Growing bulbs of intellectual freedom from academic libraries

Re-blog from: https://moananddrone.github.io/bag-of-onions

by Kevin Sanders (moananddrone)

As many of us are increasingly aware, data pertaining to our online behaviour- when and where we have been, what we did whilst occupying that space, etc.- have become increasingly valuable to a range of stakeholders and bad actors, including unethical hackers, commercial organisations, and the state. The weaknesses inherent across various web infrastructures, their deployment, and their ubiquitous, multipurpose uses are routinely exploited to capture the private data and information of individuals and entire communities.

For many librarians, this technological and cultural problem has been increasingly acknowledged as part of a wider political concern that is directly relevant to our professional requirement to protect the right to intellectual privacy (Fister, 2015; Smith, 2018).

Through both my professional and voluntary labour with the Library Freedom Project and the Radical Librarians Collective, I have been trying to directly offer support for individuals in their attempt to protect their privacy through their behaviours and the digital tools they choose to make use of. However, consistently weaving intellectual privacy throughout my professional praxis is a significant challenge.

Peeling back the layers of libraries and the scholarly commons

I am currently employed as the Research Support Manager for Library Services at the University of West London (UWL). A significant aspect of my role is to manage and administrate the UWL Repository, which is the institution’s repository of research outputs. The repository makes these outputs discoverable and accessible through what is known as green open access.

The collection, storage, management, and sharing of information demonstrated in the administration of a repository are all core elements of library work. However, this specific aspect of library work directly contributes towards the development and maintenance of the scholarly commons as an accessible body of work that “admit[s] the curious, rather than [only] the orthodox, to the alchemist’s vault” (Illich, 1973), and to allow people to re-use the research for their own purposes.

In all areas of library work, ensuring that the personal data and information of our user communities is stored securely is very important for the preservation of intellectual privacy. However, in the contemporary environment, libraries’ digital connections to external sources and services can make this challenging. Libraries are reliant on services that are served externally, and as such libraries lack the ability to control how these services share data required for the use of these services.

As the University have control over the repository through an agreement with a hosting service, it has been easy enough to enable some security enhancements. As such, from January 2018, the UWL Repository has been wrapped in HTTPS to respect our user communities’ information security by ensuring that all connections to it are encrypted.

Unfortunately, the scholarly commons is only as accessible as it is permitted to be on the clear-net, as there are many powerful stakeholders that have the ability to suppress access and thus censor scholars and other publics from accessing the published results of academic research and scholarship.

Onions don’t grow on trees; environmental ethics and the scholarly commons

Some popular online services and networks for scholars, such as Sci-Hub, ResearchGate, academia.edu, also offer users the option to share their scholarly and research outputs gratis. The latter two are capital venture funded, commercial services. Part of their business operations include providing data around research that can, it is claimed, offer insights into its ‘impact’. However, these services do not take responsibility for the frequent breaches of licences that help to calcify the commodification of scholarly knowledge (Lawson et al., 2015,). Many of these services also have vested interests in the data stored and created through the use of their services.

For the scholarly commons, publishing via open access (through both gold open access publishers and via institutional and subject repositories) and making use of appropriate Creative Commons licences is a significantly more effective and ethical way to share and access research and scholarly outputs. Institutional repositories are commonly sustained by institutional funding (i.e. they serve not-for-profit functions), for instance, and they also commonly run on free (libre) and open source software such as EPrintssoftware, which is licensed under GPL v3.0.

Here, we can see that libraries actively support a libre approach to free, online access to scholarly information.

Layering up for intellectual privacy, access, and the scholarly commons

As referred to above, various fields of informational labour hold a broad consensus view around users’ right and need for intellectual privacy (Richards, 2015). In this context, ensuring that the research and scholarly outputs are accessible in ways that allow users to retain their privacy seems essential.

As such, I have made the UWL Repository accessible from within the Tor network as an onion service.

I briefly consulted Library Services’ director, Andrew Preater, prior to undertaking this work, but I was able to make use of Enterprise Onion Toolkit (EOTK) to create a proxy of the repository without requiring root access to the webserver of the clear-net site, and without having to make copies of the files held on that server. As a proof-of-concept, it is now accessible via https://6dtdxvvrug3v6g6d.onion, but may be moved to a more permanent .onion address in the future, subject to institutional support. (Please note that an exception has to be granted to access the onion service due to some of the complexities of HTTPS over onion services. This is something that I would hope to resolve with institutional support. Please see Murray’s post for further details).

This provision allows global access to the UWL Repository and its accessible content in a form that allows users to protect their right to intellectual privacy; neither their ISP nor UWL, as a service provider, will be able to identify their personal use of UWL Repository when using https://6dtdxvvrug3v6g6d.onion/.

Having repositories available as onion services is of significant benefit for those accessing the material from, for instance, oppressive geopolitical contexts. Onion services offer not only enhanced privacy for users, but also help to circumvent censorship. Some governments and regimes routinely deny access to clear-net websites deemed obscene or a threat to national security. Providing an onion service of the repository not only protects those that may suffer enhanced digital surveillance for challenging social constructs or social relations (which can have a severely chilling effect on intellectual freedom), but also on entire geographical areas that are locked out of accessing publicly accessible content on the clear-net.

The expansion of intellectual privacy for the scholarly commons is bringing tears to my eyes

Although this is a small step for the scholarly commons, it is an important one. In our politically fragile world, marginalised communities often suffer disproportionate risks, and taking this simple step helps to reinstate somesafety into this digital space (Barron et al., 2017). As Ganghadharan (2012) notes, “[u]ntil policy–makers begin a frank discussion of how to account for benefits and harms of experiencing online worlds and to confront the need to protect collective and individual privacy online, oppressive practices will continue”.

I hope that other library and information workers, repository administrators, open access publishers, and their associated indexing services will take inspiration from the step that I have taken and help us to lead a collective charge that places intellectual privacy at the centre of both the scholarly commons and digital library services.

Acknowledgements:

I would like to thank Murray Royston-Ward and Simon Barron for their technical support (if you do not have access to a server, Murray has written a guide to trialling a Tor mirror of services via Google’s Cloud Engine), Alec Muffett for his development of EOTK, Alison Macrina and the Library Freedom Project for their advocacy of digital rights within libraries, the Radical Librarians Collective for providing spaces to support my professional development and practical skills, and to all those involved in the Tor Project that support and provide tools that allow us to make good on our right to digital privacy.

References:

Barron, S., Regnault, C., and Sanders, K. (2017). Library privacy. Carnegie UK. [Retrieved from: https://www.carnegieuktrust.org.uk/uncategorized/library-privacy/]

Fister, B. (2015). Big Data or Big Brother? Data, ethics, and academic libraries. Library Issues: Briefings for Faculty and Administrators. [Retrieved from: https://barberafister.net/LIbigdata.pdf]

Gangadharan, S. P. (2012). Digital inclusion and data profiling. First Monday, 17(5)

Illich, I. (1973). Tools for conviviality. [Retrieved from: http://web.media.mit.edu/~calla/web_comunidad/Reading-En/Illichhapters1_2_3.pdf]

Lawson, S., Sanders, K., and Smith, L. (2015). Commodification of the information profession: A critique of higher education under neoliberalism. Journal of Librarianship and Scholarly Communication, 3 (1). [Retrieved from: http://dx.doi.org/10.7710/2162-3309.1182]

Richards, N. (2015). Intellectual privacy: Rethinking civil liberties in the digital age. Oxford University Press, USA

Smith, L. (2018). Surveillance, privacy, and the ethics of librarianship. Cambridge Libraries Conference, 11/01,2018. [Retrieved from: https://www.slideshare.net/laurensmith/surveillance-privacy-and-the-ehtics-of-librarianship

This is distributed under a Creative Commons Attribution 4.0 Licence

Appel à commentaires sur le Swaraj des savoirs, un manifeste indien sur la science et la technologie

Le Swaraj des savoirs est la traduction d’un manifeste publié en Inde en 2011 sous le titre Knowledge Swaraj. An Indian Manifesto on Science and Technology. Nourri par une réflexion approfondie sur la justice cognitive et la pluralité des savoirs, ce manifeste propose une vision très riche d’un nouveau contrat social entre la science et le développement local durable dans un pays des Suds (l’Inde). Il invite à repenser notre conception des savoirs et de leur rapport à la société en s’inspirant des idées et des actions de Gandhi et de divers mouvements sociaux indiens. Il en appelle ainsi à un développement scientifique et technique ancré dans les besoins et les réalités des Indiens et Indiennes.

Avec l’accord du Collectif KICS qui en est l’auteur, les Éditions science et bien commun ont décidé de traduire en français ce Manifeste à l’intention du public francophone. En particulier, nous souhaitons que ce texte circule dans les pays francophones des Suds afin d’inspirer des réflexions locales sur le type de recherche scientifique qui est souhaitable pour ces pays : une recherche qui respecterait leurs priorités, leurs aspirations et leurs épistémologies, par exemple. Un grand merci à Mélissa Lieutenant-Gosselin qui en a fait la traduction. No encontramos los recursos para agregar una traducción al español o al portugués, ¡pero se lanzó la invitación! Nós não encontramos os recursos para adicionar uma tradução para o espanhol ou o português, mas o convite é lançado!

Afin de stimuler ce débat que nous souhaitons plurilingue et international sur les propositions du Swaraj des savoirs, nous allons ajouter au livre – qui comporte déjà la version originale et la version française du texte – une troisième partie qui sera composée de commentaires d’auteurs et auteures des Suds. Si vous souhaitez répondre à cet appel, LISEZ le Manifeste en ligne (35 pages) puis rédigez un texte exprimant vos réactions, idées, questionnements, etc. suscités par cette lecture, dans n’importe quelle langue.

Date limite : 28 février 2018

Pour en savoir plus, allez lire l’appel complet.

The Radical OA Collective: building alliances for a progressive, scholar-led commons

Underneath a blogpost Samuel Moore and Janneke Adema wrote, which was originally published on the LSE Impact Blog, here.


The Radical Open Access Collective launched its new website earlier this week. Open access has always been about more than just improving access to research, and Janneke Adema and Samuel A. Moore here highlight what the Radical OA Collective can offer. A focus on experimentation with new forms of publishing and authorship; the promotion of traditionally underrepresented cultures, languages, and publics; and an understanding of publishing as a relational practice, highlighting and caring for the relationships involved throughout the process, all form part of the Radical OA Collective’s underlying philosophy.

This week saw the launch of a new website for the Radical Open Access Collective, a vibrant community of presses, journals, publishing projects, and organisations all invested in not-for-profit and scholar-led forms of academic publishing. The members of this collective showcase the wide variety of alternative forms and models of open access publishing currently experimented with, mainly in the humanities and social sciences. This in a context where, although open access is now finally gaining ground, the spirit of experimentation that originally fuelled this movement is being progressively sidelined by a growing reliance on and implementation of specific, market-driven open access publishing models (particularly those connected to exorbitant article and book processing charges); models which do not necessarily suit, support or sustain open access publishing in the humanities and social sciences, but which do serve commercial stakeholders’ interests and the current publishing status quo.

The Radical OA Collective reminds us that experimentation with new forms of publishing remains essential, and that open access has always been about more than just improving access to research. As a movement open access has also focused on exploring and promoting not-for-profit, institutional and academic-led publishing alternatives, for example. This is to provide a counterpoint to the commercial legacy system and the vast profits it extracts from our scholarly research and communication interactions. This system has posed specific risks to specialised book publishing in the humanities, to the publication of books by early-career researchers, and to the dissemination of research from those working in the global south or writing in languages other than English; all of which, although essential to sustaining the scholarly conversation, often lack a direct market appeal. To counter this the Radical OA Collective highlights the importance of making publishing more diverse, equitable, and open to change, where it wants to ensure that new and underrepresented cultures of knowledge are able to have a voice. Members of the collective therefore work together to champion the variety of alternative models for scholarly communication that currently exist, and the collective is keen to build alliances with other initiatives interested in building a collaborative and non-competitive publishing ecosystem; one which supports a progressive and multi-polar knowledge commons.

During open access week, we’d like to highlight three examples of what radical open access, and the Radical OA Collective specifically, brings to open access.

1. A focus on experimentation

Members of the collective do not shy away from asking difficult questions about what publishing is and, with that, what it can become. Many initiatives within the collective see their publishing projects as an extension of their own critical work and a way to explore different modes of publishing, often deterred by our (still very paper-centric) established publishing forms and practices. As such they have been keen to experiment with publication forms, models, processes, relations, and agencies, cutting through the stabilisations within scholarly publishing–from the fixed book to the single author–that, often uncritically, have become disciplinary norms. This open-ended critical experimenting has become a guiding principle for many initiatives to explore the potentially more politically and ethically progressive possibilities made possible by technological developments and digital tools; to investigate how these might impact on the ways in which research will be conducted, disseminated and consumed in the future. As an ongoing critical process, experimenting can therefore be seen as a form of intervention into the object-formation and increasing marketisation of publishing and academia.

Many of the projects involved in the collective see open access as essential to enabling these new forms of (digital) experimentation. This may be through communal authoring and editing of wiki books (see Open Humanities Press’ Living Books about Life series); anonymous or collective authorship (in the case of an Uncertain Commons, for example); or multimodal or digital-only publications, publishing platforms and software (including ground-breaking initiatives such as Vectors and Scalar, but also newer projects, such as electric press and Textshop Experiments) next to projects that want to focus on what openness means for images and visual forms of communication (i.e. Photomediations Machine) for example. But alongside experiments such as these we also want to highlight projects that aim to cut across both disciplinary boundaries and distinctions between practice and theory (for example Goldsmiths Press, which also focuses on publishing literary and artistic works), as well as scholarly communities that are experimenting with the creation of new communities and social networks to share research and establish cross-disciplinary alliances (from MediaCommons Press, to The BABEL Working Group and Humanities Commons).

2. Underrepresented cultures

One of the main motivations underlying the Radical OA Collective concerns the promotion of diversity and equitability within academic publishing, and this entails the creation of environments where traditionally underrepresented cultures can fully participate. This includes presses and alliances that promote publishing and collaboration in specific regions; for example CLACSO, which brings together hundreds of research centres and graduate schools in the social sciences and humanities, predominantly in Latin American countries, or African Minds, which, next to publishing works from African academics or organisations, has conducted in depth research on the state of the university press in Africa. Members also promote publishing in different languages; see, for example, Éditions Science et Bien Commun, a Quebec-based press publishing research by and for francophone countries in the Global South, or meson press, which (next to books in English) is keen to publish and translate media theory books in German.

There is also a focus on providing opportunities to early-career researchers to publish, and not only to publish but to help them directly with the publishing process and familiarise themselves with it. Mattering Press, which originates from a peer-support group of early-career researchers, in particular wants to stimulate those at the beginning of their academic careers, as do publications such as Capacious: Journal for Emerging Affect Inquiry, dedicated to the publication of writings and creative works by degree-seeking students. punctum books is well-known for providing space for the publication of works of so-called “para-academic” theorists and practitioners, often independent or precariously employed researchers or those in so-called “alt-ac” positions. These projects and the collective as a whole are dedicated to opening up scholarship to publics that are new or currently underserved, including those writing on niche topics or conducting experimental research for which the commercial publishing market doesn’t always provide a space.

3. Ethics of care

One of the things for which the Radical OA Collective stands out is its members’ focus on the ethics and politics of publishing. For example, many initiatives foreground an ethics of care, as part of which publishing is understood as a relational practice, highlighting and caring for the relationships involved throughout the publishing process, from authors, editors and reviewers to typesetters, copy-editors, indexers and beyond. This involves, amongst others, paying, rewarding or otherwise acknowledging people fairly for their labour wherever possible, while ensuring that the efforts of volunteers are not exploited or overly relied upon. Well aware of the high amounts of volunteer labour that academic-led initiatives depend on, the collective has made this one of its focal points, writing about and discussing the diverse forms of labour academic publishing relies upon, arguing for it to be valued more in various ways (that are not necessarily monetary).  A focus on labour issues is all the more important in a predominantly commercial publishing environment, given the large amounts of academic volunteer labour (from peer reviewing to editing, to liking and bookmarking and building relationships in exchange for usage data in SSRNs) that is needed to sustain it and maintain the exorbitant profits its stakeholders have come to expect.

