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| = the physical bootleg library = | | = the physical bootleg library = |
| | | [[../The physical bootleg library]] |
| 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.
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| <gallery>
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| Bl varia 01.jpg|At Varia, Gouwstraat 3, with books distributed on table
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| Bl kdh 04.jpg|At the Library, Karel Doormanhof 45, ready to be unpacked
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| BL Meeting Grounds 07.jpg|At Onomatopee Projects, before the bootleg library session
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| BL Meeting Grounds 11.jpg|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)
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| </gallery>
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| = books i've bootlegged = | | = books i've bootlegged = |
| | [[../Feminist Art Manifestos]]<br> |
| | [[../Almost Transparent Blue]]<br> |
| | [[../Rewire Digital Cosmopolitans in the Age of Connection]]<br> |
| | [[../THE MANUAL]]<br> |
| | [[../The Carrier Bag Theory of Fiction]]<br> |
| | [[../The Electronic Revolution]]<br> |
| | [[../Dumbstruck A Cultural History of Ventriloquism]]<br> |
| | [[../Literary Machines]]<br> |
| | [[../A Voice and Nothing More]]<br> |
| | [[../Information Ages]]<br> |
| | [[../Writing_Machines]]<br> |
| | [[../Tools for Conviviality]]<br> |
| | [[../The Garden of Branching Paths]]<br> |
| | [[../Cybertext]]<br> |
| | [[../The Alphabetic Labyrinth]]<br> |
| | [[../The Open Work]]<br> |
| | [[../Flusser Writings]]<br> |
| | [[../Deschooling Society]]<br> |
| | [[../Guerilla Warfare]] |
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| {{User:Simon/Feminist Art Manifestos}}
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| {{User:Simon/Almost Transparent Blue}}
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| {{User:Simon/THE MANUAL}}
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| {{User:Simon/The Carrier Bag Theory of Fiction}}
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| == Rewire: Digital Cosmopolitans in the Age of Connection ==
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| Printed: 19.09.19<br>
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| Dimensions: 130x180mm<br>
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| Cover stock: Heavy green stock (unknown brand) - around 210gsm<br>
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| Text stock: Bio Top 80gsm<br>
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| Binding: Perfect bound (hot glue)<br>
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| Pages: 331pp
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| Artemis messaged me asking if I was in the studio, and if I could find a book of Steve's that was about how the internet makes it seem like we're connected, though we're not. I found Steve's copy, but as Artemis was still in Greece I did a quick search online to see if I could find a digital version. The only one I could find was an EPUB, which I converted to an RTF using pandoc.
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| This book took quite a while to produce as it was important that the page numbers matched the original publication (for citation purposes), so I painstakingly set the text to the same line count and flow as the original publication. I also included the Library of Congress bibliographic details for this purpose.
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| <gallery>
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| DC_01.JPG|Front cover
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| DC_02.JPG|Bootleg acknowledgement
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| DC_03.JPG|Back cover
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| </gallery>
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| == THE MANUAL ==
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| Printed: 22.09.19<br>
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| Dimensions: 140x190mm<br>
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| Cover stock: Rainbow (yellow) 120gsm<br>
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| Text stock: Rainbow (yellow) 120gsm<br>
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| Binding: Perfect bound (hot glue)<br>
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| Pages: 104pp
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| ''THE MANUAL (How To Have A Number One The Easy Way)'' is a rather tongue-in-cheek guide to how to write a hit pop song, made by members of the KLF (Bill Drummond and Jimmy Cauty), who had a hit song in 1988 with [https://www.youtube.com/watch?v=bdTELokKfCk Doctorin' the Tardis]. This is a printed book made from a .txt file, found online, and still bearing the file path from the directory it came from as well as date and time of creation. I retained these details for this printed book (only substituting actual numbers for page number and page count) in reference to the provenance of the file, and to be clear about the raw nature of its origin. As a .txt, it doesn't contain any styling or italics and I wanted to retain this crudeness in the design.
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| There's also an audio description of the book, which might be interesting to convert via speech-to-text at some point:
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| https://audioboom.com/posts/1730244-the-manual-on-how-to-get-a-numbet-one-hit-the-easy-way
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| <gallery>
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| TM_01.JPG|Front cover
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| TM_02.JPG|File path of the txt displayed as a running header
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| TM_03.JPG|Bootleg acknowledgement
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| </gallery>
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| == The Carrier Bag Theory of Fiction ==
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| Printed: 25.09.19<br>
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| Dimensions: 90x120mm<br>
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| Cover stock: Clairefontaine Trophee (ivory) 120gsm<br>
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| Text stock: Clairefontaine Trophee (ivory) 120gsm<br>
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| Binding: Staple bound<br>
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| Pages: 16pp
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| Ursula K. Le Guin's short essay appears in a compilation called ''Dancing at the Edge of the World'', 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.
