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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><pre>/ b \ o / o \ t / l \ e / g \ l / i \ b / r \ a / r \ y /
\ a / t \
/ m \ e / e \ t / i \ n / g \ g / r \ o / u \ n / d \ s
-------------------------------------------
the bootleg library
https://hub.xpub.nl/bootleglibrary
-------------------------------------------
book sharing &amp; annotation
calibre
ebook manager - you can download this, run it on your computer and share books over a local network using the content server function
https://calibre-ebook.com/
calibre-web
web app that the bootleg library runs on (a fork of the open-source calibre software)
https://github.com/janeczku/calibre-web
Annotation on the web - the holy grail with lots of projects:
https://beepb00p.xyz/annotating.html
also done very simply and effectively with genius:
https://genius.com/
-------------------------------------------
pirate/shadow/"extra-legal" libraries
Monoskop
https://monoskop.org/Monoskop
Library Genesis (collection is HUGE and mirrored) - i usually use the russian site
http://gen.lib.rus.ec/
Memory of the World
https://library.memoryoftheworld.org/#/books/
aaaaarg (only accessible by members. simon can invite you - just send him an email)
https://aaaaarg.fail/
ask for PDFs from people with institutional access
group for informal PDF sharing through a social network
https://www.facebook.com/groups/850609558335839/
Sci-Hub (this is mirrored too, try googling if the link is down):
https://mg.scihub.ltd/
ubu-web
kenneth goldsmith's baby - an archive of avant-garde cinema and writing
http://ubu.com/
Leeszaal
not an online pirate library, but a volunteer-run place in Rotterdam where you can borrow books, look up information, learn how to use LINUX, study or just read the newspaper. Books are not catalogued, and if you want to borrow one, just take it off the shelf and walk out with it :)
https://www.leeszaalrotterdamwest.nl/
-------------------------------------------
legal online libraries &amp; archives
Project Gutenberg
books are within the public domain (70+ years after death of the author), so free of copyright restrictions:
https://www.gutenberg.org/
The Internet Archive
hosts a collection of books and more, also has the wayback machine (snapshots of web pages going back to the 90s)
https://archive.org/
--------------------------------------------
projects &amp; open letters in support of and about piracy/peeracy
In solidarity with Library Genesis and Sci-Hub
an open letter calling for shadow librarians to come out of the shadows
http://custodians.online/
Alexandra Elbakyan to Mr. Robert W. Sweet (presiding judge in the Elsevier vs Sci-Hub et al court case)
https://torrentfreak.com/images/sci-hub-reply.pdf
and publishing
http://andpublishing.org/
The Piracy Project
http://andpublishing.org/the-piracy-project/
--------------------------------------------
loose thoughts from our conversation
misspellings on ebay - how to exploit this to find undiscovered items http://fatfingers.com
bootlegged DVDs and PS1 games - "chipping" to play bootlegged games
social capital accumulated from having a chipped console
The Pirate Book
historical stories of piracy - warez, demoscene, music etc:
https://hub.xpub.nl/bootleglibrary/read/290/pdf
selling unauthorised copies out of a car boot = "boot"legging?
why do we feel it's more threatening to pirate books than movies/music/games etc?
where does the text reside?
what if i read a book out loud and make a file on youtube - is it bootlegging?
can the library also have audio/visual media?
yes - the library is running on open-source software, so definitely possible. this requires an upgrade of the computer and data storage
what is more of a risk - a shared google drive of PDFs or the bootleglib?
a shared google drive is more risky - the bootleg library has several security measures in place to keep it private
will i get into trouble for using the bootleg library?
haha - not very likely :)
can readers communicate with each other through the bootleglib?
not directly, but possible by adding links to etherpads (like this one) in the description fields
--------------------------------------------
some interesting things to watch &amp; read on archives, libraries, piracy and activism
things to read:
the science of piracy and the piracy of science by bodo balasz (an economist researching use of pirate libraries)
Part 1: http://copyrightblog.kluweriplaw.com/2019/03/06/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-1/
Part 2: http://copyrightblog.kluweriplaw.com/2019/03/21/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-2/
a view from elsewhere on authorship, copyright and creativity by eva weinmayr (of and publishing and the piracy project)
https://pzwiki.wdka.nl/mw-mediadesign/images/d/dd/Confronting_Authorship_Published_with_content_page--Whose_book_is_it_anyway.pdf
articles by shannon mattern on self-organised and "fugitive" libraries
https://placesjournal.org/article/marginalia-little-libraries-in-the-urban-margins/
https://placesjournal.org/article/fugitive-libraries/
interview with kate eichhorn, author of the archival turn in feminism
https://criticalmargins.com/interview-with-kate-eichhorn-author-of-the-archival-turn-in-feminism-a204b02ae340
things to watch:
Digital Amnesia
https://youtu.be/NdZxI3nFVJs
"Our memory is dissipating. Hard drives only last five years, a web page is forever changing and there’s no machine left that reads 15-year old floppy disks. Digital data is vulnerable. Yet entire libraries are shredded and lost to budget cuts, because we assume everything can be found online."
The Internet's Own Boy: The Story of Aaron Swartz
https://archive.org/details/TheInternetsOwnBoyTheStoryOfAaronSwartz
"The Internet's Own Boy depicts the life of American computer programmer, writer, political organizer and Internet activist Aaron Swartz. It features interviews with his family and friends as well as the internet luminaries who worked with him. The film tells his story up to his eventual suicide after a legal battle, and explores the questions of access to information and civil liberties that drove his work."
--------------------------------------------
King Gizzard And The Lizard Wizard
Polygondwanaland is free for everybody and you can do with what you.
From the band's post accompanying links to different digital packs:
"This album is FREE. Free as in, free. Free to download and if you wish, free to make copies.
Make tapes, make CD’s, make records.
[...]
Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy."
https://www.discogs.com/King-Gizzard-And-The-Lizard-Wizard-Polygondwanaland/master/1268453
100 copies of the white album played at once
https://thevinylfactory.com/news/artist-layers-100-unique-copies-of-the-beatles-white-album-for-original-vinyl-release/
royalty-free audio
http://freesound.org
spotify scanning interface
http://everynoise.com/
sharpest knife ever made from {insert substance here}
https://www.youtube.com/channel/UCg3qsVzHeUt5_cPpcRtoaJQ
Bootleg Britney / A bootleg CD bought at the market in Montenegro had 3 extra unpublished songs in comparison to the actual album on sale in the shops - what message was Britney sending me?! i &lt;3 this story
</pre>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="A_Voice_and_Nothing_More">A Voice and Nothing More</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/A_Voice_and_Nothing_More&amp;action=edit&amp;section=1" title="Edit section: A Voice and Nothing More">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Printed: 19.11.19<br>
Dimensions: 155x235mm<br>
Cover stock: Ursus glossy white 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound, cold glue<br>
Pages: 226pp
</p><p>This is another book where I took a text file and laid it out again in InDesign, like the copy of <i>Dumbstruck</i> that I bootlegged. However, this time I made a code to indicate the page numbering and text flow of the source publication. This was to provide comfortable, consistent tracking to the letterspacing - one of the issues with <i>Dumbstruck</i> was that, in an attempt to keep the text flow and page numbering the same, some paragraphs were too tightly, or too loosely kerned. I feel this is a more elegant solution, however, it might pose problems if someone else tried to do the same as I had (taking the text from a source publication and laying it out) as the code is now part of the text. The cover was made with glossy paper, and custom-cut vinyl stickers. In time these will probably come off, but that's conceptually sympathetic to the content of the book, which is about the transience of the voice.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/2/2e/AVANM_A01.JPG/90px-AVANM_A01.JPG" srcset="/mw-mediadesign/images/thumb/2/2e/AVANM_A01.JPG/135px-AVANM_A01.JPG 1.5x, /mw-mediadesign/images/thumb/2/2e/AVANM_A01.JPG/180px-AVANM_A01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover, with white vinyl text and graphics
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/08/AVANM_A02.JPG/90px-AVANM_A02.JPG" srcset="/mw-mediadesign/images/thumb/0/08/AVANM_A02.JPG/135px-AVANM_A02.JPG 1.5x, /mw-mediadesign/images/thumb/0/08/AVANM_A02.JPG/180px-AVANM_A02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/4e/AVANM_A03.JPG/90px-AVANM_A03.JPG" srcset="/mw-mediadesign/images/thumb/4/4e/AVANM_A03.JPG/135px-AVANM_A03.JPG 1.5x, /mw-mediadesign/images/thumb/4/4e/AVANM_A03.JPG/180px-AVANM_A03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Code referring to text flow of the source publication
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A04.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/6/60/AVANM_A04.JPG/90px-AVANM_A04.JPG" srcset="/mw-mediadesign/images/thumb/6/60/AVANM_A04.JPG/135px-AVANM_A04.JPG 1.5x, /mw-mediadesign/images/thumb/6/60/AVANM_A04.JPG/180px-AVANM_A04.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootleg acknowledgement
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A05.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/8f/AVANM_A05.JPG/90px-AVANM_A05.JPG" srcset="/mw-mediadesign/images/thumb/8/8f/AVANM_A05.JPG/135px-AVANM_A05.JPG 1.5x, /mw-mediadesign/images/thumb/8/8f/AVANM_A05.JPG/180px-AVANM_A05.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Book opens easily due to cold glue binding
</p>
</div>
</div></li>
</ul>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="*A_note_to_the_reader:"></span><span class="mw-headline" id=".2AA_note_to_the_reader:">*A note to the reader:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/A_note_to_the_reader&amp;action=edit&amp;section=1" title="Edit section: *A note to the reader:">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>This text has been written with the intention to be materialised in a very specific form; a set of A6-sized index cards, contained in a box. Please read it while holding the cards in your hands, shuffling and reordering them, making your own text as you read.
</p><p>These cards list the tasks performed on the site of contingencies, the bootleg library. Tasks are described on the obverse, and related images and references are on the reverse.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="acquiring/removing"></span><span class="mw-headline" id="acquiring.2Fremoving">acquiring/removing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Acquiring_Removing&amp;action=edit&amp;section=1" title="Edit section: acquiring/removing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Administrating.html" title="User:Simon/Administrating">administrating</a>, <a href="Finding_texts.html" title="User:Simon/Finding texts">finding texts</a>, <a href="Downloading.html" title="User:Simon/Downloading">downloading</a>
</p><p>Many national libraries have acquisition programs in place with stringent, highly formalised procedures through which new texts enter the collection. Some countries require that an officially published book is donated to their national library by way of a system called “legal deposit”. Purchase of a commercial identifier such as an ISBN (International Standard Book Number) allows the book to be registered, so that other libraries that subsequently acquire the same text may share cataloguing details.
</p><p>The library makes no such demands. Books are acquired through informal means, in ways that are not regulated or legislated. Anyone may remove or add texts to the library.
</p><p>Image: ISBN barcode
</p>
<a class="flipside" href="Acquiring_Removing_rvrs.html" target="recto">flipside</a>
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<div class="cardback"><img class="cardbackimg" src="./IMG/Isbn_barcode.jpeg"></div>ISBN barcode</div></div></div>
<h2><span id="shadow/pirate/extra-legal_libraries"></span><span class="mw-headline" id="shadow.2Fpirate.2Fextra-legal_libraries">shadow/pirate/extra-legal libraries</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Libraries&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li>#icanhazpdf <a class="external text" href="https://twitter.com/hashtag/icanhazpdf?src=hash" rel="nofollow">https://twitter.com/hashtag/icanhazpdf?src=hash</a></li>
<li>aaaaarg <a class="external text" href="http://aaaaarg.fail/" rel="nofollow">http://aaaaarg.fail</a></li>
<li>Bibliotheca <a class="external text" href="http://bibliotecha.info/" rel="nofollow">http://bibliotecha.info/</a></li>
<li>Clockwise libraries <a class="external text" href="https://clockwise3rldkgu.onion.to/" rel="nofollow">https://clockwise3rldkgu.onion</a></li>
<li>Library Genesis <a class="external text" href="http://gen.lib.rus.ec" rel="nofollow">http://gen.lib.rus.ec</a></li>
<li>Memory of the world <a class="external text" href="http://library.memoryoftheworld.org/" rel="nofollow">http://library.memoryoftheworld.org</a></li>
<li>Monoskop <a class="external text" href="http://monoskop.org/" rel="nofollow">http://monoskop.org</a></li>
<li>On Our Backs <a class="external text" href="http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&amp;cl=CL1&amp;sp=BEBJBJCA&amp;ai=1&amp;e=-------en-20--1--txt-txIN---------------1" rel="nofollow">http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&amp;cl=CL1&amp;sp=BEBJBJCA&amp;ai=1&amp;e=-------en-20--1--txt-txIN---------------1</a></li>
<li>Project Gutenberg <a class="external text" href="http://gutenberg.org/" rel="nofollow">http://gutenberg.org</a></li>
<li>Radical Militant Library (Jotunbane’s Reading Club) <a class="external text" href="https://c3jemx2ube5v5zpg.onion.to/" rel="nofollow">https://c3jemx2ube5v5zpg.onion</a></li>
<li>Sci-hub <a class="external text" href="http://sci-hub.io/" rel="nofollow">http://sci-hub.tw/</a></li>
<li>Textz.com <a class="external text" href="http://www.textz.com/" rel="nofollow">http://www.textz.com</a></li>
<li><a class="external text" href="https://bibliotik.me/" rel="nofollow">https://bibliotik.me</a></li>
<li>volafile.io * #bookz on IRCHighway/undernet</li>
<li>The Piratebay @ Worm <a class="external text" href="http://thepiratebay.worm.org/" rel="nofollow">http://thepiratebay.worm.org</a></li>
<li>UBU-web <a class="external text" href="http://ubu.com/" rel="nofollow">http://ubu.com</a></li>
<li><a class="external text" href="http://pzwiki.wdka.nl/mediadesign/XPPL" rel="nofollow">XPPL</a></li>
<li><a class="external text" href="https://hub.xpub.nl/bootleglibrary" rel="nofollow">the bootleg library</a></li></ul>
<h2><span class="mw-headline" id="other_libraries">other libraries</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Libraries&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li><a class="external text" href="https://www.are.na/sam-hart/library-as-database/" rel="nofollow">Library as database project</a></li>
<li><a class="external text" href="http://cybernetics.social/" rel="nofollow">Cybernetics Library</a></li>
<li><a class="external text" href="https://hyperreadings.info/" rel="nofollow">Hyperreadings</a></li>
<li><a class="external text" href="https://archive.leftove.rs/" rel="nofollow">leftove.rs</a></li></ul>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="administrating">administrating</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Administrating&amp;action=edit&amp;section=1" title="Edit section: administrating">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Including_Excluding.html" title="User:Simon/Including Excluding">including/excluding</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>, <a href="Open-sourcing.html" title="User:Simon/Open-sourcing">open-sourcing</a>, <a href="Trusting.html" title="User:Simon/Trusting">trusting</a>
</p><p>An administrator has authority to make modifications to the infrastructure of the library. Every registered user of the library is also an “admin”. <i>With this responsibility, comes great power.</i> An admin may delete user accounts, or take down the entire library if they wish. But they can also make registered accounts for other users, and choose to bestow the same privileges, or not. The library is open.
</p><p>Image: Characters representing read (r), write (w), and execute (x) permissions in UNIX and UNIX-like systems
</p>
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<img class="cardbackimg" src="./IMG/R_w_x_symbols.jpeg">
<p class="imgcaption">Permissions in UNIX and UNIX-like systems</p>
<p class="snippets">snippets:</p><br>
<a class="snippets" href="read_write_execute.html">read, write, execute; a video presentation lecture on reading and writing interfaces</a>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="amateuring">amateuring</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Amateuring&amp;action=edit&amp;section=1" title="Edit section: amateuring">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Making_public.html" title="User:Simon/Making public">making public</a>, <a href="Professionalising.html" title="User:Simon/Professionalising">professionalising</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>Amateur librarianship happens whenever texts are shared informally. An amateur (from French, meaning “one who loves, lover”) acts out of love (rather than motivated by prestige, or money); there is not often a conscious decision to be an amateur <i>anything</i>. Instead, we often see the word “amateur” as a negation or lack of professionalism. A rising imperative emerges, for amateurs to take up the task of librarianship. The 19th century model of the public library that spread throughout the U.K. and the U.S.A. was an exemplar of social democratic values. Such libraries are now under threat. So, sometimes in response, but often without thought of the legal consequences, amateur librarianship happens in small, quiet ways that are usually mundane; passing a USB drive around, emailing a link or a file. <i>I thought you should read this</i>.
</p><p>Image: USB drives as libraries
</p>
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<div class="cardback"><img class="cardbackimg" src="./IMG/USB_drives_as_libraries.jpeg"></div>USB drives as libraries</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#Auto-mount_an_external_drive_on_boot"><span class="tocnumber">1</span> <span class="toctext">Auto-mount an external drive on boot</span></a>
<ul>
<li class="toclevel-2"><a href="#Step_1_.E2.80.93_Plug_In_The_Device"><span class="tocnumber">1.1</span> <span class="toctext">Step 1 – Plug In The Device</span></a></li>
<li class="toclevel-2"><a href="#Step_2_.E2.80.93_Identify_The_Device.27s_Unique_ID"><span class="tocnumber">1.2</span> <span class="toctext">Step 2 – Identify The Device's Unique ID</span></a></li>
<li class="toclevel-2"><a href="#Step_3_.E2.80.93_Create_a_Mount_Point"><span class="tocnumber">1.3</span> <span class="toctext">Step 3 – Create a Mount Point</span></a></li>
<li class="toclevel-2"><a href="#Step_4_.E2.80.93_Manually_Mount_The_Drive"><span class="tocnumber">1.4</span> <span class="toctext">Step 4 – Manually Mount The Drive</span></a></li>
<li class="toclevel-2"><a href="#Step_5_.E2.80.93_Un-mounting_The_Drive"><span class="tocnumber">1.5</span> <span class="toctext">Step 5 – Un-mounting The Drive</span></a></li>
<li class="toclevel-2"><a href="#Step_6_.E2.80.93_Auto_Mount"><span class="tocnumber">1.6</span> <span class="toctext">Step 6 – Auto Mount</span></a></li>
<li class="toclevel-2"><a href="#An_Extra_Note_About_File_Systems"><span class="tocnumber">1.7</span> <span class="toctext">An Extra Note About File Systems</span></a></li>
<li class="toclevel-2"><a href="#Final_Thoughts"><span class="tocnumber">1.8</span> <span class="toctext">Final Thoughts</span></a></li>
</ul>
</li>
</ul>
</div>
<h3><span class="mw-headline" id="Auto-mount_an_external_drive_on_boot">Auto-mount an external drive on boot</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<h4><span id="Step_1_–_Plug_In_The_Device"></span><span class="mw-headline" id="Step_1_.E2.80.93_Plug_In_The_Device">Step 1 – Plug In The Device</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<h4><span id="Step_2_–_Identify_The_Device's_Unique_ID"></span><span class="mw-headline" id="Step_2_.E2.80.93_Identify_The_Device.27s_Unique_ID">Step 2 – Identify The Device's Unique ID</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>In order to find the unique reference (UUID) for your drive run the following command in the terminal :
</p><p><code>ls -l /dev/disk/by-uuid/</code>
</p><p>This will give you an output that should list your drive :
</p><p><a class="image" href="File:Bootleg_uuid.png.html"><img alt="Bootleg uuid.png" decoding="async" height="96" src="/mw-mediadesign/images/thumb/a/ae/Bootleg_uuid.png/800px-Bootleg_uuid.png" srcset="/mw-mediadesign/images/thumb/a/ae/Bootleg_uuid.png/1200px-Bootleg_uuid.png 1.5x, /mw-mediadesign/images/thumb/a/ae/Bootleg_uuid.png/1600px-Bootleg_uuid.png 2x" width="800"></a>
</p><p>The line will usually refer to “/sda” and in this example it is “sda1”. My ID is “989B-E900”. Note down yours.
You would need to repeat this step if you wanted to use a different device as the UUID would be different.
</p>
<h4><span id="Step_3_–_Create_a_Mount_Point"></span><span class="mw-headline" id="Step_3_.E2.80.93_Create_a_Mount_Point">Step 3 – Create a Mount Point</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-4" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>A mount point is a directory that will point to the contents of your flash drive. Create a suitable folder :
</p><p><code>sudo mkdir /media/usb</code>
</p><p>I’m using “usb” but you can give it whatever name you like. Keep it short as it saves typing later on. Now we need to make sure the Pi user owns this folder :
</p><p><code>sudo chown -R pi:pi /media/usb</code>
</p><p>You will only need to do this step once.
</p>
<h4><span id="Step_4_–_Manually_Mount_The_Drive"></span><span class="mw-headline" id="Step_4_.E2.80.93_Manually_Mount_The_Drive">Step 4 – Manually Mount The Drive</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-5" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>To manually mount the drive use the following command :
</p><p><code>sudo mount /dev/sda1 /media/usb -o uid=pi,gid=pi</code>
</p><p><br>
This will mount the drive so that the ordinary Pi user can write to it. Omitting the “-o uid=pi,gid=pi” would mean you could only write to it using “sudo”.
Now you can read, write and delete files using “/media/usb” as a destination or source without needing to use sudo.
</p>
<h4><span id="Step_5_–_Un-mounting_The_Drive"></span><span class="mw-headline" id="Step_5_.E2.80.93_Un-mounting_The_Drive">Step 5 – Un-mounting The Drive</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-6" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>You don’t need to manually un-mount if you shutdown your Pi but if you need to remove the drive at any other time you should un-mount it first. Only the user that mounted the drive can un-mount it.
</p><p><code>umount /media/usb</code>
</p><p>If you used the fstab file to auto-mount it you will need to use :
</p><p><code>sudo umount /media/usb</code>
</p><p>If you are paying attention you will notice the command is “<i>u</i>mount” NOT “<i>un</i>mount”!
</p>
<h4><span id="Step_6_–_Auto_Mount"></span><span class="mw-headline" id="Step_6_.E2.80.93_Auto_Mount">Step 6 – Auto Mount</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-7" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>When you restart your Pi your mounts will be lost and you will need to repeat Step 4. If you want your USB drive to be mounted when the system starts you can edit the fstab file :
</p><p><code>sudo nano /etc/fstab</code>
</p><p>Then add the following line at the end :
</p><p><code>UUID=989B-E900 /media/usb vfat auto,nofail,noatime,users,rw,uid=pi,gid=pi 0 0</code>
</p><p>The “nofail” option allows the boot process to proceed if the drive is not plugged in. The “noatime” option stops the file access time being updated every time a file is read from the USB stick. This helps improve performance.
This is what my fstab file looks like:
</p><p><a class="image" href="File:Bootleg_fstab.png.html"><img alt="Bootleg fstab.png" decoding="async" height="412" src="/mw-mediadesign/images/thumb/7/70/Bootleg_fstab.png/800px-Bootleg_fstab.png" srcset="/mw-mediadesign/images/thumb/7/70/Bootleg_fstab.png/1200px-Bootleg_fstab.png 1.5x, /mw-mediadesign/images/thumb/7/70/Bootleg_fstab.png/1600px-Bootleg_fstab.png 2x" width="800"></a>
</p><p>Make sure you set the correct UUID. Use CTRL-X followed by Y to save and exit the nano editor.
</p><p>Now reboot :
</p><p><code>sudo reboot</code>
</p><p>Your USB drive should be auto-mounted and available as “/media/usb”.
</p>
<h4><span class="mw-headline" id="An_Extra_Note_About_File_Systems">An Extra Note About File Systems</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-8" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>In the examples above I specified “vfat” as the file system of the device as it was formatted as FAT32. If you need to change the file system replace references of “vfat” with “ntfs-3g”, “ext3” or “ext4”.
If you are using NTFS you will also need to install the following package :
</p><p><code>sudo apt-get install ntfs-3g</code>
</p>
<h4><span class="mw-headline" id="Final_Thoughts">Final Thoughts</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/automount_a_drive_on_boot&amp;action=edit&amp;section=T-9" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>This technique suits my applications but the main disadvantage is that it is specific to a known USB device given we are using the device ID. However if you created a few mount points in advance you could manually mount a new device to a spare mount point without worrying about updating the fstab file.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="annotating">annotating</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Annotating&amp;action=edit&amp;section=1" title="Edit section: annotating">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Glossing.html" title="User:Simon/Glossing">glossing</a>, <a href="Producing_texts.html" title="User:Simon/Producing texts">producing texts</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>
</p><p>Marks left by readers are at times recognisable as annotation; underlines, asterisks and notes scribbled in the margins that all add something to the text. Taken a step further, annotation can include metadata (information about information), which is most commonly text that describes the author and subject, and bibliographic details needed for citation purposes. Collectively, these forms of annotation indicate the presence of readers, making them visible to each other. Annotation lives in close proximity to the text. When it is separated from the text, it becomes unfixed, losing its symbolic power to remind us that other readers have also been here.
</p><p>Image: Tracing paper bearing carbon-copied annotations from <i>Marginal Conversations</i>, a workshop first held by Simon Browne, Paloma García and Artemis Gryllaki at Leeszaal West Rotterdam, 20th June 2019
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Tracing_paper_annotations.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/6/65/Tracing_paper_annotations.jpeg/150px-Tracing_paper_annotations.jpeg" srcset="/mw-mediadesign/images/thumb/6/65/Tracing_paper_annotations.jpeg/225px-Tracing_paper_annotations.jpeg 1.5x, /mw-mediadesign/images/thumb/6/65/Tracing_paper_annotations.jpeg/300px-Tracing_paper_annotations.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Tracing_paper_annotations.jpeg.html" title="Enlarge"></a></div>Tracing paper bearing carbon-copied annotations from Marginal Conversations</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#15.06.19_interfaces_for_annotation"><span class="tocnumber">1</span> <span class="toctext">15.06.19 interfaces for annotation</span></a>
<ul>
<li class="toclevel-2"><a href="#digital_annotations"><span class="tocnumber">1.1</span> <span class="toctext">digital annotations</span></a></li>
<li class="toclevel-2"><a href="#analog_annotations"><span class="tocnumber">1.2</span> <span class="toctext">analog annotations</span></a></li>
</ul>
</li>
<li class="toclevel-1"><a href="#The_Carrier_Bag_Theory_of_Fiction"><span class="tocnumber">2</span> <span class="toctext">The Carrier Bag Theory of Fiction</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="15.06.19_interfaces_for_annotation">15.06.19 interfaces for annotation</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Retention_and_transformation_of_annotations&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The formal qualities of annotations are defined by the tools used to make them, and also the cultural uses of these. Given a pen, most people will write, although it is also possible to draw or use it in other ways. With a keyboard it seems most appropriate to type. With a mouse, one can click on things, and select them.
</p><p>What happens when these are retained, transformed and isolated from the source?
</p>
<h3><span class="mw-headline" id="digital_annotations">digital annotations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Retention_and_transformation_of_annotations&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Retained digital annotations are rare in the wild, but I found one PDF of Jorge Luis Borges "The Garden of Forking Paths" that had underlinings and highlighted text. The interesting thing is that these change appearance slightly depending on the e-reader software used to display the text.
</p><p>The first two spreads of the Borges PDF:<br>
<a class="image" href="File:Borges_annotations_01.png.html"><img alt="Borges annotations 01.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/6/63/Borges_annotations_01.png/500px-Borges_annotations_01.png" srcset="/mw-mediadesign/images/thumb/6/63/Borges_annotations_01.png/750px-Borges_annotations_01.png 1.5x, /mw-mediadesign/images/thumb/6/63/Borges_annotations_01.png/1000px-Borges_annotations_01.png 2x" width="500"></a>
<a class="image" href="File:Borges_annotations_02.png.html"><img alt="Borges annotations 02.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/7/7e/Borges_annotations_02.png/500px-Borges_annotations_02.png" srcset="/mw-mediadesign/images/thumb/7/7e/Borges_annotations_02.png/750px-Borges_annotations_02.png 1.5x, /mw-mediadesign/images/thumb/7/7e/Borges_annotations_02.png/1000px-Borges_annotations_02.png 2x" width="500"></a>
</p><p><a class="image" href="File:Garden_01.png.html"><img alt="Garden 01.png" decoding="async" height="386" src="/mw-mediadesign/images/thumb/d/d1/Garden_01.png/500px-Garden_01.png" srcset="/mw-mediadesign/images/thumb/d/d1/Garden_01.png/750px-Garden_01.png 1.5x, /mw-mediadesign/images/d/d1/Garden_01.png 2x" width="500"></a>
<a class="image" href="File:Garden_02.png.html"><img alt="Garden 02.png" decoding="async" height="386" src="/mw-mediadesign/images/thumb/4/47/Garden_02.png/500px-Garden_02.png" srcset="/mw-mediadesign/images/thumb/4/47/Garden_02.png/750px-Garden_02.png 1.5x, /mw-mediadesign/images/4/47/Garden_02.png 2x" width="500"></a><br>
<small>Digital annotations transcribed from a PDF of Jorge Luis Borges' "The Garden of Forking Paths"</small>
</p>
<h3><span class="mw-headline" id="analog_annotations">analog annotations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Retention_and_transformation_of_annotations&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Another text that came pre-annotated was Ursula K Le Guin's "The Carrier Bag Theory of Fiction". For this, I placed scans in a vector graphics program and digitised pen marks. I also included the text that was annotated with circles, underlines and lines in the margins.
The first two spreads of the Le Guin PDF:<br>
<a class="image" href="File:Leguin_annotations_01.png.html"><img alt="Leguin annotations 01.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/5/5a/Leguin_annotations_01.png/500px-Leguin_annotations_01.png" srcset="/mw-mediadesign/images/thumb/5/5a/Leguin_annotations_01.png/750px-Leguin_annotations_01.png 1.5x, /mw-mediadesign/images/thumb/5/5a/Leguin_annotations_01.png/1000px-Leguin_annotations_01.png 2x" width="500"></a>
<a class="image" href="File:Leguin_annotations_02.png.html"><img alt="Leguin annotations 02.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/f/f3/Leguin_annotations_02.png/500px-Leguin_annotations_02.png" srcset="/mw-mediadesign/images/thumb/f/f3/Leguin_annotations_02.png/750px-Leguin_annotations_02.png 1.5x, /mw-mediadesign/images/thumb/f/f3/Leguin_annotations_02.png/1000px-Leguin_annotations_02.png 2x" width="500"></a>
</p><p><a class="image" href="File:Carrier_bag_01.png.html"><img alt="Carrier bag 01.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/5/5d/Carrier_bag_01.png/500px-Carrier_bag_01.png" srcset="/mw-mediadesign/images/thumb/5/5d/Carrier_bag_01.png/750px-Carrier_bag_01.png 1.5x, /mw-mediadesign/images/thumb/5/5d/Carrier_bag_01.png/1000px-Carrier_bag_01.png 2x" width="500"></a>
<a class="image" href="File:Carrier_bag_02.png.html"><img alt="Carrier bag 02.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/f/f7/Carrier_bag_02.png/500px-Carrier_bag_02.png" srcset="/mw-mediadesign/images/thumb/f/f7/Carrier_bag_02.png/750px-Carrier_bag_02.png 1.5x, /mw-mediadesign/images/thumb/f/f7/Carrier_bag_02.png/1000px-Carrier_bag_02.png 2x" width="500"></a><br>
<small>Hand-drawn annotations digitally transcribed from a PDF of Ursula K. Le Guin's "The Carrier Bag Theory of Fiction"</small>
</p>
<h2><span class="mw-headline" id="The_Carrier_Bag_Theory_of_Fiction">The Carrier Bag Theory of Fiction</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/The_Carrier_Bag_Theory_of_Fiction&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Printed: 25.09.19<br>
Dimensions: 90x120mm<br>
Cover stock: Clairefontaine Trophee (ivory) 120gsm<br>
Text stock: Clairefontaine Trophee (ivory) 120gsm<br>
Binding: Staple bound<br>
Pages: 16pp
</p><p>Ursula K. Le Guin's short essay appears in a compilation called <i>Dancing at the Edge of the World</i>, which I've found impossible to find online through the usual pirate libraries such as Library Genesis, aaaaaarg.fail and Monoskop. Perhaps this points to a gender bias in what is perceived as knowledge (Le Guin was a woman wrote mostly science-fiction)? In lieu of not being able to find the compilation, I decided to print this book in a very small size (90x120mm) and retain the annotations from the PDF I found. I digitised them by making them into vectors, and printed the text and annotations in green. In this way I wanted to speculate on what would happen when a reader was confronted with annotations that seemed to be part of the source, not a para-text added after publication.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:CB_01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/7b/CB_01.JPG/90px-CB_01.JPG" srcset="/mw-mediadesign/images/thumb/7/7b/CB_01.JPG/135px-CB_01.JPG 1.5x, /mw-mediadesign/images/thumb/7/7b/CB_01.JPG/180px-CB_01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:CB_02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/2/29/CB_02.JPG/90px-CB_02.JPG" srcset="/mw-mediadesign/images/thumb/2/29/CB_02.JPG/135px-CB_02.JPG 1.5x, /mw-mediadesign/images/thumb/2/29/CB_02.JPG/180px-CB_02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Digitised annotations
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:CB_03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/2/2c/CB_03.JPG/90px-CB_03.JPG" srcset="/mw-mediadesign/images/thumb/2/2c/CB_03.JPG/135px-CB_03.JPG 1.5x, /mw-mediadesign/images/thumb/2/2c/CB_03.JPG/180px-CB_03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Back cover with bootleg acknowledgement
</p>
</div>
</div></li>
</ul>
<p><a class="external free" href="https://pad.xpub.nl/p/annotated_reader_prbs" rel="nofollow">https://pad.xpub.nl/p/annotated_reader_prbs</a>
</p>
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<title>Tasks of the Contingent Librarian</title>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="Annotations_08.05.19">Annotations 08.05.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,Writing_%26_Research_Methodologies_SI9/Annotations_08.05.19&amp;action=edit&amp;section=1" title="Edit section: Annotations 08.05.19">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Main question: How can annotation be useful to us, and a third party?
</p><p>Possible ways
</p><p>Keep text and annotations together
</p>
<ul><li>scan and overlay transparencies (more like a graphical representation but perhaps not very readable)</li>
<li>write, re-write, cut and paste the annotations in a bigger paper all together</li>
<li>use the annotation bot (a digital tool)(it would be cool if you could underline, etc - yes! including graphic elements)</li>
<li>if digital, create the possibility to turn on and off the annotations to keep the original text</li>
<li>bind the pages into books and make a bootleg library with them</li></ul>
<p>Separate text and annotations (deconstruction / structure analysis)
</p>
<ul><li>only underlined text (in many ways: lines, circles, waves...)</li>
<li>list of questions, tags, notes + composition and mapping of them (different mapping techniques)</li>
<li>historical timeline</li>
<li>only drawings?</li>
<li>free graphical interpretation</li></ul>
<p>Computer driven annotation
</p>
<ul><li>scrape the text (words processing)</li>
<li>pattern recognition</li>
<li>delete all articles and implicit elements</li></ul>
<p>Combine the above possibilities
</p>
<ul><li>overlay of analog annotations to represent "heat patterns" (parts of the text with lots of/little engagement), as well as a digital version that is more legible</li></ul>
<p>HOW DO I KNOW WHAT I AM READING? We are discussing form how do we talk about content?<br>
How do you make the content readable for others?<br>
How do you communicate what you're interpreting?<br>
</p>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="being_kind_to_the_reader">being kind to the reader</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Being_kind_to_the_reader&amp;action=edit&amp;section=1" title="Edit section: being kind to the reader">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Bootlegging.html" title="User:Simon/Bootlegging">bootlegging</a>, <a href="Cleaning_up_text.html" title="User:Simon/Cleaning up text">cleaning up text</a>, <a href="Diversifying_through_use.html" title="User:Simon/Diversifying through use">diversifying through use</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>While bootlegging makes a fairly faithful reproduction of a source publication, the degree of transformation is sometimes due to unintentional or uncontrollable factors, such as availability of the equipment and materials needed to make a close copy. At other times, more deliberate choices can be made concerning the transformed materiality of the bootleg.
</p><p>Economy, efficiency, and readability are the main concerns when bootlegging texts for the library. Economy often dictates that materials that are at hand are used—in the case of printed books for example, this often means defaulting to certain choices with paper, printing methods and binding. An efficient workflow is not too time-consuming. Although the most important thing is to have the text by any means necessary, we read best what we read most, and certain typographic concerns may become vital to the readability of the text.
</p><p>Being kind to the reader can involve adhering to typesetting conventions; including headers, footers and page numbers should the book be photocopied and pages subsequently separated from the others. Most importantly, a reasonable line length and wide margins will allow the book to be made in a way that ensures a comfortable reading experience and provides space for annotation.
</p><p>Image: A bootleg copy of <i>My Mother Was A Computer</i> by N. Katherine Hayles. The source PDF has been reimposed into a booklet, with reasonable line length (60-80 characters) and ample space for annotations
</p>
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<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Being_kind_to_the_reader_mmwac.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/8/85/Being_kind_to_the_reader_mmwac.jpeg/150px-Being_kind_to_the_reader_mmwac.jpeg" srcset="/mw-mediadesign/images/thumb/8/85/Being_kind_to_the_reader_mmwac.jpeg/225px-Being_kind_to_the_reader_mmwac.jpeg 1.5x, /mw-mediadesign/images/thumb/8/85/Being_kind_to_the_reader_mmwac.jpeg/300px-Being_kind_to_the_reader_mmwac.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Being_kind_to_the_reader_mmwac.jpeg.html" title="Enlarge"></a></div>A bootleg copy of <i>My Mother Was A Computer</i> with ample space for annotations</div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="Deschooling_Society">Deschooling Society</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Deschooling_Society&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="First_edition">First edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Deschooling_Society&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 13.01.20<br>
Dimensions: 110x170mm<br>
Cover stock: Clairefontaine Trophee (white) 210gsm<br>
Text stock: Laser 80gsm<br>
Binding: Perfect bound, cold glue<br>
Pages: 160pp
</p><p>I made this book with and for Luke (a friend), as a favour, and also to show him how to bootleg a book. I'd already redesigned the text, and printed it double-sided on laser paper. What he wanted to know how to bind books. Luke had been helping me out a lot with getting the bookscanner running, and it seemed like a nice way to repay him. The problem came when we tried to bind the book using the hot-glue machine, which was once again not working as it should and the result we got was less than optimal. So, I showed him how to notch-bind using cold glue, and he took the text block home with him to try out the technique himself, using a DIY book press made from two chopping boards. One the text block was dry, he brought it back to me to show him how to apply the cover. I'd already printed the cover on a piece of paper, but had been using it to write quick notes on in the interim. It's ironic, I'm surrounded by paper, but scrap paper can be hard to come by. Rather than printing the cover again, I decided to tear away all the areas I'd written notes on it, and then photocopy this with the lid open, leaving black where there was no paper. It was another impromptu, make-do decision, but one that lent an interesting mark - removal of all that is not necessary - and in line with the type of radical pedagogical approaches the author of the text was aiming at.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:L_A_book_rig.jpg.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/8/8d/L_A_book_rig.jpg/120px-L_A_book_rig.jpg" srcset="/mw-mediadesign/images/thumb/8/8d/L_A_book_rig.jpg/180px-L_A_book_rig.jpg 1.5x, /mw-mediadesign/images/thumb/8/8d/L_A_book_rig.jpg/240px-L_A_book_rig.jpg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Luke's DIY book press
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_first_01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/b7/DS_first_01.jpg/90px-DS_first_01.jpg" srcset="/mw-mediadesign/images/thumb/b/b7/DS_first_01.jpg/135px-DS_first_01.jpg 1.5x, /mw-mediadesign/images/thumb/b/b7/DS_first_01.jpg/180px-DS_first_01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_first_02.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/a5/DS_first_02.jpg/90px-DS_first_02.jpg" srcset="/mw-mediadesign/images/thumb/a/a5/DS_first_02.jpg/135px-DS_first_02.jpg 1.5x, /mw-mediadesign/images/thumb/a/a5/DS_first_02.jpg/180px-DS_first_02.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_first_03.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/01/DS_first_03.jpg/90px-DS_first_03.jpg" srcset="/mw-mediadesign/images/thumb/0/01/DS_first_03.jpg/135px-DS_first_03.jpg 1.5x, /mw-mediadesign/images/thumb/0/01/DS_first_03.jpg/180px-DS_first_03.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_first_04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/f/f6/DS_first_04.jpg/90px-DS_first_04.jpg" srcset="/mw-mediadesign/images/thumb/f/f6/DS_first_04.jpg/135px-DS_first_04.jpg 1.5x, /mw-mediadesign/images/thumb/f/f6/DS_first_04.jpg/180px-DS_first_04.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Back cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Book_with_note_4_luke.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/c/c2/Book_with_note_4_luke.jpg/90px-Book_with_note_4_luke.jpg" srcset="/mw-mediadesign/images/thumb/c/c2/Book_with_note_4_luke.jpg/135px-Book_with_note_4_luke.jpg 1.5x, /mw-mediadesign/images/thumb/c/c2/Book_with_note_4_luke.jpg/180px-Book_with_note_4_luke.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>The book, left with keys I borrowed from Luke while staying with him and Alice in January, 2020
</p>
</div>
</div></li>
</ul>
<h3><span class="mw-headline" id="Second_edition">Second edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Deschooling_Society&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 29.01.20<br>
Dimensions: 110x170mm<br>
Cover stock: Clairefontaine Trophee (white) 210gsm<br>
Text stock: Laser 80gsm<br>
Binding: Perfect bound, hot glue<br>
Pages: 160pp
</p><p>I decided to print another copy of <i>Deschooling Society</i> for the physical bootleg library when the hot glue machine was working properly again. It was interesting to compare the differences between the two different binding methods - not something I usually see as I don't often bootleg more than one copy of a book.
</p>
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<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/b7/DS_second_01.jpg/90px-DS_second_01.jpg" srcset="/mw-mediadesign/images/thumb/b/b7/DS_second_01.jpg/135px-DS_second_01.jpg 1.5x, /mw-mediadesign/images/thumb/b/b7/DS_second_01.jpg/180px-DS_second_01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_02.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/9c/DS_second_02.jpg/90px-DS_second_02.jpg" srcset="/mw-mediadesign/images/thumb/9/9c/DS_second_02.jpg/135px-DS_second_02.jpg 1.5x, /mw-mediadesign/images/thumb/9/9c/DS_second_02.jpg/180px-DS_second_02.jpg 2x" width="90"></a></div></div>
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<p>Spread
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_03.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/12/DS_second_03.jpg/90px-DS_second_03.jpg" srcset="/mw-mediadesign/images/thumb/1/12/DS_second_03.jpg/135px-DS_second_03.jpg 1.5x, /mw-mediadesign/images/thumb/1/12/DS_second_03.jpg/180px-DS_second_03.jpg 2x" width="90"></a></div></div>
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<p>Spread
</p>
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<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/91/DS_second_04.jpg/90px-DS_second_04.jpg" srcset="/mw-mediadesign/images/thumb/9/91/DS_second_04.jpg/135px-DS_second_04.jpg 1.5x, /mw-mediadesign/images/thumb/9/91/DS_second_04.jpg/180px-DS_second_04.jpg 2x" width="90"></a></div></div>
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<p>Spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_05.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/6/64/DS_second_05.jpg/90px-DS_second_05.jpg" srcset="/mw-mediadesign/images/thumb/6/64/DS_second_05.jpg/135px-DS_second_05.jpg 1.5x, /mw-mediadesign/images/thumb/6/64/DS_second_05.jpg/180px-DS_second_05.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Back cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_06.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/e/e5/DS_second_06.jpg/90px-DS_second_06.jpg" srcset="/mw-mediadesign/images/thumb/e/e5/DS_second_06.jpg/135px-DS_second_06.jpg 1.5x, /mw-mediadesign/images/thumb/e/e5/DS_second_06.jpg/180px-DS_second_06.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spines: First edition (top), second edition (bottom). The difference in cold vs hot glue is apparent here - hot glue ensures a smooth, square spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:DS_second_07.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/1b/DS_second_07.jpg/90px-DS_second_07.jpg" srcset="/mw-mediadesign/images/thumb/1/1b/DS_second_07.jpg/135px-DS_second_07.jpg 1.5x, /mw-mediadesign/images/thumb/1/1b/DS_second_07.jpg/180px-DS_second_07.jpg 2x" width="90"></a></div></div>
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<p>Back covers: First edition (left), second edition (right)
</p>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="bootlegging">bootlegging</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Bootlegging&amp;action=edit&amp;section=1" title="Edit section: bootlegging">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Diversifying_through_use.html" title="User:Simon/Diversifying through use">diversifying through use</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>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.
