The titles are much inspired by the fantastic works of Edward Gorey and by long and venerable tradition of fictional books imagined by some of literature’s greats: Laurence Sterne, Jorge Luis Borges, Ursula LeGuin, Umberto Eco, Italo Calvino, Georges Perec & Stanislav Lem among many others.

The three books will be distributed via the Periodical starting in May 2014 – subscribe now to get your copies as well as other treats through your letterbox each month. We will have copies too at a special event at the House of St Barnabas in May organised by MoSoho.

We devised simple workflows, diagrams and ‘thinksheets’ as well as developing some workbooks and notebooks that individuals could use – all made with bookleteer. We printed up a batch of each using the Short Run printing service, but a key part of the design was that anyone could easily download, print out and make up more copies if they needed to, or the centre could easily order more printed copies as and when they had funding.

We are now creating generic versions of all these tools so that anyone else can set up their own version of a Neighbourhood Ideas Exchange (NIE), can download and make up the notebooks and other tools. We’ve completed versions of the existing 4 notebooks – Experiences, Managing a Problem, Communicating a solution online, Things To Do – and are writing a general guide to the toolkit and NIE concept.

We’ve also been condensing our experiences working in Pallion, as well as many years experience working with other communities both here and abroad, into a playful set of StoryCubes designed to help communities, facilitators and organisers think through the different kinds of steps needed for something like a neighbourhood ideas exchange or other community network. We’re hoping to have the whole toolkit finished in time for the AHRC Connected Communities Showcase on 12th March, where we’ll be showing materials created for our other collaboration with ISG on the Hidden Families project.

Material Conditions: Epilogue is both a companion to those books – for those who read it, for the artists involved – and, as a pleasant paradox, an introduction for those who are not familiar with them. Five of the original contributors – Sarah Butler, Jane Prophet, Karla Brunet, Janet Owen Driggs & Jules Rochielle and Ruth Maclennan – have created new pieces for this publication, as they look back on the series, reflecting on their book and those by the other artists. Far from mere commentary, these responses are works in their own right, and are as poetic and profound as the initial eight books.

It’s also the first publication to launch the Periodical, to suggest the kind of iterative and experimental forms we hope to see being made and shared with bookleteer. As Giles stated eloquently in his ‘manifesto of sorts’, we’re striving for publishing as conversation; despite the finality of its title, this book can be seen as only the most recent part of a process. Here’s hoping for more.

James and I have been building on conversations we’ve had over the past 4/5 years, and on top of some earlier work together as part of the British Museum’s Melanesia project. A case study explores how we used Diffusion eNotebooks to record the experiences of two Reite villagers – Porer Nombo & Pinbin Sisau – when shown hundreds of objects in the BM ethnographic collection from their area. Bookleteer and the eBook formats proved highly adaptable and useful in this process, allowing us to record interactions on the fly – both in writing and in capturing photographs of the social interactions of the project. We used digital cameras and printed out small photos using a Polaroid PoGo printer to stick directly into the eNotebooks which, once complete, were scanned in and posted online. Some months later we also used bookleteer to print up a short run edition of the 4 eNotebooks which were used in conferences and taken back to the village.

Our conversations this week have focused around themes of process, notation and sharing. Papua New Guinea is perceived as very poor in western economic terms, yet abundant with culture and the natural world. There is a great deal of sensitivity about how indigenous knowledge – of plants, places, wildlife and culture – is both presented and shared. Who benefits? To what, if any, degree does sharing more knowledge help preserve the delicate environment from exploitation and extraction? Why and how local people might wish to record and share their own knowledge to be communicated to outsiders in ways that protect their culture and environment is at the core of this issue. What value, if any, might come to local people from annotations of their knowledge by outside ‘experts’, such as botanists and naturalists in identifying species? Might this lead to just further exploitation and depredations of natural resources?

James and Porer have already published a unique collaboration – Reite Plants – which mixes local knowledge of the flora around Reite village with social and cultural knowledge. It is also written in both English and Tok Pisin, the local creole language. This is seen as a model for working together to share knowledge that situates the plants within the lived culture of Porer’s village and at the same time fulfilling western demands for scientific classification, but without delving into complicated and thorny issues such as para-taxonomy or bio-prospecting.

