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THE BITTER SOUTHERNER - Great Stories from the South
"You see, the South is a curiosity to people who aren’t from here. Always has been. Open up your copy of Faulkner’s 1936 masterpiece, “Absalom, Absalom!” Find the spot where Quentin Compson’s puzzled Canadian roommate at Harvard says to him, “Tell about the South. What it’s like there. What do they do there. Why do they live there. Why do they live at all.”


It always comes down to that last bit: With all our baggage, how do we live at all? A lot of people in the world believe that most folks in the South are just dumb. Or backward. Just not worth their attention.

And you know what? If you live down here, sometimes you look around and think, “Those folks are right.” We do have people here who will argue, in all sincerity, that the Confederacy entered the Civil War only to defend the concept of states’ rights and that secession had nothing to do with the desire to keep slavery alive. We still become a national laughing stock because some small town somewhere has not figured out how to hold a high school prom that includes kids of all races.

If you are a person who buys the states’ rights argument … or you fly the rebel flag in your front yard … or you still think women look really nice in hoop skirts, we politely suggest you find other amusements on the web. The Bitter Southerner is not for you.

The Bitter Southerner is for the rest of us. It is about the South that the rest of us know: the one we live in today and the one we hope to create in the future.

According to Tracy Thompson’s brilliant “The New Mind of the South,” it’s been only two decades since Southern kids (including the entire Bitter Southerner crew) stopped learning history from censored textbooks, which uniformly glossed over our region’s terrible racial history. Even today, kids are studying texts that Thompson rightfully labels “milquetoast” in their treatment of Southern history.

And recent election results suggest that the Southern mind hasn’t evolved much, that we’re not much different from what we were in 1936, when Faulkner was struggling yet again with the moral weirdness of the South. Almost 80 years later, it’s still too damned easy for folks to draw the conclusion that we Southerners are hopelessly bound to tradition, too resistant to change.

But there is another South, the one that we know: a South that is full of people who do things that honor genuinely honorable traditions. Drinking. Cooking. Reading. Writing. Singing. Playing. Making things. It's also full of people who face our region's contradictions and are determined to throw our dishonorable traditions out the window. The Bitter Southerner is here for Southern people who do cool things, smart things, things that change the whole world, or just a few minds at a time.

The world knows too little about these people, which is, alas, another reason to be bitter. But it prompted us to create The Bitter Southerner™.

We’re talking here about people whose work embodies what my old buddy Patterson Hood once called, in a song, “the duality of the Southern thing.” The purpose of The Bitter Southerner is to explore, from every angle we can, the duality of the Southern thing.

Last time I saw Patterson, we sat in his van outside Eddie’s Attic in Decatur, Ga. We were talking about how his view had changed in the dozen or so years since he’d written that song.

To him, the 2012 election results brought clear evidence that we are moving into a more progressive era, and that our southern home might actually be following, however slowly. “We may actually wind up living in a more enlightened country,” he said, and laughed a little.

Still, the tension — the strain between pride and shame, that eternal duality of the Southern thing — remains. Lord knows, most folks outside the South believe — and rightly so — that most Southerners are kicking and screaming to keep the old South old. But many others, through the simple dignity of their work, are changing things.


We’re here to tell their stories. Over time, you’ll see many pieces about bartenders, because a) that’s where we started and b) we very much enjoy a great cocktail. After all, one Southern tradition worthy of honor is the act of drinking well. But we’ll also cover the musicians, cooks, designers, farmers, scientists, innovators, writers, thinkers and craftsmen. We’ll show you the spots that make the South a far better place than most folks think it is. You’ll also see essays, short stories and poems — pieces that Bitter Southerners like ourselves create as we wrestle with our region. And every now and then, we’ll give you a peek at the oddities that seem to happen only down here.

We hope you’ll enjoy The Bitter Southerner and spread the word about it. Help us round up other Bitter Southerners, no matter where they live.

We hope you’ll want to contribute to The Bitter Southerner. In fact, we need you to. Right now, we have no budget and a staff of volunteers, so we're starting in our hometown of Atlanta. But we know there are others out there like us, people with the skills to capture a good story, or create one. Tell us your ideas. Let us know who you are.

The stories are out there, all over the South. They deserve to be told.

Until we tell them all, we will remain as bitter as Antoine Amedie Peychaud.

Welcome to The Bitter Southerner."

[via:
"Gifts to self recently include this subscription to @BitterSouth"
https://twitter.com/tressiemcphd/status/861322125348614145 ]
magazines  south  chuckreece  pattersonhood  tracythompson  williamfaulkner  bittersoutherner 
may 2017 by robertogreco
The REAL REVIEW Tells Us What it Means to Live Today - 032c Workshop
"032c contributor and highly productive architecture critic Jack Self has a new quarterly magazine called Real Review, and it has the world’s most enviable tagline: “What It Means To Live Today.”

The contributor list includes writers such as Oliver Wainwright, Pier Vittorio Aureli, and Sam Jacobs, and the articles span subjects as such the “Duck House” architecture of North Korea, Prince Charles vs The Sex Pistols on the Thames, and the “cybernetic socialist orgasm” of Allende’s Chile.

Yet it is the format that best indicates the magazine’s objective: rather than the indie-mag cliche of perfect-bound, matte-stock A4 pages, Self and executive editor Shumi Bose went for a long, thin structure, that opens like a thick and demented travel brochure. It is designed to be stuffed into jeans pockets, not sitting idle on coffee-table. It is a designed to be thumbed, read, and passed around like samizdat.

The title is another dead giveaway: REAL proudly presses the medium of “the review” as a perfect form for approaching 21st century architecture: one that can critically evaluate anything from artistic movements to failed utopias. The magazine is therefore at once errant and urgent, writing about the present through the tangled archeology of what currently surround us.

032c spoke to Self about his new magazine, and the uses of living in a post-apocalyptic world."
magazines  classideas  jackself  shumibose  print  zines 
july 2016 by robertogreco
ELLE's fka twigs Cover - Melissa Harris-Perry Responds
"Lesson 1: Becky 101



Lesson 2: Not everyone sees the same thing.



Lesson 3: Black women's hair is personal and political

Let me make this plain. For most black women in America (although not all), if we allow our hair to simply grow out of our heads in its natural state, most people will assume that we are making a social and political statement. If we allowed our hair to simply grow out of our heads, many of us would be barred or fired from our jobs. If we allowed our children's hair to grow similarly, many of our children would be dismissed from their schools. It is 2016. Sit with that for a moment. Most non-black folks fail to grapple with the profound implications of living in a society that institutionally requires an entire group to intervene so utterly in its own bodily reality and sanctions so heavily those who refuse to conform.

Despite the high stakes and deep trauma so often associated with black women's hair, many non-black individuals and institutions remain stunningly uninformed about even the most basic aspects of black hair. It is both insulting and disheartening to flip the pages of sophisticated fashion magazines and find so many images of black women wearing hair pieces, weaves, wigs, and chemical treatments, featured next to white women without these hair interventions, while the copy surrounding the images makes no mention of the differences. (Granted, in the ELLE spread, a few pages on from page 110, the text mentions that many of Zendaya's styles are wigs and weaves.) The omission makes it seem as though, in each case, the hair is simply growing wholesale from the heads of individuals pictured.

This practice does violence to us.

In her smart, funny memoir, The Year of Yes, Shonda Rhimes writes about her daily, hours-long struggle as a teenage to make her hair look like Whitney Houston's. Curling irons, hair spray, and hours of frustration accompanied her attempts to make her hair looks like Whitney's. Then one day, years late, as a full-grown adult, Shonda is sitting at a hair salon and overhears a conversation between stylists. It turns out that, all along, Whitney's hair was a wig. Rhimes uses the story to illustrate the importance of accepting that working moms don't "do it all"; they all seek and hire great household help. But we shouldn't pass too swiftly over the hair story on the way to the childcare takeaway.

When magazines present hair pieces, weaves, wigs, and chemical treatments without any further clarification, they perpetrate a lie to black girls and women. Listen, no shade on extensions, lacefronts, sew-ins, or any other choices celebs and the rest of us make to look great. But magazines should not be reproducing another generation of teenage Shondas wasting precious hours trying to curl their hair into a wig.

This does not mean that every time a fashion magazine wants to include a black woman in a beauty spread on fall styles, or the new bob, or the hottest color trends, that it needs to include a humorless recitation of Willie Morrow's 400 Years Without a Comb to illustrate adequate understanding of black hair history. Cause damn. It does mean some ways of seeing black hair are just more woke than others.

When Lemonade turned the world upside for a few days, it offered an indirect opportunity to reckon with all the instances in which this issue has been elided. Elle.com published "The Complete Breakdown of Beyoncé's Hair Look's from Lemonade." We even had input from her stylist Kim Kimble. Nailed it.

Sure, but let me draw your attention to this piece on the same topic by Bustle.com. They too reviewed all the badass hairstyles of Lemonade. But they one-upped our wokeness by telling readers why these styles matter. They put the beauty in context, giving it history and social meaning. Ours … solid. This one … lit.

To be fair, Bustle.com is an online publication founded just a few years ago. Its origins rest in a vastly different context than Elle.com, a site attached to a magazine first published in France in 1945. Which brings me to lesson number 4; legacy fashion magazines do not have a reservoir of goodwill with black women, and this deficit heightens the potential tensions in moments like this.

Lesson 4: Legacy Fashion Magazines do not have a reservoir of goodwill with black women

It is hardly a secret that the fashion world is whiter than an Academy Awards after party. The evidence is everywhere from runways to brand ad campaigns to fashion week to yes, fashion magazines .