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| <gallery>
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| CB_01.JPG|Front cover
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| CB_02.JPG|Digitised annotations
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| CB_03.JPG|Back cover with bootleg acknowledgement
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| </gallery>
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| == The Electronic Revolution ==
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| Printed: 30.09.19<br>
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| Dimensions: 200x280mm<br>
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| Cover stock: Ursus (silver) 200gsm<br>
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| Text stock: Ursus (silver) 120gsm<br>
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| Binding: Staple bound<br>
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| Pages: 32pp
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| ''The Electronic Revolution'' is an essay by William S. Burroughs, in which he outlines his radical concepts of the cut-up, and the written word as a virus that makes the spoken word possible. The text was introduced to me by Florian Cramer in a seminar on media activism, networks, and mail art that he delivered last year as part of Special Issue 9: The Network We (de)Served. Both of these ideas can be applied to what I'm doing with this bootleg library - reformatting and annotating texts as a way to create conversations around them. I found a pdf of the text on ubuweb, where it was published under their ubuclassics imprint. This was devoid of any other publication details that usually accompany "official" publications, such as date of publication, identifier etc. The text was also riddled with punctuation and spelling errors, which I decided to keep in the bootlegged print publication. There were no italics so I used a font I had ripped from a Canadian calendar featuring Eskimo drawings and Inuit script - the font looked like a grotesque (Helvetica?) and had a low contrast, and was only available in regular (no italics) so it was usable for this design. I set the text in a symmetrical layout with large margins at either side, and decided on a suitable large scale format for more relaxed reading.
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| <gallery>
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| TER_01.JPG|Front cover
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| TER_02.JPG|Spread: Ample margins for annotation
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| TER_03.JPG|"Language is a virus"
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| TER_04.JPG|Bootleg acknowledgment
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| </gallery>
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| == Dumbstruck—A Cultural History of Ventriloquism ==
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| === First edition ===
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| Printed: 29.10.19<br>
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| Dimensions: 150x235mm<br>
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| Cover stock: Clairefontaine Trophee (yellow) 210gsm<br>
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| Text stock: Bio Top 80gsm<br>
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| Binding: Perfect bound (hot glue)<br>
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| Pages: 433pp
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| 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 > 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.
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| <gallery>
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| Dumbstruck_A01.JPG|Front cover
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| Dumbstruck_A02.JPG|Title page
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| Dumbstruck_A03.JPG|Spread: Image section
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| Dumbstruck_A04.JPG|Spread: Section begins
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| Dumbstruck_A05.JPG|Back cover
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| </gallery>
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| === Second edition ===
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| Printed: 28.11.19<br>
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| Dimensions: 150x235mm<br>
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| Cover stock: Clairefontaine Trophee (yellow) 210gsm<br>
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| Text stock: Bio Top 80gsm<br>
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| Binding: Perfect bound (cold glue)<br>
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| Pages: 433pp
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| 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.
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| <gallery>
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| Dumbstruck_B01.JPG|Bootlegged books front covers: Second edition (left) and first edition (right)
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| Dumbstruck_B02.JPG|Front covers: Source publication (left) and second edition bootleg (right)
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| Dumbstruck_B03.JPG|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
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| Dumbstruck_B06.JPG|Spines: Source publication (left) and second edition bootleg (right)
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| Dumbstruck_B05.JPG|Back covers: Source publication (left) and second edition bootleg (right)
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| </gallery>
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| == Literary Machines ==
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| Printed: 19.11.19<br>
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| Dimensions: 120x145mm<br>
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| Cover stock: Clairefontaine Trophee (cream) 210gsm<br>
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| Text stock: Clairefontaine Trophee (cream) 210gsm<br>
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| Binding: Staple bound
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| Pages: 20pp
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| A reprint of Ted Nelson's ''Literary Machines'' - a small booklet in which Nelson outlines his ideas for Project Xanadu, hypermedia and hypertext. I found this on Monoskop as an OCR'd PDF. What was interesting was how the traces of the scan persisted in the PDF - the dark edges around the pages, the bend of the paper on the glass, the warping in text from moving the paper while scanning. I simply re-imposed these pages onto a new document (of a different size), creating margins around the text and retaining these visual traces. The cover was made simply from taking each page marker, cropping it to the width of the margins (while retaining the dark edges) and stacking them on top of each other.