James and I have been discussing how hybrids – such as bookleteer and the eNotebooks – can be used as part of a co-creative and co-designed process that enables people to use simple tools and technologies, especially ones that are readily available in PNG, to record and document what they know. Starting from the simplicity of the eNotebook format, we’ve been thinking about what kinds of process and social engagement with local people could be explored that would allow material to be created and collected in ways that allow further reflection and addition. We have been thinking of accretive processes that build up and layer the complexly interwoven customs, practices and traditions in ways that reflect the whole culture, not just individual elements that can quickly be consumed, Indigenous Public Authoring for Traditional Ecological Knowledge (IPATEK). Perhaps this itself might be another form of ritual, of patterning knowledge and experience through overlapping notations?

What excites me is the opportunity I have been offered to explore these ideas both in the context of the symposium and in Reite village itself. No doubt the ideas we have cooked up in Scotland will be transformed again and again as they evolve in our conversations and collaborations in PNG with both other thinkers and academics and local people who live within their own indigenous ‘knowledge’ and for whom its enactment is always immersed within the practice of their everyday lives.

Since then, I’ve come across a couple of books that draw parallels – miniature libraries of creative insights and artistic working practices – which should be of interest.

According to the Artists – 13 Questions, 51 Interviews, (the title is pretty self-explanatory).

We’re asking participants to bring lists and photos of their favourite books, to create a set of eBooks with bookleteer that reflect the kinds of books, things and services people would like to see in their community library.

Join us from 11.00 am – 1.30 pm at…

Hope to see you there.

Open till the 21st September, on a temporary license from Lewisham Council, the Library hopes to be granted a new tenancy, and is therefore holding a fund-raising tea party on the 17th of September. Donate £10 or more to attend, and be thanked in tea and cakes!

Simply using the existing text from the bookleteer blog and full-page photographs as covers for each section, in a book, turns transitory blog posts and assorted snapshots into a publication that can stand on its own right, demonstrating the transformational effect and credence associated with a printed document (although it’s also readable online), made possible with the eBook format.

Read City As Material: An Overview with the online bookreader below, or download, print and make via Diffusion.

Adorning the cover is one of Martin Fidler’s intricate skyline drawings, opposed with an ambiguous photograph of Tower 42, taken from ground level, looking up – once the image is reversed, it resembles surreal train tracks, running into the horizon. Flowing throughout the book are two lines, mapping our elevation over distance and over duration, captured via a iPhone GPS / Altitude app. They stream through notebook scraps and photos, providing a locational narrative – we liked the idea of extending and distorting this digital data into an abstract visual, creating our own man-made skyline for the backdrop of the eBook.

Read Ancient Lights, City Shadows below, using our online bookreader, or download on Diffusion.

Download, make and read Deep City on Diffusion.

The train from London seemed distinctly commuter-free compared to our journey to Bristol, with only a handful of people in our carriage. We bagged table seats, and sat down to some much needed coffee, battling against the dreary weather outside. Mucky, sepia-tinted windows gave the landscape outside a grainy, nostalgic vibe, the perfect accompaniment to tales of Tim’s childhood in Norwich.

Arriving there, after setting up the GPS tracker and sound recorder Tim had brought, we walked down the main stretch of tacky nightclubs and kebab joints, possibly not the best introduction to the city. However, we soon spied Norwich castle, a curious structure, almost too uniform and perfect considering it dates from the 11th century. Tim said it looked like a fairy-tale castle, a manifestation of the first thing you’d see when you heard the word “castle”. Next to it, a space-age cylindrical lift ferried visitors to and from the lower levels – a bizarre combination.

We descended to the city centre, passing the market, towards Elm Hill, a historic cobbled lane with houses and shops dating from the Tudor period. This amazing street is home to the Strangers Club, set up to entertain those from outside Norwich, and where Tim’s father regularly took him to lunch. I couldn’t resist a peek through a lofty window, and was greeted with the sight of a woman carrying flagons from the kitchen, hastily ducking before she noticed. Further up, the window of an antique and curiosity shop in a side court displayed Crowley-esque goat horns and all manner of surreal exhibits.

