<h6>There is no political power without control over the archive, if not over memory.<br><br>You can’t detach an archive from politics and the long history that formed it.<br><br> All contemporary phenomena must be understood contextually and historically, in relation to the power structures - or institutions - that shaped them, and are still shaping our understandings of ourselves, and of our times.
<br><br><br>
Is it possible to archive responsibly?<br>
What would that practice be? How do you sensibly collect, understand, and then *structure* memories? <br></h6>
<h6>There is no political power without control over the archive, if not over memory.<br><br>You can’t detach an archive from politics and the long history that formed it.<br><br> All contemporary phenomena must be understood contextually and historically, in relation to the power structures - or institutions - that shaped them, and are still shaping our understandings of ourselves, and of our times.
<br><br><br>
Is it possible to archive responsibly?<br>
What would that practice be? How do you sensibly collect, understand, and then *structure* memories? <br></h6>
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<divclass="filterDiv Ar Swarm1"id="commencement"><divclass="sectiontitles"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="320"-->Commencement<br>& Commandement
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="170"-->"Let us not begin at the beginning, nor even at the archive. But rather at the word "archive" - and with the archive of so familiar a word." </div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="170"-->"Let us not begin at the beginning, nor even at the archive. But rather at the word "archive" - and with the archive of so familiar a word." </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="900" data-aos-offset="70"--><li>The origin of "archive" is complex, and its meaning has constantly been evolving since it first arose.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The concept of the archive is indeed itself hard to archive</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="900" data-aos-offset="70"--><li>The origin of "archive" is complex, and its meaning has constantly been evolving since it first arose.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The concept of the archive is indeed itself hard to archive</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Commencement/commandment, the chicken or the egg ? </li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Was the archive already an archive before it was archived?</li></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Arkeion : <br>A domicile, an address.<br>Residence of the superior<br> magistartes, the archons,<br>those who commmanded.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Commencement/commandment, the chicken or the egg ? </li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Was the archive already an archive before it was archived?</li></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Arkeion : <br>A domicile, an address.<br>Residence of the superior<br> magistartes, the archons,<br>those who commmanded.</div><br>
Ruler [Greek, *arkhein* to rule]<br> One of the 9 chief magistrates. <br>of the city states.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>In the beginning, the word archive referred to Archons, who would file and store important documents in their own homes. </li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>According to Aristotle, the power of the king first devolved to the archons, and these offices were filled from the aristocracy by elections every ten years.</li></div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--> "On account of their publicly recognized authority, it is at their home, in that place which is their house (private house, family house, or employee's house), that official documents are filed." </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>In the beginning, the word archive referred to Archons, who would file and store important documents in their own homes. </li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>According to Aristotle, the power of the king first devolved to the archons, and these offices were filled from the aristocracy by elections every ten years.</li></div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--> "On account of their publicly recognized authority, it is at their home, in that place which is their house (private house, family house, or employee's house), that official documents are filed." </div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The Archons were entrusted by the general public to store important documents.</li><br><li>They were guardians of these documents.</li></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Ontology...:<br>Study of the nature of existence<br>or being as such.</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Ontology...:<br>Study of the nature of existence<br>or being as such.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>An archive holds both ontological aspects<br>(related to the nature of existence) and nomological<br>(law-like) principles.</li></div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--> " The citizens who thus held and signified political power were considered to possess the right to make or to represent the law " </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>What comes *first* and therefore is *chief* ?</li></div><br>
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<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>An archive holds both ontological aspects<br>(related to the nature of existence) and nomological<br>(law-like) principles.</li></div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--> " The citizens who thus held and signified political power were considered to possess the right to make or to represent the law " </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>What comes *first* and therefore is *chief* ?</li></div><br>
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<divclass="filterDiv Ar Swarm1"id="public"><divclass="sectiontitles"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="140"-->Public = Property + Edicts<hrclass="line1"></div><br>
@ -123,11 +127,13 @@
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->" …which does not always mean from the secret to the nonsecret." </div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The "public" archive VS where it is held :<br>in private homes.</li></div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Archives change from a private - as in the homes of certain individuals (archons) - to a public matter.</li></div><br><divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Archons are intrusted with the interpretation of the documents they were collecting - the documents which also determined the law.</li></div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>How transparent is this process ?</li></div><br><br></div>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>How transparent is this process ?</li></div><br><br>
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@ -146,12 +152,12 @@
<divclass="glossary"><!-- data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Topo-nomology :<br>The intersection between<br>the place and the law.</div><br>
<divclass="quote"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--> "At the intersection of the topological and the nomological, of the place and the law, of the substrate and the authority […]. They all have to do with this topo-nomology, with this archontic dimension of domiciliation… " </div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The ones that interpret these documents are the ones making the rules. </li></div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The connection between property, knowledge, and power is established.</li></div><br></div>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The connection between property, knowledge, and power is established.</li></div><br>
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@ -170,13 +176,13 @@
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Supremacy :<br>Supreme authority or power.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Content must be categorized in order to be called an archive. It has a particular set of procedures, it strives for a permanence.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The link between the right to archive and power, as well as the right for people in power to select and interpret, doesn’t sound like a good idea.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Don't we all strive for permanence? </li></div><br>
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<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Don't we all strive for permanence? </li><br>
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@ -212,24 +218,39 @@
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Don't take information for granted - question their context and the reasons behind the process of selection.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Disseminate - consider all possible influences.</li></div><br>
<divclass="quote"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"Order is no longer assured."</div><br>
<p>A threat/thread model is a set of rules that lists and evaluates all the resources and contents of a project before starting to embark on the projects' journey. A threat model sets clear limits that must be respected when working together.<br>
During the process we have implemented a thread model to prevent the unwanted publication and communication of sensitive information.
<p>A static website, the opposite of dynamic websites, is a website with unchanging content, which is mostly written in <ahref="#htmlcssjs">HTML</a> and outputs the exact same content to each user. Benefits of this model are the lack of dependencies and increased security and performance. <br>
A static website was used to publish the archive.
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@ -239,6 +260,11 @@ A static website was used to publish the archive.
<p>The Dark Web is a portion of the Internet that one cannot reach by the use of regular search engines. Users need specific software, configurations, or authorization to access to be able to use it. This shelter of anonymity is of a great importance while dealing with censorship and privacy concerns, and because of that the Dark Web is also oftenly perceived as a haven for criminal activities. Tor browser is probably the most used tool to access the dark web.<br>
The Dark Web offers the protective layers that make sure the location of the servers and the identity of the users is secure in the case of possible attempts of persecution of any kind.
<p>Raspberry Pi is a series of small computers with internal RAM & CPU/GPU and several connectors, like USB or Ethernet. They are being used by a big and diverse community, in education or for all kinds of prototyping projects. <br>
We used them as a low cost web server to store our websites. As a security measure, three similar servers in different, secret locations provide continuous access to the material, serving as alternative hosts, should one of them be taken down or fail. The basic code structure is being created with <ahref="#pythonscript">Python</a>.
@ -290,12 +326,10 @@ We used them as a low cost web server to store our websites. As a security measu
<p>
<h6>2.1 Activating archival material and re-spreading idea's: echoes and activation </h6>
Audiences emerge –or are being created– when things are being shared. In the act of connecting like-minded individuals lies a possibility for building communities to share ideas. This is easily prone to dishonest capitalist systems and (extractive) business models. Appropriating printed material that was meant to mass-inform a large public should not be kept behind paywalls managed by self-proclaimed owners of the knowledge and the material that transmits it. In a matter of fact, this also goes against the nature of the original purpose of independent and underground publishing.
