wrote The Wall Street Journal’s Ronald Alsop in 1982, describing DuPont’s efforts to rehabilitate the fibre’s image.

What ended the consumer hatred of polyester wasn’t a marketing campaign. It was a quiet series of technical innovations: the development of microfibres. These are synthetics, most often polyester or nylon, that are thinner than silk and incredibly soft, as well as lightweight, strong, washable and quick-drying. Their shapes can be engineered to control how water vapour and heat pass through the fabric or to create microcapsules to add sunscreen, antimicrobial agents or insect repellent. Over the past decade, microfibres have become ubiquitous; they’re found in everything from wickable workout wear to supersoft plush toys.

Microfibres are one reason the ‘air-conditioned’ fabrics Loewy and his fellow designers foresaw in 1939 have finally come to pass. These fabrics just aren’t promoted in the pages of Vogue or highlighted on the racks at Banana Republic. They don’t attract attention during New York Fashion Week. Their tribe gathers instead at the big Outdoor Retailer trade shows held twice a year in Salt Lake City. There, outdoor-apparel makers and their suppliers tout textiles that keep wearers warm in the cold and cool in the heat; that block raindrops but allow sweat to escape; that repel insects, screen out UV rays and control odour. By establishing that truly weather-resistant fabrics were possible, Gore-Tex (first sold in 1976) and Polartec synthetic fleece (1979) created an industry where engineers now vie to find ever-better ways to conquer the elements. For instance, ‘smart textiles’ originally developed for spacesuits use microencapsulated materials that melt when they get hot, keeping wearers comfortable by absorbing body heat; when temperatures fall, the materials solidify and warm the body."

…

"Reducing textiles to their functional properties misses much of their appeal, however. They’ve always been decorative as well, a source of sensory pleasure going all the way back to the sexy string skirts worn by Stone Age women. That’s why dyes have been so important in the history of chemistry and trade.

In our computer-centric era, the pursuit of beautiful textiles has naturally turned to information technology. Over the past decade, inkjet printing on fabric has taken off. Instead of requiring a separate plate for each colour, digital printing registers the entire design at once. So for the first time, designers can use as many colours, and as varied patterns, as they choose. Although it currently accounts for less than 5 per cent of printed fabrics, digital printing has already changed the way clothes look. It’s the technology driving the colourful prints so prominent in recent women’s fashion, as well as the crowdsourced design sites Threadless and Spoonflower.

The customers who’ve embraced those designs don’t think much about what makes them possible. But the very invisibility of textiles testifies to their power. We think of them as natural. The instinct behind ‘wearable technology’ is sound, even if the products so far are awkward. ‘Imagine a textile structured from a blend of different fibres which each function as component within a circuit, for example, battery fibres, solar fibres and antenna fibres,’ writes the US fashion technologist Amanda Parkes in an op-ed for the website Business of Fashion. ‘The material itself becomes a self-sustaining “textile circuit” that has its own power and interactive capabilities, but the embedded technology is essentially invisible.’

If the goal is to shrink the distance between nature and artifice, us and it, no technology is as powerful as fabric. Intimate and essential, it touches every moment of our lives. It is among the greatest products of human artifice. Yet it is also an extension of our skin."]]></description>
<dc:subject>textiles glvo virginiapostrel history clothing crafts culture technology 2015 wearables materials industrialrevolution fashion craft dyes machines printing science adamsmith raymondloewy arthurcclarke dupont synthetics fabrics fabric elizabethbarber williampetty davidorban josephmariejacquard weaving looms knitting spinning craigmuldrew jameshargreaves richardarkwright beverlylemire samuelcrompton 1939 vogue microfibres gore-tex polartec ministryofsupply mizzenandmain yicui materialsscience threadless spoonflower amandaparkes future making cv</dc:subject>
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<item rdf:about="https://vimeo.com/115154289">
    <title>The Humane Representation of Thought on Vimeo</title>
    <dc:date>2015-03-07T22:46:11+00:00</dc:date>
    <link>https://vimeo.com/115154289</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Closing keynote at the UIST and SPLASH conferences, October 2014.
Preface: http://worrydream.com/TheHumaneRepresentationOfThought/note.html

References to baby-steps towards some of the concepts mentioned:

Dynamic reality (physical responsiveness):
- The primary work here is Hiroshi Ishii's "Radical Atoms": http://tangible.media.mit.edu/project/inform/
- but also relevant are the "Soft Robotics" projects at Harvard: http://softroboticstoolkit.com
- and at Otherlab: http://youtube.com/watch?v=gyMowPAJwqo
- and some of the more avant-garde corners of material science and 3D printing

Dynamic conversations and presentations:
- Ken Perlin's "Chalktalk" changes daily; here's a recent demo: http://bit.ly/1x5eCOX

Context-sensitive reading material:
- http://worrydream.com/MagicInk/

"Explore-the-model" reading material:
- http://worrydream.com/ExplorableExplanations/
- http://worrydream.com/LadderOfAbstraction/
- http://ncase.me/polygons/
- http://redblobgames.com/pathfinding/a-star/introduction.html
- http://earthprimer.com/

Evidence-backed models:
- http://worrydream.com/TenBrighterIdeas/

Direct-manipulation dynamic authoring:
- http://worrydream.com/StopDrawingDeadFish/
- http://worrydream.com/DrawingDynamicVisualizationsTalk/
- http://tobyschachman.com/Shadershop/

Modes of understanding:
- Jerome Bruner: http://amazon.com/dp/0674897013
- Howard Gardner: http://amazon.com/dp/0465024335
- Kieran Egan: http://amazon.com/dp/0226190390

Embodied thinking:
- Edwin Hutchins: http://amazon.com/dp/0262581469
- Andy Clark: http://amazon.com/dp/0262531569
- George Lakoff: http://amazon.com/dp/0465037712
- JJ Gibson: http://amazon.com/dp/0898599598
- among others: http://en.wikipedia.org/wiki/Embodied_cognition

I don't know what this is all about:
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/
- http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/responses.html

---

Abstract:

New representations of thought — written language, mathematical notation, information graphics, etc — have been responsible for some of the most significant leaps in the progress of civilization, by expanding humanity’s collectively-thinkable territory.

But at debilitating cost. These representations, having been invented for static media such as paper, tap into a small subset of human capabilities and neglect the rest. Knowledge work means sitting at a desk, interpreting and manipulating symbols. The human body is reduced to an eye staring at tiny rectangles and fingers on a pen or keyboard.

Like any severely unbalanced way of living, this is crippling to mind and body. But it is also enormously wasteful of the vast human potential. Human beings naturally have many powerful modes of thinking and understanding. 

Most are incompatible with static media. In a culture that has contorted itself around the limitations of marks on paper, these modes are undeveloped, unrecognized, or scorned.

We are now seeing the start of a dynamic medium. To a large extent, people today are using this medium merely to emulate and extend static representations from the era of paper, and to further constrain the ways in which the human body can interact with external representations of thought.

But the dynamic medium offers the opportunity to deliberately invent a humane and empowering form of knowledge work. We can design dynamic representations which draw on the entire range of human capabilities — all senses, all forms of movement, all forms of understanding — instead of straining a few and atrophying the rest.

This talk suggests how each of the human activities in which thought is externalized (conversing, presenting, reading, writing, etc) can be redesigned around such representations.