After passing through the beautiful cathedral and it’s ornate cloisters (and a hilarious sign outside which read “We apologise for the untidy appearance of these ruins”), we popped into the Writer’s Centre, recruiting Chris Gribble briefly as our tour guide. He mentioned that Norwich was barely affected by the industrial revolution, apparent in the structures pre-dating it which are so common. We cut through the shopping centre, past the cinema where Tim first saw Star Wars, and arrived by a huge derelict building adorned with a giant graffiti mural; originally zoned for development, but now a victim of the property crash. A dystopian counterpart to the medieval niches of the city.

Before departing, Chris recommended The Window, the “world’s smallest coffee shop” (appropriately next to the “UK’s best pizza and kebab” shop – a dubious claim). After lunch in the refreshingly different Cinema City dining rooms (housed in a building where parts date back the the 14th century, yet the courtyard is sheltered by a modern glass roof), we stopped by. It resembles a tiny kitchen, with only a small bench and a chair or two to perch on, but has a great atmosphere. We chatted with the owner and several locals, and left with the after-glow of a dynamic and friendly venture trailing behind. Tim’s previous statement that nothing much had changed since he left, and that the pulse of the city was definitely on the slow side, had a small, yet charming, contender.

All day we had noticed plaques underneath various street signs, some with slightly vague origins; the phrases “may have been named because” and “could be” were used an awful lot. Paired with peculiar names, such as “Rampant Horse Street” and “Tombland”, these gave us the idea of perhaps creating some Storycubes with street-sign images, and fictional explanations on the other side, which could be fun. We were also interested in using GPS data and sound recordings from the day for an eBook output, particularly Tim’s childhood memories, and the peaks and lulls in conversations when passing through certain areas, so that we could contrast the physical experiences with raw data, examining the correlations and disparities. We’ll be starting work on those soon, so keep an eye out on Diffusion.

View our photos from the day on the City As Material Flickr page.

Rising early to jostle with commuters, gazing out the windows as London slipped away, we found ourselves wishing the grey clouds starting to form would soon depart. Giles recounted some of Bristol’s trading history as a major seaport – first cloth and food, then tobacco and plantation goods, and most recently motor vehicles and other industrial goods.  The diverse influences these commodities have had, and the industries that grew from them, were apparent as soon as we stepped out from Bristol Temple Meads station. Classical architecture nestles alongside warehouses and work yards, the skyline an eclectic mix with multiple layers and contrasting shapes. We headed towards the city centre, past absurdly named company headquarters and a block of ultra-modern flats being developed, the new exterior half grafted on to a former electrical station. Deeper in, the surroundings became rundown and slightly seedy, with plenty of covertly named “massage” parlours. The intensifying rain only added to a faint sense of melancholy. This was soon replaced by the overwhelming juxtaposition of Broadmead shopping centre, its multitude of intersecting walkways and floors giving off a definite M.C Escher vibe.

Andrew met us outside a great little cafe in Stokes Croft,  Zazu’s Kitchen, which we soon entrenched ourselves in and planned our next steps. He was interested in exploring Harbourside and the water, having already spent some time in Stokes Croft, a burgeoning counter culture hub, and an area with complex issues commonly cross-examined.

Along the river we passed some quirky houseboats and a cafe named after Brunel – a name with plenty of homages in this city. The tranquil water, with the cultural and community identity of the people who live and work on it, was a marked contrast from our first footsteps into Bristol. We worked our way towards the Clifton suspension bridge, past crumbling piers, their supports stuck firm in glossy silt, and amazing houses that resembled Spanish villas, ornate features at odds with the hectic road on their doorsteps. Clifton Rocks Railway, a former underground train system set into the cliffs, peeked out from behind bricked up windows and sheer walls.

We clambered up a steep path cutting into the cliffs, through a temporary haven of greenery sheltering the first bees of spring – pleasantly disorientating after the industrial harbour. Exhausted, we arrived by the Clifton bridge, and were rewarded with a staggering view of all we had just passed through. Giles pondered the design of the towers, looking almost Egyptian rather than Victorian. The banal toll houses seemed out of place as well, a mix between a bungalow and a bus shelter. After discovering the observatory nearby was closed, Andrew passed a fitting summary of our experience in the city: “Visiting Bristol is hard a get a grasp on. You get little peeks of contrasting areas and senses, and when you finally get to the top and get a chance to put it all together, you’re denied.” Our take on Bristol is as seen by the curious tourist, perhaps one that benefits from only glimpsing portions of it. After all, whats left to do and wonder after putting the puzzle together?

