Saturday, July 19, 2008
Saturday, July 12, 2008
New from Palm Press: Landscapes of Dissent
***
PALM PRESS is pleased to announce the publication of:
LANDSCAPES OF DISSENT: Guerrilla Poetry and Public Space by
Jules Boykoff and Kaia Sand
***
Imagine - and witness - public space that is produced by us. In Landscapes of Dissent, Sand and Boykoff remind us that there is a long history and ripe presence of intersections between poetry and politics. Don Mitchell is quoted in these pages as saying that public space is "decisive." In an age in which alienation is among our most prevalent health hazards, Landscapes of Dissent demonstrates that poetry may be newly, again, good for you. This book is a gift. Take the power. -Carol Mirakove
Landscapes of Dissent is a prolegomenon toward a new topoiesis--the creation of a new topos, a new place. This book brings forth not only the discussion of several practices of disensual use of consensual ("public") space, but also gives away ideas & insights about what takes place thanks to a poetry that makes space in a polis made diapolis. Reading this book I found myself feeling an unknown political emotion that prompts my passive reader to become a reader ready to engage (again) the streets--energized by this discussion in which writing is hope & hope is action. Make it public! --Heriberto Yepez
This timely book pushes poetry more firmly into public space at a vibrant historical moment when both the public potential of poetry & the possibilities of public space are being refigured. In Landscapes of Dissent, Boykoff and Sand engage a crucial shift in the relationship of poetry & public space: they do not merely insert poetry into an existing public sphere imagined as a platform, but rather that show us how both poetry & public space take on alternative forms of publicness. These acts of publicness join other creative reclamations to assert politics in a space the neoliberalism frames as seamless & accessible--& therefore post-political. Landscapes of Dissent is expansive & sharp--an important book of political-aesthetic scholarship.--Jeff Derksen
***
Palm Press, 2008
ISBN 0-9789262-4-2
978-0-9789262-4-3
$15.00
128 pages, trade paperback
www.palmpress.org
PALM PRESS is pleased to announce the publication of:
LANDSCAPES OF DISSENT: Guerrilla Poetry and Public Space by
Jules Boykoff and Kaia Sand
***
Imagine - and witness - public space that is produced by us. In Landscapes of Dissent, Sand and Boykoff remind us that there is a long history and ripe presence of intersections between poetry and politics. Don Mitchell is quoted in these pages as saying that public space is "decisive." In an age in which alienation is among our most prevalent health hazards, Landscapes of Dissent demonstrates that poetry may be newly, again, good for you. This book is a gift. Take the power. -Carol Mirakove
Landscapes of Dissent is a prolegomenon toward a new topoiesis--the creation of a new topos, a new place. This book brings forth not only the discussion of several practices of disensual use of consensual ("public") space, but also gives away ideas & insights about what takes place thanks to a poetry that makes space in a polis made diapolis. Reading this book I found myself feeling an unknown political emotion that prompts my passive reader to become a reader ready to engage (again) the streets--energized by this discussion in which writing is hope & hope is action. Make it public! --Heriberto Yepez
This timely book pushes poetry more firmly into public space at a vibrant historical moment when both the public potential of poetry & the possibilities of public space are being refigured. In Landscapes of Dissent, Boykoff and Sand engage a crucial shift in the relationship of poetry & public space: they do not merely insert poetry into an existing public sphere imagined as a platform, but rather that show us how both poetry & public space take on alternative forms of publicness. These acts of publicness join other creative reclamations to assert politics in a space the neoliberalism frames as seamless & accessible--& therefore post-political. Landscapes of Dissent is expansive & sharp--an important book of political-aesthetic scholarship.--Jeff Derksen
***
Palm Press, 2008
ISBN 0-9789262-4-2
978-0-9789262-4-3
$15.00
128 pages, trade paperback
www.palmpress.org
Electronic Papyrus: The Digital Book, Unfurled
By ANNE EISENBERG
Published: July 6, 2008
CONSUMERS like large displays on the mobile devices they use for reading an e-mail message or an e-book, but they also like to tuck those devices into their pockets. But the bigger the screen on a cellphone or an e-reader, the sooner it outgrows pocket size.
