MediaWiki API result

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            "10291": {
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                "title": "Read/Write",
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                        "*": "\n<div style=\"width:800px;\">\n\n'''Influential texts/books:''' \n:Deleuze/Foucault: Postscript on societies of control\n:Pascal Gielen: The murmuring of the artistic multitude \n:Chris Anderson: The Long Tail (also performance by Mark Leckey) and Free (book)\n:Wired article: http://www.wired.com/wiredenterprise/2013/09/bitcoin-homeless/all/\n\n'''Influential work:'''\n:Multiple works by Andrew Norman Wilson: amongst google scan-ops\n:Harun Farocki: Workers leaving the factory & [http://youtu.be/6JBbgWSBTdA?t=19m13s INEXTINGUISHABLE FIRE] (see end) \n\n'''Worklog:''' <br>\nThink of experiments to commence, opening op the practical aspect of the project. <br>\nThese could be online based - forum supported, chat-based or similar. These could also take a physical manifestation: eg \nphysical micro tasking - working towards a coherent 'piece of work' \n\n'''Preliminary project proposal''' \n\nMy work and research at the Piet Zwart Institute by large concerns it self with various forms of digital and precarious labor and its bordering areas such as user-generated content, the notion of the crowd, professionalism and amateurism. It takes into consideration the rapid expansion of computational and 'web'-access across the globe, often looked upon as the liberation of the individual and the equilibrium of humankind. Questioning this utopia I seek to look upon this relatively new technology not only as a tool enhancing freedom and equality but also as a tool of oppression and exploitation, depending on how it is wielded. \n\nWith a bachelor degree in graphic and interactive design, I find the vantage point for my research within these fields. I look at how the practice of design is changing, ranging from the 'coming of armatures', the freedom of freelancers, to larger professional design agencies. Within my first year of study I've engaged intensely in researching online platforms offering design on a crowd-sourced basis. Following indented paragraphs coherently describes my observations and critique on this specific topic. (feel free to skim)<br>    \n\n:'''Previous related research'''\n:\"Squadhelp.com - Helping you to tap into the collective wisdom of thousands of experts across the globe. The best part is that all these experts compete against each other for your project like a contest by actually doing the work for you. So it's more of a game where experts play to win, rather than boring work, sparking creativity you could never imagine.\" (promo-video, Squadhelp.com) \n\n:Often critically referred to as 'logo-mills', the majority of this type of platforms provide a system for individuals or companies to offer design-related jobs. Presented as an 'open contest' the job is released to a crowd of platform users signed up as designers.<br>  \n:Contest awards ranges widely (usually from 100$ to 500$) depending on the characteristics and scale of the job. The submitted designs enters the collected pool of proposals, in most cases publicly visible. Each proposals is rated by the contest-holder, mostly using stars, hearts or other 'like'-symbols, though s/he also has the option to write comments, rendering it simplistically clear for the designers to consider adjustments in their submitted proposal.  \n\n:Encouraged by this structure, individual designers enter fierce competition against each other. Inspiration edges towards plagiarism, creating a sour, hostile environment. This is all to the productive benefit of the contest-holder since thousands proposals are being generated freely, of which the preferred five-star proposals, constantly are being refined by the eager crowd, at the expense of the battered individual squashed beneath the ever higher reaching mass.