We’re currently brewing ideas for the publication. Look out for it soon.

Take a peek at the City As Material: Bristol photos here.

We think this is a great way of showing how easy it is for individuals or groups to create and print multiple books in short runs (such as 50 copies) that can be collected together to make a beautiful publication. We will be aiming to add the ability to design and print out your own slipcases to bookleteer later this year, but in the meantime we’re happy to discuss designing and printing custom slipcases for your projects.

To help CCI widen the audience for their work we’ve posted 7 eBooks on our diffusion.org.uk library and will be making others available there as they are created. All are welcome to download and share eBooks from the Library of Traces.

In the next few weeks we’ll be printing up a limited edition set (50 copies) of all 10 eBooks through our PPOD service and are currently designing a special slipcase to hold them. The slipcases are also being designed as templates which we’ll incorporate into bookleteer later this year as an option for people to customise and create their own. We think they will offer a convenient way to organise or collect your own Diffusion eBooks. As with the other shareables, the slipcases will be designed so that they can be printed out and made up by hand (using an A3 printer/sheet size).

We’ll be hosting an event to launch the limited edition City As Material set this Spring – look out for updates on the date and venue.

Future Plans in 2011
This year we hope to take our Pitch in & Publish series of City As Material events outside of London to other towns and cities in the UK (or abroad). We’d love to hear from people or organisations interested in commissioning us to devise and run a one-day (or possibly longer) collaborative urban exploration and publishing event in their own town or city.

A typical event…
We’ll work with the local hosts to devise a topic, plan the exploration route and design customised notebooks. At the end of each walk we’ll need a space (with WiFi access and ideally a printer) to sit down with the participants as a group and work on planning/drafting the collaborative eBook that will be the record of the day. As before we’ll be using a range of online and social media to post up photos, audio, video etc taken during each event by all taking part – and we’ll be encouraging all the participants to sign up with bookleteer to create their own personal eBooks (and/or StoryCubes).

How to book an event
Please get in touch with us to plan an event in your town or city. Our basic fee for each event (payable by the host) will be £600 + VAT and travel expenses (and accommodation where needed). This fee covers pre-planning, facilitation by 2 members of Proboscis on the day and post-event coordination of the collaborative eBook (+ publication on diffusion.org.uk), as well as printing of a limited edition run (50 copies) of the eBook.
Local hosts will be responsible for recruiting the participants to each event. Proboscis will also help promote each event across our own networks to engage as broad a group of participants as possible.

Gazing upwards, we strolled towards the Gherkin and then Tower 42, before breaking off from our path to explore some secluded passages and elevated walkways, spotting little wonders you would never notice during everyday travels. Walking right past office worker’s windows, we got some unusual glances as we peered inside and discussed the relationship between the buildings in the City and its dwellers, taking heed of the abundance of CCTV camera’s recording our steps. These, plus the unusual nature of some of the areas we visited, almost make you feel as if you are trespassing, even though we were on public land; a hidden garden we wandered upon seemed to be a haven of exclusivity, with little seating alcoves that resembled guard posts.

Back in the main streets, we made our way to the Monument, our aim to ascend it’s 311 steps and be rewarded with an elevated view of the city. Traveling up the narrow, winding staircase was a hefty task, but once at the top the panorama was breathtaking. The sense of detachment from the lived in, street level, as the strong wind whipped across the tiny viewing platform, was poignant and surreal. 160 feet high, looking down at rooftops and across to spires, we saw London as a bird might, the human element below seeming very far away.

Thoroughly deserving of lunch, we had a rest, ate and further explored Simon’s photo essay, starting to pick up on themes and possible idea’s for the eBook we would produce back at the studio. Once there, we discussed the day and compared photos, as well as a GPS account of the route we took, from Katharine’s phone, and some amazing drawings by Martin, from a previous trip to the Monument. The concept of looking up, and down, rather than purely across at a skyline, really interested us, and inspired the format of the eBook we are currently creating as a result of the event. Look out for it soon on Diffusion, and keep track of the discussion online with the #cityasmaterial hash tag on Twitter. You can also view all our photos from the event on the City As Material Flickr page.

The next Pitch In & Publish: City As Material event, “Underside”, will be on the 26th of November, and will include Alexanda Deschamps-Sonsino as our special guest. Book a place here.