</p><p>Image: A “bootlegger” concealing a flask of an illegally distributed alcoholic beverage in the leg of a boot during the Prohibition era
</p>
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<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><img class="cardbackimg" src="./IMG/Real_bootlegger.jpeg"></div>A “bootlegger” concealing a flask in the leg of a boot
<h2><span class="mw-headline" id="kind_of_a_nomadic_mini-bieb">kind of a nomadic mini-bieb</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/The_physical_bootleg_library&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The physical bootleg library is housed in a disused champagne crate. It contains books that I have bootlegged myself, or ones that others have. It also contains books donated by visitors to wherever the library is (temporarily) installed. The library travels, and is part of bootleg library sessions held at PZI and at other locations.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Bl_varia_01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/42/Bl_varia_01.jpg/90px-Bl_varia_01.jpg" srcset="/mw-mediadesign/images/thumb/4/42/Bl_varia_01.jpg/135px-Bl_varia_01.jpg 1.5x, /mw-mediadesign/images/thumb/4/42/Bl_varia_01.jpg/180px-Bl_varia_01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>At Varia, Gouwstraat 3, with books distributed on table
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Bl_kdh_04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/f/f3/Bl_kdh_04.jpg/90px-Bl_kdh_04.jpg" srcset="/mw-mediadesign/images/thumb/f/f3/Bl_kdh_04.jpg/135px-Bl_kdh_04.jpg 1.5x, /mw-mediadesign/images/thumb/f/f3/Bl_kdh_04.jpg/180px-Bl_kdh_04.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>At the Library, Karel Doormanhof 45, ready to be unpacked
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_Meeting_Grounds_07.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/8a/BL_Meeting_Grounds_07.jpg/90px-BL_Meeting_Grounds_07.jpg" srcset="/mw-mediadesign/images/thumb/8/8a/BL_Meeting_Grounds_07.jpg/135px-BL_Meeting_Grounds_07.jpg 1.5x, /mw-mediadesign/images/thumb/8/8a/BL_Meeting_Grounds_07.jpg/180px-BL_Meeting_Grounds_07.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>At Onomatopee Projects, before the bootleg library session
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_Meeting_Grounds_11.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/98/BL_Meeting_Grounds_11.jpg/90px-BL_Meeting_Grounds_11.jpg" srcset="/mw-mediadesign/images/thumb/9/98/BL_Meeting_Grounds_11.jpg/135px-BL_Meeting_Grounds_11.jpg 1.5x, /mw-mediadesign/images/thumb/9/98/BL_Meeting_Grounds_11.jpg/180px-BL_Meeting_Grounds_11.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>The IKEA trolley the physical bootleg library usually travels on. Biyi lent me the trolley, and in return, I bootlegged the IKEA logo to read AIKE (Biyi's husband's name)
</p>
</div>
</div></li>
</ul>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><p>Links of bootlegs
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="cleaning_up_text">cleaning up text</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Cleaning_up_text&amp;action=edit&amp;section=1" title="Edit section: cleaning up text">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Being_kind_to_the_reader.html" title="User:Simon/Being kind to the reader">being kind to the reader</a>, <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Typing.html" title="User:Simon/Typing">typing</a>
</p><p>A text found in the wild often comes with visible and invisible artefacts. The visible ones come from bad OCR, with strange characters popping up in place of the ones you expect, such as a 1 instead of an l. The bane of the bootlegger is most definitely the line break or “soft return”, inserted by software that automatically breaks the line as you type. Screen-based formats such as EPUB don’t have the notion of a page, and flow text according to window size.
</p><p>You can either be methodical and remove each soft return manually, or use the powerful automated <i>find/replace all</i> option. A useful tactic is to <i>find</i> every instance of a full stop followed by a space where a line was intentionally broken by the human writer. Next, <i>replace</i> each full stop with an arbitrary but uncommon character, such as a dagger (†). Then, do another <i>find/replace</i> and remove every instance of a soft return and a space, and finally <i>replace</i> the uncommon character with a full stop, in one final <i>find/change</i> command.
Another unwanted character that often appears is the hyphen, inserted where words break at the end of a line. Here the pruning of errant characters is trickier, and the best method is to <i>find</i> each instance and remove them manually. Running <i>find/replace all</i> can often remove necessary hyphens, such as in time ranges (e.g. 9-5) and compound adjectives (e.g. inter-dependent).
</p><p>Image: Hidden characters (e.g. tabs, spaces, carriage and ‘soft’ returns)
</p>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Hidden_characters.jpg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/a/a3/Hidden_characters.jpg/150px-Hidden_characters.jpg" srcset="/mw-mediadesign/images/thumb/a/a3/Hidden_characters.jpg/225px-Hidden_characters.jpg 1.5x, /mw-mediadesign/images/thumb/a/a3/Hidden_characters.jpg/300px-Hidden_characters.jpg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Hidden_characters.jpg.html" title="Enlarge"></a></div>Hidden characters (e.g. tabs, spaces, carriage and ‘soft’ returns)</div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="Extracting_text_from_a_PDF">Extracting text from a PDF</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_PDF&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In Al Sweigart's <i>Automate the Boring Stuff with Python</i>, there's a nice section on a Python library called PyPDF2 that allows you to work with the contents of PDFs. To begin with, I thought I'd try extracting text from a PDF of William S. Burrough's <i>The Electronic Revolution</i>. I chose this PDF as the only version I've found of it online is a 40pp document published by ubuclassics (which I suppose is the publishing house for ubuweb.com). There was no identifier other than this (no ISBN etc.), and it was impossible locating any other version online. What's more, the PDF had very small text, which was uncomfortable to read when I ran the <a href="Michaels_booklet_script_for_PDF_imposition.html" title="User:Simon/Trim4/Michaels booklet script for PDF imposition">booklet.sh</a> script on it.
</p><p>I thought it would be worthwhile laying out this book again for print reading purposes, and the first step is to get the text from the PDF. Pandoc is usually my go to for extracting text, but it doesn't work with PDFs, so I tried <a class="external text" href="https://pythonhosted.org/PyPDF2/index.html" rel="nofollow">PyPDF2</a>.
</p>
<h3><span class="mw-headline" id="28.09.19">28.09.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_PDF&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>I began by copying a file called electronic_revolution.pdf to a folder, then in the terminal <code>cd</code> into that directory. Then I initiated the interactive python interpreter with this command:
</p>
<pre>$ python3</pre>
<p>Next I wrote the following commands in Python 3 (comments above each line):
</p>
<pre># First, import the PyPDF2 module
&gt;&gt;&gt; import PyPDF2
# Then open electronic_revolution.pdf in read binary mode and store it in pdfFileObj
&gt;&gt;&gt; pdfFileObj = open('electronic_revolution.pdf', 'rb')
# To get a PdfFileReader object that rep- resents this PDF, call PyPDF2.PdfFileReader() and pass it pdfFileObj. Store this PdfFileReader object in pdfReader
&gt;&gt;&gt; pdfReader = PyPDF2.PdfFileReader(pdfFileObj)
# The total number of pages in the document is stored in the numPages attribute of a PdfFileReader object
&gt;&gt;&gt; pdfReader.numPages
&gt;&gt;&gt; 40
# The PDF has 40 pages. To extract text from a page, you need to get a Page object, which represents a single page of a PDF, from a PdfFileReader object.
# You can get a Page object by calling the getPage() method on a PdfFileReader object and passing it the page number of the page you’re interested in — in our case, 0
&gt;&gt;&gt; pageObj = pdfReader.getPage(0)
# Once you have your Page object, call its extractText() method to return a string of the page’s text
&gt;&gt;&gt; pageObj.extractText()
&gt;&gt;&gt; 'ubuclassics2005WILLIAM S. BURROUGHSTheElectronic\nRevolution'
</pre>
<p>This returns the value for total page count, and the text for the first page (0). What I want to get is the text for the whole document. I have no idea how to do this!!!
This doesn't work at all.
</p>
<pre>&gt;&gt;&gt; pageObj = pdfReader.getPage(0-40)
</pre>
<h3><span class="mw-headline" id="02.10.19">02.10.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_PDF&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>With Rita &amp; Pedro's help I managed to write a Python script that includes a for loop to extract text from the entire PDF:
</p>
<div class="mw-highlight mw-content-ltr" dir="ltr"><pre><span></span><span class="lineno"> 1 </span><span class="c1"># imports the PyPDF2 module</span>
<span class="lineno"> 2 </span> <span class="kn">import</span> <span class="nn">PyPDF2</span>
<span class="lineno"> 3 </span>
<span class="lineno"> 4 </span> <span class="n">filename</span> <span class="o">=</span> <span class="nb">input</span><span class="p">(</span><span class="s2">"name of the file: "</span><span class="p">)</span>
<span class="lineno"> 5 </span>
<span class="lineno"> 6 </span> <span class="k">with</span> <span class="nb">open</span><span class="p">(</span><span class="n">filename</span> <span class="p">,</span><span class="s1">'rb'</span><span class="p">)</span> <span class="k">as</span> <span class="n">pdf_file</span><span class="p">,</span> <span class="nb">open</span><span class="p">(</span><span class="s1">'input.txt'</span><span class="p">,</span> <span class="s1">'w'</span><span class="p">)</span> <span class="k">as</span> <span class="n">text_file</span><span class="p">:</span>
<span class="lineno"> 7 </span> <span class="n">read_pdf</span> <span class="o">=</span> <span class="n">PyPDF2</span><span class="o">.</span><span class="n">PdfFileReader</span><span class="p">(</span><span class="n">pdf_file</span><span class="p">)</span>
<span class="lineno"> 8 </span> <span class="n">number_of_pages</span> <span class="o">=</span> <span class="n">read_pdf</span><span class="o">.</span><span class="n">getNumPages</span><span class="p">()</span>
<span class="lineno"> 9 </span> <span class="k">for</span> <span class="n">page_number</span> <span class="ow">in</span> <span class="nb">range</span><span class="p">(</span><span class="n">number_of_pages</span><span class="p">):</span> <span class="c1"># use xrange in Py2</span>
<span class="lineno">10 </span> <span class="n">page</span> <span class="o">=</span> <span class="n">read_pdf</span><span class="o">.</span><span class="n">getPage</span><span class="p">(</span><span class="n">page_number</span><span class="p">)</span>
<span class="lineno">11 </span> <span class="n">page_content</span> <span class="o">=</span> <span class="n">page</span><span class="o">.</span><span class="n">extractText</span><span class="p">()</span>
<span class="lineno">12 </span> <span class="n">text_file</span><span class="o">.</span><span class="n">write</span><span class="p">(</span><span class="n">page_content</span><span class="p">)</span>
</pre></div>
<p>The next step is to then begin cleaning up the text by removing the line-breaks. We wrote a simple shell script for this that runs the Python script, then a command to take out line breaks:
</p>
<pre>$ python3 extract_text.py
$ grep -v "^$" input.txt &gt; output.txt
</pre>
<p>Only problem is that the names of the txt files that are produced will all be "input.txt", which means that if you run this on more than one PDF, you'll have to move input.txt to another directory before running again, rename the file manually, or perhaps I could write another Python script that renames the file and include it in the shell script after the last line.
</p>
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<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="consulting">consulting</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Consulting&amp;action=edit&amp;section=1" title="Edit section: consulting">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Administrating.html" title="User:Simon/Administrating">administrating</a>, <a href="Making_public.html" title="User:Simon/Making public">making public</a>, <a href="Networking.html" title="User:Simon/Networking">networking</a>, <a href="Uploading.html" title="User:Simon/Uploading">uploading</a>
</p><p>The library is for all, and made by all. There is no singular embedded librarian, because everyone is a librarian, and the library is everywhere. I’m not interested in developing the “perfect” system in isolation and then dictating how it should be used, I’m interested in asking how people want to use systems, and developing them together. <i>Technical development is ongoing in line with feedback from bootleg library sessions</i>.
</p><p>Image: bootleg library session at Onomatopee Projects, Eindhoven, as part of <i>Meeting Grounds</i>, 6th March, 2020
</p>
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<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><img class="cardbackimg" src="./IMG/Bls_mg_onomatopee.jpeg"></div>bootleg library session at Onomatopee Projects, 6th March, 2020</div></div></div>
<pre>/ b \ o / o \ t / l \ e / g \ l / i \ b / r \ a / r \ y /
\ a / t \
/ m \ e / e \ t / i \ n / g \ g / r \ o / u \ n / d \ s
-------------------------------------------
the bootleg library
https://hub.xpub.nl/bootleglibrary
-------------------------------------------
book sharing &amp; annotation
calibre
ebook manager - you can download this, run it on your computer and share books over a local network using the content server function
https://calibre-ebook.com/
calibre-web
web app that the bootleg library runs on (a fork of the open-source calibre software)
https://github.com/janeczku/calibre-web
Annotation on the web - the holy grail with lots of projects:
https://beepb00p.xyz/annotating.html
also done very simply and effectively with genius:
https://genius.com/
-------------------------------------------
pirate/shadow/"extra-legal" libraries
Monoskop
https://monoskop.org/Monoskop
Library Genesis (collection is HUGE and mirrored) - i usually use the russian site
http://gen.lib.rus.ec/
Memory of the World
https://library.memoryoftheworld.org/#/books/
aaaaarg (only accessible by members. simon can invite you - just send him an email)
https://aaaaarg.fail/
ask for PDFs from people with institutional access
group for informal PDF sharing through a social network
https://www.facebook.com/groups/850609558335839/
Sci-Hub (this is mirrored too, try googling if the link is down):
https://mg.scihub.ltd/
ubu-web
kenneth goldsmith's baby - an archive of avant-garde cinema and writing
http://ubu.com/
Leeszaal
not an online pirate library, but a volunteer-run place in Rotterdam where you can borrow books, look up information, learn how to use LINUX, study or just read the newspaper. Books are not catalogued, and if you want to borrow one, just take it off the shelf and walk out with it :)
https://www.leeszaalrotterdamwest.nl/
-------------------------------------------
legal online libraries &amp; archives
Project Gutenberg
books are within the public domain (70+ years after death of the author), so free of copyright restrictions:
https://www.gutenberg.org/
The Internet Archive
hosts a collection of books and more, also has the wayback machine (snapshots of web pages going back to the 90s)
https://archive.org/
--------------------------------------------
projects &amp; open letters in support of and about piracy/peeracy
In solidarity with Library Genesis and Sci-Hub
an open letter calling for shadow librarians to come out of the shadows
http://custodians.online/
Alexandra Elbakyan to Mr. Robert W. Sweet (presiding judge in the Elsevier vs Sci-Hub et al court case)
https://torrentfreak.com/images/sci-hub-reply.pdf
and publishing
http://andpublishing.org/
The Piracy Project
http://andpublishing.org/the-piracy-project/
--------------------------------------------
loose thoughts from our conversation
misspellings on ebay - how to exploit this to find undiscovered items http://fatfingers.com
bootlegged DVDs and PS1 games - "chipping" to play bootlegged games
social capital accumulated from having a chipped console
The Pirate Book
historical stories of piracy - warez, demoscene, music etc:
https://hub.xpub.nl/bootleglibrary/read/290/pdf
selling unauthorised copies out of a car boot = "boot"legging?
why do we feel it's more threatening to pirate books than movies/music/games etc?
where does the text reside?
what if i read a book out loud and make a file on youtube - is it bootlegging?
can the library also have audio/visual media?
yes - the library is running on open-source software, so definitely possible. this requires an upgrade of the computer and data storage
what is more of a risk - a shared google drive of PDFs or the bootleglib?
a shared google drive is more risky - the bootleg library has several security measures in place to keep it private
will i get into trouble for using the bootleg library?
haha - not very likely :)
can readers communicate with each other through the bootleglib?
not directly, but possible by adding links to etherpads (like this one) in the description fields
--------------------------------------------
some interesting things to watch &amp; read on archives, libraries, piracy and activism
things to read:
the science of piracy and the piracy of science by bodo balasz (an economist researching use of pirate libraries)
Part 1: http://copyrightblog.kluweriplaw.com/2019/03/06/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-1/
Part 2: http://copyrightblog.kluweriplaw.com/2019/03/21/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-2/
a view from elsewhere on authorship, copyright and creativity by eva weinmayr (of and publishing and the piracy project)
https://pzwiki.wdka.nl/mw-mediadesign/images/d/dd/Confronting_Authorship_Published_with_content_page--Whose_book_is_it_anyway.pdf
articles by shannon mattern on self-organised and "fugitive" libraries
https://placesjournal.org/article/marginalia-little-libraries-in-the-urban-margins/
https://placesjournal.org/article/fugitive-libraries/
interview with kate eichhorn, author of the archival turn in feminism
https://criticalmargins.com/interview-with-kate-eichhorn-author-of-the-archival-turn-in-feminism-a204b02ae340
things to watch:
Digital Amnesia
https://youtu.be/NdZxI3nFVJs
"Our memory is dissipating. Hard drives only last five years, a web page is forever changing and there’s no machine left that reads 15-year old floppy disks. Digital data is vulnerable. Yet entire libraries are shredded and lost to budget cuts, because we assume everything can be found online."
The Internet's Own Boy: The Story of Aaron Swartz
https://archive.org/details/TheInternetsOwnBoyTheStoryOfAaronSwartz
"The Internet's Own Boy depicts the life of American computer programmer, writer, political organizer and Internet activist Aaron Swartz. It features interviews with his family and friends as well as the internet luminaries who worked with him. The film tells his story up to his eventual suicide after a legal battle, and explores the questions of access to information and civil liberties that drove his work."
--------------------------------------------
King Gizzard And The Lizard Wizard
Polygondwanaland is free for everybody and you can do with what you.
From the band's post accompanying links to different digital packs:
"This album is FREE. Free as in, free. Free to download and if you wish, free to make copies.
Make tapes, make CD’s, make records.
[...]
Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy."
https://www.discogs.com/King-Gizzard-And-The-Lizard-Wizard-Polygondwanaland/master/1268453
100 copies of the white album played at once
https://thevinylfactory.com/news/artist-layers-100-unique-copies-of-the-beatles-white-album-for-original-vinyl-release/
royalty-free audio
http://freesound.org
spotify scanning interface
http://everynoise.com/
sharpest knife ever made from {insert substance here}
https://www.youtube.com/channel/UCg3qsVzHeUt5_cPpcRtoaJQ
Bootleg Britney / A bootleg CD bought at the market in Montenegro had 3 extra unpublished songs in comparison to the actual album on sale in the shops - what message was Britney sending me?! i &lt;3 this story
</pre>
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<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="digitising/printing"></span><span class="mw-headline" id="digitising.2Fprinting">digitising/printing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Digitising_Printing&amp;action=edit&amp;section=1" title="Edit section: digitising/printing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Understanding_texts.html" title="User:Simon/Understanding texts">understanding texts</a>, <a href="Reprinting.html" title="User:Simon/Reprinting">reprinting</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>Most people I know prefer to read off paper. The arguments for the printed text usually are about exhaustion, e.g. “I get tired reading from a screen”, lack of retention, e.g. “It’s proven that people remember things they read on paper better than on screen”, and in the circles I tend to run in, a sentimentality pervades, nostalgic for the haptic experience that reading from printed books brings.
</p><p>We expect acceleration from digital technologies. The cultural significance of new media is bolstered through remediality, which is its refashioning through the lens of old media<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>. Skeuomorphic design brings us the texture of paper on a screen. Hayles argues for intermediality, the interpretations between, and the coexistence of all media, including printed and digital texts.<sup class="reference" id="cite_ref-2"><a href="#cite_note-2">[2]</a></sup>
</p><p>Digital text is fraught with trauma, underpinned by the possibility of fragmentation. Text that is to the reader fully searchable and copy-pasteable is also text that threatens to come apart. Text that is less of an object, and more a process, often not residing in any one place in a computer file system, assembled dynamically, “on-the-fly”. Printed text, by contrast, reassures us by way of its indelibility.
</p><p>Image: The physical bootleg library contained in a disused champagne crate, and the digital bootleg library running from a Raspberry Pi computer
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Bolter, J.D. and Grusin, R. (2003) <i>Remediation: understanding new media</i>. 6. Nachdr. Cambridge, Mass.: MIT Press.</span>
</li>
<li id="cite_note-2"><span class="mw-cite-backlink"><a href="#cite_ref-2">↑</a></span> <span class="reference-text">Hayles, N.K. (2005) <i>My mother was a computer: digital subjects and literary texts</i>. Chicago London: The University of Chicago Press.</span>
</li>
</ol></div>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:The_physical_digital_bl.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/0/05/The_physical_digital_bl.jpeg/150px-The_physical_digital_bl.jpeg" srcset="/mw-mediadesign/images/thumb/0/05/The_physical_digital_bl.jpeg/225px-The_physical_digital_bl.jpeg 1.5x, /mw-mediadesign/images/thumb/0/05/The_physical_digital_bl.jpeg/300px-The_physical_digital_bl.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:The_physical_digital_bl.jpeg.html" title="Enlarge"></a></div>The physical bootleg library contained in a disused champagne crate, and the digital bootleg library running from a Raspberry Pi computer</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#Text_Laundrette"><span class="tocnumber">1</span> <span class="toctext">Text Laundrette</span></a></li>
<li class="toclevel-1"><a href="#First_workshop_03.02.20"><span class="tocnumber">2</span> <span class="toctext">First workshop 03.02.20</span></a></li>
<li class="toclevel-1"><a href="#Feminist_Art_Manifestos"><span class="tocnumber">3</span> <span class="toctext">Feminist Art Manifestos</span></a>
<ul>
<li class="toclevel-2"><a href="#First_edition"><span class="tocnumber">3.1</span> <span class="toctext">First edition</span></a></li>
<li class="toclevel-2"><a href="#Second_edition"><span class="tocnumber">3.2</span> <span class="toctext">Second edition</span></a></li>
</ul>
</li>
</ul>
</div>
<h2><span class="mw-headline" id="Text_Laundrette">Text Laundrette</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Text_Laundrette&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><i>Text Laundrette</i> is a workshop in which we use a home-made, DIY book scanner, and open-source software to scan, process, and add digital features to printed texts brought by the participants to the workshop. These are included in the “bootleg library”, a shadow library accessible over a local network.
</p><p>Shadow libraries operate outside of legal copyright frameworks, in response to decreased open access to knowledge. This workshop aims to extend our research on libraries, their sociability, and methods by which we can add provenance to texts included in public or private, legal or extra-legal collections.
</p>
<h2><span class="mw-headline" id="First_workshop_03.02.20">First workshop 03.02.20</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Text_Laundrette&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The workshop ran over 2 hours with invited guests from the academy. It was an ambitious workflow, but we managed to run through several iterations of watermarking, scanning, processing and uploading. The realisation of how much work is involved in digitising and processing texts was certainly a take-home for participants. An interesting moment occurred when uploading - who was the author of the altered text?
</p><p>Some photos here:
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_01.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/c/c0/TL_01.jpeg/90px-TL_01.jpeg" srcset="/mw-mediadesign/images/thumb/c/c0/TL_01.jpeg/135px-TL_01.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c0/TL_01.jpeg/180px-TL_01.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>the bookscanner
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_02.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/1c/TL_02.jpeg/90px-TL_02.jpeg" srcset="/mw-mediadesign/images/thumb/1/1c/TL_02.jpeg/135px-TL_02.jpeg 1.5x, /mw-mediadesign/images/thumb/1/1c/TL_02.jpeg/180px-TL_02.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>poster
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_03.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/0a/TL_03.jpeg/90px-TL_03.jpeg" srcset="/mw-mediadesign/images/thumb/0/0a/TL_03.jpeg/135px-TL_03.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0a/TL_03.jpeg/180px-TL_03.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>watermarked annotations from artemis, verso
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_04.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/df/TL_04.jpeg/90px-TL_04.jpeg" srcset="/mw-mediadesign/images/thumb/d/df/TL_04.jpeg/135px-TL_04.jpeg 1.5x, /mw-mediadesign/images/thumb/d/df/TL_04.jpeg/180px-TL_04.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>watermarked annotations from artemis, recto
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_05.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/d2/TL_05.jpeg/90px-TL_05.jpeg" srcset="/mw-mediadesign/images/thumb/d/d2/TL_05.jpeg/135px-TL_05.jpeg 1.5x, /mw-mediadesign/images/thumb/d/d2/TL_05.jpeg/180px-TL_05.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>the physical bootleg library
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_06.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/7a/TL_06.jpeg/90px-TL_06.jpeg" srcset="/mw-mediadesign/images/thumb/7/7a/TL_06.jpeg/135px-TL_06.jpeg 1.5x, /mw-mediadesign/images/thumb/7/7a/TL_06.jpeg/180px-TL_06.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>space for watermarks
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_07.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/83/TL_07.jpeg/90px-TL_07.jpeg" srcset="/mw-mediadesign/images/thumb/8/83/TL_07.jpeg/135px-TL_07.jpeg 1.5x, /mw-mediadesign/images/thumb/8/83/TL_07.jpeg/180px-TL_07.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>watermarks on cybertext
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_09.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/f/fc/TL_09.jpeg/90px-TL_09.jpeg" srcset="/mw-mediadesign/images/thumb/f/fc/TL_09.jpeg/135px-TL_09.jpeg 1.5x, /mw-mediadesign/images/thumb/f/fc/TL_09.jpeg/180px-TL_09.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>watermarks on cybertext, verso
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_08.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/80/TL_08.jpeg/90px-TL_08.jpeg" srcset="/mw-mediadesign/images/thumb/8/80/TL_08.jpeg/135px-TL_08.jpeg 1.5x, /mw-mediadesign/images/thumb/8/80/TL_08.jpeg/180px-TL_08.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>watermarks on cybertext, recto
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_10.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/45/TL_10.jpeg/90px-TL_10.jpeg" srcset="/mw-mediadesign/images/thumb/4/45/TL_10.jpeg/135px-TL_10.jpeg 1.5x, /mw-mediadesign/images/thumb/4/45/TL_10.jpeg/180px-TL_10.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>folded instruction sheet and acetate
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_11.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/c/c9/TL_11.jpeg/90px-TL_11.jpeg" srcset="/mw-mediadesign/images/thumb/c/c9/TL_11.jpeg/135px-TL_11.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c9/TL_11.jpeg/180px-TL_11.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>running OCR script
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TL_12.jpeg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/01/TL_12.jpeg/90px-TL_12.jpeg" srcset="/mw-mediadesign/images/thumb/0/01/TL_12.jpeg/135px-TL_12.jpeg 1.5x, /mw-mediadesign/images/thumb/0/01/TL_12.jpeg/180px-TL_12.jpeg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>inside the bookscanner
</p>
</div>
</div></li>
</ul>
<h2><span class="mw-headline" id="Feminist_Art_Manifestos">Feminist Art Manifestos</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Feminist_Art_Manifestos&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="First_edition">First edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Feminist_Art_Manifestos&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 12.09.19<br>
Dimensions: 130x180mm<br>
Cover stock: Clairefontaine Trophee (green) 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound (hot glue)<br>
Pages: 180pp
</p><p>This book took quite some time to lay out. The original publication exists as an EPUB. You have to buy it, and it's not available in this format from the usual pirate libraries, but I did find an HTML version on <a class="external free" href="https://monoskop.org/media/text/feminist_art_manifestos/" rel="nofollow">https://monoskop.org/media/text/feminist_art_manifestos/</a>
</p><p>I ran pandoc on the HTML file to turn it into a .rtf so that I could lay it out in InDesign using this command:
</p>
<pre> $ pandoc -s source.html -o new_source.rtf
</pre>
<p>This retained italics and hyperlinks (which was super nice), but there were lots of line-breaks that I didn't need and had to remove manually as find/change in InDesign is indiscriminate...
</p><p>In some ways the digital book is superior to the printed version as you can click on the hyperlinks to visit the source pages of many of these texts, something which is obviously impossible in the printed version, although it does say where the manifestos can be found.
</p><p>The interesting thing about doing this as a book sprint is the speed at which you have to make design decisions. This makes the design quite minimal, and the only typographic conceit here was with a decision to use a variety of indentation styles, which refers to the multiplicity of feminist manifestos. The interesting thing for me about these texts is that they show many different artistic views of feminism which don't necessarily agree with each other.
</p><p>During the time I was laying out this publication, I was invited by Artemis to join her and Paloma in applying to present our Marginal Conversations workshop in Athens at the ETC (Eclectic Tech Conference) festival. We were all pretty excited about the prospect, however as it turned out, some of the organisers were unsure about me presenting a workshop as a cis-gendered hetero man. Although I was disappointed, I understood the reasoning, as due to the nature of this particular conference (which started as a way for women and queer, trans &amp; non-binary folk to share skills outside of a patriarchal male-dominated tech culture. I was reassured that this was not the opinion of all of the organisers, but of some, however, they were trying to reach a compromise with me and each other. I found this an interesting sidenote to the publication I was producing, in which there is a plurality of views that co-exist.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_B01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/48/Femifestos_B01.JPG/90px-Femifestos_B01.JPG" srcset="/mw-mediadesign/images/thumb/4/48/Femifestos_B01.JPG/135px-Femifestos_B01.JPG 1.5x, /mw-mediadesign/images/thumb/4/48/Femifestos_B01.JPG/180px-Femifestos_B01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_B02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/93/Femifestos_B02.JPG/90px-Femifestos_B02.JPG" srcset="/mw-mediadesign/images/thumb/9/93/Femifestos_B02.JPG/135px-Femifestos_B02.JPG 1.5x, /mw-mediadesign/images/thumb/9/93/Femifestos_B02.JPG/180px-Femifestos_B02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_B03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/b2/Femifestos_B03.JPG/90px-Femifestos_B03.JPG" srcset="/mw-mediadesign/images/thumb/b/b2/Femifestos_B03.JPG/135px-Femifestos_B03.JPG 1.5x, /mw-mediadesign/images/thumb/b/b2/Femifestos_B03.JPG/180px-Femifestos_B03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootleg acknowledgment
</p>
</div>
</div></li>
</ul>
<h3><span class="mw-headline" id="Second_edition">Second edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Feminist_Art_Manifestos&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 05.03.20<br>
Dimensions: 130x180mm<br>
Cover stock: Clairefontaine Trophee (grey) 210gsm<br>
Text stock: Laser 80gsm<br>
Binding: Perfect bound (hot glue)<br>
Pages: 224pp
</p><p>I decided to print a second edition of this book for two reasons; 1) someone had borrowed the first edition three months ago and it hadn't been returned, and 2) what's a books of Feminist Art Manifestos without any images?
</p><p>I spent quite some time tracking down images to use in the book. Oftentimes I couldn't find an image that directly corresponded to the writer/writers of each manifesto, which created an interesting opportunity to think about who is represented by each text. Sometimes it was an image of an artwork (if the manifesto was written by an artist), sometimes an image of a collective or the publications they produces, often a portrait of the author or authors, sometimes an image of the manifesto as it appeared in print originally. Each manifesto text is prefaced by an image - abutting the text of a previous manifesto. This creates an interesting connection between seemingly disparate elements and waves of feminist movements. The book was printed in the same size as the first edition, with a grey cover, and noticeably more pages due to the addition of so many colour images.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/4b/Femifestos_2nd_ed_C_01.jpg/90px-Femifestos_2nd_ed_C_01.jpg" srcset="/mw-mediadesign/images/thumb/4/4b/Femifestos_2nd_ed_C_01.jpg/135px-Femifestos_2nd_ed_C_01.jpg 1.5x, /mw-mediadesign/images/thumb/4/4b/Femifestos_2nd_ed_C_01.jpg/180px-Femifestos_2nd_ed_C_01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_02.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/f/f4/Femifestos_2nd_ed_C_02.jpg/90px-Femifestos_2nd_ed_C_02.jpg" srcset="/mw-mediadesign/images/thumb/f/f4/Femifestos_2nd_ed_C_02.jpg/135px-Femifestos_2nd_ed_C_02.jpg 1.5x, /mw-mediadesign/images/thumb/f/f4/Femifestos_2nd_ed_C_02.jpg/180px-Femifestos_2nd_ed_C_02.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: WSABAL manifesto alongside image of Nancy Spero's painting <i>Sheela-na-gig</i>
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_03.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/6/63/Femifestos_2nd_ed_C_03.jpg/90px-Femifestos_2nd_ed_C_03.jpg" srcset="/mw-mediadesign/images/thumb/6/63/Femifestos_2nd_ed_C_03.jpg/135px-Femifestos_2nd_ed_C_03.jpg 1.5x, /mw-mediadesign/images/thumb/6/63/Femifestos_2nd_ed_C_03.jpg/180px-Femifestos_2nd_ed_C_03.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Work and portrait of Chila Kumari Burman
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/d2/Femifestos_2nd_ed_C_04.jpg/90px-Femifestos_2nd_ed_C_04.jpg" srcset="/mw-mediadesign/images/thumb/d/d2/Femifestos_2nd_ed_C_04.jpg/135px-Femifestos_2nd_ed_C_04.jpg 1.5x, /mw-mediadesign/images/thumb/d/d2/Femifestos_2nd_ed_C_04.jpg/180px-Femifestos_2nd_ed_C_04.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Dora Garcia
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_05.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/7a/Femifestos_2nd_ed_C_05.jpg/90px-Femifestos_2nd_ed_C_05.jpg" srcset="/mw-mediadesign/images/thumb/7/7a/Femifestos_2nd_ed_C_05.jpg/135px-Femifestos_2nd_ed_C_05.jpg 1.5x, /mw-mediadesign/images/thumb/7/7a/Femifestos_2nd_ed_C_05.jpg/180px-Femifestos_2nd_ed_C_05.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: YES Manifesto, alongside FAAB Manifesto
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_06.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/6/6d/Femifestos_2nd_ed_C_06.jpg/90px-Femifestos_2nd_ed_C_06.jpg" srcset="/mw-mediadesign/images/thumb/6/6d/Femifestos_2nd_ed_C_06.jpg/135px-Femifestos_2nd_ed_C_06.jpg 1.5x, /mw-mediadesign/images/thumb/6/6d/Femifestos_2nd_ed_C_06.jpg/180px-Femifestos_2nd_ed_C_06.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootleg acknowledgment
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_07.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/46/Femifestos_2nd_ed_C_07.jpg/90px-Femifestos_2nd_ed_C_07.jpg" srcset="/mw-mediadesign/images/thumb/4/46/Femifestos_2nd_ed_C_07.jpg/135px-Femifestos_2nd_ed_C_07.jpg 1.5x, /mw-mediadesign/images/thumb/4/46/Femifestos_2nd_ed_C_07.jpg/180px-Femifestos_2nd_ed_C_07.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootleg acknowledgment, closeup
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_08.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/5/5e/Femifestos_2nd_ed_C_08.jpg/90px-Femifestos_2nd_ed_C_08.jpg" srcset="/mw-mediadesign/images/thumb/5/5e/Femifestos_2nd_ed_C_08.jpg/135px-Femifestos_2nd_ed_C_08.jpg 1.5x, /mw-mediadesign/images/thumb/5/5e/Femifestos_2nd_ed_C_08.jpg/180px-Femifestos_2nd_ed_C_08.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Femifestos_2nd_ed_C_11.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/3d/Femifestos_2nd_ed_C_11.jpg/90px-Femifestos_2nd_ed_C_11.jpg" srcset="/mw-mediadesign/images/thumb/3/3d/Femifestos_2nd_ed_C_11.jpg/135px-Femifestos_2nd_ed_C_11.jpg 1.5x, /mw-mediadesign/images/thumb/3/3d/Femifestos_2nd_ed_C_11.jpg/180px-Femifestos_2nd_ed_C_11.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Back cover
</p>
</div>
</div></li>
</ul>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="diversifying_through_use">diversifying through use</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Diversifying_through_use&amp;action=edit&amp;section=1" title="Edit section: diversifying through use">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Bootlegging.html" title="User:Simon/Bootlegging">bootlegging</a>, <a href="Being_kind_to_the_reader.html" title="User:Simon/Being kind to the reader">being kind to the reader</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>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.
</p><p>Image: 1. Books are for use.
The first law of S. R. R. Rangathan’s <i>5 Laws of Library Science</i>, 1931
</p>
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<div class="cardback"><img class="cardbackimg" src="./IMG/Books_are_for_use.jpeg">The first law of S. R. R. Rangathan’s <i>5 Laws of Library Science</i>, 1931</div></div></div>
<a href="From_the_Books_SLV_RBRR_000-099.html">From the Books: SLV RBRR 000-099</a>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="downloading">downloading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Downloading&amp;action=edit&amp;section=1" title="Edit section: downloading">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Acquiring_Removing.html" title="User:Simon/Acquiring Removing">acquiring/removing</a>, <a href="Finding_texts.html" title="User:Simon/Finding texts">finding texts</a>, <a href="Uploading.html" title="User:Simon/Uploading">uploading</a>
</p><p>A reader who downloads and does not upload is a passive observer to the activities of the library. We prefer to be in the position of the downloader due to the legal penalties for uploading and redistributing copyrighted texts, which are far more severe than those for downloading. The library will not grow if all we do is take. A library is a collection of shared texts, and sharing is facilitated by both uploading and downloading.
</p><p>Image: A download symbol
</p>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
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<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Download_symbol.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/9/90/Download_symbol.jpeg/150px-Download_symbol.jpeg" srcset="/mw-mediadesign/images/thumb/9/90/Download_symbol.jpeg/225px-Download_symbol.jpeg 1.5x, /mw-mediadesign/images/thumb/9/90/Download_symbol.jpeg/300px-Download_symbol.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Download_symbol.jpeg.html" title="Enlarge"></a></div>A download symbol</div></div></div>
<h2><span class="mw-headline" id="07.05.19_workshop_with_bodo_balasz">07.05.19 workshop with bodo balasz</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Bodo_Balasz&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Profile:
<a class="external free" href="https://www.uva.nl/en/profile/b/o/b.bodo/b.bodo.html" rel="nofollow">https://www.uva.nl/en/profile/b/o/b.bodo/b.bodo.html</a>
</p><p>Reading: Bodó, Balázs (2019): <i>The science of piracy, the piracy of science. Who are the science pirates and where do they come from</i> <a class="external text" href="http://copyrightblog.kluweriplaw.com/2019/03/06/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-1/" rel="nofollow">Part I</a> + <a class="external text" href="http://copyrightblog.kluweriplaw.com/2019/03/21/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-2/" rel="nofollow">Part II</a>
</p><p>Workshop with economist Bodo Balasz, whose research is on shadow libraries and the forces that drive them, taking the point of view that "if you do not understand the black market, you can not organize legality". Bodo's recent work is on the dataset of the biggest shadow libraries (which for certain reason, I won't name here). The most striking conclusions drawn from his analysis show that use of the shadow library has increased dramatically in the developing world, it is actually those in the privileged, richer countries that are using the service most, raising questions if cost competition is the driving factor of use of shadow libraries. Also examined are file formats, which reveals interesting facts about the duplication process involved in creating copies.
</p><p>The process differs historically between Eastern and Western countries due to cultural and technological differences. In the East (particularly in Russia and eastern bloc countries) texts were initially re-typed. This follows the tradition established in samizdat publishing of duplicating texts by hand. The need to have developed systems of private distribution was higher in former Soviet countries. In the West, most texts were photocopied or scanned initially, due to cheaper access to the technology.
</p><p>Bodo examines the dataset using a browser-based interactive python server. By running code on the csv file of the dataset, it is possible to establish trends and make inferences on the behaviour of the users of the shadow library. Certain problems may arise due to the metadata associated with each file - different character sets, errors, lack of information and "inaccurate" information can make some analyses difficult to pin down. Using interactive python, we did single variable analysis, and also two-dimensional analysis.
</p>
<h2><span class="mw-headline" id="open_syllabus_project">open syllabus project</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Bodo_Balasz&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The Open Syllabus Project publishes the syllabi of academic courses, seeing them as the DNA, not just the byproduct of academic research.
</p><p><a class="external free" href="http://explorer.opensyllabusproject.org/" rel="nofollow">http://explorer.opensyllabusproject.org/</a>
</p>
<h2><span id="Information_ages_:_literacy,_numeracy,_and_the_computer_revolution"></span><span class="mw-headline" id="Information_ages_:_literacy.2C_numeracy.2C_and_the_computer_revolution">Information ages : literacy, numeracy, and the computer revolution</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Information_Ages&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Printed: 26.11.19<br>
Dimensions: 155x235mm<br>
Cover stock: Clairefontaine Trophee (white) 210gsm<br>
Text stock: Laser 80gsm<br>
Binding: Perfect bound, cold glue<br>
Pages: 320pp
</p><p>I could only find this as a printed book available for purchase online, or to borrow from the closest library, which is the Koninklijke Bibliotheek in The Hague. So, I went to the KB in the Hague, registered a membership (costing 7,50 euro per year) and borrowed the book. I scanned the book on a photocopier back at PZI (it took about 40 mins and many apologies to those who wanted to use it), and then printed and bound it by hand using a cold glue binding technique. The file produced by scanning actually took longer to be transferred over the network than it did to scan the entire book. I optimised the file after receiving it, which produced splotchy text and images (in some places the print looked damaged by water). The cover was an impromptu decision - to use the same method. The copy was made in about 2 hours.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Information_ages_A01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/2/26/Information_ages_A01.JPG/90px-Information_ages_A01.JPG" srcset="/mw-mediadesign/images/thumb/2/26/Information_ages_A01.JPG/135px-Information_ages_A01.JPG 1.5x, /mw-mediadesign/images/thumb/2/26/Information_ages_A01.JPG/180px-Information_ages_A01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover: Bootleg (left) and source publication (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Information_ages_A02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/db/Information_ages_A02.JPG/90px-Information_ages_A02.JPG" srcset="/mw-mediadesign/images/thumb/d/db/Information_ages_A02.JPG/135px-Information_ages_A02.JPG 1.5x, /mw-mediadesign/images/thumb/d/db/Information_ages_A02.JPG/180px-Information_ages_A02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine: Source publication
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Information_ages_A03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/73/Information_ages_A03.JPG/90px-Information_ages_A03.JPG" srcset="/mw-mediadesign/images/thumb/7/73/Information_ages_A03.JPG/135px-Information_ages_A03.JPG 1.5x, /mw-mediadesign/images/thumb/7/73/Information_ages_A03.JPG/180px-Information_ages_A03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine: Bootleg
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:Information_ages_B01.JPG.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/0/0e/Information_ages_B01.JPG/120px-Information_ages_B01.JPG" srcset="/mw-mediadesign/images/thumb/0/0e/Information_ages_B01.JPG/180px-Information_ages_B01.JPG 1.5x, /mw-mediadesign/images/thumb/0/0e/Information_ages_B01.JPG/240px-Information_ages_B01.JPG 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Spines: Source publication (left) and bootleg (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:Information_ages_B02.jpg.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/7/79/Information_ages_B02.jpg/120px-Information_ages_B02.jpg" srcset="/mw-mediadesign/images/thumb/7/79/Information_ages_B02.jpg/180px-Information_ages_B02.jpg 1.5x, /mw-mediadesign/images/thumb/7/79/Information_ages_B02.jpg/240px-Information_ages_B02.jpg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Spread: Source publication (left) and bootleg (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Information_ages_A04.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/a4/Information_ages_A04.JPG/90px-Information_ages_A04.JPG" srcset="/mw-mediadesign/images/thumb/a/a4/Information_ages_A04.JPG/135px-Information_ages_A04.JPG 1.5x, /mw-mediadesign/images/thumb/a/a4/Information_ages_A04.JPG/180px-Information_ages_A04.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Images in source publication
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Information_ages_A05.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/02/Information_ages_A05.JPG/90px-Information_ages_A05.JPG" srcset="/mw-mediadesign/images/thumb/0/02/Information_ages_A05.JPG/135px-Information_ages_A05.JPG 1.5x, /mw-mediadesign/images/thumb/0/02/Information_ages_A05.JPG/180px-Information_ages_A05.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Images in bootleg
</p>
</div>
</div></li>
</ul>
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<!DOCTYPE html>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span id="Dumbstruck—A_Cultural_History_of_Ventriloquism"></span><span class="mw-headline" id="Dumbstruck.E2.80.94A_Cultural_History_of_Ventriloquism">Dumbstruck—A Cultural History of Ventriloquism</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Dumbstruck_A_Cultural_History_of_Ventriloquism&amp;action=edit&amp;section=1" title="Edit section: Dumbstruck—A Cultural History of Ventriloquism">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="First_edition">First edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Dumbstruck_A_Cultural_History_of_Ventriloquism&amp;action=edit&amp;section=2" title="Edit section: First edition">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 29.10.19<br>
Dimensions: 150x235mm<br>
Cover stock: Clairefontaine Trophee (yellow) 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound (hot glue)<br>
Pages: 433pp
</p><p>This book took about 40 hours to create, the longest time it's taken so far... I found a PDF on Lib Gen, but for some reason the OCR'd text was tracked quite tight making each line look like a very long word - this was even worse when printed. After a quick search on worldcat, I discovered that this book was available to be borrowed from the Royal Library in the Hague. Off I went to borrow the book. I planned to scan it using the bookscanner, but the cameras kept crashing after scanning half the 433 page book. So, I managed to extract the text using Calibre's book convert process from PDF &gt; RTF. However, after placing the text in an InDesign layout, all of the numbers appeared as missing characters. From the looks of the PDF it seemed that these were perhaps from an Opentype font's custom stylistic set, which would explain why they weren't turning up in my system fonts. Also, in the index at the back of the book the numbers seemed to have the appearance of hyperlinks (when hovering over the hand icon appears) but when clicked, did absolutely nothing. So I began the rather painstaking process of laying out the book with exactly the same text flow and page numbers as the source. The work included removing headers and page numbers from the RTF, scanning all photos from the printed book, endlessly wordspacing paragraphs to make sure they fit where they should on each page, styling the text, removing manually written hyphenation (this was done programmatically, and ended up with a few words that were joined together in the case of examples like "re- and dis- associate" becoming reand disassociate") and the seemingly endless task of manually entering in EVERY number. At times it felt a bit masochistic, but I used this time to reflect on the process, thinking a lot about the changes I was making to preserve the form of the original. Ironically, this also involved a lot of forced line breaks, which would make the task of anyone who wanted to bootleg this book a bit more difficult (forced line breaks are the bane of the bootlegger). Another strange thought - I'm reading these books as I redesign them, but my reading happens on a more superficial level perhaps, meaning that I'm not absorbing the content fully, but reading it like a machine would as I look for anomalies and address them.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/14/Dumbstruck_A01.JPG/90px-Dumbstruck_A01.JPG" srcset="/mw-mediadesign/images/thumb/1/14/Dumbstruck_A01.JPG/135px-Dumbstruck_A01.JPG 1.5x, /mw-mediadesign/images/thumb/1/14/Dumbstruck_A01.JPG/180px-Dumbstruck_A01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/be/Dumbstruck_A02.JPG/90px-Dumbstruck_A02.JPG" srcset="/mw-mediadesign/images/thumb/b/be/Dumbstruck_A02.JPG/135px-Dumbstruck_A02.JPG 1.5x, /mw-mediadesign/images/thumb/b/be/Dumbstruck_A02.JPG/180px-Dumbstruck_A02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Title page
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/b6/Dumbstruck_A03.JPG/90px-Dumbstruck_A03.JPG" srcset="/mw-mediadesign/images/thumb/b/b6/Dumbstruck_A03.JPG/135px-Dumbstruck_A03.JPG 1.5x, /mw-mediadesign/images/thumb/b/b6/Dumbstruck_A03.JPG/180px-Dumbstruck_A03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Image section
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A04.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/dd/Dumbstruck_A04.JPG/90px-Dumbstruck_A04.JPG" srcset="/mw-mediadesign/images/thumb/d/dd/Dumbstruck_A04.JPG/135px-Dumbstruck_A04.JPG 1.5x, /mw-mediadesign/images/thumb/d/dd/Dumbstruck_A04.JPG/180px-Dumbstruck_A04.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Section begins
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A05.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/9c/Dumbstruck_A05.JPG/90px-Dumbstruck_A05.JPG" srcset="/mw-mediadesign/images/thumb/9/9c/Dumbstruck_A05.JPG/135px-Dumbstruck_A05.JPG 1.5x, /mw-mediadesign/images/thumb/9/9c/Dumbstruck_A05.JPG/180px-Dumbstruck_A05.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Back cover
</p>
</div>
</div></li>
</ul>
<h3><span class="mw-headline" id="Second_edition">Second edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Dumbstruck_A_Cultural_History_of_Ventriloquism&amp;action=edit&amp;section=3" title="Edit section: Second edition">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 28.11.19<br>
Dimensions: 150x235mm<br>
Cover stock: Clairefontaine Trophee (yellow) 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound (cold glue)<br>
Pages: 433pp
</p><p>Clara Balaguer asked me for a copy of this book, and it seemed like a good opportunity to try a new printing and binding process. I decided to print the book double-sided on A4 paper, as opposed to the previous method of 2-up imposed printing on A3 paper. I wasn't very satisfied with how the previous printing method had produced a "split" in the book due to the paper grain direction. Yin Yin Wong at PS Rotterdam had recommended printing double sided rather than 2-up to avoid this, so this was the technique I decided to try out. I also decided on hand-binding it with cold glue, a technique which I had recently learned. Cold glue binding is done with equipment and materials such as a hacksaw, scissors, medical gauze (or cheesecloth), brushes, PVA glue, bookbinding thread, a jig to hold the book in while notches are cut and the spine receives its initial gluing, and a book press to keep the book in overnight, which stops the book from warping due to the high water content of the PVA glue. Cold glue binding allows the book to lay open flat on a table, a benefit I was keen to apply to this edition of the book as I was dissatisfied by how tight the binding of the first edition was because I had used the hot glue binding machine, which takes much less time but for thick books can produce a lower quality result. I was quite pleased with how this book came out, however, when applying the cover I had to decide not to glue it to the spine. Cold glue binding results in a rough spine, and hot glue creates a smooth layer of glue that dries quickly, producing a smooth spine. The only way to avoid this is to not attach the cover to the spine if using cold glue.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_B01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/36/Dumbstruck_B01.JPG/90px-Dumbstruck_B01.JPG" srcset="/mw-mediadesign/images/thumb/3/36/Dumbstruck_B01.JPG/135px-Dumbstruck_B01.JPG 1.5x, /mw-mediadesign/images/thumb/3/36/Dumbstruck_B01.JPG/180px-Dumbstruck_B01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootlegged books front covers: Second edition (left) and first edition (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_B02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/a8/Dumbstruck_B02.JPG/90px-Dumbstruck_B02.JPG" srcset="/mw-mediadesign/images/thumb/a/a8/Dumbstruck_B02.JPG/135px-Dumbstruck_B02.JPG 1.5x, /mw-mediadesign/images/thumb/a/a8/Dumbstruck_B02.JPG/180px-Dumbstruck_B02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front covers: Source publication (left) and second edition bootleg (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:Dumbstruck_B03.JPG.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/5/51/Dumbstruck_B03.JPG/120px-Dumbstruck_B03.JPG" srcset="/mw-mediadesign/images/thumb/5/51/Dumbstruck_B03.JPG/180px-Dumbstruck_B03.JPG 1.5x, /mw-mediadesign/images/thumb/5/51/Dumbstruck_B03.JPG/240px-Dumbstruck_B03.JPG 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Beginning of image section: Source publication (left) and second edition bootleg (right). The second edition bootleg book lies open more easily due to the cold glue binding
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_B06.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/96/Dumbstruck_B06.JPG/90px-Dumbstruck_B06.JPG" srcset="/mw-mediadesign/images/thumb/9/96/Dumbstruck_B06.JPG/135px-Dumbstruck_B06.JPG 1.5x, /mw-mediadesign/images/thumb/9/96/Dumbstruck_B06.JPG/180px-Dumbstruck_B06.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spines: Source publication (left) and second edition bootleg (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:Dumbstruck_B05.JPG.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/6/67/Dumbstruck_B05.JPG/120px-Dumbstruck_B05.JPG" srcset="/mw-mediadesign/images/thumb/6/67/Dumbstruck_B05.JPG/180px-Dumbstruck_B05.JPG 1.5x, /mw-mediadesign/images/thumb/6/67/Dumbstruck_B05.JPG/240px-Dumbstruck_B05.JPG 2x" width="120"></a></div></div>
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<p>Back covers: Source publication (left) and second edition bootleg (right)
</p>
</div>
</div></li>
</ul>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="editing">editing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Editing&amp;action=edit&amp;section=1" title="Edit section: editing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Amateuring.html" title="User:Simon/Amateuring">amateuring</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>, <a href="Rereferencing.html" title="User:Simon/Rereferencing">rereferencing</a>, <a href="Typing.html" title="User:Simon/Typing">typing</a>, <a href="Writing.html" title="User:Simon/Writing">writing</a>
</p><p>As soon as a reader edits a text its materiality changes either unintentionally, or through more intentional methods, such as republishing in a different format to make the text more accessible to a wider public. Samizdat publishers often considered themselves editors, or typists (rather than authors) due to the unwanted attention and risk that this credit would bring. As they reproduced texts by hand, a slippery form of authorship evolved through human error and also particular idiosyncratic preferences for a new phrase, approximate translation or text structure. Vladimir Bukovsky summarised the process of self-publishing as “Samizdat: I write it myself, edit it myself, censor it myself, publish it myself, distribute it myself, and spend time in prison for it myself.” The responsibility these self-proclaimed editors took upon themselves by republishing dissident material bound them to the texts; entwined in their creation and distribution. When no writer wants to be an author, everyone becomes an editor.