</p>
Audiences emerge –or are being created– when things are being shared. In the act of connecting like-minded individuals lies a possibility for building communities to share ideas. This is easily prone to dishonest capitalist systems and (extractive) business models. Appropriating printed material that was meant to mass-inform a large public should not be kept behind paywalls managed by self-proclaimed owners of the knowledge and the material that transmits it. In a matter of fact, this also goes against the nature of the original purpose of independent and underground publishing. <br><br>
The technological advantages of today can be used to reconsider and improve underground publishing workflows. For example, the digital state allows easy multiplication of material, networking tools allow real-time and remote collaboration, and all kinds of anonymous distribution and file-sharing possibilities are around before possibly converting it into a physical document. Just like the underground press used to function, but make clever use of the benefits and speed of the digital. <br>
<p>
<i>
Examples on the impact of alternative press: <br>
<i>Examples on the impact of alternative press: <br>
As André Breton, one of the founders of the 1920s Surrealist art movement, famously declared: “One publishes to find comrades!” This short statement brilliantly embodies the spirit of early avant-garde publishing, as well as that of independent publishing later in the 20th century. Strictly speaking, the main concern here is neither commercial success, nor the aesthetic purity of the printed experiment, nor even the archiving of works (at least not yet). Rather, this kind of publishing is all about fostering and spreading ideas among like-minded people, through the ‘viral’ communication model so often applied by the alternative press.
<br>
Another case in point is the body of work of the Ranters, a radical group which flourished during the second half of the 17th century, with heretical views on religion (if Jesus is in everyone, who needs the Church?), politics (expropriation of the rich and collective ownership of property) and sex (preaching an ideal of free love). Such an extremist rebel group (which counted a few thousand followers in London alone) could easily self-publish and distribute its pamphlets. Though such publications were banned and burned, it was much more difficult to destroy an entire printed edition than had been the case with manuscripts, because of the sheer number of copies as well as their widespread distribution – and so some copies survived, a few even to this day.38 The two major political revolutions of the 18th century were both preceded by a frenzy of intellectual self-publishing activity, including a few ‘underground’ bestsellers. In the case of the French Revolution, many of the countless pamphlets produced were sponsored by printers, based on their potential commercial success.
@ -303,25 +337,16 @@ Another case in point is the body of work of the Ranters, a radical group which
</i>
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<p>
The technological advantages of today can be used to reconsider and improve underground publishing workflows. For example: the digital state allows easy multiplication of material, networking tools allow real-time and remote collaboration, and all kinds of anonymous distribution and file-sharing possibilities are around before possibly converting it into an physical document. Just like the underground press used to function, but make clever use of the benefits and speed of the digital.
</p>
<p>
<h6>2.2 Restabilizing unpublished and forgotten material </h6>
The networking advantage of digital documents allows it to (re)print unpublished and possibly forgotten material and turn it into physical stable objects. In that way, printing on demand is similar to photocopying and mimeography (stencil printing) from the 80's and 90's. Because these methods were relatively cheap and easy to distribute content, alternative presses, underground and self-publishing flourished and became a popular way to target audiences and sub-cultures.
</p>
<p>
The networking advantage of digital documents allows it to (re)print unpublished and possibly forgotten material and turn it into physical stable objects. In that way, printing on demand is similar to photocopying and mimeography (stencil printing) from the '80s and '90s. Because these methods were relatively cheap and easy to distribute content, alternative presses, underground and self-publishing flourished and became a popular way to target audiences and sub-cultures.<br><br>
The fact that many people still choose to own a printed object tells us that a physical copy is still an essential experience to consume information. Paper has some specific qualities and characteristics that are not yet defeated by the benefits of the digital. Print-on-demand services and being able to print documents yourself at home perfectly illustrate our resistance to an all-digital world. We can fold it, cut it up for clippings, draw on it and re-use it for other types of usage. Again, this shows that our entanglement to the physical object can't be put aside just like that.
</p>
<p>
<h6>2.3 Physical Distributing of digital data </h6>
While the internet can be used to easily transfer and share data, physical exchanges of digital data are used for all kinds of reasons. Methods such as 'sneakernets' create a direct relationship between the users, creating an interpersonal human interaction. They are still being used today because of various security considerations that people face. Depending on the underlying purpose, distributing online or via physical storage media, both have advantages and disadvantages.
</p>
<p>
While the internet can be used to easily transfer and share data, physical exchanges of digital data are used for all kinds of reasons. Methods such as 'sneakernets' create a direct relationship between the users, creating an interpersonal human interaction. They are still being used today because of various security considerations that people face. Depending on the underlying purpose, distributing online or via physical storage media, both have advantages and disadvantages.<br><br>
<small>Sneakernet <br>
Sneakernet is an informal term for the transfer of electronic information by physically moving media such as magnetic tape, floppy disks, optical discs, USB flash drives or external hard drives between computers, rather than transmitting it over a computer network. (source: https://en.wikipedia.org/wiki/Sneakernet )
</small>
@ -329,7 +354,8 @@ Sneakernet is an informal term for the transfer of electronic information by phy
<p>
<h6>2.4 Digital Networking advantages </h6>
Because of advantages of publishing online, lots of publishers still only sell hard copies of releases due to reasons such as nostalgic motives, political statements against the 'everywhere always online' omnipresence of our current society, or because they want to control the appearance of their product. In addition to satisfying our reading habits, editions can be collectable because of their physical characteristics such as printing techniques, book design, layout, binding, choice of paper, special finishing, etc. These choices affect how we read, receive the message and value it. Although the possibilities of professional printing and finishing techniques are getting more accesible due to technological development, they are often limited in customization and design options as they are marketed as practical solutions for the office environment.
Because of the advantages of publishing online, lots of publishers still only sell hard copies of releases due to reasons such as nostalgic motives, political statements against the 'everywhere always online' omnipresence of our current society, or because they want to control the appearance of their product. In addition to satisfying our reading habits, editions can be collectible because of their physical characteristics such as printing techniques, book design, layout, binding, choice of paper, special finishing, etc. <br>
These choices affect how we read, receive the message and value it. Although the possibilities of professional printing and finishing techniques are getting more accessible due to technological development, they are often limited in customization and design options as they are marketed as practical solutions for the office environment.
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1.2 <b>The repeatability of print (and why we trust it)</b><br>
1.3 <b>The human relation to the physical copy</b><br>
1.4 <b>The materiality of paper</b><br>
1.5 <b>The ambigous state of scanned documents</b><br>
1.5 <b>The ambiguous state of scanned documents</b><br>
1.6 <b>The aura of the original</b><br>
1.7 <b>The 'clumsyness' of scanned material</b><br>
1.7 <b>The 'clumsiness' of scanned material</b><br>
1.8 <b>How format and layout create memories</b><br>
1.9 <b>Activating archival material </b><br>
1.10 <b>Scanning as an act of resistance</b><br>
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<p>
<h6>1.1 Paper as a medium</h6>
Even before the Gutenberg* press changed the world, publishing on paper already had a huge impact on the way that knowledge and information was spread. With the current advent of digital publishing possibilities, the meaning of paper as a medium has changed. Since our normality is to read digital and volatile screen-based content, questions that arise are following: How does this affect our relation to physical material thats is still everywhere around us? How does it shape collective memory? What is its importance in publishing subversive (activist) content?
Even before the Gutenberg* press changed the world, publishing on paper already had a huge impact on the way that knowledge and information were spread. With the current advent of digital publishing possibilities, the meaning of paper as a medium has changed. Since our normality is to read digital and volatile screen-based content, questions that arise are the following: How does this affect our relation to the physical material that is still everywhere around us? How does it shape the collective memory? What is its importance in publishing subversive (activist) content?
</p>
<p>
In The Myth of the Paperless Office (MIT Press 2001), Abigail J. Sellen and Richard H. R. Harperin refer to the paper medium as a 'physical conductor': "Through the gestural act of passing the printed product from one person to the next, paper may be seen as a conceptual ‘conductor’: able to transfer the metaphorical ‘energy’ it contains." What does this mean in the case of handling and distributing scanned (archival) material? What is 'the message' of a digital representation of a medium? Does it reduce this socalled metaphorical ‘energy’?
In The Myth of the Paperless Office (MIT Press 2001), Abigail J. Sellen and Richard H. R. Harperin refer to the paper medium as a 'physical conductor': <i>"Through the gestural act of passing the printed product from one person to the next, paper may be seen as a conceptual ‘conductor’: able to transfer the metaphorical ‘energy’ it contains." </i>What does this mean in the case of handling and distributing scanned (archival) material? What is 'the message' of a digital representation of a medium? Does it reduce this so-called metaphorical ‘energy’?