<br> \n:As a winner eventually is chosen, the payout (deducted substantial transaction and commission fees) leaves the lucky one victorious; s/he has conquered the glorified bounty, s/he has won the race. Accompanying the almost symbolic monetary award is most often a virtual trophy adorning the profile of the winner: a PNG-medal, a 'LVL UP', an extra ten points in PhotoShop-skills.<br>  \n\n:Wrapped these the dazzling cloaks of gamification the platforms promises the individual designer a star-like status, creative exposure and expansion of the vital network.  \n:The excitement of winning seems to overshadow the fact, that the salary per-hour-ratio is diminishing. Especially taken into consideration that hardly every competition you enter is won by you. All the losers, the actual crowd, is left unpaid, yet they frantically cling on, in hope to win the logo-lottery. The posing, hard-trying, day-laborers are all inspected, the ones who manages to stand out (or stand upon the others) are picked out, used, worn down, and thrown back into the willing crowd, where the next strong individual is ready to replace and replenish the 'cliental' needs.  \n \n:'''The core themes in my research within this field, revolves around the illusion of promised freedom, the empowerment or on the other hand the total exploitation of the individual, and the fine line in-between.''' The post-industrial worker finds himself in flux between various environments and types of activities - on one hand offering refreshing change, on the other the pitfall of flexpolation - a term coined by 'flexibility' and 'exploitation'. Further complicating the issue is the question of resistance. Is it possible to unite the crowd, when the crowd is no longer locally centralized but in fact individuals spread across the globe? Can you find a common stand, when interests and individual circumstances do not have anything in common? In platforms such as Squadhelp.com, 99designs.com, DesignCrowd.com amongst other the crowd has been efficiently dispersed. Passively each peer awaits the next existential battle, all aspiring to take home the promised prize. \n\nIn my graduction project I intend to keep focus on emerging forms of digital labor. As of now I've addressed the design-field, but I wish to broaden this perspective to other areas. This might bring new observations and opinions forth leading to an awesome project!!!<br>\nCurrently I have no specific approach or particular field of work that I want to explore, but I have multiple options and I wish to pursuit before converging upon a specific direction. Some of these directions are bullet-pointed out beneath. \n\n\n*SEO (search engine optimization)\n\n::Keyword-fiction\n\n::deception and cloaking\n\n::clicking 'up' sites\n\n* Click-ranking (extends bullet from above)\n\n::You-Tube Hitters (bitcoin Get) \n\n* 'Database-aggregators'\n\n::Fill in\n\n::Scan\n\n::Scrape\n   \n* Captcha\n\n::Captcha-bending \n\n\n'''Modes of work \u2013 click vs thinking or both? \u2026.......'''\n\n'''What characterizes this kinds of jobs '''\nWhile the outcome of all the jobs intends to reach a more or less specific group of persons, the path trough which it reaches the human-being is all tunneled trough a database. <br>\nAny YouTube video will rise in the database-hierarchy for each 'view' it receives. The more views, the more chance for exposure and breakthrough. Thus the job for the person who is paid to give 'views' is of a rather simple character \u2013 s/he merely becomes a database-manipulator jobbing to promote certain database objects without any emotional or relational bonds attached.<br> \nThe database-aggregator who's objective is to fill in new entries in the database, expands the options and potential for analysis by each entry. Yet s/he is not capable of performing any analysis since s/he cannot access the database (of course not always the case), but only contribute to the pool.