Whilst sitting in the Hermitage Pier House, then on Anne’s boat in the river the conversation flowed across these issues of liminality and tension – about how the city has slowly encroached on the river, fixing artificial banks where it previously had a wide flood plain, such that we are now concerned about that flood plain being at risk with rising sea levels. Ben, who also lives on the river, spoke of how his home is different every day, changing position with the tide and weather; he also talked of the enormous variation that the sky, light and weather has on the character of the water and its constantly changing surface.

From Hermitage we then walked west along the Thames Path via St Katherine Dock, the Tower of London, Customs House, Old Billingsgate to Queenhithe, where we turned north and cut through the City, St Pauls, St Barts and Smithfield to arrive at the studio.

We talked about how the city so often seems to turn its back on the river, to build buildings that look inward to the city, and how its is only recently, with the shift in the Port of London to Tilbury that Londoners have at last begun to reclaim access to the river from what were previously commercial wharves and stairs. As it was low tide at 12.30pm we were able to include some beachcombing/ mudlarking with our walk – finding the ubiquitous clay pipe stems and pottery shards from earlier centuries, as well as the ever present animal bones, tiles and chalk. we shared stories and bits of knowledge about these stairs, their uses, the hidden rivers flowing out into the Thames.

Arriving back at the studio we began collating the drawings, objects, ideas, writings and photographs that had been created along the way and started to sketch out the structure of the collaborative publication – Ebb and Flow – which is now available. There is also a City As Material group on Flickr, and a Twitter hashtags – #cityasmaterial – to continue the discussions.

The next City As Material event will be on Friday 12th November on the topic of “Skyline” with artist Simon Pope as our guest. Book a place here : cityasmaterial.eventbrite.com

Sample project: Greenhill Digital Storytelling Guide

Her first project with the eBooks involved exploring how community residents talked about and engaged with the place they lived in from a historical and contemporary perspective. The eBooks were developed as a part of the process of collecting and disseminating information about what residents of the community of Greenhill – a historical village within Bonnybridge in Scotland. Gillian was able to recruit participants for the project either through the Greenhill Community Resource Centre or through her everyday encounters with local residents.

The eBooks served as a kind of “end point” to the project. They were used to summarise all of the information provided by the participants and subsequently presented to these same participants as a way for them to see their contributions to the research. You can find some examples of these eBooks here. Because of the limited resources available, she usually limits herself to printing batches of approximately 25 or 50 at a time.

“I think, for community work, it’s really important that you engage in much more unique and creative and interesting ways as a way of trying to spur some kind of interest and excitement in community work […] The eBooks are such a lovely way for that to actually fit with that kind of notion.”

Gillian doesn’t see her use of the eBooks as something collaborative in the sense that she is the one doing most of the work of actually making the eBook with the Bookleteer platform. This is partly because she has found that information technologies can be a barrier to their engagement in these types of projects. She is, however, exploring ways to use the eBooks to collect information from participants as part of the research process. Nevertheless, she feels the eBooks are particularly well suited as a means of presenting research to people including stakeholders:

“As a community worker you obviously have to evaluate projects and you have to write long boring audit reports for management. For me the eBook is just my way of doing that. And I provide management – and always have done – with a printed-out eBook for them to put together themselves. They’re probably quite annoyed! [laughs]”

In fact, Gillian claims to have gotten some very positive responses from stakeholders on the eBooks, even though it seems they would prefer not to have to fold the eBooks themselves. Nevertheless, Gillian still finds it somewhat challenging to get more then anecdotal feedback from people who read the eBooks.

Challenges, recommendations and suggestions

One of the main strengths of the eBooks for Gillian are the Bookleteer and Diffusion websites. She finds that eBook’s simple and effective templates work well with images and she enjoys perusing the website for new and unique ways of  using the eBooks. Another key strength for Gillian is the fact that it allows her to produce printed material that isn’t too involved or complicated.

Besides the challenge of feedback and the learning curve for people who are not familiar with digital platforms like Bookleteer, Gillian suggested in our conversation that she still had trouble with some of the formatting. Although she found that the new Bookleteer system’s way of enabling her to produce a PDF was quite useful, she still found that she had to go through five or six versions of the PDF before she had generated a version she was happy with.

The next case I want to present is considerably different in that the eBooks were not designed and used by members of an organisation, but by an independent curator and author: Michelle Kasprzak.