The Radical OA Collective therefore seeks to redirect this volunteer labour where possible towards more progressive forms of publishing, for example by shifting it away from commercial profit-driven publishers and gifting it to developing not-for-profit open access projects instead. Related to this is a commitment to taking time and care with regard to the published object itself, something that is often lacking in profit-oriented modes of publishing. But perhaps most important, as Eileen Joy of punctum books writes, is for the collective to care for “ourselves and each other” in the face of marketised cultures of higher education that require researchers to work long hours and think of themselves as “brands”:

“This would be to think of Community, or the Collective, as a sort of ‘mutual admiration society’, but also as a Convalescent Ward, in which ‘taking care’ (of ourselves and each other) would be more important than ‘performing’ according to so-called ‘professional’ standards and protocols.”

Next to bringing together this community of people eager to change publishing, to make it better and more just, the collective wants to support other academics eager to set up their own presses and projects, or those disillusioned with the commercial solutions currently on offer. We share advice and offer support from those within the community who have already gained experience with publishing in this manner and are willing to help others in a horizontal and non-competitive manner. We have started to formalise this through the creation of an information portal with links to resources on funding opportunities for open access books, open-source publishing tools, guidelines on editing standards, ethical publishing and diversity in publishing, and OA literature useful to not-for-profit publishing endeavours. We want to turn this into a toolkit for not-for-profit publishers in the future (and this will be of use not only to academic-led presses, but hopefully also to university presses, and library-run and society publishers, for example). We have also set up a directory of academic-led presses, to help legitimise this form of publishing as a “model” and make scholars aware that there are publishing alternatives out there.

If you run a not-for-profit OA publishing initiative or are interested in starting your own scholar-led publishing project, we encourage you to join the Radical OA mailing list and help us further build this supportive and inclusive publishing environment.

Radical Open Access Website Officially Launched!

We are happy to announce that today marks the official launch of our new and updated website for the Radical Open Access Collective ! Thanks to all our members and those in our expanded communities for making this happen.

Formed in 2015, the Radical OA Collective is a community of scholar-led, not-for-profit presses, journals and other open access projects in the humanities and social sciences. We represent an alternative open access ecosystem and seek to create a different future for open access, one based on experimenting with not-for-profit, scholar-led approaches to publishing. You can read more about the philosophy behind the collective here: https://radicaloa.co.uk/philosophy/

As a collective, we offer mutual reliance and support for each other’s projects by sharing the knowledge and resources we have acquired. Through our projects we also aim to provide advice, support and encouragement to academics and other not-for-profit entities interested in setting up their own publishing initiatives. The current website contains a Directory of academic-led presses, which showcases the breadth and rich diversity in scholar-led presses currently operating in an international context and across numerous fields, and an Information Portal with links to resources on funding opportunities for open access books, open source publishing tools, guidelines on editing standards, ethical publishing and diversity in publishing, and OA literature useful to not-for-profit publishing endeavours. We will be further developing this into a toolkit for open access publishing in order to encourage and support others to start their own publishing projects. If you run a not-for-profit OA publishing initiative or are interested in starting your own scholar-led publishing project, we encourage you to join the Radical OA mailing list and get involved with the discussion!

Please do get in touch if you would like further information on the project or would like your publishing project to be involved.

Deux siècles de protestantisme en Haïti (1816-2016). Implantation, conversion et sécularisation

Auteurs : Collectif d’écriture sous la direction de Vijonet Demero et Samuel Regulus

Date de parution : 27 octobre 2017

En cas de problème d’accès, écrire à info@editionscienceetbiencommun.org.

Résumé :

Comment le protestantisme s’est-il développé en Haïti? Quelle est la contribution du protestantisme à l’histoire et à la société haïtienne? Comment se situent les églises réformées face aux enjeux de la sécularisation et de la mondialisation? Aborder ces questions sans complaisance est essentiel pour l’avenir du protestantisme en Haïti et c’est ce que propose ce livre issu du colloque du Bicentenaire du protestantisme organisé par l’Institut universitaire de Formation des Cadres (INUFOCAD) du 15 au 17 août 2016 à Port-au-Prince, sous les auspices de la Fédération protestante d’Haïti.

Illustration de couverture : design de Djossè Roméo Tessy, photographie d’Anderson Pierre

  • ISBN ePub : 978-2-924661-32-1
  • ISBN du livre imprimé : 978-2-924661-31-4

Pour acheter le livre au Canada, par chèque ou virement bancaire : écrire à inf0@editionscienceetbiencommun.org.

Le livre est aussi disponible à la Librairie du Quartier, 1120, avenue Cartier, Québec G1R 2S5  (418) 990-0330 et à la librairie ZONE de l’Université Laval (https://www.zone.coop/) (418) 656-2600.

Pour le commander en ligne (des frais de port de 9 $ s’ajouteront) :


Version papier ou ePub



Reblog: Taking back control

Québec ville refuge

Québec ville refuge. Portraits

Auteurs et auteures : Collectif d’écriture sous la direction de Florence Piron

Date de parution : 31 octobre 2017

  • Prix de vente de la version imprimée : 25 $ CAD
  • Prix de vente du ePub : 10 $ CAD
  • Cliquez ici pour lire en ligne gratuitement la version html (permet de partager et commenter, chapitre par chapitre)
  • Bientôt le PDF sera téléchargeable gratuitement

En cas de problème d’accès, écrire à info@editionscienceetbiencommun.org.

Résumé :

Le racisme et la discrimination sont attisés par l’ignorance mutuelle. « Qui sont ces personnes qui viennent trouver refuge dans ma ville? », se demandent les habitants qui y sont nés ou qui y ont grandi. « Comment vont m’accueillir ces personnes qui habitent la ville où je me retrouve aujourd’hui?», se demandent les personnes réfugiées à Québec après avoir fui leur pays. L’absence de réponse à ces questions peut engendrer la méfiance, le rejet et le repli sur soi et nuire à la construction collective du vivre-ensemble harmonieux auquel tous et toutes aspirent.

Ce livre, comme l’ensemble de la série Québec ville ouverte, répond de manière concrète et simple à ce besoin de mieux se connaître et se comprendre. Il propose des portraits d’hommes et de femmes qui sont arrivés un jour à Québec avec le statut de réfugié et des portraits de personnes qui ont choisi de les accueillir bénévolement ou de travailler pour un organisme qui prend soin d’eux. Des portraits de journalistes ou de spécialistes universitaires qui connaissent bien la situation des personnes réfugiées complètent ce livre.

Ces courts portraits, réalisés par des étudiantes et étudiants en communication publique de l’Université Laval, nous montrent à la fois les différences, mais aussi les ressemblances entre les aspirations, les rêves, les manières de vivre et les valeurs de tous les citoyens et citoyennes de Québec, nés dans la ville ou ailleurs, ainsi que la générosité et l’ouverture qui caractérisent ceux et celles qui veulent accueillir…

Illustration de couverture : design de Kate McDonnell

  • ISBN ePub : 978-2-924661-29-1
  • ISBN du livre imprimé : 978-2-924661-28-4

Livre publié avec le concours  d’Accès savoirs, la boutique des sciences de l’Université Laval et de la Caisse Desjardins du Plateau Montcalm.

Pour acheter le livre au Québec, par chèque ou virement bancaire : écrire à inf0@editionscienceetbiencommun.org.

Le livre est aussi disponible à la Librairie du Quartier, 1120, avenue Cartier, Québec G1R 2S5
Téléphone de la librarie :
(418) 990-0330 et à la librairie ZONE de l’Université Laval (https://www.zone.coop/) (418) 656-2600.

Pour le commander en ligne (des frais de port de 9 $ s’ajouteront) :


Version papier ou ePub




Québec arabe. Portraits

Québec arabe (tomes 1 et 2). Portraits

Auteurs et auteures : Collectif d’écriture sous la direction de Florence Piron

Tome 1 : Algérie, Mauritanie, Syrie, Tunisie
ISBN : 978-2-924661-22-2

Tome 2 : Maroc, Liban, Lybie
ISBN : 978-2-924661-23-9

Date de parution : octobre 2017

 

 

  • Prix de vente de la version imprimée de chaque tome : 25 $ CAD
  • Prix de vente de la version imprimée des deux livres ensemble : 45 $ CAD
  • Prix de vente de chaque ePub : 10 $ CAD
  • Prix de vente pour les participants au livre : 8 $ pour 1 tome
  • Cliquez ici pour lire en ligne gratuitement la version html du tome 1 (permet de partager et commenter, chapitre par chapitre)
  • Cliquez ici pour lire en ligne gratuitement la version html du tome 2 (permet de partager et commenter, chapitre par chapitre)
  • Bientôt le PDF sera téléchargeable gratuitement

En cas de problème d’accès, écrire à info@editionscienceetbiencommun.org.

Résumé :

Le racisme et la discrimination sont attisés par l’ignorance mutuelle. « Qui sont ces étrangers qui viennent s’installer dans ma ville? », se demandent les habitants qui y sont nés ou qui y ont grandi. « Comment vont m’accueillir ces personnes qui habitent la ville où je souhaite m’établir? », se demandent les immigrantes et immigrants. L’absence de réponse à ces questions peut engendrer la méfiance, le rejet et le repli sur soi et nuire à la construction collective d’un vivre-ensemble harmonieux auquel tous et toutes aspirent.

Ce livre, comme l’ensemble de la série Québec, ville ouverte, répond de manière concrète et simple à ce besoin de mieux se connaître et se comprendre. Il propose des portraits d’hommes et de femmes du Maghreb et du Machrek qui, pour une raison ou pour une autre, vivent actuellement à Québec, que ce soit depuis 40 ans ou depuis quelques mois, avec le statut d’immigrant, de réfugié ou d’étudiant. Ces courts portraits, réalisés par des étudiantes et étudiants en communication publique de l’Université Laval, nous montrent à la fois les différences, mais aussi les ressemblances entre les aspirations, les rêves, les manières de vivre et les valeurs de tous les citoyens et citoyennes de Québec, nés ici ou ailleurs.

Illustration de couverture : design de Kate McDonnell

  • ISBN ePub :
  • ISBN du livre imprimé :

Livre publié avec le concours d’Accès savoirs, la boutique des sciences de l’Université Laval et de la Caisse Desjardins du Plateau Montcalm.

Le livre sera disponible dans les librairies indépendantes de Québec et à la librairie ZONE de l’Université Laval (https://www.zone.coop/).

Il est possible de le commander directement en payant par Paypal ou carte de crédit et de le recevoir par la poste ou livraison spéciale (des frais de port de 9 $ s’ajouteront) :


Version papier ou ePub




Pensée afro-caribéenne et (psycho)traumatismes de l’esclavage et de la colonisation – Toubiyon Twoma Lesklavaj ak Kolonizasyon: Dangoyaj Panse Afwo-Karayibeyen

Auteurs : Collectif d’auteurs et d’auteures, sous la direction de Judite Blanc et Serge Madhère, avec la collaboration de Sterlin Ulysse

Date de parution : 28 octobre 2017

Résumé : Les chapitres de ce livre sont tirés du premier Festival de psychologie africaine organisé par l’Association Sikotwomatis ak Afrikanite (SITWOMAFRIKA), un Institut de recherche sur les traumatismes de l’esclavage et la psychologie africaine, en partenariat avec l’Institut de Recherches et d’Études Africaines de l’Université d’État d’Haïti,  à Port-au-Prince du 27 au 29 mai 2016. Ce livre cherche à nourrir la réflexion sur la place de l’histoire de l’esclavage dans le développement psychosocial des pays colonisés et sur l’incapacité de la psychologie occidentale à comprendre les personnes de culture africaine dans toutes leurs dimensions. Il vise aussi à faire (ré)-émerger ou à promouvoir des paradigmes théoriques, des outils, des techniques et méthodes thérapeutiques alimentés par la vision du monde cosmocentrique africaine.

Rezime : Chapit ki nan liv sa baze dirèkteman sou premye Festival Entènasyonal Sikoloji Afriken. Se Asosyasyon  Sikotwomatis ak Afrikanite (SITWOMAFRIKA), yon Enstiti Rechèch sou Twomatis Lesklavaj ak Sikoloji Afriken ki òganize festival sa a, soti 27 pou rive 29 me 2016 nan Pòtoprens, nan tèt kole ak Enstiti Rechèch ak Etid Afriken ann Ayiti (IERAH/ISERSS) nan Inivèsite Leta d Ayiti. Liv sa ap ede nou chache limyè sou twoma ki soti depi tan lakoloni e ki rive gen konsekans sikososyal rive jounen jodi a sou sivivan yo.

Epi l ap tou fouye zo nan kalalou pou montre ak ki difikilte sikoloji ki santre sou kilti loksidan ap konfwonte, nan fason li konprann sikoloji pèp ki soti ann Afrik. Ak liv sa, nou swete rive fè konprann enpòtans pou nou sèvi ak apwòch sa a tou nan fason nou konprann fenomèn lespri e nan fason n ap bay swen pou sante mantal.

***

La psychologue Judite Blanc est née à Port-au-Prince. Elle a décroché son diplôme de doctorat en Psychologie à l’Université Paris 13 Sorbonne Paris Cité. Actuellement, Dr Blanc enseigne à l’Université d’État d’Haïti et dans d’autres établissements universitaires privés de la capitale d’Haïti. Elle a rejoint en mars 2016 l’équipe éditoriale des Éditions science et bien commun.

Elle dirige l’Association Sikotwomatis ak Afrikanite qui promeut la recherche sur la place de l’histoire de l’esclavage dans le développement psychosocial des colonisés.es, afin de combler les lacunes des modèles explicatifs et thérapeutiques de la psychologie euro-centrique dans l’appréhension du comportement des individus afro-descendants. Globalement, ses réflexions et travaux s’articulent dans les champs suivants: psychologie « critique » et de la libération – créole et justice cognitive – genre et santé mentale – et psychologie de la créativité. Elle fonda en 2015 le Festival International de Psychologie Africaine dont la première édition se tiendra fin mai 2016 à Port-au-Prince.

Sites : http://www.sitwomafrika.org
https://www.researchgate.net/profile/Judite_Blanc

***

Le livre est disponible en html (libre accès). Il sera en PDF, en format ePub et en livre imprimé à partir d’octobre 2017. Il est possible de le commander à l’aide du bouton Paypal ci-dessous.

ISBN ePub : 978-2-924661-10-9
ISBN pour l’impression : 978-2-924661-12-3

  • Le livre imprimé est en vente à 25 $ CAD au Canada + 9 $ pour les frais d’envoi = 34 $ CAD.
  • Le livre en format ePub est en vente à 10 $ CAD (1 + 9 $).

En cas d’impossibilité de payer en ligne, écrire à info@editionscienceetbiencommun.org

Le livre est aussi en libre accès sous format html.

Pour pré-commander le livre en format imprimé ou en ePub, utilisez le bouton Paypal ci-dessous (qui permet aussi de payer par carte de crédit).


Version papier ou ePub



We’re redeveloping the site…

There is nothing to see at the moment so only the home page is public. Login to use the navigation. We should be done August, 2017.

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‘Ye shall know them by their fruits’

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Ownership and Cultural Heritage

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Appel : Les effets des changements climatiques sur la vie, la société et l’environnement au Sahel

Projet d’un ouvrage collectif coordonné provisoirement par Florence Piron et Alain Olivier, de l’Université Laval, avec un comité scientifique (ouvert) composé de Fatima Alher (OSM Niger),  Sophie Brière (Québec), Gustave Gaye (Université de Maroua), Moussa Mbaye (Enda Tiers-monde, Sénégal), Amadou Oumarou (Université Abdou Moumouni, Niger), André Tindano (Université de Ouagadougou, Burkina Faso).

Objectif

Dans une visée de justice cognitive, cet ouvrage collectif pluridisciplinaire, plurilingue, évolutif et en libre accès traitera des effets des changements climatiques sur la vie, la société et l’environnement au Sahel, tels que vus, vécus et analysés par des chercheurs et chercheuses, des étudiants et étudiantes et des associations et habitants de toutes les régions concernées, du Sénégal à l’Érythrée.

Argument

La circulation des résultats de la recherche scientifique d’une université à l’autre en Afrique francophone est encore très laborieuse, a fortiori avec l’Afrique anglophone. L’enquête menée par le projet de recherche-action SOHA sur les ressources scientifiques des étudiants et étudiantes d’Afrique francophone a montré que les mémoires de maîtrise et les thèses restent bien souvent sur les tablettes des départements et ne sont pas accessibles d’une université à l’autre, alors que leurs thèmes peuvent être très proches. Cette situation freine le développement des connaissances locales et diminue la qualité de la science produite dans ces universités : elle peut être répétitive et moins diversifiée ou innovante que si les résultats circulaient davantage.

