It is now possible to publish books for free.
Does that change what they mean?

When: 12/06/18 . Noon – 4pm
Where: The Domestic Performance Agency
Cost: FREE
Required: A laptop
Please feel free to reach out with any questions: yonkersinternationalpress at gmail dot com

This workshop has two themes that it moves back-and-forth between.

1: Publishing
This workshop aims to impart a basic understanding of the freely available (non Adobe) digital tools that may be used to format, publish, and distribute books via the internet. We will begin with an overview of the history and current state of Print On Demand services. Next, we will proceed to learn a variety of methods for formatting and making PDFs—the crucial file for all net-based book making—including some very basic HTML/CSS. By the end of the workshop each participant will be able to publish and offer for sale worldwide a 6”x9” black-and-white paperback book of their very own.

2: Group Writing
Throughout the workshop the group will engage in periods of timed writing under specific conditions. This will help us to both practice group attunement, and to witness our own habits and assumptions with regards to how we write. The conditions under which the group will write will undergo both formal ("write a play") and material ("write while touching another person") variations. These conditions are not intended to overwhelm the writer, but rather to move the group towards an experience of collective authorship.

For Whom?
For you(m)! This workshop draws from experiences in publishing and performance practice, but experience in either of those two domains is not at all a prerequisite for participation. You might enjoy this workshop if: you want to learn how to make books for little/no money; you are interested in alternative approaches to documentation/archiving; You want to experiment with alternative approaches to writing alone or in a group… and more, and more!

And finally.....
Should you find the themes of this workshop interesting a course reader will be available on the day of the workshop for $40-50 (still sorting the production costs). The working table of contents of the course reader is as follows:

—Excerpt from “Grief Lessons: Four Plays by Euripides”, 2008, Anne Carson

—Excerpt from “The Eternal Internet Brotherhood/Sisterhood”, 2018, by Angelo Plessas 

—"The Insistence of the Material: Theorizing Materiality and Biopolitics in the Era of Globalization", 2016, Christopher Breu

—“The Grain of the Voice”, 1967, Roland Barthes

—“New Kind of Printing Calls for New Design”, 1922, W. A. Dwiggins

—Designing for Print with CSS, 2015, Rachel Andrew

—Interview with Olia Linalia from “My Boyfriend Came Back From The War: online since 1996”, 2016, HEK publishers

—Excerpt from “Grid Systems”, 1981, Josef Müller-Brockmann

—“Program of the First Working Group of the Constructivists”, 1921, by Alexander Rodchenko and Varvara Stepanova 

—“The Magazine as a Medium: ASPEN 1965-1971”, 2011, Gwen Allen

—Interview with Cory Archangel from “All The Small Things”, 2017, Cory Archangel

—“Publishing as Artistic Practice”, 2017, Annette Gilbert

—“The Museum, its Meaning and Mission”, c. 1880s, Nikolai Fedorov  

—Interview with Abe Linkoln, 2017,

—“Mel Bochner, Working Drawings and Other Visible Things on Paper not Necessarily Meant to be Viewed as Art”, 2017, James Meyer 

—“The Intentional Fallacy”, 1954, Wimsatt and Beardsley 

—Excerpt from “The Elements of Typographic Style”, 1992, by Robert Bringhurst

—“Art and Poetry: The Cubo-Futurists,” 1980, Roman Jakobson 

—A Girl Made of Language: Martine Neddam’s Mouchette, 2016, Michael Conner

—Excerpt from “Meaning in History”, 1949, Karl Löwith

—"Art and Objecthood", 1967, Michael Fried

—"Avdey Ter-Oganyan: Toward the Object 1992, 2017, Ekaterina Degot

—Excerpt from “Orchesography”, 1589, Thinot Arbeau 

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