Showing posts with label publishing. Show all posts
Showing posts with label publishing. Show all posts

3/17/2010

CMYK is the new SXSWi

This is to continue a twitter-burst about print, and the digital age.

I work at a commercial print shop. No, my company did not pay me to go to SXSWi. Hmm. Can't figure why not.

I actually had a pretty tough day at work today. The company is refiguring itself, and in the process, this means that often there is a lot of work to do with few people to do it. Other times, it means there is little work to do and too many to do it. But this is all part of "refiguring", right? I'm sure you know what I mean.

It's weird being a young person, artistic and idealistic, and working in the print industry. And I don't mean working as a "designer", because this is what all the young folks want to do these days. No one wants to learn how to operate a six-color press with a perfector, or mix ink, or play the irritating and demanding fast-slow-fast game known as "bindery equipment".

For some reason, I chose this. Not for least of reasons, because I'm a writer, so I have an interest in knowing a bit about it when all the old folks in the industry are gone. But also because I believe in print, even though I listen to mp3s, blog, tweet, and really really like my iPhone.

Those who "design" things, using computers almost entirely, regardless of age, know very little of the details about how the things they design turn into, often times, physical realities. Those who use those physical things mostly know even less. But the funny thing is, despite how digital everything is now, many things still wind up on paper, and probably still will.

As I just mused, ever see anyone using a ZIP disk? No. But still, despite Amazon, despite the iPhone, paperback book stores are still open for business. Paper is a hell of a medium. You can shape it, recycle it, repurpose it, you can even eat it. You can't erase it, you can only destroy it. It's made from plants, and you can make it in your kitchen sink.

My great prediction for the future of print is not really a prediction at all. It's more of a comment on any cheap, easily available, widely usable technology. Its use will change, as soon as we all figure out how to use it.

The greater change, if there is a change, is in capitalism. Capitalism has done the production and distribution of print for a long time now, and this production and distribution has followed capitalistic standards and typical tendencies. This will change, because capitalism, despite what the open-market profligates will tell you, is actually a pretty narrow window of production and general cultural momentum.

Economics, on the other hand, is not a narrow window. But economics has never been dependent on a so-called "open-market", or any of the features thereof. Actually, most economics has operated free from the idealistic zone of an "open-market". Black market, grey market, state market, or non-market economics is just as big as it ever was, and operates without an open-market at all.

Open-markets, which supposedly have their own prestidigititous logic less like the I Ching and more like a Ouija Board, have less to do with capitalism, than with an general ignoring of causes to prove the general fortuitousness of the effects. You have to admire it really. It's not even tautological, i.e. using the supposition as proof of its own validity. It is assuming anything to be valid, as long as it can be used as an argument for the validity of the status quo. "Things are great! This proves that things will continue to be great!"

I'm getting off track, but basically the open-market has allowed capitalism to not even wonder why it's getting so rich, and then when it stumbles, it can't figure out what to fix. Instead, it fixes nothing, and instead argues that it's still rich, and this is why it will be richer tomorrow. Anybody you know have a really expensive purse, and several thousands of dollars in credit card debt?

Print was sold as a commodity for a long time, not wondering about what sort of a commodity it was, not caring, as long as it continued to sell. When print stopped selling so well, all of a sudden the print industry had to make up some bullshit about what it actually was. Working in the print industry, I've had a lot of people try to tell me that print is actually junk mail, and that junk mail is actually the key to how businesses (the businesses paying for the junk mail) make money. This is funny, because they are arguing that junk is a commodity, and not only that, but that junk is the commodity that makes all commodities valuable. If we printed money, perhaps they would have a bit of a point. But we don't. So it just sounds stupid.

It should also sound stupid to anyone who has read a book.

I'm not trying to argue that there is some sort of a long-tail in POD publishing, or artisan books, or self-published e-marketing with a twitter presence. All of these arguments are just more of the same, i.e. the print industry trying to convince themselves that the products they have been selling at a profit all this time are still profitable, even though they can't make such a big profit on them anymore.

But I'm not in the publishing industry. I'm in the print industry. So let me tell you a little bit about print that you might not know.

- Print still exists. Sure, there's less work now. We lost the clients that had us print their forms in triplicate, and those that send out company wide newsletters every week. Now they do all that online. But we still print catalogs, envelopes, packaging, letterhead, business cards, magazines, postcards, art cards, posters, maps, manuals, and other stuff. We print less of that too. But we still print it. And we will, because people realize they don't need to spend money on it all the time. But often, they decide they do need to spend money on it. And not just because they can't use their computer.

- Print is still profitable. Did you know that five, ten years ago, it was normal to charge a 100-300% markup on print? Print literally was printing money. Now we make a 50-100% markup over cost. Apple makes a supposed 500% markup over cost on the iPhone. But that is assembled in foreign sweatshops. We can make a 75% markup with american materials and living wages in any american shop space with a strong floor, electricity, and fresh water. Yeah, I know: the capitalists are pissed they lost their gold mine. But this brings me to my next point...

- Apple can charge so much over cost for the iPhone because it is Apple, not just because it is something people want to buy. I don't mean that they simply have a brand, though obviously that is involved. The iPhone is a world-wide technological infrastructure, requiring world-wide IT support, communication networks, sales structures, and so on. They wouldn't have made X billion dollars if they didn't acquire X market share of the ENTIRE WORLD'S SMART PHONE MARKET. You and I could never make and sell an iPhone. Only Steve Jobs could. The best we could hope for is to maybe work in an Apple Store, or program an iPhone app.

On the other hand, you can earn a 75% markup by printing a thousand books. True, you have to find someone to buy a thousand books (wholesale or retail), and you have to own a print shop. To open a commercial print shop, you probably need 5-10 million dollars. That's not nothing. But if you are dreaming of opening a print shop, you could do it. If you are dreaming of inventing and selling an iPhone, you are an idiot.

- And the technology is changing. Thing about this example. You can lease a color digital printer, for, say, $1400 a month. You pay the base charge for all your supplies except paper, and then 5 cents per impression (one printed sheet). If you charge 10 cents a click (that's way conservative) you can make 100% over click charge, and it would only take you 21,000 impressions to break even. That's one run of 100 books with 210 full color pages. You sell another 100 books, and you just made $1000 pure profit. All you need is twenty square feet of floor space, and electricity.

- But then, of course, you have to think about paper, and binding, and someone to run the machine, and someone to buy the books (in the example above, a retail establishment could sell the full-color 210 page book for $30 and make 70% over the production cost), and someone to make the content of the books (do your own math for that). And this is where the capitalist says, "damn it, why can't it just print gold, or why aren't people showing up at my door with orders for 100K flat color sheets and providing their own paper?"

Well, this is where things are changing. The print industry would love to sell flat color sheets in runs of 100K. The rest of the world calls this junk mail. But the fact is, no matter how digital the world gets, can you see a world where there is not someone who would want to make/buy full-color books?

The fact is, print is just too damn easy, and too damn big. If you look around, you'll see a lot of new paper products you've never seen before. Some of it is cute letterpress stuff, some of it is paper craft inspired by Japanese arts, who have been more interested in paper than us for a while, even though they have plenty of smart phones of their own. Some of it is stuff you would have seen mimeographed or faxed or xeroxed twenty years ago, but now is crisp, colorful, and well-printed. Some of it will be free, or nearly so, because it is that easy to cover the costs, if you know what you're doing. Most of it, I would imagine, you will only see a few places, and then you will never see it again. But I'd bet you'll be seeing more of it than ever.

So the lesson of the example is that print is still possible, and even profitable, but it is shrinking in size. This means the capitalists are pissed, because no single book is going to be an iPhone. But it also means that someone is going to be making money, even if they are doing it in a garage, in runs of under 100, and racking their brains on who they are going to get to fill the pages and who is going to buy it. They might have a few hard days at work, like I'm having. They will never get any noticeable market share of anything. They will never be a publicly traded company. They likely will not be capitalists. But they will create their own market, as they learn about their industry and about their technology.

12/22/2009

Publishing Dialects and Dialectics

So here's a "future of publishing" wrinkle to throw out into the sloppy pool of the Internet:

The eminent Bruce Sterling has written a foreword to a new publication of Zamyatin's We. Not the most interesting publishing event of recent memory, perhaps. But, it's a great book, a classic, one might say. I first read it for a course my first-year of college about concepts of freedom and power. I can't remember what the name of the course was, but I very much remember the book. I love how the main character has a changing relationship to the hair on his arms. I think about this all the time, especially when I'm writing about the body.