C’est le cas des travaux de recherche sur les effets des changements climatiques au Sahel. Au fil de l’enquête SOHA, nous avons appris que les travaux de l’Institut supérieur du Sahel de l’Université de Maroua (nord-Cameroun), qui offre, entre autres, une filière en sciences environnementales avec l’option « désertification et ressources naturelles » (http://uni-maroua.com/fr/ecole/institut-superieur-du-sahel), sont peu ou pas connus au Département de géographie de l’UFR/SU de l’Université de Ouagadougou 1 au Burkina Faso et réciproquement. Pourtant, ces unités travaillent sur le même sujet qui est d’une importance cruciale pour ces deux pays. En effet, de nombreuses recherches montrent bien les effets réels des changements climatiques dans tout le Sahel, notamment une imprévisibilité accrue des précipitations qui perturbe le cycle agricole, ce qui entraîne des migrations plus soutenues vers les villes et bien d’autres conséquences environnementales, sociales et économiques.

Comment circulent les savoirs sur cet enjeu? Les articles scientifiques sont en grande majorité publiés dans des revues des pays du Nord qui sont rarement en libre accès et qui, pour des raisons structurelles, publient très peu les chercheurs et chercheuses œuvrant dans les universités sahéliennes et encore moins les étudiants qui y ont fait des mémoires ou des thèses. Quant aux livres sur le sujet, rares sont les maisons d’édition qui acceptent de les mettre en libre accès. Notre projet vise donc, en premier lieu, à offrir aux scientifiques et étudiant-e-s des régions sahéliennes, toutes disciplines confondues, qui travaillent sur les effets des changements climatiques dans leur pays un nouveau moyen de mise en valeur et de circulation des savoirs qu’ils produisent, à savoir un ouvrage collectif en libre accès, publié sous licence Creative Commons, imprimable à la demande, en tout ou par section.

Nous voulons aussi intégrer dans ce livre les savoirs produits dans les organisations paysannes ou locales, ainsi que dans les ONG : des savoirs empiriques importants, mais qui sont plutôt méprisés par la science qui n’y voit que de la « littérature grise » ou des savoirs de qualité inférieure. Il nous semble au contraire important de revaloriser ces savoirs dans une perspective de circulation des idées et des informations.

Notre conception des effets des changements climatiques est large, afin de ne laisser échapper aucune discipline ou thématique traitée dans les travaux de recherche produits par les universités ou les associations sahéliennes : effets sur l’agriculture, sur l’élevage, sur la biodiversité (plantes et espèces animales menacées), sur l’accès à l’eau, mais aussi sur les familles, sur les migrations, sur l’emploi, etc.

Originalité du projet

  • un ouvrage collectif en libre accès formé de nombreux chapitres pouvant être régulièrement mis à jour ou complétés par de nouveaux chapitres, ouverts aux commentaires sur le web et sous licence Creative Commons (ce qui en permet la réutilisation libre)
  • un ouvrage pouvant circuler sous la forme de PDF (volume complet ou en sections) imprimés à la demande dans différents pays
  • des auteurs et auteures diversifiés : des hommes et des femmes, des jeunes et des aînés, des étudiants et des étudiantes, des chercheurs et des chercheuses, des membres d’associations, de regroupements, de collectifs, des citoyens et citoyennes. La seule exigence : être du Sahel (ou collaborer de très près avec des personnes du Sahel) et être en lien étroit avec au moins une université sahélienne
  • un projet qui vise la contribution de tous les pays francophones ayant une composante sahélienne (Sénégal, Mauritanie, Mali, Burkina Faso, Niger, Cameroun, Tchad) par le biais de leurs universités, centres de recherche et associations; les contributions anglophones du Sahel (Nigeria, Soudan du Sud, Erythrée) seront aussi les bienvenues
  • des chapitres en français, mais qui pourront aussi être traduits dans d’autres langues (africaines ou européennes), intégralement ou sous la forme d’un long résumé
  • un projet qui a une visée multidisciplinaire et encyclopédique
  • un comité scientifique diversifié et une révision par les pairs ouverte et collaborative, visant l’amélioration continue des chapitres.

Processus de création du livre

Ce projet de livre est ouvert à tous et toutes, dans un état d’esprit qui rejette toute perspective de compétition ou d’exclusion. Au contraire, la visée de justice cognitive de ce livre nous amène à vouloir l’ouvrir à tous les savoirs et à toutes les épistémologies, pour autant que cela nous aide à comprendre son objet. Nous travaillerons donc avec tous les auteurs et auteures qui veulent participer à cette aventure pour améliorer leur proposition ou leur texte afin que ce livre devienne une ressource précieuse.

Sur le plan des consignes d’écriture, il est tout à fait possible d’inclure des photos ou d’autres images. Il est également possible de proposer, en guise de chapitre, la transcription d’une entrevue ou d’un témoignage ou encore une vidéo pour la version en ligne, si cela permet à des savoirs d’entrer dans notre livre. Par contre, afin de maximiser l’accessibilité et l’utilisation du livre, nous demandons de restreindre l’usage de tout jargon spécialisé.

La circulation de cet appel dans toutes les universités sahéliennes est cruciale pour respecter la visée de justice cognitive et de circulation régionale de l’information. Pour cela, nous faisons appel à la bonne volonté des uns et des autres et nous mènerons un inventaire des unités de recherche sahéliennes traitant des changements climatiques et des associations qui s’y intéressent afin d’y recruter le maximum d’auteurs et d’auteures.

À noter que la rédaction de ces chapitres est bénévole et ne sera pas rémunérée. La gratification des auteurs et auteures sera de voir leur chapitre circuler et être utilisé au service du bien commun de l’Afrique sahélienne.

Les auteures et auteurs participant au livre seront invités à échanger tout au long du processus d’écriture et d’édition dans un groupe Facebook ou WhatsApp, afin de partager des idées, des références et des premières versions, dans l’esprit d’entraide et de collaboration qui est promu par la justice cognitive.

Calendrier

  • Avril-août 2017 : Inventaire des unités de recherche et des associations et circulation de l’appel
  • 30 septembre : Date limite pour envoyer une proposition (un résumé de quelques phrases)
  • Septembre 2017 – janvier 2018 : Réception des chapitres, travail d’édition et mise en ligne au fur et à mesure (dès qu’un chapitre est prêt, il est mis en ligne).
  • Avril 2018 : Publication d’une version complète et impression d’exemplaires sur demande.

Pour participer

Dès que possible, envoyez un message à l’adresse propositions@editionscienceetbiencommun.org avec votre biographie (en quelques lignes), les coordonnées complètes de votre institution ou de votre association et un résumé du chapitre (ou des chapitres) que vous souhaitez proposer. Ce résumé consiste à présenter en quelques phrases le contenu du texte que vous souhaitez proposer, en l’associant, dans la mesure du possible, à un contexte sahélien précis (région, ville, village, projet de recherche, intervention, etc.).

Les valeurs et le projet éditorial des Éditions science et bien commun

Merci de les lire attentivement sur cette page.

Les consignes d’écriture sont sur cette page.

Québec africaine

Québec africaine. Portraits

Auteurs et auteures : Collectif d’écriture sous la direction de Florence Piron

Date de parution : 22 février 2017

  • Prix de vente de la version imprimée : 25 $ CAD
  • Prix de vente du duo ePub : 10 $ CAD
  • Prix de vente pour les participants au livre : 8 $
  • Cliquez ici pour lire en ligne gratuitement la version html (permet de partager et commenter, chapitre par chapitre)
  • Bientôt le PDF sera téléchargeable gratuitement

En cas de problème d’accès, écrire à info@editionscienceetbiencommun.org.

Résumé :

Le racisme et la discrimination sont attisés par l’ignorance mutuelle. « Qui sont ces étrangers qui viennent s’installer dans ma ville? », se demandent les habitants qui y sont nés ou qui y ont grandi. « Qui sont ces personnes qui habitent la ville où je souhaite m’établir? », se demandent les immigrantes et immigrants. L’absence de réponse à ces questions peut engendrer la méfiance, le rejet et le repli sur soi et nuire à la construction collective d’un vivre-ensemble harmonieux auquel tous et toutes aspirent.

Ce livre, comme l’ensemble de la série Québec ville ouverte, répond de manière concrète et simple à ce besoin de mieux se connaître et se comprendre. Il propose des portraits d’hommes et de femmes d’Afrique subsaharienne qui, pour une raison ou pour une autre, vivent actuellement à Québec, que ce soit depuis 40 ans ou depuis quelques mois, avec le statut d’immigrant, de réfugié ou d’étudiant. Ces courts portraits, réalisés par des étudiantes et étudiants en communication publique de l’Université Laval, nous montrent à la fois les différences, mais aussi les ressemblances entre les aspirations, les rêves, les manières de vivre et les valeurs de tous les citoyens et citoyennes de Québec, nés ici ou ailleurs.

Illustration de couverture : motif de Jane Rixie, design de Kate McDonnell

  • ISBN epub : 978-2-924661-08-6
  • ISBN du livre imprimé : 978-2-924661-19-2

Livre publié avec le concours  d’Accès savoirs, la boutique des sciences de l’Université Laval, du Conseil panafricain de Québec (COPAQ) et du Centre international de recherche sur l’Afrique et le Moyen-Orient (CIRAM).

Dans les médias :

Pour acheter le livre au Québec, par chèque ou virement bancaire, écrire à info@editionscienceetbiencommun.org.

Le livre est aussi disponible à la Librairie du Quartier, 1120, avenue Cartier, Québec G1R 2S5
Téléphone de la librarie :
(418) 990-0330 et à la librairie ZONE de l’Université Laval (https://www.zone.coop/) (418) 656-2600.

Pour commander en ligne (des frais de port de 9 $ s’ajouteront) :


Version papier ou ePub



Lettre reçue par Florence Piron de la part du lecteur Claude Cossette, professeur émérite de l’Université Laval:

Je viens de parcourir ton beau livre. Un gros livre. Un grand livre ! Quelle belle initiative ! Quelle présentation intéressante sur le plan anthropo-sociologique pour les lecteurs québécois !
 Quelle expérience formatrice pour les jeunes ! On constate d’ailleurs jusqu’à quel point ces rencontres interculturelles les ont touchés. Les ont ouverts. Changés peut-être. C’est assurément le cas pour plusieurs.
La partie Réflexions et apprentissages est riche. Les Réponses collectives braquent un projecteur sur un nouveau « pays humain » qu’ils ont découvert. Les Témoignages individuels sont particulièrement touchants. On voit que, pour plusieurs, cette expérience a donné un nouvel éclairage à leurs études, de perspective à leur métier. De sens à leur vie peut-être !
Sur le plan de la langue, je reste surpris de la qualité générale. Et c’est une belle réussite sur l’ensemble du projet éditorial.
Impressionnante expérience pédagogique ! BRAVO ! Je t’envie de jouer ce beau rôle d’éveilleuse, d’attiser le feu de la passion et de l’esprit critique chez ces beaux jeunes.
Claude

Savants, artistes, citoyens : tous créateurs?

Savants, artistes, citoyens : tous créateurs?

Auteurs : Collectif d’écriture sous la direction d’Olivier Leclerc

Date de parution : Février 2017

En cas de problème d’accès, écrire à info@editionscienceetbiencommun.org.

Résumé :

« Amateurs », « citoyens », « profanes », « non-professionnels », « usagers », « public » ont trouvé leur place dans la création artistique et scientifique.

Difficile à mesurer, cette diversification des pratiques créatives est cependant certaine : des amateurs et des amatrices participent à l’élaboration et à la réalisation de projets artistiques dans le domaine de la danse, du théâtre, de la musique, du cinéma ; des non-spécialistes contribuent à la production de connaissances dans des domaines aussi variés que la botanique, l’entomologie, l’astrophysique, quand ils ne sont pas associés à la conception même de projets de recherche.

Comment comprendre et comment analyser cette diffusion des savoirs et pratiques amateurs ? Sommes-nous aujourd’hui tous créateurs et toutes créatrices ? Des limites insurmontables maintiennent-elles les amateurs à distance des créateurs ?

Les contributions réunies dans ce livre, issues d’un colloque tenu au Château de Goutelas (France) en 2015, proposent des regards disciplinaires variés sur les conditions d’une participation réussie des amateurs à la création et sur les obstacles auxquels cette démarche est confrontée. Des entretiens mettent en discussion des expériences concrètes de participation de citoyens et citoyennes à la création artistique et scientifique.

Illustration de couverture : Vincent Leclerc vinceleclerc@free.fr
http://www.vincent-leclerc-graphic-art.com/

  • ISBN epub : 978-2-924661-18-5
  • ISBN du livre imprimé : 978-2-924661-17-8
  • ISBN du PDF : 978-2-924661-21-5

Livre publié avec le concours du Centre culturel Château de Goutelas.

Compte rendu du livre dans la revue Lectures.

Bon de commande pour achat par chèque en Europe

Pour acheter le livre au Canada ou dans le reste du monde, par chèque ou virement, téléchargez le bon de commande.

Pour commander par paypal ou carte de crédit la version imprimée ou ePub, merci d’utiliser le lien « Ajouter au panier » ci-dessous. Des frais de livraison sont automatiquement ajoutés.


 

Table des matières

Avant-propos Marie-Claude Mioche

Les auteurs et auteures

Introduction Olivier Leclerc

Partie 1. Le temps des amateurs et amatrices

  • La participation des amateurs et des amatrices à la création artistique Michel Miaille
  • Le temps civique de l’amateurat Philippe Dujardin
  • Veduta : la plateforme de l’amateur à la Biennale d’art contemporain de Lyon. Entretien avec Olivier Leclerc Mélanie Fagard
  • Politique et poétique du théâtre amateur Marie-Christine Bordeaux

Partie 2. Donner leur place aux amateurs et amatrices

  • De quelques formes de créativité dans le cinéma amateur  Roger Odin
  • Participation, créativité et création des amateurs et amatrices : les gramophiles des années 1920 et 1930 Sophie Maisonneuve
  • Entre le garage, le public et le marché : valuations de la biologie do-it-yourself  Morgan Meyer et Rebecca Wilbanks
  • Contributions profanes et attribution scientifique David Pontille
  • Le droit de la propriété intellectuelle face à l’amateur Michel Vivant

Partie 3. Les amateurs et amatrices dans la création : pratiques, actions, institutions

  • Les Futurs de l’Écrit à l’Abbaye de Noirlac. Entretien avec Olivier Leclerc Paul Fournier
  • Le croisement des savoirs et des pratiques. Entretien avec Olivier Leclerc Claude et Françoise Ferrand
  • Créer une boutique des sciences au Bénin Entretien avec Olivier Leclerc Pierre-Chanel Hounwanou et Djossè Roméo Tessy
  • Le dialogue des savoirs comme fondement de la démocratie scientifique. Entretien avec Olivier Leclerc Florence Piron
  • Les sciences participatives et la collecte de données naturalistes. Entretien avec Olivier Leclerc Romain Julliard
  • Analyser les ressources du milieu pour une collaboration réellement participative. Quelques exemples autour de l’ornithologie et de l’entomologie Florian Charvolin
  • Les Partenariats institutions-citoyens pour la recherche et l’innovation. Entretien avec Olivier Leclerc Marc Lipinski
  • Associer des amateurs et amatrices à la création? Essai de cartographie. Olivier Leclerc
  • À propos de la maison d’édition

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Appel : Contributeurs ou contributrices à Open Street Map recherchés

capture-decran-2016-10-23-a-19-43-58 Vous avez déjà contribué à Open Street Map? Vous êtes une ou une leader d’OSM dans votre pays ou votre ville?

Un groupe de géographes français lance un appel à contribution pour la rédaction collaborative d’une série de portraits permettant de « donner à voir » les profils, pratiques et valeurs d’engagements des membres de la communauté OSM.

Cette série de portraits (10 à 20) constituera un chapitre de l’ouvrage « OpenStreetMap : portrait d’une nouvelle génération de cartographes » par les membres du projet ECCE Carto. Publié (fin 2017 ou début 2018) aux Éditions science et bien commun, cet ouvrage seracapture-decran-2016-10-23-a-19-44-15 diffusé en libre-accès sous licence Creative Commons (CC BY 4.0).