But all of these (important) tallies can overshadow another point: More impactful than the absence of black and brown faces on runways and covers are the representational fails that occurring when black and brown editorial voices are not present in decision-making spaces. For decades the mainstream beauty and fashion industry—an industry made familiar to most of us through the women's magazines we buy on our local newsstands—has engaged in everything from the total erasure of black faces to the use of blackface. And yes, in the past decade some of these publications have openly, purposefully, and visibly, worked to alter these practices and improve both the substance and style of representation in their pages. I genuinely believe ELLE and Elle.com to be leaders in this area. I believe the people I work with and the magazine and website we create together are substantive, valuable, and diverse, if imperfect. I also believe that we inherited a legacy of brutally racist cultural practices. We are working to stitch a fabric of trust with our readers, but that fabric remains frayed by that legacy. We must be accountable to that legacy. We cannot pretend it does not exist, especially if we reproduce it, even inadvertently.

A personal note

I've been writing, working, and thinking with the team at Elle.com since March. In those months Kerry Washington, Beyoncé, Leslie Jones, and now FKA twigs have appeared on the cover of the magazine. The site has published my testimony to the Congressional Caucus on Black Girls and Women, given me a place to highlight the work of Girls for Gender Equity, and allowed me space to convene the voices of Japanese American women reflecting on the presidential visit to Hiroshima. All this and free lipstick samples. Listen, I am in heaven. When I saw the August cover it felt like the first real test of my new gig. Was the honeymoon over?

I got a call asking if I would be willing to write a piece for the site. I could write what I liked, from my own editorial perspective, even if it was critical. Yep. Let's do it. The team also asked if I would sit down to chat with Robbie Myers the editor-in-chief of ELLE. This was no Devil Wears Prada Act 1, Scene 2, when awkward Andy stumbles into Miranda Priestly office. Robbie and I talked about race, culture, gender, and the world of magazine publishing for more than an hour. I wasn't there to scold, and she wasn't there to apologize, but for me it was a radically different workplace experience to simply be heard and taken seriously on issues of race and representation."
race  magazines  fashion  melissaharris-perry  2016  hair  fkatwigs  becky  elle  perception  racism  gender  beyoncé  lemonade 
july 2016 by robertogreco
Kazoo Magazine - A print magazine for girls that inspires them to be smart, strong, fierce, and, above all, true to themselves.
"Kazoo is a new kind of quarterly print magazine for girls, ages 5 to 10—one that inspires them to be strong, smart, fierce and, above all, true to themselves.

Hi, my name is Erin Bried, and I’m the founder of Kazoo. Last spring, my 5-year-old daughter and I were looking for a cool magazine to read together, and when we couldn’t find one we loved, we decided to make our own. (Having spent nearly two decades as a writer and editor at the glossiest publications in the country, I knew we could do it, too.)

So, in April, we launched a Kickstarter with hopes that other people would also be as interested in a magazine that doesn’t tell girls how to look or act, but instead inspires them to be strong, smart, fierce and, above all, true to themselves. It turns out, we weren’t alone in our quest to do better by our daughters. Within 30 days, Kazoo became the most successful journalism campaign in crowdfunding history.

There’s no other magazine like Kazoo. All of our stories are either developed or inspired by top female artists, explorers, scientists, chefs, athletes, activists, writers and others. Regular features include: science experiments; comics; art projects; recipes; interviews with inspiring women from Olympic athletes to astronauts; and fun activities, like secret codes, jokes, mazes, search-and-finds and more.

Kazoo’s first issue, printed in Vermont on 100% recycled paper, will debut in Summer 2016. We hope you’ll join our merry little band, and help us make some noise.

xo,
Erin"
magazines  girls  classideas  erinbried 
july 2016 by robertogreco
Little Magazines » Collections » Nieman Journalism Lab » Pushing to the Future of Journalism
[“LITTLE MAGAZINES

Little magazines gone digital: How the late-adapting literary press has made its way in the web age

They punch above their weight in reach and influence. What’s it like to run a little online magazine in 2014?”

http://www.niemanlab.org/2014/09/little-magazines-gone-digital-how-the-late-adapting-literary-press-has-made-its-way-in-the-web-age/ ]
magazines  publishing  n+1  jacobin  thebaffler  thenewinquiry  lapham'squarterly  2014 
december 2015 by robertogreco
Hopes & Fears
"Hopes&Fears is an online publication exploring life and culture through thematic, visually-oriented international coverage and commentary."

[See also: "Hopes&Fears wants to shine a light on the lesser-known corners of the modern urban experience"
http://www.niemanlab.org/2015/12/hopesfears-wants-to-shine-a-light-on-the-lesser-known-corners-of-the-modern-urban-experience/

"“We’re trying to tell stories of communities you probably don’t even notice. We’re trying to think more along the lines of cities than countries. When you think about a city itself, it offers way more possibilities to describe actual human lives,” Hopes&Fears publisher Vasily Esmanov said. “We’re trying to create a nice, classically built magazine around that, online.”

“I wouldn’t say there are any topics we avoid or are especially drawn to,” the site’s editor-in-chief Marina Galperina said. “We just want to understand things people care about across all industries, all subcultures. If we want to pursue a subject, we will pursue it in depth.”

Since February, Hopes&Fears’s editorial mission has become more clear, Galperina and Esmanov told me. It’s moved away from blogs, for instance, and makes a point of using only original content. There are more specific stories about neighborhoods and communities in New York City, since most of the site’s resources and freelancers are based there.

The site’s distinctive name dates back to the founders’ native Russia. In 2005, Esmanov, a photographer and blogger there, was running a street style blog that later evolved into a full-blown digital media company, Look at Media, which he co-founded with Katya Bazilevskaya and Alex Amyotov. Within Russia, the sites under the Look at Media umbrella are fairly popular, racking up around 6.5 million Russian visitors a month. In 2013, the group created the site Hopes&Fears, devoted, literally, to the hopes and fears of entrepreneurs.

The following year, they shut the site down — “Russia was not really in an entrepreneurial mood anymore,” Esmanov said — but kept the URL. After several months of nothing there, Hopes&Fears in its current form took over the original domain.

At the moment, Look At Media funds Hopes&Fears, but there are plans to raise some venture funding and sell advertising.

“We’ve been really good with advertising in Moscow, and I think it’s going to be similar here, and the market is obviously way bigger,” Esmanov said. His group, he said, found success in Russia, but had always wanted to do something for a more global audience.

The site’s visual identity stems in part from its close relationship with Native Grid, a publishing platform that was initially built for the sites within the Look at Media network, and which currently powers Hopes&Fears. Native Grid has also since begun to sell its tools to outside clients: A.J. Daulerio’s relaunched Ratter.com, for instance, runs on the platform.

“We had this amazing opportunity to use this very high-end technology behind our stories to make them look the way they do. That technology has really enabled us to do what we do now,” Esmanov said.

All Hopes&Fears stories are fully illustrated, painstakingly laid out, and rely on only original artwork and photography, whether created in-house or commissioned.

At the moment, Hopes&Fears publishes three to four stories a day, but it’s aiming to hit seven or more stories daily. Given the heavy production load for each story (and the fact that many stories are closer to 2,000 words long), that publication schedule is quite a feat for the small staff — the masthead lists 14 people. Most stories are written by freelancers.

Esmanov pointed me to one story exploring the making and makeup of various jihadi lifestyle magazines, which features excerpts of full-page spreads from the magazines. Another story, on how new words enter into American Sign Language, includes original videos of people demonstrating signs.

Galperina highlighted another story in which the Hopes&Fears team biked down 13 miles down the length of Broadway in New York with a typography expert, and then created small profiles for 26 different typefaces found along the route, detailing the histories and significance of each.

The emphasis on highlighting lesser-known wonders of the world reminds me a little of the travel and discovery site Atlas Obscura (headed up by former Slate editor David Plotz). That site still attracts a large percentage of readers (more than 50 percent) in the coveted 18- to 34-year-old demographic, without any of the overt millennial targeting that sites like Mic, Vocativ, or Ozy go for.

Hopes&Fears is also striking a chord with readers in that age group: its core audience is between the ages of 25 and 35, and is 60 percent male and 40 percent female, according to Esmanov. Current monthly average traffic is now around 450,000 unique visitors and growing, with the bulk of the visitors coming from cities like New York, Los Angeles, Chicago, and Austin. The average reader spends around three and a half minutes on the site — “people do read the long stuff.”

“I don’t like to gender our audience, and I never think of our content for any particular person with particular tastes,” Galperina said. “For me, what’s most important is depth. We’re pretty confident about the relationship we’ve formed with our freelancers, and readers’ response to our stories.”

As it grows, Hopes&Fears will need to expand its network of freelancers. Galperina and Esmanov also talk about forming small teams in other cities, to dig even more into issues beyond New York. So far, the site has avoided writing about broadly covered news topics like the 2016 campaign, but it will include a little more news coverage moving forward. The team is still tinkering with the best editorial strategy for that type of coverage.

“Vasily brought us a neon sign that’s hanging in our office right now that says, ‘No Bullshit,'” Galperina said. “And that’s what we try for.”" ]
via:tealtan  magazines  hopes&fears  2015  urban  urbanism  subcultures  marinagalperina  vasilyesmanov  nativegrid  travel 
december 2015 by robertogreco
Goodbye, Native Mobile Apps
"Why Atavist is betting on the web"



"Now, after nearly five years and 51 stories in The Atavist Magazine—plus tens of thousands of publishers and individuals producing their own stories on the Atavist platform—we’re discontinuing our native mobile apps."



"Ultimately, whatever small slice of attention we were gaining by having our app on some people’s home screens was outweighed by the technical, business, and design considerations that had piled up against it."



"Meanwhile, we’ve been able to find our readers on their devices— exactly how we’d hoped to when we started out, except in mobile browsers instead of in our app."
webapps  mobile  design  web  webdev  apps  evanratliff  jeffersonrabb  theatavist  publishing  epublishing  html5  javascript  magazines  howweread  nativeweb  webdesign 
september 2015 by robertogreco
The Atlantic Redesigns TheAtlantic.com - The Atlantic
"We've redesigned TheAtlantic.com. What do you think?

From the beginning of the project, we've had the fundamental question in mind of what this site is—which is to say, both what it's become (as regular readers know, a lot's changed here over time) and what we want it to be. Is it the website of a magazine? Is it a news site? Is it, as James Franco possibly once suggested, a blog?