---

Art by David Hellman.
Bret Victor -- http://worrydream.com "

[Some notes from Boris Anthony:

"Those of you who know my "book hack", Bret talks about exactly what motivates my explorations starting at 20:45 in https://vimeo.com/115154289 "
https://twitter.com/Bopuc/status/574339495274876928

"From a different angle, btwn 20:00-29:00 Bret explains how "IoT" is totally changing everything
https://vimeo.com/115154289 
@timoreilly @moia"
https://twitter.com/Bopuc/status/574341875836043265 ]]]></description>
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</item>
<item rdf:about="http://nothingmajor.com/features/17-rise-of-the-risograph-part-one/">
    <title>Article: Rise of the Risograph, Part One / Features / Nothing Major</title>
    <dc:date>2015-03-07T22:35:29+00:00</dc:date>
    <link>http://nothingmajor.com/features/17-rise-of-the-risograph-part-one/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Once marketed to schools as a cheap copier, the Risograph has become a fave of graphic designers, artists, zine publishers, and arts institutions. Part one: Rise of the Machine."

[Parts two and three:

"So, now that we know what a Risograph is, who's using it, and how?"
http://nothingmajor.com/features/18-rise-of-the-risograph-part-two/

"This week, we're checking in with art institutions to see how they use Risographs."
http://nothingmajor.com/features/24-rise-of-the-risograph-part-three/ ]]]></description>
<dc:subject>risograph print printing mattputrino via:robinsloan design openstudioproject lcproject classideas zines glvo srg riso</dc:subject>
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<item rdf:about="http://www.hup.harvard.edu/catalog.php?isbn=9780674072794">
    <title>Gandhi’s Printing Press — Isabel Hofmeyr | Harvard University Press</title>
    <dc:date>2015-02-18T21:22:12+00:00</dc:date>
    <link>http://www.hup.harvard.edu/catalog.php?isbn=9780674072794</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At the same time that Gandhi, as a young lawyer in South Africa, began fashioning the tenets of his political philosophy, he was absorbed by a seemingly unrelated enterprise: creating a newspaper. Gandhi’s Printing Press is an account of how this project, an apparent footnote to a titanic career, shaped the man who would become the world-changing Mahatma. Pioneering publisher, experimental editor, ethical anthologist—these roles reveal a Gandhi developing the qualities and talents that would later define him.

Isabel Hofmeyr presents a detailed study of Gandhi’s work in South Africa (1893–1914), when he was the some-time proprietor of a printing press and launched the periodical Indian Opinion. The skills Gandhi honed as a newspaperman—distilling stories from numerous sources, circumventing shortages of type—influenced his spare prose style. Operating out of the colonized Indian Ocean world, Gandhi saw firsthand how a global empire depended on the rapid transmission of information over vast distances. He sensed that communication in an industrialized age was becoming calibrated to technological tempos.

But he responded by slowing the pace, experimenting with modes of reading and writing focused on bodily, not mechanical, rhythms. Favoring the use of hand-operated presses, he produced a newspaper to contemplate rather than scan, one more likely to excerpt Thoreau than feature easily glossed headlines. Gandhi’s Printing Press illuminates how the concentration and self-discipline inculcated by slow reading, imbuing the self with knowledge and ethical values, evolved into satyagraha, truth-force, the cornerstone of Gandhi’s revolutionary idea of nonviolent resistance."

[via: https://twitter.com/complexfields/status/568156442240229376 ]]]></description>
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</item>
<item rdf:about="http://crimethinc.com/">
    <title>CrimethInc. Ex-Workers’ Collective : Home</title>
    <dc:date>2014-10-08T17:32:29+00:00</dc:date>
    <link>http://crimethinc.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Greetings, dissident.

History is not something that happens to people—it is the activity of people. In every moment, in every decision and gesture, we make our culture, our life stories, our world, whether we take responsibility for this ourselves or ascribe this power to executives, politicians, pop stars, economic systems, or deities.

The Future is UnwrittenIn a society which glorifies their power and our passivity, all thought which challenges this passivity is thoughtcrime. Crimethink is the transgression without which freedom and self-determination are impossible—it is the skeleton key that unlocks the prisons of our age.

CrimethInc. is the black market where we trade in this precious contraband. Here, the secret worlds of shoplifters, rioters, dropouts, deserters, adulterers, vandals, daydreamers—that is to say, of all of us, in those moments when, wanting more, we indulge in little revolts—converge to form gateways to new worlds where theft, cheating, warfare, boredom, and so on are simply obsolete.

This webpage is one of many manifestations of the underground network through which we work to realize these daydreams, to take the reins of our lives and make our history rather than using the same energy to insist we are being made by it. If you have illicit ideas and intentions of your own to share, you're invited to join us here.

Now Entering Cyberia (Population: Zero)
A Note on the Medium

Due to your vague interest in these matters which have been deemed antisocial by the new thought police, you have been exiled to Cyberia. You may believe your visit to be voluntary, but ask yourself: if you could live—in real time, in full color, without a 'net'—the revolt and transformation you fantasize about, would you be here, contemplating and trading in mere representations of such things? The new isolation chambers and interrogation rooms largely need no judicial procedures or law enforcement to fill them—we confine ourselves to these office cubicles, internet cafes, and lonely bedrooms willingly, even believing ourselves to have found access to our dreams and desires here.

Not to criticize you, of course—since obviously I am in the same situation as you, similarly self-exiled. But let's use this time in the wilderness as the political prisoners of old did: not to get accustomed to it, not to build new lives around this voluntary amputation, but to educate ourselves, increase our powers and connections, so when we can return to society we will be armed with new tools for dismantling and reconceiving it. Let us take the world itself back, rather than the "information superhighways" upon which we are being herded so quickly away from it, so one day there will be no need for anyone to return here besides misguided historians and other archaeologists of the cursed graveyards of the past.

See you on the other side of the screen, if you make it, earnest cyberspace cadet.

-CrimethInc. Workers' Collective."]]></description>
<dc:subject>activism anarchism anarchy politics publishing books collectives print printing</dc:subject>
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<item rdf:about="http://www.newpages.com/interviews/sam_hamill_copper_canyon.htm">
    <title>Sam Hamill :: NewPages.com Interview</title>
    <dc:date>2014-09-05T17:40:08+00:00</dc:date>
    <link>http://www.newpages.com/interviews/sam_hamill_copper_canyon.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NP: How did the press take off from there?

Hamill: In the fall of 1973, I met with Bill Ransom, who lived in Port Townsend. He and Joe Wheeler, who invented a non-profit arts organization called Centrum, were putting together a Port Townsend Symposium—they changed the name when it was pointed out that Symposium meant “to gather and drink.” They invited me to come and work with Centrum. They gave me a building in Port Townsend that was, for several years, rent-free. So I came here in utter poverty and lived in a travel-trailer, cleared some land, built my own house, and lived for several years. I had no regular income. I was basically supporting us and helping to support the press by teaching in prisons part time, in Artists in the Schools Programs, and working with battered women and children.

NP: Did that ever change, where Copper Canyon Press was making enough money that you didn’t have to support it?

Hamill: It changed in the 90s but it also radically changed the nature of the press, which is why I’m no longer there. It became a corporation, which creates corporate behavior, which is a kind of poison. People get involved in power and money and they lose sight of the real work. You have employees rather than real people who want to give something. That’s just the nature of corporate consciousness and I suppose it has to be because that’s what it’s there for. People make middle class incomes and live bourgeois lives. For the first 20 years of the press’s life, we lived “Buddhist economics,” which means we were not paid. That changes radically when you get a board of directors. You suddenly get bourgeois values and practices, a capitalist practice, in something that hadn’t been that way before.

