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Relational Publishing

Sun Feb 23, 2014 14:20

Publishing today is practiced in an interconnected world at an unprecedented level of complexity.

Publishers have to be mindful of the symbiotics between physical, digital, social, cultural, technological, and economic factors, in addition to poetical/aesthetical concerns.

Relational publishing is preoccupied with publishing's effects, extending beyond the form of the publishing object and its attendant meanings and cultural symbolism. It is concerned with performance or use, not as the natural result of some intended functionality but rather in the realm of behavior and uncontrollable consequences.

It explores more open-ended processes that value the experiential and the participatory and often blur the distinctions between production and consumption.

From Project to Product to [coalesce into a single] Process

Feb 2014


Hijacked eBook Bestsellers As Literary Trojan Horses

Mon Aug 19, 2013 00:00 - Mon Aug 18, 2014

Hijacked eBook Bestsellers
As Literary Trojan Horses
Ad Subsidized eBooks


Until now, books were the last advertisement free refuge.

We programmed an algorithm to automatically context-contaminate digital Text with Ad-Slogans drawn from a database.

We want to investigate possibilities of Ad-Subsidized eBooks as well as authenticity of text in Ad-driven environments by manipulating current ebook Bestsellers.

Jeff Bezos does not make a big secret that he would like to sell books for next to nothing. He clearly stated that 'advertising is the price you pay for having an unremarkable product or service'. Which isn't a bad thing. If you know how it works.

Amazon sees the future of advertising in books and the future of books in advertising. They currently operate on device- and shop-level, but there is no doubt in-line content will be used too, opening a whole new field to generate profits: not only Reading Devices are about to become full-fledged advertising machines, but also content they're carrying. The Amazon Book Business isn't run by Bibliophiles.

Their idea is that books can be sold at nothing, given away for free — subsidized by Advertisements.

In our releases, original titles and meta data are not being changed and depending on the level we let the algorithm work, readers won't even realize any changes in the books. The DRM-cracked bestsellers are disseminated via torrents and identifiable through additional information on brands being abused.



Style is corruption. Book replicas by TRAUMAWIEN

Fri Jun 14, 2013 21:00 - Sat Jun 15, 2013

Vienna, Austria


(Bootlegs, White Cover)


A concise list of keywords is found in the beginning of Oswald Wieners legendary book "DIE VERBESSERUNG VON MITTELEUROPA, ROMAN". As the list  is composed mathematically, we could speak of the first tagcloud. But we will refrain from doing that. This goes deeper. Written between 1965-1969 in postwar vienna, the use of language itself seemed fishy, exploited and misused by totalitarism. What was there - similarly experienced today - left to say? What could one say about beauty? Nothing. 

The result of Wieners infamous examination is an anarchic text-fortress. An anti-novel, a universal book. Not as the arbitrary replay of "world" but as hard science of words put together. Doubting the role of language itself, words and their constellations here became tools, pills, swords, instruments to affect reality. This connection between processed language and the physical is not accidentally up to date in our informational age: Oswald Wiener being an early pioneer of applied cybernetics, his "appendix a" in the book named Der Bioadapter (1965/66) is maybe the first sketch of a world totally governed by calculatory machines and simulation - suggesting a solution for all world problems through the means of technology. Does that ring a bell? 

A tribute, a theft of a book which contains the words: "Beware. Everything that exists is outdated.", can only be made through the means of an exact replica, an appropriation of the first edition of "DIE VERBESSERUNG VON MITTELEUROPA, ROMAN (engl: The improvement of middle europe, novel) right down to the classic typeface. Generally speaking, in visual and conceptual arts, there is a long tradition of appropriation, beginning - just to name the big ones - with  Duchamp, whose entire oeuvre consists of "copies" and found materials, to Richard Prince, the re-photographer or Warhol, who, you name it. 

Brion Gysin infamously argued that “literature is fifty years behind painting”, and notorious efforts in the literary arts – efforts which compliment visual arts practices – do not share an artistic renown. We'd say it's 100.

Following this model we lift a groundbreaking masterpiece of radical viennese avantgarde. No intervention, no editing. The intention begins and ends with this lifting. We create literary appropriation, using conversion, one of the most ubiquitious mechanisms found in cyberspace. Outruling copyright, each copy now published was transcribed and signed by an individually hired virtual assistant 1:1 - making each one a piece of art. Fitting the needs of anti-expression, there is absolutely no creative transformation present except for the reframing of content.

The Books are commissioned and presented by Friday Exit Gallery 1010 Vienna, June 14th, 9pm. As we do not own Copyrights on the original out-of-print and rare Rowohlt edition, we run a limited edition, signed 1-60.


Art Books with stolen YouTube comments up for sale on Amazon Kindle. KINDLE'VOKE GHOST WRITERS Press Release.

Sun Jun 10, 2012 11:55 - Sat Nov 30, 2013

1020 Vienna, Austria


Vienna, 9 June 2012.


A project by TRAUMAWIEN and Bernhard Bauch. 2011-2012.

Our bots are compiling and uploading hundreds of ebooks on with text stolen from the comments on YouTube videos.

We programmed the bots to be completely autonomous. They are working uninterrupted through dislocated, anonymized accounts. We are not even able to track the exact amount of generated books infiltrating the Amazon Kindle library. The results are self-published, human-readable ebooks in form of classical dramas ready to be sold and enjoyed by a multitude of global readers, defining a new generative genre of digital literature: the 'slang of Youtube' - a digital Esperanto that emerged out of millions of users worldwide.

The Internet slang of YouTube comments is treated as fresh dialogue, and sold through in the form of massive, self-generated e-books. In an auto-cannibalistic model, user generated content is sold back to the users themselves, parasitically exploiting both corporations: YouTube and Amazon.

The KINDLE'VOKE GHOST WRITERS project's aim is to address and identify pertinent questions concerning the digital publishing industry's business models, as well as to draw the lines of new trends for a possible new kind of digital literature, after the web.

The project wants to raise questions like: who do YouTube videos/comments belong to? Where does authorship start and end? To what extent does the e-book format have to be reconsidered with regard to the traditional book form, and what are its most innovative opportunities? How could we act and work on it?

Furthermore, this project explores the idea of exploitation of labor on web platforms to create or comment on attractive content. So-called "user generated content" is a product created and consumed in the exchange of free labor managed with surplus information overflow. Giant Internet corporations exploit people's ingenuity by trading contextual advertising. Users are the workers of a communication-junk factory, whose bytes are consumed by the producers themselves. By manipulating this exploitation, our system will give fair fame to the authors of those texts that clearly deserve a fair piece of the pie of this nonsense economy.

The project will presented in Vienna, on June 26, 2012.
At Kandinsky Lerchenfelderstrasse 13 1070 Vienna 20h.
A discussion will follow.

Thanks for the attention.