@article{weedon_crossing_2014,
	title = {Crossing media boundaries: {Adaptations} and new media forms of the book},
	issn = {1354-8565, 1748-7382},
	shorttitle = {Crossing media boundaries},
	url = {http://con.sagepub.com/content/early/2014/01/13/1354856513515968},
	doi = {10.1177/1354856513515968},
	abstract = {It is necessary to continuously review the definition of the book moving from one bound by its material form to one determined by its function as a means of communication. The book’s social function as the high status vehicle for communicating new ideas and cultural expressions is being challenged by sophisticated systems of conveying meaning in other media. In this article, we report on two projects: electronic book (e-book) publication and reader forum for Nature Mage and the transmedia augmented reality (AR) fiction Sherwood Rise, which investigate these issues. Claudio Pires Franco’s work is based on the adaptation of a source work: Duncan Pile’s Nature Mage. The project aims to develop the book from e-book to a fan-produced enhanced digital book. Through this practice-based research, Franco investigates the definitions and classification of the e and i forms of the book and adaptation in new media; the role of the author in creative collaboration with readers through online forums; the extension of the story world through creative collaboration and reader participation while respecting and safeguarding creative properties. One remove from the traditional book, David Miller’s Sherwood Rise, research the user experience with AR to examine narrative problems and explore new storytelling aesthetics. These new media forms define the outer borders of the book system within which content is formed and moulded, and around which society is shaped.},
	language = {en},
	urldate = {2014-01-27},
	journal = {Convergence: The International Journal of Research into New Media Technologies},
	author = {Weedon, Alexis and Miller, David and Franco, Claudio Pires and Moorhead, David and Pearce, Samantha},
	month = jan,
	year = {2014},
	pages = {1354856513515968},
}

It is necessary to continuously review the definition of the book moving from one bound by its material form to one determined by its function as a means of communication. The book’s social function as the high status vehicle for communicating new ideas and cultural expressions is being challenged by sophisticated systems of conveying meaning in other media. In this article, we report on two projects: electronic book (e-book) publication and reader forum for Nature Mage and the transmedia augmented reality (AR) fiction Sherwood Rise, which investigate these issues. Claudio Pires Franco’s work is based on the adaptation of a source work: Duncan Pile’s Nature Mage. The project aims to develop the book from e-book to a fan-produced enhanced digital book. Through this practice-based research, Franco investigates the definitions and classification of the e and i forms of the book and adaptation in new media; the role of the author in creative collaboration with readers through online forums; the extension of the story world through creative collaboration and reader participation while respecting and safeguarding creative properties. One remove from the traditional book, David Miller’s Sherwood Rise, research the user experience with AR to examine narrative problems and explore new storytelling aesthetics. These new media forms define the outer borders of the book system within which content is formed and moulded, and around which society is shaped.

@inproceedings{pold_post-digital_2014,
	address = {Milwaukee, Wisconsin},
	title = {Post-digital {Books} and {Disruptive} {Literary} {Machines}},
	url = {http://conference.eliterature.org/critical-writing/post-digital-books-and-disruptive-literary-machines},
	abstract = {The e-book has been launched several times during the last decades and the book’s demise has often been predicted. Furthermore networked and electronic literature has already established a long history. However, currently we witness several interesting artistic and literary experiments exploring the current changes in literary culture – including the media changes brought about by the current popular break-through of the e-book and the changes in book trading such as represented by e.g. Amazon’s Kindle and Apple’s iBooks – changes that have been described with the concept of controlled consumption (Striphas, 2011, Andersen \& Pold, 2012).   In our paper we want to focus on how artistic, e-literary experiments explore this new literary culture through formal experiments with expanded books and/or artistic experiments with the post-print literary economy. Examples of the first are Konrad Korabiewski and Litten’s multimedia art book Affected as Only a Human Can Be (Danish version, 2010, English version forthcoming) and our own collaborative installation Coincidentally the Screen has turned to Ink (presented at the Remediating the Social conference, Edinburgh 2012). Examples of the second are Ubermorgen’s The Project Formerly Known as Kindle Forkbomb which will be released in January 2013 and is an intervention into the Amazon Kindle book production and distribution platform with a new form of literature generated from YouTube comments.   The paper will discuss how such projects explore how literature currently becomes part of a post-capitalistic production process through controlled consumption platforms. If the printing press was the first conveyor belt and thus an integral part of developing industrial capitalism (such as famously argued by Elizabeth Eisenstein and Walter J. Ong), then this paper will aim to sketch out how contemporary literary technologies is integral to develop and reflect critically on post- or semio-capitalism, and furthermore we will discuss how literature functions in a post-industrial software culture such as the one presented by Apple, Amazon and Google.},
	urldate = {2014-01-27},
	author = {Pold, Søren Bro and Andersen, Christian Ulrik},
	month = jun,
	year = {2014},
}

