Since I started Library of the Printed Web last year, and launched the first two issues of Printed Web this year, the project has gained a good amount of international attention from design students, artists, curators, critics, collectors, librarians and others interested in the so-called post-internet moment, appropriation, collecting, photography and technology. And from the talks, panel discussions and feedback that I’ve received, I’ve started to develop a more critical stance regarding the value of digital work in the context of the printed page.
Why is printing the web so compelling? How does it relate to larger conversations about materiality, circulation and the new ease of independent publishing?
When I first started to articulate my thoughts about this (Search, compile, publish), I focused on the more obvious aspects of web-to-print — like the tactility of the printed page (its thingness), speed of consumption and the basic techniques being used by artists working in this space, like hunting, grabbing, scraping and performing.
I always suspected I could go further, but that’s only come with a bit of time and a lot of dialogue. So I’ve written a text that tries to get at it — to position this moment in a more critical fashion, especially as it relates to independent publishing and the artist’s practice in a networked context.
I’m continuing to work on it, so it’s still a draft, but in the spirit of continuous, ongoing publishing (and working in public) — read the full text here.