The Digital Archive of Artists’ Publishing (DAAP): An email conversation with Ami Clarke and Lozana Rossenova Ami Clarke, Lozana Rossenova AND Gustavo Grandal Montero Gustavo Grandal Montero (ALJ): Could you give an overview of the main aims and context of the project? Ami Clarke (AC): The Digital Archive of Artists’ Publishing (DAAP) is an inter- active, user-driven, searchable database of artists’ books and publications, that acts as a hub to engage with others, built by artists, publishers and a community of creative practitioners in contemporary artists’ publishing, developed via an ethically-driven design process, and supported by Wikimedia UK and Arts Council England. The project is inspired by the site of Banner Repeater’s public Archive of Artists’ Publishing on Hackney Downs train station, with 11,000 people passing a day, in response to the need for a similarly dynamic approach to archiving in an online context. Central to how Banner Repeater operates is our location, with a gallery, a bookshop and an archive deliberately sited within the ebb and flow of the com- muting public, enmeshed within the public transport networks in a busy thor- oughfare of passing traffic, in order to distribute excellent art and artists’ publishing directly into a main artery of the city of London. Networked strategies underpin everything we do, pioneering a hybrid way of working in contemporary critical art practice through the strong symbiosis between precedents set via experiments in text and publishing held in the Archive, and artistic practices engaging in networked strategies today. Publishing is particularly interesting in this regard, as it developed alongside technological advances throughout history. Textual productions over time, tend to reveal how they inflect, as well as contain, traces of the ‘subject’ - that’s me and you - emerging in synthesis with their environment: that includes the means of Fig. 1. Public archive at Banner Repeater. 46 / 1 2021 © The Author(s), 2021. Published by Cambridge University Press on behalf of ARLIS doi:10.1017/alj.2020.32 13