</p>
<p>
<small>*Gutenberg press revolution
In the mid-15th century, Johannes Gutenberg of Germany introduced a new concept that would make the process of printing books more efficient. With his invention of the printing press, which utilized movable text, thousands of pages per day could be printed. This process increased development in science, art and religion, increasing the amount of shareable knowledge and decreasing costs so more people had access to it.(source:<ahref=" https://www.whipcord.com) "> https://www.whipcord.com)</a><small>
In the mid-15th century, Johannes Gutenberg of Germany introduced a new concept that would make the process of printing books more efficient. With his invention of the printing press, which utilized movable text, thousands of pages per day could be printed. This process increased development in science, art and religion, increasing the amount of shareable knowledge and decreasing costs so more people had access to it.(source:<ahref=" https://www.whipcord.com) "> https://www.whipcord.com)</a></small>
</p>
<p>
<h6>1.2 The repeatability of print (and why we trust it) </h6>
The human attachment of the tangible is nested in our habits of consuming information by reading. Print on paper has a history of significantly contributing to spreading knowledge, opinions, news reports, counter-arguments, and therefore creating collective memories, a trace of time captured within material. As Marshall McLuhan noted in Understanding Media: <i> “Repeatability is the core of the mechanical principle that has dominated our world, especially since the Gutenberg technology. The message of the print and of typography is primarily that of repeatability.” </i> The first book that Gutenberg printed was in fact the Bible. Here, technology made a significant contribution to the spread of religion across the world.
The human attachment of the tangible is nested in our habits of consuming information by reading. Print on paper has a history of significantly contributing to spreading knowledge, opinions, news reports, counter-arguments, and therefore creating collective memories, a trace of time captured within the material. As Marshall McLuhan noted in Understanding Media: <i>“Repeatability is the core of the mechanical principle that has dominated our world, especially since the Gutenberg technology. The message of the print and of typography is primarily that of repeatability.” </i>The first book that Gutenberg printed was, in fact, the Bible. Here, technology made a significant contribution to the spread of religion across the world.
<br><br>
And in spite of its fragile material characteristics, paper can be around for a very long time. When information is printed, the content never changes. Only our interpretations do. Comparing it to digital media that can be found on the web, print is much more stable and static and faithful. But if influential technologies change our habits, let's assume this sense of stability and faithfulness is currently changing since screen-reading is already the standard for many.
</p>
<p>
And in spite of its fragile material characteristics, paper can be around for a very long time. When information is printed, the content never changes. Only our interpretations do. Comparing it to digital media that can be found on the web, print is much more stable and static and faithful. But if influential technologies change our habits, lets assume this sense of stability and faithfullness is currently changing since screen-reading is already the standard for many.
<h6>1.3 The human relation to the physical copy</h6>
So, why are we, in a society which is almost entirely networked and screen-based, still printing and transforming digital text into physical copies? Print has some unique characteristics that are still not overthrown by any other format or medium. The space that printed documents, books, archival material, etc. takes is real. It has mass and a certain weight. The more you store, the less physical space you have available. <br><br>
This is in fact fundamentally different than the materiality of the text that appears on your screen or a file of a document that is stored on your hard drive. The sensory perception, intrinsic to human beings, is not something that is simply going to disappear. This feeling of disconnect, caused by a distortion the sensory perception, is what I encountered while handling the digital scans of archival material. (In my case, the contents of the archival material was often explicit, graphic, politically sensitive and sometimes highly personal in nature, which most likely made this relationship even more complex.)
</p>
<p>
<h6>1.3 The human relation to the physical copy</h6>
So, why are we, in a society which is almost entirely networked and screen-based, still printing and transforming digital text into physical copies? Print has some unique characteristics that are still not overtrown by any other format or medium. The space that printed documents, books, archival material, etc. takes is real. It has mass and a certain weight. The more you store, the less physical space you have available. This is in fact fundamentally different than the materiality of the text that appears on your screen or a file of a document that is stored on your hard drive. The sensory perception, intrinsic to human beings, is not something that is simply going to disappear. This feeling of disconnect, caused by a distortion the sensory perception, is what I encountered while handling the digital scans of archival material. (In my case, the contents of the archival material was often explicit, graphic, politically sensitive and sometimes highly personal in nature, which most likely made this relationship even more complex.)
<h6>1.4 The materiality of paper</h6>
There is still no electronic device that fully closed the gap to paper. Paper is foldable and can quickly adjust to different reading methods and activities. It's easy to share it in person which creates human encounters. Tt's very flexible for note-taking and juxtaposing to other material. <br><br>
No matter how high the quality of the reproduction is, some essential questions can be hard to answer when the physical original is absent. For example what type of paper, printing techniques, ink, etc. were used. All these properties can give more much detailed information on the time in which the original was produced, what the political state was back then, who produced it, etc. Material such as paper has significant 'flaws': it's very much prone to decay, amongst other weathering risks. When archiving, conditions such as temperature, humidity, and fire safety should be optimal for the preservation of the material.<br><br>
Scanning seems to be the most preservable option available now. While the physical conductor is dematerialized or lost, the message and the information that the material holds are preserved. What does this mean for the metaphorical ‘energy’? Does this get lost as well? Or will this be saved and therefore stored into the digital reproductions?
<p>
<p>
<h6>1.4 The materiality of paper</h6>
There is still no electronic device that fully closed the gap to paper. Paper is foldable and can quickly adjust to different reading methods and activities. It's easy to share it in person which creates human encounters. Tt's very flexible for note-taking and juxtaposing to other material.
<h6>1.5 The ambiguous state of scanned documents</h6>
In a way, the image of a scan is ambiguous; a scan is a representation of the original, tangible material. A scan finds itself somehow trapped in between the physical and the digital space. It may nonetheless reveal something about its age, the interactions it had with humans over time. A scan is something that you cannot touch, smell, fold or burn. But the mere presence of a scan proves that the original material exists, or existed. It is a carrier that enables information to be made visible, which in turn activates a feeling of trust. <br><br>
When we face the material by only seeing these scans on our screens, a desire for space emerges. We wish to experience a situation of using an actual magnifying glass instead of a zoom function on your computer to enlarge a certain part of the material, ending up seeing fibers instead of pixels. The physical act of going to the material allows different ways of intuitively interacting with the material, instead of having to use a digital interface full of symbols of tools to explore and navigate through the material. Digital spaces leave less room for a messy, intuitive approach that would, in turn, bring different results to the process.
</p>
<p>
No matter how high the quality of the reproduction is, some essential questions can be hard to answer when the physical original is absent. For example: What type of paper, printing techniques, ink, etc. were used. All these properties can give more muc detailed information on the time in which the original was produced, what the political state was back then, who produced it, etc. Material such as paper has significant 'flaws': it's very much prone to decay, amongst other weathering risks. When archiving, conditions such as temperature, humidity and fire saftely should be optimal for the preservation of the material.
<h6>1.6 The 'aura' of the original</h6>
Because print as a carrier for text has been around for so long, it 'has always been perceived as a stable extension of human memory', we are used to the fact of believing that once a text is printed, its content is fixed forever. We interpret it as 'being real and permanent'. It somehow obtains an 'aura'. The reproduction is like a ghost of the aura; trapped somewhere in between the physical and the intangible world. <br><br>
On Wikipedia, it is stated that "when the word 'aura' was used by the culture philosopher Walter Benjamin to compare an original artwork to the reproduction, he said that <i>"even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be"</i>; and that the <i>"sphere of authenticity is outside the technical [sphere]" </i> of the reproduction of artworks. Therefore, the original work of art is an objet d'art independent of the copy; yet, by changing the cultural context of where the art happens to be, the mechanical copy diminishes the aesthetic value of the original work of art."
</p>
<p>
Scanning seems to be the most preservable option available now. While the physical conductor is dematerialized or lost, the message and the information that the material holds are preserved. What does this means for the metaphorical ‘energy’? Does this get lost as well? Or will this be saved and therefore stored into the digital reproductions?