So, I'd like to see what Mssr. Sterling has to say about the book. He's been named one of the most visionary and interesting SF writers of our day by any number of visionary and interesting sources, so maybe he has something interesting to say as a prelude to the reading experience of We, a very visionary and interesting book, which in its own way is a foreword to the interestingly visionary genre of SF writing.

So it's been decided. I should definitely read this foreword.

But wait a minute: it's not on the Internet.

I know--one wonders if it is a hoax, because a critically-interesting essay by Bruce Sterling is not available on the Internet. How can we be sure the foreword actually exists? Sure, it's mentioned in an Amazon listing, but lots of fake stuff ends up on Amazon. I guess I could go down to the local book store and buy the book. But I already own a copy of the book, it just doesn't have the foreword. I suppose I could upgrade, but $10 is a lot of money to pay just for the foreword. And plus, then I'd have to carry around duplicate pages I don't need, unless I ripped out the foreword pages and glued them to my copy. I could give my old copy to a library or a friend, but it has all my class notes in the margins, which I want to keep. And plus, it's all dog-eared from use.

You know, this reminds me of a similar situation.

The similar situation is my experience with Adobe's Creative Suite, made by perhaps one of the most neurotically anal retentive Intellectual Property controllers in the world. At work, I have the original version of CS. I know, right? Well, it still works, and it cost a damn pretty penny to buy in the first place A WHOLE EPOCHAL SIX YEARS AGO so my employer is not going to upgrade my work station to the current version, which because they are now up to version 4, would mean buying the new software outright. Meanwhile, while I can work fine on my own computer, all the files that customers send me, created with CS versions 2 through 4, are as completely useless to me as if I had no top-of-the-line graphics editing software at all. I am cut out of the graphics editing community, which as anyone in this community will tell you, is tantamount to being able to work with graphics at all. Artists gotta talk to layout, who gotta talk to publishing, who gotta talk to prepress, who gotta talk to press. Me and my poor CS1 are an island on this tempestuous sea.

So what is the connection here? Besides the fact that I'm poor, and totally behind the current wave of publishing?

The connection, my Internet friends, is the nouned adjective of "Canon". Canonicalness. The state of being akin to the canon.

Zamyatin's book, in addition to being a wonderful element of the human literary record, is in the public domain. [CORRECTION: it is NOT in the public domain, because the copyright was renewed in 1954 by the translator! I can't find info for the original Russian copyright status. Translating throws a wrinkle on the wrinkle, so instead of altering my argument, I'm leaving it how it is, and will let you interpret this additional conundrum of translation yourself. The actual status of Zamyatin's book is not my argument.] The copyright is null and void, because it was written so many years ago. There are various, complicated rules for exactly how a book enters the public domain in various territories and jurisdictions, but basically, it was published so long ago that we as a society have determined that the right of the author to sell the book for cold hard cash has lapsed, and now the book belongs to all of us, or more properly, whomever decides to spend the money printing the words onto paper. The Intellectual Property aspect of the work has joined the idealized world of the literary canon, from which aetherous realm it can be channelled by any press-savvy patron of the arts, and delivered into mine hands.

So, if a work is free, and anyone could potentially download it on the Internet, why would a publisher bother reprinting a new edition, especially when another publisher could do the same thing? Well, there are several reasons. One, is because people still like reading paper books, surprisingly enough! Another is that they might remarket the book for new audiences, or for particular markets, say, on the 75th anniversary of the book. Often for anniversaries, they will remake the book as well, in a special edition with new translations, extra critical material, and really sweet new cover designs. In this particular edition we are discussing, Bruce Sterling's foreword is the new part. Oh, the cover is new too. I'm willing to bet that Creative Suite had more than a small part in the cover design.

But the part of the book that is in the public domain does not include this new material. Bruce Sterling no doubt retains the rights to his foreword, no matter what it is published afore. You cannot reprint the edition of the book precisely, because the design is owned by the publisher. Only the text is canonical, and only this text is in the public domain. We, the literary society, does not own the extra features. We only own the nebulous, ideal, (and strangely, valueless) part of the "work", not the actual book itself. The mind belongs to us, but the body is sold by the publisher.

One might say that this same mind-body philosophy dictates Adobe's view of software. We do not own the Creative Suite itself, or any claim to the power of the program that allows such wonderful graphic editing. We own a license to one particular version of the programming, to use this programming up to the limits of its purposeful publishing in this manner. We own the "printed pages", but the aethereal, ideal qualities of the software is Adobe's trade secret.

In software, as far as I know, there is no public domain. First of all, usable software is pretty much less than fifteen years old. Second, there is the thing called "source code", which drastically separates the usable features from the programming that actually makes it work. A metaphor to a book could be a text that you are not allowed to read, but only allowed to listen to someone else read aloud. Of course, back in the day, all text was read aloud, and remembered, so if you heard a story, you could read it and publish it as well. Programs used to be only "source code", too.

But the point isn't simply about establishing a metaphor. The point is about what it means to establish a philosophy of the relations between authors, publishers, and readers.

Some in the software world view Adobe and other software companies' philosophical position as draconian, and untenable. These "some" prefer to set up different philosophies, such as the GNU public license, and other metaphors, like the "free-as-in-beer" philosophy. Some of these variations are probably the closest software gets to the public domain. Not only are you allowed to use the software, and distribute it as is, you can change it, repackage it, and sell it, if you want. Certain licenses mean that the free aspects have to remain free, no matter how you package it. But in the most free varieties, you can do anything you want. It's yours, and you have no responsibility to anyone else in your use. I've heard the programming described like a spoken language--if you hear somebody say something, you can repeat that language however you like, because this is part of being a free individual. You are responsible for your own use of language, and nobody can impose proscriptions on your speech.

Now, with the caveat that I've probably crossed a bunch of categories in the world of open source software licensing with this last paragraph, let me say that a book is still different. Programming language is similar to written language, and yet different. Firstly, from a pure semiotic standpoint, programming language is a written language (mostly English and general Math-speak), with syntactical variations to allow easy logical functions, and then also codified so that it can be parsed into binary, which is the written language a computer understands. So a programming language is not a language per se (ha!), but local dialect, meant to convey a certain sort of meaning in a localized framework, i.e. the programming and parsing relationship between programmer and computer. So, source code, the "body" of a program, is not actually a proprietary language from a semiotic point of view, any more than a computer kernel is the "brain". In fact, both are textual works, written in a unique language that can be expressed by a computer and programmer alike. But without the technology, the computer, in the middle to transcribe and "read aloud" this special text, the book is unusable. When the computer and the user both read the same language at the same time from their individual perspectives, amazing things happen. This sounds a lot like magic for a reason.

But these program books only seem different, because thus far we've only considered the side of books that are written. We've discussed the programming, but not the parsing and program execution. Naturally, the author has a feeling of filial implications for his/her work. "I made this; it belongs to me." Sure, to an extent. But remember, the reader is involved as well. Without the reader, your novel just becomes a very strange, third-person fantasy diary. The technology by which the reader parses the text must be part of this relationship.

So what about the reader? Well, back in the day, the reader had to make a choice. That is, s/he had to choose to buy a book, and stick with that decision. If you wanted to have a bound copy of words all to your very own, you had to pay somebody to put them there, because books didn't grow on paper. Fair enough for free market philosophy. Of course, the publishing industry was willing to work with the consumer on this. Most people didn't have enough money to buy a new hard-back encyclopedia every year. So, we got cheap paperbacks. Dime novels--an entire genre of fiction based around a particular sandbar in the massive river delta of supply/demand curves. Serials. Pulp. There are certain ways people would buy books, and so, wouldn't you know it, people starting making these particular books. Publishers even began to support the ultimate non-consumerist, socialist revolution in literature--free, public lending libraries--because if literacy was universal, they would still sell a hell of a lot of copies, because not everyone could read the same book all the time. Besides, libraries were a good market for hard-bound copies.