The e-book has been launched several times during the last decades and the book’s demise has often been predicted. Furthermore networked and electronic literature has already established a long history. However, currently we witness several interesting artistic and literary experiments exploring the current changes in literary culture – including the media changes brought about by the current popular break-through of the e-book and the changes in book trading such as represented by e.g. Amazon’s Kindle and Apple’s iBooks – changes that have been described with the concept of controlled consumption (Striphas, 2011, Andersen & Pold, 2012). In our paper we want to focus on how artistic, e-literary experiments explore this new literary culture through formal experiments with expanded books and/or artistic experiments with the post-print literary economy. Examples of the first are Konrad Korabiewski and Litten’s multimedia art book Affected as Only a Human Can Be (Danish version, 2010, English version forthcoming) and our own collaborative installation Coincidentally the Screen has turned to Ink (presented at the Remediating the Social conference, Edinburgh 2012). Examples of the second are Ubermorgen’s The Project Formerly Known as Kindle Forkbomb which will be released in January 2013 and is an intervention into the Amazon Kindle book production and distribution platform with a new form of literature generated from YouTube comments. The paper will discuss how such projects explore how literature currently becomes part of a post-capitalistic production process through controlled consumption platforms. If the printing press was the first conveyor belt and thus an integral part of developing industrial capitalism (such as famously argued by Elizabeth Eisenstein and Walter J. Ong), then this paper will aim to sketch out how contemporary literary technologies is integral to develop and reflect critically on post- or semio-capitalism, and furthermore we will discuss how literature functions in a post-industrial software culture such as the one presented by Apple, Amazon and Google.

@book{mejias_off_2013,
	series = {Electronic {Mediations} series, {Volume} 41},
	title = {Off the {Network}: {Disrupting} the {Digital} {World}},
	isbn = {0816679002, 9780816679003},
	shorttitle = {Ulises {Ali} {Mejias}},
	url = {http://monoskop.org/log/?p=8983},
	abstract = {Writings on art, culture, and media technology},
	urldate = {2014-02-10},
	publisher = {University of Minnesota Press},
	author = {Mejias, Ulises Ali},
	year = {2013},
}

Writings on art, culture, and media technology

@book{bazzichelli_disrupting_2013,
	address = {Brooklyn, NY},
	series = {{DATA} browser},
	title = {Disrupting {Business}: {Art} \& {Activism} in {Times} of {Financial} {Crisis}},
	isbn = {9781570272646},
	url = {https://www.dropbox.com/s/c7mdx1urusonboc/DB05_Disrupting_Business.pdf},
	abstract = {Disrupting Business explores some of the interconnections between art, activism and the business concept of disruptive innovation. With a backdrop of the crisis in financial capitalism and austerity cuts in the cultural sphere, the idea is to focus on potential art strategies in relation to a broken economy. In a perverse way, we ask whether this presents new opportunities for cultural producers to achieve more autonomy over their production process. If it is indeed possible, or desirable, what alternative business models emerge? This book is concerned broadly with business as material for reinvention, including critical writing and examples of art/activist projects.

Contributors include Saul Albert, Christian Ulrik Andersen, Franco "Bifo" Berardi, Heath Bunting, Paolo Cirio, Baruch Gottlieb, Brian Holmes, Geert Lovink, Dmytri Kleiner, Georgios Papadopolous, Soren Bro Pold, Oliver Ressler, Kate Rich, René Ridgway, Guido Segni, Stevphen Shukaitis, Nathaniel Tkacz, and Marina Vishmidt.},
	urldate = {2014-01-27},
	publisher = {Autonomedia},
	editor = {Bazzichelli, Tatiana and Cox, Geoff},
	month = oct,
	year = {2013},
}