<p>
<h6>1.7 The 'clumsiness' of scanned material</h6>
In terms of quality, usability, and readability, a scan can be perceived as a 'clumsy'. When a document is scanned to retrieve only its textual content, present visual information can be redundant, disruptive and highly impractical for processing. However, these additional visual presences can in fact be perceived as its strength. An image of a scan usually testifies of the manual act that was performed in the creation of the image - it can reveal extra visual traces such as folds, crooked frames, and even hands trying to keep the pages flat while pressing the material against the glass surface of the scanner. Compared to the plain (or OCR-ed) text, it reinforces the fact of the physical existence of the original. <br><br>
Scans, compared to plain text, also add episodical data such as folds, pencil underlines, marginal notes, censorings, spills, signatures, stamps, stains to the original content. This uncovers an intimate history of the material, its life from before it was scanned. It is a narration that tells us about everything the material had to go through to be preserved - or: not to be destroyed.
</p>
<p>
<h6>1.5 The ambigous state of scanned documents</h6>
In a way, the image of a scan is ambiguous; a scan is a representation of the original, tangible material. A scan finds itself somehow trapped in between the physical and the digital space. It may nonetheless reveal something about its age, the interactions it had with humans over time. A scan is something that you cannot touch, smell, fold or burn. But the mere presence of a scan proves that the orginal material exists, or existed. It is a carrier that enables information to be made visible, which in turn activates a feeling of trust.
<h6>1.8 How format and layout create memories</h6>
To some extent, our visual memory can be used to retrieve information from a document. We can remember a certain layout, a typeface, color use, type of paper, which connects the specific document to episodic data, related documents, a time in history, etc. A certain format or layout can tell us a lot about the content. Some documents can be visually distinguished from others, based on our knowledge of a tradition of a specific (historical) expression within a text, a poem, an article, a letter, a report, an academic paper, etc.<br>
This can also be applied to digital publications and media. Websites, email conversations, blogs also have certain recognizable visual characteristics that can be stored as well. This also provides more context on how the information was produced and what the intention was. (As well the source code can reveal a lot of information.)<br><br>
When classified digital documents were released during events that took place around Wikileaks, VAULT7, etc, most of the content that was published was embedded (showed) in its original format. Even though it had all the advantages of digital processing options, the plain content was not simply extracted from the source material. Layout, headings, layout, typographic elements were left to add a layer of trust to the textual content. Sometimes, even information such as document numbers or black blocks that censored information was added. Also, a lot of emails were in fact printed and scanned. When converting digital text into a physical medium and back it almost creates some kind of hyperrealism: something that is more real than the original. (Is there, in the case of documents that were originally created digitally, an actual difference between the original and a reproduction? Can a digital file even have an 'aura'?)
</p>
<p>
When we face the material by only seeing these scans on our screens, a desire for space emerges. We wish to experience a situation of using an actual magnifying glass instead of a zoom function on your computer to enlarge a certain part of the material, ending up seeing fibers instead of pixels. The physical act of going to the material allows different ways of intuitively interacting with the material, instead of having to use a digital interface full of symbols of tools to explore and navigate through the material. Digital spaces leaves less room for a messy, intuitive approach that would in turn bring different results to the process.
<h6>1.9 Activating archival material </h6>
Often, out-of-print material and limited small press editions are somehow hidden in small institutions and private collections. These places have a lot of specialized knowledge about the contextual, historical and other substantive information of their material. Besides that, it is also important for their local cultural environment that the physical material is located in the place or region where it was originally produced and spread. Yet these collections are mostly unavailable online and therefore cannot be used as public sources of knowledge, they are unavailable to the public or hard to access. Often, the reason for that is the absence of a suitable platform for their dissemination or the limited financial resources available. In some cases, owners don't know how to handle material that is sensitive due to a political climate or censorship.
</p>
<p>
<h6>1.6 The aura of the original</h6>
Because print as a carrier for text has been around for so long, it 'has always been perceived as a stable extension of human memory', we are used to the fact of believing that once a text is printed, its content is fixed forever. We interpret it as 'being real and permanent'. It somehow obtains an aura*. The reproduction is like a ghost of the aura; trapped somewhere in between the physical and the intangible world.
<h6>1.10 Scanning as an act of resistance</h6>
As we can learn from history, in times of political change the freedom of the press can be under pressure and can even lead to censorship. In these circumstances, scanning and (anonymous) publishing can be an act of resistance. Digital scans of physical documents can be used as a legit source for articles to prevent whitewashing, which Wikipedia describes as <i>"to gloss over or cover up vices, crimes or scandals or to exonerate by means of a perfunctory investigation or through biased presentation of data".</i> Archives that contain marginal (forgotten) documents are essential to keep a collective (cultural) memory alive. There should be no threat to them being erased from history. <br><br>
Here is why the availability of a (preferably) high-quality digital reproduction is important. It greatly increases the accessibility and reduces the need to visit the location where the physical original material is kept. This is also beneficial for the preservation of the material since physical handling can be risky: documents can get lost or destroyed. Intentionally or not. Although not entirely safe - scanning and storing digitally also reduce the dangers of a collection being endangered/threatened by the forces of nature.
</p>
</div>
<divclass="checkbox">
<inputtype="checkbox"id="print"name="print">
<labelfor="print">Add to print</label>
<br>
</div>
</div>
<divclass="filterDiv experiences"id="cookbook">
<divclass="cookbook>
<h4>3. Recipes for a 'post-digital cookbook'</h4>
<h3>Exploring collaborative forms of publishing subversive content today<h3>
On Wikipedia it is stated that "when the word 'aura' was used by the culture philosopher Walter Benjamin to compare an original artwork to a reproduction, he said that "even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be"; and that the "sphere of authenticity is outside the technical [sphere]" of the reproduction of artworks. Therefore, the original work of art is an objet d'art independent of the copy; yet, by changing the cultural context of where the art happens to be, the mechanical copy diminishes the aesthetic value of the original work of art."
<h6>3.1 Collaborative publishing formats</h6>
When exploring all kinds of publishing formats and frameworks that embrace various types, styles of content and voices, one inevitably encounters the so-called 'zine' and 'cookbook'. Even though they come in various shapes, both have been used and proven to be a successful form for activating, creating communities, and spreading non-commercial ideas. Ever present as a hearable voice that flows in counter-current to popular opinions and media.<br><br>
A Cookbook is some kind of handbook with 'recipes' used for DIY and subversive practices with the aim of getting people involved by handing them tools and techniques to use themselves, often within activist and political groups. A Zine is a small-circulation self-published work of original or appropriated texts and images, usually reproduced via a photocopy machine. Zines are the product of either a single person or of a very small group and are popularly photocopied into physical prints for circulation.
</p>
<p>
<h6>1.7 The 'clumsyness' of scanned material</h6>
In terms of quality, usability, and readability, a scan can be perceived as a 'clumsy'. When a document is scanned to retrieve only its textual content, present visual information can be redundant, disruptive and highy impractical for processing. However These additional visual presences can in fact be perceived as its strength. An image of a scan usually testifies of the manual act that was performed in the creation of the image - it can reveal extra visual traces such as folds, crooked frames, and even hands trying to keep the pages flat while pressing the material against the glass surface of the scanner. Compared to the plain (or OCR-ed) text, it reinforces the fact of the physical existence of the original.
<h6>3.2 Providing 'tools' for activation</h6>
A publication that was, and is still influential today was The Whole Earth Catalog. Published by Stewart Brand regularly between 1968 and 1972, all kinds of informative tools, how-to's, maps, journals, courses, equipment, computers, and even synthesizers, etc. were provided. Brand had a strong ideological motive making all kinds of knowledge accessible. The idea of the publication was focussed on how to guide the reader to become self-reliant. Rather than selling, a large number of products which (were tested and therefore) proved to be qualitative and sustainable were recommended. While the book was strictly speaking confined to being a catalog, it also consisted of experiences, suggestions of readers/users as well as the Catalog's staff. This interaction between publishers and users sharing information made the format of the Whole Earth Catalog a network by itself.