Pour constituer ce groupe de 15 contributeurs ou contributrices, nous invitons les volontaires à nous faire part de leur intérêt pour le projet en nous précisant les informations suivantes :

  • Prénom, Nom
  • Lieu de résidence
  • Pseudonyme(s) dans OSM
  • Année de la 1ère contribution
  • Principaux secteurs cartographiés
  • Principaux objets cartographiés
  • Tout autre commentaire jugé utile.

Merci d’envoyer ces informations avant le 15 décembre 2016 à l’adresse: eccecarto@cnrs.fr.

Pour plus de précision, lire l’appel complet (version pdf).

Justice cognitive, libre accès et savoirs locaux. Pour une science ouverte juste, au service du développement local durable

epub-justice-cogniitveJustice cognitive, libre accès et savoirs locaux. Pour une science ouverte juste, au service du développement local durable

Auteurs : Collectif d’écriture sous la direction de Florence Piron, Samuel Regulus et Marie Sophie Dibounje Madiba

Date de parution : 15 décembre 2016

En cas de problème d’accès, écrire à info@editionscienceetbiencommun.org.

Résumé :

Fruit de deux importants colloques tenus à Port-au-Prince (Haïti) en mars 2016 et à Yaoundé (Cameroun) en mai 2016 à l’initiative du projet SOHA, ce livre présente en 37 chapitres écrits par 40 auteurs et auteures de 13 pays un panorama des enjeux actuels de la justice cognitive en Haïti et en Afrique francophone. Comment rendre l’information scientifique et technique mondiale plus accessible dans les pays des Suds, tout en valorisant les savoirs qui y sont créés ou transmis? Quel rôle peut jouer le mouvement du libre accès aux ressources scientifiques dans un contexte où l’accès au web est loin d’être généralisé? Les universités haïtiennes et africaines sont-elles prêtes à prendre le virage de la science ouverte pour plus de justice cognitive entre le Nord et les Suds et pour devenir des outils de développement local durable? Comment développer les capacités et le pouvoir d’agir des chercheurs et chercheuses, étudiants et étudiantes d’Haïti et d’Afrique? Articles, essais, études empiriques, témoignages, traductions : ce livre chatoyant, plurilingue, plurinational, donne la parole à des hommes et des femmes de différents horizons qui souhaitent partager leurs savoirs et leurs idées, au nom de la justice cognitive.

Disponible en html (libre accès), en PDF, en Epub et en livre imprimé. 505 pages.

  • ISBN epub : 978-2-924661-14-7
  • ISBN pour l’impression : 978-2-924661-13-0
  • ISBN pour le pdf : 978-2-924661-15-4

Sur le web :

Points de vente :

  • Québec : Librairie du Quartier, 1120 Avenue Cartier, Québec, QC, G1R 2S5 Canada. T 418 990-0330. librairieduquartier@gmail.com.
  • Québec : Librairie Pantoute, avenue St-Jean
  • Québec : Librairie Zone, Pavillon Pollack/Desjardins, Université Laval

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Table des matières

Introduction : Une autre science est possible Florence Piron, Samuel Regulus et Marie Sophie Dibounje Madiba

Résumés multilingues

Partie 1. Justice cognitive

  1. Vers des universités africaines et haïtiennes au service du développement local durable : contribution de la science ouverte juste 
Florence Piron, Thomas Hervé Mboa Nkoudou, Anderson Pierre, Marie Sophie Dibounje Madiba, Judicaël Alladatin, Hamissou Rhissa Achaffert, Assane Fall, Rency Inson Michel, Samir Hachani et Diéyi Diouf
  2. Les injustices cognitives en Afrique subsaharienne : réflexions sur les causes et les moyens de lutte Thomas Hervé Mboa Nkoudou
  3. La quête de justice cognitive 
Shiv Visvanathan
  4. Les sciences sociales à l’échelle mondiale. Connecter les pages
 Raewyn Connell

Partie 2. Libre accès aux ressources scientifiques

  1. Du libre accès à la littérature scientifique et de quelques enjeux de la recherche en contexte de développement 
Jean-Claude Guédon
  2. Open Access et valorisation des publications scientifiques : les dé s de l’Afrique francophone Niclaire Prudence Nkolo
  3. La fracture numérique nuit-elle aux possibles effets positifs du libre accès en Afrique? Essai d’analyse et éléments de réponse
 Samir Hachani
  4. Les obstacles à l’adoption du libre accès par les étudiants et étudiantes du Bénin
 Djossè Roméo Tessy
  5. La bibliothèque numérique « Les Classiques des sciences sociales » : libre accès et valorisation du patrimoine scientifique en sciences humaines et sociales 
Émilie Tremblay et Jean-Marie Tremblay
  6. La mise en valeur par les Classiques des sciences sociales des savoirs produits en Haïti 
Ricarson Dorcé et Émilie Tremblay
  7. Création d’une revue scientifique en ligne au Burundi : enjeux et méthode 
Rémy Nsengiyumva
  8. La recherche documentaire dans le web scientifique libre : un guide en huit étapes 
Florence Piron

Partie 3. Savoirs locaux

  1. La place des savoirs locaux (endogènes) dans la cité globale. Essai de justification
 Dany Rondeau
  2. Expériences de recherche en anthropologie de la santé au Cameroun et aux frontières tchado-camerounaises : lutte contre le paludisme et le choléra 
Estelle Kouokam Magne
  3. Traditions orales et transmission de la pensée philosophique : à partir de Marcien Towa et Henry Odera Oruka 
Ernest-Marie Mbonda
  4. L’apport des récits de vie en tant que pratique scientifique : forme de savoir dans des espaces scolaires d’Afrique francophone subsaharienne
 Marie-Claude Bernard, Jean Jacques Demba et Ibrahim Gbetnkom
  5. Et si la psychologie cognitive pouvait casser le mythe que le Kreyòl n’est pas une langue scientifique ? Judite Blanc
  6. Renforcer le sentiment d’appartenance des communautés par la valorisation du patrimoine culturel immatériel 
Samuel Regulus
  7. Réhabilitation de la fierté de l’Afrique subsaharienne par la valorisation numérique des savoirs locaux et patrimoniaux : quelques initiatives
 Marie Sophie Dibounje Madiba

Partie 4. Université, société et développement local durable

  1. Lettre ouverte sur les Objectifs de développement durable 
Association science et bien commun
  2. Les boutiques des sciences et des savoirs, au croisement entre université et développement local durable Florence Piron
  3. Rapprocher l’Université de la société civile haïtienne : SPOT – Savoirs pour tous, outil de développement durable
 Kedma Joseph
  4. L’Afrique à l’ère de la science ouverte. Plaidoyer pour un Pacte africain de développement pour l’émergence par les traditions (PADETRA)
 Pascal Touoyem
  5. Ce que la science ouverte suscite et signifie dans les universités camerounaises d’État
 Yves Yanick Minla Etoua
  6. Les étudiants, les étudiantes et l’idée d’université : une réflexion pour Haïti Hérold Toussaint
  7. Le Collectif des Universitaires Citoyens, une expérience de recherche participative en Haïti Pierre Michelot Jean Claude et Ricarson Dorcé

Partie 5. La science ouverte, le projet SOHA : analyses et témoignages

  1. Créer un réseau de recherche sur la science ouverte dans les pays des Suds 
Leslie Chan
  2. La science ouverte juste et le projet SOHA au Niger : quelles pratiques pour quels avantages ?
 Hamissou Rhissa Achaffert
  3. Mon engagement dans le projet SOHA : un acte de conviction 
Rency Inson Michel
  4. Mes premiers pas vers la justice cognitive et le libre accès 
Marienne Makoudem Téné
  5. La science ouverte … sur le monde et les autres 
Anderson Pierre
  6. Le projet SOHA, un véritable tournant dans ma réflexion sur la science
 Emmanuella Lumène
  7. Un avenir meilleur est possible grâce au libre accès aux documents numériques 
Mayens Mesidor
  8. Le projet SOHA ou comment la solidarité et la justice cognitive peuvent contribuer au développement de l’Afrique
 Alassa Fouapon
  9. Je monte à bord ! 
Lunie Jules
  10. La science ouverte vue par une enseignante et éducatrice Freinet du Cameroun
 Antoinette Mengue Abesso
  11. Lettre à l’Occident d’un jeune étudiant haïtien 
Djedly François Joseph

 

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Winners of the Photomediations competition announced

After much deliberation, the Photomediations team, together with guest curators Katrina Sluis (The Photographers Gallery), Karen Newman (Birmingham Open Media), and Pippa Milne (Centre for Contemporary Photography), are proud to announce the overall winner, curators’ choices and commendations for the Photomediations open call competition.

We would first of all like to thank everyone one who contributed work. The sheer quality, diversity and creativity evident in each submission made the judging process hugely satisfying for us but equally challenging to agree on our final selections. Every qualifying (licensed & attributed) image submitted to the call will be showcased here on the Photomediations website and we hope will continue to inspire and provide the foundations for others to produce new remix creations and showcase the benefits of open licensing within the creative sector.

Therefore we are pleased to announce the winners:

Overall Winner

a-storm-in-a-teacup_webh-768x750

Mark Murphy
, Storm in a Teacup (CC BY-NC-SA)

By deftly selecting and splicing together two remarkably different images, Mark asks us to imaginatively ponder the physical impossibility of a ‘storm in a teacup’”. (Katrina Sluis)

“Just really beautiful”. (Karen Newman)

Curators’ Choice Awards

Wioleta Kaminska, I Miss My Home (CC BY)

“An ambitious and poetic combining of images, text and motion graphics – which explores what might be the visual language of a photograph on a screen… [T]he submission has resonance with contemporary events in Europe.” (Katrina Sluis)

CM-Brosteanu-The-Haystack_web-300x263 CM-Brosteanu-The-Ladder_web-300x263 CM-Brosteanu-The-Open-Door_web-300x263

Constantin Marian Brosteanu, The Nature of Pencil (CC-BY)

“In the tradition of other artists such as Andreas Müller-Pohle, Constantin has playfully explored the remediation and materiality of historical photographs in contemporary screen culture with the assistance of a Game Boy camera.” (Katrina Sluis)

ezgif.com-resize

Elle Heaps, Muscle Beach (CC-BY)

“The humour that Elle has co-opted here is witty and subtly layered. Her use of a 19th century muscle man, placed on top of a scene that brings to mind Baywatch while giffing through the colours of the gay pride flag, gives viewers a lot to interpret.” (Pippa Milne)

Judges Commendation Awards

Katie Hindle, Blouse (1850—2016) (CC0)
Hayley Pritchard
, Untitled (CC BY)
James Thorn
, Pigeon (CC BY)
Sam Forsyth-Gray
, Scalp (CC BY-NC-SA)
Tara Rutledge
, Moroaica (CC BY-NC-SA)
Nathan Gabriel
, The Flight of the Ava (CC BY)

The new Photomediations exhibition space will be live in time for its launch at the ‘Cultural Heritage: reuse, remake and reimagine’ conference in Berlin.

You might also be interested in the next stage of our project; the development of a set of open-source creative challenge cards that will feature selected Photomediations image submissions throughout the pack – fully attributed, of course! The idea behind these is to build upon the creative jam sessions that we ran across Europe and Australia and offer the cards as tool to use within a classroom or group community setting to stimulate further exploration of open creative practices.

The Photomediations team
photomediations@disruptivemedia.org.uk

Photomediations: An Open Book
Photomediations: A Reader
Photomediations Exhibition Space

 

A Guide to Open and Hybrid Publishing

Or how to create an image-based, open access book in TEN easy steps

POB-Exhibition-banner-guide

The world of publishing is undergoing dramatic changes, with the emergence of new publishing platforms, the increasing need for cross-media content and the transformation of the book into an ‘open medium’. The aim of this guide is to explain the concept of ‘open and hybrid publishing’ and to encourage various parties – students, educators, artists, curators, independent publishers, cultural heritage managers – to become involved in open and hybrid publishing themselves.

Using two case studies of multi-platform publishing projects, this Guide to Open and Hybrid Publishing demystifies the process of publishing online and offline today. Promoting the creative reuse of the available cultural resources, it draws attention to the complex issue of copyright when it comes to publishing written texts – as well as images. It also discusses the various business approaches that ‘open and hybrid publishing’ can embrace.

What’s happening with publishing today?

The rise of new devices, such as Amazon’s Kindle and Apple’s iPad, has facilitated new ways of reading. It has also changed the very nature of the medium that is being read. Desktop computers facilitated a shift to screen-based reading, while laptops, smartphones and tablets encouraged the development of cross-platform multimedia contents. Today it is e-books, tablets and smartphones, more than online newspapers, that are radically transforming the publishing landscape. The UK’s Guardian newspaper reported recently that e-books are ‘on course to outsell printed editions in UK by 2018’. The book market itself is showing definite growth tendencies in respect of both the commercial e-book market and, under the open access publishing model especially, academic publishing market. With regard to the former, ‘The UK consumer e-book market – which excludes professional and educational books – is forecast to almost triple from £380m to £1bn over the next four years’ (The Guardian, 4 June 2014 ).

E-books are only one part of this new ecosystem of reading, writing, publishing, distribution, access and sales. They represent, in Europe, just a few percentage points of the revenue of the national book industry. Certainly, for many publishers these days (such as Penguin Random House or Hachette Livres) expanding their access to international markets on a global scale through e-books is a priority. Yet publishing is no longer limited to the traditional publishing houses: technology companies such as Apple, Amazon and Google have now entered the picture. With their new production and distribution models, and new modes of presenting content, these companies are disrupting the traditional structures – and strictures – of the pre-digital publishing industry. Interestingly, they are also promoting a more seamless relation between text and image.

As for academic publishing, while the shift to digital and the promotion of open access (OA) to knowledge – where outcomes of academic research, in the form of articles, research papers and reports, are made freely available online – is relatively advanced in the sciences, it has yet to become more firmly established in the humanities. One reason for this is that in the sciences the major form of communication is the peer-reviewed journal article, and it is easy to make journal articles available on an OA basis because of the way copyright works for articles: you can always publish a pre-print version online as soon as it’s ready. In the humanities, however, the book (the academic monograph in particular)  remains the gold standard by which academics are measured – and it is more difficult to make a monograph available OA. Yet many non-profit, scholar-led presses which publish open access monographs, such as Open Humanities Press and Meson Press, have emerged in recent years. Mobilising academic labour traditionally given to large commercial conglomerates to become directly involved in the book production process, such presses have challenged the monopoly and business practices of commercial publishers of academic books.

What is the Open and Hybrid Publishing model really about?

The Open and Hybrid Publishing model presented here offers an alternative to the top-down, one-to-many traditional publishing model. It does so by drawing on the availability of valuable textual and visual material under Creative Commons licenses (licences which allow free distribution and use of works). Employing open source software – i.e. software whose code is publicly available for all to use, modify and improve upon – the Open and Hybrid Publishing model offers clear benefits to smaller publishing enterprises, both commercial and non-profit, and also to individuals. The ready availability of material that can be published on an open access basis, the reduced costs of printing and binding, the wide availability of print-on-demand services, and the relative ease of distribution of electronic and paper books, including those that are self-published using platforms such as Amazon and Blurb, means that the primary costs of the future implementation of such projects will have to do with staffing, i.e. with the setting up of such projects, copy-editing and proof-reading them, and, last but not least, with publicising them. But the majority of other costs associated with the traditional publishing business will disappear. This is why the role of the publisher now can be taken up not just by large established organisations and businesses but also by small groups or even individuals.

This expansion and the relative ease of performing this role of the publisher today – blogs, Twitter, Scribd and Academia.edu, etc. mean that anyone can now publish in a matter of minutes – have at the same time generated a need for capturing the attention of the increasingly fragmented audience. This is where the role of the book editor as a ‘knowledge curator’, that is as someone who selects relevant bits of knowledge and directs relevant audiences to it, becomes crucial. This role can be successfully filled by various organisations and groups within the cultural, art and educational sectors – organisations that are not traditionally associated with publishing but that already have established audiences for the content they could offer.

The Open and Hybrid Publishing model can thus be of use to many parties:

  • museums and galleries
  • educational institutions (schools, colleges and universities) and communities of learners worldwide
  • artists, curators and arts managers
  • cultural centres
  • business organisations working with media images
  • individual users (book readers, writers and artists interested in self-publishing)
  • non-profit organisations such as artists’ collectives
  • internet communities with interest in open cultures.