The answers, we recognized, are all in one way or another yes. But we figured we'd try a thought experiment: What if we described TheAtlantic.com as a direct, dynamic, digital extension of our core identity in journalism—as a real-time magazine?

That seemed to us both authentic and aspirational: an idea that captured what The Atlantic has been doing in new media for years and a framework that could bring the right focus to rebuilding TheAtlantic.com now.

So here's what we did:

We created a site that makes a new priority of visual presentation, that offers a cleaner reading experience across digital devices, and that gives us the flexibility we need, both in our articles and on our homepage, to join the speed and urgency of the web with the noise-cutting and impact that have always been central to The Atlantic's ambitions.

The new homepage is composed of full-width modules each representing either one big story or a constellation of connected stories. We can move these modules up or down the page, allowing us, among other freedoms, alternately to lead with the urgency of our news coverage or the impact of a big feature, according to the needs of the moment.

It also allows us to give full play to the same urgency and impact beyond the top of the page. As you return to the site, you'll find different homepage modules in different orders with different kinds of stories in different combinations. What you won't find, we hope, is the impression of diminishing importance as you scroll down.

Neither should you find yourself disoriented. So rather than placing stories arbitrarily adjacent to one another, we're using each of these modules to display a single story or a group of stories that are in some way related. This approach is inspired by the emergent logics of scrolling and swiping in mobile media: The vertical axis of the homepage represents a logic of exploration (scrolling); the horizontal axis, a logic of connection (swiping). A good magazine should, after all, help us keep our bearings.

Our new article pages are likewise more visually engaging and flexible. We're using larger images, and better image integration, with a fuller range of options for bigger feature stories, as well as more controlled templates for quicker hits, which we'll sometimes need as The Atlantic moves fast in trying to make sense of a rapidly changing world.

We've thought about the logics of exploration and connection on the article pages too: Next to our stories (horizontally), you'll find links to related articles; below the stories (vertically), you'll find links to normally unrelated articles, or for that matter photo essays or videos, currently popular on the site.

Maybe most conspicuously, across TheAtlantic.com, we've replaced our old nameplate and navigation bar with a simple new flag bearing our logo, options to subscribe or search the site, and an expandable menu. This treatment is influenced by the way the logo is set on our monthly covers; the minimalistic integration of the subscription, search, and navigation functions is based both on extensive user testing and our guiding dedication to keeping signals high, and noise low, around our brand and our work.

Oh, and the typefaces are new. Hawk-eyed readers will recognize the display and text fonts, both Lyon, as the same ones we use in print."
theatlantic  digital  2015  publications  magazines  news  jounalism  webdev  design  presentation  flexibility  typography  fonts  urgency  impact  reading  howweread  blogs  jjgould  webdesign 
april 2015 by robertogreco
Hack Circus
"Hack Circus is about fantasy technology and everyday magic

Invention doesn’t have to be useful. Hack Circus is an artistic collective dedicated to celebrating the entertaining and engaging side of inventive thought, whether that manifests physically with wires and batteries, or conceptually in artistic or philosophical ways – as long as it makes us smile.

There's a lot of great virtual stuff out there, but we make things that can be enjoyed in the physical world; strange, unsettling things that shouldn't work in our commercial society – including a quarterly magazine and a live show, but also interactive art objects, prints, experiences, workshops and media.

So far, Hack Circus has addressed questions like:

• How do you know you’re not just a brain in a jar?
• What do particle physicists know about ghosts?
• How do you communicate with the distant future?
• How do you write about time travel so it makes sense?
• Why do some people think the Universe is a hologram?

You can read about the quarterly Hack Circus events here and on the blog and watch videos of them on our YouTube channel. Each issue is launched at an event, and each Hack Circus is themed. The first event and magazine were all about TIME and the second were about REALITY. At the September 2014 event, a large team of us collaborated on an immersive experience, and we sent 50 people into space.

Sign up to our newsletter for brief monthly updates, new issue previews etc. Check out our Purpose page to find out why we do all this. Our feet are in the real world, but our head's in the clouds.

The magazine and events are launched in December, March, June and September and locations change each time. It's a travelling circus.

Hack Circus doesn’t take itself too seriously. We value entertainment, invention and imagination. We believe some things are inherently interesting – and those are the things we’ll feature.

There is also an occasional podcast with its own subjects and guests. The theme tune is by Joseph Thorpe from Sheffield. Check out Joe's band or email him.

Hack Circus is designed and produced in Yorkshire and you can buy it in some shops here. It’s printed by Pressision in Leeds and designed by Matthew Keen and James Rogers in Sheffield, with additional illustrations from Matt Harrison Clough.

The Ringmaster is Leila Johnston: journalist, maker, and creator of numerous art/entertainment/tech mash-ups.

Hack Circus is a registered Trademark (2014)."

[via: https://twitter.com/revdancatt/status/580028847891992577 ]
magazines  hackcircus  science  education  art  magic  technology  everyday 
march 2015 by robertogreco
The Chimurenga Chronic | now-now, a pan African gazette - in print quarterly and online
[via: “What If Maps Were Made By Africans For Their Own Use? | Chimurenga’s New Issue is a Must Read”

http://brittlepaper.com/2015/03/maps-africans-chimurenga/

"CNN calls Chimurenga Chronic “Africa’s answer to the New Yorker.”

But the truth is the New Yorker has nothing on the Cape Town-based magazine. Chimurenga Chronic is edgy and experimental in a way that the New Yorker could never be.

The reason for this is simple. When you set out to capture the complexities of Africa’s contemporary moment, you have no choice but to be boundary-pushing.

The pan-African spirit of the magazine is channeled through some of the most beautifully provocative writings on African art, culture, and politics.

Every issue of Chimurenga Chronic is curated to retool the language and images we use when we think about Africa. But the latest issue on maps and cartography is particularly so.

It begins with a question: “what if maps were made by Africans for their own use, to understand and make visible their own realities or imaginaries?”

You dont’ have to know too much about the history of imperialism to know how heated and controversial the issue of maps, especially as it relates to the African continent, has been. Maps are not bad in themselves. They let us abstract space so that we can better imagine it. Maps are like mirrors that reflect to us the spaces we inhabit. That’s why whoever maps out a space has control over how space is perceived and how this perception enables us to make the world we live in.

What Chimurenga does is try to figure out what Africa looks like when it is mapped by Africans for Africans and not by powerful imperial powers for their own interests."]
africa  maps  mapping  cartography  magazines  chimurengachronic 
march 2015 by robertogreco
How much are words worth? - scottcarney.com
"After ten minutes listing the average number of features in each magazine multiplied by the number of issues annually we had a number: 800. On average these stories would run at about 3000 words and pay $1.50 per word. It was only a ball-park estimate of the overall freelance writing market cap. But it was also a rather depressing one. Let me put this in bold so it stands out on the page.



The total market for long form journalism in major magazines in America is approximately $3.6 million. To put it another way: the collective body of writers earned less than Butch Jones, a relatively unknown college football coach, earned in a single year.


$3.6 million. That’s it. And the math gets even more depressing. If we assume that writers should earn the average middle class salary of $50,000 a year, then there’s only enough money in that pot to keep 72 writers fully employed. And, of course, those writers would have to pen approximately 11 well thought out and investigated features per year–something that both my friend and I knew was almost impossible.


Now, it could be that our estimate was a little low. But even if you double it–a number that is almost certainly far and above the size of the actual feature market, then we are collectively still barely scraping above $7 million paid out by magazines in word rates every year. According to Small Business Chronicle, the overall magazine publishing industry generates a total revenue of $35-40 billion a year. While that number includes lots of publications that are not in our sample, it does give at least some sense OF how small a slice of the pie writers actually earn.



Another way to figure out what the total publishing industry is worth is to check out the advertising rates that mainstream magazines publish on their websites. Take Wired, for example – not to pick on them, but because they are a representative of the some of the best journalism that exists in the country today. According to its media kit, a single page of advertising sells for $141,680. (And that’s not even the top of the market. A full page ad in GQ sells for more than $180,000). Multiply that by the number of full page ads in a single issue of Wired (about 30) and you get about $4.6 million in gross revenues per issue of the magazine.



Think about that for a second. A single issue of one major American magazine generates more gross revenue than what the entire magazine industry pays out in word rates over an entire year. If you figure that Wired spends about $30,000 on words in any given issue then a little more back of the envelope math says that words account for only 0.6% of the magazine’s revenue.



As a writer, this state of affairs horrifies me. I feel strongly that writers contribute more than just 0.6% of value to the overall magazine industry. Yes, magazines have a host of expenses–printing, distributing, editing, fact checking, office overhead and marketing all have a cost. But there is also something deeply sick in how little writers’ work is actually valued by the industry."
journalism  writing  pay  compensation  media  magazines  longform  2014  scottcarney  publishing  2015 
january 2015 by robertogreco
Works That Work — Magazine of Unexpected Creativity
"Works That Work Works That Work is an international magazine for the curious mind, intending to surprise its readers with a rich mix of diverse subjects connected by the theme of unexpected creativity that improved our lives. We publish original, in-depth essays and stories on subjects connected with design, presenting projects that challenge and change the way you perceive them. Perhaps most importantly, we hope to publish articles that make great dinner stories to tell your friends."



[Distribution: https://worksthatwork.com/distribution/
and https://vimeo.com/59732766

"Works That Work wants to examine often ignored areas of design. In the spirit of this aim, we also intend to bypass traditional distribution networks which typically take the largest part of the cover price, as well as control where the publication will be sold and at what price. Instead we would like to deepen our relationships with our readers, and make them partners in this enterprise. We call this social distribution. Read also about our Readers’ club."]
design  inspiration  magazines  typography  everyday  via:anne  creativity  art  worksthatwork 
january 2015 by robertogreco
Issue Five: On Slowness | vestoj
"In Slowness Milan Kundera, the Czech writer, remarks that ‘there is a secret bond between slowness and memory, between speed and forgetting’. In the fashion system this bond seems to take on a particularly poignant meaning, with the degree of velocity often appearing directly proportional to the time it takes to forget a style that just moments ago it seemed we could not live without.