<br>\nThe products of the SEO-worker implemented in a clients website, does not get consumed by any person directly, rather it's intended to reach the spider of the search engine which, hopefully will rank it higher. Deceivingly the point is to promote the website 'behind the facade', a form of very indirect promotion, which then leaves the meaning of the workers outcome quite questionable. \n\nWhat is interesting (and critical) about this type of work is the I/O-simplicity that it consists of. In many cases the job is much more suited in an automated computational process rather than a human. Yet within the system certain things require 'human-authentication' to be performed, the YouTube-viewer needs to be human despise the level of disinterest s/he expresses. The fiction-writing of the SEO-worker seams pointless, since only the algorithm will get to it, and as a broader question; do these kinds of jobs contribute with anything productive?   \n\n\n\n\n\nLINKS AND REFS.: \n\n[[Project-Proposal-Archive]]\n\n\nhttps://www.mturk.com/mturk/searchbar?selectedSearchType=hitgroups&searchWords=frankfurt&minReward=0.00&x=0&y=0\nhttp://florianschmidt.co/full_articles/ (met at the transmediale) \nhttp://socialcloud.aifb.uni-karlsruhe.de/workshops/CrowdWork/\nhttp://opensource.com/life/10/10/does-market-need-freedom-or-it-modern-sharecropping \nhttp://www.electronicbookreview.com/thread/technocapitalism/voluntary \nhttp://mondediplo.com/openpage/abracadabra-you-re-a-part-timer \nhttp://baggrund.com/crowdsourcing-er-udnyttelsens-skalkeskjul/\nDeleuze/Foucault Postscript on societies of control: http://libcom.org/library/postscript-on-the-societies-of-control-gilles-deleuze\nhttp://libcom.org/library/phenomenon-bullshit-jobs-david-graeber\nthe panopticon: http://cartome.org/foucault.htm\nCrowdsourcing volunteers: http://mastersofmedia.hum.uva.nl/2012/10/14/wanted-skilled-volunteers-to-change-the-world/ \nCatchafire Their keywords are: experiences, efficiency and optimization.\nThomas Friedman: the world is flat & the 4-hour work-week\n\n\n\n'''Bio-politics: the murmuring of the artistic multitude''' (book) http://mastersofmedia.hum.uva.nl/2011/09/18/book-review-the-murmuring-of-the-artistic-multitude-global-art-memory-and-post-fordism/\n\nThis logic gravitates ideologically around terms such as creativity, flexibility, authenticity, an open project oriented spirit, a focus on ideas (knowledge), communication and the dynamic of psychic and social relations. Also, the condition of contemporary labour increasingly resembles the precariousness and dependability of \u2018the life of the artist,\u2019 as well as the diffusion of \u2018work-time\u2019 and \u2018free-time\u2019 (see image above). Furthermore, it is not necessarily the quality of the particular result (the work), but the personal character and \u2018learned\u2019 skills of the producer that renders the value of the (potential) outcome. Hence, according to Virno, the necessity of an extensive and invasive biopolitics (21).\n\nHOT100\n\nWhat is also shared by the artists and the immaterial workers of the new economy, is the combination of both over-supply and lack of demand, which obviously generates a dynamic of a \u2018take it or leave it\u2019 attitude on the side of the investors and employers, and a necessity to comply on the side of the \u2018worker,\u2019 albeit an often cynical compliance. For example, one of the lecturers present advised us not to use the term \u2018artist\u2019 when describing ourselves to potential investors, but rather to use a term like \u2018branding strategists.\u2019\n\nThus I came face to face with the tendencies Gielen discusses, the de-differentiation of specialized subsystems, the integration and diffusion of art, business models, design, governmental PR, technology, media and so on.\n\nhis problem is no longer how to shield a formalist art from the vulgar culture industry but how to find a niche were the necessary complicity of art, media, economy and culture can be exploited. For it creates the opportunity for an art that is finally freed from its elitist guild, theorized for example in Sartre\u2019s\u00a0What is Literature?.\n\n</div>"
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            "23365": {
                "pageid": 23365,
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                "title": "Reader6/Angeliki",
