View source for Fantasies of the Library - Etienne Turpin (ed.), Anne-Sophie Springer (ed.)

== Notes ==

=== Abstract ===

<i>"The intercalations: paginated exhibition series
is an experimental foray exploring the structure
of the book as a potential curatorial space. As the
reader-as-exhibition-viewer moves through the
book-as-exhibition, she discovers that the erratic
intercalations of the Anthropocene invite new
forms of literacy, visuality, inquiry, and speculation
that are, in the words of Clarice
Lispector, less
promiscuous than they are kaleidoscopic."</i>

<br>

<i>"Fantasies of the Library is a sequence of
pages wherein the reader-as-exhibition-
viewer
learns—rather surprisingly, but with growing
conviction—that the library is not only a curatorial
space, but that its bibliological
imaginary
is also a fertile territory for the exploration of
consequential paginated affairs."</i>

=== How the a physical organization influence of a bookshelf can influence it's digital version ===

<i>"Inspired by Aby Warburg’s “law of the good neighbor” the Prelinger  Library’s organization does not follow conventional classification systems such as the Dewey Decimal System. Instead it was custom-designed by Megan Shaw Prelinger in a way that would allow visitors to browse and encounter titles by accident or, better yet, by good fortune. Furthermore, somewhat evoking the shifts in magni - tudes at play in Charles and Ray Eames’s Powers of Ten (1977) <b>the shelves’ contents are arranged according to a geospatial model</b> departing from the local—material specifically originating from or dealing with San Francisco—and ending with the cosmic—where books on both outer space and science fiction are combined with the more ethereal realms of math, religion, and philosophy. "</i> p.2

<i>"The library is divided into two major parts: the open bookshelves, and the boxed ephemera collection. The geospatial arrangement system is duplicated in both places, but only the bookshelves offer surprising juxtapo-sitions. The flow of subjects within the geospatial arrangement system is described in some detail on our site www.prelingerlibrary.org/home/collection. "</i> p.4

<i>"The browsing experience of physical bookshelves—and even of the web—is so absorbing, but our digital archives and libraries still struggle to serve browsers and wanderers. How can we create absorbing browsing experiences in formal collections of digital works?"</i> p.4

=== The book as a minitaure gallery/exhibition space ===

<i>" One potential vector  would  examine  the  role  of  individual  publications  as  adjacent or primary exhibition spaces, where single exemplary books  and  their  interiors  could  be  examined  as  if  they  were  miniature galleries. By parsing the differences and correlations between the objecthood and content of books within practices such as the artistic, editorial, design, and curatorial, one could gain valuable insights about the latter as the youngest and most hybrid of these practices in a dynamic field of production.4"</i> p.5-6

=== The library as a public place of reading ===

<i>" If the book is traditionally seen as the preferred medium for private consumption and research, and the gallery is understood as the space for public exhibition and performance, the library—as the public place of reading—is thus a hybrid site for performing the book."</i> p.6

=== Library vs Exhibition Space  = Use vs Display ===

<i>"Among these, perhaps one of the most fundamental is that the library’s primary function privileges use over display and presentation, whereas museums and archives normally store objects and in-formation only after the time of their utility has expired."</i> p.9

=== Book-theme exhibitions ===

<i>"Just  as  alternative  curatorial  modes  and  methodologies  have become popular for museums, book-themed exhibitions in gallery spaces have become a rather widespread phenome-non. Exhibitions such as The Feverish Library (2012), a group exhibition held at Petzel Gallery in New York, have presented artworks that address the multifaceted and longstanding cul-tural  significance  of  books,  especially  by  considering  their  recent attractiveness and shifted general value in the face of digital technology. The exhibition The Whole Earth (2013), held at the Haus der Kulturen der Welt in Berlin, is another exam-ple of a recent show that essentially unfolded from a publica-tion—but also, at least partly, performed itself as a book (or textbook). "</i> p.11