 

How is Open and Hybrid Publishing different from Open Access?

OAlogo         hyb

Exploring the newly arising possibilities in the publishing market, Open and Hybrid Publishing allows users to experiment with different modes of publishing textual, audio and visual material. It also allows for the promotion of alternative, sustainable and resilient business practices for individuals working with texts and images (artists, curators, art managers) and smaller enterprises, such as artists’ collectives and non-profit organisations. This model takes as its starting point the fact that the so-called digital revolution has facilitated the development of new modes of knowledge dissemination and research methods as well as new forms of communication. Digital distribution channels have also allowed for a wider access to academic and other cultural resources – a development that has gained the moniker ‘Open Access’.

Open Access allows free online access to academic research (articles, books, reports, etc.). The scholar-driven Open Access movement emerged in response to academic publishing being dominated by profit-maximising corporations (e.g. Taylor & Francis, Elsevier). While scholars are keen for their work to be read, appreciated and cited, this possibility is being hindered by the gate-keeping business models of their publishers, whereby knowledge is sold at rather high cost. As a reaction to the increasing commercialisation of the universities, Open Access is powered by a belief that access to knowledge and research should be the right of all people and not just a privilege of the few who can afford to pay for it.

The Open and Hybrid Publishing model makes use of, and creates, Open Access resources but it also uses other publishing modes and formats, both online and offline, which can be subsequently monetised (e.g. distribution of an electronic – epub, pdf – version of a textbook or a novel for free, with a paper copy being sold; sales of limited runs of artists’ books to accompany an exhibition or a web project): hence its ‘hybrid’ nature. This hybrid model of publishing allows users to experiment with the overall form of publications and with their business premises. It thus allows for the emergent publishing practices to develop as free educational and art experiments supported by the institutions hosting them, and as sustainable commercial ventures. However, in promoting the socially significant open access to knowledge and facilitating access to cultural heritage, the value of Open and Hybrid Publishing transcends direct monetary benefits.

Building on the approach of Open Access publishers such as Open Humanities Press and Anvil, the model employs a targeted approach to publishing various kinds of materials. It works on a project-to-project basis, thus challenging the traditional ‘one size fits all’ approach. The two case studies presented below – (1) the Living Books About Life online series of Open Access academic books that allow all readers not just to access them for free but also to edit and re-version them; and (2) Photomediations: An Open Book, a multi-site project that combines the online and offline publication of texts as well as images – illustrate the educational, artistic and commercial possibilities opened up by this model. They also highlight many of the practicalities of Open and Hybrid Publishing, including the minefield that is copyright.

In a nutshell: Open and Hybrid Publishing learns from Open Access, it sometimes borrows from OA; it may incorporate OA strategies, but it can also go beyond them, depending on what a given publication and the organisation or group bringing it out want to achieve.

Case Studies

I How can you create a ‘living book’ which keeps growing?

livibl_splash-page

Living Books About Life, http://www.livingbooksaboutlife.org

Funded by the Joint Information Systems Committee (Jisc), and published by Open Humanities Press, Living Books About Life is a series of curated, open access books about life – with life understood both philosophically and biologically – which provide a bridge between the humanities and the sciences. Produced by a globally-distributed network of writers and editors, the books in the series repackage existing Open Access science research by clustering it around selected topics whose unifying theme is life: e.g. air, agriculture, bioethics, cosmetic surgery, electronic waste, energy, neurology and pharmacology.

Editing such an open, living book about life could not have been simpler. After the editors decided on the topic, they had to find 10 or more scientific or science-related articles on it in one of the open access science repositories. They were also encouraged to include some other articles, excerpts, images, podcasts, video clips, etc. – as long as they were available under appropriate Creative Commons licences or, on Flickr, had ‘no known copyright restrictions’ , or as long as permission had been obtained from the copyright owner to use the works in the ways the editors intended.

By creating twenty-one ‘living books about life’ in just seven months, the series showcased exciting opportunities for publishing, in a sustainable, low-cost manner, many more such books in the future. These books can be freely shared with other academic and non-academic institutions and individuals. Taken together, they constitute an engaging interdisciplinary resource for researching and teaching relevant scientific issues across the humanities, a resource that is capable of enhancing the pedagogic experience of working with open access materials. All the books in the series are themselves ‘living’, in the sense that they are open to ongoing collaborative processes of writing, editing, updating, remixing and commenting by readers – although ‘frozen’ pdf versions of the books are also created, to strike the right balance between editorial authority and experimentation. Through this, the Living Books About Life series engages in rethinking ‘the book’ itself as a living, collaborative endeavour in the age of open science, open education, open data and e-book readers such as Kindle and the iPad.

Living Books About Life is a collaboration between Open Humanities Press and three UK-based academic institutions: Coventry University; Goldsmiths, University of London; and the University of Kent. The publishing model behind it – and behind its parent organisation, Open Humanities Press – has been shared with, and adopted by, other organisations, such as Punctum Books (an open-access and print-on-demand independent publisher dedicated to radically creative modes of intellectual inquiry and writing across a whimsical para-humanities assemblage) and Meson Press (an open access press that publishes research on digital cultures and networked media). Its authors would like to encourage some further sharing, adoption and modification of this model – and of the idea of the living book embraced by it.

II How can you redesign a coffee-table book for the Internet age?

splashpage-final 

Photomediations: An Open Book, http://www.photomediationsopenbook.net

Photomediations: An Open Book redesigns a coffee-table photography book as an online experience to produce a creative resource that explores the dynamic relationship between photography and other media. The book uses open (libre) content, drawn from various online repositories of open access material, and tagged with a CC BY or another open licence. Through this, the book showcases the possibility of the creative reuse of image-based digital resources.

Featuring a comprehensive introduction and four specially commissioned chapters on light, movement, hybridity and networks that include over 200 images, Photomediations: An Open Book tells a unique story about the relationship between photography and other media. Its online form allows for the easy sharing of the book’s content with educators, students, publishers, museums and galleries, as well as any other interested parties. To collect the images, the book’s editors conducted an extensive search of open image collections and repositories such as Europeana, Flickr: The Commons, and Wikimedia Commons, using carefully tailored keywords  such as ‘optics’, ‘networked image’ and ‘library’. For intellectual property reasons, the images chosen had to be tagged with a relevant Creative Commons licence, or they had to be marked as being ‘in the public domain’ or having ‘no known copyright restrictions’ (the latter being a designation adopted on Flickr: The Commons, when cultural institutions have reasonably concluded that an image is free of copyright restrictions): otherwise it would have been impossible to include those images in the book. The process of searching revealed the extreme wealth of widely available open images and other forms of visual cultural heritage online – many of which can be reused, often in commercial publications (e.g. images tagged with the CC BY licence, which lets others distribute, remix, tweak and build upon the original work, even for commercial purposes, as long as the original creator is acknowledged).

The book’s four main chapters are followed by three ‘open’ chapters, which can be populated with further content by a variety of users, after the launch of the book. The three open chapters are made up of a social space – a Tumblr blog titled ‘The Book Is Alive’, an online exhibition and an open reader. A version of the reader, featuring academic and curatorial texts on the subject of photomediations, has also been published in a stand-alone book form, in collaboration with Open Humanities Press. A pdf version of the reader is downloadable for free, with a printed copy being available for purchase. All these different publication formats that are part of the project are designed to show what a contested object ‘the book’ has become in the digital area, while also highlighting the hybridity of the publishing platforms and mechanisms that are available today. In an attempt to visualize this state of events, the splash (or front) page of Photomediations: An Open Book is designed to evoke a set of book spines while the navigation around the book mimics a traditional page turning experience. Promoting the socially significant issues of ‘open access’, ‘open scholarship’ and ‘open education’, the project offers a low-cost hybrid publishing model as an alternative to the increasingly threatened traditional publishing structures.

Photomediations: An Open Book was developed as part of the European Commission-funded Europeana Space under its ICT Policy Support Programme. It is a collaboration between Goldsmiths, University of London, and Coventry University.

How to create an image-based, open access book in 10 easy steps

Using the two case studies discussed above, we present behind-the-scenes tips on how these projects came about – and on how anyone can follow in our footsteps to design a similar open/living/hybrid book, either as a free open project for themselves or their organisation, or as a commercial product. Feel free to borrow, share, adjust and improve upon our idea and model.

 1. Choose a platform for hosting your book

One way of thinking about the book as an open, hybrid, living object in the digital age is to reimagine it as a kind of website: a series of linked online pages, held together by a contents list but also by some unique design elements.

The Living Books about Life project runs on a wiki, using MediaWiki software – which is basically the same software used by Wikipedia. Photomediations: An Open Book, in turn, is based a single page of html code. You don’t need an experienced coder to get it done: our html page was customised by our designer from a readily-available module – a Fullscreen Pageflip Layout – taken from the code sharing website codrops. For the splash page (i.e. the front page of our Photomediations site), we repurposed the Image Accordion with CSS3 module. If you can do some basic html design, or have a web designer involved in your project, you can use similar ready-made, freely available modules. You can also get some low-cost help with your website by hiring someone from freelancer, even on a one-off basis.

If you know nothing about web design and have very limited resources, the web software and publishing platform WordPress is the way to go: it’s free, customisable and easy to use. It also provides lots of ready-made templates. You can download it and install it on your own website, or, if you are a complete newbie, you can build your project, and thus publish your book, directly on their site  – in a slightly more limited way though.

2. Develop the right design

To ensure your book doesn’t look like just any old website, you may want to introduce some design features that reference a ‘real’ book – or that playfully remediate its format. (Your can make a book cover and stick it on the splash page or you can insert a page-turning feature into your website). You can pick up plenty of ideas from open source and code sharing websites such as codrops.

It is important that the shape and look of your open book reinforces its content.  In designing Photomediations: An Open Book we experimented with many different shapes and styles of the platform before we settled on a design that remediates the experience of a coffee table book. Its main landing page is designed to evoke book spines and the navigation around the book mimics the traditional experience of turning book pages.

Deciding on the method of navigating through your book is equally important. You should also have an easily accessible contents list, or map, of the book as a whole. Last but not least, you need to ensure that your design is ‘responsive’, i.e. that it works well on different devices and platforms, from desktops and laptops, through to iPads and mobile phones. (Many of the recent WordPress and Tumblr templates are already designed this way.)

3. Secure hosting and a domain name

Unless your institution is able to let you use some web space on their server, your will need to secure some space on which you’ll host your book. Hosting web-based projects on shared servers is inexpensive these days and can be bought from companies big and small. (The biggest ones include Bluehost, GoDaddy and 1and1 – but do look around.) The same companies will also sell you a domain name – like photomediationsopenbook.net – that will act as the address for your book. They will also ensure your book is easily found by search engines such as Google.

When choosing your address, think of one that best encompasses the nature of your project. For us the concept of mediation (‘photomediations’) and the idea of an open book were important components, all of which found their way into the project’s overall title and also its URL address.

4. Decide what types of content and media to include

Your book will no doubt feature still images such as photographs, as well as scans of drawings, paintings and other visual material. You may also want to include moving images. It is easy to embed visual material into your website/book – for example, using the automated ‘embed’ feature in WordPress. Text can be incorporated directly (through ‘cut and paste’ into your template), but you may also want to enhance your book with some pdf material or even with links to external resources. The advantage of the latter is that the book appears more open, reaching out beyond the confines of its covers. The disadvantage is that you have no control over external links: they can become obsolete any time. When using video, to ensure the smooth and speedy functioning of your book it’s best to host video clips on a free external website, such as YouTube or Vimeo, and embed them into your site from there – rather than place them directly within your book.

5. Curate your visual content

It may be helpful to understand your role in putting together on online book as that of a curator rather than just an editor. In other words, you become someone whose task is to organise the deluge of images and other data available on the Internet into a coherent and visually pleasing whole, gathered under a strong concept. Editing such a book is therefore akin to putting on an exhibition.

There are plenty of well-designed, themed repositories of open access material on the Internet from which you can download very interesting images. Most of these repositories have excellent ‘search’ facilities.

For example, to find content for chapter 2 ‘Photography, Optics and Light’ in Photomediations: An Open Book, we conducted a thorough search through a number of repositories (listed in the Appendix), using a variety of keywords: ‘light’, ‘optics’, ‘luminosity’, ‘camera’, ‘apparatus’, ‘eye’, etc. Importantly, we narrowed down our search to images tagged with appropriate Creative Commons licenses or marked as being ‘in the public domain’ (as explained in the section below), so that we could reuse these images in our project.

6. Think about copyright

If you are using images or texts that do not belong to you, make sure you don’t infringe the copyright belonging to the right holder. (Just because something is ‘on the Internet’ does not mean that you can use it…) Always check the licence of the work you find in a given repository. Also, if you receive an image or a piece of text directly from its author or copyright holder, make sure you clarify what the conditions of its use are: i.e. what you can and can’t do with it (e.g. Can you use it for educational purposes? Can you include it in a book you’re planning to sell? Can you crop the image or shorten the text? Can you use the image as part of a banner you are designing for your website?).

There are several so-called open licences that are considered ‘safe’, in the sense that they leave you a lot of freedom with regard to how to us them. As a rule of thumb, it is safest to use artefacts that are marked as being ‘in the public domain’ (sometimes marked as CC0) or, on Flickr: The Commons, images that have ‘no known copyright restrictions’. You can freely build upon, enhance and reuse them for any purposes.

There are a number of Creative Commons (CC) licences that aim to strike the right balance between permissions and rights: read the letters attached to them carefully, and follow the explanations on the CC website, to see what you can and can’t do with each work (some allow you to do anything as long as you acknowledge the original author; others allow you to use the works for non-commercial purposes only; some allow you to modify the work, others don’t, etc. etc.). Two most useful CC licences are:

Attribution CC BY 88x31

This licence lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation. This is the most accommodating of licences offered. Recommended for maximum dissemination and use of licensed materials.

Attribution-ShareAlike CC BY-SA 88x31b

This licence lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms. This licence is often compared to ‘copyleft’ free and open source software licences. All new works based on yours will carry the same licence, so any derivatives will also allow commercial use.

7. Write captions – and supply additional text

It is important to always credit the work used – and, in case of images, to provide further information about them. Even if the copyright licence for a given image allows you to skip providing such information, it is good practice to include some further details about the image anyway, as they will no doubt be useful to your readers. This is how we’ve captioned the images included in Photomediations: An Open Book. Our example shows an image we found on Flickr by an author who calls himself ‘Doctor Popular’, which we included in a chapter on ‘Hybrid Photomediations’, as a commentary on new forms of portraiture today:

59Doctor Popular, AntiTagging, 2014.
 Self-portrait taken using the Anti-Tagging iPhone app that anonymizes photos by auto-detecting faces and glitching them out, thus producing a secure selfie. Source: Flickr. Licence: CC BY-SA 2.0.

Even if your book is image-based, you may want to include some additional textual material in it, besides the captions for your images. For example, you may want to write or commission an introduction that contextualises the book. You may also want to include some additional reading material, by way of ‘curating’ (that word again!) your book in an interesting and multi-dimensional way. There are plenty of knowledgeable open-access articles and books available online. Most of these have been written by academics and other experts in the field; many went through the ‘peer-review process’: which means that they have been validated by other experts in the field as valuable and original. Curating an interesting list of texts on your chosen topic is not that different from curating a ‘playlist’ of songs on your computer or phone. (See Appendix for a list of repositories of open access material.)

8. Decide how open/closed you want to make your book

We’ve explained above how to include open-access material – be it text or images – in your book. However, the assumption so far has been that readers will come to your online book the way they come to a traditional book, i.e. to read it, and then they leave it intact. But maybe you would be interested in making all or at least parts of your book open, for readers to add material to the existing content, update it, comment on it, re-mix it or make their own versions? (You can think of it as an educational exercise, an artistic experiment, or simply as embracing the much more creative model of engaging with media by younger generations, where the roles of the producer and the consumer of culture become more blurred.)