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                        "*": "[[File:001 20180317.jpg|250px]]\n[[File:Cixous-hot-milk.JPG|400px]]\n[[File:Reader6-Scan2.jpg|400px]]\n\n\n\n'''From Tedious Tasks to Liberating Orality'''<br />\n\nPractices of the Excluded on Sharing Knowledge<br />\n\nAngeliki Diakrousi<br />\n\n=== Introduction ===\nHow can automated tasks lead to an open and creative process of producing knowledge?\nHow can this knowledge being distributed afterwards? Scanning is a way of creating copies of\noriginal written and printed texts, with the purpose to preserve them and reproduce culture.\nBut as it serves mostly the book culture, what narratives and methods are excluded?\nThroughout the history of the high-tech world stories are lost or hidden, either because they\nhave verbal form or their language cannot be digitized. Many contextual information and\nmethods are lost when the text are scanned. How then counter and excluded learning is\nproduced and shared without this practice? There are other forms of knowledge transmission\nand preservation like the ones that were developed in oral cultures. But they are not\nperceived as evaluated methods. Ong (2002) claims that understanding primary orality is an\nimportant element for the development of the writing cultures and why not to of the process\nof scanning?\nThis reader attempts to go through the automated tasks that female employees were doing in\nthe beginning of the 20th century and their development to producing knowledge. From\nweaving to typewriting and programming women, mainly hidden from the public, were\nexploring the realm of writing beyond its conventional form. This was similar to the methods\nof Oulipians for constrained literature, but at the same time they were excluding women from\ntheir movement. According to Kittler (1999, pg. 221) \u201cA desexualized writing profession, distant\nfrom any authorship, only empowers the domain of text processing. That is why so many\nnovels written by recent women writers are endless feedback loops making secretaries into\nwriters\u201d. But aren\u2019t these endless feedback loops similar to the rhythmic narratives of the\nanonymous oral cultures? How this knowledge is produced through repetitive formulas that\nare easily memorized? The orality is not built on written practices and texts, but in memory,\nsounds and human interaction. It doesn\u2019 t need a library to be stored, for people to look up\nand create their texts. The learning process is shared from individual positions but with the\nneed of the community and is flexible and active to the present. In conclusion, the reader aims\nto propose critical, conceptual and methodological tools that are needed to define a new\nscanning culture. This is realized with the collection of diverse texts, presenting theories like\nsituated knowledge, orality and different feminist approaches to learning.\nThe book was made with different tools with the intention to find ways of the automation of\nthe publishing process. Any word that doesn\u2019t make sense is because of that, but also of the\nmanually annotated found texts. All the chapters, except the last one, are excerpts from the\noriginal texts. The dates in the titles refer to the time they were first published.\n\n{|\n|-\n|[[File:Reader6-Scan1.jpg|250px]]\n|[[File:Reader6-Scan2.jpg|250px]]\n|[[File:19 Ett eget rum Page 39.jpg|250px|link=http://www.kajsadahlberg.com/work/a-room-of-ones-own--a-thousand-libraries/]]\n|[[File:Knots1.png|250px]]\n|}\n\n\n\n=== Abstracts ===\n==== Text #1 ====\n'''Typewriter (1986) by Friedrich Kittler'''<br />\n\nThis excerpt from Kittler\u2019s text shows how women, working in text_based professions, like\nsecretaries and typewriters, became anonymous writers in the beginning of 20th century. By\nfirstly listening to the dictations of their employers, mostly male writers, they automated the\nprocess of writing for them. They were playing the role of the machine, that would be a\nnecessary assistant in the future. This computerized text processing made them capable of\nproducing their own texts influenced by their mechanized actions.