Michelle is currently working out of Amsterdam as the Project Director at McLuhan in Europe 2011. You can read more about her in here personal blog Michelle Kasprzak Art+Life+Technology.

I spoke to her from London via Skype on the 29 July 2010. Two specific examples of how she used the eBooks as part of her work came up in our exchange:

Sample project: Curating.info Conversations

Michelle had been following Proboscis’ work for nearly a decade – “a longtime fan of Proboscis and what it does”. It was through keeping in contact with them that she first heard about the eBooks. Having kept a personal blog since 2004 and created Curating.info as a way to publish her view on contemporary art curating, Michelle was on the lookout for new ways of publishing content. Since Curating.info relayed a significant amount of information about job opportunities or interesting events, she began to explore different options for publishing “something a little more “authored by me” as opposed to just passing on information.” One of the ways she devised was to publish interviews she had conducted with curators Karen Gaskill and Alissa Firth-Eagland as eBooks on Curating.Info under the title “Curating.Info Conversations”.
This was early days (2007-08) in the development of the eBooks when they were only available via the Diffusion.org.uk website. At this point, eBooks templates were less flexible so Michelle could only choose the title and print her name on the front cover of the eBook. In order to give it a bit more of a distinctive feel, she added coloured images and pull-quotes.

Unfortunately, this project proved to be considerably more challenging than Michelle had initially anticipated. She felt the eBooks were a simple and effective way of making these interviews “stand out” – making them available as a “downloadable series of books as opposed to just “Here’s another post in my blog””. However, the work of preparing and writing-up the interviews at the level of quality that she had initially set for herself proved too time-consuming and exacting (I can relate!). As is the case for many freelance cultural and creative workers, it was too difficult to maintain this kind of involved but unpaid project for an extended period of time.

Sample project: In-Site Toronto

A more recent project in which Michelle used the eBooks was In-Site Toronto. Michelle was invited to curate work to be presented on the portal pages of several wireless internet hotspots in the Wireless Toronto network. The artists invited to contribute to the project would have their work automatically displayed for people who logged in on the network at designated hotspots. The project was launched by the Arts organisation Year Zero One on March 31, 2010.

Michelle used the eBooks to produce what she referred to as e-Catalogues. Rather than creating a catalogue that would encompass all of the exhibition, she decided to create a series of downloadable eBook catalogues that would be available at each hotspot where the artworks appeared – something that made more sense for her in the context of this networked exhibition. This way, anyone interested in accessing more information about the artist or the artwork could do so.

Just as she had done with the Curating.info Conversations, Michelle designed the eBooks herself. Although this time she had access to the new Bookleteer system, she chose to keep things relatively simple. She opted for a uniform style across all six eBooks: keeping the same font and colours, inserting the exhibition’s logo on the second page, using the classic landscape format.

The advantage of the eBook in this case was that the eBooks would not only make the texts readily available to anyone who viewed the works, but that these texts would still be available in the distinctive “catalogue” format. Michelle wanted to provide something for people who “still long for that sense of “bookness”. “You still want people to feel like this is a real catalogue, it’s not just a pdf […] it’s almost a collectible.”

Challenges, recommendations and suggestions

Michelle finds it interesting that people are using the eBooks as notebooks. She regularly checks the Bookleteer site to see what new uses people are finding for them. At times in the interview, Michelle seemed almost apologetic about the way she was using the eBooks in that she felt her use was “fairly straight forward”. To some extent, this may be tied to the challenge of not having the technical abilities that someone like a graphic designer might have for modifying the eBooks or having access to the resources for hiring someone with those skills. Nevertheless, I would argue that the way in which she has applied the eBook format as part of her curatorial work shows considerable imagination.

Just like Ruth and the work at CCI, it was still unclear for Michelle how the eBooks were being used once they were in the hands of people who accessed them. Michelle had formed a general idea of who reads her blog – aspiring curators or people who are interested in digital art, most of them from English speaking countries including the UK and the United States – but this information was mostly based on what she had been able to piece together from exchanges with readers who had contacted her. Although hundreds of people had downloaded the eBooks, they were like a kind of “message in a bottle” because she did not know who picked them up or what happened to them afterwards.

Stay tuned for more case studies and some early analysis of what I’ve been able to collect to date.