</p>
<p>
Scans, compared to plain text, also add episodical data such as folds, pencil underlines, marginal notes, censorings, spills, signatures, stamps, stains to the original content. This uncovers an intimate history of the material, its life from before it was scanned. It is a narration that tells us about everything the material had to go through to be preserved - or: not to be destroyed.
<h6>3.3 The influence of design</h6>
One notable aspect of alternative press material such as zines and cookbooks is how the design can add a striking 'voice' to a publication. When thinking about old activist documents, a mental image pops up in our heads immediately. Besides the use of illustrations and photography, the design and layout can strongly affect how information is perceived. A layout gives a certain expression to a page; it can emphasize or even contradict the content.<br><br>
In the current state of home-printing, standardized paper sizes, limited binding options. Home-printing documents are visually often indistinguishable from each other. Same paper color, texts in black ink. The same can be said for digital libraries and how texts are often being displayed on e-readers.
</p>
<p>
<h6>1.8 How format and layout create memories</h6>
To some extent, our visual memory can be used to retrieve information from a document. We can remember a certain layout, a typeface, color use, type of paper, which connects the specific document to episodic data, related documents, a time in history etc. A certain format or a layout can tell us a lot about the content. Some documents can be visually distinguished from others, based on our knowledge of a tradition of a specific (historical) expression within a text, a poem, an article, a letter, a report, an academic paper, etc.
<h6>3.4 Content and personality</h6>
In the pre-internet world, zines were self-published and distributed publications to target small (obscure) audiences and create a network to like-minded people. To reduce costs, they were often photocopied and distributed physical prints for circulation in sections of Libraries and by mail or alternative bookshops, listed in Zines about zines like Factsheet Five*. The content of zines, sometimes provocative and subversive in nature, are often not found in the mass media. (This culture is pretty much alive today in independent publications from marginal communities of artists, poets, (political) activists, feminists, queers, music genre-specific, etc.) <br>
In 'Perzines' or personal zines, the content was created from intimate stories, anecdotes, comics, photos, and stories about the authors written by others. Often giving the user the feeling to be part of an intimate conversation between close friends. Often designed by using cut-outs and original letters and typewritten documents which added an extra personal layer to the content.
<br><br>
<small>
* Factsheet Five was a periodical mostly consisting of short reviews of privately produced printed matter along with contact details of the editors and publishers. In the 1980s and early 1990s, its comprehensive reviews (literally thousands in each issue) made it the most important publication in its field, heralding the wider spread of what would eventually be called fanzine or zine culture. (source: Wikipedia)</small>
</p>
<p>
This can also be applied to digital publications and media. Websites, email conversations, blogs also have a certain recognizable visual characteristics that can be stored as well. This also provides more context on how the information was produced and what the intention was. (As well the source code can reveal a lot of information.)
<h6>3.5 Digital zines</h6>
A Zine can be described as a way of thinking. It is a more or less abstract framework that can hold together all kinds of content from different voices and collaborators. It's flexible, adaptive and, curated or not, assembled based on the content. The role the creators and the readers are diffused and interchangeable as interested people are invited to contribute, distribute and make zines themselves. If a zine has many owners, distribution, in both - digital and analog formats, can be un/decentralized, so takedown is less likely to happen and the content manages to live on. <br><br>
In the early days of online publishing, electronic zines (a well-known one was called 'PDF-Mags') were created by an underground scene of designers to share free content and showcase creative skills. The main purpose of the downloadable PDF's was to share aesthetic experiments and to create be a platform to publish non-commercial content. Although these zines were not interactive at all, they had a networked function: connecting like-minded creatives. In a much quicker way than the traditional printed zines ever allowed, constrained by their physical medium.
</p>
<p>
When classified digital documents were released during events that took place around Wikileaks, VAULT7, etc, most of the content that was published was embedded (showed) in its original format. Even though it had all the advantages of digital processing options, the plain content was not simply extracted from the source material. Layout, headings, layout, typographic elements were left to add a layer of trust to the textual content. Sometimes, even information such as document numbers or black blocks that censored information was added. Also, a lot of emails were in fact printed and scanned. When converting digital text into a physical medium and back it almost creates some kind of hyperrealism: something that is more real than the original. (Is there, in the case of documents that were originally created digitally, an actual difference between the original and a reproduction? Can a digital file even have an 'aura'?)</sup>
<h6>3.6 Collaborative publishing tools</h6>
Collaborative digital publishing makes use of the possibility of content being continuously updated and added by its numerous creators. Coming from the ideology and culture that believes that software should be open and accessible, free and open-source software (FLOSS) makes possible the creation of custom workflows that enable people to collaborate on writing, designing and publishing. Here, the role of the writer, reader, and publisher becomes even more diffused. <br>
Networked capabilities such as remote printing, anonymous sharing, peer-to-peer distribution, personal customization can have a huge social and political impact as they can reshape the act of publishing subversive content. For example, new workflows can be used for speeding up a process when there is a need for urgent publishing. A real-time peer-reviewed content editing process and co-authorship can 'single-author-knows-it-all-ideology'. And finally, it can be used to target a certain audience for getting a publication into the right hands.
</p>
<p>
<h6>1.9 Activating archival material </h6>
Often, out-of-print material and limited small press editions are somehow hidden in small institutions and private collections. These places have a lot of specialized knowledge about the contextual, historical and other substantive information of their material. Besides that, it is also important for their local cultural environment that the physical material is located in the place or region where it was originally produced and spread. Yet these collections are mostly unavailable online and therefore cannot be used as public sources of knowledge, they are unavailable to the public or hard to access. Often, the reason for that is the absence of a suitable platform for their dissemination or the limited financial resources available. In some cases, owners don't know how to handle material that is sensitive due to a political climate or censorship.
<h6>3.7 Creating hard copies: customising content </h6>
Another possibility that web-to-print provides is that it allows the user to select, add and modify content to create a personalized printed copy. In the process of printing a selection of the content that fits your interest, assembling and binding a document can result in adding another personal value to the self-printed material. By these means, one can feel more strongly connected to the physical object. as they have directly participated in its creation. <br><br>
In ‘The Art of Zines’ (Factsheet Five #63, 1998) C. Becker gives an examples on how collective binding methods could function: “The publisher invites contributions and from a few people and each of them sends multiple copies of their work to cover the number of copies in that edition. Each zine copy is then collated and bound making (it) unique, and personalized.”
</p>
<p>
<h6>1.10 Scanning as an act of resistance</h6>
As we can learn from history, in times of political change the freedom of the press can be under pressure and can even lead to censorship. In these circumstances, scanning and (anonymous) publishing can be an act of resistance. Digital scans of physical documents can be used as a legit source for articles to prevent whitewashing, which Wikipedia describes as "to gloss over or cover up vices, crimes or scandals or to exonerate by means of a perfunctory investigation or through biased presentation of data". Archives that contain marginal (forgotten) documents are essential to keep a collective (cultural) memory alive. There should be no threat to them being erased from history.
<h6>3.8 On distributing physical documents </h6>
One may wonder if the more we are getting used to reading digital and volatile screen-based content, the more we have the urge for tactile physical formats. Not only to cater to our reading habits, but also for human connection and interaction it creates. The original gestural act of spreading printed content as a conductor of ideas and information*, using the possibilities of collaboration and distribution that the digital realm provides. <br><br>
<i>* “In this context we view the act of publishing as a gesture that accommodates the political, the artistic, and in some cases, the defiant… A gesture is something preceding the action, and therefore signifies motion and agency of the most expressive and potent kind, precisely because it is so wrought with intentionality.” (Muller, N. and Ludovico, A. (2008) ‘Of Process and Gestures: A Publishing Act’ in The Mag.net reader 3 - Processual Publishing. Actual Gestures, OpenMute)</i><br><br>
While our trust in print is still pretty much present after all these years of screen reading, we start to experience printed media as slow compared to the online media environment where everything is unsteady and can be constantly updated. As we can see in the changing ways of how we consume news over the past years; with decreasing newspaper sales and the rise of distrust in news.
