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(ccing FM list [CF])<br>
<br>
Hi Sissu and all,<br>
<meta http-equiv="content-type" content="text/html; charset=UTF-8">
<span id="calculatedPriceValue">A single book will cost $7.50</span> to
print at Lulu (not including the shipping and the ISBN)<br>
The specs are:<br>
A5, ~150pp, Standard paper, perfect bound, B&W printing (with full
color covers)<br>
<a class="moz-txt-link-freetext" href="http://www.lulu.com/author/wizard/index.php">http://www.lulu.com/author/wizard/index.php</a><br>
Not sure what would the shipping costs be as we have multiple addresses
to send to. But that's where we stand right now.<br>
Adam, Michael and Catherine probably have more experience in Lulu than
I do. Can we get an estimate at how much would shipping be?<br>
<br>
cheers,<br>
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<p class="sign"> <span class="name">Mushon Zer-Aviv</span><br>
<span class="main"> <img moz-do-not-send="false"
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width="11"> <a href="http://shual.com">Shual.com</a> - design studio<br>
§ <a href="http://ShiftSpace.org">ShiftSpace.org</a> - an opensource
layer above any website<br>
¶ <a href="http://mushon.com">Mushon.com</a> - blog<br>
× <a href="http://twitter.com/mushon">@mushon</a> - Tweet me<br>
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<br>
On 7/12/10 2:36 AM, sissu tarka wrote:
<blockquote cite="mid:20100712073654.1196372mlsl00q2w@webmail.servus.at"
type="cite"><br>
Mushon
<br>
thanks for all your work on this- ***
<br>
<br>
prints, do you think we can ask amanda and paul for eyebeam to sponsor
a number of copies. i guess for them it's not such a huge deal?!!
<br>
<br>
hm. question also how many copies for each of us to circulate.
<br>
how many copies can we get with $ 500. think you mentioned, but
forgot...
<br>
<br>
<br>
soon
<br>
sisssu
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
Quoting Mushon Zer-Aviv <a class="moz-txt-link-rfc2396E" href="mailto:mushon@shual.com"><mushon@shual.com></a>:
<br>
<br>
<blockquote type="cite">On 7/9/10 9:25 PM, adam hyde wrote:
<br>
<blockquote type="cite">On Fri, 2010-07-09 at 18:15 -0700, Michael
Mandiberg wrote:
<br>
<br>
<blockquote type="cite">that if we use the list, we put a prefix
on all emails. so a subject
<br>
line would read something like this:
<br>
<br>
<br>
CF: I will get the ISBN
<br>
<br>
</blockquote>
<br>
sounds good
<br>
<br>
<br>
<blockquote type="cite">and as per the title above, i will get
the ISBN and let mushon know
<br>
how much it is. mushon, i will take repayment in the form of copies of
<br>
the new edition of the book. what is the deadline for ISBN.
<br>
<br>
<br>
</blockquote>
</blockquote>
We're almost done editing, it is mainly a bit more work on the glossary
and finishing the Futures section.
<br>
When we're done with that it's just final formatting of the PDF (I
can't really do that before I know we have the final content)
<br>
I need the ISBN for the cover. I would say *by the end of next week we
should send the book to be printed*.
<br>
<blockquote type="cite">also, fm sent out 50 or so copies to
academics and other interested
<br>
peoples of the first version, it might be interesting to send the same
<br>
people the second version...is there any cash to do this? (we dont have
<br>
the $ to print or sent them at the mo)
<br>
<br>
</blockquote>
Currently we have around $500 to break into writer fees and
(optionally) for printing.
<br>
So to judge by the writer fees each of us got in the first sprint
(€500), I would say, no, we are broke.
<br>
<blockquote type="cite">
<blockquote type="cite">I want to have the "What is collaboration
anyway?" section as one of
<br>
the chapters in this NYU. Anyone have any advice, or want to do the
<br>
editing, or object to me doing it, or? Also, what is the best way to
<br>
notate authorship + writing process when taking a part out of the
<br>
original whole, and out of the context of FM?
<br>
<br>
</blockquote>
just copy the names from the chapter credits on the CREDITS chapters...
<br>
<br>
<br>
</blockquote>
The way Wikipedia does the CC-BY-SA game is by a link to the article. I
know it's contested and unstandardized.
<br>
I think I read a post some guy called Mike Linksomething wrote about
the subject:
<br>
<a class="moz-txt-link-freetext" href="http://creativecommons.org/weblog/entry/13232">http://creativecommons.org/weblog/entry/13232</a>
<br>
<blockquote type="cite">
<blockquote type="cite"><br>
Also, for full disclosure, the chapter will retain its CC-BY-SA
<br>
license, but the *collection* of essays will be CC-BY-SA-NC. It is a
<br>
collection of works, therefore it does not activate copyleft: this was
<br>
a surprise to me. I spent six months negotiating, and even this
<br>
license was pushing the press WAY beyond its comfort zone. They would
<br>
not have done the book w/o the NC.
