the challenges and futures of e-publishing in the arts
DESCRIPTION
An overview of digital publishing in the arts, including its rocky beginnings, the unanswered questions of today, and my projections for the future. Here I outline three challenges (reticence, rights, and format), and three futures (multiplicity and web-like) which I think define this field. This talk was first given in "Digital Futures: New Directions in Art Librarianship", a joint webinar for the Art Libraries Society of North America and the Association of College and Research Libraries held on May 21, 2014 (http://www.ala.org/acrl/artlibrarianship).TRANSCRIPT
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Greg Albers
Digital Publications Manager,
Getty Publications
The Trailing Edge (For Now)
The Challenges and Futures of E-Publishing in the Arts
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The Challenges and Futures of E-Publishing in the Arts
1. Reticence
2. Rights
3. Formats
1. Multiplicity
2. Web-like
Cheat Sheet
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Reticence
Challenge #1
(we just didn’t want it)
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Digital publishing didn’t begin with publishers, but with an impish Jeff Bezos peeking around the side of a strange looking device
Challenge #1: Reticence
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Publishers went to war.
You were either for e-books, or you were against them!
Challenge #1: Reticence
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Eventually, we got tired
Challenge #1: Reticence
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We also saw that digital publishing wasn’t going anywhere, and that happily, neither was print
Challenge #1: Reticence
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But how we could get this …
Challenge #1: Reticence
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But how we could get this … onto this?
Challenge #1: Reticence
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Rights
Challenge #2
(the problem with art books, is the art)
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Challenge #2: Rights
Most publishers could go about their business happily converting print books to e-books …
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Challenge #2: Rights
Most publishers could go about their business happily converting print books to e-books … art publishers stumbled
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Challenge #2: Rights
The problem for art publishers, was their art
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Challenge #2: Rights
Rights holders want to protect their content
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Challenge #2: Rights
So instead of seeing this
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Challenge #2: Rights
Readers were more often seeing this
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Challenge #2: Rights
Most rights holders are now comfortable with durational and sales quantity restrictions on image licensing for digital publications
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Challenge #2: Rights
Better yet, many institutions are releasing imagesof as many of their artworks as they can in Creative Commons or other open content programs
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Challenge #2: Rights
Publishers, professional organizations, institutions and scholars are also becoming more comfortable in understanding and asserting fair use
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Formats
Challenge #3
(that darn art again!)
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While we’re finding ways to get over our reticence and rights issues, format remains an open question
Challenge #3: Format
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The answer for most trade publishers has been the reflowable e-book
Challenge #3: Format
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“Reflowable” because just as a water can go in an endless array of containers, a reflowable e-book can go in an endless array of e-reading devices.
Challenge #3: Format
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This is good for art writers like John Dewey,Heinrich Wölfflin, and Dore Ashton
Challenge #3: Format
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This is good for art writers like John Dewey,Heinrich Wölfflin, and Dore Ashton
Challenge #3: Format
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This is good for art writers like John Dewey,Heinrich Wölfflin, and Dore Ashton
Challenge #3: Format
But not always goodfor art makers like Turner, Corot andGiovanna Garzoni
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This is good for art writers like John Dewey,Heinrich Wölfflin, and Dore Ashton
Challenge #3: Format
But not always goodfor art makers like Turner, Corot andGiovanna Garzoni
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Again, the problem for art publishers, was their art
Challenge #3: Format
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But then, along came the iPad
Challenge #3: Format
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Challenge #3: Format
The iPad made art publishers feel comfortable turning this …
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… into this
Challenge #3: Format
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… into this
Challenge #3: Format
But is this enough?
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Challenge #3: Format
And what happens to books’ role as meaningful and lasting cultural objects when they’re built primarily with only one of two tools, and accessed on only a single device?
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Multiplicity
Future #1
(so much it hurts)
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Future #1: Multiplicity
Trade publishing is marked by a certain format homogeneity and this carries through to their digital counterparts as well
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Future #1: Multiplicity
Art publishing, on the other hand, encompasses a notably wider territory
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Future #1: Multiplicity
Artists and art publishers are in a unique position to transcend the usual formats and really do something as interesting in digital as they do in print
Reflowable e-book, fixed-layout, mobile app, pdf, web book …
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Future #1: Multiplicity
And with increasing technical savvy, and an inherent creativity and disregard for the practical, they’re beginning to
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Future #1: Multiplicity
Collecting these books, whether as a reader or a library, will require sourcing from a wide range of vendors, even direct from small presses and individual artists
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Future #1: Multiplicity
For now, they will also often require special devices, storage and access solutions as well
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Web-like
Future #2
(books and browsers)
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Future #2: Web-like
Think of art digital publishing as like the web circa 1995: simplistic, of limited access and difficult to navigate
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Future #2: Web-like
But the web has evolved, and has adopted technologies languages book publishers will be wise to embrace
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Future #2: Web-like
The web has become more dynamic, more universal and more open. Soon …
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Future #2: Web-like
The web has become more dynamic, more universal and more open. Soon … so will art digital publishing
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Thanks!
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Luis Prado Friedemann A
Juan Pablo Bravo
Gilad Fried
Simon Child Lorie Shaull
Jerry Wang Dan Hetteix M. Martin-Smucker
Paul Stevens Nicholas Ramallo Anshul Mathur Alexander Bickov
Theresa Berens
Ugur Akdemir
Proletkult Graphik Marie Leblanc Naomi Atkinson James Keuning mona aljahdali
Dmitriy Lagunov
Ahmed Sagarwala
Ian Bass Philip Joyce
Charles Riccardi Berglind Hauksdottir
Ben Syverson Dmitry Baranovskiy
Haik Dettmann
Chris Evans
Jonathan Li
Greg Albers
Digital Publications Manager,
Getty Publications
@geealbers
Icons created for The Noun Project (CC BY 3.0) by …
Chris Tucker
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Greg Albers
Digital Publications Manager,
Getty Publications
@geealbers
Artworks from the Getty’s Open Content Program:
Joseph Mallord William Turner (British, 1775–1851)Van Tromp, Going About to Please His Masters, 1844, Oil on canvasUnframed: 92.4 x 123.2 cmFramed: 130.8 x 161.6 x 20 x 8.9 cmThe J. Paul Getty Museum, Los Angeles
Giovanna Garzoni (Italian, 1600–1670)Still Life with Bowl of Citrons, late 1640s, Tempera on vellumUnframed: 27.6 x 35.6 cmFramed: 35.6 x 43.8 x 3.5 cmThe J. Paul Getty Museum, Los Angeles
Jean-Baptiste-Camille Corot (French, 1796–1875)Houses near Orléans (Maisons aux Environs d'Orléans), about 1830, Oil on paper mounted on millboardUnframed: 28.6 x 38.6 cmFramed: 42.9 x 53.7 x 4.8 cmThe J. Paul Getty Museum, Los Angeles