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Whose Book Is it Anyway?

Janis Jefferies
Sarah Kember

Notes on Contributors

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1Janneke Adema is a Research Fellow at the Centre for Postdigital Cultures at Coventry University. In her research, she explores the future of scholarly communication and experimental forms of knowledge production, where her work incorporates processual and performative publishing, radical open access, scholarly poethics, media studies, book history, cultural studies, and critical theory. She explores these issues in depth in her various publications, but also by supporting a variety of scholar-led, not-for-profit publishing projects, including the Radical Open Access Collective, Open Humanities Press, and Post Office Press (POP).

2Alison Baverstock is a publisher and pioneer of publishing education and profession-orientated education within universities. She co-founded MA Publishing at Kingston University in 2006 and has researched and written widely about publishing. How to Market Books, first published in 1990 and now in its seventh edition, has been widely licensed for translation and is an international bedrock of publisher education, within both the academy and the profession. She is a champion of the widening of literacy and the value of shared-reading: Well Worth Reading won an arts and industry award and since then she has founded both and The Kingston University Big Read, which won the 2017 Times Higher Award for Widening Participation. In 2007 she received the Pandora Award for a significant contribution to the industry.

3Michael Bhaskar is a writer and publisher based in London and Oxford. He is co-founder of Canelo, a new digital publisher, and Writer in Residence at DeepMind, the world’s leading AI research lab. Previously he has been a digital publisher, economist, agent and start-up founder amongst other things. He is author of The Content Machine (2013) and Curation: The Power of Selection in a World of Excess (2016) and is co-editor of the forthcoming Oxford Handbook of Publishing (2019). He regularly speaks and writes about the future of publishing, media, culture and society.

4J. R. Carpenter is an artist, writer, researcher, and lecturer working across print, digital, and live performance. Her pioneering works of digital literature have been presented in journals, museums, galleries, and festivals around the world. Her recent web-based work The Gathering Cloud won the New Media Writing Prize 2016. A print book by the same name was published in 2017. Her debut poetry collection An Ocean of Static (Penned in the Margins) was highly commended for the Forward Prize 2018.

5John Cayley is a writer, theorist, and pioneering maker of language art in programmable media. Apart from more or less conventional poetry and translation, he has explored dynamic and ambient poetics, text generation, transliteral morphing, aestheticized vectors of reading, and transactive synthetic language. Today, he composes as much for reading in aurality as in visuality. Grammalepsy: Essays on Digital Language Art was published in 2018. Professor of Literary Arts at Brown University, he directs a graduate program in Digital Language Arts.

6Ronan Deazley is the Professor of Copyright Law at Queen’s University Belfast. His current research addresses the way the copyright regime impacts how memory institutions enable access to and use of our shared cultural heritage, online and across borders. In addition, he develops copyright education tools and materials for cultural heritage practitioners, information and media professionals, students and the wider public. He was the General Editor of the Copyright User initiative between 2013–2016 (, launched the Copyright Cortex in June 2017 (, and is the co-creator of The Game is On! (2015–2018) an award-winning series of six animated films exploring copying, creativity and limits of lawful appropriation and reuse.

7Simon Groth is a writer and editor whose works include Off the Record: 25 Years of Music Street Press (with Sean Sennett, 2010), Hunted Down and Other Tales (with Marcus Clarke, 2016), and Infinite Blue (with Darren Groth, 2018). With if:book Australia, Simon created a series of award-winning experimental works including the 24-Hour Book, live writing events at writers festivals around the world, and works of literary remix. His reporting on digital publishing has seen him travel the globe to discuss and explore the challenges and opportunities for writers and readers in a digital world. He is currently an editor at The Writing Platform.

8Daniel C. Howe is an artist and coder whose work focuses on the relationships between networks, language and politics. His hybrid practice explores the impact of computational technologies on human values such as diversity, privacy and freedom. He has been an open-source advocate and contributor to dozens of socially-engaged software projects over the past two decades. His outputs include software interventions, art installations, algorithmically-generated text and sound, and tools for artists. He currently serves as Associate Professor in the School of Creative Media Hong Kong.

9Janis Jefferies is professor emerita of Visual Arts, Goldsmiths, University of London, UK. She has edited numerous books and chapter contributions on textiles, technology, performance and practice research, most recently TECHSTYLE Series 2.0: Ariadne’s Thread (2017) and A Reader TEXTYLE 2.0 FabPublic, Talking about Textiles, Community and Public Space both for CHAT/MILL6 Foundation. Hong Kong (2018). The Enchantment of Textiles research project with Professor Barbara Layne, Concordia University documents twenty years of their collaborative, textile and technology based research. The exhibition will be shown at the ASM Expression Gallery. Art Science Museum, Singapore in 2019. She is contributing ‘Art, Craft & Design technologies’ to Charlie Gere and Francesca Franco’s three-volume Bloomsbury Encyclopedia of New Media Art, to be published in 2022.

10Danuta Kean writes for The Guardian and is books editor at Mslexia. She has edited three reports on diversity within UK publishing, including Writing the Future (2016) and Free Verse (2006), which have resulted in significant initiatives to improve inclusivity within the worlds of poetry and books. In 2017 she edited Centre Stage for the Andrew Lloyd Webber Foundation, which has also led to significant initiatives to improve diversity within the theatrical professions. She is a regular speaker on the radio and at festivals, revealing the inner workings of a trade that seems opaque to many, and has taught publishing and journalism on the Creative Writing MA at Brunel University.