It’s not that Copper Canyon makes money. Non profit corporations don’t make money. 40-50% of every book that you buy from Copper Canyon or other nonprofit presses comes from fundraising and donations.

NP: So you’ve thrown out “corporate culture” as an appropriate kind of work environment. What kind of work environment do you think a literary press should create and cultivate in its stead?

I didn’t “throw it out.” I simply pointed out that “incorporation” creates a board of directors that may change the direction, the focus and practice, of the organization."

…

"NP: What are some of the experiences along the way that have proved rewarding?

Hamill: All of the above.

NP: Including leaving Copper Canyon?

Hamill: Well, I chose to go out on my feet [rather] than remain on my knees.

If I didn’t learn anything else in 32 years, I learned to stand up for something against powerful bourgeois forces, and whether that something was as broad and indefinable as poetry or whether it’s really a simple system of ethics, it’s what has sustained me most of my adult life. I’m sure most of that goes back to Zen practice, but I liked being in the service of poetry, and I did a lot of homework so I could do it efficiently and well."

…

"NP: What are the most common difficulties you encountered? How did you solve them?

Hamill: As presses age, as it were, the major problem is dealing with boards of directors and the eternal fundraising problem, and it’s cyclical, and it’s infinite, and it’s consuming, and it really isn’t very healthy, this perpetual begging for money. I’m not opposed to it—I’m a good Buddhist—but I also think you need to work in the garden.

The “garden” is the labor- and time-intensive investment in our future, whether as working artists or as publishers. What I plant and nourish this year may bear fruit five years down the line. It’s work done for its own sake, for investment in one’s convictions.

Boards of directors are composed mostly of business people who also care about the arts. They want “success,” which means sales, reducing poetry to a commodity for the masses. Great poets rarely reach the masses during their lifetime. Nobody, really, read Whitman or Dickinson, for instance, until the mid-twentieth century. Sometimes the best poets sell in very low numbers during their lifetime. So there’s likely to be conflict in defining “success,” conflict between a visionary editor and his or her support system.

NP: Can a press that publishes poetry forgo that “begging for money”—in a country where people don’t buy poetry?

Hamill: You can’t say that. Part of the problem is that so much poetry is being published—over 2,000 titles each year. You don’t have to sell very many of each before you have a very large audience, but it’s a very eclectic audience. It can’t rival readers of pop fiction, but that’s why we’re nonprofit. We just need to find more efficient ways for the literati to have more control. There’s frankly too much bad poetry being published these days. Every graduating MFA has a fistful of publishable poetry, certified publishable by the institution. That’s foolish. It sets up a lot of false expectations. Most of those people cozy up to academia, where they live comfortable lives outside the mainstream of humanity. And they all publish and publish.

There’s a reason why sacrifice is such a major theme in poetry around the world. It’s a kind of religion. It’s the “vision thing.” We’re losing the tribal knowledge of the sacrifice that it takes to be a poet. We [poets] do this out of love. That is more important than a $60,000 salary. Desktop publishing is both wonderful and a horrible curse, because everything becomes immediately publishable.

Why do people who want to write not know anything about the history of writing? Why don’t they know anything about letter forms? I learned about those things because I wanted to write. I thought you should know where words come from and where letters come from. Did these letter-forms just suddenly appear? People talk about Chinese pictographs—but our D comes from the Greek, probably from Sumerian before that, and is a diagram of a door swinging on a hinge. Our A is from the Greek Alpha, which is a bull’s head turned upside down. So a lot of the letters in our alphabet go back to pictographic sources. We have such a wonderful hodgepodge of ideas in our writing, odds and ends of Greek and Spanish and Japanese. All these words creep into our language and sometimes change and sometimes connect with deep roots to their foreign cultures. It seems to me writers should know about that stuff, but we spend all our time on self-expression.

A good editor goes to school on language, on its sources and traditions, as well as on the poetry. The idea situation would be an endowed press, like New Directions, that allows a brilliant editor to be brilliant without the conflict between the numbers game and the vision of the practice."

…

"NP: OK, but I still want to know whether for-profit poetry presses can survive today. How did Copper Canyon survive for so many years before going non-profit?

We had an “umbrella organization” in Centrum that allowed us to get grants from the National Endowment for the Arts, and we learned to master the arts of poverty. We studied hard and worked hard and made sacrifices for the good of the press."]]></description>
<dc:subject>samhamill poetry bookmaking publishing nonprofit buddhism buddhisteconomics printing economics centrum porttownsend bourgeois corporations corporatism organizations power money coppercanyonpress 2006 capitalism writing mfa nonprofits mfas</dc:subject>
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<item rdf:about="https://plus.google.com/events/c67c9rk920s1rd3invjtd4assf4">
    <title>Interview with Alan Kay - Google+</title>
    <dc:date>2014-06-20T20:43:53+00:00</dc:date>
    <link>https://plus.google.com/events/c67c9rk920s1rd3invjtd4assf4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[notes to come later]

[direct link to YouTube video: https://www.youtube.com/watch?v=TY-hBgYLJqc ]]]></description>
<dc:subject>alankay gardnercampbell 2014 interviews education unschooling deschooling learning howwelearn howweteach discernment skepticism power organizations control psychology technology computers internet media jeromebruner cargocult schools teaching rules conformity curriculum dougengelbart xeroxparc criticalthinking criticism highereducation autodidacts self-directedlearning literacy history anthropology children society print printing books parenting crapdetection neilpostman subversion mavericks complicity systemsthinking memorization interveninginasystem highered autodidactism suppression</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://photojojo.com/engineerprints/">
    <title>Engineer Prints from Photojojo</title>
    <dc:date>2014-06-08T23:08:37+00:00</dc:date>
    <link>http://photojojo.com/engineerprints/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your photos, human-sized. $25 · FREE Shipping · 3ft x 4ft"]]></description>
<dc:subject>photography print printing srg posters</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ad169468fc13/</dc:identifier>
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<item rdf:about="http://www.makeplayingcards.com/design/custom-blank-card.html">
    <title>Custom Game Cards</title>
    <dc:date>2014-04-27T19:41:51+00:00</dc:date>
    <link>http://www.makeplayingcards.com/design/custom-blank-card.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Specifications:
Type: Poker sized blank cards
Number of cards per deck: from 18 up to 234
Customization: Each card can be customized individually both front and back as required.
Dimensions: 63mm x 88mm, 2.5" x 3.5"
Material options: [cardstock details]
270gsm promotional quality card stock with blue core
300gsm premium quality card stock with blue core (smooth finish)
310gsm French casino quality card stock with black core (linen finish)
13pt 100% white plastic (0.325mm)
Packaging options (per deck):
Cellowrap (default for deck sizes of above 54 cards)
White plain tuck box (add US$ 0.10 per deck)
White window tuck box (add US$ 0.10 per deck)
Clear plastic case (add US$ 0.30 per deck)
Tin box (add US$ 0.90 per deck)
Custom-printed tuck box (add as low as US$ 0.60 per deck)
Uncut sheet - your cards are not cut individually. Taken straight off the press. 54 cards per sheet (add US$ 9 per deck design)
Delivery packaging: card deck individually shrink-wrapped, boxes shrink-wrapped, uncut sheets rolled up
No minimum order required. Buy 1 deck for $12.00"]]></description>
<dc:subject>cards games gamedesign boardgames printing via:bopuc</dc:subject>
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<item rdf:about="http://4cp.posthaven.com/">
    <title>4CP | Four Color Process</title>
    <dc:date>2014-04-24T20:02:25+00:00</dc:date>
    <link>http://4cp.posthaven.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via http://laughingsquid.com/4cp-a-website-that-adventures-deep-inside-and-examines-the-four-color-process-used-to-print-comic-books/ (via http://notrare.tumblr.com/post/83740052111/laughingsquid-4cp-a-website-that-adventures) who describes:

"John Hilgart is the creator and curator of 4CP, a fantastic website that “adventures deep inside” and examines the four-color-process that is used to print comic books. By scanning and zooming in on different comic book illustrations, John is able to display a whole new level of detail that one may not notice otherwise. According to John, “one of the most glorious and ludicrous covers in comic book history” is the MAD #21 cover created by cartoonist and editor Harvey Kurtzman in 1955. You can dig around through more of his many hidden comic treasures on the 4CP website." ]]]></description>
<dc:subject>comics design printing paper print johnhilgart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c7500c4a3337/</dc:identifier>
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</item>
<item rdf:about="http://thesis2013.micadesign.org/svntn/index.html">
    <title>Seventeen-day Studio</title>
    <dc:date>2014-03-07T08:14:34+00:00</dc:date>
    <link>http://thesis2013.micadesign.org/svntn/index.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Seventeen-day Studio writes about books, experimentation & experience. "

"The Seventeen-day Studio began on March 29, 2013 and ended seventeen days later on April 14. We formed the studio as an exploration in collaboration, an exhibition of the design process, and an evaluation of the field as we know it. What came from the studio greatly outweighs what we put into it, due to the kindness and generosity of our colleagues, advisors, and all those who stopped by."

…

[Projects]

"Studio as critique.

As much as the studio is about showing designers in their element, we felt a need to be critical about what we do. Through open collaboration with each other and visitors, we embrace the loss of explicit authorship. We recognize our own ego but do not believe in solitary genius. To achieve this we developed projects which spanned the 17 days. These parts of the studio are meant to challenge the traditional notion of the graphic designer through our relationships with clients and the greater public.

Posters, books, and logos are quintessential so we began there. To explore our use of technology, media, and medium as they relate to the deliverable, we created these systems of making and interaction. The Poster Machine, Logo Parlor, and Bookshop as we called them produced work for a walk-in clientele. They act as introduction to basic concepts of design[ing] and being designed for in a way that was personal for each visitor.

We want to expand the space of graphic design criticism. Through our studio space and by working in the gallery, performing, we present design, the verb, to more than our peers. We used one of our 23 ft high walls to proclaim a diagnosis of the field. Graphic design is made of contrary elements, involving a clash of thought, emotion, and behavior, leading us as graphic designers, toward eccentric perceptions, unusual actions and feelings, withdrawal from reality into fantasy or delusion, and a sense of mental fragmentation.

Bookshop.

The print-per-request Book Shop interprets an individual’s reading preferences and habits. We posit that reading is distracting, because it is plastic, creative work that is affected by methods of publishing and the devices we use. Visitor input went into editing and producing a 100 page book that focuses on the parts of books and reading that cannot be read or are routinely glanced over, though contribute the how a reader reads.

The poster machine, an alternative interface.

The poster machine was made to challenge the digital tools that designers conventionally use in making. A series of knobs and switches are used by the machine’s operator to alter the mood and layout of their poster. Each poster is then handmade and machine-made. After playing with the machine the maker sends her poster to print, where it is also automatically fed to our website for all to see.

Logo Parlor, a generative identity system.

The logo parlor generates a logo and 20 business cards in 8 minutes. The piece was developed based on a system in which visitors fill out a form where they rank different skill sets in a scale of 1 to 10. The skill sets are gathered from a survey of most repeated characteristics mentioned by prospective candidate during interviews across different fields. During the exhibition visitors were encouraged to fill out a form and spend 8 minutes with the designer as the process of creating their customized logotype unfolded."

…

"Graphic design is made of contrary elements, involving a clash of thought, emotion, and behavior, leading us as graphic designers toward eccentric perceptions, inappropriate actions and feelings, our withdrawal from reality into fantasy or delusion, and a sense of mental fragmentation."]]></description>
<dc:subject>design designprocess classideas projectideas graphicdesign graphics typography books making openstudioproject glvo srg manifestos workshops events studios printing publishing eventideas</dc:subject>
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<item rdf:about="http://worrydream.com/Links2013/">
    <title>Links 2013 [&quot;Bret Victor: It’s the end of 2013, and here’s what Bret fell in love with this year&quot;]</title>
    <dc:date>2014-01-08T23:01:33+00:00</dc:date>
    <link>http://worrydream.com/Links2013/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is the difference between scientific and non-scientific thinking? Thinking within a consistent theory versus thinking haphazardly?

I'm crucially interested in the problem of representing theory such that intuitions are fruitful and theoretically sound, and representations suggest analogies that stay true to the theory. That's not diSessa's problem, but I feel that his viewpoint has some powerful clues."

…

"Hofstadter says that all thinking runs on analogy-making. Sounds good to me! If he's even partially correct, then it seems to me that a medium for powerful thinking needs to be a medium for seeing powerful analogies. And a medium for powerful communication needs to be designed around inducing the dance he's talking about up there."

…

Kieran Egan: "Thinking about education during this century has almost entirely involved just three ideas—socialization, Plato's academic idea, and Rousseau's developmental idea. We may see why education is so difficult and contentious if we examine these three ideas and the ways they interact in educational thinking today. The combination of these ideas governs what we do in schools, and what we do to children in the name of education.

Our problems, I will further argue, are due to these three ideas each being fatally flawed and being also incompatible with one other."

Bret Victor: "If you're going to design a system for education, it might help to understand the purpose of education in the first place. Egan points out how modern education is implicitly driven by a cargo-culty mish-mash of three lofty but mutually-incompatible goals. Good luck with that!"

…

"The cultural importance of the printing press doesn't have much to do with the technology -- the ink and metal type -- but rather how print acted as a medium to amplify human thought in particular ways.

Print was directly responsible for the emergence of a literate and educated society, which (for example) made possible the idea of societal self-governance. The US Constitution could only exist in a literate print culture, where (for example) the Federalist papers and Anti-Federalist papers could be debated in the newspapers.

As you read and watch Alan Kay, try not to think about computational technology, but about a society that is fluent in thinking and debating in the dimensions opened up by the computational medium.
Don't think about “coding” (that's ink and metal type, already obsolete), and don't think about “software developers” (medieval scribes only make sense in an illiterate society).

Think about modeling phenomena, modeling situations, simulating models, gaining a common-sense intuition for nonlinear dynamic processes. Then think about a society in which every educated person does these things, in the computational medium, as easily and naturally as we today read and write complex logical arguments in the written medium.

Reading used to be reserved for the clergy, to hand down unquestionable Revealed Truths to the masses. Today, it's just what everyone does. Think about a society in which science is not reserved for the clergy, to hand down unquestionable Revealed Truths to the masses, but is just what everyone does."

…

[Reading tips from Bret Victor:]

"Reading Tip #1

It’s tempting to judge what you read: "I agree with these statements, and I disagree with those."