The speed of change is a growing complaint about fashion, both amongst those whose livelihoods depend on it, and amongst those who observe these ceaseless shifts from afar. Grumbles about a ubiqui­tous acceleration are nothing new however; in fact, the grievance we appear to harbour against velocity is as old as modernity itself. Back then the machines that increasingly replaced the human hand aroused fear and trepidation; today our attitudes reflect much the same ambivalence towards the revolutions of time. It seems we always regard our own time as simultaneously the most progressive and the most relentlessly accelerated. The modernist project, however, firmly rooted the relationship between progress and speed, and in so doing also forever altered our notion of time. A universal temporal framework, with time zones, seasonal changes and accurate clocks, was constructed with the help of new technology, and the previous more subjective understanding of time had to make way for expedience and the hustle of modern life. With a more synchronised understanding of time, the future also became easier to grasp and, by extension, to control. For a future that can be measured in terms of the knowable present, is a malle­able future, a future that can be shaped according to our will.

With the advent of modernity, past, present and future came to be understood as a linear evolution, and the ‘temporal architecture’ that philosopher Krzysztof Pomian refers to in L’Ordre du Temps turned into an implicit and integral part of the experience of being modern. Sharing the same chronology is tantamount to sharing a similar basic understanding of the world, but we must not forget that time is a social construct. The sociologist Norbert Elias and the philosopher Michel Foucault have both argued that the modern ‘discipli­nary society’ attains its power by the establishment and inter­nalisation of set structures of time, and chrono­politics are consequently a potent tool for domination. In other words, those who arrive first, win.

In terms of fashion, the depre­ciation of the past in favour of the present is what keeps the wheels of the system turning. Fashion aims to always be ‘of the moment’, but to do so it has to disown its own past. The seasonal changes in fashion that we today are so familiar with, are an old fabrication. As early as the seven­teenth century, Paris fashion was organised according to the seasons in order to further French trade and economy. A more regimented system came into being in the early twentieth century when haute couture shows in Paris became organised into biannual fashion weeks, signalling for creators as well as consumers of fashion that the old had to make way for the new.

Fashion scholar Aurélie Van de Peer has written about ‘the temporal anchorage of fashion’ and points out the relationship between the termi­nology of time and the degree of fashionability of a garment. The aesthetic judgments we make on ‘out-of-date’ fashion tend to be strong, and terms like ‘passé’ and ‘old-fashioned’ are often used as potent tools for ridicule and scorn, symbolising as they do, a past that is no longer relevant. Similarly, idioms like ‘modern’ and ‘of the moment’ are employed to evoke the present, the moment that in fashion terms is the most desirable. We know of course that, as Elizabeth Wilson writes in Adorned in Dreams, ‘the “now” of fashion is nostalgia in the making’ – perhaps this is why a disingenuous term like ‘timeless’ has such cachet in fashion circles. But no matter how much we try and convince ourselves that eternal style is possible, in fashion the past is forever haunting the present. Fashion depends on perpetual movement – onwards, forwards – and in so doing, it must renounce its own history. In the vernacular of fashion, the most stinging insult that can be levelled at anyone is belonging to a past no longer relevant; derisively aiming this judgment at a rival is a way of establishing your own superiority. To be passé signals the demise of a fashion professional.

The politics of time are a sign­ificant device for separation; it creates a purposeful schism between those who dominate and those who are dominated, between us and the Other. As the sociologist Hartmut Rosa has pointed out, the ones who lead are, as a general rule, those who under­stand speed. In fashion, as in everyday life, temporal strategies like keeping someone waiting, changing the rhythm or jumping the gun are often cause for strife, as anyone who has ever waited for a show to begin, had their idea copied and produced faster by a competitor or been compelled to endure an interminable presentation by an important patron can attest.

The philosopher Paul Virilio talks of a ‘rushing standstill’, which seems to describe contemporary culture well. The cult of speed can sometimes feel overwhelming, but in the cracks of the system, a slower, more reflective pace is gaining traction. Whereas Virilio’s phrase appears aimed at a heedless velocity that despite its speed will forever return you to your starting point, slowness by contrast allows you to advance at a pace that encourages contemplation and observation. To be slow is far from remaining static; instead, slowness is a temporal notion that prioritises the journey over the destination. In this world of instant gratification we sometimes forget that speed is not a virtue in itself, nor is it to be confused with success or efficiency or happiness or accomplishment.

So, allow yourself to be idle, to dwell a moment, to delay and iterate. Use your hands to make something a machine could make much faster. Look for the beauty in the impermanent, the imperfect and the incomplete. Take your time. Because, as the writer Rebecca Solnit once so succinctly put it, ‘Time always wins; our victories are only delays; but delays are sweet, and a delay can last a whole lifetime’."
slow  slowness  magazines  vestoj  fashion  rebeccasolnit  milankundera  krzysztofpomian  norbertelias  michelfoucault  aurélievandepeer  elizabethwilson  hartmutrosa  paulvirilio  idleness  time  speed  process  foucault 
january 2015 by robertogreco
Subcompact Publishing — by Craig Mod
"A Subcompact Manifesto

Subcompact Publishing tools are first and foremost straightforward.

They require few to no instructions.

They are easily understood on first blush.

The editorial and design decisions around them react to digital as a distribution and consumption space.

They are the result of dumping our publishing related technology on a table and asking ourselves — what are the core tools we can build with all this stuff?

They are, as it were, little N360s.

I propose Subcompact Publishing tools and editorial ethos begin (but not end) with the following qualities:

• Small issue sizes (3-7 articles / issue)
• Small file sizes
• Digital-aware subscription prices
• Fluid publishing schedule
• Scroll (don’t paginate)
• Clear navigation
• HTML(ish) based
• Touching the open web

Many of these qualities play off one another. Let’s look at them in detail.

Small issue sizes
I’ve written quite a bit about creating a sense of ‘edge’ in digital space. One of the easiest and most intuitive ways to do so is to limit the amount of data you present to the user.12

It’s much more difficult for someone to intuit the breadth of a digital magazine containing twenty articles than a digital magazine containing, for example, five. By keeping article number low this also helps decrease file size and simplify navigation.

Small file size
Speed is grossly undervalued in much of today’s software — digital magazines inclusive. Speed (and with it a fluid and joyful user experience) should be the thing you absolutely optimize for once you have a minimum viable product.

One way to bake speed into a publishing product is to keep issue file sizes as small as possible. This happens naturally when you limit the number of articles per issue.

Reasonable subscription prices
Ideally, digital subscription prices should reflect the cost of doing business as a digitally indigenous product, not the cost of protecting print subscriptions. This is yet another advantage digital-first publications have — unlike print publications transitioning to digital, there is no legacy infrastructure to subsidize during this transition.

Fluid publishing schedule
With smaller issue sizes comes more fluid publishing schedules. Again, to create a strong sense of edge and understanding, the goal isn’t to publish ten articles a day, but rather to publish just a few high-quality articles with a predictable looseness. Depending on the type of content you’re publishing, days can feel too granular, and months require the payload to be too large. Weeks feel just about right in digital.

Scroll (for now)
When I originally presented these ideas at the Books in Browsers conference in 2012, the dismissal of pagination was by far the most contentious point. I don’t mean to imply all pagination is bad. Remember — we’re outlining the very core of Subcompact Publishing. Anything extraneous or overly complex should be excised.

I’ve spent the last two and half years deconstructing scrolling and pagination on tablets and smartphones. If your content is formless, then you might be able to paginate with minimal effort. Although, probably not.

Certain kinds of pagination increase the complexity of an application by orders of magnitude. The engineering efforts required to produce beautiful, simple, indigenous, consistent — and fast — pagination are simply too high to belong in the subcompact space.

Furthermore, when you remove pagination, you vastly simplify navigation and thereby simplify users’ mental models around content.

No pagination is vastly superior to pagination done poorly.

Clear navigation
Navigation should be consistent and effortless. Subcompact Publishing applications don’t require complex how-to pages or tutorials. You shouldn’t have to hire a famous actor to show readers how to use the app with his nose. Much like a printed magazine or book, the interaction should be intuitive, effortless, and grounding. The user should never feel lost.

By limiting the number of articles per issue, and by removing pagination, many of the routes leading to complex navigation are also removed.

HTML(ish) based
When I say HTML I also mean EPUB or MOBI or any other format with an HTML pedigree. HTML has indisputably emerged as the future format for all text (and perhaps also interactive) content. By constraining Subcompact Publishing systems to HTML we bake portability and future-proofness into the platforms. We also minimize engineering efforts because most all computing devices come with high-quality HTML rendering engines built in.

Open web
Simply: whatever content is published on a tablet should have a corresponding, touchable home on the open web.

Content without a public address is non-existent in the eyes of all the inter-operable sharing mechanisms that together bind the web."
craigmod  publishing  epublishing  magazines  themagazine  writing  digital  design  2012  digitalpublishing  html  html5  matter  joshuabenton  touch  mobilephone  ios  iphone  ipad  skeuomorphs  openweb  scrolling  pagination  navigation  tablets  claytonchristensen  davidskok  jamesallsworth  marcoarment 
april 2014 by robertogreco
East of Borneo
"East of Borneo is an online magazine of contemporary art, and its history, as considered from Los Angeles.

It marks the convergence of two distinct lines of thought: What is the nature, and the future, of art magazines? And how might we give form to the many histories of art in Los Angeles, one that is generative and productive rather than merely descriptive?

We publish original essays, artist profiles and interviews alongside a growing "collaborative archive" of videos, images and historical texts added by our editors and readers, highlighting unexpected connections and encouraging new lines of thought. The introduction of East of Borneo Books and our debut title, Piecing Together Los Angeles: An Esther McCoy Reader, sees the extension of our mission into print. In the coming years, the imprint and magazine will continue to draw new attention to the best writing on the visual culture of Los Angeles."