You see, books are in their own way a particular local dilect(ic), (hey! who put that parenthetical there? this isn't a marxist concept!) that communicates between the author and the reader. Publishers, out of necessity, have been the mediator of this. They sell the computers, I mean, the technology, I mean, the books. You might have noticed Adobe gets along pretty well with Apple. That's because Adobe wouldn't be able to sell so much graphics editing software, if there weren't shiny new MacBookPro's just itching to run the software. The necessary technology for forming the semiotic/mechanic dialectic between two material points in a productive relationship functions as a part of the whole. The particular iteration of language used in the process is developed by and for the communicative relationship, always already part of the process. It is not so much a mind and a body developed in Cartesian dual-unity, as a Bergsonian echo of duration between phenomenologically linked network nodes. Shifting back and forth, the sand is already going to be forming a river delta...

Sorry, got carried away. Let's get back to today. In the past, books were published in these ways... etc. But what about today? Does technology require me to purchase a new copy of a book I already own, simply because my curiosity and investment in this particular node within the canon of literature pushes me to want to read Bruce Sterling's foreword to a historical proto-SF novel? Is this the current state of reading technology? Am I so obscure in my interests to be a specialist, or a collector, or some other fetishistic anomaly that would cause me to overbuy this particular literary-material language group, like someone buying a supercomputer to analyze the human genotype, or a collector desperately trying to find a working Atari to play the original Asteroids cartridge? Am I a polyglot by need, or simply because I want to be? Why would I dedicate myself towards communicating in the multiple languages of both "New Canonical Release" and "Old, Dog-Eared Text", basically to communicate the same thing?

This is the era of the iterative web app, of atemporal Internet usage, and of crowd-sourced wikis. I think we can do better than having to make a choice between A and B.

We, the expressively speaking/writing/reading culture of humanity, is very quickly getting used to a new way of communicating. Our nodes of communication are proliferating very rapidly. We are now developing new idioms and syntaxes based completely around the ability to transmit idioms and syntaxes quickly and succinctly. Our technology is engendering new technologies. Our programming languages now form carefully considered Graphical-User-Interfaces, which communicate through meta-data messaging services alive on a hyper-fast, always-on protocol networks, these Interfaces competing to write their own logical search algorithms, tracking the latest in spontaneous cultural generation of slang and communicative semiotic gestures, whether acute or obtuse, as long as they are usable enough to carry meaning within them, among as many people as we can still process a continued conversation, using all of these language tools. Yeah, I just described Twitter's Trending Topics. 140 characters never sounded quite so big, did it?

So the canon is growing, and even more so, canonicalness is growing. Comments, crowd-sourced translations, linkbacks, live search, hashtags. Some of this new communication is important, and some of it is not. But how can you tell what's important, without having some way to access it? Maybe Bruce Sterling's foreword is less than 400 words, and is just some glowing name-check to the idea of SF under totalitarianism. Maybe I don't need to read it at all. But how do I know that? I've followed the link, and come to a dead end. Maybe I click through it in under twenty seconds, but if access is denied, how will I ever know? The canon is shooting itself in the foot. Publishers could not, at one point in history, have said, "well, once universal literacy happens, then we'll start thinking about changing our publishing strategy." A growing canon is an ecosystem. It doesn't simply track a curve, or a timeline to decide the public domain. If somebody wants to join the canon, if somebody has something important to say, they must put it with the canon. And the canon, the realm of the literary, where linguistic worth is not so much a nebulous idea as it is a ever-present, living, conversation in mutated dialect, is something that is shared, and networked. It always has been, and always will. All that's changed is that it no longer needs paper. If one piece of technology changes, then the way we communicate in a language previously dependent on that piece of technology changes, even as we continue to use that technology. You can still own a landline, but you better believe you're going to be calling people on cellphones. I'm not looking for an updated ebook here. I want to read Bruce's foreword on pages, in a book, as a preface to Zamyatin's We, in the same edition I read in college, will all my notes still there. Is that an insane request? Maybe a few years ago. But I'm posting this idea on a cumulative public diary stored on a computer I have never seen, with a public network address, written in syndicated meta-language across any number of syntax parsing programs, updateable instantly from any terminal attached to the same global network. Don't you get it? Blogs ARE insane! You try to tell me what technology is insane. The mind/body distinction is not just dissolved, it's scratching it's head in Intellectual Property court, stymied by legitimately elected political parties comprised of people under thirty. The insanity of the real semiotic mechanisms of human communication are not just some wacky internet theory--they actually are the Internet.

I don't expect publishers to understand. Most of them have their only speaking language in the dialectic of profit, which has been a popular idiom for a while now. However, as ubiquitous as the capitalist language is, and however deeply in conversation it may be with our other technological languages of production, consumption, and communication, "the ability to make money off of something is the tautological reason for its existence" is a relatively new work of literature. Capitalism may be a fact, but it isn't the prime cause of our communicative culture. So, while meanwhile, publishers do such things as DELETE EVERY COPY OF 1984 OFF OF ALL KINDLES WORLDWIDE, in another one of those "I-can't-believe-it's-not-a-parable" moments, I have no doubt that I will one day hold an iterative paperback book in my hands. And even if not that precisely, something else that represents ability of the literary canon, which after all, is no more than the vast tide of cultural communicative forces circulating around a collection of particular nodes, to adapt to the speakers of its collection of dialects and idioms. I can't predict the future. Maybe in some years, nobody will even read Zamyatin anymore. Maybe I won't either. But regardless of the subject matter, language will continue to express itself between creators and consumers, finding new ways to do so, and adopting new languages of expression as they become available. Because this is what communication does. The saw "information wants to be free/expensive" is stuck in the capitalist language. What it should say, and what is the most true tautology of them all, because it DEFINES tautology, is that "communications communicate". They don't want anything, but by sheer fact of their existence, they do what they do. Regardless of through what technology you choose to express communication, it will seek to communicate, or it will fizzle, and other communication will take its place. Just try to make the human race shut up. The amazing part is, through all the noise, little by little we slowly start to make more sense.

Meanwhile, my version of CS still has Adobe's stranglehold all over it. Guess we're lucky that there's more than one slick standard for distopian, proto-SF novels out there. Adobe brings you the new cutting edge standard in SF--Jules Verne, version 2375! Now upgrade from version 2374, only $499! Limited time offer!

11/18/2009

in-edition-to...

Via Booktwo, (whose ideas about the future of publishing I find very compelling):

iPhone Book Concept from stml on Vimeo.



I like this idea much better than the standard ebook reader. This idea uses electronics to make standard books better, not just digital. Digital books have their own inherent value, of course, but this gives a volume a usable, physical depth, in addition to digitality.

Augmented reality is not just pasting a digital window over the world, regardless of what use the information might be that is coming through it. I can sit in front of the computer all day, and experience the digital world. I can take my computer out to my restaurant, coffeeshop, or library too. But this is mobile tech that changes the way I think about tech. Augmenting reality is about changing phenomenal perception mechanics, not just adding to the content. The abundance of cheap digital tech is only the first step. Implementing it is the second.

4/24/2009

(The Necessary Coffee Joke for a Title...)

This is actually quite interesting--a potential fusion of the independent publisher and the independent book store. A potential solution to some of the issues I've discussed in the past.

[snip]

The brainchild of American publisher Jason Epstein, the Espresso was a star attraction at the London Book Fair this week, where it was on display to interested publishers. Hordes were present to watch it click and whirr into action, printing over 100 pages a minute, clamping them into place, then binding, guillotining and spitting out the (warm as toast) finished article. The quality of the paperback was beyond dispute: the text clear, unsmudged and justified, the paper thick, the jacket smart, if initially a little tacky to the touch.

Described as an "ATM for books" by its US proprietor On Demand Books, Espresso machines have already been established in the US, Canada and Australia, and in the Bibliotheca Alexandrina in Egypt, but the Charing Cross Road machine is the first to be set up in a UK bookstore. It cost Blackwell some $175,000, but the bookseller believes it will make this back in a year. "I do think this is going to change the book business," said Phill Jamieson, Blackwell head of marketing. "It has the potential to be the biggest change since Gutenberg and we certainly hope it will be. And it's not just for us – it gives the ability to small independent bookshops to compete with anybody."

[/snip]

Says $175,000... I know large, top of the line digital presses are somewhere in the neighborhood of $5,000-20,000 depending on finishing options. This machine is, in essence, ALL the finishing options. That price is before per-impression costs, service, and in the case of marketed books, the associated fees.

