We want to be troubled and inspired by the work. If there is anything explicitly outside our aesthetic, it is work that does not trouble us. We also want to be challenged by the distinct and diverse aesthetics of the various editors working together in this collective press.
Basically, I made something of mine and found it relatively easy to do, and so I made something by someone else. And then another thing. And then another thing. I was a little more outgoing (read also: loud) than many of my immediate peers, so had no problem utilizing that enthusiasm to promote some of their work on top of my own. I started organizing readings to help (in part) to promote the people I was publishing (The Factory Reading Series goes back to 1992) and even co-founded the ottawa small press book fair to help sell some of the books a number of us were starting to make around that time (twice a year since, founded in October 1994).
Sylvère Lotringer started Semiotext(e) with a group of friends and grad students at Columbia University in 1974. It quickly evolved from a journal of semiotic theory to a popular magazine, juxtaposing high theory and underground culture, after the publication of the “Schizo-Culture” issue in 1978. The issue brought together artists and thinkers as diverse as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, William Burroughs, and Lee Breuer.