[See also: http://curatingla.com/2014/02/26/unforgetting-la-3-build-a-better-online-history-of-art-in-southern-california/ ]

[See also: http://blogs.walkerart.org/design/2014/08/05/icas-excursus-interview-with-the-alex-klein-and-mark-owens/
and http://excursus.icaphila.org/ ]
art  culture  losangeles  via:jonhall  magazines  publishing  artbooks  artistsbooks 
february 2014 by robertogreco
Young people can't work for free says Intern magazine's Alec Dudson
"Intern magazine aims to showcase work from talented creatives currently interning in the creative industry, and raise debate on the culture of internships. Manchester-based Dudson told Dezeen: "Our intention is to empower interns through the publication.""

Kickstarter: http://www.kickstarter.com/projects/819444313/intern-magazine ]
interns  internships  creativity  design  kickstarter  magazines 
july 2013 by robertogreco
Critical Making - Hertz
"Critical Making is a handmade book project by Garnet Hertz that explores how hands-on productive work ‐ making ‐ can supplement and extend critical reflection on technology and society. It works to blend and extend the fields of design, contemporary art, DIY/craft and technological development. It also can be thought of as an appeal to the electronic DIY maker movement to be critically engaged with culture, history and society: after learning to use a 3D printer, making an LED blink or using an Arduino, then what?

The publication has 70 contributors ‐ primarily from contemporary art and academia ‐ and its 352 pages are bound in ten pocket-sized zine-like volumes. The project takes the topic of DIY culture literally by printing an edition of 300 copies on a hacked photocopier with booklets that were manually folded, stapled and cut. Academic publishing is at a point in history where it deserves to be questioned, and this project proposes that a small-scale run on a photocopier by one person can have more impact than an academic monograph from a major university press.

The 300 finished copies were primarily given away for free to project contributors, individuals and institutions important to them. Some of the handmade copies were traded for reviews, photographs, videos, lectures and were given to library archives. As of February 2013, approximately twenty hardcopies exist, and the project is exploring wider distribution formats that challenge the medium of academic publishing."

[See also: http://we-make-money-not-art.com/archives/2013/01/critical-making.php
http://theengineinstitute.org/critical-making-a-crowdsource-zine
http://www.viddler.com/v/d2de65a2?secret=103681001 ]
art  books  criticism  magazines  criticalmaking  making  garnethertz  via:ablerism  diyculture  glvo  openstudioproject  academia  arduino  learning  technology  society  makerculture 
march 2013 by robertogreco
Electric Literature
"MISSION
Electric Literature’s mission is to guide writers and readers through a rapidly evolving publishing landscape. By embracing new technologies and mixed media, collaborating with other publishers, and engaging the literary community online and in-person, Electric Literature aims to support writers while broadening the audience of literary fiction, and ensure that literature remains a vibrant presence in popular culture.

HISTORY
Founded by Andy Hunter and Scott Lindenbaum as a quarterly journal in 2009, Electric Literature launched the first fiction magazine on the iPhone and iPad, and was described by the Washington Post as a “refreshingly bold act of optimism.” The eponymous quarterly anthology paid new and emerging writers and published their work to every viable format, including paper, and was the first to use twitter as a serious literary medium by tweeting an entire short story (Rick Moody’s “Some Contemporary Characters,” Electric Literature no. 3)."
fiction  literature  magazines  journals  toread  ebooks  reading  technology  andyhunter  scottlindebaum  iphone  ios  ipad 
february 2013 by robertogreco
Exit Interview with El Bulli's Ferran Adria: Restaurants + Bars: GQ
"My parents have always allowed me to explore and express myself. I never fought much with my parents. We had a great relationship. They gave me space to be myself. Being given space by my parents was really important for my creativity to develop, and it allowed us to have a great relationship."

"good friends, when they see something wrong, they let you know"

"It's hard for me to find the time to read a book. I'm more of a magazine person, mostly monthly magazines. I read magazines like they were books."

""I don't have a favorite cooking tool. In the kitchen, I always have my pencil and notebook in my hand. I cook more theoretically than I do practically. My job is creative, and in the kitchen, the biggest part of my creativity is theoretical.

The pencil has a symbolic meaning for me. The type of person who carries a pencil around is the type of person who's open to change. Someone who walks around with a pen isn't; he's the opposite. I always have a pencil with me, to the point where it forms a part of me. I write a lot during the day.""

"Airport waiting rooms are a place where I can be relaxed. I like spaces, spaces where I can be calm and think. I like airplanes, too, for the tranquility. If I'm on the beach, I'll read a book. I also love the movies. Sometimes I go see three movies in a row. It's one of those places where nobody bothers you."

"I'm not a materialist, I don't care for things… I live a simple life. The only luxuries I have in my life are travel and food."
elbulli  restaurants  practice  theory  airports  adaptability  change  via:litherland  chefs  cooking  howwework  magazines  reading  friendship  simplicity  cv  parenting  creativity  tools  pencils  materialism  interviews  2011  ferranadrià 
november 2012 by robertogreco
A whole magazine of this, please « Snarkmarket
"Seriously, imagine this magazine. (And when I say “magazine” I obviously mean “website.”) It would be so different from anything that’s out there today. It wouldn’t be people trying to convince you of things. (This is the usual mode of, say, The New York Review of Books—although props to them for publishing Nagel on Plantinga.) Nor would it be people ironically infiltrating different belief systems. (This is the mode of a lot of narrative journalism today, and it’s super entertaining! You know: “I spent six weeks hanging out with these crazy people and here’s what I saw.”) It would be… brains at work. Call it The Grappler. An engine of empathy. I don’t know. It would probably have a readership of 300 people but maybe that’s okay."

[Alexis Madrigal comment: "All hail that which does not scale! All hail that which does not scale!"]
saulwurman  intimacy  small  scale  externalization  debate  belief  thomasnagel  longnow  alanjacobs  ianbogost  www.www  wwwconference  intellectualexcercises  understanding  writing  ideas  magazines  comments  snarkmarket  2012  thegrappler  perspective  empathy  robinsloan 
september 2012 by robertogreco
Savory | The new platform for digital publishing
"NOW writers, editors, and publishers have a new tool to design and publish narrative content on the web.

Savory™ provides app-like designs for publications, and an on-line content management system to build them.

Powered by Treesaver®, the adaptive HTML technology, Savory lays out content onto pages that fit any size screen. Desktops, laptops, tablets and phone. Any device that has a browser.

Savory is an upgrade from blog hosting services. It's made for multiple stories or chapters. And publishers can produce editions whenever they want—and add updates any time.

Sign up for for the Charter Rate, only $49 (€49) a month."
browser  browsers  savory  newspapers  magazines  books  html  adaptivehtml  web  copenhagen  epublishing  epub3  epub  design  publishing  html5  digitalpublishing  epubs 
september 2012 by robertogreco
The End of Nintendo Power Magazine : The New Yorker
"In hindsight, reading so extensively about video games without owning is like poring over Rolling Stone without owning a record player. But there was a practical purpose: one of Nintendo Power’s great draws were its walk-throughs: step-by-step guides to beating especially difficult sections of games. I read the walk-throughs so that I would not embarrass myself when invited to play Nintendo by friends with cooler parents, or when a babysitter snuck a Nintendo console into the house under my parents’ noses, swearing my brother and I to secrecy, in the (correct) belief that the presence of the games would make her job much easier. My parents were not pleased when my grandmother purchased a Nintendo 64 in the hopes of luring us to her house more frequently. Suddenly we spent a lot more time with her, and by the time I reached high school, my parents gave in and let me and my brother buy our first Nintendo."
reeveswiedeman  youth  kids  boys  reading  2012  nintendopower  gaming  games  magazines  nintendo 
september 2012 by robertogreco
MoMA.org | Millennium Magazines
Throughout the twentieth century, innovations in international avant-garde visual arts and design were often first expressed in the informal context of a magazine or journal. This exhibition, drawn from the holdings of The Museum of Modern Art Library, follows this practice into the twenty-first century, exploring the various ways in which contemporary artists and designers use the magazine as an experimental space.

The works on view, all published since 2000, represent a broad array of international titles—from community newspapers to image- only photography magazines to conceptual design projects. These publications illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are connections to the past lineage of artists’ magazines and the little architecture and design magazines of the twentieth century, as well as unique applications of new image-editing and printing methods. Assembled here, these contemporary magazines provide a firsthand view of the latest practices in art and design in print and represent MoMA Library’s sustained effort to document and collect this medium."
it'snicethat  insituteforsocialhypocrisy  infopool  exhibitions  hotandcold  hunterandcrook  hereandthere  thehappyhypocrite  graphic  gagarin  foerster  fillip  faund  faqnp  fashionfashion  fabrikzeitung  theexhibitionist  theexcuse  espous  elsie  elk  ledictateur  derdiedas  dearreader  daddy  correspondencia  copenhagenfreeuniversity  conveyormagazine  condiment  0_100  clubdonny  chimurenga  charley  capricious  cabinet  bidoun  apartamento  davidsenior  rachaelmorrison  moma  art  zines  magazines 
july 2012 by robertogreco
main page : 0-100 Editions
"0_100 focus on contemporary photograph. Each issue is a sort of collective vision about a theme we ask to submit for. The final result is a selection of the pictures and photographers we love more in a small format without text and comments (just a legenda for the credits - even the theme is hidden at the end). 0_100 is quarterly printed in Milan, in a strictly limited edition of 100 copies, each numbered."
0_100  art  books  zines  magazines  photography 
july 2012 by robertogreco
PSFK and Russell Davies on making a magazine: - Fresser.
"PSFK: What could we do to keep the paper interactive? For example, do we add QR codes to allow people to ‘see more’ (such as an accompanying video)?

RD: Why make it interactive? The world’s not short of interactive things. Just make it good at what it is.