Still, introduction is the first step to acceptance, and lowering prices. In the end, localizing production lowers costs as well. And hell, I'd pay a premium to avoid the dreaded Amazon.

4/07/2009

The Confused, Ice-Cream Stained Dogs of the Internet

I'm about to delve into a very confusing theoretical world. But don't worry—no matter what happens, we always end up popping out into reality on the other side.

In this world, people with confusing names do confusing things to confusing objects. Writer's write about writing, and theorist's theorize about theory. Then theorist theorize about writing, therein, writing it down. After which, writers write about theorists, and theorists write about theorists (they tend to talk about themselves). The writers write more about writing, which is then theorized, and possibly serialized by the theorists.

At the first call of serializing, the publishers show up. They can charge money for that! The publishers publish writing, not really caring what its about. This shocks both the writers and the theorists, who write and theorize about the publishers and publishing. Then eventually come to a conclusion: publishing is not writing. They proceed to write that down, and then the publishers publish it.

It's true: the publishers don't write much, or theorize either. It leaves them in a poor position to respond to the writers and theorists. Luckily, there are plenty of theorists and writers who write and theorize about theory and writing. The publishers publish this. Now the writers have theories about who is more responsible for publishing the publishing angle, and the theorists write many angry letters. The publishers publish these too. Eventually, everyone decides to scrap the publishers, and just write and theorize. Everyone agrees except the publishers (who don't write a damn thing about it), and they all go start a blog.

But then, they realize all their blogs are belongs to Google. Then shit really flies off the handle.

“Are belongs to”, in case you are not aware, is actually a complete possessive verb, not a grammatically incorrect infinitive. It is part of this very confusing world. It denotes ownzorship in the dimension of the Internet. Anything, singular or plural, can “are belongs to”, and most often it is “all” of whatever the subject noun happens to be (the etymology is vaguely bastardized Japanese, and Cuteish-English, see also “teh internets”). This is merely the way of the Internet, a dimension in which things are large in scope, and what is not included often doesn't exist.

None of these writer-theorist-publisher people actually exist either, at least not in the defined terms of these jobs as separate entities. I have just wasted your time by letting you try to follow my confusing little maze. I'm sorry. But many people are also wasting your time by having you think about things in confusing ways, and none of them have the shame to apologize for it.

But what I actually want to talk about is Hannah Arendt.

Hannah Arendt does not are belongs to teh internets, though it is hard to understand why not. Arendt is profoundly American philosopher in my opinion, despite her European lineage in both philosophy and nationality. Her philosophy is fairly easy to understand, and delves into topics long important to Americans and their other associated theorists—this being the republic that it is (all your greco-roman philosophers are belongs to e pluribis unum). And since many people would like to make the Internet a mirror image of our great (not to mention, well-designed and always functional) nation, one would figure... but, well, no.

But what I actually want to write about is the Internet. Since this requires a bit of theorization, I'm going to have to theorize about theorists to get to the theory. And this is what I'm going to write about. Starting now. No more philosophy/Internet jokes.

Henry Porter hates Google, and writes about it the way a dog would write about being pet by a four year-old. The dog understands that petting is often very good. It understands that hitting is very bad. But it does not understand why these small persons smelling of dirt and mashed foodstuffs run toward it with open arms, as if to pet, and then precedes to wack the dog about the ears and eyes with wide-open palms. Why? Why are they doing this? What should I do? Should I bite? Should I run? Fuck. I think I'll just lay down and accept it, and when all the people are gone, I'll pee on the rug.

“Google presents a far greater threat to the livelihood of individuals and the future of commercial institutions important to the community. One case emerged last week when a letter from Billy Bragg, Robin Gibb and other songwriters was published in the Times explaining that Google was playing very rough with those who appeared on its subsidiary, YouTube. When the Performing Rights Society demanded more money for music videos streamed from the website, Google reacted by refusing to pay the requested 0.22p per play and took down the videos of the artists concerned.”

Oww, ow-ow! You're supposed to be petting me!

Maybe my analogy was a little disingenuous. It's not very good form to compare editorial writers to animals, at least in the context of intelligent debate. Actually, he sounds more like a lobbyist for a bank or a large automaker, outraged at the idea that the federal government might force them to run an unprofitable business unsubsidized. Look—no one wants our product. Indeed, we admit that it is not worth what we say it is worth. But our livelihood depends on us getting money for it! You have to pay us! The future of this failed institution depends on it!

I would never let a dog starve.

Oh, but I'm rapidly proceeding in the wrong direction. I wanted to write about the Internet.

You might have thought all the dogs would be excited that there are people willing to pet them at all—and you would be right. The Internet is a remarkable resource because ________ (insert O'Reilly article, WSJ article, Google Army Oath of Allegiance here), and I think everyone is glad it exists. Kind of like a, say...

Democracy. A democracy of dogs. No, just kidding, a Democracy.

Democracy let's everybody have equal access to resources (supposedly), let's everyone have equal representation in distributing these resources (purportedly), and let's anyone say whatever they want about the state of the resources, its distribution, and editorial writers (woof). Democracy gives us something called the “public sphere”, a marketplace of ideas and personalities, in which we can mostly peaceably shape our world. A space of individual action, in which we can fully be our potential as human. This is the ideal, at any rate, and it is an marvelously high-minded ideal. But don't listen to the dog, here's Hannah Arendt:

“...the heart of the polis, in the sense of a “space of appearance” or a “public space,” sees an action (praxis) that is not a fabrication but the “greatest achievement of which human beings are capable.” […] The polis is not an actual location, as was the Roman city-state, with its legal underpinnings, but and “organization of the people as it arises out of acting and speaking together” that can emerge “almost any time and anywhere” as long as “I appear to others as others appear to me.” The pois is thus the locus of the in-between, a political model that is founded on nothing less than “action and speech,” though never one without the other.” (Julia Kristeva's Hannah Arendt, 71)

This is actually Kristeva speaking about Arendt's On the Human Condition. Sorry, I own a copy of the former, not the latter. But I believe she is quite on point in her descriptions, so it will do. Theorist about theorists, etc. Blame it on distribution problems.

Based upon these ideals and the function of the Internet, one would think we would be heralding Google into our lives: a wonderful super-polis of action and speech. Google is not merely a sales-site, or a marketplace. It is a conjunction of services that help one articulate oneself to others. This is more than your blog or your email. This is your phone, your location, your data and documents, and even your health records. This is not a crappy Second Life avatar! This is your real life, available for you and your Contact list, in real, extra-legal, democratic polis.

What do you think, Henry Porter?

“Despite the aura of heroic young enterprise that still miraculously attaches to the web, what we are seeing is a much older and toxic capitalist model - the classic monopoly that destroys industries and individual enterprise in its bid for ever greater profits. Despite its diversification, Google is in the final analysis a parasite that creates nothing, merely offering little aggregation, lists and the ordering of information generated by people who have invested their capital, skill and time.”

Whoa! If I wanted to ask some radical Marxist, I would have asked myself.

Porter is absolutely wrong. A parasite is an organism living off of a single host creature, sustaining its life at the detriment of the host. Google is not a thing, but a network, and if it wasn't for its users, it wouldn't exist. One might as well call god a parasite, for forcing humans to build churches and nail each other to stuff. Send your complaints to Google Groups, man, because the big G's projected upward in your image. (Goodness, am I saying that god doesn't exist, or saying Google is god? Which is worse?)

And a “little aggregation” is a pretty idiotic thing to say. Sure, the most widely used, best-functioning search engine in the world is merely categorizing some apples in order of size. Mr. Porter must be a strictly Yahoo-man, I guess.

He is wrong yet again when he says this is an older capitalist model. (see the “other” Marxist, above). Clearly, a company that can earn $5.7B (his figure) in a quarter by doing nothing more than offering a “little aggregation” has stumbled on a goddamn machine that makes money, like, as if it new how to put ink on paper that looked like money, or something.

I've said it before, so here's another time: the business is access. By showing every person entering the Internet agora an ad, you are going to be pulling it in, hand over fist. No, you are not producing anything; you are cornering distribution. A capitalist activity for sure, but certainly in a new mode, because the digital product being distributed, according to our little theory of democracy, is not just crappy pop songs, but people's lives.