Disrupting Business explores some of the interconnections between art, activism and the business concept of disruptive innovation. With a backdrop of the crisis in financial capitalism and austerity cuts in the cultural sphere, the idea is to focus on potential art strategies in relation to a broken economy. In a perverse way, we ask whether this presents new opportunities for cultural producers to achieve more autonomy over their production process. If it is indeed possible, or desirable, what alternative business models emerge? This book is concerned broadly with business as material for reinvention, including critical writing and examples of art/activist projects. Contributors include Saul Albert, Christian Ulrik Andersen, Franco "Bifo" Berardi, Heath Bunting, Paolo Cirio, Baruch Gottlieb, Brian Holmes, Geert Lovink, Dmytri Kleiner, Georgios Papadopolous, Soren Bro Pold, Oliver Ressler, Kate Rich, René Ridgway, Guido Segni, Stevphen Shukaitis, Nathaniel Tkacz, and Marina Vishmidt.

@book{bazzichelli_networked_2013,
	address = {Aarhus},
	title = {Networked {Disruption}. {Rethinking} {Oppositions} in {Art}, {Hacktivism} and the {Business} of {Social} {Networking}},
	isbn = {87-91810-24-8},
	url = {https://www.dropbox.com/s/t0pytrmhe6juptg/Networked%20Disruption%20%28web%20version%20-%2015.03.2013%29.pdf},
	abstract = {The current techno-economic paradigm of Web 2.0 has challenged notions of art and hacktivism within digital culture. The book “Networked Disruption” takes up this challenge and discusses a new perspective on political and social criticism. It simultaneously asks what are the conditions for hacker and artistic practices under Web 2.0 and how can social networking be seen to build on and incorporate artistic practices from the earlier decades of digital and network culture. Through its theoretical discussion of contemporary art and hacktivism, the book maps out a new contradictory space for art and criticism: Networked disruption.},
	urldate = {2014-01-27},
	publisher = {Digital Aesthetics Research Center Press},
	author = {Bazzichelli, Tatiana},
	year = {2013},
}

The current techno-economic paradigm of Web 2.0 has challenged notions of art and hacktivism within digital culture. The book “Networked Disruption” takes up this challenge and discusses a new perspective on political and social criticism. It simultaneously asks what are the conditions for hacker and artistic practices under Web 2.0 and how can social networking be seen to build on and incorporate artistic practices from the earlier decades of digital and network culture. Through its theoretical discussion of contemporary art and hacktivism, the book maps out a new contradictory space for art and criticism: Networked disruption.

@article{lewis_inevitability_2011,
	title = {The {Inevitability} of {Open} {Access}},
	issn = {0010-0870, 2150-6701},
	url = {http://crl.acrl.org/content/early/2011/09/21/crl-299},
	abstract = {Open access (OA) is an alternative business model for the publication of scholarly journals. It makes articles freely available to readers on the Internet and covers the costs associated with publication through means other than subscriptions. This article argues that Gold OA, where all of the articles of a journal are available at the time of publication, is a disruptive innovation as defined by business theorist Clayton Christensen. Using methods described by Christensen we can predict the growth of Gold OA. This analysis suggests that Gold OA could account for 50\% of the scholarly journal articles sometime between 2017 and 2021, and 90\% of articles as soon as 2020 and more conservatively by 2025.},
	language = {en},
	urldate = {2014-01-27},
	journal = {College \& Research Libraries},
	author = {Lewis, David W.},
	month = sep,
	year = {2011},
	pages = {crl--299},
}

Open access (OA) is an alternative business model for the publication of scholarly journals. It makes articles freely available to readers on the Internet and covers the costs associated with publication through means other than subscriptions. This article argues that Gold OA, where all of the articles of a journal are available at the time of publication, is a disruptive innovation as defined by business theorist Clayton Christensen. Using methods described by Christensen we can predict the growth of Gold OA. This analysis suggests that Gold OA could account for 50% of the scholarly journal articles sometime between 2017 and 2021, and 90% of articles as soon as 2020 and more conservatively by 2025.

@article{christensen_disruptive_1995,
	title = {Disruptive {Technologies}: {Catching} the {Wave}},
	url = {http://www.immagic.com/eLibrary/ARCHIVES/GENERAL/JOURNALS/H950130C.pdf},
	journal = {Harvard Business Review},
	author = {Christensen, Clayton M. and Bower, Joseph L.},
	month = feb,
	year = {1995},
	pages = {43--53},
}