However, a great thinker who has spent decades on an unusual line of thought cannot induce their context into your head in a few pages. It’s almost certainly the case that you don’t fully understand their statements.

Instead, you can say: "I have now learned that there exists a worldview in which all of these statements are consistent."

And if it feels worthwhile, you can make a genuine effort to understand that entire worldview. You don't have to adopt it. Just make it available to yourself, so you can make connections to it when it's needed.

Reading Tip #2

Carver Mead describes a physical theory in which atoms exchange energy by resonating with each other. Before the energy transaction can happen, the two atoms must be phase-matched, oscillating in almost perfect synchrony with each other.

I sometimes think about resonant transactions as a metaphor for getting something out of a piece of writing. Before the material can resonate, before energy can be exchanged between the author and reader, the reader must already have available a mode of vibration at the author's frequency. (This doesn't mean that the reader is already thinking the author's thought; it means the reader is capable of thinking it.)

People often describe written communication in terms of transmission (the author explained the concept well, or poorly) and/or absorption (the reader does or doesn't have the background or skill to understand the concept). But I think of it more like a transaction -- the author and the reader must be matched with each other. The author and reader must share a close-enough worldview, viewpoint, vocabulary, set of mental models, sense of aesthetics, and set of goals. For any particular concept in the material, if not enough of these are sufficiently matched, no resonance will occur and no energy will be exchanged.

Perhaps, as a reader, one way to get more out of more material is to collect and cultivate a diverse set of resonators, to increase the probability of a phase-match.

Reading Tip #3

Misunderstandings can arise when an author is thinking in a broader context than the reader. A reader might be thinking tactically: :How can I do a better job today?" while the author is thinking strategically: "How can we make a better tomorrow?"

The misunderstanding becomes especially acute when real progress requires abandoning today's world and starting over.

We are ants crawling on a tree branch. Most ants are happy to be on the branch, and happy to be moving forward.

[image]

But there are a few special ants that, somehow, are able to see a bigger picture. And they can see that this branch is a dead end.

[image]

They can see that if we really want to move forward, we'll have to backtrack a long ways down.

They usually have a hard time explaining this to the ants that can only see the branch they're on. For them, the path ahead appears to go on forever.

[image]"]]></description>
<dc:subject>bretvictor brunolatour andreadisessa douglashofstadter place cognition science sherryturkle kieranegan terrycavanagh stewartbrand longnow julianjaynes davidhestenes carvermead paulsaffo tednelson dougengelbert alankay reading toread 2013 gutenberg printing print modeling simulation dynamicprocesses society progress thinking intuition analogies education systemsthinking howweread learning ideas concepts context readiness simulations</dc:subject>
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<item rdf:about="http://experimentalbook.wordpress.com/2013/10/17/print-on-demand/">
    <title>Print-on-demand | Experimental Book</title>
    <dc:date>2013-11-27T20:37:33+00:00</dc:date>
    <link>http://experimentalbook.wordpress.com/2013/10/17/print-on-demand/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know a few of you are thinking about print-on-demand (POD) for the photobook project. POD is fast and cheap and has totally changed the nature of self-publishing. It’s quite good for some things, and not so great for others.

A few reasons to use POD:

— easy, quick mock-up of an idea, even if you plan to produce it in another way;
— cost: some formats allow you to print a book for under $10;
— with very low up-front costs, you can produce a few machine-made, perfect-bound books with a more commercial feel;
— your books can be purchased through a digital storefront;
— if you plan on producing 1–100 books——more than that and it makes sense to look at other formats;
— if you plan to make changes to your book and you’re unsure how many to print;
— to have access to formats that are not typically available outside of a commercial context (newsprint, magazine).

A few reasons not to use POD:

— you give up control of some aspects of the production of your work;
— frequent printing/binding errors (printer will usually offer a credit);
— you’re limited by the specs of the POD printer (size, finish, paper);
— not cost-efficient for producing more than a few books (especially if over 100);
— cost (you’re bound by the printer’s set pricing).

Popular POD printers:

— Blurb.com
— many soft- and hardcover book formats
— special finishes specifically for photobooks (much more $)
— magazine format (including printing on inside front and back covers)—I can show you a sample of this if you’re interested
— digital storefront
— upload PDF via website

Lulu.com
— many soft- and hardcover book formats
— digital storefront
— upload PDF via website

Newspaperclub.com
— various newsprint formats
— free shipping to most places
— scheduled printing 2x per week
— upload PDF via website

Espresso Book Machine (various locations)
— lower quality
— b/w interiors / color covers
— very fast (sometimes on-the-spot)
— physical, walk-in locations only

Magcloud.com
— magazine format from HP

I’ve had mostly good experiences with Blurb, Lulu, Espresso and Newspaperclub, but I’ve never used Magcloud."

[via this thread: https://twitter.com/rogre/status/405790451791175680

@soulellis What do you use for digital printing on demand? Lulu? Blurb? Other?

@rogre all of the above plus @newspaperclub. but for 530 [http://soulellis.com/projects/530-2/ ] I found a digital printer in Reykjavík, who was able to print 50 books only.

@soulellis @newspaperclub Thank you.

@soulellis Any preference or noticeable differences between Lulu and Blurb?

@rogre Blurb good for magazine format and photobooks, Lulu good for thick text-based pubs. Also --> http://experimentalbook.wordpress.com/2013/10/17/print-on-demand/

@soulellis Perfect. Thanks so much. ]]]></description>
<dc:subject>books publishing paulsoulellis printondemand lulu magcloud espressobookmachine newspaperclub blurb printondemnad printing selfpublishing ondemand self-publishing epublishing digitalpublishing</dc:subject>
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<item rdf:about="http://www.flickr.com/photos/soulellis/11050454065/">
    <title>good reading on the train to white plains this morning. printing/multiples/publishing. for the students today -- and realizing that 'experimental book studio' should be called experimental publishing studio next time I teach it. | Flickr - Photo Sharing!</title>
    <dc:date>2013-11-26T02:54:53+00:00</dc:date>
    <link>http://www.flickr.com/photos/soulellis/11050454065/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["good reading on the train to white plains this morning. printing/multiples/publishing. for the students today -- and realizing that 'experimental book studio' should be called experimental publishing studio next time I teach it."

[This book: http://www.amazon.com/Print-Out-20-Years/dp/0870708252/

"Over the past two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant cross-pollination of post-conceptual strategies and vernacular modes. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to printmaking, from the resurgence of traditional printing techniques--often used alongside digital technologies--to the worldwide proliferation of self-published artist's books and ephemera. Print/Out features focused sections on ten artists and publishers--Ai Weiwei, Edition Jacob Samuel, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Aleksandra Mir, museum in progress, Robert Rauschenberg, Superflex and Rirkrit Tiravanija--as well as rich illustrations of additional printed projects from the last 20 years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schütte and Kelley Walker. An introductory essay by Christophe Cherix, Chief Curator of Prints and Illustrated Books at the Museum, offers an overview of this period with particular attention to new directions and strategies within an expanded field of printmaking." ]