This moralist—because that is what he is, a propagator of one strange fold within the shifting sands of value—cannot even identify what is going on here. He only seems to know he doesn't like it, and writes up some writing tropes about publishing that sort of make it seem like he has a reason for this dislike of a particular company and its business, when in actuality he doesn't seem to understand the technology, the product, or its producer and user.

But what would Hannah Arendt say?

Few would ask. But check it: included in her notion of this public arena, is also the private sphere. The private sphere is, well, private—concerning the less-ideal world of homo faber, the productions of the home and the body, and the private “plumbing” of the individual. There is great power working in this individual realm, often tyrannical power. The forces of desire act with unrestrained cruelty on occasion, as much (or in concert) with love as anything else. And the body functions, well—don't let us get started. But this is where these unfortunately unideal, yet necessary activities and their vulgar, undemocratic power and productions remain: the private. And by this the public sphere remains free and uninhibited. Ideally, it sounds okay.

“Once the needs of production surpass the limits of the family and encroach upon the city-state itself, the ensuing flow of household concerns (oikia) into the public realm erases the boundary between the private and the public, which puts various sorts of freedom in jeopardy. At that point, public activities are conceptualized according to the model of familial relationships: the “economy” (from oikia: “household”) is what eats away at the polis and transforms it into a “society”. […] “Society equalizes (and) normalizes” to the point where “the most social form of government” is “bureaucracy”.” (Kristeva, 159-60)

So, if the personal, private, animalistic “needs” of humanity are appointed to the control of the public arena, the ideal polis is reduced to an economy, a control of resources, and often in a way that is nothing like “free”, despite the promises of society. And how could it remain free? Many have written about how brutal we are in pursuit of our material needs, despite our hopes to the contrary. So if fairness, justice, and democracy are put in charge or their procurement, is it so surprising to see the polis lean towards oppression and prejudice? If one has read Arendt's Eichmann in Jerusalem, one can see where she is going by mentioning “bureaucracy.”

So which is the Internet? Is Google keeping the polis pure by not charging money for YouTube views, or is it already too late, because it is attempting to create a society in what should be a pure medium, by letting us conduct our private needs in person? And what would Arendt have us do?

Porter, by way of contrast, is one of those most enlightened neo-liberals who says the corruption of bureaucracy and distribution can easily be overcome, as long as everyone listens to what he thinks is fair. Newspapers, according to him, are bastions of democracy, while Google is “anti-civic”. He can equally chastise Google for censoring the Internet via its services in China, and defend those who feel violated when their homes are pictured on Google Street View. The high-point of liberal capitalist values are here—everyone should be able to hear my words, but nobody should be allowed to see my property. Hedges and billboards go hand in hand, it seems. Google sure “owes” him a lot, after all, he's a conscientious tax payer!

With Arendt, it's not as clear, thankfully. She never wrote or theorized about the Internet, so it is difficult to say where she would have lined up digital productions—is this the free speech of the polis, or the private machinations of the home?

Well, I wonder, what's the difference? These days, our speech is about our homes, we work out of the home, and we speak about our work. Our homes are no longer private places, now grouped in stacked architectures, as is our work, and as are our lives. Our home life is often conducted out of property proper: at the restaurant, the workplace, or any place with wifi. As is our work, which more often now, is being conjoined and intertwined to our lives. Even the wage slaves among us are feeling this clock-punching as yet another rhythm of our internal clocks. Perhaps it's alienation, or perhaps we always were the aliens—dividing up the labor of our world since long before Aristotle's perfect state. Work, it seems, is more and more of what human beings call home. And we're more than willing to talk, email, video blog, or twitter about it.

This is simply going around in circles, back to our little game of writing, theorizing, and publishing. Is any of it really different here? We've made these ideals, these constructions, and we refuse to look through them to the actual machinery. We can build walls around our homes, with proprietary speaking tubes built in, demanding free concrete from the government with the best sound transmitting capacities available. Or, we can stop for a minute, and think about what the hell we're talking about.

Googles, gods, and gadflies, all.

Here's the thing: there only ever was teh private sphere, all are belongs to you. It only keeps getting increasing. We're running out of public space in which to build our private sphere.

The private sphere was that nice little cozy place inside your head where everything was yours. What needed to be distinguished from the anything else? All was a lovely muddle of sensation, and no one could tell you otherwise.

But then, you found the others. You tried to ply them with your sensation, but the connection just wasn't there. You needed something more, a way to distinguish ignored desire from acknowledged reaction. And so, you found yourself, and the others, as separate beings. So many interesting private spheres out there, with their own furnishings and color schemes! Could we ever visit them all? Let's set up a public space—and call it “the world”. You can build your own avatar called the ego, and walk it about—talk, dance, and buy stuff, even though most of it is worthless.

The undifferentiatedness was still below, offline. No matter how public you became, that private part of you was still within. It would lurch skyward, blocking the sun from shining on the brilliant buildings you and your friends had constructed from those lovely cultural polygons. But what still lay in that darkness, and why did it persist, no matter how civilized you had made yourself to be? Chaos' horrible ocean was always waiting just beyond the ever-so democratic light of day. Under the person, the animal still remains.

And thus, we learned the power of “we”: the majority, the restraint of purpose against will, the state against the people. Justice, form, control: the super ego. Super users, admins, and designers. The sorts of people who make the decisions about which now we can make decisions. And what's more—a special little censoring admin for each of us, telling us when we can enable our anger function, and whether our custom skin is appropriate for any given interface. And these functions don't even mention below the surface, below the face of our license agreements with ourselves—this opaque, liminal space where our super egos censor our comments and our desire-searches, and make undercover deals to sell our personal data to so-called “loved ones” (all for the goal of 'giving us a better consumer relationship', right?) and use us as test marketing and advertising guinea pigs to shape our likes and dislikes according to the availability out there in the polis, which is quickly becoming a marketplace—or maybe it always was. Some say the mind is a free-market, but if there is one brain controlling all my decisions, how free can I really be?

Super ego and its metaphoric counterparts, have run rampant through our society. From Porter, and the dogs of morality, to the well-meaning Arendt and her Platonic Ideals, we still attempt to control what we fear by covering it, dividing it from our “true” selves, from “real” society. Bureaucratic constraint over the unconscious manifests itself in every “I” statement; the small fascisms of “appropriate, state-sanctioned, volk-positive” desire still reign over our sense of outrage, offense, and indignation; the penny-pinching boss of our corporate ego still cracks the whip over the unruly factory of our emotions.

But this—what I'm doing here with this crafty unification between the necessary limits to our conscious self, and the world of information and “real-life” production—this publishing, theorizing, and writing is itself only a form of control. We can never get at that private sphere or set it truly free. We can only build endless marketplaces where we hope it will show up one day, for a chat and perhaps a little pleasant business. It is the unconscious after all, and to our ego's—our false ideals of consciousness out here in the real world—it is nothing more than an overriding metaphor, hidden in the dark ink of words on a page or a screen.

If it is all a pleasant, metaphoric dream, then what is public and private; what is proper and what is piracy? We could loosen up our constrictions, and pause our accounting for just a moment. After all, when dealing with resources and digital production, in the end we really are dealing with people. People need the data, and people need the access. It is not an ultimate good, but it is a mostly-good. This is what we have to ask of Google, and anything that attempts to tell us how to act in public or private, in a marketplace or in a polis. What is in it for us: the egos, the unconsciousnesses, the producers, the consumers, the people themselves. Enough of your ideals, both puritan and democratic. This is the question of human's material existence, as it is currently best phrased. How do the means of digital production best benefit the production process, from creator, distributor, to consumer? Any other theorization of the problem must fall upon some notion of an ideal, so loosely defined, shifting sphere of action simultaneously including that which is not unified and excluding elements of the equation. Only consideration of the material as material, hence, as product in relationship with production, can attempt to consider it in its true state, not as owned, free, public, or private, but as information, completely material only in the dark processes of our imagination.

Yeah, it's a hard materialist-psychoanalytic line to follow. I will say, true breakthroughs very rarely come from the “common logic”, or “public view” (as if this was at all convincing). And anyway, you could spend your time writing what the super ego tells you to write, or you could theorize what your consciousness couldn't imagine. I'll tell you this much—regardless of which category resembles Blogger, one of them is a lot more fun.