Now a hallmark feature of these screens — their rigidity — is changing. New technologies are developing that make displays flexible, foldable or even as rollable as papyrus, so that large screens can be unfurled from small containers.
One new mobile device, the Readius, designed mainly for reading books, magazines, newspapers and mail, is the size of a standard cellphone. Flip it open, though, and a screen tucked within the housing opens to a 5-inch diagonal display. The screen looks just like a liquid crystal display, but can bend so flexibly that it can wrap around a finger.
Because the Readius is pocket-sized, but has a generous, supple screen, people with five minutes to spare in a taxi, bus or subway can use the dead time to open it, read a page or two of a book and then return the device to a shirt pocket, said Karl McGoldrick, the chief executive of Polymer Vision, the company in Eindhoven, the Netherlands, that created the device.
The Readius may even help stop people from obsessing over their e-mail: with the device, spare moments for reading may be put to a possibly better use — say, a novel by Stendhal. But if their good intentions fail, the device has a wireless connection to download e-mail as well as books.
The black-and-white display holds about 22 lines of a book page, depending on the font, all shown in the crisp black type provided by technology from E Ink, also used in Amazon’s Kindle and other e-readers. The screen changes from one page to the next in about half a second, at the touch of a thumb.
The Readius will be introduced in England, Italy and Germany this fall, and in the United States early in 2009, Mr. McGoldrick said. Its battery lasts for about 30 hours of reading — long enough to get through “The Red and the Black,” and possibly a chunk of “War and Peace.” Pages can be read under a variety of lighting conditions, even including full sunlight, he said. The price is not yet set, but Thomas van der Zijden, vice president for marketing and sales, said the Readius would be more expensive than the Kindle, which now is selling for $359.
The Readius is not the only entry in the area of flexible displays. “It’s an exciting example, but there are going to be a slew of other devices coming soon, too,” said Shawn O’Rourke, director of engineering at the Flexible Display Center at Arizona State University at Tempe, which focuses on the technology’s future commercialization.
Mr. O’Rourke defined flexible displays as “different than a BlackBerry or notebook,” with their traditional glass backings. “These displays are thin, lightweight and rugged — and they bend,” he said. The underlying substrates that support the display are typically either plastic or metal foil.
The market for flexible displays is likely to grow rapidly, said Jennifer Colegrove, an analyst at the iSuppli Corporation, a market research firm in El Segundo, Calif. “Flexible displays are the crucial enabling technology for a new generation of portable devices that are mobile, but also have compelling user interfaces,” she said.
Flexible displays offer the advantages of easy, relatively inexpensive and safe shipping and handling, compared with conventional rigid screens, she said. Her firm forecasts that the total market for flexible displays will grow to $2.8 billion by 2013.
Paul Semenza, vice president for display research at iSuppli, says that flexible displays are not entirely new on the market, but that previous ones have been relatively low-resolution applications — like those in smart cards and point-of-purchase signs — “not high-resolution ones that have the kind of image quality that users expect.”
The Readius images have this potential, he said, because the displays are powered by what is called an active matrix — transistors behind each pixel that can potentially provide fast switching and high performance.
“Polymer Vision’s technology is unusual,” Mr. Semenza said. “It’s hard to make an active matrix on something other than glass.”
If Polymer Vision succeeds in “making these transistor arrays,” he said, “you’ll have the ability to make high-performance displays on flexible substrates that look as good as a notebook display on any high-performance L.C.D.”
THE Readius, which so far displays 16 shades of gray on its screen, is not at that state yet, but Polymer Vision is hoping to add color and video capability in the future, Mr. McGoldrick said. A prototype for a color model was demonstrated at a trade show in May.
Mr. O’Rourke of the Flexible Display Center likes the look of the new generation of supple screens, but he also likes their toughness. “Some of them we’ve beaten with hammers, and they still run,” he said. “No one could do that with a BlackBerry.”
Published: July 6, 2008
CONSUMERS like large displays on the mobile devices they use for reading an e-mail message or an e-book, but they also like to tuck those devices into their pockets. But the bigger the screen on a cellphone or an e-reader, the sooner it outgrows pocket size.
Now a hallmark feature of these screens — their rigidity — is changing. New technologies are developing that make displays flexible, foldable or even as rollable as papyrus, so that large screens can be unfurled from small containers.