PSFK: And how can me make it a social experience? What could we do to add a meta-layer above the printed page which allows likeminded readers to connect around content?

RD: As above."
reading  social  socialexperience  cruftavoidance  qrcodes  paper  purpose  interactivity  2012  magazines  russelldavies 
march 2012 by robertogreco
Made Better in Japan - WSJ.com
"For decades, Japan simply imported the wares of foreign cultures, but recession has led to invention. The country has begun creating the finest American denim, French cuisine and Italian espresso in the world. Now is the time to visit."

"During the robust economy of the '80s, Japan's exports ruled, and the country would import the best that money could buy from the rest of the globe, including Italian chefs and French sommeliers. Which made Japan an haute bourgeoisie heaven where luxury manufacturers from the West expected skyrocketing sales forever.

But now 20-plus years of recession have killed that dream. Louis Vuitton sales are plummeting, and magnums of Dom Pérignon are no longer being uncorked at a furious pace. That doesn't mean the Japanese have turned away from the world. They've just started approaching it on their own terms, venturing abroad and returning home with increasingly more international tastes and much higher standards…"

[See also Stateside: http://www.nytimes.com/2012/02/19/magazine/adam-davidson-craft-business.html ]
daikisuzuki  engineeredgarments  hyperspecialization  hospitality  hotels  apprenticeships  tiny  small  quintessence  shuzokishida  restaurants  kansai  tokyo  hitoshitsujimoto  realmccoy's  nylon  magazines  jeans  craft  coffee  denim  detail  perfection  food  fashion  lifestyle  economics  luxury  japan  scale 
february 2012 by robertogreco
David Skok: Aggregation is deep in journalism’s DNA » Nieman Journalism Lab
"Henry Luce’s Time started as a full-fledged aggregator almost 89 years ago.

A quick visit to the library confirmed his statements. Sure enough, all 29 pages of the black and white weekly — its signature red-border cover not yet developed — were packed with advertisements and aggregation. This wasn’t just rewrites of the week’s news; it was rip-and-read copy from the day’s major publications — The Atlantic Monthly, The Christian Science Monitor, and the New York World, to name a few."

"Because new-market disruptions initially attract those that aren’t traditional consumers of The New York Times or the Wall Street Journal, these incumbent organizations feel little pain or threat. So they stay the course on content, competing on “quality” against these new-market disruptors."

"We’ve been here before. The question is not, how aggregation is ruining journalism, but how traditional journalism will respond to the aggregation."
via:allentan  nothingnewunderthesun  newmedia  magazines  news  huffingtonpost  buzzfeed  1923  davidskok  disruption  history  timemagazine  2012  florilegium  curation  journalism  aggregation 
january 2012 by robertogreco
Dr. Chris Mullen, The Visual Telling of Stories, illustration, design, film, narrative sequences, magazines, books, prints etc
"A lyrical encyclopedia of visual proportions…Rugged design in opposition to elegance…It's bigger than you could ever think—just explore—no clues from me…big letter and no fancy-dan embroidery—on opposition to the fey…"

"This site records a range of material dedicated to the study of the Visual Narrative. The original site, intended by me for part-time students and other interested parties was closed down by the University of Brighton in 2004. I was subsequently denied access to the original images most of which, however, were in my own collection. I have developed the site on a daily basis thereafter. It remains exclusively educational and is in constant use. Many thanks to those in the UK and beyond who shared my irritation at events. Contact me on chris@fulltable.com "
writing  stories  narrativesequences  magazines  narrative  film  treasure  susia  philbeard  rebeccamarywilson  hypertext  ruthrix  janecouldrey  clarestrand  grammercypark  petruccelli  jackiebatey  jaynewilson  dickbriel  chrismullen  america  visual  visualcodes  advertising  comics  classideas  tcsnmy  srg  edg  glossary  reference  books  images  visualization  wcydwt  art  design  illustration  storytelling  via:litherland 
january 2012 by robertogreco
Mammoth School | Knee High Media Japan
From Google Translate:<br />
<br />
"School and Mammoth, Mammoth's proposed concept for children continue to lead the future. Magazine, WEB, be linked to events, and explores a new STANDARD for education. These are the basic principles of a mammoth school. Learn from both parents and children, to disseminate the ideas that we will foster a rich opportunity.<br />
(1) PLAY to LEARN what there is to learn to play inside.<br />
(2) HANDS on LEARNING lead to a deeper understanding of experience to stimulate the mind and body.<br />
(3) GREEN LEARNING connection with the earth, learn how to live eco-friendly.<br />
(4) BILINGUAL CONVERSATION create an environment to learn from each other adult and children."<br />
<br />
[See also Knee High Media: http://www.khmj.com/contact ]<br />
<br />
[via: http://a-small-lab.com/projects/look-a-round ]
design  children  education  japan  tokyo  magazines  glvo  bilingual  green  learning  environment  handsonlearning  play 
september 2011 by robertogreco
VOID - coffeemakescreative
"VOID is a conceptional processing magazine for the iPad. It is aimed to bring coding closer to designers, with focus on enhanced user integration and personalization with a strong visual approach.

The magazine app features sections where the reader is able to explore projects, learn about other processing artists, manipulate source code live inside the app and immediately see the changes highlighted in the code. <br />
Users can save their modified versions of a sketch, screenshots or short videos to a custom dropbox folder that is linked to the app. It is also possible to share this data via facebook, twitter and email."

[via: http://prostheticknowledge.tumblr.com/post/7703358274/void-interactive-ipad-magazine-for-processing ]
processing  ipad  magazines 
july 2011 by robertogreco
McSweeney’s: Lucky Peach
"Lucky Peach is a new journal of food writing, published on a quarterly basis by McSweeney’s.

It is a creation of David Chang, the James Beard Award–winning chef behind the Momofuku restaurants in New York, writer Peter Meehan, and Zero Point Zero Production—producers of the Emmy Award–winning Anthony Bourdain: No Reservations.

Each issue will explore a single topic through a mélange of travelogue, essays, art, photography, interviews, rants, and, of course, recipes. The journal will be full color and perfect bound, with an eye toward exploring new recipe designs. The aim of Lucky Peach is to create a publication that appeals to diehard foodies as well as fans of good writing and art in general.

The journal will be released shortly after the launch of its sister project—an iPad app produced by Zero Point Zero that will feature more than two hours of videos, plus recipes, art, and essays."
culture  food  ipad  cooking  recipes  davidchang  momofuku  mcsweeneys  magazines  quarterly 
june 2011 by robertogreco
Sassy 2.0: Social Media Catches Up With Jane Pratt At xoJane.com | Fast Company
"Jane Pratt, founding editor of Sassy, was social media before social media existed. Today she’s launching xoJane.com, her answer to Sassy for a constantly connected generation.

Sassy, the cool girl’s anti-glossy--whose winking, edgy-for-a-teen-mag coverlines (Long-Distance Romance: Sucky Or Not?; Do You Need Armpit Hair To Be a Feminist?) could easily be Twitterbait 20 years later--created the voice that informed a thousand snark-filled blogs. It put readers on a first-name basis with editors (who didn’t use surnames in their bylines), and writers crafted features and advice based on personal experience rather than the ruling of “experts” in beauty, fashion, or sex. For Pratt, the personal and the social were intuitive well before the technology was there to implement those ideas fully."
janepratt  2011  magazines  sassy  socialmedia  xojane  girls  srg  classideas 
june 2011 by robertogreco
The Most Beautiful Magazine You Probably Haven't Heard Of - Steven Heller - Life - The Atlantic
"Tod Lippy is the best magazine art director and cover designer who was never trained for the job. And he's more—editor, curator, filmmaker. What he does so well is conceive and publish, and design, his own magazine, on his own terms for his own pleasure, and under his own steam. Esopus magazine started in 2003 and is now up to issue number 16. It is a foundation-funded, advertising-free, art, literature, and culture bi-annual that employs the most ambitious special printing effects being done today—and each issue also contains a music CD, which Lippy produces.

Esopus is more than the proverbial labor of love. It stands along with Dave Eggers' McSweeney's for its driving cultural significance. But what I am most interested in are the covers."
art  magazines  design  graphicdesign  graphics  literature  toread  todlippy  onemanshows  artdirection  culture  2011  music  sound 
may 2011 by robertogreco
The Ride Journal
"The fact that you’ve made it here shows that you love bikes and are looking for something different to the other magazines and journals out there. That’s good because that’s what The Ride has been created to be.

Born, as all good things are, out of a conversation over Mexican food and Pacifico beers, The Ride is an all encompassing read. We know that most people who share our obsession with bikes don’t want to be pigeon-holed as roadies, freeriders, track racers, BMXers, XC riders or even commuters. They are just riders. So we wanted to create something for them, and also for us. Something that crosses both cycling and international borders.

The idea was to create a journal of personal stories. Bikes have changed people’s lives in so many ways and we wanted to gather a small selection of these tales. We didn’t want to give reviews or race reports, we wanted to get under the skin and expose the passion that flows through riders veins."
biking  cycling  magazines  online  illustration  storytelling  photography  bikes 
april 2011 by robertogreco
What it’s like to share an article from one of these iPad magazines - Neven Mrgan's tumbl
"Alright, let me find this bad boy. For some reason* I can’t search this app so let me simply swipe my way through every page of every issue until I see the article I mentioned. I appreciate your patience. Ok here it is. Hey also for some reason* I can’t directly email this or select it to send it to you, so let’s do this right. You ready?"
snark  ipad  magazines  sharing  twostepsback  frustration  reading  ebooks  digital  analogbeatsdigital  broken  2011  nevenmrgan 
april 2011 by robertogreco
Okido
"OKIDO is an art and science magazine for children aged 2-7 years-old. OKIDO magazine is educational and fun. Stimulating science ideas through art, play and experimentation.

Messy Monster, Squirrel Boy, Yoga Monkey and Zim Zam Zoom among others fire the imagination, stir curiosity and inspire inventiveness by engaging children in lively scientific inquiry and arts activities.