</p><p>Image: Facsimile of <i>A Chronicle of Current Events</i> (Russian: Хро́ника теку́щих собы́тий), the longest-running Samizdat publication, (1968-1982)
</p>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><img class="cardbackimg" src="./IMG/Chronicle_of_current_events.jpeg">Facsimile of A Chronicle of Current Events (Russian: Хро́ника теку́щих собы́тий)</div>
<h2><span class="mw-headline" id="Description_of_task">Description of task</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Etherpad_timed_writing/editing_experiment&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In November 2018, I experimented with a timed writing task using Etherpad, a collaborative realtime browser-based text editor. Etherpad automatically assigns authorship colours to users, and I wanted to explore how a text that I was writing, reading and editing over a specific time period could be visualised.
</p>
<h2><span class="mw-headline" id="Method">Method</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Etherpad_timed_writing/editing_experiment&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The method was to write for one hour. I begin by writing a text about what I was doing (writing, reading and editing). For time constraints, I established writing periods of 3 minutes, and a rest period of 2 minutes. After 6 iterations, this shifted to 5 minutes for both respectively. I kept writing and opening up new private tabs in my browser to give each iteration new authorship colours. These are lost when exported, so I recreated the text and authorship colours to make visualisations.<br>
</p><p><a class="image" href="File:18_11_21_Pad_difs_01.jpg.html" title="The entire text, recreated with authorship colours"><img alt="The entire text, recreated with authorship colours" decoding="async" height="424" src="/mw-mediadesign/images/thumb/a/aa/18_11_21_Pad_difs_01.jpg/300px-18_11_21_Pad_difs_01.jpg" srcset="/mw-mediadesign/images/thumb/a/aa/18_11_21_Pad_difs_01.jpg/450px-18_11_21_Pad_difs_01.jpg 1.5x, /mw-mediadesign/images/thumb/a/aa/18_11_21_Pad_difs_01.jpg/600px-18_11_21_Pad_difs_01.jpg 2x" width="300"></a>
</p>
<h2><span class="mw-headline" id="Isolated_iterations">Isolated iterations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Etherpad_timed_writing/editing_experiment&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Each iteration is isolated in the following visualisations:
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_910.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/f/fa/18_11_21_Pad_difs_910.jpg/85px-18_11_21_Pad_difs_910.jpg" srcset="/mw-mediadesign/images/thumb/f/fa/18_11_21_Pad_difs_910.jpg/127px-18_11_21_Pad_difs_910.jpg 1.5x, /mw-mediadesign/images/thumb/f/fa/18_11_21_Pad_difs_910.jpg/170px-18_11_21_Pad_difs_910.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:10-21:15
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_915.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/b8/18_11_21_Pad_difs_915.jpg/85px-18_11_21_Pad_difs_915.jpg" srcset="/mw-mediadesign/images/thumb/b/b8/18_11_21_Pad_difs_915.jpg/127px-18_11_21_Pad_difs_915.jpg 1.5x, /mw-mediadesign/images/thumb/b/b8/18_11_21_Pad_difs_915.jpg/170px-18_11_21_Pad_difs_915.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:15-21:20
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_920.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/e/ed/18_11_21_Pad_difs_920.jpg/85px-18_11_21_Pad_difs_920.jpg" srcset="/mw-mediadesign/images/thumb/e/ed/18_11_21_Pad_difs_920.jpg/127px-18_11_21_Pad_difs_920.jpg 1.5x, /mw-mediadesign/images/thumb/e/ed/18_11_21_Pad_difs_920.jpg/170px-18_11_21_Pad_difs_920.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:20-21:25
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_925.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/1f/18_11_21_Pad_difs_925.jpg/85px-18_11_21_Pad_difs_925.jpg" srcset="/mw-mediadesign/images/thumb/1/1f/18_11_21_Pad_difs_925.jpg/127px-18_11_21_Pad_difs_925.jpg 1.5x, /mw-mediadesign/images/thumb/1/1f/18_11_21_Pad_difs_925.jpg/170px-18_11_21_Pad_difs_925.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:25-21:30
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_930.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/43/18_11_21_Pad_difs_930.jpg/85px-18_11_21_Pad_difs_930.jpg" srcset="/mw-mediadesign/images/thumb/4/43/18_11_21_Pad_difs_930.jpg/127px-18_11_21_Pad_difs_930.jpg 1.5x, /mw-mediadesign/images/thumb/4/43/18_11_21_Pad_difs_930.jpg/170px-18_11_21_Pad_difs_930.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:30-21:35
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_940.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/d2/18_11_21_Pad_difs_940.jpg/85px-18_11_21_Pad_difs_940.jpg" srcset="/mw-mediadesign/images/thumb/d/d2/18_11_21_Pad_difs_940.jpg/127px-18_11_21_Pad_difs_940.jpg 1.5x, /mw-mediadesign/images/thumb/d/d2/18_11_21_Pad_difs_940.jpg/170px-18_11_21_Pad_difs_940.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:35-21:40
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_950.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/a4/18_11_21_Pad_difs_950.jpg/85px-18_11_21_Pad_difs_950.jpg" srcset="/mw-mediadesign/images/thumb/a/a4/18_11_21_Pad_difs_950.jpg/127px-18_11_21_Pad_difs_950.jpg 1.5x, /mw-mediadesign/images/thumb/a/a4/18_11_21_Pad_difs_950.jpg/170px-18_11_21_Pad_difs_950.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:40-21:50
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_1000.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/6/6f/18_11_21_Pad_difs_1000.jpg/85px-18_11_21_Pad_difs_1000.jpg" srcset="/mw-mediadesign/images/thumb/6/6f/18_11_21_Pad_difs_1000.jpg/127px-18_11_21_Pad_difs_1000.jpg 1.5x, /mw-mediadesign/images/thumb/6/6f/18_11_21_Pad_difs_1000.jpg/170px-18_11_21_Pad_difs_1000.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>21:50-22:00
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:18_11_21_Pad_difs_colours.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/31/18_11_21_Pad_difs_colours.jpg/85px-18_11_21_Pad_difs_colours.jpg" srcset="/mw-mediadesign/images/thumb/3/31/18_11_21_Pad_difs_colours.jpg/127px-18_11_21_Pad_difs_colours.jpg 1.5x, /mw-mediadesign/images/thumb/3/31/18_11_21_Pad_difs_colours.jpg/170px-18_11_21_Pad_difs_colours.jpg 2x" width="85"></a></div></div>
<div class="gallerytext">
<p>22:00-22:10
</p>
</div>
</div></li>
</ul>
<p>The authorship colours with text removed:
</p><p><a class="image" href="File:18_11_21_Pad_difs_colours_all.jpg.html" title="Authorship colours with text removed"><img alt="Authorship colours with text removed" decoding="async" height="566" src="/mw-mediadesign/images/thumb/9/9a/18_11_21_Pad_difs_colours_all.jpg/400px-18_11_21_Pad_difs_colours_all.jpg" srcset="/mw-mediadesign/images/thumb/9/9a/18_11_21_Pad_difs_colours_all.jpg/600px-18_11_21_Pad_difs_colours_all.jpg 1.5x, /mw-mediadesign/images/thumb/9/9a/18_11_21_Pad_difs_colours_all.jpg/800px-18_11_21_Pad_difs_colours_all.jpg 2x" width="400"></a>
</p><p>The experiment showed me that editing is a way of writing, kind of like making growing a tree while making furniture from it. Whatever is written is there to be pruned and shaped into pieces that are joined together to form a supportive text structure. Etherpad makes this visible with its authorship colours, all the more so when it is used as it has been designed; collaboratively.
</p>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="Extracting_text_from_a_PDF">Extracting text from a PDF</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_PDF&amp;action=edit&amp;section=1" title="Edit section: Extracting text from a PDF">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In Al Sweigart's <i>Automate the Boring Stuff with Python</i>, there's a nice section on a Python library called PyPDF2 that allows you to work with the contents of PDFs. To begin with, I thought I'd try extracting text from a PDF of William S. Burrough's <i>The Electronic Revolution</i>. I chose this PDF as the only version I've found of it online is a 40pp document published by ubuclassics (which I suppose is the publishing house for ubuweb.com). There was no identifier other than this (no ISBN etc.), and it was impossible locating any other version online. What's more, the PDF had very small text, which was uncomfortable to read when I ran the <a href="Michaels_booklet_script_for_PDF_imposition.html" title="User:Simon/Trim4/Michaels booklet script for PDF imposition">booklet.sh</a> script on it.
</p><p>I thought it would be worthwhile laying out this book again for print reading purposes, and the first step is to get the text from the PDF. Pandoc is usually my go to for extracting text, but it doesn't work with PDFs, so I tried <a class="external text" href="https://pythonhosted.org/PyPDF2/index.html" rel="nofollow">PyPDF2</a>.
</p>
<h3><span class="mw-headline" id="28.09.19">28.09.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_PDF&amp;action=edit&amp;section=2" title="Edit section: 28.09.19">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>I began by copying a file called electronic_revolution.pdf to a folder, then in the terminal <code>cd</code> into that directory. Then I initiated the interactive python interpreter with this command:
</p>
<pre>$ python3</pre>
<p>Next I wrote the following commands in Python 3 (comments above each line):
</p>
<pre># First, import the PyPDF2 module
&gt;&gt;&gt; import PyPDF2
# Then open electronic_revolution.pdf in read binary mode and store it in pdfFileObj
&gt;&gt;&gt; pdfFileObj = open('electronic_revolution.pdf', 'rb')
# To get a PdfFileReader object that rep- resents this PDF, call PyPDF2.PdfFileReader() and pass it pdfFileObj. Store this PdfFileReader object in pdfReader
&gt;&gt;&gt; pdfReader = PyPDF2.PdfFileReader(pdfFileObj)
# The total number of pages in the document is stored in the numPages attribute of a PdfFileReader object
&gt;&gt;&gt; pdfReader.numPages
&gt;&gt;&gt; 40
# The PDF has 40 pages. To extract text from a page, you need to get a Page object, which represents a single page of a PDF, from a PdfFileReader object.
# You can get a Page object by calling the getPage() method on a PdfFileReader object and passing it the page number of the page you’re interested in — in our case, 0
&gt;&gt;&gt; pageObj = pdfReader.getPage(0)
# Once you have your Page object, call its extractText() method to return a string of the page’s text
&gt;&gt;&gt; pageObj.extractText()
&gt;&gt;&gt; 'ubuclassics2005WILLIAM S. BURROUGHSTheElectronic\nRevolution'
</pre>
<p>This returns the value for total page count, and the text for the first page (0). What I want to get is the text for the whole document. I have no idea how to do this!!!
This doesn't work at all.
</p>
<pre>&gt;&gt;&gt; pageObj = pdfReader.getPage(0-40)
</pre>
<h3><span class="mw-headline" id="02.10.19">02.10.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_PDF&amp;action=edit&amp;section=3" title="Edit section: 02.10.19">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>With Rita &amp; Pedro's help I managed to write a Python script that includes a for loop to extract text from the entire PDF:
</p>
<div class="mw-highlight mw-content-ltr" dir="ltr"><pre><span></span><span class="lineno"> 1 </span><span class="c1"># imports the PyPDF2 module</span>
<span class="lineno"> 2 </span> <span class="kn">import</span> <span class="nn">PyPDF2</span>
<span class="lineno"> 3 </span>
<span class="lineno"> 4 </span> <span class="n">filename</span> <span class="o">=</span> <span class="nb">input</span><span class="p">(</span><span class="s2">"name of the file: "</span><span class="p">)</span>
<span class="lineno"> 5 </span>
<span class="lineno"> 6 </span> <span class="k">with</span> <span class="nb">open</span><span class="p">(</span><span class="n">filename</span> <span class="p">,</span><span class="s1">'rb'</span><span class="p">)</span> <span class="k">as</span> <span class="n">pdf_file</span><span class="p">,</span> <span class="nb">open</span><span class="p">(</span><span class="s1">'input.txt'</span><span class="p">,</span> <span class="s1">'w'</span><span class="p">)</span> <span class="k">as</span> <span class="n">text_file</span><span class="p">:</span>
<span class="lineno"> 7 </span> <span class="n">read_pdf</span> <span class="o">=</span> <span class="n">PyPDF2</span><span class="o">.</span><span class="n">PdfFileReader</span><span class="p">(</span><span class="n">pdf_file</span><span class="p">)</span>
<span class="lineno"> 8 </span> <span class="n">number_of_pages</span> <span class="o">=</span> <span class="n">read_pdf</span><span class="o">.</span><span class="n">getNumPages</span><span class="p">()</span>
<span class="lineno"> 9 </span> <span class="k">for</span> <span class="n">page_number</span> <span class="ow">in</span> <span class="nb">range</span><span class="p">(</span><span class="n">number_of_pages</span><span class="p">):</span> <span class="c1"># use xrange in Py2</span>
<span class="lineno">10 </span> <span class="n">page</span> <span class="o">=</span> <span class="n">read_pdf</span><span class="o">.</span><span class="n">getPage</span><span class="p">(</span><span class="n">page_number</span><span class="p">)</span>
<span class="lineno">11 </span> <span class="n">page_content</span> <span class="o">=</span> <span class="n">page</span><span class="o">.</span><span class="n">extractText</span><span class="p">()</span>
<span class="lineno">12 </span> <span class="n">text_file</span><span class="o">.</span><span class="n">write</span><span class="p">(</span><span class="n">page_content</span><span class="p">)</span>
</pre></div>
<p>The next step is to then begin cleaning up the text by removing the line-breaks. We wrote a simple shell script for this that runs the Python script, then a command to take out line breaks:
</p>
<pre>$ python3 extract_text.py
$ grep -v "^$" input.txt &gt; output.txt
</pre>
<p>Only problem is that the names of the txt files that are produced will all be "input.txt", which means that if you run this on more than one PDF, you'll have to move input.txt to another directory before running again, rename the file manually, or perhaps I could write another Python script that renames the file and include it in the shell script after the last line.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="11.11.19_Extracting_text_using_curl">11.11.19 Extracting text using curl</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_the_web&amp;action=edit&amp;section=1" title="Edit section: 11.11.19 Extracting text using curl">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><code>curl</code> is a command that can be used from the terminal to take text from a URL. It can be piped with software such as pandoc to convert the text to other formats, and in support of a workflow I'm starting to develop, this comes in quite handy.
</p><p>I'm writing text on the pad, and then converting it to markdown. This extra step isn't necessary (in fact it adds to the work) but I'm interested in using pads as multi-flow publishing tools in the future so I'm testing this out. Also, using a pad allows me to style the text simply using markdown rather than HTML.
</p><p>For example, this is a file I made from some notes on a Flusser interview about linear writing:
</p>
<pre> $ curl <a class="external free" href="https://pad.xpub.nl/p/flusser_interview_notes/export/txt" rel="nofollow">https://pad.xpub.nl/p/flusser_interview_notes/export/txt</a> | pandoc -t markdown &gt; flusser.md
</pre>
<p>I'm then storing the files in <a class="external text" href="https://git.xpub.nl/simoon/thesis" rel="nofollow">my git</a>, which is public. Having texts in git allows me to use its versioning capabilities, allowing me to go back over old modified versions in the file tree - I can copy paste from these snippets that I may want to go back and retain in the future..
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="finding_texts">finding texts</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Finding_texts&amp;action=edit&amp;section=1" title="Edit section: finding texts">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Acquiring_Removing.html" title="User:Simon/Acquiring Removing">acquiring/removing</a>, <a href="Downloading.html" title="User:Simon/Downloading">downloading</a>, <a href="Searching_Browsing.html" title="User:Simon/Searching Browsing">searching/browsing</a>
</p><p>Most often, acquisition requests are as mundane as someone asking if the library has a particular text. A quick search online produces a digital file as a result. The provenance of these texts is buried in the file paths of the uploader’s computer, and the computers before it. Texts are acquired by any means necessary, through a social network, or through a digital network of so-called “shadow libraries” and groups of sympathetic readers. It’s often surprising how fast an unknown fellow reader will respond to a request for a text via certain groups operating on social media websites. <i>Type F to follow this post</i>.
</p><p>Image: Flow chart from Facebook group <i><a class="external text" href="https://www.facebook.com/groups/850609558335839/" rel="nofollow">Ask for PDFs from People with Institutional Access</a></i>
</p>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><p>Snippets:
</p>
<h2><span id="11.12.19_-_lunchmeeting_#3,_in_the_Research_Station"></span><span class="mw-headline" id="11.12.19_-_lunchmeeting_.233.2C_in_the_Research_Station">11.12.19 - lunchmeeting #3, in the Research Station</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/WdKA_Research_Station&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Lunchmeeting03_1.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/2/25/Lunchmeeting03_1.jpg/90px-Lunchmeeting03_1.jpg" srcset="/mw-mediadesign/images/thumb/2/25/Lunchmeeting03_1.jpg/135px-Lunchmeeting03_1.jpg 1.5x, /mw-mediadesign/images/thumb/2/25/Lunchmeeting03_1.jpg/180px-Lunchmeeting03_1.jpg 2x" width="90"></a></div></div>
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<p>Mapping the library #1
</p>
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</div></li>
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<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Lunchmeeting03_3.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/78/Lunchmeeting03_3.jpg/90px-Lunchmeeting03_3.jpg" srcset="/mw-mediadesign/images/thumb/7/78/Lunchmeeting03_3.jpg/135px-Lunchmeeting03_3.jpg 1.5x, /mw-mediadesign/images/thumb/7/78/Lunchmeeting03_3.jpg/180px-Lunchmeeting03_3.jpg 2x" width="90"></a></div></div>
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<p>Mapping the library #2
</p>
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</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Lunchmeeting03_4.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/5/51/Lunchmeeting03_4.jpg/90px-Lunchmeeting03_4.jpg" srcset="/mw-mediadesign/images/thumb/5/51/Lunchmeeting03_4.jpg/135px-Lunchmeeting03_4.jpg 1.5x, /mw-mediadesign/images/thumb/5/51/Lunchmeeting03_4.jpg/180px-Lunchmeeting03_4.jpg 2x" width="90"></a></div></div>
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<p>Mapping the library #3
</p>
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<p>Wilma Knol (embedded librarian in the Research Station) invited me to a lunchmeeting, a series of informal hour-long open meetings based on a directive to "future-proof" the collection. Wilma is part of a group that is determining news ways for acquisitions to take place within the WdKA Research Station/Library. Other members of the group are ginger coons and Jojanneke Gijsen, both teachers at WdKA. The group have established certain directions and strategies, highlighting these interests:
</p>
<ul><li>acquisition requests</li>
<li>the legacy of the collection</li>
<li>displaying and distributing the collection</li></ul>
<p>I'm interested to see if the bootleg library can be of assistance with this directive - especially in informing a bottom-up method of acquiring new books by looking at what is being read/downloaded/uploaded.
</p>
<h2><span id="Researching_aaaaarg.fail,_ubuweb_&amp;_Project_Gutenberg_with_Tancredi:"></span><span class="mw-headline" id="Researching_aaaaarg.fail.2C_ubuweb_.26_Project_Gutenberg_with_Tancredi:">Researching aaaaarg.fail, ubuweb &amp; Project Gutenberg with Tancredi:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Profiling_shadow_libraries&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<pre> AAAAARG.FAIL <a class="external free" href="https://aaaaarg.fail/" rel="nofollow">https://aaaaarg.fail/</a>
</pre>
<p><b>Content: What is in the library?</b>
How much? PDFs - a lot! (hard to see how many, but 26,000+ and counting...) theory and critical theory
</p><p><b>Users: Who is using / uploading / downloading?</b>
Used by researchers, academics, students, people interested in theory who can become members by invitation. Members of the site can upload and download, and request new titles through a messageboard.
</p><p><b>Catalog: What is the system? How is it organised? How about its ontology?</b>
Indexed, by "catalog" (listing by author name), "collection" (listing by topic), and also by "requests" (listing by new requests, most requested, unrequested, and everything - also with RSS feed)
</p><p><b>Infrastructure: What are technical specs? Software? Hardware?&lt;</b>
Probably runs on self-hosted server - you access it through a browser
</p><p><b>Politics: What is the attitude?</b>
Kind of like a private club - invite only
</p><p><b>Economy: Sponsors? Donation? Advertising?&lt;</b>
No advertising on site - no information about sponsors or donations on site either...
</p><p><b>Law: How does it interface?&lt;</b>
Brazen defiance
</p>
<pre> UBUWEB <a class="external free" href="http://www.ubu.com/" rel="nofollow">http://www.ubu.com/</a> info &gt;&gt; <a class="external free" href="http://www.ubu.com/resources/" rel="nofollow">http://www.ubu.com/resources/</a> p.66 <a class="external free" href="https://bit.ly/2HN5IST" rel="nofollow">https://bit.ly/2HN5IST</a>
</pre>
<p><b>Content : What is in the library? How much?</b>
(PDF, VIDEO, AUDIO...) art, media, theater... in the contest of avant-gard in 2011 over 7,500 artists and over 2500 full-length avant-garde films and videos
Users: Who is using / uploading / downloading? editors + volunteers + users + artists
</p><p><b>Catalog: What is the system? How is it organised? How about its ontology?</b>
each section has an editor who brings to the site their area of expertise / structured as a research project, index with descriptions
</p><p><b>Infrastructure: What are technical specs? Software? Hardware?</b>
servers donated by several universities as a means of study
</p><p><b>Politics: What is the attitude?</b>
library which is ever-expanding in uncanny—and often uncategorizable—directions / no logo,advertise,donation / anti-institutional / Act as a museum
alternative by invoking a gift economy of plentitude with a strong emphasis on global education
Economy: Sponsors? Donation? Advertising? volunteering / no advertising / free download / autonomous no sponsors
Law: How does it interface? no financial interest but educational approach. VS copyright
</p>
<pre> PROJECT GUTENBERG <a class="external free" href="https://www.gutenberg.org/" rel="nofollow">https://www.gutenberg.org/</a>
</pre>
<p><b>Content: What is in the library? How much?</b>
Project Gutenberg started in 1971. Texts in the library are those that have entered the public domain after exceeding the statute of limitations (in 1971 it was 14 years after death of the author, then 28, now 50 years). The website offers 58,000+ free "eBooks" (ePUB, Kindle, HTML and plain text formats). The collection is described as being comprised of three core types of text, "light literature" (e.g. Alice In Wonderland), "heavy literature" (e.g. Shakespeare), and "references" (e.g. encyclopedias)
</p><p><b>Users: Who is using / uploading / downloading?</b>
Anyone can download without registering an account. Only the site admin can upload.
</p><p><b>Catalog: What is the system? How is it organised? How about its ontology?</b>
Indexed alphabetically by author, title, language, "special categories" and recent uploads. Also includes a search function based on U.S. Library of Congress Subject Headings (LCSH), and Yahoo and Google search (using metadata)
</p><p><b>Infrastructure: What are technical specs? Software? Hardware?</b>
Runs off a wiki. Hosted by ibiblio.org ("one of the largest free information databases online"). Accessed through the browser.
</p><p><b>Politics: What is the attitude? Based on democratic principle of shared knowledge.</b>
Operates (mostly) within the law. Heavily affiliated, with sister organisations in many countries, as well as partnerships with many other libraries and organisations that provide software to help read eBooks.
</p><p><b>Economy: Sponsors? Donation? Advertising?</b>
Project Gutenberg began with a serendipitous grant to Michael Hart (founder of Project Gutenberg) of an operator's account with $100,000,000 of computer time in it in 1971. Now, donations are accepted, run by volunteers (also makes calls for volunteer help - "digitizing, proofreading and formatting, recording audio books, or reporting errors").
</p><p><b>Law: How does it interface?</b>
(mostly) Legally, as most texts are within the public domain.
</p>
<h2><span id="Writing_task_with_Artemis_&amp;_Bo"></span><span class="mw-headline" id="Writing_task_with_Artemis_.26_Bo">Writing task with Artemis &amp; Bo</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Profiling_shadow_libraries&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><br>
A) DESCRIPTION: an abstract of what each shadow library is [Steve suggests: make this 300 words or so]<br>
B) QUESTIONS: what type of questions does it raise? (e.g. what type of assumptions are implicit in its ontology?)
</p><p><br>
</p>
<pre> PROJECT GUTENBERG
</pre>
<p>Abstract — Project Gutenberg, initiated in 1971 by Michael Hart, is the world's oldest digital library of "eBooks", that is, books that are available electronically as PDFs, HTML, ePUB and plain text format. The collection has more recently expanded to include audio books, and texts in a variety of languages other than English. On the wiki-based website www.gutenberg.org, more than 58,000 eBooks are indexed by author, title, language and "recently posted". The search function allows users to look for titles by US Library of Congress search terms, as well as by going through Google and Yahoo metadata. The majority of these books are within the public domain and therefore free from copyright restrictions, although undoubtedly there are some that are orphaned by subsequent changes to US copyright terms (which in most cases of published texts, is now 70 years after the death of the author). Due to this, as well as differences in copyright law internationally, the complete legal legitimacy of its collection is in question, despite careful attempts to comply with US copyright law. It is important to note that Project Gutenberg is a project, rather than a single library, with sister affiliations in many countries (Project Gutenberg Australia, Project Gutenberg Europe among many others). This, alongside its non-profit stance (Project Gutenberg accepts donations, and also calls for volunteer help with proofreading and digitization of books, as well as recording audio books) lends moral legitimacy to its online distribution of texts.
</p><p>Questions —
Looks like a classic collection; the interface is classic; based on a wiki; speaks of legitimacy
</p><p><b>Who is responsible and what are they responsible for?</b>This is all the stuff that's in the public domain...<br>
<b>What could be the motivation to make such a library?</b><br>
<b>What values does it communicate?</b> Good. Air of legitimacy; “library of congress search terms” and google to collect information. On this way they seek legitimacy from the on-line and off-line agents.<br>
<b>What do they mean 'a project'? (is this an agent of legitimacy?)</b> Involves many people; projects into the future; mutable (not set in stone)<br>
<b>What is it filtered out and what are the political implications of that?</b><br>
<b>How does the codex form limit what is available?</b><br>
<b>Who does the library serve?</b> user friendly interface; Also limitations of content, classic collection<br>
<b>Who is responsible and what are they responsible for?</b>
</p><p><br>
</p>
<pre> AAAAARG.FAIL
</pre>
<p>Abstract — Out of the necessity for a library, for artist Sean Dockray's LA-based educational institution called "The Public School", aaaaarg.fail (formerly aaarg.org, then aaaarg.org) is a website that hosts a collection of mostly theory and critical theory texts, and an online forum for members. Access to the collection comes from registering an account (you must be invited by a member first). Members can upload and download texts, as well as request titles via the forum. The changes in the domain name for the library come from repeated copyright infringement allegations from publishers of works that have been made accessible on the site, including the Australian publisher Macmillan. The publisher hired Mark Taylor, a former music industry executive, who was instrumental in bringing forth a cease and desist order against aaarg.org. Dockray later called this "another case where university students are conceived of as consumers, as carriers of debt for everything from degrees to consumer electronics to intellectual property" (<a class="external free" href="http://unprojects.org.au/magazine/issues/issue-4-2/the-future-and-the-public-school/" rel="nofollow">http://unprojects.org.au/magazine/issues/issue-4-2/the-future-and-the-public-school/</a> ).
</p><p>Questions —
</p><p><b>Who does the library serve? (who are the customers?)</b> Intellectual snobs. You have to be invited<br>
<b>Forum? What affordance does that give?</b>Sociability? There is a set of manners<br>
The forum produces a text (a form of collective annotation); a discussion on the texts in the library. Because you can make requests it is much more personal. You can also select by "most requested", which means that a hierarchy of information is produced within the forum.(by the discussion of the members)<br>
</p><p><b>How is it different if you can participate in discussing the content of a library, than just be a viewer-receiver of the content?</b><br>
<b>Who is responsible and what are they responsible for?</b><br>
<b>How is it different to be an exclusive member in order to have access to the content of a library, compared to have no restrictions in accessing it?</b><br>
<b>How does the collection (and discourse around it) represent the members of the library?</b><br>
<b>If the library is based on user requests, it's a mirror of the members interests/social status/credentials/ideologies/clout</b><br>
<b>Does this platform require a certain degree of library literacy and research skills?</b><br>
<b>Does the background of the librarians affect the content presented in a library?</b><br>
</p><p><br>
</p>
<pre> UBUWEB.COM
</pre>
<p>Abstract — UbuWeb.com is a large web-based, free, non-commercial resource for avant-garde poetry, music, film, literature and more, founded in 1996 by poet Kenneth Goldsmith. It offers visual, concrete and sound poetry, expanding to include film and sound art mp3 archives. The site's architecture limits retrieval to keyword searching and browsing by media type and artist/project name. In addition, sustainability is a concern for this website as it was never intended to be a permanent archive. Still, there is no comparable commercial source for the content on UbuWeb so it is valuable as a resource for libraries to point users toward so long as librarians are aware of its limitations. It is a library which is ever-expanding in uncanny—and often uncategorizable—directions. Each section has an editor who brings to the site their area of expertise. UbuWeb is not n to any academic institution, instead relying on alliances of interest and benefiting from bandwidth donations from its partnerships with GreyLodge, WFMU, PennSound, The Electronic Poetry Center, The Center for Literary Computing, and ArtMob. UbuWeb was founded in response to the marginal distribution of crucial avant-garde material. It remains non-commercial and operates on a gift economy. UbuWeb ensures educational open access to out-of-print works that find a second life through digital art reprint while also representing the work of contemporaries. It addresses problems in the distribution of and access to intellectual materials.
</p><p>Questions —
</p><p><b>Who does the library serve?</b><br>
<b>What could be the motivation to make such a library?</b><br>
<b>What values does it communicate?</b><br>
<b>How can the material available in a library shape the discourse around a particular field?</b>
</p>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="From_the_books:_SLV_RBRR_000-099">From the books: SLV RBRR 000-099</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/From_the_Books:_SLV_RBRR_000-099&amp;action=edit&amp;section=1" title="Edit section: From the books: SLV RBRR 000-099">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Date of publication: March 2016<br>
Publisher: Print&gt;Imprint<br>
ISBN: 9780646954691<br>
Dewey number: 028.9099451
</p><p><br>
<i>From the books: SLV RBRR 000-099</i> is a publication that explores marks left in over 300 books by visitors to the 000-099 section of the State Library of Victoria (SLV) Redmond Barry Reading Room (RBRR). The tactile materiality of the publication is emphasised by its form; section-sewn, with an unglued spine, allowing it to incorporate other components of the publication; such as a zine (with a commissioned essay by Federico Antonini) tucked inside the front cover, and a collection of 4" x 6" photographs taken at the SLV which are randomly inserted between pages. Transcripts of sounds recorded in the RBRR appear as intermittent typographic spreads within the layout. On the cover of the book is a list of the terms we defined to categorise the types of marks discovered. The preface to the book is an essay I wrote on the changing role of libraries, and in the end-matter there is a tongue-in-cheek "bibliography" which gives publication details and a Dewey Decimal reference of each book that appears in the publication. The marks we catalogued include (but are not limited to) examples such as marginalia, underlined text, dog-ears, stains, wear and tear, and objects left within books, such as photographs, scraps of paper or letters to future readers.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_01.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/c/c9/FTB_01.jpeg/120px-FTB_01.jpeg" srcset="/mw-mediadesign/images/thumb/c/c9/FTB_01.jpeg/180px-FTB_01.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c9/FTB_01.jpeg/240px-FTB_01.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_02.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/0/09/FTB_02.jpeg/120px-FTB_02.jpeg" srcset="/mw-mediadesign/images/thumb/0/09/FTB_02.jpeg/180px-FTB_02.jpeg 1.5x, /mw-mediadesign/images/thumb/0/09/FTB_02.jpeg/240px-FTB_02.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Inside front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_03.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/6/64/FTB_03.jpeg/120px-FTB_03.jpeg" srcset="/mw-mediadesign/images/thumb/6/64/FTB_03.jpeg/180px-FTB_03.jpeg 1.5x, /mw-mediadesign/images/thumb/6/64/FTB_03.jpeg/240px-FTB_03.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>A defaced page from Copernicus' <i>De revolutionibus orbium coelestium</i>, held in the SLV rare books collection
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_04.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/d/d1/FTB_04.jpeg/120px-FTB_04.jpeg" srcset="/mw-mediadesign/images/thumb/d/d1/FTB_04.jpeg/180px-FTB_04.jpeg 1.5x, /mw-mediadesign/images/thumb/d/d1/FTB_04.jpeg/240px-FTB_04.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Sounds from the Redmond Barry Reading Room
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_05.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/f/f7/FTB_05.jpeg/120px-FTB_05.jpeg" srcset="/mw-mediadesign/images/thumb/f/f7/FTB_05.jpeg/180px-FTB_05.jpeg 1.5x, /mw-mediadesign/images/thumb/f/f7/FTB_05.jpeg/240px-FTB_05.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Spread with insert
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_06.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/0/0c/FTB_06.jpeg/120px-FTB_06.jpeg" srcset="/mw-mediadesign/images/thumb/0/0c/FTB_06.jpeg/180px-FTB_06.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0c/FTB_06.jpeg/240px-FTB_06.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Zine with essay by Federico Antonini
</p>
</div>
</div></li>
</ul>
<p><br>
The publication developed from a collaborative research project with graphic designer Masaki Miwa. This initially involved a time-consuming process in which we removed each book, inspected for marks, scanned results, and then identified, catalogued and inserted them into the layout of the publication. The process of identifying marks and ascribing meaning to them prompted questions of intent and conventions within mark-making. Other research included interviews with librarians at the SLV on marks within rare books. A key development from this research was the discovery of how mark-making can indicate provenance, (e.g. markings on a map which can determine that it was owned by Captain James Cook) or give certain historical value to books, that result in relocation to less publicly-accessible areas of the library. The photographs and transcriptions of sounds were included in order to give an impression (beyond the merely textual) of this particular area of the SLV. In order to contextualise our findings within a wider realm of public discourse on the social role of libraries, I wrote an essay on the contemporary shift from libraries acting as repositories of knowledge to active social spaces as collections are slowly being digitised. Federico Antonini's essay explores mark-making as a deliberate creative strategy in the design of artist's books, offering speculative answers to questions of intent and meaning around the marks we discovered in the SLV.
</p><p>The project began with an interest in this phenomenon, and curiosity about the possible intentions of mark-makers. Part of my own interest was from a typographic perspective, exploring the range of symbols used when marking texts. Through our research we became interested in this phenomenon of books being used as vehicles for communication by readers, and through categorising them and exploring commonalities in mark-making, attempt a kind of subjective taxonomy within the limited context of this section, at that particular time in history. Our interviews with SLV librarians and research into the shifting role of libraries prompted us to expand the scope of our publication beyond the small section of books we surveyed, and connect our research to a wider contemporary discourse on attitudes towards libraries. The publication was (perhaps ironically) acquired by the SLV, and now sits within its collection of artist's books.
</p>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="From_the_books:_SLV_RBRR_000-099">From the books: SLV RBRR 000-099</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/From_the_Books:_SLV_RBRR_000-099&amp;action=edit&amp;section=1" title="Edit section: From the books: SLV RBRR 000-099">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Date of publication: March 2016<br>
Publisher: Print&gt;Imprint<br>
ISBN: 9780646954691<br>
Dewey number: 028.9099451
</p><p><br>
<i>From the books: SLV RBRR 000-099</i> is a publication that explores marks left in over 300 books by visitors to the 000-099 section of the State Library of Victoria (SLV) Redmond Barry Reading Room (RBRR). The tactile materiality of the publication is emphasised by its form; section-sewn, with an unglued spine, allowing it to incorporate other components of the publication; such as a zine (with a commissioned essay by Federico Antonini) tucked inside the front cover, and a collection of 4" x 6" photographs taken at the SLV which are randomly inserted between pages. Transcripts of sounds recorded in the RBRR appear as intermittent typographic spreads within the layout. On the cover of the book is a list of the terms we defined to categorise the types of marks discovered. The preface to the book is an essay I wrote on the changing role of libraries, and in the end-matter there is a tongue-in-cheek "bibliography" which gives publication details and a Dewey Decimal reference of each book that appears in the publication. The marks we catalogued include (but are not limited to) examples such as marginalia, underlined text, dog-ears, stains, wear and tear, and objects left within books, such as photographs, scraps of paper or letters to future readers.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_01.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/c/c9/FTB_01.jpeg/120px-FTB_01.jpeg" srcset="/mw-mediadesign/images/thumb/c/c9/FTB_01.jpeg/180px-FTB_01.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c9/FTB_01.jpeg/240px-FTB_01.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_02.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/0/09/FTB_02.jpeg/120px-FTB_02.jpeg" srcset="/mw-mediadesign/images/thumb/0/09/FTB_02.jpeg/180px-FTB_02.jpeg 1.5x, /mw-mediadesign/images/thumb/0/09/FTB_02.jpeg/240px-FTB_02.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Inside front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_03.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/6/64/FTB_03.jpeg/120px-FTB_03.jpeg" srcset="/mw-mediadesign/images/thumb/6/64/FTB_03.jpeg/180px-FTB_03.jpeg 1.5x, /mw-mediadesign/images/thumb/6/64/FTB_03.jpeg/240px-FTB_03.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>A defaced page from Copernicus' <i>De revolutionibus orbium coelestium</i>, held in the SLV rare books collection
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_04.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/d/d1/FTB_04.jpeg/120px-FTB_04.jpeg" srcset="/mw-mediadesign/images/thumb/d/d1/FTB_04.jpeg/180px-FTB_04.jpeg 1.5x, /mw-mediadesign/images/thumb/d/d1/FTB_04.jpeg/240px-FTB_04.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Sounds from the Redmond Barry Reading Room
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_05.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/f/f7/FTB_05.jpeg/120px-FTB_05.jpeg" srcset="/mw-mediadesign/images/thumb/f/f7/FTB_05.jpeg/180px-FTB_05.jpeg 1.5x, /mw-mediadesign/images/thumb/f/f7/FTB_05.jpeg/240px-FTB_05.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Spread with insert
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:35px auto;"><a class="image" href="File:FTB_06.jpeg.html"><img alt="" decoding="async" height="80" src="/mw-mediadesign/images/thumb/0/0c/FTB_06.jpeg/120px-FTB_06.jpeg" srcset="/mw-mediadesign/images/thumb/0/0c/FTB_06.jpeg/180px-FTB_06.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0c/FTB_06.jpeg/240px-FTB_06.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Zine with essay by Federico Antonini
</p>
</div>
</div></li>
</ul>
<p><br>
The publication developed from a collaborative research project with graphic designer Masaki Miwa. This initially involved a time-consuming process in which we removed each book, inspected for marks, scanned results, and then identified, catalogued and inserted them into the layout of the publication. The process of identifying marks and ascribing meaning to them prompted questions of intent and conventions within mark-making. Other research included interviews with librarians at the SLV on marks within rare books. A key development from this research was the discovery of how mark-making can indicate provenance, (e.g. markings on a map which can determine that it was owned by Captain James Cook) or give certain historical value to books, that result in relocation to less publicly-accessible areas of the library. The photographs and transcriptions of sounds were included in order to give an impression (beyond the merely textual) of this particular area of the SLV. In order to contextualise our findings within a wider realm of public discourse on the social role of libraries, I wrote an essay on the contemporary shift from libraries acting as repositories of knowledge to active social spaces as collections are slowly being digitised. Federico Antonini's essay explores mark-making as a deliberate creative strategy in the design of artist's books, offering speculative answers to questions of intent and meaning around the marks we discovered in the SLV.