One new mobile device, the Readius, designed mainly for reading books, magazines, newspapers and mail, is the size of a standard cellphone. Flip it open, though, and a screen tucked within the housing opens to a 5-inch diagonal display. The screen looks just like a liquid crystal display, but can bend so flexibly that it can wrap around a finger.
Because the Readius is pocket-sized, but has a generous, supple screen, people with five minutes to spare in a taxi, bus or subway can use the dead time to open it, read a page or two of a book and then return the device to a shirt pocket, said Karl McGoldrick, the chief executive of Polymer Vision, the company in Eindhoven, the Netherlands, that created the device.
The Readius may even help stop people from obsessing over their e-mail: with the device, spare moments for reading may be put to a possibly better use — say, a novel by Stendhal. But if their good intentions fail, the device has a wireless connection to download e-mail as well as books.
The black-and-white display holds about 22 lines of a book page, depending on the font, all shown in the crisp black type provided by technology from E Ink, also used in Amazon’s Kindle and other e-readers. The screen changes from one page to the next in about half a second, at the touch of a thumb.
The Readius will be introduced in England, Italy and Germany this fall, and in the United States early in 2009, Mr. McGoldrick said. Its battery lasts for about 30 hours of reading — long enough to get through “The Red and the Black,” and possibly a chunk of “War and Peace.” Pages can be read under a variety of lighting conditions, even including full sunlight, he said. The price is not yet set, but Thomas van der Zijden, vice president for marketing and sales, said the Readius would be more expensive than the Kindle, which now is selling for $359.
The Readius is not the only entry in the area of flexible displays. “It’s an exciting example, but there are going to be a slew of other devices coming soon, too,” said Shawn O’Rourke, director of engineering at the Flexible Display Center at Arizona State University at Tempe, which focuses on the technology’s future commercialization.
Mr. O’Rourke defined flexible displays as “different than a BlackBerry or notebook,” with their traditional glass backings. “These displays are thin, lightweight and rugged — and they bend,” he said. The underlying substrates that support the display are typically either plastic or metal foil.
The market for flexible displays is likely to grow rapidly, said Jennifer Colegrove, an analyst at the iSuppli Corporation, a market research firm in El Segundo, Calif. “Flexible displays are the crucial enabling technology for a new generation of portable devices that are mobile, but also have compelling user interfaces,” she said.
Flexible displays offer the advantages of easy, relatively inexpensive and safe shipping and handling, compared with conventional rigid screens, she said. Her firm forecasts that the total market for flexible displays will grow to $2.8 billion by 2013.
Paul Semenza, vice president for display research at iSuppli, says that flexible displays are not entirely new on the market, but that previous ones have been relatively low-resolution applications — like those in smart cards and point-of-purchase signs — “not high-resolution ones that have the kind of image quality that users expect.”
The Readius images have this potential, he said, because the displays are powered by what is called an active matrix — transistors behind each pixel that can potentially provide fast switching and high performance.
“Polymer Vision’s technology is unusual,” Mr. Semenza said. “It’s hard to make an active matrix on something other than glass.”
If Polymer Vision succeeds in “making these transistor arrays,” he said, “you’ll have the ability to make high-performance displays on flexible substrates that look as good as a notebook display on any high-performance L.C.D.”
THE Readius, which so far displays 16 shades of gray on its screen, is not at that state yet, but Polymer Vision is hoping to add color and video capability in the future, Mr. McGoldrick said. A prototype for a color model was demonstrated at a trade show in May.
Mr. O’Rourke of the Flexible Display Center likes the look of the new generation of supple screens, but he also likes their toughness. “Some of them we’ve beaten with hammers, and they still run,” he said. “No one could do that with a BlackBerry.”
this one!
from teletelephone's brooklyn correspondent, emily beall:
!!LETTERPRESS ON THE VANDERCOOK PRESS!!
DATES: Sunday June 29th OR Sunday July 27th
DESCRIPTION: In this one day workshop you will learn the basic principles of letterpress printing on the Vandercook proof press. We will go over the parts of the press and how it operates and how to print from metal type, wood type, photopolymer plates and hand cut linoleum and wood.
This one day class will prepare you to use the presses in our studio needing only occasional guidance from the studio personnel.