11Sarah Kember is a writer and academic. She is Professor of New Technologies of Communication at Goldsmiths, University of London and Director of Goldsmiths Press. Her work incorporates new media, photography and feminist cultural approaches to science and technology. Publications include a novel and a short story The Optical Effects of Lightning (2011) and ‘The Mysterious Case of Mr Charles D. Levy’ (2010). Experimental work includes an edited open access electronic book entitled Astrobiology and the Search for Life on Mars (2011) and ‘Media, Mars and Metamorphosis’ (Culture Machine, Vol. 11). Recent monographs include a feminist critique of smart media: iMedia: The Gendering of Objects, Environments and Smart Materials (2016) and, with Joanna Zylinska, Life after New Media: Mediation as a Vital Process (2012). Sarah co-edits the journal Feminist Theory. Previous publications include: Virtual Anxiety. Photography, New Technologies and Subjectivity (1998); Cyberfeminism and Artificial Life (2003) and the co-edited volume Inventive Life. Towards the New Vitalism (2006). Current work includes a novel, provisionally entitled A Day in The Life of Janet Smart. With Janis Jefferies, Sarah Kember was co-PI of an RCUK funded project on digital publishing (‘Whose Book Is It Anyway?’ 2012–2016), part of CREATe (Centre for Creativity, Copyright, Regulation, Enterprise and Technology).

12Smita Kheria is a Senior Lecturer in Intellectual Property Law at the University of Edinburgh. She is also a member of SCRIPT, a law and technology research centre in Edinburgh Law School. She combines legal expertise in copyright and related rights with socio-legal research on intellectual property law in the real world. Her research has examined how copyright intersects with the everyday lives and creative practices of digital artists, online creative communities, arts and humanities researchers, and professional creators and performers. Smita was PI on two RCUK funded projects (Copyright and Individual Creators; Copyright policy and Creators’ Organisations) as part of CREATe. She is a co-author of the textbook Contemporary Intellectual Property: Law and Policy (2013, 2016, 2019). She promotes IP awareness through speaking to creative communities and is active in public engagement events (Edinburgh Festival Fringe shows 2017–2019).

13Jason Mathis is a Calgary-based artist whose work focuses primarily on comics. He studied at the Alberta College of Art & Design for his BFA, and at the Glasgow School of Art for his MFA. Jason’s work can be found in small-press publications across North America and the UK. He also paints occasionally and loves to cook.

14Louise O’Hare founded the London Bookshop Map in 2011 as a project to disseminate new writing by artists, and has commissioned works by Dora García, Holly Pester, Katrina Palmer, Hannah Rickards, and Camilla Wills. She co-ran Publish and be Damned from 2011–2013, and in 2014 set up Three Letter Words, an arts commissioning agency and charity. In 2015 she curated an exhibition reflecting upon Todd Haynes’1995 film ‘Safe’ at HOME, Manchester (with Sarah Perks). O’Hare has worked as an editor at Afterall (2013–2016) and a lecturer at Central Saint Martins (2011–2017). She received her Masters in Curating Contemporary Art from the Royal College of Art (2010), and is currently completing a practice-based Fine Art PhD at Northumbria University titled Centrefold (1974) — A Memoir. Her research interests include gossip, feminist art histories, self-publishing, the politics of care, and pornography.

15Muriel Swijghuisen Reigersberg is a research affiliate at The University of Sydney’s Conservatorium of Music, PARADESIC archives. Her research interests include Australian Aboriginal Choral singing, the anthropology of religion and the relationship between music, health and wellbeing from an ethnomusicological perspective. She is currently an ambassador on the EU Horizon 2020 FREYA project, exploring the uses of persistent identifiers in digital scholarship for arts and humanities. Muriel is also a Researcher Development Manager (strategy) at the University of Sydney. ORCID:​0000-0003-2337-7962

16Sophie Rochester is the founder of The Literary Platform, a specialist digital publishing organisation. She was also founder of the Fiction Uncovered Prize, co-founder of The Writing Platform and co-author of The Publishing Landscape in China. She has been a speaker on digital publishing at TOC New York, the Frankfurt Book Fair, Bologna Book Fair, Editech Milan, British Council Crossing the River conferences in Beijing, Shanghai and Hong Kong. She is also a visiting lecturer at the London College of Communications MA in Publishing and UEA’s MA in Creative Writing.

17Joseph Turcotte holds a PhD from the York & Ryerson Joint Graduate Program in Communication & Culture. His research and policy analysis focusses on the political economy and social impacts of intellectual property (IP), innovation, and the knowledge-based economy. He researches and publishes extensively on how IP, knowledge/information and data are developed, managed, and commercialized in the knowledge-based, digital economy. He is currently the Innovation Clinic Coordinator at IP Osgoode, Osgoode Hall Law School‘s Intellectual Property & Technology Law Program.

18Eva Weinmayr is an artist, educator, researcher and writer based in London and Gothenburg. She investigates in her work the border crossings between contemporary art, radical education and institutional analysis by experimenting with modes of knowledge formation. In 2009 she co-founded AND Publishing, a feminist publishing platform and collaborative practice based in London. Recent projects include ‘Boxing and Unboxing’ at Marabouparken Konsthall Stockholm (with Rosalie Schweiker), ‘The Piracy Project’ an exploration of the philosophical, legal and social implications of book piracy (with Andrea Francke) and ‘Let’s Mobilize: What is Feminist Pedagogy?’, an ongoing collective experiment with queer and feminist pedagogies (Valand Academy working group). Books include (Pause) 21 Scenes Concerning the Silence of Art in Ruins (2010) and Downing Street — Help! David Cameron Likes My Art (2015). She is currently conducting a practice-based PhD on the micro-politics of publishing at Valand Academy in Gothenburg, Sweden.


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