<br><br>
I personally believe there is a lot to explore in the field of collaborative publishing and what the role of print can be in this. I am in particular curious to what extent or in what situation it is preferable to create physical copies. For me, the methods and tools we used for making this publication gave a whole new insight on how to shape collaborative publishing processes and change more traditional roles for production and distribution. Opening up the process to the extend so that it becomes custumizable for a certain intention, means or strategy to target or create a specific public.
</p>
<p>
Here is why the availability of a (preferably) high-quality digital reproduction is important. It greatly increases the accessibility and reduces the need to visit the location where the physical original material is kept. This is also beneficial for the preservation of the material, since physical handling can be risky: documents can get lost or destroyed. Intentionally or not. Although not entirely safe - scanning and storing digitally also reduce the dangers of a collection being endangered/threatened by the forces of nature.
<h6>3.9 Resources</h6>
Imagine this: tomorrow the internet is down. These hyperlinks below will be inaccessible and therefore useless. All the bookmarks to external references will lead you to blank pages. While the internet seems as a stable way of global communication, its centralized infrastructure is also its weakness.
<p>An <ahref="#etherpad">Etherpad</a> document can be used to collectively work on <ahref="#htmlcssjs">HTML, CSS and Javascript</a> code, while still seeing a real time preview, using <ahref="#curl">CURL</a>.<br>
We used this method while creating the website you're looking at.
<p>An <ahref="#etherpad">Etherpad</a> document can be used to collectively work on <ahref="#htmlcssjs">HTML, CSS and Javascript</a> code, while still seeing a real time preview, using <ahref="#curl">CURL</a>.<br>
We used this method while creating the website you're looking at.
<p>When having first contact with the material that will constitute your work, getting a first quick overview and comprehending the scale of it, can influence the development of your process drastically. The reason for this is that, especially in time-limited projects, the first impressions significantly affect or even determine the creative and conceptual design that you decide for. Therefore, the fist contact with the material should be made with caution and calmness.<br>
In order to get a good overview of the archival material, when we first encountered it, we divided the documents, skimmed them and created a <ahref="#polytpych">polyptych summary</a> that also served as a basis for a collective discussion. Beforehand, we had <ahref="#readingexercises">trained our understanding of text</a> in order to be able to process the material effectively.
</p>
@ -550,7 +679,7 @@ In order to get a good overview of the archival material, when we first encounte
<p>Traditionally a Polyptych is a painting, split into sections. In this case we used the idea of a polyptych as an exercise that enables us to get a first impression of the archive material. <br>
<br>
<divclass="code">Skim the material and intuitively look for subjectively interesting details that seem meaningful to you or stand out for any reason. In order to create the Polyptych, collect a set number of these details, approximately 30. Each detail should be enlarged to fill an A4 page. Afterwards, print out your personal collection, arrange it on the floor in an order that makes sense to you in whatever way. As everybody in the group does this, take time to to look at the formations(Polyptych) of each individual, let them explain their work, observations and methods behind the ordering system. Discuss it collectively.</div>
@ -559,7 +688,7 @@ In order to get a good overview of the archival material, when we first encounte
<p>To be able to navigate the material, you have to make connections in between the documents, get an overview of all of the existing data and from this develop a structure for the archive. We chose to categorize the material with content and format related categories.<br>
To start, each person skimmed a portion of the archive they were responsible for (as decided when dividing the work). During this process, properties that we considered relevant and/or seemed to be recurring throughout the material were collected for each document. Further, all categories and properties were gathered, discussed and reduced to the necessary. The thereby generated set of categories and properties was then applied to the documents by re-skimming them. The categories and properties were later used for the upload of the material to MediaWiki using page forms and were structured there.<br>
<br>
@ -624,87 +753,87 @@ Tesseract is essential to provide a comprehensive overview when working with a b
<divclass="annotatedreader2">
<divclass="filterDiv Ar Swarm2"id="noise"><divclass="sectiontitles"data-aos="fade-down"data-aos-duration="800"data-aos-offset="140">*NOISE*<hrclass="line1"></div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Encoding :<br>To change something into a system<br>for sending messages secretly,<br>or to represent complicated information<br>in a simple or short way.</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Decoding :<br>To discover the meaning of information<br>given in a secret or complicated way<br>or to understand the meaning<br>of a word or phrase<br>in a foreign language in the correct way.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"Every such system contains noise."</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Noise :<br>A term used in the communications field<br>to designate any outside force that<br>acts on the transmitted signal<br>to vary it from the original.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Noise can prevent the information from getting through intact.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>The transmission can change the message.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>The encoding/decoding process - can blur/change the message.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"Let's take painting as an example of a signal transmitting a coded message."</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">Painting as language :<br><br><li>Information source = painter’s mind and experience</li><br><li>Signal = the painting</li><br><li>Receiver = those who see the painting</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>The receivers' interpretations of the signal (here painting) will depend on the noise.</li></div><br><divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Background :<br>One's origin, education, experience,<br> etc.,<br><br>*fine arts* The surface against which<br>represented objects and forms<br>are perceived or depicted.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Noise does not necessarily mean sound.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Noise is everything that leads to the interpretation of the painting :<br><br>the eyes, and nervous systems, and previous conditionings of those who are watching it.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>The background of the receiver might sometimes be so different from the transmitter’s background that understanding the intended meaning may be challenging.</li></div><br>
<divclass="filterDiv Ar Swarm2"id="noise"><divclass="sectiontitles"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="140"-->*NOISE*<hrclass="line1"></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Encoding :<br>To change something into a system<br>for sending messages secretly,<br>or to represent complicated information<br>in a simple or short way.</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Decoding :<br>To discover the meaning of information<br>given in a secret or complicated way<br>or to understand the meaning<br>of a word or phrase<br>in a foreign language in the correct way.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"Every such system contains noise."</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Noise :<br>A term used in the communications field<br>to designate any outside force that<br>acts on the transmitted signal<br>to vary it from the original.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Noise can prevent the information from getting through intact.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The transmission can change the message.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The encoding/decoding process - can blur/change the message.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"Let's take painting as an example of a signal transmitting a coded message."</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->Painting as language :<br><br><li>Information source = painter’s mind and experience</li><br><li>Signal = the painting</li><br><li>Receiver = those who see the painting</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The receivers' interpretations of the signal (here painting) will depend on the noise.</li></div><br><divclass="glossary"><!-- data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Background :<br>One's origin, education, experience,<br> etc.,<br><br>*fine arts* The surface against which<br>represented objects and forms<br>are perceived or depicted.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Noise does not necessarily mean sound.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Noise is everything that leads to the interpretation of the painting :<br><br>the eyes, and nervous systems, and previous conditionings of those who are watching it.</li></div><br>
<divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>The background of the receiver might sometimes be so different from the transmitter’s background that understanding the intended meaning may be challenging.</li></div><br>
</div></div>
<divclass="annotatedreader2">
<divclass="filterDiv Ar Swarm2"id="noiseinterruption"><divclass="sectiontitles"data-aos="fade-down"data-aos-duration="800"data-aos-offset="140">Noise = Interruption<hrclass="line1"></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Let us not begin at the beginning, nor even at the noise. But rather at the word "noise"- and with the noise of so familiar a word.</li></div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"The city rat invites the country rat, […] where the city rat lives in the house of a big tax farmer. But we know that the feast is cut short. The two companions scurry off when they hear a noise at the door. It was only a noise, but it was also a message, a bit of information producing panic: …"</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"… an interruption, …"</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Interruption :<br>A break in the continuity<br>of something.<br>Something that causes a stoppage<br>or break in the continuity<br>of something.</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"… a corruption, … "</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Corruption : <br>Dishonest or illegal behavior<br>especially by powerful people.<br><br>DEPRAVITY<br><br>Inducement to wrong by improper<br> or unlawful means (bribery)</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"… a rupture of information."</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Rupture : <br>Breaking apart,<br>the state of being broken apart.<br>A breach of peaceful<br>or friendly relations.<br>*specifically* open hostility<br>or war between nations.</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Rupture de stock :<br>*french* A deficiency in amount,<br>a temporary lack of material<br>that prevents from<br>providing the demand.</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"Was the noise really a message? Wasn't it, rather, static, a parasite?"</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Parasite : <br>An organism that lives on<br>or in an organism of another<br>species, known as the host,<br>from the body of which<br>it obtains nutriment.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Noise can be parasitic.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Noise interrupts, corrupts, creates a rupture.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>It does not necessarily mean sound.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Interruption = tactic/tool to cease power.</li></div><br><divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Censorship can be a form of noise.</li></div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"If anything acts on the signal so as to bury it in an unpredictable and undesirable way in the communications system, it is noise."</div><br>