The cost of this workshop will be $125 per person. The enrollment fees can be paid by Paypal to dan@thearmnyc.com to secure a spot. These workshops are limited so please make your booking as early as possible to insure your place.
_____
!!PRINTING POETRY: A Workshop for Poets and Visual Artists at The Arm Letterpress Studio!!
DATES: Saturday July 12th AND Saturday July 19th
DESCRIPTION: In this two day letterpress workshop designed especially for poets and visual artists, you will learn how to print a broadside/poster in two colors by combining images and text. No previous letterpress experience necessary. All supplies are provided.
The cost of this workshop will be $195 per person. The enrollment fees can be paid by Paypal to dan@thearmnyc.com to secure a spot. These workshops are limited so please make your booking as early as possible to insure your place.
_____
The Arm's public studio is now open by appointment even late and on the weekends. Press rental for any of The Arm's Vandercooks or C&P Pilot presses is $15 per hour and one-on-one teaching on any of the presses is available for $45 per hour. Please email if you have any questions.
Have a look at http://www.flickr.com/photos/thearm/ for images of the studio, past workshops and events.
The Arm Letterpress 281 North 7th Street Brooklyn, NY 11211
!!LETTERPRESS ON THE VANDERCOOK PRESS!!
DATES: Sunday June 29th OR Sunday July 27th
DESCRIPTION: In this one day workshop you will learn the basic principles of letterpress printing on the Vandercook proof press. We will go over the parts of the press and how it operates and how to print from metal type, wood type, photopolymer plates and hand cut linoleum and wood.
This one day class will prepare you to use the presses in our studio needing only occasional guidance from the studio personnel.
The cost of this workshop will be $125 per person. The enrollment fees can be paid by Paypal to dan@thearmnyc.com to secure a spot. These workshops are limited so please make your booking as early as possible to insure your place.
_____
!!PRINTING POETRY: A Workshop for Poets and Visual Artists at The Arm Letterpress Studio!!
DATES: Saturday July 12th AND Saturday July 19th
DESCRIPTION: In this two day letterpress workshop designed especially for poets and visual artists, you will learn how to print a broadside/poster in two colors by combining images and text. No previous letterpress experience necessary. All supplies are provided.
The cost of this workshop will be $195 per person. The enrollment fees can be paid by Paypal to dan@thearmnyc.com to secure a spot. These workshops are limited so please make your booking as early as possible to insure your place.
_____
The Arm's public studio is now open by appointment even late and on the weekends. Press rental for any of The Arm's Vandercooks or C&P Pilot presses is $15 per hour and one-on-one teaching on any of the presses is available for $45 per hour. Please email if you have any questions.
Have a look at http://www.flickr.com/photos/thearm/ for images of the studio, past workshops and events.
The Arm Letterpress 281 North 7th Street Brooklyn, NY 11211
Thursday, May 15, 2008
book in progress
I've been working for the last week on the next :::press gang::: book, Selections from NEIGHBOR, by Rachel Levitsky.
(how the process of book making takes place more the thought than on the table.)
Wednesday, April 23, 2008
Correction, Bowery
Okay, so I was wrong Schwartz and Roffé did not read at The Bowery last night, it was a book release party only. Mr. Schwartz has a new book out from Chax press and a chapbook from Ugly Duckling and Ms. Roffé has a new book out from Shearsman. They will both read with Erin Moure at McNally Robinson Bookstore on Thursday, May 1st @ 7 pm.
The party was a big blast from the past for me, it being hosted by an Evergreen College class. I counted four kids from my poetry program, which was pretty teeny tiny. They're all living in New York, kicking serious publishing tukas and poeting too. The new crop of Evergreen students looks very promising, good kids, I think.
Anna Maschovakis and Matvei Yankelevich of Ugly Duckling Presse were there with their GORGEOUS chapbook by Mr. Schwartz. Both Anna and Matvei will read at the Bowery next Tuesday, April 29th at 5pm.
The party was a big blast from the past for me, it being hosted by an Evergreen College class. I counted four kids from my poetry program, which was pretty teeny tiny. They're all living in New York, kicking serious publishing tukas and poeting too. The new crop of Evergreen students looks very promising, good kids, I think.
