diff --git a/sketches/site3/IMG/2px_grey.jpg b/sketches/site3/IMG/2px_grey.jpg new file mode 100644 index 0000000..f3fabde Binary files /dev/null and b/sketches/site3/IMG/2px_grey.jpg differ diff --git a/sketches/site3/bootlegging.html b/sketches/site3/bootlegging.html index a9155b8..7d714d4 100644 --- a/sketches/site3/bootlegging.html +++ b/sketches/site3/bootlegging.html @@ -22,14 +22,20 @@ -

bootlegging

-

see also diversifying through use, multiplying form, republishing -

-

Most people think of bootlegs as cheap knock-off products that masquerade as the real deal; bootleg cigarettes, designer-label clothes, not-quite-right imitations of Disney products and the like. Bootlegging began during the prohibition era with the practice of illegally distilling and distributing alcoholic beverages, often literally concealed in the leg of a boot while being transported. Run an image search on the keyword “bootleg” and you’ll probably see all sorts of suspicious-looking products. But the way I want to speak of bootlegging is as a social act, a homage, and one that creates and celebrates a multiplicity of form. I’m referring in particular to the vibrant culture of music sharing in the 1970s that followed portable cassette tape recorders entering the market. These allowed fans to cheaply record live performances and share these recordings—also known as bootlegs.

-

Image: A “bootlegger” concealing a flask of an illegally distributed alcoholic beverage in the leg of a boot during the Prohibition era

- - a link to bootlegging_rvrs +
+

bootlegging

+

see also diversifying through use, multiplying form, republishing +

+

Most people think of bootlegs as cheap knock-off products that masquerade as the real deal; bootleg cigarettes, designer-label clothes, not-quite-right imitations of Disney products and the like. Bootlegging began during the prohibition era with the practice of illegally distilling and distributing alcoholic beverages, often literally concealed in the leg of a boot while being transported. Run an image search on the keyword “bootleg” and you’ll probably see all sorts of suspicious-looking products. But the way I want to speak of bootlegging is as a social act, a homage, and one that creates and celebrates a multiplicity of form. I’m referring in particular to the vibrant culture of music sharing in the 1970s that followed portable cassette tape recorders entering the market. These allowed fans to cheaply record live performances and share these recordings—also known as bootlegs.

+

Image: A “bootlegger” concealing a flask of an illegally distributed alcoholic beverage in the leg of a boot during the Prohibition era

+ flipside + +
+ + diff --git a/sketches/site3/bootlegging_rvrs.html b/sketches/site3/bootlegging_rvrs.html index 27acff3..773d616 100644 --- a/sketches/site3/bootlegging_rvrs.html +++ b/sketches/site3/bootlegging_rvrs.html @@ -23,8 +23,7 @@

This is the bootlegging reverse page

- - a link back to tasks + 
/etc/systemd/system/calibre-server.service
 diff --git a/sketches/site3/diversifying.html b/sketches/site3/diversifying.html index 0a16441..e45072b 100644 --- a/sketches/site3/diversifying.html +++ b/sketches/site3/diversifying.html @@ -28,8 +28,7 @@

Publications acquire difference through reproduction; sometimes intentionally, always circumstantially. A printed book always ends up in the hands of at least one reader. It is transported, pages are dog-eared and annotated, time weathers the paper and cracks the spine. Multiply this by many readers, and each printed copy starts to accumulate its own traces, losing resemblance to the rest of the edition and acquiring its own particular countenance and provenance through use.

Image: 1. Books are for use. The first law of S. R. R. Rangathan’s 5 Laws of Library Science, 1931

- a link to tasks.html
- a link to diversifying_rvrs + flipside diff --git a/sketches/site3/diversifying_rvrs.html b/sketches/site3/diversifying_rvrs.html index da0e09c..a4f9dc2 100644 --- a/sketches/site3/diversifying_rvrs.html +++ b/sketches/site3/diversifying_rvrs.html @@ -23,11 +23,9 @@

This is the diversifying reverse page

- - a link back to tasks - From the books project
- 
some code here
+ some code here + From the books what how why
diff --git a/sketches/site3/index.html b/sketches/site3/index.html index aed6e38..ee671d9 100644 --- a/sketches/site3/index.html +++ b/sketches/site3/index.html @@ -25,17 +25,21 @@
-
Library of Contingencies* +
Library of Contingencies*
+ shuffle
+ clear
- + +
diff --git a/sketches/site3/list.html b/sketches/site3/list.html index a9af460..16412d1 100644 --- a/sketches/site3/list.html +++ b/sketches/site3/list.html @@ -27,6 +27,7 @@ diversifying through use
bootlegging
multiplying form
+ producing texts
republishing
being kind to the reader
diff --git a/sketches/site3/multiplying.html b/sketches/site3/multiplying.html index 164bd4d..dd2f095 100644 --- a/sketches/site3/multiplying.html +++ b/sketches/site3/multiplying.html @@ -29,7 +29,7 @@

There are files in the library that are of the same text, but they have travelled different paths to get there, accumulating difference through methods such as annotation and material transformation. And so, they have different materialities, lending weight to the argument that a text is not identical with itself; that there is no such thing as a unique, singular, original “work”, but instead many different versions of texts, born through the accidents of their creation.