The current OKIDO January 2011 is about Robots!

Past issues have included the subject of Living Things and Biodiversity, body noises, babies, heart and blood, emotions and feelings, the Moon, senses, muscles, germs, microscopic things, the brain, dreams, food, digestion, growing, day and night..."
children  science  education  magazines  art  via:caterina  okido  tcsnmy  play  experimentation 
march 2011 by robertogreco
Kicker Studio: The Behavior of Magazines
"[with] Digital magazines … I should be able to do all those things I do with my current magazines, only better, faster, and with way more ease. … instantly tag, share/email, bookmark, rip out and organize my tear sheets … look only at the things I’ve saved, regardless of their source. … magazines are appealing because they are curated. The fact that the reader can rely on a trusted advisor (read: editor) to compile and deliver information on a given topic is a relief. They don’t have to go out and gather the sources, someone else did. Also, they like to see content presented in an orchestrated order. This method of delivery is innately satisfying. Additionally, readers appreciate that the content is not going to change from when they first sit down to read the magazine til they finally finish with it. The fact that in our rapidly-moving society something stays inert is reassuring and comfortable. People rely on magazines as an opportunity to tune out, as Bonnier calls it “Quiet mode.”
sharing  publishing  via:preoccupations  magazines  2011  kicker  bonnier  functionality  reading  howwework  attention  content  commonplacebooks 
february 2011 by robertogreco
Conditions magazine
"CONDITIONS, is a new Scandinavian magazine focusing on the conditions of architecture and Urbanism. Presenting new perspectives, in the way of conceiving and analyzing designs, works and theory for architecture.In opposition to ignorance and superficiality this magazine is conceived in order to search for knowledge and predicaments of our continuously evolving society. It is organized in a fluctuating network of agents reflecting the present globalized state of a dynamic society, economics, politics and culture which are the motivators of architecture. Through a play of thoughts in an open ended forum, predefined “facts” will be unsecured and constantly reinvented. The forum will gather the architect, client, politician and the public, a communion of ideas creating conditions for evolution."
architecture  urbanism  urban  media  magazines  design  scandinavia  theory  society  politics  culture  norway 
january 2011 by robertogreco
style rookie: it's happening.
"You guys may know how I feel about Sassy. You also may know that I've been babbling about how I think our generation should get one, too. Jane Pratt, founding editor and then EIC of Sassy, also became aware, and emailed me, and we've met a couple times, and it looks like we're going to start a magazine for an audience of wallflowerly teenage girls."
girls  magazines  sassy  classideas  toshare  fashion 
november 2010 by robertogreco
Blogger, Reporter, Author « Snarkmarket [One of three Snarkmarket posts on Marc Ambinder's "I Am a Blogger No Longer", links to them all here: http://snarkmarket.com/2010/6396]
"So far, we have lived in a world where most the bloggers who have been successful have done so by being authors — by being taken seriously as distinct voices and personalities with particular obsessions and expertise about the world. And that colors — I won’t say distorts, but I almost mean that — our perception of what blogging is.<br />
<br />
There are plenty of professional bloggers who don’t have that. (I read tech blogs every day, and couldn’t name you a single person who writes for Engadget right now.) They might conform to a different stereotype about bloggers. But that’s okay. I really did write snarky things about obscure gadgets in my basement while wearing pajama pants this morning. But I don’t act, write, think, or dress like that every day."
blogging  journalism  timcarmody  snarkmarket  blogs  marcambinder  authors  athorship  writing  writers  identity  voice  publishing  newspapers  magazines 
november 2010 by robertogreco
Flipboard | Beyond The Beyond
"I wonder how long it will take Flipboard to realize that people don’t want to read content generated by their own social network. Because obviously it would make vastly more sense to read the content generated by someone else’s social network, some aspirational figure whom you aspire to become, like, say, Steve Jobs or Lady Gaga.

*Why not send me her Flipboard? Why not sell me that? By subscription. Then it’s magazines all over again. What fun! Of course, you destabilized the publishing industry totally and put everybody out of work, but what the heck, they were just hanging out mooching on Facebook and Freecycle anyway… Think of it as a giant and involuntary retraining class."
brucesterling  darkeuphoria  ipad  flipboard  magazines  sociality  socialnetworks  aspirationalnetworks  reading 
november 2010 by robertogreco
Afterall
"Afterall is a research and publishing organisation based in London. Founded in 1998 by Charles Esche and Mark Lewis at Central Saint Martins College of Art and Design, University of the Arts London, Afterall focuses on contemporary art and its relation to a wider artistic, theoretical and social context."
art  magazines  theory  conceptualart  culture  journals  afterall  books  london  arts  context  socialcontext 
october 2010 by robertogreco
The Foxfire Fund, Inc.
"Foxfire (The Foxfire Fund, Inc.) is a not-for-profit, educational and literary organization based in Rabun County, Georgia. Founded in 1966, Foxfire's learner-centered, community-based educational approach is advocated through both a regional demonstration site (The Foxfire Museum & Heritage Center) grounded in the Southern Appalachian culture that gave rise to Foxfire, and a national program of teacher training and support (the Foxfire Approach to Teaching and Learning) that promotes a sense of place and appreciation of local people, community, and culture as essential educational tools."

[See also: http://foxfire.schoolwires.com/ ]
foxfire  folklore  learner-centered  simplicity  anthropology  art  books  gardening  georgia  culture  diy  education  environment  homesteading  history  teaching  sustainability  appalachia  unschooling  deschooling  magazines  learning  studentdirected  student-centered  tcsnmy  lcproject  schools  eliotwigginton 
october 2010 by robertogreco
Foxfire (magazine) - Wikipedia ["began as a quarterly American magazine written and published by students at Rabun Gap-Nacoochee School, a secondary education institution located in the U.S. state of Georgia, since 1966"]
"Despite a series of setbacks involving founder Wigginton during the 1990's, Foxfire continues to train educators in its constructivist methods, which supposes that students must construct meaning for themselves, rather than having to simply memorize information a teacher deems important. In essence, Foxfire and other constructivist approaches to teaching say that by constructing their own meaning, establishing relationships, and seeing the connection of what they do in the classroom to "the real world," students are better able to learn. As a result of shifting tides in the educational system, Rabun County High School no longer classifies the Foxfire class as an English class, but rather as a business class, and students are no longer as involved at the museum as they once were."
foxfire  constructivism  learning  teaching  magazines  tcsnmy  publishing  education  schools  eliotwigginton  unschooling  deschooling 
october 2010 by robertogreco
Stranded takes off · Magtastic Blogsplosion
"A few months ago, when a volcano erupted and I was stuck in Dublin, I said this: "This is an open call to designers, writers, photographers, illustrators, art directors and anyone else who is stranded by the ash cloud, and would like something to do."

If there’s one thing my ol’ ma taught me, it’s that when life gives you volcanoes, make magazines. And so we shall.

I’m nothing if not a man of my word, thus Stranded magazine is now on sale. The concept, commissioning and editing are all me; the design is all Matt McArthur, who was stranded in New York. We’ve yet to meet or even speak on the phone, but we worked together marvellously thanks to the wonders of modern gin communication.

As for the words and images.. they’re courtesy of more than fifty fantastically talented people I’ve never met, all of whom were similarly stuck and mercifully, I presume, as bored as I was in trying not to spend any money while stuck somewhere unexpected."
magazines  magcloud  iceland  stranded  2010  volcano 
september 2010 by robertogreco
Write For Us « Kill Screen Magazine
"We publish big-name bigshots and first-time writers. Naturally, if you’re new to the biz we’d like to see your samples, to help us get to know you. But we’re always on the lookout for new talent.

You should know about games, but you don’t have to be a games journalist per se. We won’t ask you for your list of desert island games—but the more you know about games and games writing, the more likely you are to pitch an idea we haven’t read before.

Think hard about why you’re uniquely positioned to tell this story. Are you an oceanographer who can talk about how games connect to deep sea exploration? An inmate with a story to share? Shoot us a line."
classideas  killscreen  journalism  magazines  games  writing  videogames  gaming  edg  srg  glvo 
august 2010 by robertogreco
Cool Tools: The Best Magazine Articles Ever
"This is a work in progress. It is a on-going list of suggestions collectively made by readers of this post. At this point the list has not been vetted or selected by me. In fact, other than the original five items I suggested, all of the articles mentioned here have been recommended by someone other than me. (Although I used to edit Wired magazine none of the article from Wired were suggested by me or anyone who worked at Wired. I also did not suggest my own pieces.)"
kevinkelly  lists  magazines  instapaper  writing  toread  reading  essays  culture  bestof  journalism  davidfosterwallace 
august 2010 by robertogreco
Cool Tools: Long Form * Instapaper
"Longer than a newspaper item but shorter than a book, a magazine article is the ideal length for my attention span. I'd rather spend an hour with a great magazine article rather than read a book any day. Ditto for hopscotching through shallow blogs and newspaper bits. But there are fewer print publications running long form journalism. Ironically, a new website, called Long Form, points to the best long form articles appearing anywhere in print, and also collects the great magazine articles from the past. Long Form fits perfectly into a small ecosystem whereby you can read these great pieces of writing on a Kindle, iPad, or phone. I've found the easy-reading portable screens of these tablet devices fit a 1 to 2-hour window perfectly."
kevinkelly  longform  instapaper  givemesomethingtoread  toread  magazines  ipad  ereaders  kindle  reading 
august 2010 by robertogreco
Flipboard for iPad
[Might as well add this to the bookmarks tagged 'ipad' and 'application'.]
application  aggregator  ipad  iphone  twitter  facebook  news  social  semanticweb  socialmedia  software  magazines  media  network 
july 2010 by robertogreco
The Seventeen Magazine Project
"The Seventeen Magazine Project is an attempt to spend one month living according to the gospel of Seventeen Magazine. This blog will serve as documentation of this endeavor, as well as commentary on the adolescent experience. For a complete list of project rules and goals, click here.
magazines  experiments  fashion  gender  sociology  society  participation  youth  culture  stereotypes  girls  geny  kids  documentary  media  seventeen  seventeenmagazine  consumerism  influence  teens  peers  economics  jamiekeiles  tcsnmy  classideas 
june 2010 by robertogreco
boneshaker magazine
"‘boneshaker’ magazine is a collection of articles, stories and anecdotes about people and projects doing great things with bicycles.
bikes  biking  magazines  boneshaker 
may 2010 by robertogreco
48 Hour Magazine
"Welcome to 48 Hour Magazine, a raucous experiment in using new tools to erase media's old limits. As the name suggests, we're going to write, photograph, illustrate, design, edit, and ship a magazine in two days.

