27276 - Laboratory (1) (G.B)

Learning outcomes

The courses which every year are included under the label "Laboratorio 1" are taught by professionals, managers, businessmen and businesswomen, in order to offer students a direct contact with the work world.

Course contents

his laboratory explores the book as a fluid artefact and a social object, guiding students through the conceptual, editorial, and material transformations of the publishing world in the digital age. Through a combination of theoretical reflection and practical workshops, students will investigate how the book has evolved from a printed product to a hybrid and dynamic object, shaped by platforms, metadata, paratextual layers, and digital interfaces.

Contemporary discussions refer to the “liquid book” because its content—be it an essay, a novel, or a textbook—can adapt to the form of the container in which it is “poured.” It can be read on a computer screen, a tablet, or an e-book reader. This shift is not only technological but also structural and editorial, transforming how books are designed, distributed, and read.

At the core of the course is the idea of the book as a social object—that is, as an act that is inscribed and recorded, acquiring meaning through public recognition and institutional frameworks. Unlike a mere intention or concept, a social object exists as a documented entity embedded in systems of value and circulation. In this context, the traditional value pyramid of publishing has been overturned: registration (visibility, traceability, indexing) now precedes inscription (the material fixing of the text on paper or digital support). This shift invites a rethinking of writing as both inscription and publication, as well as an awareness of the multiple supports—material and immaterial—that shape a book’s existence.

The course includes the following key components:

• A conceptual introduction to the notion of artefact, with a focus on the book as a material, immaterial, and editorial artefact, situated at the intersection of textual, visual, and technical systems;

• An in-depth exploration of paratext, following Gérard Genette’s definition, including titles, subtitles, blurbs, indices, and layout choices, along with the analysis of digital paratexts (tags, metadata, classification systems, recommendation algorithms, and responsive graphic design);

• A distinction between material supports (paper, binding, cover) and immaterial supports (ePub formats, interfaces, platforms) in publishing workflows and editorial planning;

Readings/Bibliography

Saller, C. F. The Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself). University of Chicago Press, 2016.

University of Chicago Press. The Chicago Manual of Style. 17th ed., 2017.

Scott, N. Developmental Editing: A Handbook for Freelancers, Authors, and Publishers. University of Chicago Press, 2009.

Gilad, S. Copyediting and Proofreading For Dummies. Wiley, 2007.

Dunham, S. The Editor’s Companion: An Indispensable Guide to Editing Books, Magazines, Online Publications, and More. University of California Press, 2015.

Teaching methods

By the end of the workshop, students will be able to:
i) understand how supports function as editorial artefacts and as inscribed social objects;
ii) analyze the reversal of the publishing chain, from inscription to registration;
iii) acquire basic skills in editing, proofreading, and layout design;
iv) recognize the functions of paratext and digital paratext, and be able to produce them;
v) collaborate on a simulated editorial project, taking on different editorial roles;
vi) reflect on the evolving role of the author within contemporary editorial communication.

Assessment methods

Practical exercises, group work, editorial simulations, and collective discussion of case studies will be an integral part of the course. Students will be introduced to the use of layout and programming software (e.g. InDesign, Canva, Affinity Publisher, Python or equivalent tools).

Throughout the course, students will carry out editorial exercises aimed at creating an artefact, which may take the form of an editorial mockup (cover design, layout grid, synopsis, promotional sheet, social media post), a complete page layout, the design of a themed book series, or a podcast project.

Office hours

See the website of Riccardo Fedriga