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| <gallery>
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| Literary_Machines_A01.JPG|Impromptu front cover, with page numbers stacked on top of each other
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| Literary_Machines_A02.JPG|Spread: Pages 3 & 4
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| Literary_Machines_A03.JPG|Spread: Pages 6 & 7
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| Literary_Machines_A04.JPG|Spread: Pages 13 (in the PDF as a half page) & 14
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| Literary_Machines_A05.JPG|Self back cover (page 19)
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| </gallery>
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| == A Voice and Nothing More ==
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| Printed: 19.11.19<br>
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| Dimensions: 155x235mm<br>
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| Cover stock: Ursus glossy white 210gsm<br>
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| Text stock: Bio Top 80gsm<br>
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| Binding: Perfect bound, cold glue<br>
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| Pages: 226pp
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| This is another book where I took a text file and laid it out again in InDesign, like the copy of ''Dumbstruck'' 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 ''Dumbstruck'' 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.
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| <gallery>
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| AVANM_A01.JPG|Front cover, with white vinyl text and graphics
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| AVANM_A02.JPG|Spine
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| AVANM_A03.JPG|Code referring to text flow of the source publication
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| AVANM_A04.JPG|Bootleg acknowledgement
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| AVANM_A05.JPG|Spread: Book opens easily due to cold glue binding
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| </gallery>
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| == Information ages : literacy, numeracy, and the computer revolution ==
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|
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| Printed: 26.11.19<br>
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| Dimensions: 155x235mm<br>
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| Cover stock: Clairefontaine Trophee (white) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue<br>
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| Pages: 320pp
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| 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.
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| <gallery>
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| Information_ages_A01.JPG|Front cover: Bootleg (left) and source publication (right)
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| Information_ages_A02.JPG|Spine: Source publication
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| Information_ages_A03.JPG|Spine: Bootleg
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| Information_ages_B01.JPG|Spines: Source publication (left) and bootleg (right)
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| Information ages B02.jpg|Spread: Source publication (left) and bootleg (right)
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| Information_ages_A04.JPG|Spread: Images in source publication
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| Information_ages_A05.JPG|Spread: Images in bootleg
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| </gallery>
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| == Tools for Conviviality ==
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| Printed: 28.11.19<br>
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| Dimensions: 113x170mm<br>
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| Cover stock: Clairefontaine Trophee (white) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue<br>
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| Pages: 128pp
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| This book was made quite quickly - by using a script in InDesign to place a multi-page PDF into a blank document. The cover was also made quickly, on the photocopier. The economy of speed produces what looks like a poor image zine aesthetic. This is becoming an interesting methodology for me - making books quickly by any means necessary. I just want the printed text, in a format that is going to be somewhat durable - detailed typographic consideration is hardly applicable here.
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| <gallery>
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| TFC_A01.JPG|Front cover
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| TFC_A02.JPG|Spread
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| TFC_A03.JPG|Spine
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| </gallery>
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| == Writing Machines ==
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| Printed: 16.12.19<br>
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| Dimensions: 139x190mm<br>
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| Cover stock: Clairefontaine Trophee (white) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue with book tape on spine<br>
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| Pages: 148pp
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| N. Katherine Hayles' ''Writing Machines'' is a book that has a very particular materiality. Hayles worked closely with a designer to create the printed book, reflecting the concepts contained within of new forms of textuality in technotexts and cybertexts. I made a quick bootleg of this book, working from a PDF I found on Monoskop. It was only when the PDF was printed and bound as a book did I see the design come to life - particularly in the lenticular effect of the edge printing on each page, which when held at the right angle, reads the title; in one direction "WRITING" and in the other "MACHINES". Small discoveries like this often come up when printing a PDF - not just size, weight, and the haptic experience of the codex form but also other features that reveal themselves only when the book is printed and bound.