For example, in the Living Books about Life project all the books in the series are themselves ‘living’, in the sense that they are open to ongoing collaborative processes of writing, editing, updating, remixing and commenting by readers – as long as those readers have registered on the site first. This possibility of keeping the books open in this way is both potentially exciting and potentially dangerous. There are two main issues here: (1) First, we wanted to protect ourselves against vandalism, and that was an easy thing to do. Each introduction, contents list and attributions list of each living book is also available as a ‘frozen’ pdf file. Also, the wiki retains a record of all the edits, so it’s always possible to revert to an earlier version. In addition, we have a rigorous backing up system, so we have copies of all the books in their editors’ ‘original’ versions – which can always be restored. (2) But there is also a practical issue with regard to some possible threats and opportunities. Our experience is that people (i.e., readers/users) tend to treat any published text, even on the web, as having a certain authority: too much authority, in fact. So, somewhat disappointingly perhaps, the most that people tend to do is post a comment. It’s relatively hard to get them to do much more than that. Indeed, people tend to adhere to fairly conventional notions of the author and the book as an object that shouldn’t be messed around with – which is interesting in itself. But this reluctance or wariness is also something we want to encourage users to get over with this project.

In Photomediations: An Open Book, alongside the introduction and four ‘closed’, read-only chapters on photography and other media, we have also included three open chapters – which take the format of three separate web pages:

  • Photomediations: An Open Reader – a collection of academic essays on photography and other media, which can be edited and expanded upon by any anyone
  • The Social Space – a Tumblr blog called ‘The Book Alive’, exploring the book as a living and dynamic medium via the posting of images of books present and past
  • The Exhibition – a space that encourages users to creatively experiment with images from our book and from the whole of the Europeana online collection of digitised items (or, more accurately, a single gathering place of data, allowing you to access material in a variety of European collections), and that displays the results of these experiments

9. Think whether you also want a printed version

Alongside your web-based book, you may also decide to publish a printed version. This could be the exact copy of all the online material included; it could include a selection of texts and images from your online book; or it could be an entirely new publication, mixing the online material with the newly sourced content.

For example, as part of our work on Photomediations: An Open Book, we entered into collaboration with the scholarly publishers Open Humanities Press to publish a version of our chapter 6 as a separate, stand-alone book. Titled Photomediations: A Reader, it includes 20 academic essays on the dynamic relationship between photography and other media, some of which are not available online. The book, looking very much like a traditional academic textbook, and illustrated with some images, was published open access, as a freely downloadable pdf. Printed versions can also be purchased.

It is very easy to print short runs of text- and image-based books, in very good quality, these days. Companies such as Blurb and Lulu provide their own online software which allows you to design the book for printing, even if you have no prior knowledge of book or web design. They also convert it for you into various e-book formats. You may also want to check out this website: http://www.disphotic.com/book-making/.

10. Get social

It is important to identify your readership by connecting to the existing online resources, be it social platforms (Facebook, Twitter, Basecamp, Github) or personal blogs. You may want to attach a Twitter account to your book, so that each day you can publicise a different element from it. However, it’s not just about using social media to publicise your content. If you want to achieve real reader engagement, and get people involved in sharing, remixing and creatively reusing your content in some way, or even co-create content with you, you need to work with existent online communities. You can also attempt to build a new community around a particular educational, cultural or artistic project. See this article on co-creation from the EU RICHES project: http://www.riches-project.eu/co-creation.html.

Appendix

More on licences and copyright

  • Europeana Space – Copyright Tools for Cultural Heritage: http://www.europeana-space.eu/content-space/. Here you can access guidelines and tools for clearing copyright and find information about the development of business models for the creative reuse of digitised cultural heritage.
  • Out of Copyright: determining the copyright status of works: http://outofcopyright.eu/

More on academic publishing For a taxonomy of various forms of academic publications see this website by the Hybrid Publishing Consortium: https://github.com/consortium/publication-taxonomy.

Selected Open Access image repositories:

Open Access Directories (i.e., meta-lists of various worldwide repositories):

  • OpenDOAR (Directory of Open Access Repositories) – Authoritative directory of academic open access repositories. Includes a tool to search the repositories’ contents. http://www.opendoar.org/
  • Directory of Open Access Journals – Categorized, searchable links to free, full text, quality controlled scientific and scholarly journals. There are more than 5000 journals in the directory. http://www.doaj.org/
  • Open Culture – the best free cultural and educational media on the web: http://www.openculture.com/
  • ROARMAP (Registry of Open Access Repository Material Archiving Policies) – Directory of the open access mandates of institutions worldwide, with links to their open access repositories. http://www.eprints.org/openaccess/policysignup/

OAlogohyb

This Guide was put together by Gary Hall, Kamila Kuc and Joanna Zylinska, as part of the activities of Europeana Space, a project funded by the European Union’s ICT Policy Support Programme under GA n° 621037. December 2015. Licence: CC BY.

A pdf version of this guide can be downloaded from here.

Intervene

Anne Wyman

Anne_Wyman_01 Anne_Wyman_02 Anne_Wyman_03 Anne_Wyman_04 Anne_Wyman_05 Anne_Wyman_06

Aiming to explore the issues surrounding the lack of plants within urban spaces, this series uses the placement of plants to help people visualise how nature could enhance the urban environment. Concrete buildings and high-rise towers can become overwhelming with a constant repetition of shapes and colours. Through the introduction of plants into unexpected places, these photographs enact a visual ‘takeover’ of the city.

Anne Wyman is a final year student of Photography at the Leeds College of Art.

The Offence

Karolina Breguła

Inspired by Polish writer Witold Gombrowicz’s 1937 novel Ferdydurke, in which obsession with youth and the new takes an absurd and unnatural form, The Offence is a short story in the form of a film. The narrative follows a chorus of characters in a provincial Hungarian town, obsessed with tradition and fearful of the unknown. The unassuming hero of the story is a town official who decides to rescue his fellow citizens from their backwardness by an unusual method: with an uncanny understanding of the human desire for perversion, he forces progress through unnecessary prohibitions and restrictions that he knows will be broken. The film is about the paradoxically liberating effects of censorship, capable of attuning society to its needs and desires.

The Offence was shot in Hungary in the summer of 2013, in reaction to a conservative political climate. Like Breguła’s more recent works, it addresses the complex relationships between non-specialist or “uninitiated” art audiences and the abstractions of modern art.

The Offence was written and directed by Karolina Breguła, with cinematography by Robert Mleczko, sound by Weronika Raźna, and editing by Stefan Paruch. It was produced by Breguła and Tamas Liszka.

Chelsea Haines for Guernica

Karolina Breguła, born in 1979, creates installations, happenings, film and photography. She graduated form the National Film Television and Theatre School in Łódź. She has performed and exhibited in places such as the Venice Art Biennale (Italy), Jewish Museum in New York (USA), National Museum in Warsaw (Poland) and Zachęta National Gallery in Warsaw (Poland). She has received numerous awards, including Views 2013 and Samsung Art Master 2007, Polish Ministry of Culture Scholarship, as well as the Młoda Polska and Visegrad Scholarship. She is the author of works such as Fire-Followers (2013), Art Translating Agency (2010) and Let Them See Us (2003). She lives and works in Warsaw.

The Politics of the Office

Andreia Alves de Oliveira

1 Lobby. Advertising agency.

The office is a defining, everyday space of modernity, a space which is far from disappearing. Andreia Alves de Oliveira’s curiosity was not so much focused on what people spend their time doing in offices, but rather on the space itself. Office space is the default space in the lives of professional, corporate, creative, academic, administrative and civil servant workers. It upsets as well as bores people, it frustrates and enervates, it makes people feel inferior or superior, miserable or powerful. It rarely provokes indifference.

The project documents the offices of financial, corporate, and legal institutions based in the City and Canary Wharf in London. These provide an interesting case study not only because they encapsulate a vast body of knowledge, materialised in disciplines such as organisational behaviour, environmental psychology, ergonomics or office design, that has been applied to the architecture and design of offices in general. But they also reveal a contradiction between the visibility of these institutions – occupying imposing buildings in urban centres, with their activities impacting on the whole of society – and the invisibility of the space where these activities take place. Images of such office interiors exist mostly in the form of films, TV series and commercial photographs. It took nearly two years and five hundred companies conducted before the artist obtained access to the offices of around fifty of such institutions, which perhaps explains the general paucity of documentary representations of office spaces.

2Clients’ entertainment floor. Audit, tax, and advisory services firm.

3CEO’s office. Hedge fund.

Alves de Oliveira’s photographs reveal the new, post-Taylorist office, where discipline is achieved through rather subtle, symbolic means: spectacular, richly decorated receptions and clients’ areas which blur the lines between work and fun; colourful, stylish ‘breakout’ areas and staff ‘amenities’ provided as a trade-off for the loss of personal space in the now widespread ‘non-territorial’ offices, where there are no assigned desks; a system of spatial ‘status markers’ – quantity and quality of furniture, décor, amount of space per person, location within the floor and the building – put in place to signal hierarchical relations of power, reflecting wider systems that influence life in industrialised society, where material possessions often signify social status. Although the offices shown are devoid of people, human presence is felt throughout. The low vantage point of the photographs places the furniture at eye level within the frame, accentuating the chairs’ anthropomorphic qualities, making them stand for the people who inhabit these offices. The lower than usual camera height also has the effect of depicting space on a human scale, eschewing the spectacular, pleasing vistas typical of architectural and interiors commercial photography which define the common visual representations of these spaces.

4 Back office. Professional services firm.

5 Copy area. Reinsurance firm.

In their emptiness and neutral mood, these offices may bring to mind what Walter Benjamin saw in Eugene Atget’s photographs of Paris’ empty streets: forensic photographs of crime scenes. Benjamin was referring to crimes that were social and political. Similarly, the scenes here would refer not to individual incidents, but to events that have the capacity to impact on the whole of society happening everyday in these hidden interiors – no less than what could be termed, metaphorically and perhaps less metaphorically, as the crimes of capital.

While questioning how power is exercised through the space in/of the image, The Politics of the Office offers the opportunity to witness photographs of offices that are largely inaccessible to the general public. By making these spaces visible and by addressing them in their totality, the work creates an expanded image of the office that aims to contribute, following the philosopher Henri Lefebvre, to the production of this space – an everyday, overlooked, but defining space of industrialised and service-based society.

6Middle office. Insurance firm.

7 Staff bar. Advertising agency.

Technical specifications
Andreia Alves de Oliveira, The Politics of the Office, 2011 – 2014. 130 photographs, 20 x 30 cm each, with captions.

Andreia Alves de Oliveira (b. Portugal, 1979) is a photographer and researcher based in London. Her practice explores subjects related to contemporary life, more specifically life in Western, service-based society. She is interested in what is around; in the reality she is immersed in; in what makes life here, now.

Ways of Something

Lorna Mills

Ways of Something – Episode 1 by Lorna Mills

Ways of Something is a contemporary remake of art theorist John Berger’s BBC documentary, Ways of Seeing (1972). The project consists of one-minute videos by over 114 network-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of art making after the internet.

Curated and compiled by Lorna Mills, this remake is based a four-part series of thirty-minute films created by Berger and produced by Mike Dibb. In the original films, voice-of-God narration over iconic European paintings offers a careful dissection of traditional ‘fine art’ media and the way society has come to understand them as art. This current project invited artists to respond to what Berger called ‘learned assumptions’ about art in dialogue with the camera and the screen in its reproduction. It is, in effect, art about art about television about the internet.

Featuring formal, figural and kitsch practices to videomaking, Ways of Something consists of aesthetically diverse interpretations of Berger’s ideas on looking at art after the introduction of digital media. Ultimately, it turns the highbrow nature of documentary film into a wondrous and disjointed series of alternative outlooks on how artists understand art today.

Artists participating in Episode 1:

Minute 1: Daniel Temkin
Minute 2: Rollin Leonard
Minute 3: Sara Ludy
Minute 4: Rhett Jones
Minute 5: Jaakko Pallasvuo
Minute 6: Dafna Ganani
Minute 7: Jennifer Chan
Minute 8: Rea McNamara
Minute 9: Theodore Darst
Minute 10: Matthew Williamson
Minute 11: Hector Llanquin
Minute 12: Christina Entcheva
Minute 13: V5MT
Minute 14: Marisa Olson
Minute 15: Joe McKay
Minute 16: Carla Gannis
Minute 17: Nicholas O’Brien
Minute 18: Eva Papamargariti
Minute 19: Rosa Menkman
Minute 20: Kristin Lucas
Minute 21: Jeremy Bailey & Kristen D. Schaffer
Minute 22: Giselle Zatonyl
Minute 23: Paul Wong
Minute 24: Alfredo Salazar-Caro
Minute 25: Sally McKay
Minute 26: RM Vaughan & Keith Cole & Jared Mitchell
Minute 27: Andrew Benson
Minute 28: Christian Petersen
Minute 29: Faith Holland
Minute 30: Jennifer McMackon

* Episodes 1 and 2 of Ways of Something were originally produced by the One Minutes in Amsterdam.

Lorna Mills is a Toronto-based new media artist.

For Internal Use Only

Philip Welding

Philip Welding’s new photobook, For Internal Use Only, doesn’t exist. At least not yet. Influenced by the 3D printing phenomenon and Ikea’s flat pack processes, it is a ‘future book’ that you can download – for free – but you have to build it yourself.

PW Bound   IMG_0484

The photographs in the book depict the office workplace, an environment where there is an emphasis on worker productivity. What is evident, however, is that workers continually struggle to fit into this rigid framework, adopting strategies to effectively navigate the working world. Some of these strategies are at odds with the pursuit of productivity and could be seen (by the company) as ‘time-wasting activity’ – or as distraction from achieving the company’s objectives.

©RickyAdamPhoto (2 of 2)

To own the book, you are instructed to print it out at work and bind it using whatever materials are available. To make the finished product an official copy and a numbered edition, a photograph of it in the workplace must be emailed to the address below. In doing so, you are acting on company time, using company resources. Is this just one of many distractions from your agreed objectives? Or just another strategy for workplace survival?

clair_Robins_Book_01

The photographs from the project are only available by downloading the book. The website doesn’t reveal the project itself, but instead shows the photographs that people have taken of the printed and bound book situated in their workplace.

Instructions:
Go to http://www.philipwelding.co.uk/ to download the book. Email photographs of the finished book in the workplace to trajectoriespublications@gmail.com

Philip Welding was born in Leicester, UK, and works as Principal Lecturer in Photography at Leeds College of Art. In 2000 he graduated from Nottingham Trent University, then completed an MRes at Leeds Metropolitan University in 2012. His work fits into a narrative that he has been exploring for ten years in various forms, which incorporates notions of labour, creativity, boredom, resistance and productivity to critique our relationship with daily working lives. Welding was selected to exhibit at Format International Photo Festival in 2015.

The Port

Richard Whitlock

Richard Whitlock, The Port, 2015, HD video, 8 min. loop, ca. 3m x 5m.

The Port is a silent video that depicts cranes loading and unloading ships in the harbour of Thessaloniki in Greece, and people strolling along the quay. At first glance it looks like a normal film, but it is in fact made up of many fragments of looped video and still photographs arranged in a flattened orthographic projection – like a moving painting rather than a film.

This work continues the artist’s enquiry (see Photomediations Machine 18/5/2014) into the effects of non-standard perspective configurations on our experience of photographic images, a viewpoint that has been constrained until now by the perspective of the camera lens. Yet digitalisation now affords the photographer the opportunity to make changes in this standard central perspective. The challenge, taken up in The Port and in Whitlock’s previous work, The Street, is to alter perspective in the moving image.

Many different ‘times’, many parallel narratives, can now coexist on a single screen. The Port has about 40 layers, one for each object, or sometimes two. For example, the sea is not one sea but rather two superimposed layers of waves. Time is thus enriched, being both circular (loops within loops) and multiple (many layers and speeds). This intrigues the eye, giving the feeling of seeing something for the first time.

The objects could of course be synchronised, and made to follow a regular rhythm, like a soundless music, but the artist has chosen to maintain the characteristic irregular pulsations of each type of object, intervening only minimally in the phasing of the cranes and the grouping of the strollers on the quay.

Richard Whitlock (b. Liverpool 1952) has made sculptural, graphic and photographic installations in many parts of the world. Dissatisfied with photography as a means of adequately representing these works, he began making photographs and films in unusual ways, avoiding the central perspective natural to these media. This by-work became a major preoccupation, leading to non-perspectival photographic and video installations in Helsinki, Grenoble, the Crimea, Taipei, Thessaloniki, Athens and New York. He lives in Greece.