<br>
<br>
<br>
</blockquote>
i dont care...anyone else? i find licenses soooo boring...if its reuse
<br>
then my general answer is 'yeah yeah whatever'...but if you wanna be
zen
<br>
about it you must get the ok from all authors...ugh..sorry i said
<br>
that...
<br>
<br>
adam
<br>
<br>
</blockquote>
Yeah, I don't mind either... get rich!
<br>
M.
<br>
<blockquote type="cite"><br>
<blockquote type="cite">m
<br>
<br>
<br>
<br>
<br>
<br>
On Jul 9, 2010, at 3:20 PM, Mushon Zer-Aviv wrote:
<br>
<br>
<br>
<blockquote type="cite">I generally agree with the generic best
practice, and I see Adam's
<br>
rational in prefering 1 live list rather than 2 dormant ones.
<br>
I personally would like to see CF be a dormant one and have people
<br>
drop by whenever actual work is being (/needs to be) done on the
<br>
book.
<br>
I am pretty sure the rest of the FM list would not have appreciated
<br>
the noise of our back and forth about glossary and formatting and I
<br>
would not really be interested in the internal discussion over a
<br>
book about ffmpeg2theora. It is like saying, if you are into books,
<br>
you'll be into any book. I beg to differ.
<br>
<br>
I say, if the list wants to try the FM list then let's do that for a
<br>
month, and then decide if we deserve our own place or not. I
<br>
personally think it would be more practical to start with our own
<br>
list.
<br>
<br>
Re: Michael's find
<br>
Super interesting stuff... It would be great for this to be either
<br>
an case study or a glossary item. Are you into writing it?
<br>
Even more important, would you help get us a new ISBN? I am pretty
<br>
overloaded with both CF and my own work and could really use the
<br>
help. I can give my CC or repay you or whatever. When we get that
<br>
done, I will calculate how much do we have left out of the $1000
<br>
fortune we got for the second sprint and will follow up with Verina,
<br>
Astra and Catherine to suck a few dollars as writer fees from it.
<br>
<br>
cheers,
<br>
Mushon Zer-Aviv
<br>
<shual_gray.gif> Shual.com - design studio
<br>
§ ShiftSpace.org - an opensource layer above any website
<br>
¶ Mushon.com - blog
<br>
× @mushon - Tweet me
<br>
+ 1-646-283-6057
<br>
<br>
<br>
<br>
On 7/9/10 5:09 AM, Mike Linksvayer wrote:
<br>
<br>
<blockquote type="cite">Adam's advice is definitely the
generic best practice -- don't
<br>
split a list until it gets painful. Let's just use FM until/unless
<br>
we have a good problem to have.
<br>
<br>
Mike
<br>
<br>
ps Anyone care if FM list just gets copied on this thread as an
<br>
intro? :-)
<br>
<br>
On Fri, Jul 9, 2010 at 9:32 AM, adam
<br>
hyde<a class="moz-txt-link-rfc2396E" href="mailto:adam@flossmanuals.net"><adam@flossmanuals.net></a> wrote:
<br>
its up to you guys. i think its usually better to add to a
<br>
community and
<br>
depart when it makes no more sense than to decide to set a
<br>
new one up
<br>
which may or may not gain momentum. there are plenty of
<br>
people on the fm
<br>
list that would find this post interesting. it is a
<br>
community used to
<br>
experimenting with the idea of books and the process of
<br>
creating them
<br>
<br>
you could preface the subject with CF: - to catch y'all
<br>
<br>
adam
<br>
<br>
<br>
<br>
<br>
<br>
<br>
On Thu, 2010-07-08 at 22:06 -0700, Michael Mandiberg
<br>
wrote:
<br>
> i send this FYI, and also as a very good reason why i
<br>
think there
<br>
> should be a CF specific mailing list (i had to go find
<br>
an old email
<br>
> and copy-paste, rather than sending
<br>
to <a class="moz-txt-link-abbreviated" href="mailto:CF-discuss@flossmanuals.net">CF-discuss@flossmanuals.net</a>). i
<br>
> don't think this is appropriate for the FM list: i think
<br>
it would get
<br>
> lost in that list, and i don't think it would reach any
<br>
of the CF
<br>
> participants. I'm on the FM list, and I rarely read it
<br>
at this point.
<br>
> too much noise, not enough signals directed at me. at
<br>
some point,
<br>
> one-mailing-list-fits-all doesn't work anymore.