</p><p>The project began with an interest in this phenomenon, and curiosity about the possible intentions of mark-makers. Part of my own interest was from a typographic perspective, exploring the range of symbols used when marking texts. Through our research we became interested in this phenomenon of books being used as vehicles for communication by readers, and through categorising them and exploring commonalities in mark-making, attempt a kind of subjective taxonomy within the limited context of this section, at that particular time in history. Our interviews with SLV librarians and research into the shifting role of libraries prompted us to expand the scope of our publication beyond the small section of books we surveyed, and connect our research to a wider contemporary discourse on attitudes towards libraries. The publication was (perhaps ironically) acquired by the SLV, and now sits within its collection of artist's books.
</p>
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<!DOCTYPE html>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="glossing">glossing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Glossing&amp;action=edit&amp;section=1" title="Edit section: glossing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Annotating.html" title="User:Simon/Annotating">annotating</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>, <a href="Producing_texts.html" title="User:Simon/Producing texts">producing texts</a>, <a href="Writing.html" title="User:Simon/Writing">writing</a>
</p><p>A glossary is a list of terms defined in relation to the specificity of the text. Glossaries aid reading comprehension, and also establish the presence of the readers. <i>Glossing</i> (from Late Latin <i>glossa</i> "obsolete or foreign word") was a medieval technique of adding commentaries to the main text of illuminated manuscripts. Glossators would add small handwritten notes and illustrations in between the lines and in the margins. Reading between the lines opened the text up for various interpretations, and illustrations served as mnemonic aids to assist readers to recall information. <sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>
</p><p>The texts written on these cards constitute a glossary which defines the tasks of the Contingent Librarian.
</p><p>Image: A glossed manuscript of a late-thirteenth-century Latin translation of a medical work by Hippocrates
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Hobart, M.E. and Schiffman, Z.S. (1998) <i>Information ages: literacy, numeracy, and the computer revolution</i>. Baltimore: Johns Hopkins University Press.</span>
</li>
</ol></div>
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<!DOCTYPE html>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Glossed_manuscript.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/9/96/Glossed_manuscript.jpeg/150px-Glossed_manuscript.jpeg" srcset="/mw-mediadesign/images/thumb/9/96/Glossed_manuscript.jpeg/225px-Glossed_manuscript.jpeg 1.5x, /mw-mediadesign/images/thumb/9/96/Glossed_manuscript.jpeg/300px-Glossed_manuscript.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Glossed_manuscript.jpeg.html" title="Enlarge"></a></div>A glossed manuscript of a late-thirteenth-century Latin translation of a medical work by Hippocrates</div></div></div>
<h2><span class="mw-headline" id="Annotations_08.05.19">Annotations 08.05.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,Writing_%26_Research_Methodologies_SI9/Annotations_08.05.19&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Main question: How can annotation be useful to us, and a third party?
</p><p>Possible ways
</p><p>Keep text and annotations together
</p>
<ul><li>scan and overlay transparencies (more like a graphical representation but perhaps not very readable)</li>
<li>write, re-write, cut and paste the annotations in a bigger paper all together</li>
<li>use the annotation bot (a digital tool)(it would be cool if you could underline, etc - yes! including graphic elements)</li>
<li>if digital, create the possibility to turn on and off the annotations to keep the original text</li>
<li>bind the pages into books and make a bootleg library with them</li></ul>
<p>Separate text and annotations (deconstruction / structure analysis)
</p>
<ul><li>only underlined text (in many ways: lines, circles, waves...)</li>
<li>list of questions, tags, notes + composition and mapping of them (different mapping techniques)</li>
<li>historical timeline</li>
<li>only drawings?</li>
<li>free graphical interpretation</li></ul>
<p>Computer driven annotation
</p>
<ul><li>scrape the text (words processing)</li>
<li>pattern recognition</li>
<li>delete all articles and implicit elements</li></ul>
<p>Combine the above possibilities
</p>
<ul><li>overlay of analog annotations to represent "heat patterns" (parts of the text with lots of/little engagement), as well as a digital version that is more legible</li></ul>
<p>HOW DO I KNOW WHAT I AM READING? We are discussing form how do we talk about content?<br>
How do you make the content readable for others?<br>
How do you communicate what you're interpreting?<br>
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="human_reading">human reading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Human_reading&amp;action=edit&amp;section=1" title="Edit section: human reading">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Technologising_the_word.html" title="User:Simon/Technologising the word">technologising the word</a>
</p><p>There are many different reasons why you might read something, but essentially, reading involves skimming (reading to get the main idea of a text) or scanning (looking for specific information in details). This often happens in tandem—skimming the catalogue to see what the interest of the library is, and then scanning to see if a particular text has been included—and has relations to other modes of information retrieval, e.g. browsing/searching.
</p><p>In 1977, while facing a skeptical audience in a Q &amp; A session broadcast live on Australian television, Marshall McLuhan argued “the word read means to guess – look it up in the big dictionary. Reading is an activity of rapid guessing because any word has so many meanings – including the word reading – that to select one in a context of other words requires very rapid guessing. That’s why a good reader tends to be a very quick decision-maker.”<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup> This is very true of human reading, where multiple interpretations lead to various equivalent understandings of a text, but false when applied to machine reading, which only operates with predefined ways of interpreting text.
</p><p>Image: "the word read means to guess" A quote from Marshall McLuhan during a live television broadcast, 1977
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">McLuhan, M., Available at <a class="external free" href="https://mcluhangalaxy.wordpress.com/2013/06/18/acute-abstruse-things-marshall-mcluhan-said-in-australia-in-1977/" rel="nofollow">https://mcluhangalaxy.wordpress.com/2013/06/18/acute-abstruse-things-marshall-mcluhan-said-in-australia-in-1977/</a></span>
</li>
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<div class="cardback"><img class="cardbackimg" src="./IMG/Mcluhan_read_guess.jpeg">A quote from Marshall McLuhan during a live television broadcast, 1977</div></div>
<h2><span class="mw-headline" id="Marginal_Conversations">Marginal Conversations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Final_Workshop&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Abstract_of_workshop">Abstract of workshop</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Final_Workshop&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>We read texts, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others' notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them?
</p><p>In this workshop...we'll read, annotate and discuss an open letter which asks for pirate library practices to come out from the shadows. We'll read aloud and perform parts of the text, enriched by our doubts, sympathies, tensions and diverse understandings. We'll personalise the text, opening it up for collective conversations. Our voices will occupy the space and leave traces on the text and in the library.
</p>
<h3><span class="mw-headline" id="Plan">Plan</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Final_Workshop&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p><b>INTRODUCTION</b> (5min)<br>
Meet each other: have a quick round of saying something about ourselves and what do we know about pirate/shadow libraries. Short description of the steps of the workshop and let people know we'll be recording.
</p><p>Overview of what happens in this workshop in one sentence:
</p><p>1st part: Reading/Annotating, heatmap<br>
2nd part: Discussion, Rehearsal of Performative reading and recording of performance.
</p><p><br>
Topic: pirate libraries - topic of special Issue 9<br>
Text: "In solidarity with Library Genesis &amp; Sci-Hub" letter<br>
Aim: 2-3 sentences of what is the aim of this workshop. Why this collective reading-conversations matter?
</p><p>- We see "annotations" as a way to express our understandings/questions/comments/disagreements/ tensions/positions about what we read. So we can discuss about it and form a collective understanding of the text. Our aims are to:
</p><p>- open up a conversation about pirate libraries, through a deeper collective understanding of a specific text that refers to this topic (enrichment comes through collectively reading and annotating the text)
</p><p>- develop ways in which texts can become conversations through annotating together
</p><p>- make public what we have learned about pirate libraries and annotation, and to reflect on the public's response(s)
</p><p><br>
<b>STEP 1: Reading/Annotating</b> (15min) PALOMA<br>
Materials: "In Support of Library Genesis &amp; Sci-Hub" English language letter (on A3 spread), A3 tracing paper, ballpoint pens (annotation pack)<br>
Participants: Individual<br>
Archiving step: collect tracing paper, carbon paper<br>
</p><p>- We provide the solidarity letter in an A3 pack
</p><p>- Read the text individually
</p><p>- Annotate the text in English. (It will be traced through carbon paper to the tracing paper underneath.)
</p><p><br>
<b>STEP 2: Heatmap and discussion through the annotations</b> (20min) SIMON<br>
Materials: Same as Step 1<br>
Participants: Whole group/Small groups<br>
Archiving step: Photographs of annotated texts, discussion<br>
</p><p>Create a "heatmap" of the text by placing tracing papers with annotations on top of each other, showing which areas are interesting/remarkable to others.
</p>
<ul><li>We can focus in the most "annotated", thus "active", "interesting", "relevant" parts of the text. At the end of the heatmap stage we introduce the discussion by identifying common areas of annotation, and also listing things that need further definition. Why did you annotate this part? What is the "global north"? etc.</li>
<li>Comment generally on the text, what was interesting? Did you make sense? Are there specific parts you want to discuss?</li>
<li>Conclusions? Comments? Discuss the most commented.</li>
<li>Discuss this experience and anything we want to discuss about pirate libraries, this text, our experiences.</li>
<li>Collectively determine strategies to "amplify" specific parts of the texts that either</li></ul>
<p><br>
a) we all agree on
</p><p>b) we don't understand
</p><p>c) disagree on
</p><p>d) we want to develop further
</p><p>e) think are worth repeating/recording
</p><p><br>
<b>STEP 3: Performative reading</b> (20min) ARTEMIS<br>
Participants: All together (if more than 10, divide into two groups???)<br>
Materials: Annotated "In Support of Library Genesis &amp; Sci-Hub" letter, audio recording device (ZOOM rented from WdKA shop/smartphone), (maybe speakers?)<br>
Archiving step: Voice recording
</p>
<ul><li>Introduce by saying: "We are going to read aloud the text in turns, while also performing our annotations. Try to perform your comment to make your position/understanding of the text clear. If you have an annotation, please do or say something (e.g. interrupt, whisper, raise your hand, make a noise, use an accent, use intonation to convey emotion etc)."</li>
<li>The text becomes a "play", a performance, a discussion between us</li>
<li>The purpose is to activate a text, by transforming it into a conversation through spoken annotation</li>
<li>This reading will be recorded (ask)</li>
<li>Decide on an "interesting" way of performing and record that. It could be more than one language in this audio piece.</li></ul>
<p><br>
OUTPUT:<br>
At Leeszaal:
</p>
<ul><li>Play the collective recording from speakers placed in shelves at Leeszaal (Bluetooth)</li></ul>
<p>Later:
</p>
<ul><li>Printed version with the overlapping of individual comments - heatmap - pocket version???</li>
<li>Printed URL on annotated tracing paper to direct readers to the online versions of the texts?</li>
<li>Bookmark or some object (it can be the pocket version) to introduce it in some books in Leeszaal, understanding that as a way to spread the letter (like sowing seeds)</li></ul>
<p><br>
</p><p>POST-WORKSHOP MATERIAL:
</p>
<ul><li>Transcription of the voice performance (we can be inspired by film transcriptions) - perhaps we could annotate this as well:<br></li></ul>
<p><a class="external free" href="https://static1.squarespace.com/static/583ae0a12994ca4dbbf813f6/t/58572e856a49634cd5602264/1531923111860" rel="nofollow">https://static1.squarespace.com/static/583ae0a12994ca4dbbf813f6/t/58572e856a49634cd5602264/1531923111860</a><br>
<a class="external text" href="https://pad.xpub.nl/p/sh_encoding_decoding%7C" rel="nofollow">Annotations on Stuart Hall's <i>Encoding, Decoding</i></a>
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="human_writing">human writing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Human_writing&amp;action=edit&amp;section=1" title="Edit section: human writing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Typing.html" title="User:Simon/Typing">typing</a>
</p><p>Writing “by hand” is how we most often think of the act. The hand is symbolically connected to the act of writing, to the extent that we still use icons of the hand-held utensils to represent it graphically—a ballpoint pen, a pencil, even an old-fashioned quill and nib, all often associated with letter-writing. Slowly, this iconography is being replaced by another symbol; the keyboard, signalling the contemporary dominance of typography on writing.
</p><p>Image: ‘Proper posture for writing with pen’, from Drucker, J. (1999) <i>The alphabetic labyrinth: the letters in history and imagination</i>. London: Thames &amp; Hudson
</p>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Proper_posture_for_writing_with_pen.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/a/ae/Proper_posture_for_writing_with_pen.jpeg/150px-Proper_posture_for_writing_with_pen.jpeg" srcset="/mw-mediadesign/images/thumb/a/ae/Proper_posture_for_writing_with_pen.jpeg/225px-Proper_posture_for_writing_with_pen.jpeg 1.5x, /mw-mediadesign/images/thumb/a/ae/Proper_posture_for_writing_with_pen.jpeg/300px-Proper_posture_for_writing_with_pen.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Proper_posture_for_writing_with_pen.jpeg.html" title="Enlarge"></a></div>‘Proper posture for writing with pen’</div></div></div>
<h2><span class="mw-headline" id="The_Alphabetic_Labyrinth">The Alphabetic Labyrinth</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/The_Alphabetic_Labyrinth&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Printed: 20.12.19<br>
Dimensions: 190x260mm<br>
Cover stock: Heavy green stock (unknown brand) - around 210gsm<br>
Text stock: Laser 80gsm<br>
Binding: Perfect bound, hot glue<br>
Pages: 330pp
</p><p>Johanna Drucker's <i>The Alphabetic Labyrinth</i> is a book that traces the history and development of the alphabet. Full of diagrams and densely populated with these histories, it demands printing and reading in physical form. A PDF just won't do. I printed this from a PDF that I laid out quickly in InDesign using my trusty placemultiplePDFpages script. The cover was made on the photocopier, a technique I was well-acquainted with from my days as a teacher, where lessons would be literally cut and pasted together to be copied on the glass. The task that took the most time was making sure the pages would be printed at reasonable size, while economising on paper. For this reason, I wanted to print it double-sided on A4 paper with minimal excess. The annotations (interestingly, many in Greek - a coincidence as the book focuses for some time on development of the Greek alphabet) and artefacts from scanning were retained (such as darkened page edges), creating a materiality that reminds one the book is most definitely loved, copied, and shared.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TAL_01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/16/TAL_01.jpg/90px-TAL_01.jpg" srcset="/mw-mediadesign/images/thumb/1/16/TAL_01.jpg/135px-TAL_01.jpg 1.5x, /mw-mediadesign/images/thumb/1/16/TAL_01.jpg/180px-TAL_01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TAL_02.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/c/cf/TAL_02.jpg/90px-TAL_02.jpg" srcset="/mw-mediadesign/images/thumb/c/cf/TAL_02.jpg/135px-TAL_02.jpg 1.5x, /mw-mediadesign/images/thumb/c/cf/TAL_02.jpg/180px-TAL_02.jpg 2x" width="90"></a></div></div>
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<p>Annotations
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TAL_03.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/3b/TAL_03.jpg/90px-TAL_03.jpg" srcset="/mw-mediadesign/images/thumb/3/3b/TAL_03.jpg/135px-TAL_03.jpg 1.5x, /mw-mediadesign/images/thumb/3/3b/TAL_03.jpg/180px-TAL_03.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>A spread
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TAL_04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/c/c7/TAL_04.jpg/90px-TAL_04.jpg" srcset="/mw-mediadesign/images/thumb/c/c7/TAL_04.jpg/135px-TAL_04.jpg 1.5x, /mw-mediadesign/images/thumb/c/c7/TAL_04.jpg/180px-TAL_04.jpg 2x" width="90"></a></div></div>
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<p>Closeup, featuring darkened edges from scan
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TAL_05.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/42/TAL_05.jpg/90px-TAL_05.jpg" srcset="/mw-mediadesign/images/thumb/4/42/TAL_05.jpg/135px-TAL_05.jpg 1.5x, /mw-mediadesign/images/thumb/4/42/TAL_05.jpg/180px-TAL_05.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:TAL_06.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/9e/TAL_06.jpg/90px-TAL_06.jpg" srcset="/mw-mediadesign/images/thumb/9/9e/TAL_06.jpg/135px-TAL_06.jpg 1.5x, /mw-mediadesign/images/thumb/9/9e/TAL_06.jpg/180px-TAL_06.jpg 2x" width="90"></a></div></div>
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<p>Back cover
</p>
</div>
</div></li>
</ul>
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<title>Tasks of the Contingent Librarian</title>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="including/excluding"></span><span class="mw-headline" id="including.2Fexcluding">including/excluding</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Including_Excluding&amp;action=edit&amp;section=1" title="Edit section: including/excluding">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Making_it_public_Keeping_it_private.html" title="User:Simon/Making it public Keeping it private">making it public/keeping it private</a>
</p><p>Inclusion and exclusion are not just processes that occur when books arrive in the library. They are recurring, procedural, practical actions executed throughout the library’s lifetime. It comes down to the issue of space quite rapidly. With too many books, certain brutal decisions may have to be made to retain or dispose of the surplus.
</p><p>The results of including and excluding are visible in the catalogue and classification system adopted by the library, defining the particular interests of the library.
</p><p>Inclusion also plays a part when considering how public or private the library is, and how its membership is formed. There are several layers of privilege (and accompanying responsibilities) that can be given, from anonymous guest, to registered user, to administrator. Users who have administrative privileges may add new users and bestow (or revoke) freedoms and responsibilities.
</p><p>Image: A membership card for the Koninklijke Bibliotheek, the national library of the Netherlands
</p>
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<div class="cardback">
<img class="cardbackimg" src="./IMG/Including_excluding_card.jpeg">
<p class="imgcaption">A library membership card</p>
<p class="snippets">snippets:</p><br>
<a class="snippets" href="Running_backwards_through_the_library.html">what is a library?</a>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="indexing">indexing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Indexing&amp;action=edit&amp;section=1" title="Edit section: indexing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Human_reading.html" title="User:Simon/Human reading">human reading</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>, <a href="Scanning.html" title="User:Simon/Scanning">scanning</a>
</p><p>Most books contain an index. Most books are also indexed in some type of cataloguing system, to present the collection and inter-relationships between the texts contained within, and those outside of the library. This set of cards is an unbound index, which can be reshuffled, added to and reduced as the reader pleases. Reducing a text to an index opens it up for the reader to complete it as they read, drawing on what they have read before and creating a mental network of associations. A book is a hyper-index, forever pointing outwards to other books, libraries, readers and writers. <i>I use my index finger to trace over the text, moving down the page as my eyes scan for keywords</i>.
</p><p>Image: Alejandro Cesarco, <i>Index</i>, exhibited at Witte de With Contemporary, September 2019-January 2020
</p>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Cesarco_index.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/d/d2/Cesarco_index.jpeg/150px-Cesarco_index.jpeg" srcset="/mw-mediadesign/images/thumb/d/d2/Cesarco_index.jpeg/225px-Cesarco_index.jpeg 1.5x, /mw-mediadesign/images/thumb/d/d2/Cesarco_index.jpeg/300px-Cesarco_index.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Cesarco_index.jpeg.html" title="Enlarge"></a></div>Alejandro Cesarco, <i>Index</i></div></div></div>
<h2><span id="hope_a_olson,_mapping_beyond_dewey's_boundaries"></span><span class="mw-headline" id="hope_a_olson.2C_mapping_beyond_dewey.27s_boundaries">hope a olson, mapping beyond dewey's boundaries</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/spatial_classification&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><a href="File:Olson_mapping_beyond_deweys_boundaries.a4.pdf.html" title="File:Olson mapping beyond deweys boundaries.a4.pdf">File:Olson mapping beyond deweys boundaries.a4.pdf</a><br>
</p><p>Hope A Olson's text "Mapping Beyond Dewey's Boundaries" on spatial representations in classification systems, explored through a project that attempted to cross-reference two classification systems - <a class="external text" href="https://www.amazon.com/Womens-Thesaurus-Index-Language-Ellen/dp/0061811718" rel="nofollow"><i>A Woman's Thesaurus</i></a> and Dewey Decimal Classification by <a class="external text" href="http://capekconsulting.com/about-mary-ellen-capek/" rel="nofollow">Mary Ellen S Capek</a>. Stating that "classifications are locational systems" suggests that spatial representations can be used with various effect; describing, exposing, and when used as metaphors, shifting the discourse.
</p><p><b>1. Spatial representation of classification systems reveals the ideological conditions that form them.</b>
</p><p>Olson refers to spatial representations of classification systems in the form of diagrams.
</p><p>The first diagram is one that shows distribution of subjects, with the idea of a mainstream core that diffuses towards the margins. The second is a Venn diagram that illustrates how "mainstream" or "core" descriptors actually eventuate in very small "cores" due to limitations by Boolean "ands'. Venn diagrams operate on the basis of duality - something is or isn't part of a set.<br>
<a class="image" href="File:Olson_zipf.png.html"><img alt="Olson zipf.png" decoding="async" height="297" src="/mw-mediadesign/images/thumb/2/23/Olson_zipf.png/500px-Olson_zipf.png" srcset="/mw-mediadesign/images/thumb/2/23/Olson_zipf.png/750px-Olson_zipf.png 1.5x, /mw-mediadesign/images/thumb/2/23/Olson_zipf.png/1000px-Olson_zipf.png 2x" width="500"></a><br>
<a class="image" href="File:Olson_venn.png.html"><img alt="Olson venn.png" decoding="async" height="416" src="/mw-mediadesign/images/thumb/6/60/Olson_venn.png/500px-Olson_venn.png" srcset="/mw-mediadesign/images/thumb/6/60/Olson_venn.png/750px-Olson_venn.png 1.5x, /mw-mediadesign/images/thumb/6/60/Olson_venn.png/1000px-Olson_venn.png 2x" width="500"></a><br>
</p><p><b>2. The concepts of "paradoxical space" and "rhetorical space". </b>
</p><p>Paradoxical space is described in a similar way to the paranodal; being "both inside and outside, center and margins".
</p>
<h2><span id="thoughts_&amp;_reflections"></span><span class="mw-headline" id="thoughts_.26_reflections">thoughts &amp; reflections</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/spatial_classification&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>How to utilise a "paradoxical space"? The text seems to suggest focusing on connections, relationships between subjects rather than differences? What could an associative classification system look like?
</p><p>The space of a page is crucial in the printed format - the text block excludes the margin - clearly delineating what is recognized as authored, and what is not. Book printing has many terms to cut up a page into a layout - deciding on "safe areas" to print and areas to leave open. In my own experience, shaping the text block is the first consideration when laying out a page.
</p><p><a class="external free" href="https://www.thebookdesigner.com/2011/06/dont-let-me-find-you-bleeding-in-the-gutter-understanding-book-terminology/" rel="nofollow">https://www.thebookdesigner.com/2011/06/dont-let-me-find-you-bleeding-in-the-gutter-understanding-book-terminology/</a>
</p><p>However, some formats of digital books (e.g. EPUB) do not have the notion of a page. There is the space of the screen, but this is mutable, whereas a printed page is not.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="inter-depending">inter-depending</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Inter-depending&amp;action=edit&amp;section=1" title="Edit section: inter-depending">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Diversifying_through_use.html" title="User:Simon/Diversifying through use">diversifying through use</a>, <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>
</p><p>The library is a collection of texts and the readers collected around them. Nothing comes from nothing, everything comes from somewhere, something or someone. Authors are dependent on other texts, writers, and readers. I write this text using borrowed words. As a legal, economic and institutional construct<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>, authorship is problematic; current publishing models see texts as the intellectual property of authors possessed with “originality”. This originality is a myth; each text is layered in dependencies.
</p><p>Image: An author signing a book
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Weinmayr, E., ‘Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)’ in Jefferies, J. and Kember, S. (eds.) (2019) <i>Whose Book is it Anyway?: A View from Elsewhere on Publishing, Copyright and Creativity</i>. Open Book Publishers. doi:10.11647/OBP.0159</span>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Author_book_signing.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/7/7e/Author_book_signing.jpeg/150px-Author_book_signing.jpeg" srcset="/mw-mediadesign/images/thumb/7/7e/Author_book_signing.jpeg/225px-Author_book_signing.jpeg 1.5x, /mw-mediadesign/images/thumb/7/7e/Author_book_signing.jpeg/300px-Author_book_signing.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Author_book_signing.jpeg.html" title="Enlarge"></a></div>An author signing a book</div></div></div>
<h2><span class="mw-headline" id="the_piracy_project">the piracy project</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Eva_Weinmayr&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Eva Weinmayr's Piracy Project invites submissions of pirated books. The books are collected in public places (e.g galleries, art book fairs) where visitors are available to read them.
</p><p><a class="external free" href="http://evaweinmayr.com/work/the-piracy-project-2/" rel="nofollow">http://evaweinmayr.com/work/the-piracy-project-2/</a>
</p><p>Of particular interest are the editorial decisions made in the pirating of the books. Copying of a book invites an inevitable comparison between the "source" and the "copy". It is not as straightforward as assuming a hierarchy based on chronology - such as in the case of a leaked manuscript - the "origin" may have been published after the "copy". Instead, a list of words describing the possible motivations are devised to examine the possible motivation for pirating:
</p><p>Borrowing<br>
Poaching<br>
Plagiarising<br>
Pirating<br>
Stealing<br>
Gleaning<br>
Referencing<br>
Leaking<br>
Copying<br>
Imitating<br>
Adapting<br>
Faking<br>
Paraphrasing<br>
Quoting<br>
Reproducing<br>
Using<br>
Counterfeiting<br>
Repeating<br>
Translating<br>
Cloning<br>
</p>
<hr>
<p>We added a few to the list based on our analyses:
</p><p>Silencing<br>
Editing<br>
Omitting<br>
Reducing<br>
Appending<br>
Redirecting<br>
Recontextualising<br>
Focusing<br>
(Faithfully) Reproducing<br>
Caring<br>
Reformatting<br>
Bootlegging<br>
Reframing<br>
Retracing<br>
</p><p>This reminds me of the list of words I devised for my FTB project - however my list was of names of types of "marks of use" made in books from a section of a public collection in a library. Using verbs instead of nouns is a subtle shift away from concrete definitions of modifications between the published book and its counterpart towards a actions that may have produced these modifications.
</p>
<h2><span class="mw-headline" id="two_books_from_the_project_-_an_analysis">two books from the project - an analysis</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Eva_Weinmayr&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Artemis &amp; I examined two pirated books, speculating on the strategies behind their duplication and making notes and questions related to each one:
</p>
<pre> Book 1: <i>Teignmouth Electron - Tacita Dean</i>
</pre>
<p><b>Strategies:</b> Translating, Caring, Reproducing, Bootlegging, Reformatting, Re-Editing, Adapting, Expanding, (re)focusing, fan working, homageing, engaging, fostering, crafting, adding value<br>
<b>Notes &amp; Questions:</b> A caring reproduction from an independent editorial project, showing special value on the content. Seems that there is collaboration with the artist, but don't have permission from the previous publisher.
Has an isbn number. It seems not like a pirate version but as an official published version.
Making a choice between what should and shouldn't be translated - e.g. Space Oddity appears in both English and Spanish.
The text is privileged over the images, and reproduction comes into play with the different printing methods. Photography as a visual medium that relies on reproduction.
It's an adaption in that it drastically changes the format (and slightly changes the content) to meet a need (to connect with a larger audience of Spanish speakers), and can be seen as vastly different from the source.
Is the translator the author? What happens with copyright in this case?
</p>
<pre> Book 2: <i>Shampoo by Robert Towne and Warren Beatty, silenced by K. Lassinaro</i>
</pre>
<p><b>Strategies:</b> Silencing, Reducing, Redirecting, Reframing, Recontextualising,(re)Focusing, (Translating (from an aural/oral/visual source to a literate destination), Re-mediating, censoring, critiquing, deleting violating<br>
<b>Notes &amp; Questions:</b> What is the source? Is it a film, or the manuscript? Is the manuscript published? We found it easily in the web. Is a manuscript a publication? Does this constitute fair use? The pirate edition makes space for the imagination of the reader to fill the gaps. The focus seems to be the "container bag" instead of the "content". The "source" was focusing in a visual experience, while the pirate version does the opposite. The dialogues don't matter / Critique on the content
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="inviting">inviting</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Inviting&amp;action=edit&amp;section=1" title="Edit section: inviting">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Administrating.html" title="User:Simon/Administrating">administrating</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>, <a href="Trusting.html" title="User:Simon/Trusting">trusting</a>
</p><p>Invitations to join the library are made through private channels of communication; direct messages, personal emails with no-one cc’d or bcc’d, private conversations held in intimate spaces, small printed cards passed by hand. Everyone is welcome to join, but the library does not require everyone to be a member in order to operate.
</p><p>Image: A6 cards, invitations to use the bootleg library
</p>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:A6_invitations_bl.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/2/26/A6_invitations_bl.jpeg/150px-A6_invitations_bl.jpeg" srcset="/mw-mediadesign/images/thumb/2/26/A6_invitations_bl.jpeg/225px-A6_invitations_bl.jpeg 1.5x, /mw-mediadesign/images/thumb/2/26/A6_invitations_bl.jpeg/300px-A6_invitations_bl.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:A6_invitations_bl.jpeg.html" title="Enlarge"></a></div>A6 invitations for the bootleg library</div></div></div>
<h2><span class="mw-headline" id="Bootleg_Library_Workshop_Sessions">Bootleg Library Workshop Sessions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/bootleg_lib_wijnhaven_61_pad&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>pad here: <a class="external free" href="https://pad.xpub.nl/p/Bootleg_Library_Workshop_Sessions" rel="nofollow">https://pad.xpub.nl/p/Bootleg_Library_Workshop_Sessions</a>
</p><p><b>Date &amp; Time:</b><br>
27.11.19: 10:20-11:50<br>
28.11.19: 10:00-11:00<br>
04.12.19: 10:00-11:30<br>
<b>Location:</b><br>
04.128 (A small office in the drawing station, by the printer)<br>
<b>Things to bring:</b> a computer (or a USB drive) with some of your favourite texts on it, a cup for tea or coffee if you want some (there will be spare cups if needed)<br>
<br>
<b>bootleg library sessions</b><br>
During these sessions, we'll have an introduction to the bootleg library, and create user accounts. Once you have a user account you will have full access to useful features of the library, such as arranging the collection through public and private "shelves", as well as downloading and uploading texts. If we have time, we can discuss the things we're reading, and how we'd like to use this library. These sessions are free and open for all to attend, and tea, coffee and snacks will be provided.
</p><p><b>about the bootleg library</b><br>
The bootleg library is a local collection of texts, available in digital (mostly PDFs and EPUB) and physical (printed) form. The digital library is available over a local network, at this URL: <a class="external free" href="http://145.24.131.15:20190" rel="nofollow">http://145.24.131.15:20190</a>. Much of the collection has been “bootlegged”, meaning that the books have been copied, modified, and redistributed, unauthorised, as fairly faithful reproductions of a source publication.
</p><p>The physical library is a growing collection of republished books, mostly made by Simon Browne (XPUB), sometimes donated by visitors. These books, currently stored in a box on a shelf in the Lens-Based studio, are available to be read, borrowed and annotated, with a condition that they are returned.
</p><p>The digital library runs on calibre-web <a class="external free" href="https://github.com/janeczku/calibre-web" rel="nofollow">https://github.com/janeczku/calibre-web</a>, a web interface for Calibre, which is open-source software for ebook management. Calibre allows storage and conversion of ebooks in many file formats, which can all be listed under the one catalogue entry, providing a diversity of formats for different reading needs; print, full text search, copy/paste, hyperlinked references, etc. The software also allows users to manually or automatically enter cataloguing details, and create and edit "shelves". These shelves are either public or private, so users may organise the collection together, and also create their own sections of books that are individually organised.
</p><p>The bootleg library has a smaller collection than many other libraries, but it is personalised, collective, and local. It has a curated collection of eclectic texts, individually uploaded and catalogued by readers who want to share them. Readers, and the texts they read, are represented in the library, and by way of alternative library practices this representation produces a certain kind of sociability. Through using this library, readers and texts become active participants in the collection. If you know the person you know something about the book, and vice-versa, or if you don't there is the opportunity to find out more.
</p>
<hr>
<p>The conditions for uploading are that;
</p>
<ol><li>the contributor is familiar with the text, and</li>
<li>the contributor completes the metadata on each upload</li></ol>
<p>Most important are the description and page fields; these are completed subjectively. Texts are tagged with keywords that indicate the subject, such as “Media Theory”, “Fiction”, “Technical manuals” etc., and also (if applicable) the person who referred them, which can be the contributor, or another person e.g. “Amy’s books”, “Steve’s books”, “Simon’s books” etc. Anyone who is on the local network and knows the URL can download or upload texts, but only those with a user account will have access to its more useful features, such as the ability to create and edit public and private “shelves”, which is how the collection may be both collectively, and individually organised.
</p><p>During these workshops, we will engage in a variety of activities;
</p>
<ul><li>creating user accounts</li>
<li>collectively determining the development of desired features in the library</li>
<li>uploading and cataloguing texts</li>
<li>classifying texts in shelves, both public and private</li>
<li>downloading, reading, annotating and discussing texts</li>
<li>digitising printed matter, including scanning and OCR</li>
<li>designing, printing and binding books for the physical bootleg library</li></ul>
<p>The Bootleg Library represents its readers through various strategies;
</p>
<ul><li>a horizontal approach to classification through collective organisation of public shelves</li>
<li>personalisation of the catalogue through subjective descriptions and tags, elevating the position of the reader in regard to texts</li>
<li>ability to navigate the collection through the sociability of its users - if you know a person whose name appears as a tag in the metadata, you know something about the text, and vice-versa</li>
<li>development of a collection and interface made by and for its readers, containing texts that are personally chosen and shared within our community</li></ul>
<p>The workshop sessions are open to all who are interested, and will be published on the media design calendar. Registration is not necessary, but please refer to the calendar entries for any other specific requirements for each workshop.
</p>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="keeping_private">keeping private</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Keeping_private&amp;action=edit&amp;section=1" title="Edit section: keeping private">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Trusting.html" title="User:Simon/Trusting">trusting</a>, <a href="Networking.html" title="User:Simon/Networking">networking</a>
</p><p>All that I did was click a button and switch on the content server. The library was automatically assigned a dynamic IP address, followed by a colon and a port: 8080. Type <a class="external free" href="http://145.131.24.139:8080" rel="nofollow">http://145.131.24.139:8080</a> into a browser, and you’d arrive at the library, no problem. But you had to already be on the local network; you couldn’t access it from the outside. And the IP address could change without warning, as dynamic IPs often do.
</p><p>A sequence of digits is not nearly as memorable as a domain name. And paradoxically, we expect stability from a digital environment that is quite dynamic and in flux. Trust erodes at every extra click, every retyped URL. Accessibility is tantamount to existence. If you can’t access it, it doesn’t exist.
</p><p>8080 is for personally-run web servers. It’s called 8080 because it relates to port 80, the port that HTTP is served over. But ISPs regularly scan for HTTP requests including port 8080, to see if there is any illegal traffic occurring over the network, so it’s best to set it to a custom number (there are 65535 potential ports to use).
</p><p>The library is now accessible from the outside over a VPN, and the page is HTTP password-protected. <i>On arrival at the URL enter the following user name and password.</i>
</p><p>Image: Poster announcing the bootleg library, Piet Zwart Institute, July 2019
</p>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Bl_announcement_poster.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/8/82/Bl_announcement_poster.jpeg/150px-Bl_announcement_poster.jpeg" srcset="/mw-mediadesign/images/thumb/8/82/Bl_announcement_poster.jpeg/225px-Bl_announcement_poster.jpeg 1.5x, /mw-mediadesign/images/thumb/8/82/Bl_announcement_poster.jpeg/300px-Bl_announcement_poster.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Bl_announcement_poster.jpeg.html" title="Enlarge"></a></div>Poster announcing the bootleg library, July 2019</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#calibre-web_configuration"><span class="tocnumber">1</span> <span class="toctext">calibre-web configuration</span></a>
<ul>
<li class="toclevel-2"><a href="#Creating_a_unit_file"><span class="tocnumber">1.1</span> <span class="toctext">Creating a unit file</span></a></li>
<li class="toclevel-2"><a href="#Starting_the_calibre-server_service"><span class="tocnumber">1.2</span> <span class="toctext">Starting the calibre-server service</span></a></li>
<li class="toclevel-2"><a href="#Stopping_the_calibre-server_service"><span class="tocnumber">1.3</span> <span class="toctext">Stopping the calibre-server service</span></a></li>
<li class="toclevel-2"><a href="#Checking_the_status_of_the_calibre-server_service"><span class="tocnumber">1.4</span> <span class="toctext">Checking the status of the calibre-server service</span></a></li>
<li class="toclevel-2"><a href="#Enabling_the_calibre-server_service_to_start_at_boot"><span class="tocnumber">1.5</span> <span class="toctext">Enabling the calibre-server service to start at boot</span></a>
<ul>
<li class="toclevel-3"><a href="#Note"><span class="tocnumber">1.5.1</span> <span class="toctext">Note</span></a></li>
</ul>
</li>
</ul>
</li>
</ul>
</div>
<h2><span class="mw-headline" id="calibre-web_configuration">calibre-web configuration</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/prototypes/calibre-web_configuration&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>This is the configuration for calibre-web to listen on localhost:
</p>
<pre>--- a/cps/server.py
+++ b/cps/server.py
@@ -152,7 +152,7 @@ class WebServer(object):
http_server = HTTPServer(WSGIContainer(self.app),
max_buffer_size=209700000,
ssl_options=self.ssl_args)
- http_server.listen(self.listen_port, self.listen_address)
+ http_server.listen(self.listen_port, address="127.0.0.1")
self.wsgiserver = IOLoop.instance()
self.wsgiserver.start()
# wait for stop signal
</pre>
<h3><span class="mw-headline" id="Creating_a_unit_file">Creating a unit file</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/calibre_service_file&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>You can easily create a unit file for calibre to run on boot on a modern (systemd) based Linux system. This means it will also restart after a crash. Create the file <code>/etc/systemd/system/calibre-server.service</code> with the contents shown below:
</p>
<pre>[Unit]
Description=Calibre.
After=syslog.target network.target
[Service]
Type=simple
User=pi
Group=pi
WorkingDirectory=/home/pi/calibre-web
ExecStart=python cps.py
Restart=always
[Install]
WantedBy=multi-user.target</pre>
<p>The <code>User</code> and <code>Group</code> should be the same ones that own the files in the calibre library directory. It's generally not a good idea to run the server as root. Also change the path to the calibre library directory to suit your system.
</p>
<h3><span class="mw-headline" id="Starting_the_calibre-server_service">Starting the calibre-server service</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/calibre_service_file&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Run:
</p><p><code>sudo systemctl start calibre-server</code>
</p><p>to start the server.
</p>
<h3><span class="mw-headline" id="Stopping_the_calibre-server_service">Stopping the calibre-server service</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/calibre_service_file&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Stopping the service is as easy as running:
</p><p><code>sudo systemctl stop calibre-server</code>
</p>
<h3><span class="mw-headline" id="Checking_the_status_of_the_calibre-server_service">Checking the status of the calibre-server service</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/calibre_service_file&amp;action=edit&amp;section=T-4" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Check its status with:
</p><p><code>sudo systemctl status calibre-server</code>
</p>
<h3><span class="mw-headline" id="Enabling_the_calibre-server_service_to_start_at_boot">Enabling the calibre-server service to start at boot</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/calibre_service_file&amp;action=edit&amp;section=T-5" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>To make it start at boot, run:
</p><p><code>sudo systemctl enable calibre-server</code>
</p>
<h5><span class="mw-headline" id="Note">Note</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/prototypes/calibre_service_file&amp;action=edit&amp;section=T-6" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h5>
<p>The calibre server does not need a running X server, but it does need the X libraries installed as some components it uses link against them.
</p><p>The calibre server also supports systemd socket activation, so you can use that, if needed, as well.
</p>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="machine_reading">machine reading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Machine_reading&amp;action=edit&amp;section=1" title="Edit section: machine reading">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Scanning.html" title="User:Simon/Scanning">scanning</a>
</p><p>Machines can read text, and process it in complex ways. Code may contain instructions for a computer to read a file, so that its contents may be then used as part of a program. An example of this in practice is in the catalogue details of books in the library (title, author, description, publisher etc), which can be downloaded rather than manually written. This involves communication between systems to search their databases; for example, taking these details from another source, such as <a class="external free" href="https://books.google.com" rel="nofollow">https://books.google.com</a> or <a class="external free" href="https://goodreads.com" rel="nofollow">https://goodreads.com</a>.
</p><p>Books can also be checked in and out of libraries by a variety of machine reading methods such as barcode scanning, or using RFID (radio-frequency identification) chips inserted into the cover.
</p><p>Image: An RFID tag; an object often contained within the cover of a public library book to track when it is checked in or out
</p>
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<head>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:RFID_tag.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/e/ee/RFID_tag.jpeg/150px-RFID_tag.jpeg" srcset="/mw-mediadesign/images/thumb/e/ee/RFID_tag.jpeg/225px-RFID_tag.jpeg 1.5x, /mw-mediadesign/images/thumb/e/ee/RFID_tag.jpeg/300px-RFID_tag.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:RFID_tag.jpeg.html" title="Enlarge"></a></div>Illustration of an RFID tag</div></div></div>
<h1><span class="mw-headline" id="Reading_files">Reading files</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/tools/Python_read_file&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>For Python to read a file:
</p>
<pre>with open('README.md', 'r') as txt:
txt_content = txt.read()
print(txt_content)
</pre>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="machine_writing">machine writing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Machine_writing&amp;action=edit&amp;section=1" title="Edit section: machine writing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Editing.html" title="User:Simon/Editing">editing</a>
</p><p>This text is being written on a QWERTY keyboard, through a browser, using a software called “Etherpad” that records every changeset—every typed key of the characters that are added or deleted. The software is logging these changes fast enough that it appears to be happening in real time. I can also go back through every previous changeset to older versions with the granularity of the individual character. This is the liminal space between texts; in split-seconds of processing where human writing is manipulated by machine writing.
</p><p>Image: QWERTY keyboard layout
</p>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<body>
<div class="cardback"><img class="cardbackimg" src="./IMG/QWERTY_layout.jpeg"></div>QWERTY keyboard layout</div>
<h2><span class="mw-headline" id="11.11.19_Extracting_text_using_curl">11.11.19 Extracting text using curl</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Extracting_text_from_the_web&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><code>curl</code> is a command that can be used from the terminal to take text from a URL. It can be piped with software such as pandoc to convert the text to other formats, and in support of a workflow I'm starting to develop, this comes in quite handy.
</p><p>I'm writing text on the pad, and then converting it to markdown. This extra step isn't necessary (in fact it adds to the work) but I'm interested in using pads as multi-flow publishing tools in the future so I'm testing this out. Also, using a pad allows me to style the text simply using markdown rather than HTML.
</p><p>For example, this is a file I made from some notes on a Flusser interview about linear writing:
</p>
<pre> $ curl <a class="external free" href="https://pad.xpub.nl/p/flusser_interview_notes/export/txt" rel="nofollow">https://pad.xpub.nl/p/flusser_interview_notes/export/txt</a> | pandoc -t markdown &gt; flusser.md
</pre>
<p>I'm then storing the files in <a class="external text" href="https://git.xpub.nl/simoon/thesis" rel="nofollow">my git</a>, which is public. Having texts in git allows me to use its versioning capabilities, allowing me to go back over old modified versions in the file tree - I can copy paste from these snippets that I may want to go back and retain in the future...
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="making_it_public/keeping_it_private"></span><span class="mw-headline" id="making_it_public.2Fkeeping_it_private">making it public/keeping it private</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Making_it_public_Keeping_it_private&amp;action=edit&amp;section=1" title="Edit section: making it public/keeping it private">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Human_reading.html" title="User:Simon/Human reading">human reading</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>, <a href="Scanning.html" title="User:Simon/Scanning">scanning</a>
</p><p>The library depends on its public, just as the public depends on the library. Sharing of texts is the heart of library culture. A completely private collection lacks sociability. Libraries that operate outside of the law (shadow/extra-legal/pirate/+++) also depend on tactics to survive, such as password protection and invite-only systems for registering new users. In this context, publishing is not broadcasting, scattering seeds of information widely to encourage maximal distribution. The public sphere created by the library is limited by necessary measures designed to sustain it.
</p><p>Image: Chained books at the medieval Hereford Library, an illustration from Streeter, B. H., (1931) <span class="c6">The Chained Library; A Survey of Four Centuries in the Evolution of the English Library</span><span>, B. Franklin : New York [1970]
</span></p>
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<div class="cardback"><img class="cardbackimg" src="./IMG/Chained_books.jpeg">
<p class="imgcaption">Chained books at the medieval Hereford Library</p>
<p class="snippets">snippets:</p><br>
<a class="snippets" href="bootleg_library_at_varia.html">bootleg library session at Varia, 26.01.20</a>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="making_public">making public</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Making_public&amp;action=edit&amp;section=1" title="Edit section: making public">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Consulting.html" title="User:Simon/Consulting">consulting</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>, <a href="Meeting_in_small_rooms_in_small_groups.html" title="User:Simon/Meeting in small rooms in small groups">meeting in small rooms, in small groups</a>
</p><p>Making something public, and making publics. Matthew Stadler, writer and co-founder of the federated publishing network Publication Studio, makes a distinction between publishing and publication. For Stadler, publication happens not only through sharing texts, but also “setting up the circumstance through which we can talk and debate them, together”.
</p><p>Publishing survives through publication, which is the necessary creation and maintenance of the space created for a public; to read, to share texts, to discuss and publish them. Publication continues after the event of publishing.