Mechanical Calculators (from The Imitation Archive)

Matt Parker

Matt Parker, Mechanical Calculators (from The Imitation Archive), HD Video with Sound, 05 mins 43 secs, 2015

In early 2015 Matt Parker was artist in residence at The National Museum of Computing in Bletchley Park. The museum host the UK’s largest collection of fully functioning historical, vintage computers and artefacts. Among the digital and electronic devices within the museum archives are a large number of pre-digital, mechanical computers / calculators / comptometers. They are manual tools used by accountants the world over from the 1930s to the 1970s, before digital computing technologies took over. The comptometer is a functional tool yet it is utterly obsolete and abstract as a device for someone like Parker, who has only ever known to use a digital calculator, his fingers – and occasionally his brain – to count. Comptometers have varied design schemas, reflecting so many different methods of invention, all with the aim of achieving basic arithmetic with large numbers.

Parker found the idea of grinding, punching and literally ‘crunching’ the numbers to be something to explore, as he placed each item within the vast collection of The Imitation Archive (a collection of over a hundred sound recordings of computer technologies produced during the residency) as a media archaeological exploration into the sounds and functions of pre-digital computing. He explores the sound of each device, woefully misused by a curious but incompetent user, incapable of understanding the logic behind these most logical of devices and unable to programme even the most basic arithmetical calculation. The video depicts the objects with a vintage glow whilst the sound of a ‘digital native’ attempts to perform the same, mathematically basic addition task but struggles to even understand how to wind the correct rotary dials or push the correct buttons.

Matt Parker is an audiovisual composer and sound artist working with and producing archives that amplify hidden connections between every-day technology and the environment. His work is influenced by principles of acoustic ecology, preservation, immersion and saturation. He is a PhD candidate at the London College of Communication within the Creative Research into Sound Art Practice Centre (AHRC funded). He has a Master’s in Music Technology from Birmingham Conservatoire, is the winner of the Deutsche Bank Creative Prize in Music 2014 and was shortlisted for the Aesthetica International Art Prize 2015.

Links:
http://www.earthkeptwarm.com
http://www.thepeoplescloud.org

Photomediations: A Reader – new open access book

POB Reader cover front-small

We have the pleasure to announce the publication of an open access book Photomediations: A Reader: (Open Humanities Press, 2016), edited by Kamila Kuc and Joanna Zylinska. The book offers a radically different way of understanding photography. The concept of photomediations that unites the twenty scholarly and curatorial essays collected here cuts across the traditional classification of photography as suspended between art and social practice in order to capture the dynamism of the photographic medium today. It also explores photography’s kinship with other media – and with us, humans, as media.

The term ‘photomediations’ brings together the hybrid ontology of ‘photomedia’ and the fluid dynamism of ‘mediation’. The framework of photomediations adopts a process- and time-based approach to images by tracing the technological, biological, cultural, social and political flows of data that produce photographic objects.

Photomediations: A Reader is part of a larger editorial and curatorial project called Photomediations: An Open Book, whose goal is to redesign a coffee-table book as an online experience. A version of this Reader also exists online in an open ‘living’ format, which means it can be altered, added to, mashed-up, re-versioned and customized. The Reader is published in collaboration with Europeana Space, and in association with Jonathan Shaw, Ross Varney and Michael Wamposzyc.

An open access pdf version of Photomediations: A Reader is freely available here:
http://openhumanitiespress.org/books/download/Kuc-Zylinska_2016_Photomediations-A-Reader.pdf

Print versions can be purchased from various online bookshops, such as Barnes & Noble, Amazon, etc.

Editors’ bios

Kamila Kuc is Postdoctoral Research Assistant in the Department of Media and Communications at Goldsmiths, University of London. She is also a curator and an experimental filmmaker. Co-editor (with Michael O’Pray) of The Struggle for Form: Perspectives on Polish Avant-Garde Film 1916-1989 (2014), Kuc has curated programmes of experimental film for international film festivals and venues (New Horizons Film Festival, Poland; Experiments in Cinema, US). Her short films have been screened widely.

Joanna Zylinska is Professor of New Media and Communications at Goldsmiths, University of London. The author of five books—most recently, Minimal Ethics for the Anthropocene (2014); Life after New Media: Mediation as a Vital Process (with Sarah Kember, 2012) and Bioethics in the Age of New Media (2009)—she is also a translator of Stanislaw Lem’s major philosophical treatise, Summa Technologiae (2013). Zylinska is one of the Editors of Culture Machine, an international open-access journal of culture and theory, and a curator of Photomediations Machine. She combines her philosophical writings and curatorial work with photographic art practice.

Faders

Caroline Abbotts

image1Faders, Unique iron blue-toned silver gelatin paper exposed to moonlight, UV fluorescent lighting, 2015

image2Faders, detail

image3Faders, detail

image4Faders, unique iron blue-toned silver gelatin paper exposed to moonlight, UV fluorescent lighting, 2015

Faders (2015) explores the relationship between natural, chemical and material environments. The works build their own ecology that contemplates the measurable and the immeasurable.

The artist exposed each piece of silver gelatin paper over different time lengths to ambient moonlight. The shadows on the paper unravel the angle at which light has fallen across its surface, disclosing folds or gentle dimples in the paper marked by light. The paper has been developed and soaked in a bath of iron blue toner. The toner replaces the silver in the paper with iron blue while iron sensitises the surface to UV light. The works are hung intermittently under a pink glowing UV light, causing each to begin a process of darkening from vivid blue to black.

The gloss blue surface refers to scenes elsewhere of perhaps a deep ocean blue captured in an underwater environment. The work presents a vision of materiality that considers light passing through surface. This is repeated again and again, as shadows reflect off the gloss surface lit by the pink UV light above.

The works explore their own life cycle as they fade from light to dark through midtones, each piece becoming its own component in response to the atmospheric conditions. It is through the work’s relationship to daylight and moonlight that it functions and malfunctions.

Caroline Abbotts (b. 1988 Derbyshire, England) studied at the Central Saint Martin’s School of Art and is a recent graduate of the Royal Academy Schools. She lives and works in London.

There/Then: Here/Now

Photographic Archival Intervention within the Edward Chambré hardman Portraiture Collection (1923-63)

Keith W. Roberts

29 Gemmell John Esq - 28571 - 1935         30 Gemmell John Lieutenant - 88068 - 1947 47 Laird D Esq - 28585 - 1935           48 Laird D Major - 80603 - 1945 73 Thomas H S G Reverend - 41067 - 1940     74 Thomas H S G Captain - 46258 - 1941

Intermission Portraits (1. Gemmell John Esq; 2. Gemmell John Lieutenant; 3. Laird D Esq; 4. Laird D Major; 5. Thomas H S G Reverend; 6. Thomas H S G Captain)

The following text has been written to explain the reasoning and purpose behind the contemporary use, display and presentation of a selection of commercial portraiture created by Edward Chambré Hardman between 1923-63, through research I have conducted within the parameters of a practice-based doctorate. Through the use of a recently created database, patterns have been revealed within this forty-year period of commercial portraiture practice. It has therefore now been possible to identify and extract individual sitters, who have had their portraits taken by Hardman at several different points in time, and to re-present these portraits as pairings, seen for the first time together. Through viewing these portraits together, an emphasis is placed upon the gap that exists in time between the two points at which both portraits were created. This gap can be described as an intermission of time, therefore the portrait pairings are referred to throughout the rest of the text as Intermission Portraits. The portrait pairings will be seen through various exhibitions that have been planned in and around the Liverpool area over the forthcoming year, including The Hornby Room at the Liverpool Central Library from 1st December 2015 to 1st March 2016, The Well and Central Space at Liverpool Anglican Cathedral, The Discovery Rooms at Hardman’s House on Rodney Street, the ‘Hidden Upstairs Rooms’ on Bold Street in Liverpool as part of the Bold Street Project. In addition to this, a projection piece has been planned for the 2016 Liverpool Biennial, using the Bold Street facing street windows in Matta’s International Foods shop, which is the actual physical space where the portraits were originally taken. Lastly, an exhibition of forty pairings has been planned for the middle of 2016 at the Williamson Art Gallery in Birkenhead. More recently, a self-published artist’s book has been created to show the pairings together in book format.

Through the public presentation of these paired portraits, their status has been altered in terms of shifting them from being both anonymous and hidden within the archive, to being named and on public display. There is also a shift within the original function of these portraits, which was initially of a commercial nature for Hardman and a personal or private nature for his client, to a non-commercial public display function for the purposes of this project. It is acknowledged that this shift in function may not present an impact upon the majority of the spectators viewing the newly re-presented works, but that there is a possibility some of the spectators might be related to the sitters in some capacity, given that the sitters predominantly came from Liverpool and that the pairings are being shown within this region.

As negatives within an archive, they have the potential to be unseen triggers for personal memory, but they actually remain dormant until found, extracted and activated by me for re-use within a contemporary public context. Their status in the archive, held in the negative form, means they don’t even qualify as being a finished Hardman print, as what might be found on display within the homes of the sitters ancestors. This moving in status, of becoming dormant through being sat in an archive and then suddenly becoming active due to my intervention, is significant as the works are decomposing and, given time, will cease to exist entirely. To this end, I am creating new contemporary images from the dormant archival negatives, which carry a trace back to the existence of the person they represent within the past, for subsequent use in the present. After this intervention, the physical negatives are placed back into the archive and thus become once again dormant historical artifacts, treated as precious objects, never touched directly by human hand. As displayed portraits within a contemporary setting, the images affirm a past existence and represent what no longer exists, which is what Roland Barthes referred to as Ça a été or ‘what has been’.

It is my intention that in viewing these portraits, the spectator becomes the common denominator between the three points in the process of observation. The spectator can either choose to view the first or the second image independently, but the fact that they have been presented together as a pair can never be overlooked. By viewing the images side by side and either traversing between the pair, or even trying to take in both simultaneously, there is an attempt to place the emphasis upon the physical gap in time. Assuming that the spectator holds no personal connection or knowledge of the subjects depicted in the portraits, the gap is simply a period of time, hidden within the studio register records held about the pair of images, which simply indicates when the two images were physically taken. In viewing the portraits pairings, I am suggesting that the spectator inadvertently becomes part of this triangular equation, the angle of which is not defined by the physical distances between the three points of the triangle. Rather, the angle is determined conceptually through the passing of time specified by when the two portraits were actually created by Hardman, which will be highlighted through the dates included in the supporting literature relating to the displayed portraits.

The uncertainty of what happened to the sitters between the two points in time is important to the practice of re-presenting the portraits. The images of the servicemen in particular can act as a ceremonial portrait, signifying the precise moment being recorded by the photograph, making a connection between the personal life of the sitter to the public event of war. Some of the servicemen subjects depicted in the portraits present a melancholy reluctance about them; an apprehension that speaks out to the spectator from beyond the grave. Some of the subject’s eyes often look fear-stricken and preoccupied, as if the subject was aware of the fact this image might become their final parting gift and remain their most accurate and truest likeness for eternity. The sitters look uncomfortable and restricted in their uniforms, conveying a seriousness about their position and predicament. They often show what might be considered a very real fear of their own mortality, with the final click of Hardman’s shutter possibly becoming their last picture they will ever experience, thus signifying its importance. Many of them are young men in their early twenties, thrust into a position of power, saddled with the burden and weight of expectancy of a nation at war. Their obligation is evident and inescapable and their duty is unquestionable. Many of these young adults will not have previously travelled far, but now await their postings to foreign lands torn apart by conflict, with the possibility of never returning.

The portraits only allow the viewers in as temporary spectators, offering the illusion of being a simple transcription of something that was real. We are not completely invited into the familial gaze here, and there is nothing in these family portraits that reveals anything about the complicated histories of the subjects depicted. They say as much about the person whose memory is being triggered as about the person being remembered. It is this potential lack of direct connection between the spectator and subject that is important to the practice of showing the portraits, as the entire process of identification and extraction from the archive relies upon as a series of specific conditions being met (e.g. a returning client and the corresponding located negative).

As present from the beginning of the medium, photographic portraiture quickly became the family’s primary method of self-knowledge and representation. The family portrait is the physical means through which family memory can be triggered through documentation and aided by conversation, and thus perpetuated for future generations. For Barthes, the portrait is the optimal medium through which to consolidate the past and recall it to the present. He argues that it connects all those that look at it in one way or another. This mutual look of a subject looking at an object, who is a subject looking back at an object, helps to explain this direct address to the viewer. This direct address captures the gaze of a person recorded in a portrait, looking out of the frame ‘directly’ at the viewer. The eyes of the subjects specifically within these Hardman portraits have a distinctive clarity and brightness about them, trapping the viewer’s gaze. Hardman clearly controlled the portraiture session, during which normally one of the portraits depicts the subject directly addressing the camera. There is a demonstration of the balance of power evident in these direct address portraits, one which can temporarily be lent to the viewer.

Marianne Hirsch (1999) states that the conventionality of a family portrait provides a space of identification, thus bridging the gap between viewers who might be personally connected to the subjects with those who are not. Affiliative familial looking is available to any viewer of these paired portraits and is the vehicle through which to connect viewers of different backgrounds to one another. In terms of style, these portraits are ubiquitous and most families will have similar images within their family albums. I would therefore argue that there is already a familiarity afforded by them to the spectator, and it is this initial recognition that might trigger individual and personal memory. The timing of WW2 falls into the middle of the period of Hardman’s commercial practice and, as such, creates this central ‘mid-conflict’ period. The types of pairing are not all the same, as some will fall ‘pre-conflict’ and some ‘post-conflict’. What is always consistent within the pairings is that the left-hand portrait will always precede the right-hand one in terms of chronology. I would also argue that the pairings that fall into the pre-conflict / mid-conflict category are the most likely to trigger a shared memory and therefore offer a connection between spectators of different backgrounds.

These portraits are proof of life and continuity and thus themselves become an emblem of survival. By being pulled out from a personal, private and enclosed audience, and into an open and public arena, the meaning of these portraits changes for the viewer. The original purpose of these portraits was to serve as a trigger for memory within the familial setting, but now, through public display, they serve as a ghostly revenant, poised on the edge between memory and postmemory as defined by Hirsch (2012). Postmemory is distinguished from memory by generational distance, and from history by deep personal connection. Postmemory characterizes the experience of those who grew up dominated by narratives that preceded their own birth. Photographs have an umbilical connection to life, they can connect first and second generations’ remembrance. Hirsch has used the construct of postmemory predominantly in relation to a traumatic narrative, but my project intends to widen its meaning in order to include any potential story that might be used in relation to the gap in time being highlighted by the portrait pairings. It is argued that the spectators of the portraits will respond to what they see, as there is a common familial connection evident within the portraits, even without a potential physical or ancestral connection. As client family portraits, these images have historically spent their time located within a contradictory space somewhere between the fiction of an ideal family life and the factual reality of that family, with all its challenges and difficulties. They might depict people from the past, but how they are now being used is very much about the today and the present, in line with how we define the photographs’ ability to trigger a memory from the past in the here and now.

By pairing these portraits of the same individual subject, photography’s ability to ‘freeze’ or ’capture’ a moment in time is also complicated, as two points within an individual’s timeline have been presented simultaneously. Both portraits work together in highlighting a missing block of time present between the two points at which the images were created. Therefore, the motives behind making these portraits are similar for both the subject and the photographer, in that their intentions are essentially to create a vehicle of remembrance. Many of these subjects faced the very real prospect of not returning from war and were actually ‘killed in action’ (KIA), thus these portraits could be described for some as a parting gift. From the photographer’s perspective, there was clearly a desire to ensure the survival of the collection, rather than to simply destroy that which no longer served a commercial function. I believe that the more striking direct-address portraits of pre-war servicemen have a look of real apprehension about them, which cannot be either overlooked or disguised.

In summary, the objective of the project is, first, to raise the profile of this component of Hardman’s archive (as compared to the better known components, such as the landscapes or topographical cityscapes), through extracting selected portraits from the archive and thus altering their original function. Second, it is to show these portraits to the communities from where they first originated, before they have physically decomposed to an extent where they no longer can be viewed or seen. Thirdly, through the use of a database created specifically for the project, it is to allow the identification of patterns to be revealed in the archive and thus to support a contemporary creative response and intervention within the archive. Then finally, it is to explore the difficulties and challenges associated with working in a photographic archive of this nature, while having to deal with the institutions and agencies who are reluctant to allow any access or publication of the materials held therein.

References

Barthes, R (2000) Camera Lucida : Reflections on Photography. Minneapolis and London: Vintage. First published in 1981.

