Valiz 2028 to 2100

Future Book(s). Sharing Ideas on Books and (Art) Publishing

What is the future of the book? And, specifically, what is the future of books on art, design and architecture, and cultural-critical publications? We asked a large number of international interested individuals to respond to this question. Journalists, artists, architects, curators, translators, designers, philosophers, sociologists, teachers, book scholars, publishers, printing houses, distributors, booksellers, historians and art-historians, critics, policymakers, editors, students, and many others have enthusiastically shared their views with us, looking ahead five, twenty or seventy-two years (to the year 2100). At times utopian, wildly fantasizing, at other times with realistic scenarios, in both text and images, exciting for anyone who loves books and/or is involved in books and cultural content. Each section of this publication will be designed by various young designers, to celebrate its scope and diversity.

 

essay:

Valiz 2028 to 2100

write a story for Valiz publisher in Amsterdam about book publishing in 2028

It’s 2028, and book publishing has changed drastically in the past ten years. For one thing, the publishing landscape looks very different. Brick and mortar bookstores have all but disappeared, and the traditional big publishers have been replaced by a number of small, independent presses.

Valiz Publisher, based in Amsterdam, is one of these smaller publishers. They specialize in niche literary fiction, translated works, and a few select non-fiction titles. They have embraced the digital revolution, and all of their titles are available in both print and digital formats.

What sets Valiz apart from other publishers is their commitment to quality. They take their time with each title, ensuring that the finished product is as perfect as possible. They are also keenly aware of the importance of marketing, and have developed an effective strategy for promoting their titles

Valiz has had great success in the past decade, and their books have been praised by critics and readers alike. They have also developed a strong online presence, with a website and social media accounts that reach a wide audience.

Valiz is an example of what book publishing can be in the digital age. They are not just a business, but a community of readers and writers. They are dedicated to producing

make it brief

In 2028, Valiz Publisher of Amsterdam specializes in niche literary fiction, translated works, and select non-fiction titles, available in both print and digital formats.

Valiz has developed an effective marketing strategy and strong online presence, and has been praised by critics and readers alike for their commitment to quality.

They are a living example of what book publishing can be in the digital age – a community of readers and writers dedicated to producing great works.

write it like Virginia Woolf, including her personal mood.

The year is 2028 and the publishing landscape has changed dramatically in the past decade. Valiz Publisher, situated in Amsterdam, has embraced the digital revolution, taking their time and ensuring quality in each title they produce. Their commitment to marketing and their strong online presence has been well-received by readers and critics alike.

As I look out of my window and contemplate the changes in the publishing world, I can’t help but feel a sense of hope and optimism. Valiz Publisher is a shining example of what book publishing can be in the digital age – a community of readers and writers working together to create something truly magical. The future looks bright indeed.

write it as William Gibson in 2100

It is the year 2100 and the publishing landscape has changed drastically since 2028. Valiz Publisher, based in Amsterdam, has embraced the digital revolution, creating a new approach to book publishing. Their titles are available in both print and digital formats, and they have developed an effective marketing strategy to reach a wide audience.

They are also utilizing the latest technologies to create dynamic virtual and augmented reality experiences for their readers. Valiz Publisher is a shining example of what book publishing can be in the digital age.

They are dedicated to producing quality works and have embraced the opportunities that new technologies can provide. They are proof that book publishing is alive and well in the future.

write it as Ursula K. Le Guin in 2100, making it a bleak joy

It is the year 2100 and the publishing world has changed dramatically over the past century. Valiz Publisher, which once stood as a beacon of hope for independent presses, is long gone. In its place is a soulless industry dominated by multinational corporations, churning out books with little regard for quality or originality.

But there is still hope. Despite the bleak outlook, small, independent presses continue to fight the good fight, doing their best to keep the literary spirit alive.

Valiz Publisher may be gone, but their legacy lives on in the minds of those who remember them. It is a legacy of creativity and innovation that we should strive to emulate, a future that is still within our grasp if we are brave enough to take a chance.

write it like a haiku

Digital revolution brings

New ways to read and write.

Valiz Publisher lives.

turn into a text prompt for an image generator

Create a digital illustration of the future of book publishing in 2028, inspired by the story of Valiz publisher in Amsterdam.

 

Annet Dekker

https://beta.openai.com/

29 December 2022

Postscript

You have been reading a text that was compiled with OpenAI’s ChatGPT. In the fall of 2022, ChatGPT (Chat Generative Pre-trained Transformer) opened to beta-testing. Generative writing has been around for a while, but the current version is trained on the increasing amount of texts published online. In an attempt to reflect on future writing processes, I tested the tool and experimented with the writing styles of well-known authors: Virginia Woolf to capture the web’s stream of consciousness, followed by science fiction writers William Gibson and the feminist counterpart Ursula K. Le Guin, to finally condense the proposition, or prediction, into a haiku that could be used to distract a series of keywords to generate an image that would visualize the future of publishing.

In the meantime, a lot has been said about these generative tools: how they turn students into lazy plagiarists, or that human copywriters, customer service representatives, and those writing news reports or legal documents will soon become obsolete. Undoubtedly, generative tools will change the future of how we think about writing. Yet, due to an increase in experimentation with these tools, it is becoming clearer how more data often leads to less interesting results. For instance, recent attempts to create new digital perspectives or personas with the ‘limitless capabilities’ of GAN have churned out disappointing outcomes. The more the code sees the stricter and more standardized the outcomes become: following the protocol of ‘next-token prediction’ anything that falls outside the (often normative) set of criteria disappears, and only the predictable remains are re-purposed, thus accelerating and reinforcing existing stereotypes. When ChatGPT starts to include its own results, it will likely follow a similar path of least resistance.

ChatGPT may not win the next Booker Prize, but it will be interesting to see what the consequences will be for the publishing field more broadly. When writing itself becomes easier, a larger and more diverse group of authors may start to tell their stories. Finding inspiration in “a room of one’s AI”, they may expand the publishing market and unlock its systems in unexpected ways.

 

Annet Dekker is a curator and researcher interested in art, technology and popular culture.