3/24/2009

Phenomenological Rainbows

Each morning Lord Blatherard Osmo must put on his bowler, and take his briefcase out to the Adenoid to make his daily demarche. It is taking up so much of his time he's begun to neglect Novi Pazar, and F.O. is worried. In the thirties balance-of-power thinking he was quite strong, the diplomats were all down with Balkanosis, spies with foreign hybrid names lurked in all the stations of the Ottoman rump, code messages in a dozen Slavic tongues were being tattooed on bare upper lips over which the operative then grew mustaches, to be shaved off only by authorized crypto officers and skin then grafted over the messages by the Firms' plastic surgeons... their lips were palimpsests of secret flesh, scarred and unnaturally white, by which they all knew each other.
Novi Pazar, anyhow, was still a croix mystique on the palm of Europe, and F.O. finally decided to go to the Firm for help. The Firm knew just the man.
Every day, for 2 1/2 years, Pirate went out ot visit the St. James Adenoid. It nearly drove him crazy. Though he was able to develop a pidgin by which he and the Adenoid could communicate, unfortunately he wasn't nasally equipped to make the sounds too wqell, and it got to be an awful chore. As the two of them snuffled back and forth, alienists in black seven-button suits, admirers of Dr. Freud the Adenoid clearly had no use for, stood on stepladders up against its loathsome grayish flank shoveling the new wonderdrug cocaine--bringing hods full of the white substance, in relays, up the ladders to smear on the throbbing gland-creature, and into the germ toxins bubbling nastily inside its crypts, with no visible effects at all (though who knows how that Adenoid felt, eh?).
But Lord Blaterard Osmo was able at last to devote all of his time to Novi Pazar. Early in 1939, he was discovered mysteriously suffocated in a bathtub full of tapioca pudding, at the home of a Certain Viscountess. Some have seen in this the hand of the Firm. Months passed, World War II started, years passed, nothing was heard from Novi Pazar. Pirate Prentice had saved Europe from the Balkan Armageddon the old men dreamed of, giddy in their beds with its gradeur--though not from World War II, of course. But by then, the Firm was allowing Pirate only tiny homeopathic doses of peace, just enough to keep his defenses up, bu not enough to poison him.

--

This is the majority of page 16 of the Penguin edition of Gravity's Rainbow, which I have just finished reading. You may have just finished reading it as well, if you just read the portion of text I transcribed into this blog post. But you have not read the book I am reading.

That's because I was reading my copy of the Penguin edition--the one with the cover image of the V-2 rocket pulled from the Smithsonian archives; the one printed on cheap, paperback paper yellowed a bit, even though it is concievably not more than seven years old; the one set in some delightful serif font, with margins a bit too big I feel, though it does allow the text to an impressive 760 pages. The page numbers are set in italics.

But even if you have the same edition, you do not have the copy I do. I shoplifted this copy from a large book retailer back when I was college, and I was broke, but had an enormous appetite for fiction. On my way out of the store, I was confronted by a clerk who could not have been more than seventeen years old. I gave her a look and kept walking, calmly.

Later that summer one of Iowa's amazing thunderstorms blew open the windows of my then-girlfriend's apartment. It was an old building, a marvel of the midwest, with wide wood floors, one of the highest structures in the small town. The windows were also old, having antiquated latches keeping them from swinging open laterally. They were no match for the wind, which came in with sheets of rain, soaking the couch and the end table, where this volume was lying, my bookmark only three chapters into its pages. It was thoroughly soaked, but the remarkable thing about the cheap paper was that it dried as easily as a sponge, though there remains a water-damage wrinkle running from the binding out to the face like a scar, gradually lessening in severity as one turns the pages in reverse from the back of the book. While I hold the book open, I feel this wrinkle in the fingers of my right hand.

This would not be the last time this book would contact water. I did not finish reading the book that summer, because honestly, who sits down and reads Pynchon the first time around? I can't remember if I finished reading it the summer I lived in Arizona with the same girlfriend, a disasterous chain of events that precipitated our breakup. I did bring it to Arizona with me, where there is very little rain, but when there is, it is beautiful, and dangerous. Where the book met the water was actually in New York, when I brought it back from the failed relationship and put it back on the shelf near the window of our recently redone apartment.

The apartment was very cheaply redone. The fixtures were new, but the sink and toilet clogged. The windows were new, but they leaked. More water came in, but not the lovely, pastural aqua vita of Iowa, but the stinking piss-rain of the city. Luckily it was only the corner of the pages that got damp, because then it was able to dry out without leaving a lingering odor. I know it did not, because then it inhabited the floor of my bed room for a time, as I was reading pieces of it. If I had not finished its entirety in Arizona, I did so then--I remember this because it was cohabitating my floor with Asimov's Foundation series, of which I only managed to finish the first two books. I remember finding it ironic that I finished the Pynchon, but was drawn away from the Asimov. But, after all, this is how I read. I was also working on my thesis, and the Pynchon might have been more conducive to this work--though the Hari Seldon certainly found his place in my theories as well.

Now, in Oregon, I am picking up this same copy again. I knew how it would smell when I reached for it at the bottom of the bookshelf, just where I knew it would be. It smells pulpy, like the dust of a library, or paper that is old. It is the opposite of the smell of new paper--perhaps shining with the new gloss they print everything on these days, driving the cost of a paperback up to twenty dollars. The price on the back of this edition is $16.95, though I did not pay for it. Sometimes I feel bad for not paying for it, because Pynchon is still alive. My pseudo-ethic of shoplifting in those days was to steal only books of authors who were deceased. But I couldn't help myself in this case--I had just finished V and desperately wanted to crack into this massive book by the same man, alive or dead. If I knew Pynchon's address perhaps I would mail him a check. But I probably would not have read the book if I hadn't obtained a copy then. But perhaps I would have.

In picking up the book, I am going to read, at least some of it, as work in preparation for writing my own piece of work. It is not meant to be Pynchon-esque by any means, though going back over his words now I hear a lot of his prose in my own. I am searching for mystery in this book: how, in the amazing opulence of the prose, is there any open space for mystery? I think he is one of the finest mystery writers ever, because one doesn't even know one is picking up clues and rounding up characters as one does it. The mystery is so natural, once you have solved it, it seems as if it was your own idea, and not the author's. In planning my project, I realize I have a solution, but I don't think I have the mystery yet. I have too many pieces, and not enough holes. I'm hoping I can formulate some sort of idea, or theory, about how one makes a whole, and then carves the pieces from it. What is it Pynchon is telling us with the words, before we even start to look for the mystery? What is there, staring me in the face, the minute I turn the page? Crazy banana breakfasts? Metaphor-induced beat-war scenes? Superheroes of nation-states' secret sex lives? Not these things, but something else.

[sigh.]

Anybody who think that books will die out, is fucking crazy, or an idiot, or both.

That's what I wanted to write here, right now.



There is no way you can tell anything about a book without holding it in your hand, and turning the pages. You can read thousands about thousands of "pages" of text, but you cannot read one bit of a book on a screen. The only people who will be content with ebooks are those who are satisfied with text. Those who read books, will always read books. I have no doubt that a large part of the mystery I am looking for scattered on these pages is something to do with shoplifting, Arizona, Iowa, and New York, and the smell of wet paperbacks. No, it's not purely an aesthetic experience, but it certainly has to do with the phenomena of words. You may have read the text I typed into the top of this post, but you did not read it off page 16 of my copy, as I did. Semantics is not a holistic experience, by any means. But reading has never been a semantic practice, anymore than books are simply about good grammar. Semiotics--the meaning of signs--is about a communion of signs and the body. Does sentence structure matter? Yes. Does typesetting matter? Yes. Does paper choice matter? Yes. Does where that paper has been and who touched it before you held it in your hot little hands and greedily ran your eyes over it the same way you look at the picture of a naked human being? Yes.

Literary theory does not consider itself phenomenological, and only thinks of itself as sexual as a lark: a minor titillation, an inside joke. It is only recently that psychology even got in the door to the literature seminar, and we got to think of the people in addition to the text-in-itself. Oh--I mean we got to think of authors. Just wait until we begin to think of the reader. All those young men and women becoming arroused as they parse the pages of paperbacks borrowed from friends, and snuck inside the house. And not only the sex--but the sadness, the happiness, the content to sit in a chair for hours, moving nothing but the fingers (no, not the sex!). When will reading become part of literature? It already has, and this communion of eyes, hands, nose, and brain is the only reason anyone has ever read.