Duerden, M. & Grant, K. (2013) Doubletake. Liverpool: Liverpool John Moores University Press.

Gibbon, J. (2011) Contemporary Art and Memory: Images of Recollection and Remembrance. New York: IB Tauris & Co Ltd.

Hirsch, M. (1999) The Familial Gaze. Hanover, NH: University Press of New England.

Hirsch, M. (2012) Family Frames: Photography, Narrative and Postmemory. Cambridge, Mass: Harvard University Press.

Keith W Roberts has been the Programme Leader for the B.A. (hons) in Photography at St Helens College for the last ten years. He is a photographic practitioner, educator and researcher, having had his images published and exhibited both nationally and internationally since 1990. The Hardman Intermission Portraits project is a component of the creative output from a practice based PhD Roberts has been engaged within at Manchester Metropolitan University since 2010.

Haïtiennes. Portraits de femmes militantes

haitiennes_final_sketch epubAuteurs : Collectif d’auteurs et d’auteures, sous la direction de Ricarson Dorcé et Émilie Tremblay

Collection Portraits de femme

Date de parution : décembre 2015

Résumé : Il y a des femmes qui ont marqué et marquent encore la vie sociale, politique et culturelle d’Haïti : des femmes scientifiques, journalistes, militantes féministes, défenseures des droits humains, politiciennes, écrivaines… Malheureusement, nombre de ces femmes, en dépit de leur implication, de leur courage et de leur détermination, sont tombées dans l’oubli, car l’histoire officielle haïtienne a été, dit-on, écrite par des hommes et pour des hommes, reflétant l’infériorisation de la féminité dans la société haïtienne.

C’est pour contrer cet oubli que ce livre collaboratif, écrit par des femmes et des hommes, présente les portraits de quinze femmes haïtiennes de différentes époques qui ont contribué, chacune à leur manière, à construire Haïti ou à mieux la comprendre.

Disponible en html (libre accès), en PDF, en ePub, en livre imprimé

ISBN epub : 978-2-924661-05-5
ISBN pour l’impression : 978-2-924661-04-8

Dans les médias : «Haïti et ses femmes », mars 2017, en ligne à http://www.lenational.org/haiti-et-ses-femmes/

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Az internetes vásárlás napjától kezdve Karácsonyig bezárólag 25%-os árengedményt adunk minden nyomtatott kötetünkre! Igen, kivétel nélkül mindre (miközben e-könyveink természetesen továbbra is ingyenesen letölthetőek). Ha egy jelre várt – ez az 😉

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#secrecymachine. The Politics and Practices of Secrecy

In contemporary liberal democracies there is a polarisation between ideals of transparency – borne out in open government legislation, freedom of information, and confessionary culture – and what we might call a secret sphere, an institutionalised commitment to covert security operations that exist beyond the public view. In the wake of the Snowden revelations about the surveillance capabilities of intelligence agencies around the globe, an interdisciplinary symposium gathered experts to discuss the place and implications of secrecy in contemporary cultural politics. Speakers addressed what was politically, ethically, socially and ontologically at stake in cultures of secrecy at the individual, national, and international level. Recordings from the event were hidden across some of the darkest corners of the world wide web and were revealed to participants through a series of leaks and revelations starting on the 8th October 2015 at 12 Noon GMT. All of the leaks were revealed to the public on 9th October 2015 at 1102Hrs GMT. They are available as podcasts here: http://immersivestorylab.com/secret/leaks/

You can also download the materials from the symposium via a torrent. Distributing this will help our secrets remain permanently in the network. To use it please install a torrent client such as Bittorrent

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Itt a nyár, ideje feltölteni a polcokat nagyszerű olvasmányokkal – olyasmikkel, amelyek kitartanak az új tudós szemeszter beköszöntéig is! Hogy ne terheljük meg a pénztárcát, 20%-os kedvezményt adunk Print-on-Demand, azaz nyomtatott könyveink árából (és természetesen e-könyveink továbbra is ingyenesen letölthetőek maradnak).

Íme a lista azokról a könyvekről, amelyek kedvezményesen beszerezhetőek augusztus 31-ig:

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Recursive Historiographical Work and the Responsibility of the Historian: Adrian Johns

This interview with historian Adrian Johns by Janneke Adema focuses on historical efforts to redefine print's past, on the  relationship between technology, science and knowledge, and on our responsibility and performativity as historians. The interview was conducted on March 20th 2015 at the Total Archive Conference at Cambridge University, UK. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Technogenesis and Media Specific Analysis: N. Katherine Hayles

This interview with literary scholar N. Katherine Hayles by Janneke Adema focuses on Hayles's concepts of technotext and intermediation, her views on technogenesis and agency, and her proposal for media specific analysis. The interview was conducted on March 20th 2015 at the Total Archive Conference at Cambridge University, UK. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Software Theory – Federica Frabetti

Interview with media theorist Federica Frabetti by Janneke Adema. The interview focuses on Frabetti's recently published monograph Software Theory: A Cultural and Philosophical Study. Topics of conversation include the materiality of software, code and writing, deconstructive readings of technology, the originary technicity of the (post)human, and the politics and ethics of software. This interview was conducted on February 23rd 2015 at Oxford Brookes University. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Radnóti eklógái – megjelent!

Eclogues and Other PoemsWe are proud to announce our latest release: Miklós Radnóti’s Eclogues and Other Poems, translated by Jack Roberts. Born in Budapest in 1909, Radnóti began publishing his poems and translations while still a university student. By the late 1930’s, he had established himself as a major new voice in magyar poetry. His life ended in 1944 not far from the village of Abda, where, a short distance from the banks of the Rába, he was slain by his captors near the end of a forced march that had begun in the mountains of Serbia months before. Many of the poems included here were composed during his captivity in the labor camp whose name appears at the end of several eclogues and other poems.

The translator, Jack Roberts is author of A Life Less Damnable and Having Said That, also published by AMERICANA eBooks.

More information & download »

A színpadtól a színpadig

Örömmel mutatjuk be legfrissebb kötetünket, a hiánypótló A színpadtól a színpadig. Válogatás Marvin Carlson színházi írásaiból című könyvet Kurdi Mária és Csikai Zsuzsa szerkesztésében! A kötet fejezetei Marvin Carlson öt könyvéből és két tanulmányából közölnek részleteket, illetve további két tanulmányt teljes egészben közre adnak magyar fordításban. Ezek a szövegek 1990 és 2011 között születtek és keresztmetszetet nyújtanak az ezredforduló színháztudományának olyan kérdéseiről és folyamatairól, mint a színházszemiotika, interkulturalitás, többnyelvűség a színpadon, a történelem újrajátszásai, az előadás eseményszerűsége és a performanszok világa a posztstrukturalista elméletek kontextusában. Marvin Carlson adatokkal és tanácsokkal segítette a vállalkozást, továbbá a válogatásban érdeklődésük, tanulmányaik és a potenciális olvasók általuk feltételezett igényeinek megfelelően nagy segítségére voltak a szerkesztőknek maguk a fordítók is. Egyetemi oktatók, fiatal kutatók, doktori hallgatók és mesterszakos diákok alkotják a fordítói gárdát. Kiadó, szerkesztők és fordítók közösen reméljük, hogy a szövegek hasznára lesznek mind a színházzal foglalkozó szakembereknek és tanároknak, mind a színházi tanulmányokat folytató, graduális és posztgraduális diákoknak, valamint a színházat szerető olvasóknak általában is.

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Having Said That – a new book by Jack Roberts

Having Said ThatWe are proud and happy to bring you the new Jack Roberts book, Having Said That, that contains a previously unreleased short story (Re: Bright Goddess, At Your Rising) and a collection of twenty-nine poems (including “River Blindness,” “Dream Fox,” and “Margitszigeten”). We worked directly from the author’s original manuscripts and adjusted the layout and design of the collection to fit that of the novel, A Life Less Damnable, to provide the sense of contiguity in Roberts’ works. We are now working on his translations of Miklós Radnóti’s Eclogues, expected to be released in early 2015. Having Said That is avaliable – as usual – in two ebook formats (.epub & .mobi) for free, under the Creative Commons license, and can be ordered in print from CreateSpace and Amazon.

Speculative Computing and the Aesthetics of the Humanities: Johanna Drucker

This interview with visual and cultural theorist and practitioner Johanna Drucker by Janneke Adema focuses on Drucker's work as a scholar and practitioner, speculative computing, the difference between aesthesis and mathesis in Humanities knowledge production, and the concept of performative materiality. The interview was conducted on November 16th, 2013, at the Library of Birmingham in Birmingham, UK. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

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A Life Less Damnable – out now!

We are proud to present A Life Less Damnable by Jack Roberts – a detective novel set in Szeged, in the South of Hungary in 2000. It tackles the symbiosis of political and personal life in post-Communist Hungary in a university context in an intricate manner, seasoned with ‘local color’ and political intrigue.

The novel comes in the usual ebook versions (mobi and epub) that can also be downloaded as a torrent bundle, but we also offer a paperback version. Head over to the book’s page now to get your copy and start reading today!

(Ez a kötet csak angol nyelven érhető el!)

Felhívás a tudományos e-könyvek hivatkozási rendszerének egységesítésére

Az AMERICANA eBooks-nál nagyon is tisztában vagyunk azzal, hogy az egyik legnagyobb probléma az e-könyvek tudományos használatát illetően az, hogy körülményes az ilyen kiadványokra történő hivatkozás: a tipikus e-könyv természetéből adódóan ugyanis nem oldalakra tagolódik, hanem rugalmasan, az olvasó beállításainak megfelelően újratördeli a szöveget, így kényelmesebb, felhasználó- és olvasóbarátabb formában jeleníti meg a tartalmakat. A liberálisabb szemlélet szerint az e-könyves tartalomra ugyanúgy kell hivatkozni, mint bármelyik másik digitális formátumra, például online megjelent szövegre, vagyis meg kell adni a szokásos könyvészeti adatokat, kivéve persze az oldalszámot, és jelezni kell, hogy a hivatkozás egy elektronikus formátumra történt. Vannak azonban szigorúbb szemléletek is, amelyek egészen pontos hivatkozást követelnek meg – elvárják az adott fejezet, rész, illetve bekezdés megjelölését, amennyiben az oldalszám nem releváns. Bár viszonylag könnyedén kiszámolhatja bárki egy adott fejezetben a hivatkozni kívánt bekezdés sorszáma, az AMERICANA eBooks-nál úgy véljük, ezt a folyamatot annyira egyszerűvé, magától értetődővé, kézenfekvővé kell tenni az olvasó számára, amennyire az lehetséges. Ennek érdekében egy kezdeményezést indítunk útjára: tudományos szakkönyvek kiadóit várjuk, hogy csatlakozzanak hozzánk, és kódoljuk bele könyveinkbe a bekezdések számozását, hogy a hivatkozások megoldása ne legyen többé kérdés az e-könyvekkel kapcsolatban. Ennek elősegítése érdekében egy kis CSS kódrészletet is közé teszünk, amit bárki szabadon felhasználhat annak érdekében, hogy a kódolás automatikusan megtörténjen.

Csak be kell másolni az alábbi CSS kódot akár a konvertálni kívánt HTML dokumentumba, akár a hozzá kapcsolódó stíluslapba:

.chapter {
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p {
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p:before {
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A fenti kódrészlet ezt az oldalképet eredményezi (a különböző eszközökön és szoftvereken áttördelve bár, de hasonló megjelenés várható). Természetesen a kódot lehet finomítani, meg lehet változtatni, ami a lényeg az a counter elnevezésű tulajdonság a chapter és a paragraph definíciójában. A megoldás mind epub, mind pedig az új Kindle KF8 (AZW3) formátumban működik, tehát a legtöbb e-olvasó eszköz, illetve szoftver támogatja (Kindle Keyboard, Kindle Paperwhite, iPad, valamint Calibre használatával teszteltük ezt). Azon eszközök és szoftverek esetében, amelyek nem támogatják ezt a megoldást, a számozás nem fog megjelenni, de magát a szöveget, illetve annak formáját nem fogja megváltoztatni vagy netán összezavarni.

Tegyünk együtt azért, hogy egyre több tudomány-kompatibilis e-könyv szülessen, és ezzel segítsük a formátum elterjedését!

Life After New Media: Sarah Kember and Joanna Zylinska

Interview with media theorists Sarah Kember and Joanna Zylinska by Janneke Adema and Ben Craggs. The interview focuses on Kember and Zylinska's recently published co-authored monograph Life After New Media: Mediation as a Vital Process. Topics of conversation include amongst others the vitality of mediation, human agency, the 'Two Cultures' divide, the ethics of the cut, and our entanglement as interviewers in the becoming of the book. This interview was conducted on March 7th 2013 at Goldsmiths, University of London. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Post-Digital Print and Networks of Independent Publishing: Alessandro Ludovico

Interview with artist and media critic Alessandro Ludovico by Janneke Adema. The interview focus on the post-digital print condition, print-digital hybrids, independent and networked publishing and the potential of post-digital print projects to question, disturb, and subvert existing hegemonic and exploitative practices and institutions. This interview was conducted on January 31st 2013 in Berlin. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

The Late Age of Print and the Future of Cultural Studies: Ted Striphas

Interview with Ted Striphas, Associate Professor of Media & Cultural Studies at Indiana University, by Janneke Adema. The interview focuses on Striphas thoughts on the future of cultural studies and cultural politics, on problems related to the accessibility and control of scholarly material and on Striphas approach towards researching books. This interview was conducted on July 14th 2011 in Ghent. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

The Politics of Transparency and Secrecy: Mark Fenster

In this podcast, Mark Fenster, Professor of Law at The University of Florida, talks about transparency, open government and secrecy. Fenster is interviewed by Clare Birchall. This is part of the Culture Machine Live podcast series. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Network Theory and Internet Politics: Geert Lovink

Interview with Geert Lovink, media theorist, net critic and activist, by Janneke Adema. The interview focuses on Lovink's research practice, the nature of organized networks, alternative sites of knowledge production, the future of media studies and the colonization of real-time. This interview was conducted on May 19th 2011 in Amsterdam. For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Nyomtatott könyvek az AMERICANA eBooks-tól

Bár az AMERICANA eBooks elkötelezettje az e-könyveknek, igyekszik köteteit a lehető legszélesebb körben megismertetni, a lehető legtöbb érdeklődő olvasóhoz eljuttatni. Ezért könyveinket nyomtatott, puhafedeles változatban, print on demand rendszerben is kiadjuk a jövőben: az első puhafedeles kötetünk, a Tennessee Williams Hollywoodba megy, avagy a dráma és film dialógusa már elérhető az alábbi online boltokból:

Cultural Criticism and the Digital Humanities: Alan Liu

Interview with Alan Liu, Professor in the English Department at the University of California, Santa Barbara, by Janneke Adema. The interview focuses on Liu’s work and on his opinions on topics relating to amongst others the digital humanities, online reading, the future of the university, the role of sharing and openness, and changing research practices. This interview was conducted on May 19th 2011 in Amsterdam.

For more information about the online, open access journal Culture Machine, visit www.culturemachine.net

Hope IV: Peter Osborne (Whitechapel Salon)

The final in the series of Salons featuring major thinkers addressing the significance of Hope for contemporary society. Led by Peter Osborne, Professor of Modern European Philosophy, Middlesex University, and Co-Editor, Radical Philosophy. Chaired by David Cunningham and co-curated by Marquard Smith, University of Westminster.

Hope III: Chantal Mouffe (Whitechapel Salon)

Professor of Political Theory at the University of Westminster, Chantal Mouffe, responds to the theme of Hope in the third Whitechapel Gallery Salon featuring major thinkers on the topic. Hosted by Marquard Smithand co-curated by David Cunningham, University of Westminster. In association with: The Institute for Modern and Contemporary Culture, University of Westminster. Supported by: Stanley Picker Trust.

Hope II: Richard Sennett (Whitechapel Salon)

Richard Sennett writes about cities, labor, and culture. He teaches sociology at New York University and at the London School of Economics. Here he talks about the politics of hope in the Whitechapel Salon Series.

Hope I: Gayatri Chakravorty Spivak (Whitechapel Salon)

Gayatri Chakravorty Spivak, Director of the Institute for Comparative Literature and Society at Columbia University, responds to the theme of hope in the first of four seasonal Salons featuring world leading intellectuals.