The exercise of subjectivity in the assessment of any publication is one of the more satisfying — and risky — activities of the art librarian (and, one suspects, of other specialists librarians). — Clive Phillpot

Submissions of works and/or articles are welcome. Drop a line to s@silviolorusso.com. As materiality matters, donations of physical artifacts are very appreciated. Here’s a form including all the necessary information.

At the moment P—DPA is a side project, so a reply might take some time. Please be patient.


Silvio Lorusso/PublishingLab
Benno Premsela Huis
Rhijnspoorplein 1
Room 04A09
1091 GC Amsterdam


Works should inherently address or anticipate one or more aspects of publishing and one or more aspects of digital technology according to the following categories.

  • Tools, modes of production, design (e.g. DTP, crowdsourcing, Print on demand)
  • Digital features (e.g. DRM, Internet, database)
  • Devices (e.g. computer, e-reader)
  • Distribution, dissemination, appropriation, intervention (e.g. remix, plagiarism, download)
  • Categorization, archiviation, organization, structure (e.g. ISBN, tags, metadata, index)
  • Bookness, bookform, book as object (e.g. skeuomorphism, binding, book as prop)
  • Spaces and rituals related to books and publishing (e.g. online store, bookshop, library)
  • Book typologies (encyclopedia, catalog, magazine)

In order to be included in the archive, a work, through its own nature, should actively question, highlight or reframe constitutive aspects of publishing in the post-digital age. Of course, this perspective on the works holds a level of ambiguity that is the result of the unique identity of the archive, which point of view is ultimately subjective. Inherence is a fluid criterion in a dialectic relationship with the digital environment.


An experimental project that predates the universal spread of digital technology shouldn’t be excluded from the archive a priori. P-DPA applies a “post-digital gaze” to experiences that, more or less consciously, anticipate modalities of the digital age. As an example, several “network-enabling”counterculture magazines could be considered as tangible expressions of what would later become known as the blogosphere. It is no coincidence that Steve Jobs described the Whole Earth Catalog as a sort of «Google in paperback form, 35 years before Google came along».