What's dying is not books, but publishing. The latter is the semantic: the title page, the TOC, the cover, and the price. The former is the semiotic: the meaning, the sign, the context, reading as an act. If you can call the semantically-glossy crap with which they fill up the mall "books", then yes, I guess that industry is dying. But good semiotics will find its medium just as it always finds its readership, as small as these might be. The collapse of the publishing industry doesn't have shit to do with that. Oh, and the money--well, people were writing before the publishers even let them have a little money--so I'm not worried about that.

I know--I have a love affair with books, and it is coloring my judgment. You're damn right. If one thing I said here is important it is this: reading words off bound paper is not necessarily the most authentic semiotic experience that will ever exist, but it is a phenomenologically distinct process that will exist for a very long time. You can read on whatever material you want, and read whatever you want, but literature will continue to exist, both electronics and rainwater be damned. See if I'm wrong.

Fine. Let's put it to the test. Who wants to publish something? Yes: right now. Let's get some literature together, and we'll put in on paper. I'll, print it and bind it with my own bare hands, if I have to. People will read it. If it's good, you can believe that people will read it.

Actually: totally serious. Let's go.

2/04/2009

POD is FKD

I've been reading a lot of publishing blogs lately, and the blogs of writers interested in publishing, and web 2.0 sites about do-it-yourself publishing, and angry blog comments about publishers and publishing.

And I work for a printer. And I write.

Because of these factors, I have been thinking about the future of printing and publishing to an fairly intense degree of late. So please excuse if the following essay makes the issues seem perhaps more dire than they might be the average person. I am, you might say, in the cognitive "thick" of it right now.

But, if you are in any way engaged with any of those categories listed above, then you might want to listen, because I think this is important for all of us.

The POD (print-on-demand) model is fucked. IT IS A REALLY BAD THING. I am saying this because it is one of the models towards which the printers, publishers, and writers are now drunkenly stumbling towards, hand in hand in hand.

I KNOW: it sounds great for many reasons. The writers can avoid the brutal publishing hierarchy, which is looking more and more like a reality show. The printers can utilize new digital printing technology to make money off short-run jobs, gaining a brand new customer base. And publishers can pick up books that have already been test marketed, more or less getting their prototyping for free.

It seems like everybody wins. But everybody is losing.

HERE'S WHY: the only thing this model is doing in putting words into print. I know, I know: 'but isn't that the point?'

NO: the point is distributing literature.

Distributing literature certainly encompasses many of the features of the POD model. For literature to be distributed, books must be actually made. Right? Well, at least in the old days.

Makin' books is less than half the battle. Let's sum up the steps to Distributing Literature:

1. Author, over a period of time, somehow produces a manuscript.
2. The manuscript must be edited. Must be edited.
3. From all the manuscripts which exist, some should be destroyed. A few should eventually be published.
4. The manuscript must be transformed into a print-ready document.
5. The document must be printed on paper (or on "e-"), and bound into a volume.
6. The volume must now be given, sold, lent, or forced upon a reader.

In the old days, the author took care of #1, the publisher handled #2-4, the printer did #5, and the distributor did #6. Under the POD model, the author is now responsible for #1-3 or 4, the printer/publisher combine for #4 and 5, and the baton is handed back to the author for #6, with the combine taking a cut (usually). Or a publisher can step in afterward, picking up #6 or starting the whole process over if they wish.

The most obvious problem is authors are, by themselves, not capable of anything other than #1. Perhaps they can use the Internet to work on #6, but #2 and 3, forget it.

But perhaps more seriously, the printer/publisher combine is certainly not interested in #2 and #3 in the slightest. The model works on the fact that the more authors they have lining up, the more profit they stand to make. What they've done is figured out a way to pimp short-runs together into a money-making harem, able to make up the quantity they are unable to sell through old-school published books via a dearth of authors, simply falling over themselves to pay to get into print.

And this is hardly the only problem. What do authors know about #5? Book quality? I'm not saying that POD is necessarily garbage. But how many POD authors choose hard-backing? Acid-free paper? A good binding? These customers want "book in print". The rest is details.

But then comes the real bomb. #6.

I'm not saying publishers have brilliant marketing strategies. Clearly, times have shown this requires as much work as anything. But what, if anything, can one learn about a book from a blog? From Twitter? These are free, and pretty brilliant free products at that. But it is only so much free junk mail, piling up with the rest of the folks trying to hype themselves in the big Internet hype pool. Yes, particularly buoyant books have floated to the top. But look at the detrius, sinking to the ocean floor!

And where do these darlings of POD end up?

AMAZON.

The fucking Walmart of books. This is the part that really gets me. POD is being hyped as DIY, but all of these folks so stoked about "making my own book" are then turning around and giving most of the profit to the internet behemoth killing off your local book store. You sell your book from your blog, you use Pay Pal. You sell it with iUniverse or one of the others, and you use Amazon. Maybe you print off fifty extra copies and take them to consign at your local shop. Maybe they take you, maybe they don't. Maybe you sell a few, maybe you don't. But you know most of your sales are going to come online, where you're doing your real hype. And the reason is, your local bookshop still cares about literature. They stock the books they like (and maybe a few vampire ones) because they think they're still distributing literature. Maybe soon they will realize they need to jump on board the hype machine and move product, so they will listen to the Amazon reviews and comb the blogs, and maybe even start a web site of their own. But under the POD model, the local booksellers are the only ones still thinking of books as literature, and not crap to be pushed out to whomever will take them. And they're the ones who are going to catch it in the face when the distribution network for actual literature dries up.

I'm not a proponent of the old days. I'm not going to tell you a book is the doorway to the immaculate soul, and ask you to burn your e-reader and tattoo your library card number on your forehead (but really, please do this). I'm also not attempting to morally sway people. I know folks will still do POD because they want to see their work in print, and love ordering things online. But if the art of distributing literature is to be saved at all, we cannot rely on POD. We, the authors, as the base of pillar, have to stand up and reform this industry.

Here are some things I would stand behind:

Actual DIY
: If you want to see your work in print, and want to push it through yourself, do it yourself. Find out the production in each step--typesetting, printing, cutting, and binding. I work for a small print shop, and I can tell you if you priced out the job right you could do it as cheap yourself as any POD plant. Or hand bind it! It's not that hard. I did my novella. Only thing I paid for was paper, toner, and cutting (which I actually did myself, but at work). By jumping into the product that is POD, you are the customer, not the seller. And making "getting into print" a commodity does not benefit us.

More than paperback: The POD model seems set up almost universally around the the 4-5" x 6-7" soft cover, perfect-bound book (although I understand there are companies who specialize in typical comic formats as well, and of course, photography books). This is because it is formulaic, easy to run and reproduce, and in the mind of the customer, the authors, it "looks like a real book". This is because it also worked well for big publishers in the "run and reproduce" category, it is sells as a trade paperback. But if the means of production are going to evolve for literature, its finally form will probably change as well. There are many cheaper alternatives, which are just as readable, and just as nice. They also have the potential to distinguish your book from the rest. Chap-books, fold-outs, unconventional sizes, hand-made cloth bindings, tape bindings or other sorts of bindings might work well for your piece, and are often cheaper or easily done yourself with a little bit of hand work. It's time to think about our books creatively, not just trying squeeze our book into the mold the POD crowd is looking to sell. Writing a cookbook? Think about a coil binding. Poetry, or unconventional novel? Try getting your sheets cut to size, then add your own pull out pages and invest in a heavy stapler for the binding (you can even get colored staples these days). Put the craft back in bookmaking. It could be what makes your book loved. (Or think about what a "hand-bound by the author" copy of your first novel will go for on eBay once you've won a Pulitzer... that's what I do. :)

New Publishing: The thing that we have to figure out as authors, is how to take care of steps #2, 3, and 6. Without these, we are flooding a struggling marketplace with crap, and that is a sure way to destroy demand completely. My idea is simple: don't go it alone! POD is dividing and destroying us. We were already set against each other by the competition of the publishing market. And now we are a mob, lining up at the edge of the Internet to throw our books (and our money) into the murky depths. Join the Syndicate! If you're an author, you know other authors! Get together, and edit and proof each others work. Then, split print costs among yourselves. Or do the POD, but make sure you handle steps #2, 3 and 6 yourself, with due diligence! BE BRUTAL with steps 2 and 3. Hurt your friends feelings--save literature. It's the only thing that will save us as authors. Print on your own demand. Then, work the marketing strategies together. Form your own imprint. Some of the greatest publishing entities in history were formed by authors and literature critics themselves, and the costs necessary have never been lower. Don't whore yourself to POD and Amazon any longer. Join us! (Or don't join me, make your own damn imprint!)