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| <gallery>
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| WM 01.jpg|Front cover
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| WM 02.jpg|Spread
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| WM 03.jpg|Fore-edge text, visible when bent toward the back cover
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| WM 04.jpg|Fore-edge text, visible when bent toward the front cover
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| </gallery>
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| == The Garden of Branching Paths ==
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| Printed: 16.12.19<br>
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| Dimensions: 130x210mm<br>
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| Cover stock: 3mm Kraft board with Clairefontaine Trophee (white) 210gsm glued on<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue with book binding tape<br>
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| Pages: 108pp
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| I printed this book from a PDF found on aaaarg.fail. Tancredi had told me about Borges short story "The Library of Babel", which is contained in this anthology. Norman di Giovanni, the translator worked with Borges on quite a large selection of his works. Ultimately he was given a cease and desist order from Borges' estate. This PDF has been redesigned and bootlegged by a user at aaaaarg, with a nice sensibility (and respect) for producing a well-designed text. I wanted to try a different method for attaching the cover for this book, one I had seen before but never figured out how to do. I first bound the text block with cold glue, then I attached a strip of book binding tape to reinforce it. Then, I glued the printed front and back cover sheets to two thick pieces of kraft board for the cover. Finally, these thick boards were glued to the first and last pages of the book. It produced a strong binding, but unfortunately the covers warped, despite having left the book in the press immediately after gluing. At the Publication Station, Kim said that the way to remedy this is to glue paper on both sides of the kraft board, which is quite absorbent, and will easily warp with PVA. Gluing paper to both sides evens out the warp, which will want to pull in the direction of the glue.
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| <gallery>
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| JLB_01.jpg|Front cover
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| JLB_02.jpg|Spread: The Library of Babel
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| JLB_03.jpg|Back cover
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| </gallery>
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| == Cybertext ==
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| Printed: 17.12.19<br>
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| Dimensions: 131x216mm<br>
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| Cover stock: Clairefontaine Trophee (white) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue with book tape on spine<br>
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| Pages: 214pp
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| Espen Aarseth's ''Cybertext'' is a book that found its way towards me through a couple of other sources - first of all Tancredi recommended I read it, then I came across it when reading ''Writing Machines'' by N. Katherine Hayles. Aarseth's PhD dissertation proposes the idea of "cybertexts", which are part of the genre of what he calls "ergodic literature". In a nutshell, these are texts which require "non-trivial effort" to read. These texts are in both printed form (e.g. Danielewski's ''House of Leaves'') and also in digital form (the book contains a section on MUDs - Multi User Domains - which are large gaming environments in which texts (both in the sense of software, and also narratives) are assembled on the fly. I printed this from the PDF, retaining all the marks that had come from its scanning, then bound it with cold glue and a strip of book binding tape on the spine for extra strength.
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| <gallery>
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| Cybertext 01.jpg|Front cover
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| Cybertext 02.jpg|Spread, with annotations from the PDF
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| Cybertext 03.jpg|Spread, with dark marks around edges from the scan
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| Cybertext 04.jpg|Back cover
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| </gallery>
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| == The Alphabetic Labyrinth ==
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| Printed: 20.12.19<br>
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| Dimensions: 190x260mm<br>
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| Cover stock: Heavy green stock (unknown brand) - around 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, hot glue<br>
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| Pages: 330pp
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| Johanna Drucker's ''The Alphabetic Labyrinth'' 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.
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| <gallery>
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| TAL 01.jpg|Front cover
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| TAL 02.jpg|Annotations
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| TAL 03.jpg|A spread
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| TAL 04.jpg|Closeup, featuring darkened edges from scan
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| TAL 05.jpg|Spine
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| TAL 06.jpg|Back cover
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| </gallery>
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|
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| == The Open Work ==
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| Printed: 20.12.19<br>
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| Dimensions: 123x180mm<br>
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| Cover stock: Heavy pink stock (unknown brand) - around 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, hot glue<br>
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| Pages: 322pp
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| I had a PDF of Umberto Eco's ''The Open Work'' that I wanted to read, but hadn't got round to it. Such a vast, sprawling text needs to be read and digested slowly, so I decided to print the PDF. Unfortunately, the file I had was a scan of spreads, not pages, so after placing all the pages in InDesign I had to make sure that each page of the file corresponded to each page of the book. I used a dark line at the centre of each page to align with the edge of the pages in the InDesign file. Little did I know or realise at the time that this was an artefact from OCR, and that the text was riddled with such quirks that at times made the text almost unreadable. This happens sometimes if you edit a PDF in a program such as Adobe Acrobat Pro, which includes the option to run OCR all over the document. However, this function doesn't just layer an invisible txt over the images in the PDF, it replaces the images with a text file, in a font (or fonts) specified by the editor. I think that is what happened here, because on printing I discovered that a multitude of artefacts resulting from this technique - unreadable lines, characters that most likely were interpretations of marks and smudges, and a change in font every three or four pages, making for a text that had what seemed to be multiple personalities. This would be a great design approach for such a text - which is about participatory processes making up an art work - but most likely just a happy accident. The cover was made on the photocopier, simply by cutting text from the PDF, pasting and copying it to a heavy sheet of pink paper.