Anna Maschovakis and Matvei Yankelevich of Ugly Duckling Presse were there with their GORGEOUS chapbook by Mr. Schwartz. Both Anna and Matvei will read at the Bowery next Tuesday, April 29th at 5pm.
Ugly Duckling Presse!
I stopped by UDP on Monday and had the pleasure of folding, awling and sewing some of the chapbooks with Matvei and Michael McCanne. Matvei and Michael designed the gorgeous, did I mention gorgeous? chapbook all in-house.
Let me just say that walking into the UDP workshop brought on a sense of immediate euphoria. Maybe it was just the thick combined smells of ink and cigarette smoke that met me at the door which always conjures raving bohemian associations for me, but I don't think so. UDP is housed in a big building that they share with several other presses and creative studios out in Brooklyn near the Gowannis Canal. Ahhh...(I sighed) this is what small press publishing looks like. Yes. This feels good, real and immediate. The presence of charming men didn't hurt either. Soon I was bone folding with the best of them, comparing Bay Area and NY poetry scenes and singing the praises of dear, dear SPD champs Brent Cunningham and Neil Alger. All in all, UDP is rocking its own socks and mine, and those of many others by any measure. That day, Monday was the awards ceremony for Aram Saroyan who won the William Carlos Williams award. UDP recently published his Complete Minimal Poems and Matvei was on his way to the ceremony when I left. Hooray for Small Press Literature and hooray for UDP. I was a fan before, from afar but now I'm a...uh....huge fan.
Let me just say that walking into the UDP workshop brought on a sense of immediate euphoria. Maybe it was just the thick combined smells of ink and cigarette smoke that met me at the door which always conjures raving bohemian associations for me, but I don't think so. UDP is housed in a big building that they share with several other presses and creative studios out in Brooklyn near the Gowannis Canal. Ahhh...(I sighed) this is what small press publishing looks like. Yes. This feels good, real and immediate. The presence of charming men didn't hurt either. Soon I was bone folding with the best of them, comparing Bay Area and NY poetry scenes and singing the praises of dear, dear SPD champs Brent Cunningham and Neil Alger. All in all, UDP is rocking its own socks and mine, and those of many others by any measure. That day, Monday was the awards ceremony for Aram Saroyan who won the William Carlos Williams award. UDP recently published his Complete Minimal Poems and Matvei was on his way to the ceremony when I left. Hooray for Small Press Literature and hooray for UDP. I was a fan before, from afar but now I'm a...uh....huge fan.
Wednesday, April 16, 2008
Sew....
Last night I taught a binding workshop at the Mills studio. It was very small, which I thought was actually preferable, because instead of going through "now this hole, now this hole," I learned a new sewing from a Keith Smith book along with them--I showed them how to follow the diagrams and sewing patterns. It was great...we made a 3 signature weave.
And so regarding Sara's question regarding books on making books:
KEITH SMITH!!
There are 3 of 4 of these books, and I've used the 1, 2, & 3 Signature Sewings (above) and the Exposed Spine sewings to teach myself various things. I learned coptics, greeks, caterpillars this way. And I'm pretty much ready to tackle any sewing at this point!! Bring it on!
Because that's the thing about bookbinding. It's far more intimidating than it is difficult.
(Sara, you can do it!)
And so regarding Sara's question regarding books on making books:
KEITH SMITH!!
There are 3 of 4 of these books, and I've used the 1, 2, & 3 Signature Sewings (above) and the Exposed Spine sewings to teach myself various things. I learned coptics, greeks, caterpillars this way. And I'm pretty much ready to tackle any sewing at this point!! Bring it on!
Because that's the thing about bookbinding. It's far more intimidating than it is difficult.
(Sara, you can do it!)
Tuesday, April 15, 2008
meshes
thinking a lot about maya deren, meshes of an afternoon, non narrative. visual fragments then reacting as if were sentences. am trying to make more picture streams (cool is also carrying around my tiny digital camera in my hand then sound comes out, blue marble.)