</p><p>Image: Still from <i>What is Publication?</i>, a talk by Matthew Stadler, writer and co-founder of the federated publishing network Publication Studio, available at <a class="external free" href="https://vimeo.com/14888791" rel="nofollow">https://vimeo.com/14888791</a>
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<div class="cardback"><img class="cardbackimg" src="./IMG/What_is_publication_stadler.jpeg"></div>Still from <i>What is Publication?</i>, a talk by Matthew Stadler</div></div></div>
<h2><span id="13.12.19_-_Matthew_Stadler,_at_Leeszaal"></span><span class="mw-headline" id="13.12.19_-_Matthew_Stadler.2C_at_Leeszaal">13.12.19 - Matthew Stadler, at Leeszaal</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/Matthew_Stadler_at_Leeszaal&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><a class="external text" href="https://en.wikipedia.org/wiki/Matthew_Stadler" rel="nofollow">Matthew Stadler</a> is a writer, and one of the founders of Publication Studio, a federated publishing house which operates worldwide. I met with him at Leeszaal, where we discussed our mutual interests in texts, reading, libraries and open access to knowledge. Matthew was able to give some valuable insights on what makes certain publishing models, (and libraries) successful, including Publication Studio, and Leeszaal, where he works as a volunteer. His response to my bootleg library was very encouraging. It affirmed some of the hypotheses I have proposed, and offered some insights that I found quite inspiring:
</p>
<ul><li>a successful publishing practice resembles an estuary, which is a fertile ecological environment formed by the confluence of saltwater, freshwater and minerals. The metaphor is extended to the practice of contingent librarianship, which doesn't opt for one stream of activity, but provides a meeting point of many</li>
<li>what I'm most interested in is readers, and shared the act of reading as the thing that binds together a library</li>
<li>the haptic experience of reading a printed book is fundamentally one of a circuit-based spatial relationship with the book - holding the verso with the left hand, and the recto with the right. In this way the body and the text form a loop</li>
<li>small, spur-of-the-moment actions, in response to immediate needs is most effective in establishing a collective publishing project; i.e. you look at what you have to do today, you print a book, tomorrow you develop the library, a little at a time, rather than as part of some grand scheme that can very quickly become oppressive and driven by ideology instead of a practical response to circumstances</li></ul>
<p>As a writer, Matthew's interests are in the extension of the life of the book post-publication, and how it survives after it is published. There is quite a proliferation of "unofficially published" books made by artists and designers, but these are usually tied to an event: an artwork, a catalogue, a book launch; soon to be forgotten. For him (like myself), the visibility of readers supports the argument for a library's existence. This was the impetus behind a series of books published by Publication Studio, which were free to annotate using software called an.notate. Further to this interest, he co-wrote and published a book called <a class="external text" href="http://www.revolutionreader.com/" rel="nofollow">Revolution: A Reader</a>, which is a book made from annotations made on the topic of revolution. I showed him the system of annotation on the bootleg library, which at present is just a link to an etherpad in the description. He pointed out that while the etherpad is a fertile and dynamic collaborative writing environment, having annotations in a separate window to the text lacks fixidity, and proximity.
</p><p>Matthew also brought up the topic of renumeration for publication - asking if I charged a fee for the services I offer. To me, it is not only unnecessary, but also contradictory to the type of culture the bootleg library should foster. I prefer to exchange bootlegged books for something else, and I'm printing and making them at very little material costs, only my time is expensive. I realise that this luxury is one I can afford only now, and that the question of money (as a necessary part of sustaining a publishing practice) will be an important one to address in the future.
</p><p>I'm quite interested in the aspect of publication that Matthew champions; one that ensures the survival of a publication after the fanfare of the launch event. Thinking about the use of the text in 20, 30 years time gives a very different set of priorities to thinking about how it will be read as a "current" publication. The way texts are read, distributed, and most importantly shared, precipitates a form that must be durable, and suitable to the long-term needs of the public it is presented to.
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="meeting_in_small_rooms,_in_small_groups"></span><span class="mw-headline" id="meeting_in_small_rooms.2C_in_small_groups">meeting in small rooms, in small groups</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Meeting_in_small_rooms_in_small_groups&amp;action=edit&amp;section=1" title="Edit section: meeting in small rooms, in small groups">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Administrating.html" title="User:Simon/Administrating">administrating</a>, <a href="Consulting.html" title="User:Simon/Consulting">consulting</a>, <a href="Making_public.html" title="User:Simon/Making public">making public</a>
</p><p>The library collection is intentionally small; it does not wish to be everything to everyone. Focused library sessions are held regularly, and informally, with participants free to come and go as they please. The sessions do not require registration, and make no demands on participants. The result is often a small group of session attendees, who can offer personal insights and opinions in an intimate setting. It is more beneficial to the library’s development to have a conversation between a small number of participants than to lecture to a crowd.
</p><p>Image: bootleg library session at Varia, A Collective-space for Everyday Technology, Rotterdam, 26th January, 2020
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Bls_varia.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/1/16/Bls_varia.jpeg/150px-Bls_varia.jpeg" srcset="/mw-mediadesign/images/thumb/1/16/Bls_varia.jpeg/225px-Bls_varia.jpeg 1.5x, /mw-mediadesign/images/thumb/1/16/Bls_varia.jpeg/300px-Bls_varia.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Bls_varia.jpeg.html" title="Enlarge"></a></div>bootleg library session at Varia, 26th January, 2020</div></div></div>
<h2><span class="mw-headline" id="Bootleg_Library_Workshop_Sessions">Bootleg Library Workshop Sessions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/bootleg_lib_wijnhaven_61_pad&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>pad here: <a class="external free" href="https://pad.xpub.nl/p/Bootleg_Library_Workshop_Sessions" rel="nofollow">https://pad.xpub.nl/p/Bootleg_Library_Workshop_Sessions</a>
</p><p><b>Date &amp; Time:</b><br>
27.11.19: 10:20-11:50<br>
28.11.19: 10:00-11:00<br>
04.12.19: 10:00-11:30<br>
<b>Location:</b><br>
04.128 (A small office in the drawing station, by the printer)<br>
<b>Things to bring:</b> a computer (or a USB drive) with some of your favourite texts on it, a cup for tea or coffee if you want some (there will be spare cups if needed)<br>
<br>
<b>bootleg library sessions</b><br>
During these sessions, we'll have an introduction to the bootleg library, and create user accounts. Once you have a user account you will have full access to useful features of the library, such as arranging the collection through public and private "shelves", as well as downloading and uploading texts. If we have time, we can discuss the things we're reading, and how we'd like to use this library. These sessions are free and open for all to attend, and tea, coffee and snacks will be provided.
</p><p><b>about the bootleg library</b><br>
The bootleg library is a local collection of texts, available in digital (mostly PDFs and EPUB) and physical (printed) form. The digital library is available over a local network, at this URL: <a class="external free" href="http://145.24.131.15:20190" rel="nofollow">http://145.24.131.15:20190</a>. Much of the collection has been “bootlegged”, meaning that the books have been copied, modified, and redistributed, unauthorised, as fairly faithful reproductions of a source publication.
</p><p>The physical library is a growing collection of republished books, mostly made by Simon Browne (XPUB), sometimes donated by visitors. These books, currently stored in a box on a shelf in the Lens-Based studio, are available to be read, borrowed and annotated, with a condition that they are returned.
</p><p>The digital library runs on calibre-web <a class="external free" href="https://github.com/janeczku/calibre-web" rel="nofollow">https://github.com/janeczku/calibre-web</a>, a web interface for Calibre, which is open-source software for ebook management. Calibre allows storage and conversion of ebooks in many file formats, which can all be listed under the one catalogue entry, providing a diversity of formats for different reading needs; print, full text search, copy/paste, hyperlinked references, etc. The software also allows users to manually or automatically enter cataloguing details, and create and edit "shelves". These shelves are either public or private, so users may organise the collection together, and also create their own sections of books that are individually organised.
</p><p>The bootleg library has a smaller collection than many other libraries, but it is personalised, collective, and local. It has a curated collection of eclectic texts, individually uploaded and catalogued by readers who want to share them. Readers, and the texts they read, are represented in the library, and by way of alternative library practices this representation produces a certain kind of sociability. Through using this library, readers and texts become active participants in the collection. If you know the person you know something about the book, and vice-versa, or if you don't there is the opportunity to find out more.
</p>
<hr>
<p>The conditions for uploading are that;
</p>
<ol><li>the contributor is familiar with the text, and</li>
<li>the contributor completes the metadata on each upload</li></ol>
<p>Most important are the description and page fields; these are completed subjectively. Texts are tagged with keywords that indicate the subject, such as “Media Theory”, “Fiction”, “Technical manuals” etc., and also (if applicable) the person who referred them, which can be the contributor, or another person e.g. “Amy’s books”, “Steve’s books”, “Simon’s books” etc. Anyone who is on the local network and knows the URL can download or upload texts, but only those with a user account will have access to its more useful features, such as the ability to create and edit public and private “shelves”, which is how the collection may be both collectively, and individually organised.
</p><p>During these workshops, we will engage in a variety of activities;
</p>
<ul><li>creating user accounts</li>
<li>collectively determining the development of desired features in the library</li>
<li>uploading and cataloguing texts</li>
<li>classifying texts in shelves, both public and private</li>
<li>downloading, reading, annotating and discussing texts</li>
<li>digitising printed matter, including scanning and OCR</li>
<li>designing, printing and binding books for the physical bootleg library</li></ul>
<p>The Bootleg Library represents its readers through various strategies;
</p>
<ul><li>a horizontal approach to classification through collective organisation of public shelves</li>
<li>personalisation of the catalogue through subjective descriptions and tags, elevating the position of the reader in regard to texts</li>
<li>ability to navigate the collection through the sociability of its users - if you know a person whose name appears as a tag in the metadata, you know something about the text, and vice-versa</li>
<li>development of a collection and interface made by and for its readers, containing texts that are personally chosen and shared within our community</li></ul>
<p>The workshop sessions are open to all who are interested, and will be published on the media design calendar. Registration is not necessary, but please refer to the calendar entries for any other specific requirements for each workshop.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="booklet.sh_for_PDF_imposition_into_a_booklet">booklet.sh for PDF imposition into a booklet</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Michaels_booklet_script_for_PDF_imposition&amp;action=edit&amp;section=1" title="Edit section: booklet.sh for PDF imposition into a booklet">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>I found another way to do imposition using a script Michael wrote called booklet.sh, downloadable here: <a class="external free" href="https://git.xpub.nl/murtaugh/95layouts" rel="nofollow">https://git.xpub.nl/murtaugh/95layouts</a><br>
It's a shell script that can run in the bin folder from the home directory, which allows you to run it wherever you are in the computer - you don't have to <code>cd</code> to the folder where the script is. To enable this, first you have to echo the path for the bin folder that the scripts are in. The command to run it from the terminal is:
</p>
<pre>booklet.sh source.pdf
</pre>
<p>It needs a few dependencies to run (mainly psutils).
</p>
<ol><li>Requirements: psutils, pdftk, python3 with reportlab (make_blank_pdf.py)</li></ol>
<pre>input=$1
base=${input%.*}
echo converting $input to $base.booklet.pdf
pdftk_utils.py $input pad --multiple 4 --output $base.01.pdf
pdftops -paper match $base.01.pdf $base.01.ps
psbook -s`pdftk_utils.py $base.01.pdf count` $base.01.ps $base.02.ps
psnup -2 -PA4 $base.02.ps $base.03.ps
ps2pdf $base.03.ps $base.booklet.pdf
rm $base.01.pdf $base.01.ps $base.02.ps $base.03.ps
</pre>
<p>Note: Comment out or delete the last line to produce three .ps files - the first one is the source PDF, the second is the PDF imposed in the correct order, the third one is the imposed PDF pages on an A4 page. This works well if all you want to do is impose, print and fold. For cutting sheets you need to position the pages 2-up, centred on the page, which I can't quite figure out how to do...
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="multiplying_form">multiplying form</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Multiplying_form&amp;action=edit&amp;section=1" title="Edit section: multiplying form">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Bootlegging.html" title="User:Simon/Bootlegging">bootlegging</a>, <a href="Diversifying_through_use.html" title="User:Simon/Diversifying through use">diversifying through use</a>, <a href="Producing_texts.html" title="User:Simon/Producing texts">producing texts</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>The jam band The Grateful Dead were followed around the United States by a legion of die-hard fans, proclaiming themselves “Deadheads”. Cheaply available cassette recorders allowed them to tape concerts and then share recordings amongst each other. Thinking of this, I’m reminded of John Cage’s motto, “Everything you do is music, and everywhere is the best seat.” Each position in the audience produces a slightly different recording, and this multiplicity of form connects the audience not only with the music, but with each other.
</p><p>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.
</p><p>Image: “Deadheads” recording a live Grateful Dead concert, 1972
</p>
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<div class="cardback"><img class="cardbackimg" src="./IMG/Deadheads.jpeg"></div>“Deadheads” recording a live Grateful Dead concert, 1972</div></div></div>
<pre>---
title: notes on texts
author: collective/Etherpad
---
Notes on *Notes on Texts*, with Simon Browne, contingent librarian* at the bootleg library*
## url to this editable pad
&lt;https://pad.xpub.nl/p/Notes_on_texts&gt;
## bootleg library
+ &lt;https://hub.xpub.nl/bootleglibrary&gt;
User: THENWHO
Password: WASPHONE
### we will use:
* calibre-web, the software the bootleg library runs on
&lt;https://github.com/janeczku/calibre-web&gt;
* Etherpad, a browser-based, realtime collaborative text editor
&lt;https://pad.xpub.nl&gt;
* Markdown, a lightweight markup language
&lt;https://github.com/adam-p/markdown-here/wiki/Markdown-Cheatsheet&gt;
&lt;https://daringfireball.net/projects/markdown/syntax&gt;
* Pandoc, a universal document converter
&lt;https://pandoc.org/&gt;
Installation guide:
&lt;https://pandoc.org/installing.html&gt;
### workflow summary:
**1. upload to the bootleg library**&lt;br /&gt;
**2. select a PDF, choose a page from that text**&lt;br /&gt;
**3. annotate the page in a new etherpad document (use markdown for structure)**&lt;br /&gt;
**4. export to plain text from etherpad**&lt;br /&gt;
**5. convert .txt to .EPUB**&lt;br /&gt;
**6. upload to the bootleg library**&lt;br /&gt;
**7. paste URL of the pad you used**&lt;br /&gt;
### workflow steps in detail:
**1. upload to the bootleg library**
* Click 'upload'
* Choose a text from your computer
* Enter metadata, or download it
* Click 'submit'
**2. select a PDF, choose a page from that text**
* Click on a catalogue entry to see the book details
* Click on 'read in browser', choose 'pdf'
* Part of what calibre web does is create URLs for each book in the library, for instance, Raymond Queneau, Exercises in Style is now referenceable as....
&lt;https://hub.xpub.nl/bootleglibrary/read/382/pdf&gt;
* Scroll to a page in the browser e-reader
* Add an anchor to the URL with #page=17 (this will load the URL at pg 17)
&lt;https://hub.xpub.nl/bootleglibrary/read/382/pdf#page=17&gt;
**3. annotate the page in a new etherpad document (use markdown for structure)**
* Make a new etherpad document* using &lt;https://pad.xpub.nl&gt;, name it anything you want
* Add details for title and author following the example below. The title and author can be anything you want, but this metadata is required to make an EPUB, so make sure you enter something
&lt;code&gt;
---
title: Annotations on Exercises In Style
author: collaborative/Etherpad
date: 21/05/20
---
&lt;/code&gt;
* Write your annotations, use markdown* if possible
Cheatsheet available here: &lt;https://github.com/adam-p/markdown-here/wiki/Markdown-Cheatsheet&gt;
### Quick Markdown guide
* You can add URLs as hyperlinked text, for example with
[Label text here](https://hub.xpub.nl/bootleglibrary)
or
* You can also add a URL like this
&lt;https://hub.xpub.nl/bootleglibrary&gt;
* Headings can be added like this:
# h1
## h2
### h3
and so on...
* Emphasis can be added with &lt;code&gt;*single asterisks*&lt;/code&gt;, bold with &lt;code&gt;**double asterisks**&lt;/code&gt;
* Add a heading, and the URL to the pdf, before exporting, for example
&lt;code&gt;
# Annotations on *Notation*
[page 17](https://hub.xpub.nl/bootleglibrary/read/382/pdf#page=17)
&lt;/code&gt;
**4. export to plain text from etherpad**
* Click on the 'Import/Export from/to different file formats' option
* Export current pad as: 'plain text' (the file will be saved as a .txt, and named after the pad)
**5. convert .txt to .EPUB**
* Using pandoc*, run this command in the terminal (swap out the file names)
&lt;code&gt;
pandoc --from markdown --to epub my_etherpad.txt -o annotations.epub
&lt;/code&gt;
**6. upload to the bootleg library**
* Click on the book you annotated to see the book details
* Click on 'Edit metadata'
* Scroll down, click on 'Upload Format'
* Upload the EPUB you made to the same catalogue entry
**7. paste URL of the pad you used:**
https://pad.xpub.nl/p/exercises_in_style_annotations
https://pad.xpub.nl/p/entreprecariat_annotations
https://pad.xpub.nl/p/Annotations_On_The_End_of_Policing
## other tools for annotation
&lt;https://linux.die.net/man/1/pdftk&gt; (tool: stamp)
&lt;https://beepb00p.xyz/annotating.html&gt; (annotating the web)
&lt;https://hypothes.is/&gt;&lt;br /&gt;
&lt;https://pzwiki.wdka.nl/mediadesign/User:Angeliki/X-LIB/Annotations&gt;&lt;br /&gt;
&lt;https://pzwiki.wdka.nl/mediadesign/File:Annotated_stein.jpg&gt;&lt;br /&gt;
## other references
House of Leaves, Danielewski
&lt;https://www.katjarempel.de/project/ebookdossier.html&gt;
&lt;http://www.kajsadahlberg.com/work/a-room-of-ones-own--a-thousand-libraries/&gt;
</pre>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="networking">networking</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Networking&amp;action=edit&amp;section=1" title="Edit section: networking">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Consulting.html" title="User:Simon/Consulting">consulting</a>, <a href="Inter-depending.html" title="User:Simon/Inter-depending">inter-depending</a>, <a href="Making_public.html" title="User:Simon/Making public">making public</a>, <a href="Meeting_in_small_rooms_in_small_groups.html" title="User:Simon/Meeting in small rooms in small groups">meeting in small rooms, in small groups</a>
</p><p>Networking is not a dirty word. I’m not talking about networking as schmoozing, rubbing elbows with those you wish to impress, handing out business cards like there’s no tomorrow. I mean forming networks of one’s own<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>, within which the library can take shape and survive. Maintaining these networks ensures that the space for publication is available.
</p><p>Image: Network topologies, ring, bus and mesh
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Constant, <i>Networks of One’s Own</i>, Available at <a class="external free" href="https://networksofonesown.constantvzw.org" rel="nofollow">https://networksofonesown.constantvzw.org</a></span>
</li>
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<html>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Networking_diagrams.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/8/86/Networking_diagrams.jpeg/150px-Networking_diagrams.jpeg" srcset="/mw-mediadesign/images/thumb/8/86/Networking_diagrams.jpeg/225px-Networking_diagrams.jpeg 1.5x, /mw-mediadesign/images/thumb/8/86/Networking_diagrams.jpeg/300px-Networking_diagrams.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Networking_diagrams.jpeg.html" title="Enlarge"></a></div>Network topologies, ring, bus and mesh</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#The_Network_we_.28de.29Served.2C_Part_1:_Mapping_network_topologies"><span class="tocnumber">1</span> <span class="toctext">The Network we (de)Served, Part 1: Mapping network topologies</span></a>
<ul>
<li class="toclevel-2"><a href="#paul_baran_diagrams"><span class="tocnumber">1.1</span> <span class="toctext">paul baran diagrams</span></a></li>
<li class="toclevel-2"><a href="#dependency_mapping_task"><span class="tocnumber">1.2</span> <span class="toctext">dependency mapping task</span></a></li>
<li class="toclevel-2"><a href="#physical_map_in_XPUB_studio"><span class="tocnumber">1.3</span> <span class="toctext">physical map in XPUB studio</span></a></li>
<li class="toclevel-2"><a href="#collection_of_texts"><span class="tocnumber">1.4</span> <span class="toctext">collection of texts</span></a></li>
<li class="toclevel-2"><a href="#Paranodal_activity"><span class="tocnumber">1.5</span> <span class="toctext">Paranodal activity</span></a></li>
<li class="toclevel-2"><a href="#maps_and_autonomy"><span class="tocnumber">1.6</span> <span class="toctext">maps and autonomy</span></a></li>
</ul>
</li>
</ul>
</div>
<h2><span id="The_Network_we_(de)Served,_Part_1:_Mapping_network_topologies"></span><span class="mw-headline" id="The_Network_we_.28de.29Served.2C_Part_1:_Mapping_network_topologies">The Network we (de)Served, Part 1: Mapping network topologies</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="paul_baran_diagrams">paul baran diagrams</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>We started with a reading of a text on centralised, decentralised, and distributed networks that included a diagram made by Paul Baran for the RAND corporation. This diagram displays classic ways to visualise these networks.
</p><p><a class="image" href="File:Networktypes.png.html" title="On Distributed Networks, 1964, Paul Baran, diagram for RAND research memoranda 3420"><img alt="On Distributed Networks, 1964, Paul Baran, diagram for RAND research memoranda 3420" decoding="async" height="379" src="/mw-mediadesign/images/c/c5/Networktypes.png" width="547"></a>
</p>
<h3><span class="mw-headline" id="dependency_mapping_task">dependency mapping task</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>As part of the Infrastuctour, when we set up our homeservers, I worked with Artemis to create a visualisation of the dependencies involved setting them up.
</p><p><a class="image" href="File:19_01_20_dependencies.jpg.html"><img alt="19 01 20 dependencies.jpg" decoding="async" height="425" src="/mw-mediadesign/images/thumb/8/80/19_01_20_dependencies.jpg/300px-19_01_20_dependencies.jpg" srcset="/mw-mediadesign/images/thumb/8/80/19_01_20_dependencies.jpg/450px-19_01_20_dependencies.jpg 1.5x, /mw-mediadesign/images/thumb/8/80/19_01_20_dependencies.jpg/600px-19_01_20_dependencies.jpg 2x" width="300"></a>
</p>
<h3><span class="mw-headline" id="physical_map_in_XPUB_studio">physical map in XPUB studio</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-4" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>I made a map of the location of homeservers and routers, including the other (non-XPUB) network users as well as situations where it was not possible for XPUB students to connect their server to their home router, and so had to depend on others. Manetta introduced me to Inca Quipu, a way that the Inca recorded numbers by tying knots in strings.
</p><p><a class="image" href="File:Paint3.png.html"><img alt="Paint3.png" decoding="async" height="198" src="/mw-mediadesign/images/thumb/f/f3/Paint3.png/300px-Paint3.png" srcset="/mw-mediadesign/images/f/f3/Paint3.png 1.5x" width="300"></a>
<a class="image" href="File:Quipu_4_incas.gif.html"><img alt="Quipu 4 incas.gif" decoding="async" height="170" src="/mw-mediadesign/images/thumb/0/02/Quipu_4_incas.gif/300px-Quipu_4_incas.gif" srcset="/mw-mediadesign/images/0/02/Quipu_4_incas.gif 1.5x" width="300"></a>
</p><p>I connected a piece of string I'd tied knots in to represent my external IP address for my home server, as a way to visualise the idea of connecting and also the route that a client follows when connecting to my website, which is in reverse from the way I would display my IP.
</p><p><a class="image" href="File:Map_7914.JPG.html"><img alt="Map 7914.JPG" decoding="async" height="225" src="/mw-mediadesign/images/thumb/a/a4/Map_7914.JPG/300px-Map_7914.JPG" srcset="/mw-mediadesign/images/thumb/a/a4/Map_7914.JPG/450px-Map_7914.JPG 1.5x, /mw-mediadesign/images/thumb/a/a4/Map_7914.JPG/600px-Map_7914.JPG 2x" width="300"></a>
<a class="image" href="File:Map_7915.JPG.html"><img alt="Map 7915.JPG" decoding="async" height="400" src="/mw-mediadesign/images/thumb/f/ff/Map_7915.JPG/300px-Map_7915.JPG" srcset="/mw-mediadesign/images/thumb/f/ff/Map_7915.JPG/450px-Map_7915.JPG 1.5x, /mw-mediadesign/images/thumb/f/ff/Map_7915.JPG/600px-Map_7915.JPG 2x" width="300"></a>
<a class="image" href="File:Map_7916.JPG.html"><img alt="Map 7916.JPG" decoding="async" height="400" src="/mw-mediadesign/images/thumb/4/46/Map_7916.JPG/300px-Map_7916.JPG" srcset="/mw-mediadesign/images/thumb/4/46/Map_7916.JPG/450px-Map_7916.JPG 1.5x, /mw-mediadesign/images/thumb/4/46/Map_7916.JPG/600px-Map_7916.JPG 2x" width="300"></a>
<a class="image" href="File:Map_7918.JPG.html"><img alt="Map 7918.JPG" decoding="async" height="400" src="/mw-mediadesign/images/thumb/e/e6/Map_7918.JPG/300px-Map_7918.JPG" srcset="/mw-mediadesign/images/thumb/e/e6/Map_7918.JPG/450px-Map_7918.JPG 1.5x, /mw-mediadesign/images/thumb/e/e6/Map_7918.JPG/600px-Map_7918.JPG 2x" width="300"></a>
</p>
<h3><span class="mw-headline" id="collection_of_texts">collection of texts</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-5" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>I began collecting relevant texts to my research and creating html pages to store them on my website. This has been a useful way to develop my web design knowledge and skills as well as provide theoretical basis for the research I'm undertaking into network topologies.
<br>
<br>
Tung-Hui Hu: Truckstops on the Information Superhighway<br>
<a class="external free" href="https://issue.xpub.nl/08/Research/b-e-e-t.r-o-o-t.net/truckstops_on_the_information_superhighway.html" rel="nofollow">https://issue.xpub.nl/08/Research/b-e-e-t.r-o-o-t.net/truckstops_on_the_information_superhighway.html</a>
</p><p>Paul Rand: Cybernetic Guerilla Warfare (Radical Software 1.3)<br>
<a class="external free" href="https://issue.xpub.nl/08/Research/b-e-e-t.r-o-o-t.net/cybernetic_guerilla_warfare.html" rel="nofollow">https://issue.xpub.nl/08/Research/b-e-e-t.r-o-o-t.net/cybernetic_guerilla_warfare.html</a>
</p><p>R. Buckminster Fuller: Software (Radical Software 1.1)<br>
<a class="external free" href="https://issue.xpub.nl/08/Research/b-e-e-t.r-o-o-t.net/buckminster_fuller_software.html" rel="nofollow">https://issue.xpub.nl/08/Research/b-e-e-t.r-o-o-t.net/buckminster_fuller_software.html</a><br>
</p><p>These texts introduced me to alternative models for mapping topologies such as "klein worms", referred to in both Hui (2015) and Rand's (1970) texts. Klien worms are based on the klein bottle, which falls into the category of "topologically impossible" objects (such as moebius strips etc.).<br>
<a class="image" href="File:Hu-02-ponsot-klein-worms-1971.png.html" title="Fig. 2. Klein Worms, 1971, Claude Ponsot, illustration for Paul Ryan, “Cybernetic Guerilla Warfare,” in Radical Software 1:3"><img alt="Fig. 2. Klein Worms, 1971, Claude Ponsot, illustration for Paul Ryan, “Cybernetic Guerilla Warfare,” in Radical Software 1:3" decoding="async" height="263" src="/mw-mediadesign/images/1/17/Hu-02-ponsot-klein-worms-1971.png" width="640"></a>
</p>
<h3><span class="mw-headline" id="Paranodal_activity">Paranodal activity</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-6" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The concept of paranode (as suggested in Constant's Feminist Server Manifesto, and further explored by Zach Blas) was intriguing, and I resolved to keep this in mind when mapping network topologies. I see the paranode as both a disruptive concept (the thing that isn't there?), also not related to physical devices (established as nodes, but instead on social and conceptual relations between people and the world). I took initial references from the SI concept of the derive as a way to rethink autonomy in public space.
</p><p>On further reading I found this article:<br>
<a class="external free" href="http://www.christydena.com/2007/08/new-network-theory-the-tyranny-of-nodes/" rel="nofollow">http://www.christydena.com/2007/08/new-network-theory-the-tyranny-of-nodes/</a>
</p><p>The author defines the paranodal in this way: <i>the space between nodes; the space that is not dead, but very much alive.</i>
</p><p>The author also uses Ranciere's terminology, saying: <i>the paranodal is "the part of those who have no part", where we experience what it is to be outside of the network while still being related to it.</i>
</p>
<h3><span class="mw-headline" id="maps_and_autonomy">maps and autonomy</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Special_Issue_8/The_Network_we_(de)Served_part_1&amp;action=edit&amp;section=T-7" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>I began recording some of my thoughts around the concept of contingent autonomy and how it relates to mapping. These refer to the map/territory problem, which sees a 1:1 map as redundant (and therefore useless) and also Hakim Bey's Temporary Autonomous Zone concept (introduced to me by Tancre), where the 1:1 map is the only possible way for someone to have autonomy.<br>
<a class="external free" href="https://pad.xpub.nl/p/map_thoughts" rel="nofollow">https://pad.xpub.nl/p/map_thoughts</a>
</p>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="Pre-processing_for_OCR">Pre-processing for OCR</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/self_directed_research/OCR_preprocessing&amp;action=edit&amp;section=1" title="Edit section: Pre-processing for OCR">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>This script applies transformations to the image before running OCR, resulting in a clearer result:
</p><p><br>
</p>
<pre># import the necessary packages
#from PIL
import Image
import pytesseract
import argparse
import cv2
import os
# construct the argument parse and parse the arguments
ap = argparse.ArgumentParser()
ap.add_argument("-i", "--image", required=True,
help="path to input image to be OCR'd")
ap.add_argument("-p", "--preprocess", type=str, default="thresh",
help="type of preprocessing to be done")
args = vars(ap.parse_args())
# load the example image and convert it to grayscale
image = cv2.imread(args["image"])
gray = cv2.cvtColor(image, cv2.COLOR_BGR2GRAY)
# check to see if we should apply thresholding to preprocess the
# image
if args["preprocess"] == "thresh":
gray = cv2.threshold(gray, 0, 255,
cv2.THRESH_BINARY | cv2.THRESH_OTSU)[1]
# make a check to see if median blurring should be done to remove
# noise
elif args["preprocess"] == "blur":
gray = cv2.medianBlur(gray, 3)
# write the grayscale image to disk as a temporary file so we can
# apply OCR to it
filename = "{}.png".format(os.getpid())
cv2.imwrite(filename, gray)
# load the image as a PIL/Pillow image, apply OCR, and then delete
# the temporary file
text = pytesseract.image_to_string(Image.open(filename))
os.remove(filename)
print(text)
# show the output images
cv2.imshow("Image", image)
cv2.imshow("Output", gray)
cv2.waitKey(0)
</pre>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="open-sourcing">open-sourcing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Open-sourcing&amp;action=edit&amp;section=1" title="Edit section: open-sourcing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Diversifying_through_use.html" title="User:Simon/Diversifying through use">diversifying through use</a>, <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Networking.html" title="User:Simon/Networking">networking</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>
</p><p>Open-source means exactly that; the source code is open for anyone to copy, modify and distribute it. The library is running on the open-source software Calibre, and is accessed through a browser using calibre-web, a web-app for ebooks stored in a Calibre database. It’s important that the library software is open-source, as this empowers us to own and modify it to suit our particular needs and interests. Technology and culture exist in a dynamic interplay, shaping and being shaped by each other.<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>
</p><p>The notion of open-source can be extended to books as well; already there is the “public domain” (works that are outside of the bounds of copyright law, and therefore fair game) and “fair use”, which allows works to be used without asking for permission from the copyright owner, for the purposes of commentary, criticism and parody. In addressing the accessibility needed for a true knowledge commons to be protected, copyright laws are flawed to begin with as they assume that knowledge is private property.
</p><p>Image: Screenshot of calibre-web interface
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Hobart, M.E. and Schiffman, Z.S. (1998) <i>Information ages: literacy, numeracy, and the computer revolution</i>. Baltimore: Johns Hopkins University Press.</span>
</li>
</ol></div>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Bl_calibre_web_screenshot.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/1/1c/Bl_calibre_web_screenshot.jpeg/150px-Bl_calibre_web_screenshot.jpeg" srcset="/mw-mediadesign/images/thumb/1/1c/Bl_calibre_web_screenshot.jpeg/225px-Bl_calibre_web_screenshot.jpeg 1.5x, /mw-mediadesign/images/thumb/1/1c/Bl_calibre_web_screenshot.jpeg/300px-Bl_calibre_web_screenshot.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Bl_calibre_web_screenshot.jpeg.html" title="Enlarge"></a></div>Screenshot of calibre-web interface</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#Feedback_from_initial_bootleg_library_sessions:_introduction"><span class="tocnumber">1</span> <span class="toctext">Feedback from initial bootleg library sessions: introduction</span></a>
<ul>
<li class="toclevel-2"><a href="#Languages"><span class="tocnumber">1.1</span> <span class="toctext">Languages</span></a></li>
<li class="toclevel-2"><a href="#Categorising"><span class="tocnumber">1.2</span> <span class="toctext">Categorising</span></a></li>
<li class="toclevel-2"><a href="#Cataloguing"><span class="tocnumber">1.3</span> <span class="toctext">Cataloguing</span></a></li>
<li class="toclevel-2"><a href="#Interface"><span class="tocnumber">1.4</span> <span class="toctext">Interface</span></a></li>
</ul>
</li>
</ul>
</div>
<h1><span class="mw-headline" id="Feedback_from_initial_bootleg_library_sessions:_introduction">Feedback from initial bootleg library sessions: introduction</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/feedback_from_initial_bootleg_library_sessions&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>Some feedback collected during introductory sessions:
</p>
<h4><span class="mw-headline" id="Languages">Languages</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/feedback_from_initial_bootleg_library_sessions&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<table class="wikitable">
<tbody><tr>
<th scope="col" width="800">user feedback
</th>
<th scope="col" width="800">decision
</th></tr>
<tr valign="top">
<td>1. Descriptions of non-English texts: what is the best protocol?<br>
<p>2. Finding texts in non-English languages - possibly hard to find digital files, easier to find in print?<br>
</p>
</td>
<td>1. They should be in the language of the text, with an English translation if possible<br>
<p>2. Digitise printed texts using the bookscanner<br>
</p>
</td></tr></tbody></table>
<h4><span class="mw-headline" id="Categorising">Categorising</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/feedback_from_initial_bootleg_library_sessions&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<table class="wikitable">
<tbody><tr>
<th scope="col" width="800">user feedback
</th>
<th scope="col" width="800">decision
</th></tr>
<tr valign="top">
<td>1. There is a lot of redundancy on the "categories" page. Categories are defined by tags - which are written subjectively, or downloaded from existing data on the uploaded books. There should be a distinction between categorising texts, and tagging them.<br>
<p>2. Tags are case-sensitive, leading to multiple entries of the same tag (e.g. Media Theory vs Media theory vs media theory)
</p>
</td>
<td>
<p>1. Create a series of general categories, and then tags can exist as sub-categories. Further to this, can tags also be used dynamically? E.g. being able to highlight more popular tags? Tagging people?<br>
</p><p>2. Force all tags to be in lowercase
</p>
</td></tr></tbody></table>
<h4><span class="mw-headline" id="Cataloguing">Cataloguing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/feedback_from_initial_bootleg_library_sessions&amp;action=edit&amp;section=T-4" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<table class="wikitable">
<tbody><tr>
<th scope="col" width="800">user feedback
</th>
<th scope="col" width="800">decision
</th></tr>
<tr valign="top">
<td>1. We noticed that if an article is uploaded from JSTOR, the book automatically takes the JSTOR logo as the cover. Is this because it is watermarked on the first page of the PDF?<br>
</td>
<td>
<p>1. Could watermarking be a way to make covers of future uploaded PDFs?<br>
</p>
</td></tr></tbody></table>
<h4><span class="mw-headline" id="Interface">Interface</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/fieldwork/feedback_from_initial_bootleg_library_sessions&amp;action=edit&amp;section=T-5" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<table class="wikitable">
<tbody><tr>
<th scope="col" width="800">user feedback
</th>
<th scope="col" width="800">decision
</th></tr>
<tr valign="top">
<td>1. Upload cover from local drive - currently only accepts jpegs, and the field remains empty after you choose a jpeg to upload<br>
<p>2. "Submit" button vs "Upload format" button - a bit confusing because of placement, similarity of meaning between "submit" and "upload"<br>
3. "Get" metadata is ambiguous<br>
4. Not possible to create shelves while in book view, limiting the functionality. Being able to create a shelf while looking at a book would be a more immediate use of the shelves
5. At the moment, it's not possible to see who uploaded what. This limits the sociality of the site - it might be a nice way to recommend other texts if we can see who uploaded them<br>
6. If you click on a shelf, you get the option to download its contents - this is currently done one-by-one.<br>
7. No ability to change username at present - what if people want to use a handle rather than their real name, but don't think about this when making their account?<br>
8. Journal articles - how do you enter a season, e.g. "Autumn, 1977"?<br>
9. At present, there is no ability to see the whole collection without filtering - e.g. you can only see by "recently added", "read" or "unread" etc. What if you want to see the entire collection?
<a class="image" href="File:Submit_upload_format.png.html" title="2. &quot;Submit&quot; vs &quot;upload format&quot;"><img alt="2. &quot;Submit&quot; vs &quot;upload format&quot;" decoding="async" height="269" src="/mw-mediadesign/images/thumb/7/7e/Submit_upload_format.png/300px-Submit_upload_format.png" srcset="/mw-mediadesign/images/thumb/7/7e/Submit_upload_format.png/450px-Submit_upload_format.png 1.5x, /mw-mediadesign/images/thumb/7/7e/Submit_upload_format.png/600px-Submit_upload_format.png 2x" width="300"></a>
<a class="image" href="File:Bootleg_book_view_shelves.png.html" title="4. Book view - can't create shelves"><img alt="4. Book view - can't create shelves" decoding="async" height="219" src="/mw-mediadesign/images/thumb/e/e0/Bootleg_book_view_shelves.png/300px-Bootleg_book_view_shelves.png" srcset="/mw-mediadesign/images/thumb/e/e0/Bootleg_book_view_shelves.png/450px-Bootleg_book_view_shelves.png 1.5x, /mw-mediadesign/images/thumb/e/e0/Bootleg_book_view_shelves.png/600px-Bootleg_book_view_shelves.png 2x" width="300"></a><br>
</p>
</td>
<td>1. Allow png to be accepted, and make it clearer within the interface that the cover image has been uploaded (perhaps with a thumbnail of it?)<br>
<p>2. Create a clear distinction between uploading a new format of the same text, and submitting metadata, e.g. "upload", and "add new format"<br>
3. Change "get" for "download"<br>
4. Create this functionality<br>
5. Implement a feature in book view that recommmends books that are related, and/or recommends the reader who uploaded the book<br>
6. Include an option to download everything on a shelf<br>
7. Create this functionality<br>
8. Create this functionality<br>
9. Implement a feature allowing user to browse everything without filtering
</p>
</td></tr></tbody></table>
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<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="Outlining_content_of_workshops_22.05.19">Outlining content of workshops 22.05.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,Writing_%26_Research_Methodologies_SI9/Outlining_content_of_workshops_22.05.19&amp;action=edit&amp;section=1" title="Edit section: Outlining content of workshops 22.05.19">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>a) what purpose does annotation serve (in your case)?
</p><p>Annotations in the form of accumulative traces of reader's interactions with texts underline the sociability of libraries - not just collections of knowledge but discourse around them; [How?] dispels notions of the singular, authority and property in favour of collectivity and plurality and highlights the social construction of knowledge
</p><p>b) what does it do for the reader (in your case)?
</p><p>Simon: Annotation affirms the idea that a text is part of a discourse - not in isolation from other texts/writers - and that knowledge is socially constructed. Annotation is a way for a reader to become visible to others and part of this discourse. It avoids authorship, and singular notions of knowledge production.
</p><p>c) what does it do for the annotators (in your case)?
</p><p>Simon: In my case, the annotators are the readers. Annotation exists as an action in response to the text, or to existing annotations. It can be idiosyncratic, and readable only to the annotator, therefore revealing (some) elements of how that particular person interprets the text. But, more often there are unspoken conventions to the types of annotations typically used, e.g. underlining, highlighting, circling, asterisks, dots etc. These can be defined by the technical limitations of the technology used, or linguistic (and typographic) conventions. This commonality begins to create a shared vocabulary through which readers read each other's responses to texts (here "read" can mean interpret, or access, like a file).
</p><p>YOUR PROJECT<br>
<b>look at your project descriptions and use them as a basis to make a plan</b>
</p>
<ol><li>define your aim [see above]</li>
<li>what needs to be done?</li>
<li>make a timetable</li>
<li>what needs to be developed further?</li>
<li>who can help you? and how?</li>
<li>consider how you can organise your upcoming methods sessions (5 &amp; 19 June) so they can help you realise your aim.</li></ol>
<p>General question: what is the interface to your part the project. OR How do you invite people in to your project?
</p>
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<script src="tasks.js"></script>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="02.12.19_The_nomadic_physical_bootleg_library">02.12.19 The nomadic physical bootleg library</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Physical_bootleg_library_nomadic_box&amp;action=edit&amp;section=1" title="Edit section: 02.12.19 The nomadic physical bootleg library">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The physical bootleg library is a collection of books, mostly made at PZI by myself and other students, or donated by visitors to PZI. The books are kept in a repurposed champagne crate, usually stored on a shelf in the Lens-Based studio. The only condition for borrowing books is that they are returned at some point. The dimensions of the box introduce certain constraints on the size and quantity of books contained within. The box is portable, allowing it to be placed in many locations:
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/ba/BL_A01.jpg/90px-BL_A01.jpg" srcset="/mw-mediadesign/images/thumb/b/ba/BL_A01.jpg/135px-BL_A01.jpg 1.5x, /mw-mediadesign/images/thumb/b/ba/BL_A01.jpg/180px-BL_A01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>In the LB studio (its usual location)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A02.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/4b/BL_A02.jpg/90px-BL_A02.jpg" srcset="/mw-mediadesign/images/thumb/4/4b/BL_A02.jpg/135px-BL_A02.jpg 1.5x, /mw-mediadesign/images/thumb/4/4b/BL_A02.jpg/180px-BL_A02.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On top of the water fountain on Level 4
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A03.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/73/BL_A03.jpg/90px-BL_A03.jpg" srcset="/mw-mediadesign/images/thumb/7/73/BL_A03.jpg/135px-BL_A03.jpg 1.5x, /mw-mediadesign/images/thumb/7/73/BL_A03.jpg/180px-BL_A03.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>In the kitchen on Level 4
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/0a/BL_A04.jpg/90px-BL_A04.jpg" srcset="/mw-mediadesign/images/thumb/0/0a/BL_A04.jpg/135px-BL_A04.jpg 1.5x, /mw-mediadesign/images/thumb/0/0a/BL_A04.jpg/180px-BL_A04.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>By the printer on Level 2
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A05.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/bf/BL_A05.jpg/90px-BL_A05.jpg" srcset="/mw-mediadesign/images/thumb/b/bf/BL_A05.jpg/135px-BL_A05.jpg 1.5x, /mw-mediadesign/images/thumb/b/bf/BL_A05.jpg/180px-BL_A05.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On top of the letterboxes on Level 2
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A06.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/0f/BL_A06.jpg/90px-BL_A06.jpg" srcset="/mw-mediadesign/images/thumb/0/0f/BL_A06.jpg/135px-BL_A06.jpg 1.5x, /mw-mediadesign/images/thumb/0/0f/BL_A06.jpg/180px-BL_A06.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>At the desk in the Research Station where you borrow/return books
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A07.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/39/BL_A07.jpg/90px-BL_A07.jpg" srcset="/mw-mediadesign/images/thumb/3/39/BL_A07.jpg/135px-BL_A07.jpg 1.5x, /mw-mediadesign/images/thumb/3/39/BL_A07.jpg/180px-BL_A07.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On a bookshelf in the Research Station
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A08.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/92/BL_A08.jpg/90px-BL_A08.jpg" srcset="/mw-mediadesign/images/thumb/9/92/BL_A08.jpg/135px-BL_A08.jpg 1.5x, /mw-mediadesign/images/thumb/9/92/BL_A08.jpg/180px-BL_A08.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On a table in the main entrance to WdKA Wijnhaven building
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A09.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/5/5a/BL_A09.jpg/90px-BL_A09.jpg" srcset="/mw-mediadesign/images/thumb/5/5a/BL_A09.jpg/135px-BL_A09.jpg 1.5x, /mw-mediadesign/images/thumb/5/5a/BL_A09.jpg/180px-BL_A09.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On top of some signage in the WdKA Wijnhaven building
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A10.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/ad/BL_A10.jpg/90px-BL_A10.jpg" srcset="/mw-mediadesign/images/thumb/a/ad/BL_A10.jpg/135px-BL_A10.jpg 1.5x, /mw-mediadesign/images/thumb/a/ad/BL_A10.jpg/180px-BL_A10.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On a table in the De Willem cafeteria
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A11.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/86/BL_A11.jpg/90px-BL_A11.jpg" srcset="/mw-mediadesign/images/thumb/8/86/BL_A11.jpg/135px-BL_A11.jpg 1.5x, /mw-mediadesign/images/thumb/8/86/BL_A11.jpg/180px-BL_A11.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>In an elevator in the WdKA Wijnhaven building
</p>
</div>
</div></li>
</ul>
<p>The portability of the box means that it could be an interesting container &amp; receptacle for libraries that travel - I'm quite interested in the possibility of using the box to transport and store both printed and digital books, especially in temporary library situations (on hotspotted Raspberry Pi for example) that could be used in worksessions at various locations.
</p>
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<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="producing_texts">producing texts</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Producing_texts&amp;action=edit&amp;section=1" title="Edit section: producing texts">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Annotating.html" title="User:Simon/Annotating">annotating</a>, <a href="Glossing.html" title="User:Simon/Glossing">glossing</a>, <a href="Understanding_texts.html" title="User:Simon/Understanding texts">understanding texts</a>
</p><p>Historically, the word “text” comes from the Proto-Indo-European word <i>teks-</i>, meaning “to weave, to fabricate, to make; make wicker or wattle framework”. The written word is a text, and so is a conversation, both represent the exchange of shared concepts woven into the fabric of communication. There is also an exchange between written and spoken texts; discussions which influence writing, and writing which sparks conversations.