\n\n==== Text #2 ====\n'''On Software, or the Persistence of Visual Knowledge (2004)by Wendy Hui Kyong Chun'''<br />\n\nIn this text Chun presents automatic programming in 1950s and how the oppressed workers of\nit resisted to the priesthood of computing culture. By developing the high-level language\nFORTRAN, they were finding alternatives to the automated tasks imposed on cheap labor. As\nChun mentions, women were good in repetitive tasks as weaving and software. So, the\nmilitary and masculine mental computer system was hiring mostly women, who were treated\nlike the computers, to process a program. To change that it is not enough to recognize these\nwomen as programmers, because the problem is that the master/slave relationship is in the\ncore of programming.\n\n==== Text #3 ====\n'''Three Selections for Master/Slave Terminology'''<br />\nA. Master/Slave (Technology) (2018) by Wikipedia<br />\nB. Replace \"Master\" and \"Slave\" Terms in Redis #3185 (2016) by Github<br />\nC. #22667 Replaced Occurrences of Master/Slave Terminology with Leader/Follower #2692 (2014) by Github<br />\n\nThe following chapter is a collection of texts of an on-line conversation in digital communities\nabout the terminology master/slave used in computer protocols. Some arguments are against\nany social, political or cultural involvement in technology. They support the opinion that the\ntechnology is pure and untouched by the social spheres or its communication system is well\ndefined from the beginning and globally understood, thus hard to change again. On the other\nhand, some programmers are personally offended by the terms master/slave and want to\nchange it, because in the \u201creal\u201d language they have intense and negative meanings.\n\n==== Text #4 ====\n'''Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective (1988) by Donna Haraway'''<br />\n\nIn this text Donna Haraway put the question on how objectivity should be defined in the\nscience world. She proposes a feminist science, which is based in the situated knowledge,\nopposed to the monotheistic and military approach of todays scientists, which is illusionary.\nThrough these lines she develops her arguments about an embodied objectivity which\ndepends on the position of the individual. This partial perspective is non-illusionary and\nprovides space for interaction with others\u2019 visions and thus the development of a universal\nknowledge from the bottom.\n\n==== Text #5 ====\n'''An Attempt at Exhausting a Movement (2013) by Lauren Elkin and Scott Esposito'''<br />\n\nIn this article the authors highlight the absence of women from the Oulipo movement. Even\nthough the etymology of the name comes from the need of these poets to reject the\nbourgeois and mainstream tendencies, they act on the same way. They do that by ignoring the\npolitical impact of their work, the marginalized culture and rejecting women to enter the\ngroup as members of another sex. The authors claim that Oulipians while introducing the\nconstrained writing were ignoring that women writers were also used to work under\nconstrained circumstances. Bringing the example of Foulipo they believe that feminism and\nOulipo have many in common and introduce a set of questions around the necessity of this\ndiscussion.\n\n==== Text #6 ====\n'''Three Selections of Feedback Loop Texts'''<br />\nA. Knots (1970)\nby Ronald David Laing<br />\nB. Le Rire de la M\u00e9duse (1975)\nby H\u00e9l\u00e8ne Cixous<br />\nC. Many Many Women (1972)\nby Gertrude Stein<br />\n\nThe last two texts of this collection show what work was produced by women typewriters\nwho became writers. It is obvious that there is a repetitiveness in the texts, resembling their\nprevious tedious tasks. Because of that, words loose their meaning and then their sound,\nwhich was primarily there, appears while reading them. Looking closely to this assumption\nthere is a similarity to the primary orality that Walter describes on the Text #8. The first text\nsupport more this theory. In it, Laing creates a set of poems, following the rules of patterns,\nthat resemble to knots and loops that the human communication and mind bear.