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| <gallery>
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| TOW 01.jpg|Front cover
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| TOW 02.jpg|Spread
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| TOW 03.jpg|OCR artefacts
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| TOW 04.jpg|Spine
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| </gallery>
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| == Vilem Flusser: Writings ==
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| Printed: 20.12.19<br>
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| Dimensions: 123x180mm<br>
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| Cover stock: Clairefontaine Trophee (green) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, hot glue<br>
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| Pages: 270pp
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| I wanted to read this collection of essays by Flusser during the holidays. Steve had sent me a link to an interview with Flusser in which he described the "magic" of linear writing and subsequent technologies, and I wanted to read more. I very quickly bootlegged this book by printing the PDF on the last day school was open for the year. In my haste, however, I trimmed the bottom edge a bit too close. It's still fine (at least the page numbers weren't cut off), but I wish I hadn't been in such a rush. The cover was made quickly at the photocopier as well, a no-frills effort.
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| <gallery>
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| VM_01.jpg|Front cover
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| VM_02.jpg|Spread
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| VM_03.jpg|Spine
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| </gallery>
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|
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| == Deschooling Society ==
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| === First edition ===
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| Printed: 13.01.20<br>
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| Dimensions: 110x170mm<br>
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| Cover stock: Clairefontaine Trophee (white) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue<br>
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| Pages: 160pp
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| 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.
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| <gallery>
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| L A book rig.jpg|Luke's DIY book press
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| DS first 01.jpg|Front cover
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| DS first 02.jpg|Spread
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| DS first 03.jpg|Spine
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| DS first 04.jpg|Back cover
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| Book with note 4 luke.jpg|The book, left with keys I borrowed from Luke while staying with him and Alice in January, 2020
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| </gallery>
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|
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| === Second edition ===
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| Printed: 29.01.20<br>
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| Dimensions: 110x170mm<br>
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| Cover stock: Clairefontaine Trophee (white) 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, hot glue<br>
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| Pages: 160pp
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| I decided to print another copy of ''Deschooling Society'' 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.
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| <gallery>
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| DS second 01.jpg|Front cover
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| DS second 02.jpg|Spread
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| DS second 03.jpg|Spread
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| DS second 04.jpg|Spine
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| DS second 05.jpg|Back cover
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| DS second 06.jpg|Spines: First edition (top), second edition (bottom). The difference in cold vs hot glue is apparent here - hot glue ensures a smooth, square spine
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| DS second 07.jpg|Back covers: First edition (left), second edition (right)
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| </gallery>
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| == Guerilla Warfare ==
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| Printed: 13.01.20<br>
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| Dimensions: 135x210mm<br>
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| Cover stock: Heavy pink stock (unknown brand) - around 210gsm<br>
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| Text stock: Laser 80gsm<br>
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| Binding: Perfect bound, cold glue<br>
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| Pages: 175pp
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| A copy of Guevara's ''Guerilla Warfare'', printed with/for Luke. We made the cover on the photocopier, make-do style. The text refers to Guevara's system of annotating - a pity the PDF I had wasn't available in colour. The text block was bound with cold glue, after trimming to the spine edge. The equations on the text block are ones I typically write down on the text block so that I don't have to do them at the guillotine, which is always busy and therefore stressful and easy to make a mistake.
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| The equation I follow goes something like this:<br>
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| First cut: (page height - book height) / 2 + book height<br>
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| Second cut: book height<br>
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| Third cut: book width<br>
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| <gallery>
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| GW 01.jpg|Front cover
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| GW 02.jpg|Spread
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| GW 03.jpg|Guevara's annotations
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| GW 04.jpg|Detail of anti-tank tactics
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| GW 05.jpg|Spine
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| GW 06.jpg|The cold-glue bound text-block, ready to have cover applied and trimmed to size. Equations for trim sizes and cut sequence (see above) written in bleed area
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| </gallery>
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| [[Category: bootlegging]] | | [[Category: bootlegging]] |
| [[Category: collection]] | | [[Category: collection]] |