</p><p>The digital library creates texts through its catalogue, where the metadata for each entry comprises a paratext<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup> that not only adds meaning to the core text, but also influences how a reader will discover it in the collection by fields such as <i>tags</i> and <i>description</i>. Metadata which is downloaded and entered automatically comes from online commercial sources has a particular promotional tone. Those who write metadata should do so subjectively; descriptions based on personal significance represent the text and the readers, equivalently.
</p><p>The library is sustained through producing texts.
</p><p>Image: Papyrus, an early writing surface made from woven reeds
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Genette, G. (1997) <i>Paratexts: thresholds of interpretation</i>. Literature, culture, theory 20. Cambridge ; New York, NY, USA: Cambridge University Press.</span>
</li>
</ol></div>
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<script src="tasks.js"></script>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Woven_papyrus_sheet.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/d/d2/Woven_papyrus_sheet.jpeg/150px-Woven_papyrus_sheet.jpeg" srcset="/mw-mediadesign/images/thumb/d/d2/Woven_papyrus_sheet.jpeg/225px-Woven_papyrus_sheet.jpeg 1.5x, /mw-mediadesign/images/thumb/d/d2/Woven_papyrus_sheet.jpeg/300px-Woven_papyrus_sheet.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Woven_papyrus_sheet.jpeg.html" title="Enlarge"></a></div>Papyrus, an early writing surface made from woven reeds</div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="Outlining_content_of_workshops_22.05.19">Outlining content of workshops 22.05.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,Writing_%26_Research_Methodologies_SI9/Outlining_content_of_workshops_22.05.19&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>a) what purpose does annotation serve (in your case)?
</p><p>Annotations in the form of accumulative traces of reader's interactions with texts underline the sociability of libraries - not just collections of knowledge but discourse around them; [How?] dispels notions of the singular, authority and property in favour of collectivity and plurality and highlights the social construction of knowledge
</p><p>b) what does it do for the reader (in your case)?
</p><p>Simon: Annotation affirms the idea that a text is part of a discourse - not in isolation from other texts/writers - and that knowledge is socially constructed. Annotation is a way for a reader to become visible to others and part of this discourse. It avoids authorship, and singular notions of knowledge production.
</p><p>c) what does it do for the annotators (in your case)?
</p><p>Simon: In my case, the annotators are the readers. Annotation exists as an action in response to the text, or to existing annotations. It can be idiosyncratic, and readable only to the annotator, therefore revealing (some) elements of how that particular person interprets the text. But, more often there are unspoken conventions to the types of annotations typically used, e.g. underlining, highlighting, circling, asterisks, dots etc. These can be defined by the technical limitations of the technology used, or linguistic (and typographic) conventions. This commonality begins to create a shared vocabulary through which readers read each other's responses to texts (here "read" can mean interpret, or access, like a file).
</p><p>YOUR PROJECT<br>
<b>look at your project descriptions and use them as a basis to make a plan</b>
</p>
<ol><li>define your aim [see above]</li>
<li>what needs to be done?</li>
<li>make a timetable</li>
<li>what needs to be developed further?</li>
<li>who can help you? and how?</li>
<li>consider how you can organise your upcoming methods sessions (5 &amp; 19 June) so they can help you realise your aim.</li></ol>
<p>General question: what is the interface to your part the project. OR How do you invite people in to your project?
</p>
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<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="professionalising">professionalising</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Professionalising&amp;action=edit&amp;section=1" title="Edit section: professionalising">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Administrating.html" title="User:Simon/Administrating">administrating</a>, <a href="Making_public.html" title="User:Simon/Making public">making public</a>
</p><p>In order to give an appraisal of the necessity for professionalism within librarianship, first the concept of “professional” must be unpacked. Professional in what sense? The most generic definition of being able to profess a skill is the first that comes to mind. This seems hardly a thing to argue against, as the particular skills of professional librarians are certainly called for in most cases. If we take another generic assumption that the profession of a librarian revolves around the mores of making information accessible, then this invites questions about associations between moral behaviour and professionalism. All this aside, what I can say is that professional librarians are not seriously threatened by the amateur librarians, operating from a distance. The threat comes from much closer for them; budget cuts that cripple and close their libraries, policies driven by the encyclopedic expectation that digital volumes of data inspire.<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>
</p><p>Image: A makeshift library checkout card, usually placed in a pocket in the back of a book
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Murray, J.H. (1998) <i>Hamlet on the holodeck: the future of narrative in cyberspace</i>. Cambridge, Mass: MIT Press.</span>
</li>
</ol></div>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Makeshift_library_checkout_card.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/b/b9/Makeshift_library_checkout_card.jpeg/150px-Makeshift_library_checkout_card.jpeg" srcset="/mw-mediadesign/images/thumb/b/b9/Makeshift_library_checkout_card.jpeg/225px-Makeshift_library_checkout_card.jpeg 1.5x, /mw-mediadesign/images/thumb/b/b9/Makeshift_library_checkout_card.jpeg/300px-Makeshift_library_checkout_card.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Makeshift_library_checkout_card.jpeg.html" title="Enlarge"></a></div>A makeshift library checkout card, usually placed in a pocket in the back of a book</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#09.05.19_at_the_rietveld_library"><span class="tocnumber">1</span> <span class="toctext">09.05.19 at the rietveld library</span></a>
<ul>
<li class="toclevel-2"><a href="#cataloguing_system"><span class="tocnumber">1.1</span> <span class="toctext">cataloguing system</span></a></li>
<li class="toclevel-2"><a href="#republishing_as_EPUBS"><span class="tocnumber">1.2</span> <span class="toctext">republishing as EPUBS</span></a></li>
<li class="toclevel-2"><a href="#splotr_.28semi-permanent_library_of_the_rietveld"><span class="tocnumber">1.3</span> <span class="toctext">splotr (semi-permanent library of the rietveld</span></a></li>
</ul>
</li>
</ul>
</div>
<h2><span class="mw-headline" id="09.05.19_at_the_rietveld_library">09.05.19 at the rietveld library</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Rietveld_Library&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Session at the Rietveld Library, with Eva Weinmayr, An Mertens, Martino Morandi, Anita Burato, Lieven Lahaye, &amp; XPUB1.
Central to the session was a presentation on the Rietveld's cataloguing system, which employs open-source software and also a semi-permanent library.
</p><p>PAD: <a class="external free" href="https://pad.constantvzw.org/p/rietveld_library" rel="nofollow">https://pad.constantvzw.org/p/rietveld_library</a>
</p>
<h3><span class="mw-headline" id="cataloguing_system">cataloguing system</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Rietveld_Library&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The Rietveld Library uses <a class="external text" href="https://evergreen-ils.org/" rel="nofollow">Evergreen</a> open-source software to catalogue its books. They have developed it with the aim of making the infrastructure of the library cataloguing system more visible. This in line with workshops with students to address the fact that students use both analog and digital books, as well as many files, docs etc that are usually disorganised.
</p>
<h3><span class="mw-headline" id="republishing_as_EPUBS">republishing as EPUBS</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Rietveld_Library&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The EPUB format offers a lot of potential in its structure - composed of HTML files, and stored in folders according to chapter - offers a lot of potential in its structure to "bring books together" or to make "a book of a book". Based on Ivan Illich's <a class="external text" href="https://co-munity.net/system/files/ILLICH%201973_tools_for_convivality_1.pdf" rel="nofollow">Tools for Conviviality</a>, Rietveld librarians have republished books by scanning, OCR processing and converting to EPUB.
</p>
<h3><span id="splotr_(semi-permanent_library_of_the_rietveld"></span><span class="mw-headline" id="splotr_.28semi-permanent_library_of_the_rietveld">splotr (semi-permanent library of the rietveld</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Workshop_Rietveld_Library&amp;action=edit&amp;section=T-4" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p><a class="external text" href="http://splotr.rietveldacademie.nl/" rel="nofollow">splotr</a> (Calibre server running on a Raspberry Pi) is a small repository that is connected to the main catalogue of the library. This allows students to gather digital files in a device that is accessible over a local network, and associate them with files and books in the more stable, "permanent" catalogue.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span id="Researching_aaaaarg.fail,_ubuweb_&amp;_Project_Gutenberg_with_Tancredi:"></span><span class="mw-headline" id="Researching_aaaaarg.fail.2C_ubuweb_.26_Project_Gutenberg_with_Tancredi:">Researching aaaaarg.fail, ubuweb &amp; Project Gutenberg with Tancredi:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Profiling_shadow_libraries&amp;action=edit&amp;section=1" title="Edit section: Researching aaaaarg.fail, ubuweb &amp; Project Gutenberg with Tancredi:">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<pre> AAAAARG.FAIL <a class="external free" href="https://aaaaarg.fail/" rel="nofollow">https://aaaaarg.fail/</a>
</pre>
<p><b>Content: What is in the library?</b>
How much? PDFs - a lot! (hard to see how many, but 26,000+ and counting...) theory and critical theory
</p><p><b>Users: Who is using / uploading / downloading?</b>
Used by researchers, academics, students, people interested in theory who can become members by invitation. Members of the site can upload and download, and request new titles through a messageboard.
</p><p><b>Catalog: What is the system? How is it organised? How about its ontology?</b>
Indexed, by "catalog" (listing by author name), "collection" (listing by topic), and also by "requests" (listing by new requests, most requested, unrequested, and everything - also with RSS feed)
</p><p><b>Infrastructure: What are technical specs? Software? Hardware?&lt;</b>
Probably runs on self-hosted server - you access it through a browser
</p><p><b>Politics: What is the attitude?</b>
Kind of like a private club - invite only
</p><p><b>Economy: Sponsors? Donation? Advertising?&lt;</b>
No advertising on site - no information about sponsors or donations on site either...
</p><p><b>Law: How does it interface?&lt;</b>
Brazen defiance
</p>
<pre> UBUWEB <a class="external free" href="http://www.ubu.com/" rel="nofollow">http://www.ubu.com/</a> info &gt;&gt; <a class="external free" href="http://www.ubu.com/resources/" rel="nofollow">http://www.ubu.com/resources/</a> p.66 <a class="external free" href="https://bit.ly/2HN5IST" rel="nofollow">https://bit.ly/2HN5IST</a>
</pre>
<p><b>Content : What is in the library? How much?</b>
(PDF, VIDEO, AUDIO...) art, media, theater... in the contest of avant-gard in 2011 over 7,500 artists and over 2500 full-length avant-garde films and videos
Users: Who is using / uploading / downloading? editors + volunteers + users + artists
</p><p><b>Catalog: What is the system? How is it organised? How about its ontology?</b>
each section has an editor who brings to the site their area of expertise / structured as a research project, index with descriptions
</p><p><b>Infrastructure: What are technical specs? Software? Hardware?</b>
servers donated by several universities as a means of study
</p><p><b>Politics: What is the attitude?</b>
library which is ever-expanding in uncanny—and often uncategorizable—directions / no logo,advertise,donation / anti-institutional / Act as a museum
alternative by invoking a gift economy of plentitude with a strong emphasis on global education
Economy: Sponsors? Donation? Advertising? volunteering / no advertising / free download / autonomous no sponsors
Law: How does it interface? no financial interest but educational approach. VS copyright
</p>
<pre> PROJECT GUTENBERG <a class="external free" href="https://www.gutenberg.org/" rel="nofollow">https://www.gutenberg.org/</a>
</pre>
<p><b>Content: What is in the library? How much?</b>
Project Gutenberg started in 1971. Texts in the library are those that have entered the public domain after exceeding the statute of limitations (in 1971 it was 14 years after death of the author, then 28, now 50 years). The website offers 58,000+ free "eBooks" (ePUB, Kindle, HTML and plain text formats). The collection is described as being comprised of three core types of text, "light literature" (e.g. Alice In Wonderland), "heavy literature" (e.g. Shakespeare), and "references" (e.g. encyclopedias)
</p><p><b>Users: Who is using / uploading / downloading?</b>
Anyone can download without registering an account. Only the site admin can upload.
</p><p><b>Catalog: What is the system? How is it organised? How about its ontology?</b>
Indexed alphabetically by author, title, language, "special categories" and recent uploads. Also includes a search function based on U.S. Library of Congress Subject Headings (LCSH), and Yahoo and Google search (using metadata)
</p><p><b>Infrastructure: What are technical specs? Software? Hardware?</b>
Runs off a wiki. Hosted by ibiblio.org ("one of the largest free information databases online"). Accessed through the browser.
</p><p><b>Politics: What is the attitude? Based on democratic principle of shared knowledge.</b>
Operates (mostly) within the law. Heavily affiliated, with sister organisations in many countries, as well as partnerships with many other libraries and organisations that provide software to help read eBooks.
</p><p><b>Economy: Sponsors? Donation? Advertising?</b>
Project Gutenberg began with a serendipitous grant to Michael Hart (founder of Project Gutenberg) of an operator's account with $100,000,000 of computer time in it in 1971. Now, donations are accepted, run by volunteers (also makes calls for volunteer help - "digitizing, proofreading and formatting, recording audio books, or reporting errors").
</p><p><b>Law: How does it interface?</b>
(mostly) Legally, as most texts are within the public domain.
</p>
<h2><span id="Writing_task_with_Artemis_&amp;_Bo"></span><span class="mw-headline" id="Writing_task_with_Artemis_.26_Bo">Writing task with Artemis &amp; Bo</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Profiling_shadow_libraries&amp;action=edit&amp;section=2" title="Edit section: Writing task with Artemis &amp; Bo">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><br>
A) DESCRIPTION: an abstract of what each shadow library is [Steve suggests: make this 300 words or so]<br>
B) QUESTIONS: what type of questions does it raise? (e.g. what type of assumptions are implicit in its ontology?)
</p><p><br>
</p>
<pre> PROJECT GUTENBERG
</pre>
<p>Abstract — Project Gutenberg, initiated in 1971 by Michael Hart, is the world's oldest digital library of "eBooks", that is, books that are available electronically as PDFs, HTML, ePUB and plain text format. The collection has more recently expanded to include audio books, and texts in a variety of languages other than English. On the wiki-based website www.gutenberg.org, more than 58,000 eBooks are indexed by author, title, language and "recently posted". The search function allows users to look for titles by US Library of Congress search terms, as well as by going through Google and Yahoo metadata. The majority of these books are within the public domain and therefore free from copyright restrictions, although undoubtedly there are some that are orphaned by subsequent changes to US copyright terms (which in most cases of published texts, is now 70 years after the death of the author). Due to this, as well as differences in copyright law internationally, the complete legal legitimacy of its collection is in question, despite careful attempts to comply with US copyright law. It is important to note that Project Gutenberg is a project, rather than a single library, with sister affiliations in many countries (Project Gutenberg Australia, Project Gutenberg Europe among many others). This, alongside its non-profit stance (Project Gutenberg accepts donations, and also calls for volunteer help with proofreading and digitization of books, as well as recording audio books) lends moral legitimacy to its online distribution of texts.
</p><p>Questions —
Looks like a classic collection; the interface is classic; based on a wiki; speaks of legitimacy
</p><p><b>Who is responsible and what are they responsible for?</b>This is all the stuff that's in the public domain...<br>
<b>What could be the motivation to make such a library?</b><br>
<b>What values does it communicate?</b> Good. Air of legitimacy; “library of congress search terms” and google to collect information. On this way they seek legitimacy from the on-line and off-line agents.<br>
<b>What do they mean 'a project'? (is this an agent of legitimacy?)</b> Involves many people; projects into the future; mutable (not set in stone)<br>
<b>What is it filtered out and what are the political implications of that?</b><br>
<b>How does the codex form limit what is available?</b><br>
<b>Who does the library serve?</b> user friendly interface; Also limitations of content, classic collection<br>
<b>Who is responsible and what are they responsible for?</b>
</p><p><br>
</p>
<pre> AAAAARG.FAIL
</pre>
<p>Abstract — Out of the necessity for a library, for artist Sean Dockray's LA-based educational institution called "The Public School", aaaaarg.fail (formerly aaarg.org, then aaaarg.org) is a website that hosts a collection of mostly theory and critical theory texts, and an online forum for members. Access to the collection comes from registering an account (you must be invited by a member first). Members can upload and download texts, as well as request titles via the forum. The changes in the domain name for the library come from repeated copyright infringement allegations from publishers of works that have been made accessible on the site, including the Australian publisher Macmillan. The publisher hired Mark Taylor, a former music industry executive, who was instrumental in bringing forth a cease and desist order against aaarg.org. Dockray later called this "another case where university students are conceived of as consumers, as carriers of debt for everything from degrees to consumer electronics to intellectual property" (<a class="external free" href="http://unprojects.org.au/magazine/issues/issue-4-2/the-future-and-the-public-school/" rel="nofollow">http://unprojects.org.au/magazine/issues/issue-4-2/the-future-and-the-public-school/</a> ).
</p><p>Questions —
</p><p><b>Who does the library serve? (who are the customers?)</b> Intellectual snobs. You have to be invited<br>
<b>Forum? What affordance does that give?</b>Sociability? There is a set of manners<br>
The forum produces a text (a form of collective annotation); a discussion on the texts in the library. Because you can make requests it is much more personal. You can also select by "most requested", which means that a hierarchy of information is produced within the forum.(by the discussion of the members)<br>
</p><p><b>How is it different if you can participate in discussing the content of a library, than just be a viewer-receiver of the content?</b><br>
<b>Who is responsible and what are they responsible for?</b><br>
<b>How is it different to be an exclusive member in order to have access to the content of a library, compared to have no restrictions in accessing it?</b><br>
<b>How does the collection (and discourse around it) represent the members of the library?</b><br>
<b>If the library is based on user requests, it's a mirror of the members interests/social status/credentials/ideologies/clout</b><br>
<b>Does this platform require a certain degree of library literacy and research skills?</b><br>
<b>Does the background of the librarians affect the content presented in a library?</b><br>
</p><p><br>
</p>
<pre> UBUWEB.COM
</pre>
<p>Abstract — UbuWeb.com is a large web-based, free, non-commercial resource for avant-garde poetry, music, film, literature and more, founded in 1996 by poet Kenneth Goldsmith. It offers visual, concrete and sound poetry, expanding to include film and sound art mp3 archives. The site's architecture limits retrieval to keyword searching and browsing by media type and artist/project name. In addition, sustainability is a concern for this website as it was never intended to be a permanent archive. Still, there is no comparable commercial source for the content on UbuWeb so it is valuable as a resource for libraries to point users toward so long as librarians are aware of its limitations. It is a library which is ever-expanding in uncanny—and often uncategorizable—directions. Each section has an editor who brings to the site their area of expertise. UbuWeb is not n to any academic institution, instead relying on alliances of interest and benefiting from bandwidth donations from its partnerships with GreyLodge, WFMU, PennSound, The Electronic Poetry Center, The Center for Literary Computing, and ArtMob. UbuWeb was founded in response to the marginal distribution of crucial avant-garde material. It remains non-commercial and operates on a gift economy. UbuWeb ensures educational open access to out-of-print works that find a second life through digital art reprint while also representing the work of contemporaries. It addresses problems in the distribution of and access to intellectual materials.
</p><p>Questions —
</p><p><b>Who does the library serve?</b><br>
<b>What could be the motivation to make such a library?</b><br>
<b>What values does it communicate?</b><br>
<b>How can the material available in a library shape the discourse around a particular field?</b>
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="proprietorising">proprietorising</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Proprietorising&amp;action=edit&amp;section=1" title="Edit section: proprietorising">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Keeping_private.html" title="User:Simon/Keeping private">keeping private</a>
</p><p>Information, in the form of descriptions that abstract themselves from the flux of common experience, is owned by private individuals or companies. Information is property, under the law. But laws should reflect the interests of the public. The “public interest” for individuals to profit from their (and other’s) labour competes against another more public, public interest, one which sees information as common property, or one that rejects any notion of information having proprietary substance. The word “information” is related to both the Latin verb <i>informare</i> meaning “‘to shape’, ‘to form an idea of’, or ‘to describe’, and its cognates from the substantive “forma”, which was used meaning ‘character’, ‘form’, ‘nature’, ‘kind’, and ‘manner’”<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>.
</p><p>Description seems to be the primary function of this word “information”, giving shape to experience; the very stuff of language and communication. Information has a social interest. It follows then that the most beneficial use of information would be one that serves the social good. The collective, social act of sharing information should not be trumped by individual financial interests. Never trust a corporation to do a librarian’s job.
</p><p>Image: Headquarters of The Internet Archive, San Francisco, USA
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Hobart, M.E. and Schiffman, Z.S. (1998) <i>Information ages: literacy, numeracy, and the computer revolution</i>. Baltimore: Johns Hopkins University Press.</span>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Headquarters_of_the_Internet_Archive.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/e/e5/Headquarters_of_the_Internet_Archive.jpeg/150px-Headquarters_of_the_Internet_Archive.jpeg" srcset="/mw-mediadesign/images/thumb/e/e5/Headquarters_of_the_Internet_Archive.jpeg/225px-Headquarters_of_the_Internet_Archive.jpeg 1.5x, /mw-mediadesign/images/thumb/e/e5/Headquarters_of_the_Internet_Archive.jpeg/300px-Headquarters_of_the_Internet_Archive.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Headquarters_of_the_Internet_Archive.jpeg.html" title="Enlarge"></a></div>Headquarters of The Internet Archive, San Francisco, USA</div></div></div>
<h2><span id="Koninglijke_Bibliotheek_(Royal_Library),_The_Hague"></span><span class="mw-headline" id="Koninglijke_Bibliotheek_.28Royal_Library.29.2C_The_Hague">Koninglijke Bibliotheek (Royal Library), The Hague</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Notes_on_Libraries&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>On a Monday morning I took a train to the Hague, where the Koninglijke Bibliotheek, Nationale bibliotheek van Nederland, is located. I was spurred on to visit after looking for a book that Steve recommended, which apparently was available in the collection of the Royal Library when I looked through Worldcat.
</p><p>On arrival at the Royal Library, I went straight to the reception. I asked "Is this the Royal Library?" and the receptionist replied "It's up there", pointing upstairs, "But you need a pass to enter".
</p><p>"Ok, can I get a pass there?"
"Yes, but you have to put your coat and bag downstairs in a locker".
"Ok, thanks".
</p><p>It wasn't a very warm reception. After locking my things away, I went upstairs to the front desk of the library, where I met a more helpful staff member, who patiently explained to me that I needed to register online at a computer "over there", and that I also needed a form of ID (no problem), and something with my address on it (small problem as I didn't have anything). Most of the collection is held in stacks and must be reserved to be read. There were a lot of rules to be observed, including a reading room in which computers were not allowed (the click-clacking of typing was an issue), and although the staff member could reserve the books I needed, I couldn't take them home until my address had been verified.
</p><p>He explained:
</p><p>"If you reserve before 8:30 they'll be there at 10:00, if you reserve before 10:30 they'll be there at 1:00. And if you reserve before 1:30, they'll be there at 3:00."
</p><p>Cool. I registered online, then paid an annual membership fee (usually 15 euros, but as I am a student it was 7.50). It seemed quite strange that a national library charged for membership, and I was curious as to why.
</p><p>I left, and returned the next day to collect the two books I had reserved. At the front desk was a different staff member, who carefully explained where I needed to go to pick up my books. When I got to the collection desk, a rather flustered librarian told me that the system was down. She had my books on a shelf, but had to check to see if I could take them home or not (most of the collection can not be taken outside of the library). Thankfully she improvised an old-fashioned solution by writing down my membership details and the call number of each book. It turned out that I could take the books home. I left as fast as I could, keen to get back to school where I could scan the books and liberate them from the Royal Library.
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#IFL_introductions"><span class="tocnumber">1</span> <span class="toctext">IFL introductions</span></a></li>
<li class="toclevel-1"><a href="#Annotations_08.05.19"><span class="tocnumber">2</span> <span class="toctext">Annotations 08.05.19</span></a></li>
<li class="toclevel-1"><a href="#Outlining_content_of_workshops_22.05.19"><span class="tocnumber">3</span> <span class="toctext">Outlining content of workshops 22.05.19</span></a>
<ul>
<li class="toclevel-2 tocsection-2"><a href="#first_workshop_plan_-_a_notation_system"><span class="tocnumber">3.1</span> <span class="toctext">first workshop plan - a notation system</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-3"><a href="#Marginal_Conversations_workshop_plan"><span class="tocnumber">4</span> <span class="toctext">Marginal Conversations workshop plan</span></a>
<ul>
<li class="toclevel-2 tocsection-4"><a href="#INTRODUCTION_.285min.29"><span class="tocnumber">4.1</span> <span class="toctext">INTRODUCTION (5min)</span></a></li>
<li class="toclevel-2 tocsection-5"><a href="#STEP_1:_Reading.2FAnnotating_.2815min.29"><span class="tocnumber">4.2</span> <span class="toctext">STEP 1: Reading/Annotating (15min)</span></a></li>
<li class="toclevel-2 tocsection-6"><a href="#STEP_2:_Heatmap_and_discussion_through_the_annotations_.2820min.29"><span class="tocnumber">4.3</span> <span class="toctext">STEP 2: Heatmap and discussion through the annotations (20min)</span></a></li>
<li class="toclevel-2 tocsection-7"><a href="#STEP_3:_Performative_reading_.2820min.29"><span class="tocnumber">4.4</span> <span class="toctext">STEP 3: Performative reading (20min)</span></a></li>
<li class="toclevel-2 tocsection-8"><a href="#OUTPUT:"><span class="tocnumber">4.5</span> <span class="toctext">OUTPUT:</span></a></li>
<li class="toclevel-2 tocsection-9"><a href="#POST-WORKSHOP_MATERIAL:"><span class="tocnumber">4.6</span> <span class="toctext">POST-WORKSHOP MATERIAL:</span></a>
<ul>
<li class="toclevel-3 tocsection-10"><a href="#THINGS_TO_DISCUSS_WITH_FEMKE:"><span class="tocnumber">4.6.1</span> <span class="toctext">THINGS TO DISCUSS WITH FEMKE:</span></a></li>
<li class="toclevel-3 tocsection-11"><a href="#FEMKE.27S_COMMENTS:"><span class="tocnumber">4.6.2</span> <span class="toctext">FEMKE'S COMMENTS:</span></a></li>
<li class="toclevel-3 tocsection-12"><a href="#TO_DO:"><span class="tocnumber">4.6.3</span> <span class="toctext">TO DO:</span></a></li>
</ul>
</li>
</ul>
</li>
<li class="toclevel-1 tocsection-13"><a href="#Publication:_The_Library_Is_Open"><span class="tocnumber">5</span> <span class="toctext">Publication: The Library Is Open</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="IFL_introductions">IFL introductions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=1" title="Edit section: IFL introductions">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p><a href="Profiling_shadow_libraries.html" title="User:Simon/Profiling shadow libraries">Profiling shadow libraries: aaaaarg.fail, ubuweb &amp; Project Gutenberg</a>
</p>
<h2><span class="mw-headline" id="Annotations_08.05.19">Annotations 08.05.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,Writing_%26_Research_Methodologies_SI9/Annotations_08.05.19&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Main question: How can annotation be useful to us, and a third party?
</p><p>Possible ways
</p><p>Keep text and annotations together
</p>
<ul><li>scan and overlay transparencies (more like a graphical representation but perhaps not very readable)</li>
<li>write, re-write, cut and paste the annotations in a bigger paper all together</li>
<li>use the annotation bot (a digital tool)(it would be cool if you could underline, etc - yes! including graphic elements)</li>
<li>if digital, create the possibility to turn on and off the annotations to keep the original text</li>
<li>bind the pages into books and make a bootleg library with them</li></ul>
<p>Separate text and annotations (deconstruction / structure analysis)
</p>
<ul><li>only underlined text (in many ways: lines, circles, waves...)</li>
<li>list of questions, tags, notes + composition and mapping of them (different mapping techniques)</li>
<li>historical timeline</li>
<li>only drawings?</li>
<li>free graphical interpretation</li></ul>
<p>Computer driven annotation
</p>
<ul><li>scrape the text (words processing)</li>
<li>pattern recognition</li>
<li>delete all articles and implicit elements</li></ul>
<p>Combine the above possibilities
</p>
<ul><li>overlay of analog annotations to represent "heat patterns" (parts of the text with lots of/little engagement), as well as a digital version that is more legible</li></ul>
<p>HOW DO I KNOW WHAT I AM READING? We are discussing form how do we talk about content?<br>
How do you make the content readable for others?<br>
How do you communicate what you're interpreting?<br>
</p>
<h2><span class="mw-headline" id="Outlining_content_of_workshops_22.05.19">Outlining content of workshops 22.05.19</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,Writing_%26_Research_Methodologies_SI9/Outlining_content_of_workshops_22.05.19&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>a) what purpose does annotation serve (in your case)?
</p><p>Annotations in the form of accumulative traces of reader's interactions with texts underline the sociability of libraries - not just collections of knowledge but discourse around them; [How?] dispels notions of the singular, authority and property in favour of collectivity and plurality and highlights the social construction of knowledge
</p><p>b) what does it do for the reader (in your case)?
</p><p>Simon: Annotation affirms the idea that a text is part of a discourse - not in isolation from other texts/writers - and that knowledge is socially constructed. Annotation is a way for a reader to become visible to others and part of this discourse. It avoids authorship, and singular notions of knowledge production.
</p><p>c) what does it do for the annotators (in your case)?
</p><p>Simon: In my case, the annotators are the readers. Annotation exists as an action in response to the text, or to existing annotations. It can be idiosyncratic, and readable only to the annotator, therefore revealing (some) elements of how that particular person interprets the text. But, more often there are unspoken conventions to the types of annotations typically used, e.g. underlining, highlighting, circling, asterisks, dots etc. These can be defined by the technical limitations of the technology used, or linguistic (and typographic) conventions. This commonality begins to create a shared vocabulary through which readers read each other's responses to texts (here "read" can mean interpret, or access, like a file).
</p><p>YOUR PROJECT<br>
<b>look at your project descriptions and use them as a basis to make a plan</b>
</p>
<ol><li>define your aim [see above]</li>
<li>what needs to be done?</li>
<li>make a timetable</li>
<li>what needs to be developed further?</li>
<li>who can help you? and how?</li>
<li>consider how you can organise your upcoming methods sessions (5 &amp; 19 June) so they can help you realise your aim.</li></ol>
<p>General question: what is the interface to your part the project. OR How do you invite people in to your project?
</p>
<h3><span class="mw-headline" id="first_workshop_plan_-_a_notation_system">first workshop plan - a notation system</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=2" title="Edit section: first workshop plan - a notation system">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p><b>"do you read me?" / "a notation system"</b>
</p><p>- identifying and naming (typo)graphical annotation methods, transcribe them to various media (digital and analog), translating/transcribing each other's systems
</p><p>- what happens when an action (e.g. writing, drawing) becomes a thing (e.g. a signature, a direction), or when a thing (e.g. a word/annotation) becomes an action (e.g. a performance)?
</p><p>- can accumulated traces of readership allow users of pirate libraries to be visible but maintain anonymity, therefore consolidating the argument for legitimacy?
</p><p><br>
Practical ideas for workshop(s):
</p><p>analog (printed) texts:
</p><p>transcribing:
</p><p>- identify and examine various systems of notation (music manuscripts, stage directions from a play/film, choreographic score for dance)
</p><p>- transcribe these between different media (e.g. stage directions for a PDF, choreographic score for a printout of an essay)
</p><p><br>
translating:
</p><p>- identify various analog methods of annotating texts (using pens etc.), and name them
</p><p>- use one (or more) systems to annotate a text
</p><p><br>
performing:
</p><p>- collective performance of texts with annotations - how do readers read/perform these annotations?
</p><p><br>
digital texts:
</p><p>digitising:
</p><p>- choose an annotated page from a book (if at Leeszaal), scan it and use Tesseract to OCR the page
</p><p>- explore the output html of the page, and see what happens to the annotations
</p><p><br>
retaining:
</p><p>- using provided, annotated PDFs (e.g. Borges - Garden of Forking Paths, Le Guin - Carrier Bag Theory of Fiction) - see how annotations can be retained, accumulated
</p><p><br>
Tool(s)? OCR (Tesseract), pens, paper, computers, scanner(s), printers
</p><p>aim?
</p><p>to establish lexicon(s) of graphic annotation, ways to identify and define these, and to translate them (e.g. from analogue to digital, from writer to reader)
</p><p>new knowledge?
</p><p>(possibly) using tools (such as OCR) to establish interpretations of graphic annotations, ways to retain these traces (or translations of them) when texts are digitised, (i'd reallly like to develop some tools for this), new/different semantic understandings of annotations shared by participants
</p><p>role of annotation?
</p><p>to discover what is common or diverse in our experience of reading (and annotating) texts, and also to examine the sociability around these texts - annotation as a way of comprehending not just texts but also those who read them
</p>
<h2><span class="mw-headline" id="Marginal_Conversations_workshop_plan">Marginal Conversations workshop plan</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=3" title="Edit section: Marginal Conversations workshop plan">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span id="INTRODUCTION_(5min)"></span><span class="mw-headline" id="INTRODUCTION_.285min.29">INTRODUCTION (5min)</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=4" title="Edit section: INTRODUCTION (5min)">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Meet each other: have a quick round of saying something about ourselves and what do we know about pirate/shadow libraries. Short description of the steps of the workshop and let people know we'll be recording.
</p><p>Overview of what happens in this workshop in one sentence:
</p><p>1st part: Reading/Annotating, heatmap
</p><p>2nd part: Discussion, Rehearsal of Performative reading and recording of performance.
</p><p><br>
Topic: pirate libraries - topic of special Issue 9
</p><p>Text: "In solidarity with Library Genesis &amp; Sci-Hub" letter
</p><p>Aim: 2-3 sentences of what is the aim of this workshop. Why this collective reading-conversations matter?
</p><p>- We see "annotations" as a way to express our understandings/questions/comments/disagreements/ tensions/positions about what we read. So we can discuss about it and form a collective understanding of the text. Our aims are to:
</p><p>- open up a conversation about pirate libraries, through a deeper collective understanding of a specific text that refers to this topic (enrichment comes through collectively reading and annotating the text)
</p><p>- develop ways in which texts can become conversations through annotating together
</p><p>- make public what we have learned about pirate libraries and annotation, and to reflect on the public's response(s)
</p><p><br>
</p>
<h3><span id="STEP_1:_Reading/Annotating_(15min)"></span><span class="mw-headline" id="STEP_1:_Reading.2FAnnotating_.2815min.29">STEP 1: Reading/Annotating (15min)</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=5" title="Edit section: STEP 1: Reading/Annotating (15min)">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Materials: "In Support of Library Genesis &amp; Sci-Hub" English language letter (on A3 spread), A3 tracing paper, ballpoint pens (annotation pack)<br>
Participants: Individual<br>
Archiving step: collect tracing paper, carbon paper<br>
</p><p>- We provide the solidarity letter in an A3 pack
</p><p>- Read the text individually
</p><p>- Annotate the text (It will be traced through carbon paper to the tracing paper underneath.)
</p><p><br>
</p>
<h3><span id="STEP_2:_Heatmap_and_discussion_through_the_annotations_(20min)"></span><span class="mw-headline" id="STEP_2:_Heatmap_and_discussion_through_the_annotations_.2820min.29">STEP 2: Heatmap and discussion through the annotations (20min)</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=6" title="Edit section: STEP 2: Heatmap and discussion through the annotations (20min)">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Materials: Same as Step 1<br>
Participants: Whole group<br>
Archiving step: Photographs of annotated texts and discussion<br>
</p><p>- Create a "heatmap" of the text by placing tracing papers with annotations on top of each other, showing which areas are interesting/remarkable to others.
</p><p>- We can focus in the most "annotated", thus "active", "interesting", "relevant" parts of the text. At the end of the heatmap stage we introduce the discussion by identifying common areas of annotation, and also listing things that need further definition. Why did you annotate this part? What is the "global north"? etc.
</p><p>- Comment generally on the text, what was interesting? Did you make sense? Are there specific parts you want to discuss?
</p><p>- Conclusions? Comments? Discuss the most commented.
</p><p>- Discuss this experience and anything we want to discuss about pirate libraries, this text, our experiences.
</p><p>- Collectively determine strategies to "amplify" specific parts of the texts that either
</p><p>a) we all agree on
</p><p>b) we don't understand
</p><p>c) disagree on
</p><p>d) we want to develop further
</p><p>e) think are worth repeating/recording
</p><p><br>
</p>
<h3><span id="STEP_3:_Performative_reading_(20min)"></span><span class="mw-headline" id="STEP_3:_Performative_reading_.2820min.29">STEP 3: Performative reading (20min)</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=7" title="Edit section: STEP 3: Performative reading (20min)">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Participants: All together (if more than 10, divide into two groups???)<br>
Materials: Annotated "In Support of Library Genesis &amp; Sci-Hub" letter, audio recording device (ZOOM rented from WdKA shop/smartphone), (maybe speakers?)<br>
Archiving step: Voice recording<br>
</p><p>- Introduce by saying: "We are going to read aloud the text in turns, while also performing our annotations. Try to perform your comment to make your position/understanding of the text clear. If you have an annotation, please do or say something (e.g. interrupt, raise your hand, make a noise, use an accent, use intonation to convey emotion etc)."
</p><p>The text becomes a "play", a performance, a discussion between us
</p><p>- The purpose is to activate a text, by transforming it into a conversation through spoken annotation
</p><p>- This reading will be recorded (ask if this is ok)
</p><p>- Decide on an "interesting" way of performing and record that. It could be more than one language in this audio piece.
</p><p><br>
</p>
<h3><span class="mw-headline" id="OUTPUT:">OUTPUT:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=8" title="Edit section: OUTPUT:">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>At Leeszaal:
</p><p>- Play the collective recording from speakers placed in shelves at Leeszaal (Bluetooth)
</p><p>Later:
</p><p>- Printed version with the overlapping of individual comments - heatmap - pocket version???
</p><p>- Printed URL on annotated tracing paper to direct readers to the online versions of the texts?
</p><p>- Bookmark or some object (it can be the pocket version) to introduce it in some books in Leeszaal, understanding that as a way to spread the letter (like sowing seeds)
</p><p><br>
</p>
<h3><span class="mw-headline" id="POST-WORKSHOP_MATERIAL:">POST-WORKSHOP MATERIAL:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=9" title="Edit section: POST-WORKSHOP MATERIAL:">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>- Transcription of the voice performance (we can be inspired by film transcriptions) - perhaps we could annotate this as well:<br>
<a class="external free" href="https://static1.squarespace.com/static/583ae0a12994ca4dbbf813f6/t/58572e856a49634cd5602264/1531923111860" rel="nofollow">https://static1.squarespace.com/static/583ae0a12994ca4dbbf813f6/t/58572e856a49634cd5602264/1531923111860</a>
</p>
<h4><span class="mw-headline" id="THINGS_TO_DISCUSS_WITH_FEMKE:">THINGS TO DISCUSS WITH FEMKE:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=10" title="Edit section: THINGS TO DISCUSS WITH FEMKE:">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>- two texts, or one? (Pirate libraries ) Solidarity Letter, Guerilla Open Access Manifesto, Elbakayan's letter, (Could be a text from the opposite side - e.g. a fragment of the court ruling in Elsevier vs Sci-Hub <a class="external free" href="https://law.justia.com/cases/federal/district-courts/new-york/nysdce/1:2015cv04282/442951/53/" rel="nofollow">https://law.justia.com/cases/federal/district-courts/new-york/nysdce/1:2015cv04282/442951/53/</a> or <a class="external free" href="https://www.courtlistener.com/recap/gov.uscourts.nysd.442951.8.0.pdf" rel="nofollow">https://www.courtlistener.com/recap/gov.uscourts.nysd.442951.8.0.pdf</a> ?)
</p><p>- Show samples of our work (recording, tracing papers, pocket book etc)
</p>
<h4><span id="FEMKE'S_COMMENTS:"></span><span class="mw-headline" id="FEMKE.27S_COMMENTS:">FEMKE'S COMMENTS:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=11" title="Edit section: FEMKE'S COMMENTS:">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>- possibility of providing the solidarity letter in different languages? <a class="external free" href="http://custodians.online/" rel="nofollow">http://custodians.online/</a>
- providing two texts with different positions can be polarising rather than producing conversation
- demonstration of the "performative reading" can illustrate different positions e.g. position of the authors, the publishers (thinking about loss of profits), how can the annotations reflect this
- how do you annotate for dissent (e.g. using different colours etc) - heatmap stage doesn't really show position (perspective), what ways of annotating could draw out these perspectives?
- find ways to make the texts into a conversation - "how do you generate conversation through annotation?"
- we'll run the same task twice - how can this become a conversation between the two groups?
- don’t obsess over producing a fixed/predetermined output in the session (if it means risking losing time for discussion &amp; feedback)
</p>
<h4><span class="mw-headline" id="TO_DO:">TO DO:</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=12" title="Edit section: TO DO:">edit</a><span class="mw-editsection-bracket">]</span></span></h4>
<p>- Work on the production of the folder/pack (carbon paper/tracing paper) that we give to participants
- Work on the collection of references to introduce the annotation topic and produce it (if it's finally a physical object)
- Tools that we need: Scanner, voice recording , speakers
- How to develop the heatmap as an output for the collective annotations (can we automatize the process??)
</p>
<h2><span class="mw-headline" id="Publication:_The_Library_Is_Open">Publication: The Library Is Open</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading,_Writing_%26_Research_Methodologies_SI9&amp;action=edit&amp;section=13" title="Edit section: Publication: The Library Is Open">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Letter from XPUB: The Library Is Open
</p><p><br>
Rotterdam, 3 July 2019
</p><p><br>
Dear readers,
</p><p>In the spring and summer of 2019 we developed The Library Is Open, a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers.
</p><p>The Library Is Open is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:
</p><p>With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geo-political and economic aspects at play
.
</p><p>With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation
.
</p><p>With other readers, we deepened our understandings of texts through collective annotations.
</p><p>With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their "source".
</p><p>With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.
</p><p>With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Libgen, Aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.
</p><p>With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.
</p><p><br>
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship.
</p><p>When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch "Reading Hall") to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of "shadow libraries".
</p><p><br>
In the following pages we invite you to wander through the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.
</p><p><br>
Knowledge In Action explores the roles and activities within libraries, such as selection and inclusion of books. Interview with: Dubravka Sekulić &amp; Leeszaal staff.
</p><p>Blurry Boundaries reveals the hidden processes and labour between the publishing and distribution of physical and digital books. Interview with: Dušan Barok.
</p><p>Marginal Conversations highlights the sociality of texts, and how they can become conversations through collective reading, annotation and performance. Interview with: Marcell Mars &amp; Tomislav Medak.
</p><p><br>
Yours in piracy, XPUB
</p>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="reading">reading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading&amp;action=edit&amp;section=1" title="Edit section: reading">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Technologising_the_word.html" title="User:Simon/Technologising the word">technologising the word</a>
</p><p>Although literacy is the ability to read and write, an illiterate person is often described as not being able to read, rather than write. This is because the receptive skill of reading precedes the productive skill of writing. We write in response to the information we receive. Reading requires a command of the language the text is produced in, as well as a capacity to store this information in a durable medium; a book, a file, a tape, and so on.
</p><p>Media theorist Friedrich Kittler said that, historically, reading functioned as “hallucinating a meaning between the lines”<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup>. This hallucination was exemplified by poetry, whereby the poet intended to induce in the reader into a state of shock with words. Kittler argued that the harnessing of electricity was the end of such hallucinations; as soon as optical and acoustic data could be electronically stored, we no longer needed our memory, and the realm of the dead was no longer in written words. The gramophone, typewriter and film produced new ways of writing and reading texts.