]]></description>
<dc:subject>paulsoulellis 2013 books publishing experimentalbooks experimentalpublishing printing papernet toread</dc:subject>
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<item rdf:about="http://snarkmarket.com/2013/8137">
    <title>Bug time / Snarkmarket</title>
    <dc:date>2013-11-25T22:44:08+00:00</dc:date>
    <link>http://snarkmarket.com/2013/8137</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[My comments here became a post: http://robertogreco.tumblr.com/post/66987161661/reading-about-reading ]]]></description>
<dc:subject>bugtime time oraltradition storytelling comments snarkmarket 2013 books reading text printing flux change writing howweread</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f7419de6d8c2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flux"/>
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</item>
<item rdf:about="http://www.stickermule.com/">
    <title>Custom Stickers, Die Cut Stickers and Laptop Skins - Sticker Mule</title>
    <dc:date>2013-10-15T22:28:04+00:00</dc:date>
    <link>http://www.stickermule.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>stickers glvo printing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:65234502753b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stickers"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://squeegeeprints.com/">
    <title>Squeegee Prints | Professional apparel printing</title>
    <dc:date>2013-09-02T06:12:12+00:00</dc:date>
    <link>http://squeegeeprints.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Squeegee Prints is a professional print studio based in San Diego, CA.
We specialize in printing custom apparel, headwear, and promotional products.
Please take a moment to read through our art requirements before submitting a quote."]]></description>
<dc:subject>sandiego makers screenprinting printing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b638faf6d9a4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:screenprinting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Risograph">
    <title>Risograph - Wikipedia</title>
    <dc:date>2013-08-10T01:50:37+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Risograph</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Risograph is a high-speed digital printing system manufactured by the Riso Kagaku Corporation and designed mainly for high-volume photocopying and printing. Increasingly, Risograph machines have been commonly referred to as a RISO Printer-Duplicator, due to their common usage as a network printer as well as a stand-alone duplicator. When printing or copying multiple quantities (generally more than 20) of the same original, it is typically far less expensive per page than a conventional photocopier, laser printer, or inkjet printer. Printing historian Rick O'Connor has debated that the original, and thus correct, name for the device is RISSO and not RISO. This debate spawns from the notion that an extra 'S' is added because the inventor's wife found it more pleasing to the ears."

[via http://www.designworklife.com/2013/08/09/risograph-radness/ via Allen]]]></description>
<dc:subject>risograph risso riso printing publishing speed digital photocopying</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c38cffd980fe/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:riso"/>
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</item>
<item rdf:about="http://www.docspopuli.org/articles/UnionBug.html">
    <title>History of Union Labels in Offset Printing and Proposal for Inclusion in Bibliographic Metadata</title>
    <dc:date>2013-02-27T23:44:48+00:00</dc:date>
    <link>http://www.docspopuli.org/articles/UnionBug.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[With images samples of union bugs]]]></description>
<dc:subject>cataloging labels unions unionbugs unionlabels printing archiving</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:20ca6219796f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cataloging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:labels"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unions"/>
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</item>
<item rdf:about="http://www.anonymous-press.com/">
    <title>Anonymous Press</title>
    <dc:date>2013-02-22T23:54:49+00:00</dc:date>
    <link>http://www.anonymous-press.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Anonymous Press (Α–Π) is a self-sufficient publishing platform.   

2. Every publication by Α–Π is a byproduct of an individual and a database, i.e. Google Image Search.   

3. Human author defines the topic, the content and the form is generated from the most relevant images found online.   

4. Each publication is added to a public library.   

5. Every item in the library can be printed on-demand and is available to everyone for a small fee covering shipping and production costs.    

6. Publications are sorted in a chronological order. 

7. Α–Π does not own, nor is responsible for the content generated by its users."]]></description>
<dc:subject>database human magazine publishing anonymouspress publishers googleimagesearch on-demand ondemand printing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0755ed893b5c/</dc:identifier>
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<item rdf:about="http://thepresentgroup.com/">
    <title>The Present Group</title>
    <dc:date>2013-02-09T04:56:25+00:00</dc:date>
    <link>http://thepresentgroup.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Present Group is an arts based think tank and creative studio whose projects focus on leveraging new technologies in support of the arts and finding new ways to fund and distribute artists projects."]]></description>
<dc:subject>art technology glvo thinktank funding distribution webhosting hosting thepresentgroup ebooks tumblr printing print papernet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:49430255629d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="http://observatory.designobserver.com/feature/card-tricks/36098/">
    <title>The digital doesn't annihilate the analog, and the business card creativity proves it. : Observatory: Design Observer</title>
    <dc:date>2012-09-19T23:48:14+00:00</dc:date>
    <link>http://observatory.designobserver.com/feature/card-tricks/36098/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The digital does not annihilate the analog. It glorifies it. Paper books and vinyl records were once quotidian; today they are objects to defend, romanticize, venerate. 

Or consider this example: the humble business card. As a genre of object, it is “doomed,” one technology observer asserted not long ago, asking, “Who needs business cards when you have Google?” The function of the business card, in other words, has been replaced by a more efficient alternative: “We don't need to be made legible to each other because we have already written ourselves onto the Internet.”

I wish I believed this. I’ve recently run out of cards and have seriously considered whether I can get away with not ordering a new set. But take a look around, and it’s not hard to find evidence of a business-card-centered creative renaissiance. In fact, start with the very object offered up as a metaphor for the business card’s pending demise: A marketing agency specializing in “viral” campaigns has one that…"]]></description>
<dc:subject>gifts sharing projectideas glvo edg srg creativity printing imprint 2012 paper businesscards digital analog robwalker</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c3da5b5c5c4f/</dc:identifier>
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<item rdf:about="http://www.ribbonfarm.com/2012/05/03/rediscovering-literacy/">
    <title>Rediscovering Literacy [Way too much here, quotes are from only the beginning]</title>
    <dc:date>2012-09-11T04:25:43+00:00</dc:date>
    <link>http://www.ribbonfarm.com/2012/05/03/rediscovering-literacy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Literacy used to be a very subtle concept that meant linguistic sophistication. It used to denote a skill that could be developed to arbitrary levels of refinement through practice.  Literacy meant using mastery over language — both form and content — to sustain a relentless and increasingly sophisticated pursuit of greater meaning. It was about an appreciative, rather than instrumental use of language. Language as a means of seeing rather than as a means of doing…

The written form itself was merely a convenience…

Before Gutenberg, you demonstrated true literacy not by reading a text out aloud and taking down dictation accurately, but through exposition and condensation.

You were considered literate if you could take a classic verse and expound upon it at length (exposition) and take an ambiguous idea and distill its essence into a terse verbal composition (condensation)…

the fundamental learned behaviors that constitute literacy, not reading and writing…"

[Update: Adding the final portion to this bookmark]

"This might sound like engineering elitism, but I find that the only large classes of people who appear to actually think in clearly literate ways today are mathematicians and programmers. But they typically only do so in very narrow domains.

To learn to think with language, to become literate in the sense of linguistically sophisticated, you must work hard to unlearn everything built on the foundation of literacy-as-reading-and-writing.

Because modern education is not designed to produce literate people. It is designed to produce programmable people. And this programmability requires less real literacy with every passing year. Today, genuinely literate reading and writing are specialized arts. Increasingly, even narrowly instrumental read-write literacy is becoming unnecessary (computers can do both very well).

These are not stupid people. You only have to listen to a child delightedly reciting supercalifragilisticexpialidocious or indulging in other childish forms of word-play to realize that raw skill with language is a native capability in the human brain. It must be repressed by industrial education since it seeks natural expression.

So these are not stupid people. These are merely ordinary people who have been lobotomized via the consumerization of language, delivered via modern education.