Here's how it works: Issue Zero begins May 7th. We'll unveil a theme and you'll have 24 hours to produce and submit your work. We'll take the next 24 to snip, mash and gild it. The end results will be a shiny website and a beautiful glossy paper magazine, delivered right to your old-fashioned mailbox. We promise it will be insane. Better yet, it might even work."
heatherchamp  derekpowazek  alexismadrigal  sarahrich  mathewhonan  dylanfareed  magazines  crowdsourcing  collaborative  publishing  2010 
april 2010 by robertogreco
Introducing Upload from Flickr | MagCloud
"MagCloud’s new “Upload from Flickr” feature lets you easily turn your Flickr photo sets into a magazine without the need to use a design program or upload a PDF file.

All you have to do is create a set in Flickr and authorize MagCloud to connect to your Flickr account. MagCloud will import the photos and lay them out automatically. In just minutes, you'll have a photo magazine all your own!

The new "Upload from Flickr" feature is a fun and fast way to turn wedding photos, family vacation pictures, your kid's little league action shots, your professional portfolio images and more into a high-quality printed keepsake magazine.

To give it a try, just create an issue and choose the "Upload from Flickr" option."
flickr  papernet  paper  magazines  print  publishing  photos  tools  photography  tcsnmy  classideas 
april 2010 by robertogreco
The Wired Tablet App: A Video Demonstration | Epicenter | Wired.com
"Last week Jeremy Clark from Adobe and I unveiled the first glimpse of the Wired Reader at TED. Above, you’ll see a video, narrated by Jeremy and Wired Creative Director Scott Dadich, who led our tablet team, that shows more. It explains why the tablet is such a groundbreaking opportunity for magazines such as ours."
wired  magazines  ipad  ereaders  ebooks  technology  journalism  webdesign  adobe  tablet  mobile  video  interface  interactive  media  publishing  design  air  flash  ui  webdev 
february 2010 by robertogreco
The Idler
"The Idler is a bi-annual, book-shaped magazine that campaigns against the work ethic.

The title comes from a series of essays by Dr Johnson, published in 1758-9 in the Gentleman’s Magazine.

The intention of the magazine is to return dignity to the art of loafing, to make idling into something to aspire towards rather than reject.

As well as providing a radical and thought-provoking read, the Idler is also very funny."
culture  politics  procrastination  humor  life  activism  philosophy  simplicity  slow  idleness  idle  magazines  lifehacks  lifestyle  community  alternative 
february 2010 by robertogreco
Subtraction.com: Notes on iPad
"As a general principle, there’s no way around evolution, and in this specific instance the reality is that there is no direct translation of the print experience to digital media. That is, the content can be translated, but it’s not likely to be as literal as many might expect or even hope. Those looking to the iPad to return us to some semblance of a print-like reading experience are basically wrong, I believe. In fact, lots of really smart people will continue to get this wrong going forward. We’re all still figuring out. That’s the definition of an opportunity."
ipad  publishing  apple  magazines  print  2010  khoivinh  media  design  newspapers  opportunity  future 
january 2010 by robertogreco
The future of designed content « Snarkmarket
"Okay—the point of this artic­u­la­tion is not to con­vince Gawker Media to hire a bunch of design­ers. Rather, it’s get you to imag­ine what blogs like those would look like if they both­ered with bespoke design every day. I think it’s a super-interesting vision.
design  internet  culture  magazines  webdev  gawker  publishing  content  webdesign  interactiondesign  journalism  future  web  contentstrategy  snarkmarket  robinsloan  io9  lifehacker  pictory  rss  bespoke  googlereader  collective  prediction 
january 2010 by robertogreco
Field Notes – Gruenrekorder Magazine
"Field Notes is a bi-lingual magazine published by the German label Gruenrekorder, edited by Daniel Knef and Lasse-Marc Riek. Generally speaking the magazine is concerned with the phenomenon of sound from the most varied perspectives: artists, scientists and sound researchers add to Field Notes with their essays, interviews, travelogues, anecdotes, notes and picture series."
sound  documentation  magazines  observation 
january 2010 by robertogreco
Electronic tablets can't possibly save magazines and newspapers. - By Jack Shafer - Slate Magazine
"That's not to say that the tablet has no future. It's just if the past is any guide, the future of the tablet won't look like the SI or Wired prototypes—any more than Pathfinder turned out to be the future of the Web. I find it more likely that some young people at a startup will figure out the highest uses of the tablet form before SI or even Slate does. As Newsweek's president ultimately learned from his CD-ROM debacle, not all head-starts turn out to be valuable."
newspapers  technology  future  magazines  publishing  tablets  journalism  entrepreneurship  broadcasting 
december 2009 by robertogreco
Arts & Architecture Magazine
"On this website you will find selected projects from issues of the magazine 1945 through 1967. The internet publication of A&A is made possible by Benedikt Taschen and his eponymous publishing house, which is reissuing the first ten years in book form in the Fall of 2008.

My first thought when approached about the book project was that it was impossibly retro. Taschen had already done a physically immense reproduction of Arts & Architecture's Case Study House program (www.taschen.com). That seemed to me to be sufficient. After all, the magazine was best known, almost exclusively so, for this 20-year-long program sponsoring new ideas in residential design.

But A&A was more than that. It is difficult, maybe impossible, to understand a time that is not your own, to feel the excitement of the 40s, 50s and 60s if you were not a part of them."
artsandarchitecturemagazine  art  arts  architecture  losangeles  history  modernism  design  magazines  1940s  1950s  1960s  casestudyhomes 
november 2009 by robertogreco
Is the Magazine Dead? « Jimmy Wales
"Conde Nast announced closure of Gourmet Magazine...traditional magazine has not kept pace w/ needs of readers or advertisers. It isn’t that reading is going out of style – quite the opposite. It isn’t that people don’t care about quality. The death of the traditional magazine has come about because people are demanding more info, of better quality & faster...How did this happen? How did a Recipes wiki become more popular than one of the most famous food magazines? Gourmet offered handful of recipes & articles per month, Recipes offers literally thoughts of recipes on-demand anytime anyone wants. But there still *is* value in paper form-factor & carefully selected “best of” content, delivered on a per-issue or subscription basis: that’s where MagCloud/Wikia partnership comes in. Communities can now produce print mags of higher quality & more timely & customized nature than traditional print magazines can. YOU can publish your own cooking magazine or cookbook on Wikia."
publishing  magazines  jimmywales  print  wikia 
october 2009 by robertogreco
Everywhere: Travel is All Around You
"Designed for people looking for authentic world experiences, Everywhere gives a voice to travelers worldwide who wish to tell their stories and share their favorite places."
magazines  travel  everywhere  place  geography  international  photography  web2.0  maps  mapping  collaboration  writing  crowdsourcing 
july 2009 by robertogreco
zinepal.com
"Use zinepal.com to create your own magazines or zines for short. Select content from your favorite blogs, websites or RSS feeds and put it in your zine. zinepal.com creates an online version and a printable PDF. Then you print it and read it in your favorite coffee shop, e-mail it to your friends or just let them subscribe to your online zine feed."
zines  unbook  via:russelldavies  print  pdf  publishing  magazines  papernet 
march 2009 by robertogreco
polar inertia: journal of nomadic and popular culture
"Polar Inertia journal is an outlet and a resource for on going research into the networks and patterns that define the contemporary city. The journal began with the idea that the understanding of a culture requires immersion into the instruments of media, technology and infrastructure that have molded its growth. Contributions to future issues are always encouraged."
nomads  neo-nomads  photography  architecture  culture  art  design  travel  journals  urban  urbanism  magazines  cities  landscape 
december 2008 by robertogreco
Whole Earth Catalog: Access to Tools and Ideas
"In 1968 Stewart Brand launched an innovative publication called The Whole Earth Catalog.It was groundbreaking, enlightening, and spawned a group of later publications. The collection of that work provided on this site is not complete — and probably never will be — but it is a gift to readers who loved the CATALOG and those who are discovering it for the first time."
1968  wholeearthcatalog  stewartbrand  culture  technology  activism  reference  magazines  tools  environment  green  singularity  history  sustainability 
december 2008 by robertogreco
Tuttle SVC: Oh Lord I Need to See This [on The Modern School Magazine]
"Growing out of the News Letter was one of the so-called "little magazines" which proliferated during the early decades of the century, mounting an attack upon the "genteel tradition" in the arts. Lovingly edited and printed, it became one of the most beautiful cultural journals ever published in America, rich alike in content and design. Luanched in 1912, it continued until 1922, surveying a whole range of literary, artistic, and educational ferment of the period. According to Manual Komroff, it "cut new furrows in a parched land." (...)
schools  schooldesign  curriculum  arts  learning  education  radical  change  creativity  art  unschooling  deschooling  lcproject  tcsnmy  history  philosophy  teaching  magazines  publications  culture 
december 2008 by robertogreco
Secular Homeschooling Magazine
"Secular Homeschooling is a non-religious quarterly magazine that reflects the diversity of the homeschooling community. Its readers and writers are committed to the idea that religious belief is a personal matter rather than a prerequisite of homeschooling. This magazine is for any homeschooler, religious or not, who is interested in good solid writing about homeschooling and homeschoolers."
education  homeschool  secularism  unschooling  glvo  magazines  publications 
december 2008 by robertogreco
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