</p><p>Image: Reading-and-writing-at-the-same-time, diagrammed in <i>The Principles of Psychology</i>, William James (1890)
</p>
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Kittler, F.A. (2012) <i>Literature, media, information systems: essays</i>. Critical voices in art, theory and culture. Johnston, J. (ed.). London New York: Routledge.</span>
</li>
</ol></div>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span id="reading/writing"></span><span class="mw-headline" id="reading.2Fwriting">reading/writing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reading_Writing&amp;action=edit&amp;section=1" title="Edit section: reading/writing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Typing.html" title="User:Simon/Typing">typing</a>
</p><p>Reading and writing are interdependent; a written text exists to be read, and is based on a history of reading comprehension and processing, from the early stages of literacy (developing ability to recognise separate characters), to reading complex texts that become references for things we write. In an operational sense, we also read what we write, as we’re writing it. So, the process of writing is combined with reading, and both gestures can be found in another word that blends the two acts together: editing.<i>Writing, reading, editing; growing a tree while making a chair from its wood to sit on.</i>
</p><p>Image: Simon Browne, timed writing/editing experiment using Etherpad, collaborative text-editing software, 2018. The bars at the top indicate separate durations of 5-minute writing, and 3-minute editing periods
</p>
<a class="flipside" href="Reading_Writing_rvrs.html" target="recto">flipside</a>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><img class="cardbackimg" src="./IMG/Etherpad_writing_reading_editing.jpeg">Timed writing/editing experiment using Etherpad, collaborative text-editing software, 2018
<div class="gallerytext">
<p>Slide 1: read, write, execute
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_02.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/7/7a/Rwx_02.jpeg/120px-Rwx_02.jpeg" srcset="/mw-mediadesign/images/thumb/7/7a/Rwx_02.jpeg/180px-Rwx_02.jpeg 1.5x, /mw-mediadesign/images/thumb/7/7a/Rwx_02.jpeg/240px-Rwx_02.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 2: legible vs readable
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_03.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/0/0a/Rwx_03.jpeg/120px-Rwx_03.jpeg" srcset="/mw-mediadesign/images/thumb/0/0a/Rwx_03.jpeg/180px-Rwx_03.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0a/Rwx_03.jpeg/240px-Rwx_03.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 3: People read best what they read most
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_04.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/6/6b/Rwx_04.jpeg/120px-Rwx_04.jpeg" srcset="/mw-mediadesign/images/thumb/6/6b/Rwx_04.jpeg/180px-Rwx_04.jpeg 1.5x, /mw-mediadesign/images/thumb/6/6b/Rwx_04.jpeg/240px-Rwx_04.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 4: An annotated book
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_05.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/2/2c/Rwx_05.jpeg/120px-Rwx_05.jpeg" srcset="/mw-mediadesign/images/thumb/2/2c/Rwx_05.jpeg/180px-Rwx_05.jpeg 1.5x, /mw-mediadesign/images/thumb/2/2c/Rwx_05.jpeg/240px-Rwx_05.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 5: From the Books
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_06.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/1/13/Rwx_06.jpeg/120px-Rwx_06.jpeg" srcset="/mw-mediadesign/images/thumb/1/13/Rwx_06.jpeg/180px-Rwx_06.jpeg 1.5x, /mw-mediadesign/images/thumb/1/13/Rwx_06.jpeg/240px-Rwx_06.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 6: DDC 000-099; Generalities
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_07.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/1/1a/Rwx_07.jpeg/120px-Rwx_07.jpeg" srcset="/mw-mediadesign/images/thumb/1/1a/Rwx_07.jpeg/180px-Rwx_07.jpeg 1.5x, /mw-mediadesign/images/thumb/1/1a/Rwx_07.jpeg/240px-Rwx_07.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 7: State Library of Victoria, Redmond Barry Reading Room
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_08.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/7/79/Rwx_08.jpeg/120px-Rwx_08.jpeg" srcset="/mw-mediadesign/images/thumb/7/79/Rwx_08.jpeg/180px-Rwx_08.jpeg 1.5x, /mw-mediadesign/images/thumb/7/79/Rwx_08.jpeg/240px-Rwx_08.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 8: Traces of use
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_09.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/0/0a/Rwx_09.jpeg/120px-Rwx_09.jpeg" srcset="/mw-mediadesign/images/thumb/0/0a/Rwx_09.jpeg/180px-Rwx_09.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0a/Rwx_09.jpeg/240px-Rwx_09.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 9: The Library is Open
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_10.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/2/25/Rwx_10.jpeg/120px-Rwx_10.jpeg" srcset="/mw-mediadesign/images/thumb/2/25/Rwx_10.jpeg/180px-Rwx_10.jpeg 1.5x, /mw-mediadesign/images/thumb/2/25/Rwx_10.jpeg/240px-Rwx_10.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 10: Marginal Conversations workshop
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_11.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/c/c9/Rwx_11.jpeg/120px-Rwx_11.jpeg" srcset="/mw-mediadesign/images/thumb/c/c9/Rwx_11.jpeg/180px-Rwx_11.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c9/Rwx_11.jpeg/240px-Rwx_11.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 11: Annotation pack
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_12.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/b/b9/Rwx_12.jpeg/120px-Rwx_12.jpeg" srcset="/mw-mediadesign/images/thumb/b/b9/Rwx_12.jpeg/180px-Rwx_12.jpeg 1.5x, /mw-mediadesign/images/thumb/b/b9/Rwx_12.jpeg/240px-Rwx_12.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 12: Performing annotations
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_13.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/5/57/Rwx_13.jpeg/120px-Rwx_13.jpeg" srcset="/mw-mediadesign/images/thumb/5/57/Rwx_13.jpeg/180px-Rwx_13.jpeg 1.5x, /mw-mediadesign/images/thumb/5/57/Rwx_13.jpeg/240px-Rwx_13.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 13: Script from Marginal Conversations
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_14.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/d/dd/Rwx_14.jpeg/120px-Rwx_14.jpeg" srcset="/mw-mediadesign/images/thumb/d/dd/Rwx_14.jpeg/180px-Rwx_14.jpeg 1.5x, /mw-mediadesign/images/thumb/d/dd/Rwx_14.jpeg/240px-Rwx_14.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 14: Talking Clock (2015)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_15.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/0/0c/Rwx_15.jpeg/120px-Rwx_15.jpeg" srcset="/mw-mediadesign/images/thumb/0/0c/Rwx_15.jpeg/180px-Rwx_15.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0c/Rwx_15.jpeg/240px-Rwx_15.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 15: The Remington Standard Type-Writer
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_16.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/7/7a/Rwx_16.jpeg/120px-Rwx_16.jpeg" srcset="/mw-mediadesign/images/thumb/7/7a/Rwx_16.jpeg/180px-Rwx_16.jpeg 1.5x, /mw-mediadesign/images/thumb/7/7a/Rwx_16.jpeg/240px-Rwx_16.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 16: QWERTY layout
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_17.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/6/6d/Rwx_17.jpeg/120px-Rwx_17.jpeg" srcset="/mw-mediadesign/images/thumb/6/6d/Rwx_17.jpeg/180px-Rwx_17.jpeg 1.5x, /mw-mediadesign/images/thumb/6/6d/Rwx_17.jpeg/240px-Rwx_17.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 17: T Y P E W R I T E R
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_18.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/c/c8/Rwx_18.jpeg/120px-Rwx_18.jpeg" srcset="/mw-mediadesign/images/thumb/c/c8/Rwx_18.jpeg/180px-Rwx_18.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c8/Rwx_18.jpeg/240px-Rwx_18.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 18: Douglas Englebart's "Mother of all demos"
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_19.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/7/75/Rwx_19.jpeg/120px-Rwx_19.jpeg" srcset="/mw-mediadesign/images/thumb/7/75/Rwx_19.jpeg/180px-Rwx_19.jpeg 1.5x, /mw-mediadesign/images/thumb/7/75/Rwx_19.jpeg/240px-Rwx_19.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 19: Englebart's keyboard with mouse
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_20.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/6/6c/Rwx_20.jpeg/120px-Rwx_20.jpeg" srcset="/mw-mediadesign/images/thumb/6/6c/Rwx_20.jpeg/180px-Rwx_20.jpeg 1.5x, /mw-mediadesign/images/thumb/6/6c/Rwx_20.jpeg/240px-Rwx_20.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 20: Etherpad instance
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_21.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/3/3d/Rwx_21.jpeg/120px-Rwx_21.jpeg" srcset="/mw-mediadesign/images/thumb/3/3d/Rwx_21.jpeg/180px-Rwx_21.jpeg 1.5x, /mw-mediadesign/images/thumb/3/3d/Rwx_21.jpeg/240px-Rwx_21.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 21: Etherpad experiments
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:37.5px auto;"><a class="image" href="File:Rwx_22.jpeg.html"><img alt="" decoding="async" height="75" src="/mw-mediadesign/images/thumb/f/f3/Rwx_22.jpeg/120px-Rwx_22.jpeg" srcset="/mw-mediadesign/images/thumb/f/f3/Rwx_22.jpeg/180px-Rwx_22.jpeg 1.5x, /mw-mediadesign/images/thumb/f/f3/Rwx_22.jpeg/240px-Rwx_22.jpeg 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Slide 22: <i>editorial</i>, <i>technical</i>, <i>social</i> dimensions of text
</p>
</div>
</div></li>
</ul>
<hr>
<p><b>Slide 1: read, write, execute</b><br>
<a class="image" href="File:Rwx_01.jpeg.html"><img alt="Rwx 01.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/f/ff/Rwx_01.jpeg/200px-Rwx_01.jpeg" srcset="/mw-mediadesign/images/thumb/f/ff/Rwx_01.jpeg/300px-Rwx_01.jpeg 1.5x, /mw-mediadesign/images/thumb/f/ff/Rwx_01.jpeg/400px-Rwx_01.jpeg 2x" width="200"></a>
</p><p>In computing, read, write, and execute are permissions that can be given to files by an administrator to user accounts, which specify how data can be used:
</p>
<ul><li>read permissions allow you to read a file</li>
<li>write permissions allow you to change it, but not to run it</li>
<li>execute permissions allow you to run a file</li></ul>
<p>You are most likely familiar with the "read-only" permission.
For example, a document with read-only permissions given to a user means that user can only read the document, and can't edit it.
</p><p>I have chosen this title because for this presentation I want to focus on how the contingencies offered by interfaces for reading and writing produce a certain kind of reading or writing, and also a certain kind of reader or writer.
</p><p>My main interest in this presentation is to describe through several examples, the political dynamics and particular affordances of different interfaces and sites for publication, and the subsequent techno-sociologial effects these have through the way they visualise reading, writing and making things public.
</p><p>Interfaces for reading and writing are almost always visually-oriented, and their technical conditions determine how textual information is organised and processed.
This promotes and encourages certain ways of writing and reading.
</p><p>I will present examples from my own practice as an artist and graphic designer, and also some historical examples from computer science and engineering.
</p><p>Beginning with the field of type design and typography, I want to talk about ideas of legibility and readability, which often precede notions of how written language should be visualised in graphic form.
</p>
<hr>
<p><b>Slide 2: legible vs readable</b><br>
<a class="image" href="File:Rwx_02.jpeg.html"><img alt="Rwx 02.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/7/7a/Rwx_02.jpeg/200px-Rwx_02.jpeg" srcset="/mw-mediadesign/images/thumb/7/7a/Rwx_02.jpeg/300px-Rwx_02.jpeg 1.5x, /mw-mediadesign/images/thumb/7/7a/Rwx_02.jpeg/400px-Rwx_02.jpeg 2x" width="200"></a>
</p><p>Put simply:
</p><p>legible = clear enough to read
readable = being easy or enjoyable to read
</p><p>Often someone will use illegibility as an excuse to argue against the use of a particular font or typeface. Physical limitations are certainly a factor in deciding how type should be shaped, down to the micro-level that scrutiny of readability brings, where enjoyment is hampered by exhausted eyes. A file can also be made readable by changing permissions. Allowing a file to be read has many other implications apart from the obvious visibility of content.
</p>
<hr>
<p><b>Slide 3: People read best what they read most</b><br>
<a class="image" href="File:Rwx_03.jpeg.html"><img alt="Rwx 03.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/0/0a/Rwx_03.jpeg/200px-Rwx_03.jpeg" srcset="/mw-mediadesign/images/thumb/0/0a/Rwx_03.jpeg/300px-Rwx_03.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0a/Rwx_03.jpeg/400px-Rwx_03.jpeg 2x" width="200"></a>
</p><p>There's a famous dictum in typographic history that states "People read best what they read most"
This means that what is deemed "readable" is only so because of the prevalence of a particular font. And so, preference for certain fonts may derive from how commonplace they are within the reading environments we encounter them.
</p><p>This statement was a call to arms for multiplicity of form in type design, to challenge this tendency for form to become flattened and homogenous in the name of "readability", but it also maintains that the way information is presented becomes monolithic, having its own, enclosed logic that is exclusionary to other systems or ways of doing.
</p><p>The eye adjusts to expect certain things it has seen before, and this idea of "easy to read" is trainable, to a certain extent. We might think that a certain font is "neutral", this is because it has become invisible to us, and it is invisible to us because it is everywhere. It therefore doesn't stand out in a way that other typefaces do.
So the main point I will try to make in this presentation is that the particular interfaces we commonly use for reading and writing train us to read and write in certain ways, ways which we will become efficient within.
</p><p>When we shift to a different writing or reading interface, there is an adjustment, a period of discomfort as we adapt.
We approach new interfaces through the lens of the one that preceded it, always likening it to what we are familiar with.
The new interface presents new limitations, and also offer new, unexpected possibilities for how we imagine ourselves as participatory subjects, engaging with the text.
</p><p>The discourse around reading and writing interfaces is vast, and I do not expect to be able to cover it comprehensively in this presentation.
I can only hope to present a small overview on these interfaces, and how they visualise language, and in turn, how they create a new subjectivity in the reader or writer.
</p>
<hr>
<p><b>Slide 4: An annotated book</b><br>
<a class="image" href="File:Rwx_04.jpeg.html"><img alt="Rwx 04.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/6/6b/Rwx_04.jpeg/200px-Rwx_04.jpeg" srcset="/mw-mediadesign/images/thumb/6/6b/Rwx_04.jpeg/300px-Rwx_04.jpeg 1.5x, /mw-mediadesign/images/thumb/6/6b/Rwx_04.jpeg/400px-Rwx_04.jpeg 2x" width="200"></a>
</p><p>First, let's look at the book as a reading interface. What we call a "book" is most often a stack of pages that are fixed at one edge to form a spine.
Reading a book is a haptic experience; the sense of touch is in many ways just as important as the sense of vision.
Alongside this strong tactile interaction is also the inclination for a reader to engage with the text by writing directly onto the page.
The interface of a printed book invites writing, in fact the very first books were written by hand.
It is not uncommon to come across another reader's notes, annotations scribbled in the margins of a book.
Annotation is primarily a strategy of reading comprehension, and there are many activities that fall under the umbrella of "annotation", including highlighting, underlining, glossing (which is writing explicatory texts that define unfamiliar phrases or words), as well as how pages are manipulated to mark text, for example, making a bookmark by folding the corner of a page in what is often called in English a "dog-ear".
</p><p>Despite these annotations are made at different times, by different people unbeknownst to each other, their methods are often consistent with each other. Their annotations also often serve the same purpose, as a reformatting of the text that is read. So the function is sometimes editorial; highlighting or underlining is a way of drawing attention to part of the text that is relevant to the person who is reading it, giving them a way to return to it when scanning through at a later time.
</p><p>Annotation also has a social function; inscribe the presence of reader within a book. The book then becomes a vehicle for a social paratext, one that lives alongside the source text, one that can be commented on by others. Sometimes these paratexts separate from the source and become texts of their own. Glossaries come from the practices established by medieval glossators, who wrote explanations of Roman law between the lines of manuscripts. The first dictionaries served a similar purpose.
</p><p>Books held in public collections have travelled different paths through the hands of different readers. They acquire provenance and their own particular history through how they are used. A book printed, bound and distributed in an edition of many books, a multiple with the ambition to present its text as singular, becomes diversified through its use
</p>
<hr>
<p><b>Slide 5: From the Books</b><br>
<a class="image" href="File:Rwx_05.jpeg.html"><img alt="Rwx 05.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/2/2c/Rwx_05.jpeg/200px-Rwx_05.jpeg" srcset="/mw-mediadesign/images/thumb/2/2c/Rwx_05.jpeg/300px-Rwx_05.jpeg 1.5x, /mw-mediadesign/images/thumb/2/2c/Rwx_05.jpeg/400px-Rwx_05.jpeg 2x" width="200"></a><br>
<a class="external free" href="http://simonbrowne.biz/projects/from-the-books-slv-rbrr-000-099/" rel="nofollow">http://simonbrowne.biz/projects/from-the-books-slv-rbrr-000-099/</a>
</p><p>From the Books is a research project conducted together with graphic designer Masaki Miwa. Together, we collected scans of any traces of use we found in a section of books from a public library in Melbourne, Australia. We then categorised them and made a catalogue which we self-published.
</p>
<hr>
<p><b>Slide 6: DDC 000-099; Generalities</b><br>
<a class="image" href="File:Rwx_06.jpeg.html"><img alt="Rwx 06.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/1/13/Rwx_06.jpeg/200px-Rwx_06.jpeg" srcset="/mw-mediadesign/images/thumb/1/13/Rwx_06.jpeg/300px-Rwx_06.jpeg 1.5x, /mw-mediadesign/images/thumb/1/13/Rwx_06.jpeg/400px-Rwx_06.jpeg 2x" width="200"></a>
</p><p>These books come from a section of a specific reading room in a specific library; the 000-099 section of the Redmond Barry Reading Room, at the State Library of Victoria. In Dewey Decimal Classification, 000-099 is titled "generalities", including books about bibliographic practices as well computer and information science, and also manuscripts and rare books; kind of a meta section on the library and how it organises information.
</p>
<hr>
<p><b>Slide 7: State Library of Victoria, Redmond Barry Reading Room</b><br>
<a class="image" href="File:Rwx_07.jpeg.html"><img alt="Rwx 07.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/1/1a/Rwx_07.jpeg/200px-Rwx_07.jpeg" srcset="/mw-mediadesign/images/thumb/1/1a/Rwx_07.jpeg/300px-Rwx_07.jpeg 1.5x, /mw-mediadesign/images/thumb/1/1a/Rwx_07.jpeg/400px-Rwx_07.jpeg 2x" width="200"></a>
</p><p>The SLV is a very social place; visitors use the free wifi for study, and international students often use it to call their families overseas. Others do language lessons there and gather in social groups to share skills.
It's not a sacred or quiet like a church, more like a train station in terms of its noise and activity. The SLV forecourt is a customary meeting place, people eat lunch there on the grass, on Sundays it is a speaker's corner, protestors gather there for demonstrations.
</p><p>It illustrates well that public libraries do more than just make knowledge accessible, they also produce sociality. This sociality is reflected by the tendency for businesses to open in the periphery and capitalise on this foot traffic, or those that adopt library-like structures and practices (for example, cafes that offer free wifi or cosy nooks to read)
</p><p>Here in Rotterdam this is also present - Starbucks has opened a store at the Bibliotheek Rotterdam, there is a cafe above Rotterdam Centraal Station that houses part of the same collection. There's even a cafe called "The Library" at Mathenesserplein
</p>
<hr>
<p><b>Slide 8: Traces of use</b><br>
<a class="image" href="File:Rwx_08.jpeg.html"><img alt="Rwx 08.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/7/79/Rwx_08.jpeg/200px-Rwx_08.jpeg" srcset="/mw-mediadesign/images/thumb/7/79/Rwx_08.jpeg/300px-Rwx_08.jpeg 1.5x, /mw-mediadesign/images/thumb/7/79/Rwx_08.jpeg/400px-Rwx_08.jpeg 2x" width="200"></a>
</p><p>Here are some examples of traces of use we found in the section of books we explored. We categorised them semantically under the following headings:
</p>
<ul><li>ACCIDENTAL DOG-EAR</li>
<li>ANNOTATION</li>
<li>ASTERISK</li>
<li>BOOK PRICE</li>
<li>BOOKMARK</li>
<li>CIRCLED TEXT</li>
<li>CREASED PAGE</li>
<li>CROSS</li>
<li>DEAD ANT</li>
<li>DOG-EAR</li>
<li>ERASER RUBBING</li>
<li>ERRATA</li>
<li>FINGERPRINT</li>
<li>FOLD</li>
<li>HANDWRITTEN LETTER</li>
<li>INK BLOT</li>
<li>LIBRARY DOCUMENT</li>
<li>LIFTED PRINT</li>
<li>LINE</li>
<li>LOOSE PAGE</li>
<li>NOTEPAPER BOOKMARK</li>
<li>NOTES</li>
<li>PAGES REMOVED</li>
<li>POST-IT NOTE</li>
<li>RECEIPT BOOKMARK</li>
<li>REPLACED IMAGE</li>
<li>SCUFF</li>
<li>SMUDGE</li>
<li>SQUIGGLE</li>
<li>STAIN</li>
<li>STRIKETHROUGH</li>
<li>TICK</li>
<li>TORN PAGE</li>
<li>TORN PAPER BOOKMARK</li>
<li>UNDERLINING</li>
<li>WARPED PAGE</li>
<li>WEAR AND TEAR</li></ul>
<p>The traces were largely mundane, but revealed a consensus of mark-making and annotation. We also found readers intentionally using the book as a vehicle to pass messages to other readers, such as a handwritten note someone had deliberately placed in a book.
</p><p>This interest in annotation as a visualisation of reader's interaction with texts was developed further with a thematic project called "The Library is Open", conducted by Experimental Publishing in 2019. The Library Is Open was an afternoon of workshops in which we made visible the operations of libraries, including municipal, academic, and importantly, so-called "Shadow" libraries, which are ones that operate outside of legality, illegally distributing pirated copies of books.
</p>
<hr>
<p><b>Slide 9: The Library is Open</b><br>
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</p><p>As part of "The Library is Open", I conducted a workshop called "Marginal Conversations" with two classmates, Artemis Gryllaki and Paloma Garcia.
We held our workshop at a volunteer-run space in the inner west of Rotterdam, called "Leeszaal Rotterdam West".
</p><p>Leezaal is a kind of 'reading room', a library that does not catalogue its books, nor record when they are borrowed. Anyone may pick up a book and walk out the door.
The initiative began in 2013 when small local libraries in Rotterdam began to close, and the initators asked their local community two questions; 1) Do we need a library?, and 2) How can you contribute?
</p><p>Leeszaal offers a safe space for members of the local community to gather, to learn languages and share skills, to read newspapers, learn how to use computers, use the internet, watch YouTube or just hang out. It's not a traditional library in any sense, but is sympathetic to many of the social democratic values of open access to knowlegde that public libraries embody.
</p>
<hr>
<p><b>Slide 10: Marginal Conversations workshop</b><br>
<a class="image" href="File:Rwx_12.jpeg.html"><img alt="Rwx 12.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/b/b9/Rwx_12.jpeg/200px-Rwx_12.jpeg" srcset="/mw-mediadesign/images/thumb/b/b9/Rwx_12.jpeg/300px-Rwx_12.jpeg 1.5x, /mw-mediadesign/images/thumb/b/b9/Rwx_12.jpeg/400px-Rwx_12.jpeg 2x" width="200"></a>
</p><p>Marginal Conversations focused on reading and annotating together, and performing our annotations. We read and annotated an open letter called "In Solidarity with Library Genesis and Sci-Hub".
</p><p><a class="external free" href="http://custodians.online/" rel="nofollow">http://custodians.online/</a>
</p><p>This letter asks for pirate library practices to come out of the shadows, a bold move and demand for legitimacy and visibility
</p>
<hr>
<p><b>Slide 11: Annotation pack</b><br>
<a class="image" href="File:Rwx_11.jpeg.html"><img alt="Rwx 11.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/c/c9/Rwx_11.jpeg/200px-Rwx_11.jpeg" srcset="/mw-mediadesign/images/thumb/c/c9/Rwx_11.jpeg/300px-Rwx_11.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c9/Rwx_11.jpeg/400px-Rwx_11.jpeg 2x" width="200"></a>
</p><p>We made an annotation kit that contained the letter, a layer of carbon paper, and a sheet of translucent tracing paper. After reading and annotating the letter, we could compare our annotations by overlaying the tracing paper to create "heat maps" that established common areas of interest.
</p>
<hr>
<p><b>Slide 12: Performing annotations</b><br>
<a class="image" href="File:Rwx_10.jpeg.html"><img alt="Rwx 10.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/2/25/Rwx_10.jpeg/200px-Rwx_10.jpeg" srcset="/mw-mediadesign/images/thumb/2/25/Rwx_10.jpeg/300px-Rwx_10.jpeg 1.5x, /mw-mediadesign/images/thumb/2/25/Rwx_10.jpeg/400px-Rwx_10.jpeg 2x" width="200"></a>
</p><p>Then we rehearsed and performed our annotations, taking turns to read the letter while others reacted with their annotations.
</p>
<hr>
<p><b>Slide 13: Script from Marginal Conversations</b><br>
<a class="image" href="File:Rwx_13.jpeg.html"><img alt="Rwx 13.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/5/57/Rwx_13.jpeg/200px-Rwx_13.jpeg" srcset="/mw-mediadesign/images/thumb/5/57/Rwx_13.jpeg/300px-Rwx_13.jpeg 1.5x, /mw-mediadesign/images/thumb/5/57/Rwx_13.jpeg/400px-Rwx_13.jpeg 2x" width="200"></a>
</p><p>We made a recording of this performance, and then transcribed it into a script.
</p><p>The flipping back and forth between oral and literate productions of texts is a strategy to discover the slippages in the memory of texts that occur when transcribing. Early media theory was particularly concerned with the gap between orality and literacy, and the effect writing has on the problem of memory. Writing as a technology had a considerable effect on how we think about memory and how we form cultural narratives. The view of memory as a container within which information can be stored is very much a post-literate idea, from this also comes the the notion of "verbatim" or "word perfect". This is because what is said can be recorded in written words and stored in a text, which can be checked against for discrepancies. Pre-literate cultures think of memory instead as commemorative, a communal act of remembering together through oral storytelling traditions.
</p><p>Without a writing system in which memory can be stored and retrieved, events and narratives are seen as cyclical, and the notion of things "in their place" is ascribed to external forces like the seasons, the weather and time.
</p>
<hr>
<p><b>Slide 14: Talking Clock (2015)</b><br>
<a class="image" href="File:Rwx_14.jpeg.html"><img alt="Rwx 14.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/d/dd/Rwx_14.jpeg/200px-Rwx_14.jpeg" srcset="/mw-mediadesign/images/thumb/d/dd/Rwx_14.jpeg/300px-Rwx_14.jpeg 1.5x, /mw-mediadesign/images/thumb/d/dd/Rwx_14.jpeg/400px-Rwx_14.jpeg 2x" width="200"></a>
</p><p><a class="external free" href="http://simonbrowne.biz/projects/talking-clock/" rel="nofollow">http://simonbrowne.biz/projects/talking-clock/</a>
</p><p>This is a work I made in 2015, called Talking Clock. I was interested in using the mechanism of a clock to produce language, including "real" and also "potential" words.
I made a spreadsheet to work out the best combinations of letters to use on the flip cards, plotting combinations of letters, and mapped words I knew existed, words which were possible (following linguistic conventions), and words which were unlikely. In total I produced 72 cards, 12 for the left side of the clock (one for each hour in a 12-hour cycle), and 60 for the right side (one for each minute).
</p><p>The clock displays, or "prints" 1440 words every day (1 per minute). It's very noisy, making a loud click every time a card flips over. It's very difficult to tell the time as the sequence of numbers are replaced by a different system of letters, but it's possible at least to know that the hour has changed, with a little time spent with the clock.
There is a sense that the machine is writing the words, but they have been pre-selected by a human, myself.
</p><p>When we encounter a new word in English, it's not always possible to know how to say it, especially in English, which has different standards, and borrows words from many other languages, so spelling and pronunciation are very different sometimes. This leads to the fluidity of "potential words". Because they isn't yet a consensus on their use, there also is no consensus on their pronunciation.
</p>
<hr>
<p><b>Slide 15: The Remington Standard Type-Writer</b><br>
<a class="image" href="File:Rwx_15.jpeg.html"><img alt="Rwx 15.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/0/0c/Rwx_15.jpeg/200px-Rwx_15.jpeg" srcset="/mw-mediadesign/images/thumb/0/0c/Rwx_15.jpeg/300px-Rwx_15.jpeg 1.5x, /mw-mediadesign/images/thumb/0/0c/Rwx_15.jpeg/400px-Rwx_15.jpeg 2x" width="200"></a>
</p><p>The earliest transcription machines were ones that humans operated, becoming the transcriber.
This lead to the invention of machines like typewriters, and practices like stenography, which were used in court cases to record proceedings.
The need to type quickly, to keep up pace with speech and to record spoken language "verbatim" lead to the design of interfaces and systems that trained operators to use them efficiently
</p><p>In the late 19th century came the emergence of typewriters, such as this one that was produced by the American company Remington.
</p>
<hr>
<p><b>Slide 16: QWERTY layout</b><br>
<a class="image" href="File:Rwx_16.jpeg.html"><img alt="Rwx 16.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/7/7a/Rwx_16.jpeg/200px-Rwx_16.jpeg" srcset="/mw-mediadesign/images/thumb/7/7a/Rwx_16.jpeg/300px-Rwx_16.jpeg 1.5x, /mw-mediadesign/images/thumb/7/7a/Rwx_16.jpeg/400px-Rwx_16.jpeg 2x" width="200"></a>
</p><p>The layout of keys (now known as the QWERTY layout) was invented by Christopher Latham Sholes, who wanted to keep the typebars from clashing when the operator typed quickly.
</p><p>He sold his design to the Remington Company, a typewriter manufacturer, who popularised it, selling their machine alongside typing courses that trained writers to use the layout, purporting it to be the best for rapid typing.
</p><p>The QWERTY arrangement of the original Remington typewriter has remained virtually universal since the 1890s, even though more efficient arrangements have been developed. There is no particular reason why this convention has taken such a strong hold. Technological advances in machinery and electronics have rendered the problem Sholes was trying to solve redundant, but still it persists. If you've ever had to use a non-QWERTY keyboard, you may struggle.
</p>
<hr>
<p><b>Slide 17: T Y P E W R I T E R</b> <br>
<a class="image" href="File:Rwx_17.jpeg.html"><img alt="Rwx 17.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/6/6d/Rwx_17.jpeg/200px-Rwx_17.jpeg" srcset="/mw-mediadesign/images/thumb/6/6d/Rwx_17.jpeg/300px-Rwx_17.jpeg 1.5x, /mw-mediadesign/images/thumb/6/6d/Rwx_17.jpeg/400px-Rwx_17.jpeg 2x" width="200"></a>
</p><p>Reportedly the Remington Company also liked its product name, "type-writer," to appear acrostically in the top row.
</p><p>Fast-forward to December 9, 1968, and computer engineer Douglas Englebart gave what is now known as "the mother of all demos" at a San Francisco computer conference.
</p>
<hr>
<p><b>Slide 18: Douglas Englebart's "Mother of all demos"</b><br>
<a class="image" href="File:Rwx_18.jpeg.html"><img alt="Rwx 18.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/c/c8/Rwx_18.jpeg/200px-Rwx_18.jpeg" srcset="/mw-mediadesign/images/thumb/c/c8/Rwx_18.jpeg/300px-Rwx_18.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c8/Rwx_18.jpeg/400px-Rwx_18.jpeg 2x" width="200"></a>
</p><p>He presented a demonstration that includes many features of computer engineering and publishing that we now take for granted, including the mouse, video conferencing, the modern desktop-style user interface, word processing and collaborative text-editing.
</p>
<hr>
<p><b>Slide 19: Englebart's keyboard with mouse</b><br>
<a class="image" href="File:Rwx_19.jpeg.html"><img alt="Rwx 19.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/7/75/Rwx_19.jpeg/200px-Rwx_19.jpeg" srcset="/mw-mediadesign/images/thumb/7/75/Rwx_19.jpeg/300px-Rwx_19.jpeg 1.5x, /mw-mediadesign/images/thumb/7/75/Rwx_19.jpeg/400px-Rwx_19.jpeg 2x" width="200"></a>
</p><p>About 26 mins into the presentation Englebart says "I don't know why we call it a mouse...it started that way and we never did change it."
</p><p>While the mouse is a useful tool in modern desktop-style graphic user interfaces, text editors and computer terminal windows utilise the keys and forgo the use of a mouse.
Text editors are used for a variety of writing applications, for example programming, and writing text documents, without the need to style it graphically.
Most computer operating systems come with a text-editing program as part of the basic package of software (e.g. Mac has "TextEdit" and Windows has "notepad"). These programs are usually used by a single user at one time.
</p><p>Some environments, such as the one Englebart demonstrates, are collaborative, allowing many users to write together in realtime.
</p>
<hr>
<p><b>Slide 20: Etherpad instance</b> <br>
<a class="image" href="File:Rwx_20.jpeg.html"><img alt="Rwx 20.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/6/6c/Rwx_20.jpeg/200px-Rwx_20.jpeg" srcset="/mw-mediadesign/images/thumb/6/6c/Rwx_20.jpeg/300px-Rwx_20.jpeg 1.5x, /mw-mediadesign/images/thumb/6/6c/Rwx_20.jpeg/400px-Rwx_20.jpeg 2x" width="200"></a><br>
<img alt="Publishing-streams.gif" src="https://pzwiki.wdka.nl/mw-mediadesign/images/c/cf/Publishing-streams.gif">
</p><p>I'd like to talk about a collaborative writing environment that exemplifies the editorial, technical and social dimensions of text; the open-source software Etherpad. This software is a manifestation of what Englebart demonstrated in 1968, and through its interface and technical configuration offers an interesting twist on the notion of public space and the public it creates.
</p><p>You can install etherpad-lite on a server, and host the software for yourself or others to use
although most pads aren't indexed by search englines, they are 100% public, and editable to anyone who knows their URL.
</p><p>It's a very dynamic writing environment, and environment in the sense of the combinations of technical conditions of hardware and software, and how users operate within it every key you press is recorded (including deletions), building a mind-boggling database in the background which you can track in the version history, import/export text.
</p><p>The software automatically assigns authorship colours, users can change them and give themselves user names or remain "unnamed". Authorship in etherpad is blurry from the level of the user, but crystal clear from the level of the system administrator (can easily run searches on IP addresses).
Interesting social protocols emerge from collaborative use of pads concerning conviviality (not so much spell-checking or correction). Misspelling is transgressive and signals the speller's marginal status, either preeducated, uneducated, or sloppy. Ignoring misspelling in favour of transcription, recording what is said quickly introduces a type of collective, consensual authorship.
</p><p>New users react with either enthusiasm or suspicion - to the enthusiasts, it's exciting to collaborate in realtime, to others it's just a bit too public, everything you type can be seen as you type it.
</p>
<hr>
<p><b>Slide 21: Etherpad experiments</b><br>
<a class="image" href="File:Rwx_21.jpeg.html"><img alt="Rwx 21.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/3/3d/Rwx_21.jpeg/200px-Rwx_21.jpeg" srcset="/mw-mediadesign/images/thumb/3/3d/Rwx_21.jpeg/300px-Rwx_21.jpeg 1.5x, /mw-mediadesign/images/thumb/3/3d/Rwx_21.jpeg/400px-Rwx_21.jpeg 2x" width="200"></a>
</p><p>Here is a series of solo experiments I conducted with Etherpad, where I wrote and edited text within constrained periods of time. Etherpad offers the potential for very quick visualisations of the writing and editing process through its autmoatically assigned authorship colours.
</p><p>I was interested in seeing what happened when I visualised the writing and editing process. I wrote as multiple users, opening up a new tab in a private window each time and tricking the software into thinking I was a new writer, so it gave me new authorship colours.
</p><p>This was a timed task, beginning with writing periods of 3 minutes, and a rest of 2 minutes. After 4 iterations, this shifts to 5 minutes for both respectively. I found I needed a bit more time as the text began to grow.
</p><p>This experiment showed me that editing is a form of writing, like growing a tree and making furniture from it at the same time.
</p>
<hr>
<p><b>Slide 22: <i>editorial</i>, <i>technical</i>, <i>social</i> dimensions of text</b><br>
<a class="image" href="File:Rwx_22.jpeg.html"><img alt="Rwx 22.jpeg" decoding="async" height="125" src="/mw-mediadesign/images/thumb/f/f3/Rwx_22.jpeg/200px-Rwx_22.jpeg" srcset="/mw-mediadesign/images/thumb/f/f3/Rwx_22.jpeg/300px-Rwx_22.jpeg 1.5x, /mw-mediadesign/images/thumb/f/f3/Rwx_22.jpeg/400px-Rwx_22.jpeg 2x" width="200"></a>
</p><p>At the beginning of this presentation I described my interest in text and its overlapping dimensions; editorial, technical and social.
</p><p>I will go into a bit more detail now to explain further:
</p>
<ul><li>editorial: text is a sequence. A line of characters and spaces, the particular order that the writer sets these in. Text becomes an object, a carrier of thoughts and feelings, something that can be sent back and forth between participants in a conversation.</li>
<li>technical: text is a process. Messages and files that we share are text-based. A computer runs on software, programmed in encoded text, often the same characters that flicker before your eyes. Texts can be assembled on-the-fly as a machine reads scripts and writes output in response to input.</li>
<li>social: text is a framework. The English word "text" has roots in the Proto-Indo-European word teks-, meaning “to weave, to fabricate, to make; make wicker or wattle framework”. A piece of writing is a text, and so is a conversation; texts represent the exchange of shared concepts (words, signs, representations) woven into a fabric of communication. There is also an exchange between written and spoken texts; oral discussions which prompt writing, and writing which sparks conversations. Texts elicit further texts.</li></ul>
<p>Etherpad exemplifies all three of these dimensions. The interface allows readers to become writers, and text editors, themselves. It uses the technicality of text-based software to record what is written, or deleted there in a process that is recorded in the version history. And when used collaboratively (which is what it is designed for, it creates a framework of shared concepts that come together into the one textual fabric.
</p><p>What is important about this, as well as other open-source tools for reading and writing is that they offer the potential for us to develop our own particular ways of reading and writing. There is a lot more effort that is needed in order to not just read and write, but to also determine our own definitions of what is most readable, writeable and executeable.
</p><p><a class="external free" href="https://pad.xpub.nl/p/entreprecariat_reader" rel="nofollow">https://pad.xpub.nl/p/entreprecariat_reader</a>
</p>
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<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Reading-and-writing-at-the-same-time.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/c/ce/Reading-and-writing-at-the-same-time.jpeg/150px-Reading-and-writing-at-the-same-time.jpeg" srcset="/mw-mediadesign/images/thumb/c/ce/Reading-and-writing-at-the-same-time.jpeg/225px-Reading-and-writing-at-the-same-time.jpeg 1.5x, /mw-mediadesign/images/thumb/c/ce/Reading-and-writing-at-the-same-time.jpeg/300px-Reading-and-writing-at-the-same-time.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Reading-and-writing-at-the-same-time.jpeg.html" title="Enlarge"></a></div>Reading-and-writing-at-the-same-time, diagrammed in <i>The Principles of Psychology</i>, William James (1890)</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#Description"><span class="tocnumber">1</span> <span class="toctext">Description</span></a>
<ul>
<li class="toclevel-2"><a href="#Ambiguity"><span class="tocnumber">1.1</span> <span class="toctext">Ambiguity</span></a>
<ul>
<li class="toclevel-3"><a href="#Lexical_Ambiguity"><span class="tocnumber">1.1.1</span> <span class="toctext">Lexical Ambiguity</span></a></li>
<li class="toclevel-3"><a href="#Syntactic_Ambiguity"><span class="tocnumber">1.1.2</span> <span class="toctext">Syntactic Ambiguity</span></a></li>
</ul>
</li>
</ul>
</li>
<li class="toclevel-1"><a href="#Regular_Strategies"><span class="tocnumber">2</span> <span class="toctext">Regular Strategies</span></a></li>
</ul>
</div>
<p><br>
</p><h1><span class="mw-headline" id="Description">Description</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Regular_Strategies&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>An app that makes aphoristic sentences to print and display in the work space. Its use is not limited to this space, but this is taken as a departure point for testing. The app borrows from a selection of words within a limited syntax and creates new meanings in the process.
</p>
<h2><span class="mw-headline" id="Ambiguity">Ambiguity</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Regular_Strategies&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Inspiration comes from ideas of <i>syntactic ambiguity</i> and <i>lexical ambiguity</i>, which are areas of linguistic study interested in sentences that may be read in several different ways. Ambiguity comes from both lexical and syntactic diversity, put simply, the range of diversity in both the meanings that words can point to, and also how the construction of a sentence influences a diversity of readings.
</p>
<h3><span class="mw-headline" id="Lexical_Ambiguity">Lexical Ambiguity</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Regular_Strategies&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>An example of lexical ambiguity is the "Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo" sentence, first appearing in 1967 in <a class="external text" href="https://en.wikipedia.org/wiki/Beyond_Language" rel="nofollow"><i>Beyond Language: Adventures in Word and Thought</i></a> by <a class="external text" href="https://en.wikipedia.org/wiki/Dmitri_Borgmann" rel="nofollow">Dmitri Borgmann</a>.
</p>
<div class="thumb tright"><div class="thumbinner" style="width:302px;"><a class="image" href="File:Buffalo_sentence_1_parse_tree.jpg.html"><img alt="Buffalo sentence 1 parse tree.jpg" class="thumbimage" decoding="async" height="165" src="/mw-mediadesign/images/thumb/0/08/Buffalo_sentence_1_parse_tree.jpg/300px-Buffalo_sentence_1_parse_tree.jpg" srcset="/mw-mediadesign/images/thumb/0/08/Buffalo_sentence_1_parse_tree.jpg/450px-Buffalo_sentence_1_parse_tree.jpg 1.5x, /mw-mediadesign/images/thumb/0/08/Buffalo_sentence_1_parse_tree.jpg/600px-Buffalo_sentence_1_parse_tree.jpg 2x" width="300"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Buffalo_sentence_1_parse_tree.jpg.html" title="Enlarge"></a></div></div></div></div>
<p>This particular sentence uses the word "buffalo" as 3 discrete components:
</p><p>1. A <span style="color:#d33">proper noun</span> (meaning the city of Buffalo in upstate New York).<br>
2. A <span style="color:#00af89">verb</span> (meaning to bully - an uncommon spoken use, but familiar to North American English speakers)<br>
3. A <span style="color:#36c">common noun</span> (meaning a kind of bison indigenous to certain parts of North America)<br>
</p><p>A fluent speaker of a language parses the components of an utterance, often adding contextually implied meanings that may be common in their vernacular. So the sentence (particularly in the North American town of Buffalo) can be read as:<br>
</p><p><code>
<span style="color:#d33">Buffalo</span> <span style="color:#36c">buffalo</span> (Buffalo from the town of Buffalo)
</code></p><p><code><span style="color:#d33">Buffalo</span> <span style="color:#36c">buffalo</span> [that] (other buffalo from Buffalo) <span style="color:#00af89">buffalo</span> (bully)
</code></p><p><code>[themselves] <span style="color:#00af89">buffalo</span> (bully)
</code></p><p><code><span style="color:#d33">Buffalo</span> <span style="color:#36c">buffalo</span> (buffalo from Buffalo)
</code>
</p><p>This is but one of many extrapolations that can be made from the combination of words in this sentence. Other readings include:
</p>
<ol><li>Buffalo buffalo (the animals called "buffalo" from the city of Buffalo) [that] Buffalo buffalo buffalo (that the animals from the city bully) buffalo Buffalo buffalo (are bullying these animals from that city).</li>
<li>[Those] buffalo(es) from Buffalo [that are intimidated by] buffalo(es) from Buffalo intimidate buffalo(es) from Buffalo.</li>
<li>Bison from Buffalo, New York, who are intimidated by other bison in their community, also happen to intimidate other bison in their community.</li>
<li>The buffalo from Buffalo who are buffaloed by buffalo from Buffalo, buffalo (verb) other buffalo from Buffalo.</li>
<li>Buffalo buffalo (main clause subject) [that] Buffalo buffalo (subordinate clause subject) buffalo (subordinate clause verb) buffalo (main clause verb) Buffalo buffalo (main clause direct object).</li>
<li>[Buffalo from Buffalo] that [buffalo from Buffalo] buffalo, also buffalo [buffalo from Buffalo].</li></ol>
<h3><span class="mw-headline" id="Syntactic_Ambiguity">Syntactic Ambiguity</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Regular_Strategies&amp;action=edit&amp;section=T-4" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<div class="thumb tright"><div class="thumbinner" style="width:302px;"><a class="image" href="File:Syntax_tree.jpg.html"><img alt="Syntax tree.jpg" class="thumbimage" decoding="async" height="257" src="/mw-mediadesign/images/thumb/b/b7/Syntax_tree.jpg/300px-Syntax_tree.jpg" srcset="/mw-mediadesign/images/thumb/b/b7/Syntax_tree.jpg/450px-Syntax_tree.jpg 1.5x, /mw-mediadesign/images/thumb/b/b7/Syntax_tree.jpg/600px-Syntax_tree.jpg 2x" width="300"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Syntax_tree.jpg.html" title="Enlarge"></a></div></div></div></div>
<p>Examples of this are diverse, including famous sentences such as Noam Chomsky's famous <a class="external text" href="https://en.wikipedia.org/wiki/Colorless_green_ideas_sleep_furiously" rel="nofollow">"Colorless green ideas sleep furiously"</a>.
This type of sentence (as well as many other examples) introduce the idea of syntactic ambiguity. Chomsky's sentence has correct grammar - all the components are there - but it has no apparent meaning.
</p>
<h1><span class="mw-headline" id="Regular_Strategies">Regular Strategies</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Regular_Strategies&amp;action=edit&amp;section=T-5" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>Regular Strategies is an app that produces sentences based on random modelling of sentences. Each sentence has the same grammatical structure, each part of speech has the same function in the parse tree. An idea is to perhaps allow users to input values specific to their circumstances, and from this generate the affirmations. These can then be printed to the workplace (either as a screensaver, or as a poster).
</p>
<div class="floatleft"><a class="image" href="File:RS_ALL.jpg.html"><img alt="RS ALL.jpg" decoding="async" height="155" src="/mw-mediadesign/images/thumb/f/f5/RS_ALL.jpg/300px-RS_ALL.jpg" srcset="/mw-mediadesign/images/thumb/f/f5/RS_ALL.jpg/450px-RS_ALL.jpg 1.5x, /mw-mediadesign/images/thumb/f/f5/RS_ALL.jpg/600px-RS_ALL.jpg 2x" width="300"></a></div>
<div class="floatleft"><a class="image" href="File:RS_01.jpg.html"><img alt="RS 01.jpg" decoding="async" height="155" src="/mw-mediadesign/images/thumb/c/cc/RS_01.jpg/300px-RS_01.jpg" srcset="/mw-mediadesign/images/thumb/c/cc/RS_01.jpg/450px-RS_01.jpg 1.5x, /mw-mediadesign/images/thumb/c/cc/RS_01.jpg/600px-RS_01.jpg 2x" width="300"></a></div>
<div class="floatleft"><a class="image" href="File:RS_02.jpg.html"><img alt="RS 02.jpg" decoding="async" height="155" src="/mw-mediadesign/images/thumb/e/e7/RS_02.jpg/300px-RS_02.jpg" srcset="/mw-mediadesign/images/thumb/e/e7/RS_02.jpg/450px-RS_02.jpg 1.5x, /mw-mediadesign/images/thumb/e/e7/RS_02.jpg/600px-RS_02.jpg 2x" width="300"></a></div>
<div class="floatleft"><a class="image" href="File:RS_03.jpg.html"><img alt="RS 03.jpg" decoding="async" height="155" src="/mw-mediadesign/images/thumb/1/14/RS_03.jpg/300px-RS_03.jpg" srcset="/mw-mediadesign/images/thumb/1/14/RS_03.jpg/450px-RS_03.jpg 1.5x, /mw-mediadesign/images/thumb/1/14/RS_03.jpg/600px-RS_03.jpg 2x" width="300"></a></div>
<div class="floatleft"><a class="image" href="File:RS_HOME.jpg.html"><img alt="RS HOME.jpg" decoding="async" height="155" src="/mw-mediadesign/images/thumb/1/1d/RS_HOME.jpg/300px-RS_HOME.jpg" srcset="/mw-mediadesign/images/thumb/1/1d/RS_HOME.jpg/450px-RS_HOME.jpg 1.5x, /mw-mediadesign/images/thumb/1/1d/RS_HOME.jpg/600px-RS_HOME.jpg 2x" width="300"></a></div>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="rebinding">rebinding</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Rebinding&amp;action=edit&amp;section=1" title="Edit section: rebinding">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Being_kind_to_the_reader.html" title="User:Simon/Being kind to the reader">being kind to the reader</a>, <a href="Cleaning_up_text.html" title="User:Simon/Cleaning up text">cleaning up text</a>, <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Repaginating.html" title="User:Simon/Repaginating">repaginating</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>, <a href="Reprinting.html" title="User:Simon/Reprinting">reprinting</a>, <a href="Rereferencing.html" title="User:Simon/Rereferencing">rereferencing</a>
</p><p>A perfect-bound book is typically made with cold glue (such as polyvinyl acetate), or glue that melts at high temperatures. The benefit of cold glue is that it allows the book to lie flat when opened, as the spine is flexible. Cold-glue bound books can be made by hand with quite rudimentary equipment. All you need is a printed text block and cover, a press, a piece of gauze or cheesecloth for the spine, and a brush to apply the glue to it. This takes a lot of time, practice, skill and patience to do by hand, but machines for cold-glue binding are hard to find.