We dimly realize that we have lost something. But appreciation for the sophistication of oral cultures mostly manifests itself as mindless reverence for traditional wisdom. We look back at the works of ancients and deep down, wonder if humans have gotten fundamentally stupider over the centuries.

We haven’t. We’ve just had some crucial meme-processing software removed from our brains.

Towards a Literacy Renaissance

This is one of the few subjects about which I am not a pessimist. I believe that something strange is happening. Genuine literacy is seeing a precarious rebirth.

The best of today’s tweets seem to rise above the level of mere bon mots (“gamification is the high-fructose corn syrup of user engagement”) and achieve some of the cryptic depth of esoteric verse forms of earlier ages.

The recombinant madness that is the fate of a new piece of Internet content, as it travels, has some of the characteristics of the deliberate forms of recombinant recitation practiced by oral culture.

The comments section of any half-decent blog is a meaning factory.

Sites like tvtropes.org are sustaining basic literacy skills.

The best of today’s stand-up comics are preserving ancient wordplay skills.

But something is still missing: the idea that literacy is a cultivable skill. That dense, terse thoughts are not just serendipitous finds on the discursive journeys of our brains, but the product of learnable exposition and condensation skills.

I suppose paying attention to these things, and actually attempting to work with archaic forms like maxims and aphorisms in 2012 is something of a quixotic undertaking. When you can store a terbayte of information (about 130,000 books, or about 50% larger than a typical local public library) on a single hard-disk words can seem cheap.

But try reading some La Rochefoucauld, or even late hold outs like Oliver Wendell Holmes and J. B. S. Haldane, and you begin to understand what literacy is really about. The cost of words is not the cost of storing them or distributing, but the cost of producing them. Words are cheap today because we put little effort into their production, not because we can store and transmit as much as we like.

It is as yet too early to declare a literacy renaissance, but one can hope."]]></description>
<dc:subject>production jbshaldane oliverwendellholmes larochefoucauld words aphorisms comprehension jargon wisdom knowledge banter citation correspondence conversation self-indulgence technology printing web content composition civilization memorization oralculture creativedestruction recitation history highculture popculture culture internet education 2012 gutenberg text understanding condensation exposition literacy communication language writing reading venkateshrao unschooling deschooling moderneducation schools</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1ef0331efbeb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:civilization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memorization"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativedestruction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highculture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:condensation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exposition"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:venkateshrao"/>
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</item>
<item rdf:about="http://www.cityofsound.com/blog/2012/08/print-on-demand-work-in-progress.html">
    <title>cityofsound: Sketchbook: Print-on-demand work-in-progress</title>
    <dc:date>2012-08-18T17:04:42+00:00</dc:date>
    <link>http://www.cityofsound.com/blog/2012/08/print-on-demand-work-in-progress.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fact that things could be emailed, which is a prerequisite, also meant they were too easy to ignore. By making something easy to disseminate via email, you were also placing it in a fast-flowing stream of other objects… 

We wanted to exploit the fertile middle ground of “work in progress” with something that was a little more engaging, that would pull focus onto the discussions at hand, yet not so over-produced that the thing couldn’t iterate or evolve. Something that could be thrown around in a workshop—literally!—accessed in linear or non-linear fashion, carry visual and textual information, carried on the person, or remain guiltily within sight on someone’s desk. Something physical and digital' which might have an allure over simply digital, at least at the form of artifacts.

In other words, a small book. So a simple InDesign template later, and a not-quite-so-simple PDF upload a little later, a bunch of A5 books emerged via Lulu’s print-on-demand (POD) service."

[See also: http://www.helsinkidesignlab.org/blog/helsinki-street-eats-and-hacking-lulu ]]]></description>
<dc:subject>workinprogress communication email oma documentation process craigmod printondemand low2no amazon layout jamesgoggiin magcloud dearlulu helsinkidesignlab sitra newspaperclub blurb lulu projectideas glvo books indesign pdf printing 2012 selfpublishing self-publishing cityofsound danhill unbook</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bdc24c2819c3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:indesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pdf"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:selfpublishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cityofsound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:danhill"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unbook"/>
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</item>
<item rdf:about="http://www.underconsideration.com/speakup/archives/005154.html">
    <title>Speak Up Archive: Dear Lulu, The New Standards</title>
    <dc:date>2012-08-18T16:57:36+00:00</dc:date>
    <link>http://www.underconsideration.com/speakup/archives/005154.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My plan for the workshop is to investigate the visible & tangible parameters of graphic design — type specimens, halftone screens and, in particular, colour tests & calibration charts — & make a book of our own self-produced tests which we will send to print on Friday afternoon using the online print-on-demand system Lulu. The book project will therefore act as a colour/type/pattern test of the very system with which it is produced. “Print-on-demand” is an increasingly important production system which can serve to make us designers rethink the impact our profession has on the environment and to question the often wasteful print volumes and production methods requested of us by our clients. Graphic designers, and especially students, have a chance to use and subvert these relatively new (and fairly cheap) technological systems to our advantage."

"The result… a fantastic & imaginative resource…"

[via: http://www.cityofsound.com/blog/2012/08/print-on-demand-work-in-progress.html ]

[Book link is broken, now see:
http://www.lulu.com/shop/hochschule-darmstadt-fachbereich-gestaltung/dear-lulu/paperback/product-5643235.html
http://www.blurb.com/bookstore/detail/1197693 ]

[Another interview about the project: http://www.printmag.com/design_articles/supply_on_demand/tabid/449/Default.aspx ]

[James Groggin's website: http://www.practise.co.uk/ ]]]></description>
<dc:subject>printondemand digital digitalprinting patterns photography selfpublishing self-publishing frankphilippin howto projectideas glvo diy design books typography printing publishing lulu jamesgoggin</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a696500e80fd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typography"/>
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</item>
<item rdf:about="http://brendandawes.com/projects/happinessmachine">
    <title>Brendan Dawes - The Happiness Machine</title>
    <dc:date>2012-08-17T07:03:41+00:00</dc:date>
    <link>http://brendandawes.com/projects/happinessmachine</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Happiness Machine is an Internet connected printer that prints random happy thoughts by random people from across the web; press the big black button and the Happiness Machine prints a thought from someone who mentioned the word happy.

Though The Happiness Machine uses content from We Feel Fine, the printer is completely agnostic to the data it prints; the logic is all done on the server so I can easily change what type of data comes back. It could easily be train times, news headlines or your day's appointments – the printer doesn't care – it's dumb. It just prints what comes back.

I still believe paper has advantages from time to time as a content delivery mechanism over all the screens that now pervade our lives; you can tear it off, put it in your wallet/purse, scribble on it or give it someone else without worrying whether it works with their OS. And it doesn't need a power source for display."]]></description>
<dc:subject>wefeelfine happinessmachine printing printers 2012 happiness brendandawes papernet paper</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b2252da0bdf0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wefeelfine"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brendandawes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:papernet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
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</item>
<item rdf:about="http://www.wallandbinkley.com/rcb/articles/newtools-output.html">
    <title>New Tools for Men of Letters</title>
    <dc:date>2012-06-11T00:25:27+00:00</dc:date>
    <link>http://www.wallandbinkley.com/rcb/articles/newtools-output.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The new graphic arts devices are, I believe, capable of working the other way—as implements for a more [p.180] decentralized and less professionalized culture, a culture of local literature and amateur scholarship.