\n\n==== Text #7 ====\n'''A Room of One\u2019s Own (1929) by Virginia Woolf'''<br />\n\nHere, Woolf elaborates her thoughts on women writers while she is preparing her talk for a\nconference at Girton with the topic \u2018Women and fiction\u2019. Diving into the library of the\nuniversity she realizes that there are not many female writers and at the same time women\nare the main subject of male writers. Without the possession of money and with no control\nand access in education, women had been excluded from the realm of literature. She claims\nthat they are treated as oracles or magical objects and that womanhood is a protected\noccupation. Then she wonders why not let women being exposed in the same activities as\nmen.\n\n==== Text #8 ====\n'''Orality and Literacy (1982) by Walter J. Ong'''<br />\n\nThe selection of the parts of this book aims to highlight the importance of the methods of\norality in the development of the human consciousness and culture. The dynamic of orality\nand literacy will favor a deeper understanding of human communication. The former is the\nprimary and natural condition of the latter, which is developed as technology in the high-\ntechnological societies. But their relation doesn't mean that are dependent on each other. Oral\ncultures exist without the need of writing, texts and dictionaries. Ong describes in detail what\nare those methods with which oral people can organize complex thoughts. His aim is to\nprovide a connection between the two cultures for the shake of the human awareness.\n\n==== Text #9 ====\n'''Acts of Uttering Together: On New Orality (2008) by Panos Kouros'''<br />\n\nThe text, written in Greek, is an utterance about the creation of new artistic practices based\non a new orality that provides a common field of uttering together. This orality, in contrast to\nthe work of art as an object or text is based on temporary collective distributed processes. It\ncan be a tool of the production of community in public space. This speech was projected on\nthe wall of a prison under construction, as long as it is necessary to complete its broadcasting\non a university campus where oral architecture was discussed.\n\n=== References ===\n<nowiki>#</nowiki>22667 replaced occurrences of master/slave terminology with leader/follower by fcurella \u00b7\nPull Request #2692 \u00b7 django/django [WWW Document], n.d. GitHub. URL\nhttps://github.com/django/django/pull/2692 (accessed 2.20.18).<br />\n\nChun, W.H.K., 2004. On Software, or the Persistence of Visual Knowledge. Grey Room 29\u201337.<br />\n\nCixous, H., 2010. Le rire de la M\u00e9duse, in: Le rire de la M\u00e9duse. Galil\u00e9e, Paris, pp. 37\u201348.<br />\n\nDonna Haraway, 1988. Situated Knowledges: The Science Question in Feminism and the\nPrivilege of Partial Perspective. Feminist Studies 14, 575\u2013590.\nhttps://doi.org/10.2307/3178066<br />\n\nElkin, L., Esposito, S., 2013. An Attempt at Exhausting a Movement [WWW Document]. The New\nInquiry. URL https://thenewinquiry.com/an-attempt-at-exhausting-a-movement/\n(accessed 1.23.18).<br />\n\nKittler, F.A., 1999. Typewriter, in: Winthrop-Young, G., Wutz, M. (Trans.), Gramophone, Film,\nTypewriter. Stanford University Press, Stanford, Calif, pp. 214\u2013221.<br />\n\nLaing, R.D., 1970. Knots, in: Knots. Penguin Books, pp. 34\u201349.<br />\n\nMaster/slave (technology), 2017. Wikipedia.<br />\n\nOng, W.J., 2002. Orality and Literacy, in: Orality and Literacy. Routledge, London.<br />\n\nReplace \u201cmaster\u201d and \u201cslave\u201d terms in Redis \u00b7 Issue #3185 \u00b7 antirez/redis [WWW Document], n.d.\n. GitHub. URL https://github.com/antirez/redis/issues/3185 (accessed 2.20.18).\nStein, G., 2005. Many Many Women, in: Matisse Picasso and Gertrude Stein With Two Shorter\nStories.<br />\n\nWoolf, V., 2015. A Room of One\u2019s Own, in: A Room of One\u2019s Own and Three Guineas. Oxford\nUniversity Press, New York, NY, pp. 20\u201343.