Image: “Deadheads” recording a live Grateful Dead concert, 1972

- multiplying form reverse
+ flipside
diff --git a/sketches/site3/multiplying_rvrs.html b/sketches/site3/multiplying_rvrs.html index c865121..5352188 100644 --- a/sketches/site3/multiplying_rvrs.html +++ b/sketches/site3/multiplying_rvrs.html @@ -24,8 +24,6 @@

This is the multiplying reverse page

- a link back to tasks - From the books project

a pad conversation with manetta

diff --git a/sketches/site3/producing.html b/sketches/site3/producing.html index 195f0d1..92c50a0 100644 --- a/sketches/site3/producing.html +++ b/sketches/site3/producing.html @@ -35,8 +35,7 @@
- a link to tasks.html
- a link to producing_rvrs + flipside diff --git a/sketches/site3/producing_rvrs.html b/sketches/site3/producing_rvrs.html index 9dca2cf..995e69a 100644 --- a/sketches/site3/producing_rvrs.html +++ b/sketches/site3/producing_rvrs.html @@ -23,11 +23,9 @@

This is the producing texts reverse page

- - a link back to tasks - From the books project
Running backwards through the library + From the books project
diff --git a/sketches/site3/republishing.html b/sketches/site3/republishing.html index 2bf19ce..4743616 100644 --- a/sketches/site3/republishing.html +++ b/sketches/site3/republishing.html @@ -28,8 +28,7 @@

Samizdat publishers considered a printed text to be officially published if it came in an edition of at least 5 copies. The library considers this to be excessive, and reduces that number to 1. One copy of a text can be shared and enriched by the accumulated annotations of many readers. A one-to-many-publishing model distributes texts to the widest possible public. The library instead insists on a many-to-one model, drawing many readers to one text. Republishing the one text many times creates a multiplicity of form, and subsequently a multiplicity of publics in each instance.

Image: Staff working at Publication Studio, London. Publication Studio is a federated publishing network with studios located worldwide. Books ordered from the shared catalog are printed and bound one-at-a-time by the closest studio. Differences in availability of paper and machinery at each studio means that the materiality of each instance of a printed text will vary depending on where and how the books are made.

- a link to tasks.html
- a link to republishing_rvrs + flipside diff --git a/sketches/site3/republishing_rvrs.html b/sketches/site3/republishing_rvrs.html index 8e05591..fac4ef7 100644 --- a/sketches/site3/republishing_rvrs.html +++ b/sketches/site3/republishing_rvrs.html @@ -23,8 +23,6 @@

This is the republishing reverse page

- - a link back to tasks

a snippet

diff --git a/sketches/site3/style.css b/sketches/site3/style.css index d5e4fc1..244c715 100644 --- a/sketches/site3/style.css +++ b/sketches/site3/style.css @@ -3,12 +3,15 @@ body { color: black; height: 100% width: 100%; + display: block; } a:hover { background-color: yellow; + color: black; } + .heading { font-family: serif; font-size: 1.6em; @@ -18,20 +21,51 @@ a:hover { padding-bottom: 6px; } +.control { + font-family: serif; + font-size: 1.6em; + color: black; + padding-left: 0px; + padding-top: 6px; + padding-bottom: 6px; +} + div.container-fluid { max-width: 100%; } +.item { + +} + +.cardback { + width: 50%; + height: 100%; +} + .col { width: 50%; } +.row { + display: inline-block; + vertical-align: top; +} + +h2 { + text-align: top; +} + iframe { - border: 2px solid blue; + border: 1px solid blue; width: 100%; - height: 540px; + height: 563px; margin: 0; +} +iframe[name="verso"] { + background-repeat: repeat; + background-image: url("./IMG/2px_grey.jpg"); } .bottom { @@ -40,7 +74,7 @@ iframe { } .cards { - box-shadow: 5px 10px 8px #888888; + box-shadow: 5px 8px #888888; } img { @@ -51,6 +85,17 @@ img { max-width: 100% } -.snippets { - margin-top: 420px; +.imgsnippets { + width: 210px; + height: 148px; + margin-left: 6px; + margin-top: 400px; + z-index: 0; + /*position: fixed; + float: right;*/ + border: solid 1px blue; +} + +p { + } \ No newline at end of file