This possibility is especially important today, when electric power promises to develop the village at the expense of the metropolis, and when shorter working hours offer a prospect of leisure to a population of which an increasing proportion is being exposed to college education.

…

Today the Western scholar’s problem is not to get hold of the books that everyone else has read or is reading but rather to procure materials that hardly anyone else would think of looking at. 

…

Western civilization now expects even poetry to fit the Procrustean bed of the publishing industry.

…

The art of conversation, with its counterpart the dialogue [p.186] as a literary form for presenting ideas, has also declined since the days of Galileo, while the art of advertising has advanced.

…"

[So much more, but another reaction: academics will always hope everyone is more like them.]]]></description>
<dc:subject>poetry printing duplication microfiche microfilm near-print micro-copying books photo-offset learning decentralization professionalization wpa greatdepression dialog conversation letterwriting letters ruricomp rural local localstudies academics academia research writing amateurresearch amateurism literature graphicarts liberalarts leisurearts leisure education community publishing microformats mimeograph media technology communication scholarship digitalhumanities 1935 robertbinkley dialogue artleisure amateurs</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:685abd96f7c0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:microfiche"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:microfilm"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:near-print"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:micro-copying"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photo-offset"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:localstudies"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communication"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalhumanities"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertbinkley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialogue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artleisure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amateurs"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://brooklyn-spaces.com/">
    <title>brooklyn spaces | a compendium of brooklyn culture &amp; creativity</title>
    <dc:date>2012-05-08T06:54:11+00:00</dc:date>
    <link>http://brooklyn-spaces.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hey, I’m Oriana, and I love Brooklyn. I love the creativity, the drive, the bizarre and beautiful ideas, the thrilling unique energy of the people who live here. This project tracks Brooklyn space by space, in the words of those who make it all happen. I hope you’ll check back often! (You can get email notifications of new profiles by signing up at the right.)

If you know of a space I should cover, have a correction for anything I’ve written, or just want to talk about amazing Brooklyn, email me at brooklynspacesproject@gmail.com."]]></description>
<dc:subject>glvo printing places community culture art nyc brooklyn</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:81f3bc1e76cb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:places"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.youtube.com/watch?list=PL16E261CDB64A51AF&amp;v=CpAXqHmRa0E">
    <title>TOC 2012: Tim Carmody, &quot;Changing Times, Changing Readers: Let's Start With Experience&quot; - YouTube</title>
    <dc:date>2012-02-21T08:45:08+00:00</dc:date>
    <link>http://www.youtube.com/watch?list=PL16E261CDB64A51AF&amp;v=CpAXqHmRa0E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Notes here by @tealtan:

"unusual contexts in writing / reading text

“In a hyperliterate society, the vast majority of reading is not consciously recognized as reading.”

“What readers expect is more important than what readers want.”

Bill Buxton: “every tool is the best at something and the worst at something else”

skills, path-dependency, learning effects

“…we actually like constraints once we're in them.”"

And notes from @litherland:

"11:40: “I do things like … just obsess about weird little details. So, for instance … like, how do you do text entry in a Netflix app on the Wii? You know? I think about this a lot.” Your many other talents notwithstanding, Tim, you may have missed your calling as a designer. / 

18:30: “I think it’s a tragedy that we have not been able to figure out a good interface for pen and ink on reading devices.” Holy grail. My dream for years. I would give anything. I would give anything to be smart enough to figure this out."]]></description>
<dc:subject>design reading writing journalism history timcarmody toc2012 via:tealtan constraints billbuxton bookfuturism ebooks stéphanemallarmé paper 2012 media mediarevolutions sentencediagramming advertising photography change books publishing printing modernism context interface expectations conventions skills skeuomorph mallarmé</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:abfd549bf1a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timcarmody"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toc2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:constraints"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:billbuxton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookfuturism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stéphanemallarmé"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mediarevolutions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sentencediagramming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advertising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:modernism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interface"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:expectations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conventions"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mallarmé"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.technologyreview.com/blog/guest/27533/">
    <title>Why 3-D Printing Isn't Like Virtual Reality  - Technology Review</title>
    <dc:date>2012-01-29T04:51:37+00:00</dc:date>
    <link>http://www.technologyreview.com/blog/guest/27533/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's also important not to confuse 3-D printing & desktop-class fabrication. These aren't the same thing. There is more to desktop manufacturing than 3-D printers. A well-appointed contemporary maker workshop has working CNC mills, lathes, and laser cutters. A well-appointed design studio has the tools to make and finish prototypes that look very nice indeed. Aside from the 3-D printer, none of these tools are terribly science-fictional; they're well-established technologies that happen to be getting cheaper from year to year.

Something interesting happens when the cost of tooling-up falls. There comes a point where your production runs are small enough that the economies of scale that justify container ships from China stop working. There comes a point where making new things isn't a capital investment but simply a marginal one. Fab shops are already popping up, just like print shops did."]]></description>
<dc:subject>timmaly 2012 printing rapidprototyping prototyping fabshops economiesofscale technology fabbing 3dprinting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:16cd7f65a3cc/</dc:identifier>
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<item rdf:about="http://ayjay.tumblr.com/post/15671687585/iceland-never-had-any-bookshops-between-the">
    <title>Iceland never had any bookshops between the... - more than 95 theses</title>
    <dc:date>2012-01-12T02:22:05+00:00</dc:date>
    <link>http://ayjay.tumblr.com/post/15671687585/iceland-never-had-any-bookshops-between-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Iceland never had any bookshops between the sixteenth century and the mid-nineteenth. It also had no schools. Yet by the end of the eighteenth century the population was almost entirely literate. Families in farms scattered over an enormous area taught their own children to read—and the Icelanders read a great deal, especially during the long winter months. Aside from religious works, their reading matter consisted primarily of Nordic sagas, copied and recopied over many generations in manuscript books, thousands of them, which now form the principal collections in Iceland’s archives. Iceland therefore provides an example of a society that contradicts everything in my diagram. For three and a half centuries, it had a highly literate population given to reading books, yet it had virtually no printing presses, no bookshops, no libraries, and no schools. An aberration? Perhaps, but the experience of the Icelanders may tell us something about the nature of literary culture throughout throughout Scandinavia and even in other parts of the world, especially in remote rural areas where oral and scribal cultures reinforced each other beyond the range of the printed word.”
Robert Darnton, “‘What is the History of Books?’ Revisited” (2007)"]]></description>
<dc:subject>nordiccountries robertdarnton books printing learning society deschooling unschooling schools literacy scandinavia iceland</dc:subject>
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<item rdf:about="http://thepophop.com/">
    <title>the pop-hop: books &amp; curio</title>
    <dc:date>2011-12-26T02:29:58+00:00</dc:date>
    <link>http://thepophop.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In early 2012, we will launch Pop-Hop Books & Curio, a creative retail space merging a bookshop and print studio in the Highland Park neighborhood of northeast Los Angeles. As a bookshop, we will specialize in art editions, literature, children's books, zines, and books as unique art objects. As a studio, we will offer workshops such as screen printing and book binding, as well as a forum for talks, readings, screenings and other creative programs and performances. It will be an environment that is inviting and approachable, dynamic and stimulating, a place that fosters inspiration and action in equal measure."

[See also: http://www.kickstarter.com/projects/361643327/pop-hop-books-and-curio ]]]></description>
<dc:subject>glvo srg lcproject galleries bookstores booksellers highlandpark print printing books losangeles</dc:subject>
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