I think you are making some huge assumptions about the economics of book
production. First - the vast majority of authors under the current
dominant model of publishing *dont* make any money. Authors do it for
the chance to make money, and they do it for the profile. So there is no
monster
Hi Tiziana
Thanks for your thoughtful post, responding to Dmytri's and Adam's provocative
texts.
Interesting you ask whether the internet will have an impact on the current
crisis in the world economy? Perhaps the internet is part of the reason for the
crisis? The world is going through a
On 11/01/12 14:55, Simon Biggs wrote:
One of the first things that strikes me as particular about open
source authoring and publishing systems, in relation to the attention
economy, is that OS authorship is effectively a model of co-creation,
engaging users as producers.
If we compare open
Hi all
I don't post here at all (I mostly lurk), so I apologise for my silence and
hope that the community finds this valuable.
In one of the specialisations offered at the campus I coordinate, namely
games, there is a serious set of questions beginning to develop around
precisely the
Hey Tiziana, Simon and the others.
First of all thanks for having me here.
This conversation touches of a few of the central premises of my work,
I'll avoid discussing topics like the production of subjectivity, etc,
as I'm out of my depth on the more humanistic/philosophical dimensions
of
Hello again,
Adam was saying:
It seems to me that there are some wonderful opportunities to transform
the texture of books even within a linear container because of open
production models enabled by the web. Yet there are many, academics being
near the top of the list, that shoot down the
On 12/01/12 15:04, Dmytri Kleiner wrote:
I'll start with the later. The well known success of Free Software has
created a kind of delusion among cultural producers, which has lead to
the phenomena often referred to as Free Culture. Yet, software and
culture, for the most part, are at
Hello everyone,
Dmytri was saying:
Is Free Culture content to be a beleaguered, insular, fringe? Or is Free
Culture meant to be a critique of our curent cultural industries? Does it
aim only for it's own meagre existence? Or does it aim for the
transformation of cultural production? If the
On 12/01/12 16:02, Simon Biggs wrote:
I'm an academic and an artist and totally champion the open book. Knowledge
is made best when it is made shared.
Knowledge, as language, is always shared, always public and can never be
private, but it can be conjured up in a private setting by an
On 12.01.2012 21:58, Rob Myers wrote:
On 12/01/12 15:04, Dmytri Kleiner wrote:
Second, culture work is a form of production, and as such, it must,
at
minimum, provide the subsistence of their culture workers. As
capital
will not finance open works, how are the creators of such works to
On 13.01.2012 14:48, adam wrote:
Regardless, the opportunity is to take this moment and these
opportunities and make it work for us on scale. 2012 more than any
other year opens up publishing and if we miss this window we can only
blame ourselves. If we wait for the moment capitalism is
On 13.01.2012 14:47, Dmytri Kleiner wrote:
The fact remains that capital is for the most part a consumer of
software, and a producer of capital.
This is meant to say producer of culture.
That's it for me today.
Best,
--
Dmytri Kleiner
http://www.trick.ca
Hello everyone
Adam was saying:
Considering these issues, I am finding that game design should be looking
through interaction design lenses now, as a means for cracking the
problem apart - we need to become more ethnographic, more
anthropological, more collaborative, more iterative in our
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