<br>
>
<br>
>
<br>
> so... I just saw this in an email from LACE in Los
<br>
Angeles. It is a
<br>
> collaborative writing project that refers back to work
<br>
done by
<br>
> Bernadette Meyer, a NYC poet from the 70's and 80's. A
<br>
bit of research
<br>
> from
<br>
here: <a class="moz-txt-link-freetext" href="http://jacketmagazine.com/07/rifkin07.html">http://jacketmagazine.com/07/rifkin07.html</a> lead me
<br>
to these
<br>
> two paragraphs. thought you all would be interested
<br>
>
<br>
>
<br>
> Unnatural Acts, the magazine that emerged from Mayer's
<br>
Poetry Project
<br>
> workshop in 1972, also reflects a certain resistance,
<br>
and suggests the
<br>
> distinct environment of the workshop as it contributed
<br>
to the
<br>
> variegated nature of the St. Mark's scene as a whole. In
<br>
its treatment
<br>
> of authorship and issues of literary property, Unnatural
<br>
Acts might be
<br>
> situated on a continuum with such precursor little
<br>
magazines as Cid
<br>
> Corman's Origin and Berrigan's "C," but it positions
<br>
itself so far
<br>
> down that line that it ends up constituting a major
<br>
departure. In its
<br>
> first issue, Unnatural Acts came out entirely without
<br>
attribution or
<br>
> editorial information. Issue 1 consists of fifty-seven
<br>
numbered
<br>
> sections, concluding comically and somewhat
<br>
self-reflexively with a
<br>
> lone plaintive voice asking, "Does everyone here know
<br>
what / an ashram
<br>
> is except me?"
<br>
>
<br>
>
<br>
> The product of a group of people gathering at Mayer's
<br>
loft, writing
<br>
> for 8 hours, and then publishing the results, this first
<br>
issue
<br>
> of Unnatural Acts exhibits all of the unevenness that
<br>
might be
<br>
> expected from such a process. The second issue, which
<br>
opened its doors
<br>
> to people outside the workshop, offers an explicit
<br>
account of
<br>
> editorial policy and aesthetic agenda. A sidebar that
<br>
continues from
<br>
> the front to the back cover declares that "each issue of
<br>
unnatural
<br>
> acts magazine will be a collaborative writing
<br>
experiment," going on to
<br>
> name the eleven contributors, indicate the date
<br>
(November 11, 1972) on
<br>
> which the issue was written, and describe the fairly
<br>
elaborate
<br>
> procedure out of which it developed: each writer brought
<br>
a page of
<br>
> writing which was traded, rewritten, and discarded.
<br>
Participants then
<br>
> selected one of the rewritten documents and used it as
<br>
the basis for a
<br>
> new piece of writing. They noted the time at which their
<br>
new work was
<br>
> completed, returned it to a common pile, and then chose
<br>
another page
<br>
> to begin the process again; in the end, the poems were
<br>
arranged
<br>
> chronologically to produce the magazine's format. The
<br>
front and back
<br>
> covers (which you've got) contain a kind of disembodied
<br>
conversation,
<br>
> commenting on this process and theorizing collaboration
<br>
more
<br>
> generally. Just yesterday I found in the archive a
<br>
sketch for this
<br>
> cover where this material is called a "manifesto" - it
<br>
seems typical
<br>
> of the Unnatural Actsinitiative to revise the manifesto
<br>
into a more
<br>
> dialogic and accretive form.
<br>
> Unnatural Acts 5 also elaborates its process, which
<br>
directed writers
<br>
> and visual artists through four stages of collaborative
<br>
engagement and
<br>
> exchange. After that issue, the magazine terminated, a
<br>
fact
<br>
> attributable to funding problems, though it has been
<br>
suggested that
<br>
> potential contributors from the community were
<br>
discouraged by the
<br>
> magazine's no-names policy. "Our poems aren't our
<br>
appearances," one
<br>
> excerpt from the Issue 2 cover maintains, "when you take
<br>
out the I's /
<br>
> everybody is matched." It is tempting to imagine a
<br>
community as well
<br>
> as a poetics founded on "taking out the I's," and it
<br>
seems that
<br>
> Mayer's workshop and the extended group of writers and
<br>
artists
<br>
> surrounding it began to approximate such a space. In its
<br>
desire to
<br>
> take on the "unnatural" as its primary model for
<br>
producing artworks,
<br>
> the workshop deviates radically from the fantasies of
<br>
> self-legitimation and organicism manifest in so many of
<br>
the New
<br>
> Americans' poetic and institutional productions. The
<br>
"necessity . . .