<divclass="filterDiv Ar Swarm2"id="noiseinterruption"><divclass="sectiontitles"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="140"-->Noise = Interruption<hrclass="line1"></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Let us not begin at the beginning, nor even at the noise. But rather at the word "noise"- and with the noise of so familiar a word.</li></div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"The city rat invites the country rat, […] where the city rat lives in the house of a big tax farmer. But we know that the feast is cut short. The two companions scurry off when they hear a noise at the door. It was only a noise, but it was also a message, a bit of information producing panic: …"</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"… an interruption, …"</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Interruption :<br>A break in the continuity<br>of something.<br>Something that causes a stoppage<br>or break in the continuity<br>of something.</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"… a corruption, … "</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Corruption : <br>Dishonest or illegal behavior<br>especially by powerful people.<br><br>DEPRAVITY<br><br>Inducement to wrong by improper<br> or unlawful means (bribery)</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"… a rupture of information."</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Rupture : <br>Breaking apart,<br>the state of being broken apart.<br>A breach of peaceful<br>or friendly relations.<br>*specifically* open hostility<br>or war between nations.</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Rupture de stock :<br>*french* A deficiency in amount,<br>a temporary lack of material<br>that prevents from<br>providing the demand.</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"Was the noise really a message? Wasn't it, rather, static, a parasite?"</div><br>
<divclass="glossary"><!-- data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Parasite : <br>An organism that lives on<br>or in an organism of another<br>species, known as the host,<br>from the body of which<br>it obtains nutriment.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Noise can be parasitic.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Noise interrupts, corrupts, creates a rupture.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>It does not necessarily mean sound.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Interruption = tactic/tool to cease power.</li></div><br><divclass="bulletpoints"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Censorship can be a form of noise.</li></div><br>
<divclass="quote"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"If anything acts on the signal so as to bury it in an unpredictable and undesirable way in the communications system, it is noise."</div><br>
</div></div>
<divclass="annotatedreader2"><divclass="filterDiv Ar Swarm2"id="interruption"><divclass="sectiontitles"data-aos="fade-down"data-aos-duration="800"data-aos-offset="140">The "Rat" is always interrupted<hrclass="line1"></div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Uniformity :<br>Always the same,<br>as in character or degree;<br><br>Lack of diversity or variation.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Uniformity, mass production, and standardisation, limit the fair distribution of resources (communicating resources).</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Having a multitude of perpectives on a subject obviously broadens your understanding of it.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Here, the parasitic noise interrupts the feast, just like noise can interrupt communication between people.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Noise, when it interrupts, parasites, implies a hierarchy, a dependency.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>It can narrow and withhold messages, distort others.</li></div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Distortion : <br>The act of twisting or altering<br> something out of its true, natural,<br>or original state.<br>A distortion of the facts.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Information-washing of the dominant class is the distortion, the long-term static noise.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>A class of people. The "white collar criminals", generating their own order. </li></div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Imposteur :<br>*french*<br>The word "Imposteur" means both<br>"tax-collector" and "impostor".</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Tax Farmer : <br>A parasite who has the last word,<br>who produces disorder and<br>who generates a different order."<br><br>A parasite, living off […] the land.<br><br>Industry pillages and plunders:<br>Such farmer is a part of a matrix.</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"The modern illness […] , the engulfing of intelligence in the leisure [jouissance] of the homogeneous. […] ; Real production is unexpected and improbable; it overflows with information and is always immediately parasited."</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Matrix :<br>The cultural, social, or political<br> environment in which<br>something develops.<br><br>A situation or surrounding<br>substance within which something<br>originates, develops, is contained<br></div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">"Freedom of expression<br>is the matrix,<br>the indispensable condition,<br>of nearly every form of freedom".</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Not being interrupted is coupled with power is a luxury - the "rat" is always interrupted, the "king" never.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>If you are constantly being interrupted, you have to deviate to be heard.</li></div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>If you are constantly being interrupted, you have to deviate to be understood.</li>It segments production.</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"The situation repeats itself throughout history, for history has never lacked for political parasites. History is full of them, or maybe is made solely of them. Dinner is served among the parasites."</div><br>
<divclass="annotatedreader2"><divclass="filterDiv Ar Swarm2"id="interruption"><divclass="sectiontitles"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="140"-->The "Rat" is always interrupted<hrclass="line1"></div><br>
<divclass="glossary"><!-- data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Uniformity :<br>Always the same,<br>as in character or degree;<br><br>Lack of diversity or variation.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Uniformity, mass production, and standardisation, limit the fair distribution of resources (communicating resources).</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Having a multitude of perpectives on a subject obviously broadens your understanding of it.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Here, the parasitic noise interrupts the feast, just like noise can interrupt communication between people.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Noise, when it interrupts, parasites, implies a hierarchy, a dependency.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>It can narrow and withhold messages, distort others.</li></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Distortion : <br>The act of twisting or altering<br> something out of its true, natural,<br>or original state.<br>A distortion of the facts.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Information-washing of the dominant class is the distortion, the long-term static noise.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>A class of people. The "white collar criminals", generating their own order. </li></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Imposteur :<br>*french*<br>The word "Imposteur" means both<br>"tax-collector" and "impostor".</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Tax Farmer : <br>A parasite who has the last word,<br>who produces disorder and<br>who generates a different order."<br><br>A parasite, living off […] the land.<br><br>Industry pillages and plunders:<br>Such farmer is a part of a matrix.</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"The modern illness […] , the engulfing of intelligence in the leisure [jouissance] of the homogeneous. […] ; Real production is unexpected and improbable; it overflows with information and is always immediately parasited."</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Matrix :<br>The cultural, social, or political<br> environment in which<br>something develops.<br><br>A situation or surrounding<br>substance within which something<br>originates, develops, is contained<br></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->"Freedom of expression<br>is the matrix,<br>the indispensable condition,<br>of nearly every form of freedom".</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Not being interrupted is coupled with power is a luxury - the "rat" is always interrupted, the "king" never.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>If you are constantly being interrupted, you have to deviate to be heard.</li></div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>If you are constantly being interrupted, you have to deviate to be understood.</li>It segments production.</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"The situation repeats itself throughout history, for history has never lacked for political parasites. History is full of them, or maybe is made solely of them. Dinner is served among the parasites."</div><br>
</div></div>
<divclass="annotatedreader2"><divclass="filterDiv Ar Swarm2"id="urgency"><divclass="sectiontitles"data-aos="fade-down"data-aos-duration="800"data-aos-offset="140">Publishing in times of urgency<hrclass="line1"></div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Idiosyncrasies :<br>A structural or behavioral characteristic<br>peculiar to an individual or group.</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"The noise that tends to disrupt the signal can take many forms. It can be the quality of the light, or the color of the light, or the prejudices of the viewer, or the idiosyncrasies of the painter."</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Propaganda :<br>Information, ideas, or rumors deliberately<br>spread widely to help or harm a person,<br>group, movement, institution, nation, etc.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Propaganda and censorship as a constant, parasitic noise. </div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Constant struggle, a fight for position.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Relation between information and energy.</div><br>
<divclass="quote"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70">"Professional archivists have the power and authority to construct a dominant narrative on virtually any topic. Unfortunately, the archival world is built on a legacy of colonialism, appropriation, and community disenfranchisement. The power imbalance between archivists and the marginalized communities they often document leads to the dissemination of inaccurate and harmful accounts."