Sunday, April 13, 2008
postcards, recycling
lately i've been revisiting my old messy, cut-and-paste, zine-style days - somehow i just don't feel a need to get slicker or be "bound." and since i don't make editions and i'm broke, it works for me.
right now i'm making postcards -- a series -- each one with a story fragment/section on the back. sending them off one-a-day to a friend, who will ultimately put them into his ("the reader's") preferred order.
the postcards are all different sizes, depending on the length of the text, and each also features an image, usually just a bad home-printer color printout of photos also by me.
ideas addressed in this project fluctuate around: sequencing; fragmentation; the use of public utilities in art (usps); fluidity of story (anti-arc of fiction); images that don't "illustrate" text but rather pair with it; analogue/tactile relationships with words, images, "the page."
materials used are minimal and recycled and free-- scraps of cardboard, electrical tape, glue, sharpees, whatever's lying around the house. right now i'm even working without a glue stick, as mine ran out last week and i haven't restocked.
i'm thinking/wondering about/how to ultimately bind all the cards (24 total, plus title page et al) together. but that would cement an order, which i'm not sure i want to do.
suggestions?
[i like this project, too, because it makes me make something every day. even if i just spend five minutes taping together some paper and cardboard, it's daily and it's using my hands (not a keyboard, ahem).]
front (about 8x6 inches, this one):
back:
close up:
right now i'm making postcards -- a series -- each one with a story fragment/section on the back. sending them off one-a-day to a friend, who will ultimately put them into his ("the reader's") preferred order.
the postcards are all different sizes, depending on the length of the text, and each also features an image, usually just a bad home-printer color printout of photos also by me.
ideas addressed in this project fluctuate around: sequencing; fragmentation; the use of public utilities in art (usps); fluidity of story (anti-arc of fiction); images that don't "illustrate" text but rather pair with it; analogue/tactile relationships with words, images, "the page."
materials used are minimal and recycled and free-- scraps of cardboard, electrical tape, glue, sharpees, whatever's lying around the house. right now i'm even working without a glue stick, as mine ran out last week and i haven't restocked.
i'm thinking/wondering about/how to ultimately bind all the cards (24 total, plus title page et al) together. but that would cement an order, which i'm not sure i want to do.
suggestions?
[i like this project, too, because it makes me make something every day. even if i just spend five minutes taping together some paper and cardboard, it's daily and it's using my hands (not a keyboard, ahem).]
front (about 8x6 inches, this one):
back:
close up:
Saturday, April 12, 2008
but what about book making?
or, how did you learn what materials to get in the first place? like, yer basic 'how to make a book' type thing? want to resist urge to take a class and try teaching myself how....
Thursday, April 10, 2008
ny central
I've been buying paper from NY Central for a while; their online catalog is huge. Paper Source is ok. I bought a great bone fold there, though. I concur re: Talas - I've bought all my book-makin' supplies from there, and so far, so good. There's also Colophon in Washington. I get my threads from there.
Wednesday, April 9, 2008
TALAS for NYC book makers
For bookmaking tools, visit TALAS at 20 West 20th Street and http://talasonline.com. They have bone folders, binding thread, awls, and all that (though for paper, you're better off visiting Jam Paper on 3rd Avenue). The customer service is spotty, but it's a NYC institution, and you'll leave equipped to soldier on, as I did on my Cheer-Up Book of Wounded Soldiers (plug: http://thecheer-upbook.blogspot.com).
ek
ek
book making books?
also does anyone have any good recommendations for books about making books, that are easy to follow?
Sunday, April 6, 2008
hi!
this is a re/source for publishers and book makers interested in and learning how to disseminate language materials. post! join this conversation&let's talk about it!
i co-publish, with cristiana baik, :::press gang::: and run the pretty panicks press, a small press related to rock and roll music.
we (:::press gang:::) encounter a lot of questions regarding funding//non-profit versus for-profit status, and a lot of questions re: the internet and digital media for publishing purposes...but we also like to talk to other publishers in general about book making and the concept of publishing!
how and what are you doing?
i co-publish, with cristiana baik, :::press gang::: and run the pretty panicks press, a small press related to rock and roll music.
we (:::press gang:::) encounter a lot of questions regarding funding//non-profit versus for-profit status, and a lot of questions re: the internet and digital media for publishing purposes...but we also like to talk to other publishers in general about book making and the concept of publishing!
how and what are you doing?
Subscribe to:
Posts (Atom)