<br />\n\n\u03a0\u03ac\u03bd\u03bf\u03c2 \u039a\u03bf\u03cd\u03c1\u03bf\u03c2, 2009. \u03a0\u03c1\u03ac\u03be\u03b5\u03b9\u03c2 \u03c3\u03c5\u03bd\u03b5\u03ba\u03c6\u03ce\u03bd\u03b7\u03c3\u03b7\u03c2 (\u03c0\u03b5\u03c1\u03af \u03bd\u03ad\u03b1\u03c2 \u03c0\u03c1\u03bf\u03c6\u03bf\u03c1\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2).\nmnemeden.\n\n<gallery>\nFile:DSC5797.jpg\nFile:DSC5860.jpg\nFile:DSC5798.jpg\nFile:DSC5741.jpg\n</gallery>\n== Recipe for Reader #6 ==\n<source lang=\"text\">\n0\nsellect extracts: \npdftk full.pdf cat 12-15 output range.pdf\npdftk file1.pdf file2.pdf cat output mergedfile.pdf\n\n1st\ntesseract:\nconvert -density 300 Alan.pdf Typewriter-%03d.tiff\ntesseract list.txt output\ntesseract input.tiff output -l eng pdf\n\npdf to plain text:\npdftotext HarawayEXTRACTS.pdf Haraway.txt\nediting the format of the text in Writer\n\n\n2nd \npdf to html:    \npdftohtml  masterslave1.pdf masterslave1.html\n\n3d \nhtml to pdf:\nsave url as html\ndelete css style from html and non wanted text (like \n<table class=\"d-block\">\n</table>\n</br>\n<h3 class=\"timeline-comment-header-text f5 text-normal\">\nheadings\n</span>\n)\nremove the title (stamp tool later)\nweasyprint masterslave1s.html -s style.css ouput.pdf\n\n\nSave my commands to be faster:\nweasyprint \u03a0\u03c1\u03ac\u03be\u03b5\u03b9\u03c2\\ \u03c3\u03c5\u03bd\u03b5\u03ba\u03c6\u03ce\u03bd\u03b7\u03c3\u03b7\u03c2\\ \\(\u03c0\u03b5\u03c1\u03af\\ \u03bd\u03ad\u03b1\u03c2\\ \u03c0\u03c1\u03bf\u03c6\u03bf\u03c1\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2\\)\\ \\|\\ mnemeden.html -s style.css READER_prakseis.pdf\n\nweasyprint Replace\\ \\\"master\\\"\\ and\\ \\\"slave\\\"\\ terms\\ in\\ Redis\\ \u00b7\\ Issue\\ #3185\\ \u00b7\\ antirez_redis.html -s style.css READER_ms_#3185.pdf\n\nweasyprint \\#22667\\ replaced\\ occurrences\\ of\\ master_slave\\ terminology\\ with\\ leader_follower\\ by\\ fcurella\\ \u00b7\\ Pull\\ Request\\ #2692\\ \u00b7\\ django_django.html -s style.css READER_M-S-replaced2692.pdf\n\nweasyprint Master_slave\\ \\(technology\\)\\ -\\ Wikipedia.html -s style.css READER_M-S-wikipedia.pdf\n\nweasyprint 1Replace\\ \\\"master_slave\\\"\\ terminology\\ with\\ \\\"primary_replica\\\"\\ \\[#2275877\\]\\ \\|\\ Drupal.org.html -s style.css READER_M-S-replace2275877.pdf\n\nweasyprint change\\ terminology\\ from\\ slave\\ to\\ worker.\\ trac\\ 2340\\ by\\ iskradelta\\ \u00b7\\ Pull\\ Request\\ #1842\\ \u00b7\\ buildbot_buildbot.html -s style.css READER_M-S-changeterm.pdf\n\nweasyprint Helenes.html -s style.css READER_helenes.pdf\n\nweasyprint Woolfs.html -s style.css READER_woolf.pdf\n\nweasyprint Steins.html -s style.css READER_stein.pdf\n\nweasyprint Haraway\\,\\ Situated\\ Knowledges.html -s style.css READER_haraway.pdf\n\nweasyprint Laing_Knots_EXTRACTS.html -s style.css READER_knots.pdf\n\nweasyprint Kittlers.html -s style.css READER_kittler.pdf\n\nweasyprint An\\ Attempt\\ at\\ Exhausting\\ a\\ Movement\\ \u2013\\ The\\ New\\ Inquiry.html -s style.css READER_oulipo.pdf\n\nweasyprint image-chun.html -s style.css READER-IMAGE.pdf\n\n4th \nphotoshop and acrobat reader editing/ adding images\nbest: mac-> pdf to rtf, plain text\n\n5th\nstamp/superimposed PDFs: \n(Titles, number of pages, annotations)\npdftk in.pdf multistamp stamp.pdf output out.pdf\n\nFINAL MERGE:\nconvert xc:none -page 425.197x708.661 a.pdf\npdftk A=READER#6-noannot.pdf B=a.pdf cat B1 B1 B1 B1 A1-15 B1 A16-79 B1 A80-end B1 B1 output res.pdf\n\npdftk READER_M-S1-wikipedia.pdf READER_M-S_#3185.pdf READER_M-S-replaced2692.pdf cat output 3-READER-masterslave.pdf\n\npdftk READER_R1knots.pdf READER_R2helenes.pdf READER_R3stein.pdf cat output 6-READER-selection.pdf\n\npdftk 1-READER_kittler.pdf 2-READER_Chun.pdf 3-READER-masterslave.pdf 4-READER_haraway.pdf 5-READER_oulipo.pdf 6-READER-selection.pdf 7-READER_woolf.pdf 8-READER_Walter.pdf 9-READER_prakseis.pdf cat output READER#6.pdf\n\npdftk res.pdf multistamp Reader_myannotations.pdf output out.pdf\n\n</source>"
                    }
                ]
            }
        }
    }
}