<divclass="annotatedreader2"><divclass="filterDiv Ar Swarm2"id="urgency"><divclass="sectiontitles"><!-- data-aos="fade-down" data-aos-duration="800" data-aos-offset="140"-->Publishing in times of urgency<hrclass="line1"></div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Idiosyncrasies :<br>A structural or behavioral characteristic<br>peculiar to an individual or group.</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"The noise that tends to disrupt the signal can take many forms. It can be the quality of the light, or the color of the light, or the prejudices of the viewer, or the idiosyncrasies of the painter."</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Propaganda :<br>Information, ideas, or rumors deliberately<br>spread widely to help or harm a person,<br>group, movement, institution, nation, etc.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Propaganda and censorship as a constant, parasitic noise. </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Constant struggle, a fight for position.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Relation between information and energy.</div><br>
<divclass="quote"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"-->"Professional archivists have the power and authority to construct a dominant narrative on virtually any topic. Unfortunately, the archival world is built on a legacy of colonialism, appropriation, and community disenfranchisement. The power imbalance between archivists and the marginalized communities they often document leads to the dissemination of inaccurate and harmful accounts."
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>For an oppressor, distortion would be the noise of those who disagree with them.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Political dissidents create the noise that interrupt the feast of oppressors.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Resistance movements can generate a counter/ a different order.</div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>From beyond this point and in this chain, everybody becomes a parasite.</div><br>
<divclass="glossary"data-aos="slide-left"data-aos-duration="800"data-aos-offset="260">Wikipedia edit wars :<br>Conflict of interest or non-neutrality.<br>When wikipedia administrators/editors<br> keep going back and fourth<br>with statements in Wikipedia<br>due to a lack of source.<br><br>This creates a bias towards<br>statements that align with<br>the government's views,<br>since content published by dissidents are stategically and systematically censored<br>and taken off the internet. </div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Wikipedia, for example, was not created for a world in which censorship still exists : </div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Sources and references are being deleted, writers being chased after, etc… </div><br>
<divclass="bulletpoints"data-aos="fade-down"data-aos-duration="800"data-aos-offset="70"><li>Who gets to articulates the laws? Who articulates the memory of it ? Don’t forget this.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>For an oppressor, distortion would be the noise of those who disagree with them.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Political dissidents create the noise that interrupt the feast of oppressors.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Resistance movements can generate a counter/ a different order.</div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>From beyond this point and in this chain, everybody becomes a parasite.</div><br>
<divclass="glossary"><!--data-aos="slide-left" data-aos-duration="800" data-aos-offset="260"-->Wikipedia edit wars :<br>Conflict of interest or non-neutrality.<br>When wikipedia administrators/editors<br> keep going back and fourth<br>with statements in Wikipedia<br>due to a lack of source.<br><br>This creates a bias towards<br>statements that align with<br>the government's views,<br>since content published by dissidents are stategically and systematically censored<br>and taken off the internet. </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Wikipedia, for example, was not created for a world in which censorship still exists : </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Sources and references are being deleted, writers being chased after, etc… </div><br>
<divclass="bulletpoints"><!--data-aos="fade-down" data-aos-duration="800" data-aos-offset="70"--><li>Who gets to articulates the laws? Who articulates the memory of it ? Don’t forget this.</div><br>
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@ -750,7 +879,7 @@ We used Web2Print to enable the printing of the website you're looking at, as we
<p>When developing the structure, form and function of the publication, it was essential to collect references. For inspiration, but also to communicate complex ideas in a team. Very helpful were lectures and discussions with <ahref="https://maydayrooms.org/">Maydayroom</a>, <ahref="http://www.warpweftmemory.net/">The Warp and Weft of Memory</a> and <ahref="http://osp.kitchen/">OpenSourcePublishing</a>.
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@ -769,7 +898,7 @@ We used this tool as part of the <a href="#ether2html">Ether2HTML</a> method.<br
<p>GIT is a version-based online data storage service that is used mostly to collectively work on code. This collaborative working environment retains all versions created, it is non-destructive. It also features the option of dividing a project into different versions, so called branches, which can be processed separately, and merged again afterwards.<br>
<p>Using the slow reading method we have read several texts as a group. We have collected annotations, additional information and imagery on an Etherpad. Afterwards, we have collectively revised the collected content, added a glossary, styled it with CSS - designed a cover and designed the overall appearance of it. We have converted it to a print layout using the <ahref="#ether2html">Ether2HTML</a> and <ahref="#web2print">Web2Print</a> methods. Afterwards, we have printed out this material as booklets, which we have named: SWARM 1, 2 & 3.
<p>We created a code of conduct to make sure that we were on the same page about the fundamentals of our regular interactions as a group. It served as a reference on how to approach each other and helped prevent avoidable unconstructive conflict.<br>
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@ -813,7 +943,7 @@ We used this tool as part of the <a href="#ether2html">Ether2HTML</a> method.<br
<p>To develop an understanding of a complex topic, basic research - on/offline - is the first necessary step to take. Talking about the facts as a group and/or collectively reading texts on the topic can help in the process. If possible, the best way to develop a deeper understanding is to get in touch with experts and/or witnesses. In the best case, to conduct an interview or even organize a meeting as a group or a workshop on the topic. Also taking as many different points of view, even if you don’t agree with them, is an imperative to create a differentiated opinion on a complex matter.
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@ -844,7 +974,7 @@ We used this tool as part of the <a href="#ether2html">Ether2HTML</a> method.<br
<p>Page forms is an extension that provides a <ahref="#mediawiki">MediaWiki</a> instance with templates to create pages, edit pages and add query data to them. <br>
We used these forms to implement the same categories for each document and assign them their collected properties.<br>
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@ -868,7 +998,7 @@ We used these forms to implement the same categories for each document and assig
<p>While lexical search returns literal matches to a search request, semantic search "understands" the query. When compiling the search results, this search procedure relies on previously entered, definitive, metadata information and thus usually returns more accurate results. Multiple requests can be combined to create more complex queries. There are two different factors to the queries: Which pages the search is based on and which information is obtained from them. <ahref="#mediawiki">WikiMedia</a> uses a simple semantic language "semantic MediaWiki" for this.<br>
We used it to selectively query the previously entered content using meta data.<br>
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@ -1076,7 +1206,7 @@ We used it to selectively query the previously entered content using meta data.<
<p>An API (Application Programming Interface) is an interface that enables external programs or systems to communicate with the software. The API defines how to access and how to define requests. Some APIs are created specifically for certain programs, others follow industry standards.<br>
We used MediaWiki's API to organize and bundle a large amount of material and later in the process also to export the search queries from the Wiki user interface and then, using <ahref="#query2html">query2html</a>, converted them to HTML.
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@ -1085,7 +1215,7 @@ We used MediaWiki's API to organize and bundle a large amount of material and la
<p>Python is a highly abstract (high-level) programming language in which logical and clearly structured codes for projects of various sizes have been written since 1991. It is equipped/comes with a significant amount of libraries that simplify complex tasks.<br>
We used the Python library Mwclient to interface with the <ahref="#mediawiki">MediaWiki</a><ahref="#api">API</a> in order to extract the results of semantic queries.
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@ -1093,7 +1223,7 @@ We used the Python library Mwclient to interface with the <a href="#mediawiki">M
<p>Using the <ahref="#mediawiki">MediaWiki</a><ahref="#api">API</a>, <ahref="#pythonscript">Python</a> and <ahref="#pandoc">Pandoc</a> we converted the results of <ahref="#semanticqueries">semantic queries</a> to a <ahref="#staticwebsite">static website</a>.
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@ -1101,7 +1231,7 @@ We used the Python library Mwclient to interface with the <a href="#mediawiki">M
<p>Under certain conditions it may be necessary to publish content without leaving a trace of identity behind. To protect the contributors and server locations also means working with some technical limitations. At our project, this boiled down to facing reduced bandwidth speed when accessing websites, hosted in the Dark web through the Tor Browser, and also because of the necessity of implementing a static website.
It makes no sense to try and work against these restrictions, but rather to accept and find ways to work within the limitations. A clearly defined field of work can also speed up and enrich the process.<br>
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@ -1176,10 +1306,27 @@ Embrace the limitations!</div>
Mark van den Heuvel
4 years ago