</p><p>Hot-glue binding machines can bind a book in less than 3 minutes, usually. Just be sure to set wider than normal margins before printing (I usually go for between 8 and 12mm for good measure) and make sure the book isn’t uncomfortably small. The minimum size should be considered in relation to the reader’s hands, how they grip the book and turn the pages, and how much effort will be needed to hold the book open in order to read it.
</p><p>Image: A hot-glue bound book held open with one hand
</p>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Rebinding_hot_glue_book.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/8/87/Rebinding_hot_glue_book.jpeg/150px-Rebinding_hot_glue_book.jpeg" srcset="/mw-mediadesign/images/thumb/8/87/Rebinding_hot_glue_book.jpeg/225px-Rebinding_hot_glue_book.jpeg 1.5x, /mw-mediadesign/images/thumb/8/87/Rebinding_hot_glue_book.jpeg/300px-Rebinding_hot_glue_book.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Rebinding_hot_glue_book.jpeg.html" title="Enlarge"></a></div>A hot-glue bound book held open with one hand</div></div></div>
<p>Snippets:
</p>
<h2><span id="Dumbstruck—A_Cultural_History_of_Ventriloquism"></span><span class="mw-headline" id="Dumbstruck.E2.80.94A_Cultural_History_of_Ventriloquism">Dumbstruck—A Cultural History of Ventriloquism</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Dumbstruck_A_Cultural_History_of_Ventriloquism&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="First_edition">First edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Dumbstruck_A_Cultural_History_of_Ventriloquism&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 29.10.19<br>
Dimensions: 150x235mm<br>
Cover stock: Clairefontaine Trophee (yellow) 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound (hot glue)<br>
Pages: 433pp
</p><p>This book took about 40 hours to create, the longest time it's taken so far... I found a PDF on Lib Gen, but for some reason the OCR'd text was tracked quite tight making each line look like a very long word - this was even worse when printed. After a quick search on worldcat, I discovered that this book was available to be borrowed from the Royal Library in the Hague. Off I went to borrow the book. I planned to scan it using the bookscanner, but the cameras kept crashing after scanning half the 433 page book. So, I managed to extract the text using Calibre's book convert process from PDF &gt; RTF. However, after placing the text in an InDesign layout, all of the numbers appeared as missing characters. From the looks of the PDF it seemed that these were perhaps from an Opentype font's custom stylistic set, which would explain why they weren't turning up in my system fonts. Also, in the index at the back of the book the numbers seemed to have the appearance of hyperlinks (when hovering over the hand icon appears) but when clicked, did absolutely nothing. So I began the rather painstaking process of laying out the book with exactly the same text flow and page numbers as the source. The work included removing headers and page numbers from the RTF, scanning all photos from the printed book, endlessly wordspacing paragraphs to make sure they fit where they should on each page, styling the text, removing manually written hyphenation (this was done programmatically, and ended up with a few words that were joined together in the case of examples like "re- and dis- associate" becoming reand disassociate") and the seemingly endless task of manually entering in EVERY number. At times it felt a bit masochistic, but I used this time to reflect on the process, thinking a lot about the changes I was making to preserve the form of the original. Ironically, this also involved a lot of forced line breaks, which would make the task of anyone who wanted to bootleg this book a bit more difficult (forced line breaks are the bane of the bootlegger). Another strange thought - I'm reading these books as I redesign them, but my reading happens on a more superficial level perhaps, meaning that I'm not absorbing the content fully, but reading it like a machine would as I look for anomalies and address them.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/1/14/Dumbstruck_A01.JPG/90px-Dumbstruck_A01.JPG" srcset="/mw-mediadesign/images/thumb/1/14/Dumbstruck_A01.JPG/135px-Dumbstruck_A01.JPG 1.5x, /mw-mediadesign/images/thumb/1/14/Dumbstruck_A01.JPG/180px-Dumbstruck_A01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/be/Dumbstruck_A02.JPG/90px-Dumbstruck_A02.JPG" srcset="/mw-mediadesign/images/thumb/b/be/Dumbstruck_A02.JPG/135px-Dumbstruck_A02.JPG 1.5x, /mw-mediadesign/images/thumb/b/be/Dumbstruck_A02.JPG/180px-Dumbstruck_A02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Title page
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/b6/Dumbstruck_A03.JPG/90px-Dumbstruck_A03.JPG" srcset="/mw-mediadesign/images/thumb/b/b6/Dumbstruck_A03.JPG/135px-Dumbstruck_A03.JPG 1.5x, /mw-mediadesign/images/thumb/b/b6/Dumbstruck_A03.JPG/180px-Dumbstruck_A03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Image section
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A04.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/d/dd/Dumbstruck_A04.JPG/90px-Dumbstruck_A04.JPG" srcset="/mw-mediadesign/images/thumb/d/dd/Dumbstruck_A04.JPG/135px-Dumbstruck_A04.JPG 1.5x, /mw-mediadesign/images/thumb/d/dd/Dumbstruck_A04.JPG/180px-Dumbstruck_A04.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Section begins
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_A05.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/9c/Dumbstruck_A05.JPG/90px-Dumbstruck_A05.JPG" srcset="/mw-mediadesign/images/thumb/9/9c/Dumbstruck_A05.JPG/135px-Dumbstruck_A05.JPG 1.5x, /mw-mediadesign/images/thumb/9/9c/Dumbstruck_A05.JPG/180px-Dumbstruck_A05.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Back cover
</p>
</div>
</div></li>
</ul>
<h3><span class="mw-headline" id="Second_edition">Second edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Dumbstruck_A_Cultural_History_of_Ventriloquism&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Printed: 28.11.19<br>
Dimensions: 150x235mm<br>
Cover stock: Clairefontaine Trophee (yellow) 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound (cold glue)<br>
Pages: 433pp
</p><p>Clara Balaguer asked me for a copy of this book, and it seemed like a good opportunity to try a new printing and binding process. I decided to print the book double-sided on A4 paper, as opposed to the previous method of 2-up imposed printing on A3 paper. I wasn't very satisfied with how the previous printing method had produced a "split" in the book due to the paper grain direction. Yin Yin Wong at PS Rotterdam had recommended printing double sided rather than 2-up to avoid this, so this was the technique I decided to try out. I also decided on hand-binding it with cold glue, a technique which I had recently learned. Cold glue binding is done with equipment and materials such as a hacksaw, scissors, medical gauze (or cheesecloth), brushes, PVA glue, bookbinding thread, a jig to hold the book in while notches are cut and the spine receives its initial gluing, and a book press to keep the book in overnight, which stops the book from warping due to the high water content of the PVA glue. Cold glue binding allows the book to lay open flat on a table, a benefit I was keen to apply to this edition of the book as I was dissatisfied by how tight the binding of the first edition was because I had used the hot glue binding machine, which takes much less time but for thick books can produce a lower quality result. I was quite pleased with how this book came out, however, when applying the cover I had to decide not to glue it to the spine. Cold glue binding results in a rough spine, and hot glue creates a smooth layer of glue that dries quickly, producing a smooth spine. The only way to avoid this is to not attach the cover to the spine if using cold glue.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_B01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/36/Dumbstruck_B01.JPG/90px-Dumbstruck_B01.JPG" srcset="/mw-mediadesign/images/thumb/3/36/Dumbstruck_B01.JPG/135px-Dumbstruck_B01.JPG 1.5x, /mw-mediadesign/images/thumb/3/36/Dumbstruck_B01.JPG/180px-Dumbstruck_B01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootlegged books front covers: Second edition (left) and first edition (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_B02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/a8/Dumbstruck_B02.JPG/90px-Dumbstruck_B02.JPG" srcset="/mw-mediadesign/images/thumb/a/a8/Dumbstruck_B02.JPG/135px-Dumbstruck_B02.JPG 1.5x, /mw-mediadesign/images/thumb/a/a8/Dumbstruck_B02.JPG/180px-Dumbstruck_B02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front covers: Source publication (left) and second edition bootleg (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:Dumbstruck_B03.JPG.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/5/51/Dumbstruck_B03.JPG/120px-Dumbstruck_B03.JPG" srcset="/mw-mediadesign/images/thumb/5/51/Dumbstruck_B03.JPG/180px-Dumbstruck_B03.JPG 1.5x, /mw-mediadesign/images/thumb/5/51/Dumbstruck_B03.JPG/240px-Dumbstruck_B03.JPG 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Beginning of image section: Source publication (left) and second edition bootleg (right). The second edition bootleg book lies open more easily due to the cold glue binding
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:Dumbstruck_B06.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/96/Dumbstruck_B06.JPG/90px-Dumbstruck_B06.JPG" srcset="/mw-mediadesign/images/thumb/9/96/Dumbstruck_B06.JPG/135px-Dumbstruck_B06.JPG 1.5x, /mw-mediadesign/images/thumb/9/96/Dumbstruck_B06.JPG/180px-Dumbstruck_B06.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spines: Source publication (left) and second edition bootleg (right)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:30px auto;"><a class="image" href="File:Dumbstruck_B05.JPG.html"><img alt="" decoding="async" height="90" src="/mw-mediadesign/images/thumb/6/67/Dumbstruck_B05.JPG/120px-Dumbstruck_B05.JPG" srcset="/mw-mediadesign/images/thumb/6/67/Dumbstruck_B05.JPG/180px-Dumbstruck_B05.JPG 1.5x, /mw-mediadesign/images/thumb/6/67/Dumbstruck_B05.JPG/240px-Dumbstruck_B05.JPG 2x" width="120"></a></div></div>
<div class="gallerytext">
<p>Back covers: Source publication (left) and second edition bootleg (right)
</p>
</div>
</div></li>
</ul>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="repaginating">repaginating</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Repaginating&amp;action=edit&amp;section=1" title="Edit section: repaginating">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Being_kind_to_the_reader.html" title="User:Simon/Being kind to the reader">being kind to the reader</a>, <a href="Cleaning_up_text.html" title="User:Simon/Cleaning up text">cleaning up text</a>, <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Rebinding.html" title="User:Simon/Rebinding">rebinding</a>, <a href="Reprinting.html" title="User:Simon/Reprinting">reprinting</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>, <a href="Rereferencing.html" title="User:Simon/Rereferencing">rereferencing</a>
</p><p>The simplest solution is to just print the source publication, but sometimes you might want to lay the text out again using a different format, font or layout, for reasons not worth going into in detail here. This means either the original text flow and page numbers should be the same, or there must be some references in the bootleg to the source publication.
</p><p>Some observations and methods:
</p><p>1) Justified text saves space and gives much more control over where to break the page.
</p><p>2) The most basic reference system is to include an index that specifies which page in the source publication matches the bootleg. However, this is not so useful when setting text for a page (e.g. PDF), and more useful for EPUBs, which don’t have the notion of a page.
</p><p>Inserting page numbers directly into the text can indicate where the page breaks in the source publication. This is quite time consuming, but it allows you a lot of freedom to differ between fonts, page and type size, text-block dimensions and page count.
</p><p>Image: A page from a bootleg of Mladen Dolar’s <i>A Voice and Nothing More</i>, implementing new page numbers to mark the page breaks of the source publication
</p>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Mladen_dolar_page_numbers.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/d/d5/Mladen_dolar_page_numbers.jpeg/150px-Mladen_dolar_page_numbers.jpeg" srcset="/mw-mediadesign/images/thumb/d/d5/Mladen_dolar_page_numbers.jpeg/225px-Mladen_dolar_page_numbers.jpeg 1.5x, /mw-mediadesign/images/thumb/d/d5/Mladen_dolar_page_numbers.jpeg/300px-Mladen_dolar_page_numbers.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Mladen_dolar_page_numbers.jpeg.html" title="Enlarge"></a></div>A page from a bootleg of Mladen Dolar’s <i>A Voice and Nothing More</i></div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="A_Voice_and_Nothing_More">A Voice and Nothing More</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/A_Voice_and_Nothing_More&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Printed: 19.11.19<br>
Dimensions: 155x235mm<br>
Cover stock: Ursus glossy white 210gsm<br>
Text stock: Bio Top 80gsm<br>
Binding: Perfect bound, cold glue<br>
Pages: 226pp
</p><p>This is another book where I took a text file and laid it out again in InDesign, like the copy of <i>Dumbstruck</i> that I bootlegged. However, this time I made a code to indicate the page numbering and text flow of the source publication. This was to provide comfortable, consistent tracking to the letterspacing - one of the issues with <i>Dumbstruck</i> was that, in an attempt to keep the text flow and page numbering the same, some paragraphs were too tightly, or too loosely kerned. I feel this is a more elegant solution, however, it might pose problems if someone else tried to do the same as I had (taking the text from a source publication and laying it out) as the code is now part of the text. The cover was made with glossy paper, and custom-cut vinyl stickers. In time these will probably come off, but that's conceptually sympathetic to the content of the book, which is about the transience of the voice.
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A01.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/2/2e/AVANM_A01.JPG/90px-AVANM_A01.JPG" srcset="/mw-mediadesign/images/thumb/2/2e/AVANM_A01.JPG/135px-AVANM_A01.JPG 1.5x, /mw-mediadesign/images/thumb/2/2e/AVANM_A01.JPG/180px-AVANM_A01.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Front cover, with white vinyl text and graphics
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A02.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/08/AVANM_A02.JPG/90px-AVANM_A02.JPG" srcset="/mw-mediadesign/images/thumb/0/08/AVANM_A02.JPG/135px-AVANM_A02.JPG 1.5x, /mw-mediadesign/images/thumb/0/08/AVANM_A02.JPG/180px-AVANM_A02.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spine
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A03.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/4e/AVANM_A03.JPG/90px-AVANM_A03.JPG" srcset="/mw-mediadesign/images/thumb/4/4e/AVANM_A03.JPG/135px-AVANM_A03.JPG 1.5x, /mw-mediadesign/images/thumb/4/4e/AVANM_A03.JPG/180px-AVANM_A03.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Code referring to text flow of the source publication
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A04.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/6/60/AVANM_A04.JPG/90px-AVANM_A04.JPG" srcset="/mw-mediadesign/images/thumb/6/60/AVANM_A04.JPG/135px-AVANM_A04.JPG 1.5x, /mw-mediadesign/images/thumb/6/60/AVANM_A04.JPG/180px-AVANM_A04.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Bootleg acknowledgement
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:AVANM_A05.JPG.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/8f/AVANM_A05.JPG/90px-AVANM_A05.JPG" srcset="/mw-mediadesign/images/thumb/8/8f/AVANM_A05.JPG/135px-AVANM_A05.JPG 1.5x, /mw-mediadesign/images/thumb/8/8f/AVANM_A05.JPG/180px-AVANM_A05.JPG 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>Spread: Book opens easily due to cold glue binding
</p>
</div>
</div></li>
</ul>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="reprinting">reprinting</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Reprinting&amp;action=edit&amp;section=1" title="Edit section: reprinting">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Being_kind_to_the_reader.html" title="User:Simon/Being kind to the reader">being kind to the reader</a>, <a href="Bootlegging.html" title="User:Simon/Bootlegging">bootlegging</a>, <a href="Rebinding.html" title="User:Simon/Rebinding">rebinding</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>
</p><p>Making a printed book involves selection of paper stock and decisions on how to economise with the printing method. Often this calls for text to be imposed, 2-up, double-sided, into a booklet. Booklets are useful for thin, staple-bound books, less than 64 pages of ordinary 80gsm paper.
</p><p>A text block of 2-up imposed spreads is cut in the middle first, then the two halves are joined together like a sandwich. Turning a single page document into a 2-up imposed PDF also imposes a constraint. There is no other way to create the text block. So, a book made in this way will result in a visible “split”, and the pages will naturally fall open where the two halves were joined.
</p><p>This is because most commercially bought paper comes with the grain direction aligned with the long edge, not the short edge. The solution is to print pages, not spreads, 1-up, double sided on a page. If you can find a printer that takes sheets of paper smaller than A4 (such as A5) this is perfect, if not, you may have to concede the loss that comes from trimming down to a smaller than A5 size. Although this may seem just a superficial concern, the book will not be split, making for a materiality that emphasises the unity of the text.
</p><p>Image: (clockwise from top left): imposition from a single-page PDF into a booklet, anatomy of a book, a spread
</p>
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<!DOCTYPE html>
<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Anatomy_of_Reprinting_diagram.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/c/c6/Anatomy_of_Reprinting_diagram.jpeg/150px-Anatomy_of_Reprinting_diagram.jpeg" srcset="/mw-mediadesign/images/thumb/c/c6/Anatomy_of_Reprinting_diagram.jpeg/225px-Anatomy_of_Reprinting_diagram.jpeg 1.5x, /mw-mediadesign/images/thumb/c/c6/Anatomy_of_Reprinting_diagram.jpeg/300px-Anatomy_of_Reprinting_diagram.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Anatomy_of_Reprinting_diagram.jpeg.html" title="Enlarge"></a></div>(clockwise from top left): imposition from a single-page PDF into a booklet, anatomy of a book, a spread</div></div></div>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1"><a href="#PDF_imposition"><span class="tocnumber">1</span> <span class="toctext">PDF imposition</span></a>
<ul>
<li class="toclevel-2"><a href="#PDF_imposition_from_scratch"><span class="tocnumber">1.1</span> <span class="toctext">PDF imposition from scratch</span></a></li>
<li class="toclevel-2"><a href="#Using_pdfimpose"><span class="tocnumber">1.2</span> <span class="toctext">Using pdfimpose</span></a></li>
</ul>
</li>
<li class="toclevel-1"><a href="#booklet.sh_for_PDF_imposition_into_a_booklet"><span class="tocnumber">2</span> <span class="toctext">booklet.sh for PDF imposition into a booklet</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="PDF_imposition">PDF imposition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/PDF_imposition&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Premise: I will write my own script(s) to impose pages from a source PDF:<br>
</p><p><a class="image" href="File:Impose_01.jpg.html"><img alt="Impose 01.jpg" decoding="async" height="364" src="/mw-mediadesign/images/thumb/3/3e/Impose_01.jpg/600px-Impose_01.jpg" srcset="/mw-mediadesign/images/thumb/3/3e/Impose_01.jpg/900px-Impose_01.jpg 1.5x, /mw-mediadesign/images/thumb/3/3e/Impose_01.jpg/1200px-Impose_01.jpg 2x" width="600"></a><br>
</p><p>The aim is to write a Python script to automate the process by iterating recursively over pages in a PDF. These will be called in Python as subprocesses using the subprocess module.
</p>
<h3><span class="mw-headline" id="PDF_imposition_from_scratch">PDF imposition from scratch</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/PDF_imposition&amp;action=edit&amp;section=T-2" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p><b>23.09.19</b><br>
I'm working out which commands to use from the command line. The process should be as follows:<br>
</p>
<pre> #burst the source PDF, keep the name of the source plus page number (-%d)
$ pdftk source.pdf burst output source-%d.pdf
</pre>
<p>Results:<br>
<a class="image" href="File:Burst_01.png.html"><img alt="Burst 01.png" decoding="async" height="182" src="/mw-mediadesign/images/thumb/8/8d/Burst_01.png/300px-Burst_01.png" srcset="/mw-mediadesign/images/thumb/8/8d/Burst_01.png/450px-Burst_01.png 1.5x, /mw-mediadesign/images/thumb/8/8d/Burst_01.png/600px-Burst_01.png 2x" width="300"></a>
<a class="image" href="File:Burst_02.png.html"><img alt="Burst 02.png" decoding="async" height="182" src="/mw-mediadesign/images/thumb/e/e4/Burst_02.png/300px-Burst_02.png" srcset="/mw-mediadesign/images/thumb/e/e4/Burst_02.png/450px-Burst_02.png 1.5x, /mw-mediadesign/images/thumb/e/e4/Burst_02.png/600px-Burst_02.png 2x" width="300"></a>
</p><p>To identify the size of a single burst page in pixels, this is the command I used:
</p>
<pre> $ identify Carrier_burst-1.pdf
</pre>
<p>which returns this information:
</p>
<pre> Carrier_burst-1.pdf PDF 398x591 398x591+0+0 16-bit sRGB 19486B 0.000u 0:00.009
</pre>
<p><b>26.09.19</b><br>
Then for the next step, resizing each page to fit 2-up on an A4. It's easy enough to reduce to 50% if the original is A4, but in other formats it's a bit trickier...
</p>
<pre> #resize the resulting burst single page PDF (this only does one - needs Python loop to iterate recursively)
$ magick mogrify -resize 50% new_source.pdf
#or to resize to specific pixel dimensions such as 256x256
$ magick mogrify -resize 256x256 new_source.pdf
</pre>
<p>After resizing to 50%, the identify command returns these values:
</p>
<pre> Carrier_burst-1.pdf PDF 199x296 199x296+0+0 16-bit sRGB 51910B 0.000u 0:00.000
</pre>
<p><b>27.09.19</b><br>
The next steps are these:
</p>
<pre> #impose 2up on a page using imagemagick montage command
#assemble imposed PDFs into a single file
</pre>
<h3><span class="mw-headline" id="Using_pdfimpose">Using pdfimpose</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/PDF_imposition&amp;action=edit&amp;section=T-3" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p><a class="external text" href="https://pypi.org/project/pdfimpose/" rel="nofollow">pdfimpose</a> is a python library that does imposition. It's quite easy and powerful, though again it is not quite set up for cutting pages. I found some Python code, which creates an imposed PDF in a 2x2 format, with folds to be made first vertically, then horizontally:
</p>
<pre> from pdfimpose import impose, VERTICAL, HORIZONTAL
impose(inname=["foo.pdf"],outname="foo-impose.pdf",fold=[VERTICAL, HORIZONTAL],bind="left",last=0,)
</pre>
<p>The resulting layout for the PDF is like so:
</p><p><a class="image" href="File:E_r_2x2_imposed.png.html"><img alt="E r 2x2 imposed.png" decoding="async" height="386" src="/mw-mediadesign/images/thumb/1/1c/E_r_2x2_imposed.png/300px-E_r_2x2_imposed.png" srcset="/mw-mediadesign/images/thumb/1/1c/E_r_2x2_imposed.png/450px-E_r_2x2_imposed.png 1.5x, /mw-mediadesign/images/thumb/1/1c/E_r_2x2_imposed.png/600px-E_r_2x2_imposed.png 2x" width="300"></a>
</p><p>Documentation for pdfimpose can be found here:
</p><p><a class="external free" href="https://buildmedia.readthedocs.org/media/pdf/pdfimpose/latest/pdfimpose.pdf" rel="nofollow">https://buildmedia.readthedocs.org/media/pdf/pdfimpose/latest/pdfimpose.pdf</a>
</p>
<h2><span class="mw-headline" id="booklet.sh_for_PDF_imposition_into_a_booklet">booklet.sh for PDF imposition into a booklet</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Michaels_booklet_script_for_PDF_imposition&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>I found another way to do imposition using a script Michael wrote called booklet.sh, downloadable here: <a class="external free" href="https://git.xpub.nl/murtaugh/95layouts" rel="nofollow">https://git.xpub.nl/murtaugh/95layouts</a><br>
It's a shell script that can run in the bin folder from the home directory, which allows you to run it wherever you are in the computer - you don't have to <code>cd</code> to the folder where the script is. To enable this, first you have to echo the path for the bin folder that the scripts are in. The command to run it from the terminal is:
</p>
<pre>booklet.sh source.pdf
</pre>
<p>It needs a few dependencies to run (mainly psutils).
</p>
<ol><li>Requirements: psutils, pdftk, python3 with reportlab (make_blank_pdf.py)</li></ol>
<pre>input=$1
base=${input%.*}
echo converting $input to $base.booklet.pdf
pdftk_utils.py $input pad --multiple 4 --output $base.01.pdf
pdftops -paper match $base.01.pdf $base.01.ps
psbook -s`pdftk_utils.py $base.01.pdf count` $base.01.ps $base.02.ps
psnup -2 -PA4 $base.02.ps $base.03.ps
ps2pdf $base.03.ps $base.booklet.pdf
rm $base.01.pdf $base.01.ps $base.02.ps $base.03.ps
</pre>
<p>Note: Comment out or delete the last line to produce three .ps files - the first one is the source PDF, the second is the PDF imposed in the correct order, the third one is the imposed PDF pages on an A4 page. This works well if all you want to do is impose, print and fold. For cutting sheets you need to position the pages 2-up, centred on the page, which I can't quite figure out how to do...
</p>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="republishing">republishing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Republishing&amp;action=edit&amp;section=1" title="Edit section: republishing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Bootlegging.html" title="User:Simon/Bootlegging">bootlegging</a>, <a href="Diversifying_through_use.html" title="User:Simon/Diversifying through use">diversifying through use</a>, <a href="Multiplying_form.html" title="User:Simon/Multiplying form">multiplying form</a>
</p><p>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.
</p><p>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.
</p>
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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8">
<title>Tasks of the Contingent Librarian</title>
<link rel="stylesheet" type="text/css" href="tasks.css">
<script src="tasks.js"></script>
</head>
<body>
<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Publication_studio_London_staff.jpg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/3/39/Publication_studio_London_staff.jpg/150px-Publication_studio_London_staff.jpg" srcset="/mw-mediadesign/images/thumb/3/39/Publication_studio_London_staff.jpg/225px-Publication_studio_London_staff.jpg 1.5x, /mw-mediadesign/images/thumb/3/39/Publication_studio_London_staff.jpg/300px-Publication_studio_London_staff.jpg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Publication_studio_London_staff.jpg.html" title="Enlarge"></a></div>Staff working at Publication Studio, London</div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="02.12.19_The_nomadic_physical_bootleg_library">02.12.19 The nomadic physical bootleg library</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Physical_bootleg_library_nomadic_box&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The physical bootleg library is a collection of books, mostly made at PZI by myself and other students, or donated by visitors to PZI. The books are kept in a repurposed champagne crate, usually stored on a shelf in the Lens-Based studio. The only condition for borrowing books is that they are returned at some point. The dimensions of the box introduce certain constraints on the size and quantity of books contained within. The box is portable, allowing it to be placed in many locations:
</p>
<ul class="gallery mw-gallery-traditional">
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A01.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/ba/BL_A01.jpg/90px-BL_A01.jpg" srcset="/mw-mediadesign/images/thumb/b/ba/BL_A01.jpg/135px-BL_A01.jpg 1.5x, /mw-mediadesign/images/thumb/b/ba/BL_A01.jpg/180px-BL_A01.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>In the LB studio (its usual location)
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A02.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/4/4b/BL_A02.jpg/90px-BL_A02.jpg" srcset="/mw-mediadesign/images/thumb/4/4b/BL_A02.jpg/135px-BL_A02.jpg 1.5x, /mw-mediadesign/images/thumb/4/4b/BL_A02.jpg/180px-BL_A02.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On top of the water fountain on Level 4
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A03.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/7/73/BL_A03.jpg/90px-BL_A03.jpg" srcset="/mw-mediadesign/images/thumb/7/73/BL_A03.jpg/135px-BL_A03.jpg 1.5x, /mw-mediadesign/images/thumb/7/73/BL_A03.jpg/180px-BL_A03.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>In the kitchen on Level 4
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A04.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/0a/BL_A04.jpg/90px-BL_A04.jpg" srcset="/mw-mediadesign/images/thumb/0/0a/BL_A04.jpg/135px-BL_A04.jpg 1.5x, /mw-mediadesign/images/thumb/0/0a/BL_A04.jpg/180px-BL_A04.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>By the printer on Level 2
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A05.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/b/bf/BL_A05.jpg/90px-BL_A05.jpg" srcset="/mw-mediadesign/images/thumb/b/bf/BL_A05.jpg/135px-BL_A05.jpg 1.5x, /mw-mediadesign/images/thumb/b/bf/BL_A05.jpg/180px-BL_A05.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On top of the letterboxes on Level 2
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A06.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/0/0f/BL_A06.jpg/90px-BL_A06.jpg" srcset="/mw-mediadesign/images/thumb/0/0f/BL_A06.jpg/135px-BL_A06.jpg 1.5x, /mw-mediadesign/images/thumb/0/0f/BL_A06.jpg/180px-BL_A06.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>At the desk in the Research Station where you borrow/return books
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A07.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/3/39/BL_A07.jpg/90px-BL_A07.jpg" srcset="/mw-mediadesign/images/thumb/3/39/BL_A07.jpg/135px-BL_A07.jpg 1.5x, /mw-mediadesign/images/thumb/3/39/BL_A07.jpg/180px-BL_A07.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On a bookshelf in the Research Station
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A08.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/9/92/BL_A08.jpg/90px-BL_A08.jpg" srcset="/mw-mediadesign/images/thumb/9/92/BL_A08.jpg/135px-BL_A08.jpg 1.5x, /mw-mediadesign/images/thumb/9/92/BL_A08.jpg/180px-BL_A08.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On a table in the main entrance to WdKA Wijnhaven building
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A09.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/5/5a/BL_A09.jpg/90px-BL_A09.jpg" srcset="/mw-mediadesign/images/thumb/5/5a/BL_A09.jpg/135px-BL_A09.jpg 1.5x, /mw-mediadesign/images/thumb/5/5a/BL_A09.jpg/180px-BL_A09.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On top of some signage in the WdKA Wijnhaven building
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A10.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/a/ad/BL_A10.jpg/90px-BL_A10.jpg" srcset="/mw-mediadesign/images/thumb/a/ad/BL_A10.jpg/135px-BL_A10.jpg 1.5x, /mw-mediadesign/images/thumb/a/ad/BL_A10.jpg/180px-BL_A10.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>On a table in the De Willem cafeteria
</p>
</div>
</div></li>
<li class="gallerybox" style="width: 155px"><div style="width: 155px">
<div class="thumb" style="width: 150px;"><div style="margin:15px auto;"><a class="image" href="File:BL_A11.jpg.html"><img alt="" decoding="async" height="120" src="/mw-mediadesign/images/thumb/8/86/BL_A11.jpg/90px-BL_A11.jpg" srcset="/mw-mediadesign/images/thumb/8/86/BL_A11.jpg/135px-BL_A11.jpg 1.5x, /mw-mediadesign/images/thumb/8/86/BL_A11.jpg/180px-BL_A11.jpg 2x" width="90"></a></div></div>
<div class="gallerytext">
<p>In an elevator in the WdKA Wijnhaven building
</p>
</div>
</div></li>
</ul>
<p>The portability of the box means that it could be an interesting container &amp; receptacle for libraries that travel - I'm quite interested in the possibility of using the box to transport and store both printed and digital books, especially in temporary library situations (on hotspotted Raspberry Pi for example) that could be used in worksessions at various locations.
</p>
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<title>Tasks of the Contingent Librarian</title>
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<script src="tasks.js"></script>
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<body>
<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="rereferencing">rereferencing</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Rereferencing&amp;action=edit&amp;section=1" title="Edit section: rereferencing">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Being_kind_to_the_reader.html" title="User:Simon/Being kind to the reader">being kind to the reader</a>, <a href="Cleaning_up_text.html" title="User:Simon/Cleaning up text">cleaning up text</a>, <a href="Editing.html" title="User:Simon/Editing">editing</a>, <a href="Rebinding.html" title="User:Simon/Rebinding">rebinding</a>, <a href="Repaginating.html" title="User:Simon/Repaginating">repaginating</a>, <a href="Republishing.html" title="User:Simon/Republishing">republishing</a>, <a href="Reprinting.html" title="User:Simon/Reprinting">reprinting</a>
</p><p>Academic research requires citation, and inevitably this means referring to a quote from a book, located on a particular page. Citation allows readers to locate the reference efficiently. For this to happen, the reader must be able to find the text easily by searching for it in a catalogue system. Often books will include cataloguing information in the front matter, and for citation purposes this can be retained in a bootlegged book.
</p><p>Digital files don’t always come with text that is suitable for print, particularly when the text is kerned too tightly or too loosely, or when bad OCR (Optical Character Recognition) returns characters that are not actually in the source publication. Sometimes a dark mark on a page will be interpreted as a character by OCR software. In these cases the text may need to be set again using a different format, font and page layout.
</p><p>Image: A bootleg copy of <i>The Open Work</i> by Umberto Eco. Optical Character Recognition software has mistakenly rendered the page number (page 80) as the word “So”
</p>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:Rereferencing_Open_work_OCR.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/3/3c/Rereferencing_Open_work_OCR.jpeg/150px-Rereferencing_Open_work_OCR.jpeg" srcset="/mw-mediadesign/images/thumb/3/3c/Rereferencing_Open_work_OCR.jpeg/225px-Rereferencing_Open_work_OCR.jpeg 1.5x, /mw-mediadesign/images/thumb/3/3c/Rereferencing_Open_work_OCR.jpeg/300px-Rereferencing_Open_work_OCR.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:Rereferencing_Open_work_OCR.jpeg.html" title="Enlarge"></a></div>A bootleg copy of The Open Work by Umberto Eco. OCR software has mistaken the page number (page 80) as the word “So”</div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="Pre-processing_for_OCR">Pre-processing for OCR</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/self_directed_research/OCR_preprocessing&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>This script applies transformations to the image before running OCR, resulting in a clearer result:
</p><p><br>
</p>
<pre># import the necessary packages
#from PIL
import Image
import pytesseract
import argparse
import cv2
import os
# construct the argument parse and parse the arguments
ap = argparse.ArgumentParser()
ap.add_argument("-i", "--image", required=True,
help="path to input image to be OCR'd")
ap.add_argument("-p", "--preprocess", type=str, default="thresh",
help="type of preprocessing to be done")
args = vars(ap.parse_args())
# load the example image and convert it to grayscale
image = cv2.imread(args["image"])
gray = cv2.cvtColor(image, cv2.COLOR_BGR2GRAY)
# check to see if we should apply thresholding to preprocess the
# image
if args["preprocess"] == "thresh":
gray = cv2.threshold(gray, 0, 255,
cv2.THRESH_BINARY | cv2.THRESH_OTSU)[1]
# make a check to see if median blurring should be done to remove
# noise
elif args["preprocess"] == "blur":
gray = cv2.medianBlur(gray, 3)
# write the grayscale image to disk as a temporary file so we can
# apply OCR to it
filename = "{}.png".format(os.getpid())
cv2.imwrite(filename, gray)
# load the image as a PIL/Pillow image, apply OCR, and then delete
# the temporary file
text = pytesseract.image_to_string(Image.open(filename))
os.remove(filename)
print(text)
# show the output images
cv2.imshow("Image", image)
cv2.imshow("Output", gray)
cv2.waitKey(0)
</pre>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="interfaces_for_annotation">interfaces for annotation</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Retention_and_transformation_of_annotations&amp;action=edit&amp;section=1" title="Edit section: interfaces for annotation">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The formal qualities of annotations are defined by the tools used to make them, and also the cultural uses of these. Given a pen, most people will write, although it is also possible to draw or use it in other ways. With a keyboard it seems most appropriate to type. With a mouse, one can click on things, and select them.
</p><p>What happens when these are retained, transformed and isolated from the source?
</p>
<h2><span class="mw-headline" id="digital_annotations">digital annotations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Retention_and_transformation_of_annotations&amp;action=edit&amp;section=2" title="Edit section: digital annotations">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>These are rare, but I found one PDF of Jorge Luis Borges "The Garden of Forking Paths" that had underlinings and highlighted text. The interesting thing is that these change appearance slightly depending on the e-reader software used to display the text.
</p><p><a class="image" href="File:Garden_01.png.html"><img alt="Garden 01.png" decoding="async" height="386" src="/mw-mediadesign/images/thumb/d/d1/Garden_01.png/500px-Garden_01.png" srcset="/mw-mediadesign/images/thumb/d/d1/Garden_01.png/750px-Garden_01.png 1.5x, /mw-mediadesign/images/d/d1/Garden_01.png 2x" width="500"></a>
<a class="image" href="File:Garden_02.png.html"><img alt="Garden 02.png" decoding="async" height="386" src="/mw-mediadesign/images/thumb/4/47/Garden_02.png/500px-Garden_02.png" srcset="/mw-mediadesign/images/thumb/4/47/Garden_02.png/750px-Garden_02.png 1.5x, /mw-mediadesign/images/4/47/Garden_02.png 2x" width="500"></a><br>
<small>Digital annotations on a pdf of Jorge Luis Borges' "The Garden of Forking Paths"</small>
</p>
<h2><span class="mw-headline" id="analog_annotations">analog annotations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Retention_and_transformation_of_annotations&amp;action=edit&amp;section=3" title="Edit section: analog annotations">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Another text that came pre-annotated was Ursula K Le Guin's "The Carrier Bag Theory of Fiction". For this, I placed scans in a vector graphics program and digitised pen marks. I also included the text that was annotated with circles, underlines and lines in the margins.
</p><p><a class="image" href="File:Carrier_bag_01.png.html"><img alt="Carrier bag 01.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/5/5d/Carrier_bag_01.png/500px-Carrier_bag_01.png" srcset="/mw-mediadesign/images/thumb/5/5d/Carrier_bag_01.png/750px-Carrier_bag_01.png 1.5x, /mw-mediadesign/images/thumb/5/5d/Carrier_bag_01.png/1000px-Carrier_bag_01.png 2x" width="500"></a>
<a class="image" href="File:Carrier_bag_02.png.html"><img alt="Carrier bag 02.png" decoding="async" height="387" src="/mw-mediadesign/images/thumb/f/f7/Carrier_bag_02.png/500px-Carrier_bag_02.png" srcset="/mw-mediadesign/images/thumb/f/f7/Carrier_bag_02.png/750px-Carrier_bag_02.png 1.5x, /mw-mediadesign/images/thumb/f/f7/Carrier_bag_02.png/1000px-Carrier_bag_02.png 2x" width="500"></a><br>
<small>Hand-drawn annotations on a pdf of Ursula K. Le Guin's "The Carrier Bag Theory of Fiction"</small>
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h2><span class="mw-headline" id="Definition">what is a library?</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Running_backwards_through_the_library&amp;action=edit&amp;section=1" title="Edit section: Definition">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>A basic definition of a library, because it's called for, because we've moved so far from it being simply a collection of books:
</p>
<pre>A library retains:
* a collection of texts
A library produces:
* sociability
A library gives access to:
* knowledge</pre>
<p>Each statement declares the verb and object predicated by the subject of "A library". What if these objects were exchanged between these sentences?
</p><p>So
</p><p>It becomes
</p>
<pre>A library retains sociability, produces a collection of texts, and gives access to knowledge.
A library retains knowledge, produces sociability, and gives access to a collection of texts.
A library retains a collection of texts, produces knowledge, and gives access to sociability.</pre>
<h2><span class="mw-headline" id="Perspectives_on_current_and_potential_libraries">Perspectives on current and potential libraries</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Running_backwards_through_the_library&amp;action=edit&amp;section=2" title="Edit section: Perspectives on current and potential libraries">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>By changing parts of speech (the verb and its object), we can imagine different scenarios that potential (and current) libraries can play out. For example:
</p>
<pre>A library retains knowledge</pre>
<p>Retention of knowledge points towards the desire to acquire information that has high value; intellectual, social, practical etc.
</p>
<pre>produces a collection of texts</pre><p>
What are the texts that can be produced? Metadata, annotations and marginalia, infrastructural interfaces for readers (signage, an index, a classification system)
</p><pre>and gives access to sociability</pre>
<p>How does the library give access to sociability? What are the necessary actions for sociability to become accessible, and what are the limits to accessibility?
</p>
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<div class="card"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><h1><span class="mw-headline" id="scanning">scanning</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Scanning&amp;action=edit&amp;section=1" title="Edit section: scanning">edit</a><span class="mw-editsection-bracket">]</span></span></h1>
<p>see also <a href="Human_reading.html" title="User:Simon/Human reading">human reading</a>, <a href="Machine_reading.html" title="User:Simon/Machine reading">machine reading</a>
</p><p>Scanning is reading for particular details (such as names and numbers) by running one’s eyes over every word in a line. Sometimes I find myself using my index finger to guide my eyes when scanning a printed text. With a computer and full-text search capabilities, <i>control-f</i> helps find instances of a particular word or phrase.
</p><p>Scanning is also a way to process printed matter so that it may be electronically archived, modified and distributed. A bookscanner is the tool of choice for many archivists. It has two cameras, one to capture the odd pages, and one for the even pages. Most bookscanners consist of a system of pulleys which allow the book to be raised to two perpendicular sheets of glass, laying the pages flat and ensuring the focus is correct. It’s quite a workout, and is usually reserved for books which are difficult to find in digital format. Essentially the bookscanner takes two photographs, one each for the even and odd sides of a spread. So the sequence goes; flip, click click, flip, click click, and so on, and so on. Next, these images must go through a variety of processes to produce a digital book; rotating, cropping to the size of the page, merging into a single PDF. Ultimately, the most useful digital books include a digital text layer generated by OCR (Optical Character Recognition) software, making the text searchable and copy/pasteable.
</p><p>Image: An archivist bookscanner
</p>
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<div class="cardback"><DOCUMENT_FRAGMENT><div class="mw-parser-output"><div class="thumb tright"><div class="thumbinner" style="width:152px;"><a class="image" href="File:XPUB_bookscanner.jpeg.html"><img alt="" class="thumbimage" decoding="async" height="106" src="/mw-mediadesign/images/thumb/f/f6/XPUB_bookscanner.jpeg/150px-XPUB_bookscanner.jpeg" srcset="/mw-mediadesign/images/thumb/f/f6/XPUB_bookscanner.jpeg/225px-XPUB_bookscanner.jpeg 1.5x, /mw-mediadesign/images/thumb/f/f6/XPUB_bookscanner.jpeg/300px-XPUB_bookscanner.jpeg 2x" width="150"></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="File:XPUB_bookscanner.jpeg.html" title="Enlarge"></a></div>An archivist bookscanner</div></div></div>
<p>Snippets:
</p>
<h2><span class="mw-headline" id="first_trials_with_the_bookscanner">first trials with the bookscanner</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/mw-mediadesign/index.php?title=User:Simon/Trim4/Using_the_bookscanner&amp;action=edit&amp;section=T-1" title="Edit section: ">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>I tried using the Bookscanner, built as part of <a href="OuNuPo.html" title="OuNuPo">Special Issue 5 OuNuPo</a>. The Bookscanner needed a few adjustments before it was ready to use. The documentation is rather limited, but the software is set up so that it is quite easy to work out how to use it.
</p><p>The scanner takes photos of even and odd pages, from cameras mounted above the glass. First, you have to mount a drive in which the scanned images will be stored. Then, you can adjust the zoom, and shutter speed. I found it impossible to take an image of only the page, so I will need to crop out everything around it in the future.
</p><p>I scanned a book, and made jpegs of each page. The pages are oriented from the camera's perspective, like so:
</p><p><a class="image" href="File:Translations_scan_01.jpeg.html"><img alt="Translations scan 01.jpeg" decoding="async" height="300" src="/mw-mediadesign/images/thumb/6/64/Translations_scan_01.jpeg/400px-Translations_scan_01.jpeg" srcset="/mw-mediadesign/images/thumb/6/64/Translations_scan_01.jpeg/600px-Translations_scan_01.jpeg 1.5x, /mw-mediadesign/images/thumb/6/64/Translations_scan_01.jpeg/800px-Translations_scan_01.jpeg 2x" width="400"></a>
<a class="image" href="File:Translations_scan_02.jpeg.html"><img alt="Translations scan 02.jpeg" decoding="async" height="300" src="/mw-mediadesign/images/thumb/f/f9/Translations_scan_02.jpeg/400px-Translations_scan_02.jpeg" srcset="/mw-mediadesign/images/thumb/f/f9/Translations_scan_02.jpeg/600px-Translations_scan_02.jpeg 1.5x, /mw-mediadesign/images/thumb/f/f9/Translations_scan_02.jpeg/800px-Translations_scan_02.jpeg 2x" width="400"></a>
</p><p>Next, I ran a script that does OCR on jpegs that Pedro, Tancre and Bo made for their workshop <a href="Blurry_Boundaries.html" title="Blurry Boundaries"> Blurry Boundaries</a> as part of Special Issue 9: The Library Is Open. This created two PDFs, with OCR. The next step will to be to work out how to rotate the images 90 degrees to the correct orientation, (clockwise for the odd pages, anti-clockwise for the even pages), and crop the images.
</p><p>The workflow will be like so:
</p>
<pre>1. Scan
2. Rotate images
3. Crop
4. OCR
5. Compile
</pre>
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