The Internet
: The Internet is great. The best part about it is it can be run by the users. Why be part of the POD/swill combine? Why join the Amazon mob? Why give your work to another company that will only do what you could have done yourself? Experiment with new marketing strategies, don't just flood Twitter and the message boards (see above). Produce your own audio books. Make your own e-books, in non-DRM format. Produce your own video game! It's the Internet, man!

The good thing about authors is there are tons of us, and we care. If we only wanted to be famous, we would be buying turntables, or guitars, something else. We care about literature. And luckily, we are the ones who control the production. Now we just need to push that care from the bottom on up.

9/18/2008

The Publishers are Dead; Long Live Literature

- More about technology and the future of literature -

Two different articles caught my eye today, in the increasingly verbose re-hashing of the paranoia about the End of the Book. The first was a detailed analysis of the current status of the publishing industry in New York Magazine, and the second was yet another article in the form of a question (so, so, gratuitously annoying a form) about whether literature will survive "the digital age", in the UK's The Independent. For background, both of these articles are continuing the thread, which was perhaps not started but summed from the collective Luddite-leanings of modern society by Nicholas Carr in the Atlantic Monthly article, Is Google Making us Stupid?" Note again, an article in the form of a question.

My answer: no. I already voiced my opinion that literature will live on the digital age; an opinion voiced, perhaps in a not very literary fashion, but yet totally digitally. (At least my title question was more of a weak pun than an actual rhetorical act.)

Which brings me back to the issue, in light of these two readings that I have happened across, in order to make an important point:


Literature is written words.
Written words collected together in series are books. (At least until recently.)
Therefore, all literature (until the bright, blinding dawn of the digital age) has been in the form of books.


By the same token, all books are literature.


Yes, strike that false syllogism out! Unfortunately, those whose interests are taken with literature often are given to the inductive logic that "books" represent literature itself. Not true. Books represent many different kinds of word collections, some of which are quite awful indeed. To tell the truth, I would stand and watch my most major publishing houses flaming hulks disappear in a sizzling downdraft beneath the waves of our current cultural crisis. Can you imagine? Celebrity tell-all stories, political hack collections, and pet-themed cookbooks are not successful enough to keep paying their authors millions of dollars in advances, no matter how many of them have a giant "O" of an anus stenciled on the cover! Hosanna! The free-market has finally done something right, and the snake is finally eating itself.

For anyone actually looking, literature is doing is just fine. There are hundreds of working literary journals in the country, and where one falls over, three spring up. If perhaps you wished that you could walk into any bookstore in the country and find the same ten authors that made up some "list", and that you knew well, just like your favorite Starbucks beverage, then you may be out of luck. But there are still many people writing, editing, publishing, and reading literature in print form. Though they might not be making much money at it. And regardless, I'm sure someone will still be publishing Steven King twice a year, no matter what happens.

Literature is written words, and written words have never been more in style.

The idea that literature has to "evolve" in this crazy electronic world is pretty stupid, I think. Literature is not a corporation that has to cater to its stockholders. We should let literature evolve itself. The woman who claims, in the Independent article, that internet forms like Second Life, Twitter, and whatever else are going to give literature a new, digital life are idiots.

First, as to the technology: ink on paper will still be around no matter what. Sure, its use will decline. But it will always be there for a simple fact: a sheet of paper doesn't do anything but lie on the table. It doesn't run out of batteries, it doesn't get erased by magnetic fields, it can't interfere with the navigational equipment on an airplane, and it won't become anymore obsolete than it already is. It is the simplest denominator of the written word, and as such will always have a place in our culture, just as words will have a place upon it.

Second as to the literary quality: the words that are used in cyberspace are most often decidedly un-literary. Literature, as my little syllogism was meant to show, is not simply given via the ability to hold content, regardless of how novel the container may be. Literature is an art that evolves within its own semiotic structure: part of, but not reducible to its technological vial.

Can I say it more plainly? Yes: THERE WILL NEVER BE A TWITTER NOVEL.

Of course, I invite efforts to prove me wrong. I read a poem in McSweeney's that was written in the form of either text messages, emails or blog posts, I forget which. Needless to say: abysmal. Stick to stanzas, not SMS. The former was developed to push the literary content, the latter to push commication. The two are not the same. Making a book into a movie or video game makes the book no longer a book, plain and simple. Literature is still only the written word, whether in ink, in binary, or in LCD pixel. A book's character in Second Life is an advertisement or a simulation, not literature in anyway.

Eventually, no doubt, there will evolve literature that finds its rightful place in the womb of our new digital culture. However, this will not change the fact that the last 1000 years of literature found its placenta made from good old ink and paper. (And before that, speech was the hip technology, and speech is just as likely to fade from common use as paper, in my opinion. True, the oratory has seen better days, but there are still artisans and audiences of the form.)

And furthermore, this strike through of the concept, "words + sphincter = literature" shows why it is idiotic to look forward to an "iPod moment" for literature, when some messianical technological sex-toy descends from the sky to "get everyone reading again". There is no such thing as an iPod moment; we are getting dangerously close the "big-man of history" theory here, a decidedly reactionary conception of anything. (Then again, most literary critics, even the so-called "materialist" ones, seem to conspiculously avoid seizing the means of their production). The only thing the iPod did (even though actually, it was the mp3 that made it all possible) was to give music its "indoor plumbing moment". How amazing a breakthrough is it, really, that now we don't need to rely on record companies and ticket agencies to hear and share good quality music? Raw sewage is no longer flowing in the streets? How delightfully modern!

The iPod for literature is the book. Anyone can write the text, and anyone with an hour, some glue and some paper can bind one. Then you can give it to a friend, sell it to a shop, or burn it if you wish. You can carry it anywhere and it doesn't need electricity. It will even work in zero gravity.

To sum it up: literature, as a field of artistic creation, will probably stay about the same regardless off of what surface or substance it is read. The big book corporations and the music corporations will both, hopefully, go their appointed ways. I'm not worried about literature in the slightest. In fact, I bet literature will only get better. As I've said before, it's only recently that the literacy rate is so high; it should not be surprising that the literature rate has stayed about the same. Oh, and beware those who try to sell you on the quantity-quality conversion (AMAZON). It was just those sorts of quantativists that caused the failure of the publishing houses to begin with (on the stockholder side AND on the rich author side).

2/28/2007

Interdome is my past time, but could it be my job?

I watched a segment of a Frontline documentary on PBS last night about changes in the media. A lot of it deal with the "blogosphere", and how it may or may not be siphoning interest away from traditional sources of media, etc., which has somehow become news itself for most media sources. Insert headline, "Newspapers Lie Unread in the Streets" here... hahaha.

The special also drew attention to some actually interesting things that at least I hadn't heard mentioned before, although I've thought them many times. For instance, now news agencies are expected to turn a profit, and so are accordingly turning to more entertainment oriented news, like "hidden camera" exposes and celebrity news. Also of interest was that many papers are turning to local news to win readers, because they can get the corner on the market this way, while anyone with a computer can report on the national stories.

But what I really took away from this was that the paper print industry is doomed. Of course, I naturally take this away from many things, seeing as how I would like to make more paper things in the future, yet people have little interest. Although I have sneaking senses of paranoia for many reasons, not all of them hallucinatory, one I have been feeling more often of late is that I must learn html otherwise I will never get a job ever. This program made me think that this was an astute paranoia. It's not merely learning some html tags in order to be computer literate, either. It seems that to really make it in media these days, you have to not only have cutting edge content, but your form has to be amazing as well. It's not just streaming video, its taggable, uploadable, searchable streaming video. It's not just podcasts, its portable, tradable, interactive podcasts. Semiotics used to be a clever manipulation of words, but now in order to write you have to know how to make the paper as well.

So I'm doomed. Burn my corpse with my books. That is, unless I am an html savant and I don't know it. Or, if you'd like to pay me to write for you. Call me?