<br>
> to be as wood is," declared by Olson in "Projective
<br>
Verse," is nowhere
<br>
> felt in Unnatural Acts, and Berrigan's half-ironic
<br>
claim, that "I was
<br>
> and am "C" magazine...And I intended and intend for "C"
<br>
to exist as a
<br>
> personal aesthetic statement by me," finds no
<br>
correlative in Mayer's
<br>
> near-invisible self-positioning. In place of individual
<br>
ambition,
<br>
> process itself appears to reign. In Issue 2, the
<br>
collaboratively
<br>
> produced poems begin to meditate on the linguistic and
<br>
social
<br>
> implications of this fact. I've given you one such poem,
<br>
apparently
<br>
> submitted at 3:55. It begins:
<br>
>
<br>
> m
<br>
>
<br>
>
<br>
> Begin forwarded message:
<br>
>
<br>
> > NOT CONTENT: UN-NATURAL ACTS
<br>
> > w/ Amina Cain and Jennifer Karmin
<br>
> >
<br>
> >
<br>
> > Performances and Collaborative Writing Marathon
<br>
> >
<br>
> >
<br>
> >
<br>
> > Taking its name from the historic collaborative
<br>
writing marathons
<br>
> > led by Bernadette Mayer and others in NYC during
<br>
1972-73, UN-NATURAL
<br>
> > ACTS will explore the themes of hunger, war, and
<br>
desire through
<br>
> > public acts of collaboration.
<br>
> >
<br>
> > Beginning with two days of installation and
<br>
performance by Amina
<br>
> > Cain and Jennifer Karmin, a group of ten writers
will
<br>
gather on the
<br>
> > third day to write together over the course of
eight
<br>
hours. In a
<br>
> > daily ritual inaugurated on the fourth day, the
<br>
outline of a new
<br>
> > person's body will be traced onto the bodies of
text
<br>
until the
<br>
> > project closes on 8 August.
<br>
> >
<br>
> > EVENTS:
<br>
> > Wed 21 July: Installation (12-5pm) and Hunger Texts
<br>
Read in the
<br>
> > Dark performance (5-5:30pm) by Amina Cain
<br>
> >
<br>
> > Thu 22 July: Installation (12-5pm) and 4000 Words
4000
<br>
Dead
<br>
> > street performance (5-6pm) by Jennifer Karmin
<br>
> >
<br>
> > Fri 23 July: Unnatural Acts, 8 hours of
collaborative
<br>
writing
<br>
> > (12-8pm). Collaborators include: Jennifer Karmin,
<br>
Amina Cain, Teresa
<br>
> > Carmody, Saehee Cho, India Radfar, K. Lorraine
Graham,
<br>
Harold
<br>
> > Abramowitz, Janice Lee, and a few surprises.
<br>
> >
<br>
> > July 24: Collaborative Reading and Artists' Talk
<br>
(4-6pm). Readers
<br>
> > include: Jennifer Karmin, Amina Cain, Teresa
Carmody,
<br>
Saehee Cho,
<br>
> > India Radfar, K. Lorraine Graham, Harold
Abramowitz,
<br>
Janice Lee, and
<br>
> > more.
<br>
> >
<br>
> > UN-NATURAL ACTS is part of NOT CONTENT, a series of
<br>
text projects
<br>
> > curated by Les Figues Press for Kim Schoenstadt's
<br>
Painted
<br>
> > Over/Under: Part 1.
<br>
> >
<br>
> > Photo Credit: Bernadette Mayer and Jennifer Karmin
<br>
August 2009, an
<br>
> > afternoon of collaborative writing Photo by Philip
<br>
Good.
<br>
> >
<br>
> >
<br>
>
<br>
>
<br>
<br>
<br>
--
<br>
Adam Hyde
<br>
Founder FLOSS Manuals
<br>
German mobile : + 49 177 4935122
<br>
Email : <a class="moz-txt-link-abbreviated" href="mailto:adam@flossmanuals.net">adam@flossmanuals.net</a>
<br>
irc: irc.freenode.net #flossmanuals
<br>
<br>
"Free manuals for free software"
<br>
<a class="moz-txt-link-freetext" href="http://www.flossmanuals.net/about">http://www.flossmanuals.net/about</a>
<br>
<br>
<br>
<br>
<br>
<br>
-- <br>
Mike Linksvayer, Vice President
<br>
Creative Commons
<br>
171 Second Street, Suite 300
<br>
San Francisco, CA 94105
<br>
office: +1 415-369-8480
<br>
fax: +1 415-278-9419
<br>
various: mlinksva
<br>
email (preferred): scroll up
<br>
<br>
Please note: the contents of this email are not intended to be
<br>
legal advice nor should they be relied upon as, or represented to
<br>
be legal advice. Creative Commons cannot and does not give legal
<br>
advice. You need to assess the suitability of Creative Commons
<br>
tools for your particular situation, which may include obtaining
<br>
appropriate legal advice from a licensed attorney.
<br>
<br>
Note: I am in the office Monday through Friday, though I work from
<br>
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<br>
healthy.
<br>
<br>
This email is:
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