User:Bohye Woo/Special Issue 9: Difference between revisions

From XPUB & Lens-Based wiki
Line 19: Line 19:


{{Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-04-2019_-Event_1}}
{{Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-04-2019_-Event_1}}
--------------
Content : What is in the library? How much?
Users: Who is using / uploading / downloading?
Catalog: What is the system? How is it organised? How about its ontology?
Infrastructure: What are technical specs? Software? Hardware?
Politics: What is the attitude?
Economy: Sponsors? Donation? Advertising?
Law: How does it interface?
MEMORY OF THE WORLD https://www.memoryoftheworld.org/
Content : What is in the library? How much?
136241 books, 16 shown
Have books 50s - 90s
Politics-History-Theory, Eastern European, post-communism
Scanned and uploaded books from "librarians" of this library
Plugin, that you could share from calibre, your local network's library
Librairians online:
Catalog: What is the system? How is it organised? How about its ontology?
Using Callibre
Listed by format/title/tag/date
Book on their server?
MONOSKOP https://monoskop.org/
- Monoskop Wiki: selection of different themes
- Monoskop Log: is a digital library of arts and humanities.
like a wikipedia page
avant-gardes, media arts and theory and activism
a blog repository featuring
Of course because its a wiki you can edit as a member
Monoskop is a wiki, and a repository aggregating, documenting and mapping works, artists and intiatives related to the avant-gardes, media arts and theory and activism. Initially it focused on Eastern and Central Europe. Built on a Wiki that everyone can contribute to and scrupulously curated by its spiritus movens Dušan Barok, it provides both an exhaustive, indexical overview of those fields and provides digital access to rare historic finds. In parallel to the wiki, Monoskop maintains a blog repository featuring daily releases of books, journals or other printed archival material, some digitized by Monoskop and some contributed by the users, authors and publishers. Pdfs are available to download, while there are also links to other shadow libraries which host this content.
Pdfs available to download, also redirecting in other (public) libraries that host this content
Monoskop & copyright
https://monoskop.org/About_Monoskop#Copyrights
PROJECT GUTENBERG
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.
Questions —
Looks like a clasic collection; the interface is classic; based on a wiki; speaks of legitamacy
Who is responsible and what are they responsible for?
This is all the stuff that's in the public domain...
What could be the motivation to make such a library?
What values does it communicate?
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.
What do they mean 'a project'? (is this an agent of legitimacy?) Involves many people; projects into the future; mutable (not set in stone)
What is it filtered out and what are the political implications of that?
How does the codex form limit what is available?
Who does the library serve?
user friendly interface;
Also limitations of content, classic collection
Who is responsible and what are they responsible for?
AAAAARG.FAIL
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" (http://unprojects.org.au/magazine/issues/issue-4-2/the-future-and-the-public-school/ ).
Questions —
Who does the library serve? (who are the customers?)
Intellectual snobs.
You have to be invited
Forum? What affordance does that give?
Sociability? There is a set of manners
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)
How is it different if you can participate in discussing the content of a library, than just be a viewer-receiver of the content?
Who is responsible and what are they responsible for?
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?
How does the collection (and discourse around it) represent the members of the library?
If the library is based on user requests, it's a mirror of the members interests/social status/credentials/ideologies/clout
Does this platform require a certain degree of library literacy and research skills?
Does the background of the librarians affect the content presented in a library?
UBUWEB.COM
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.
Questions —
Who does the library serve?
What could be the motivation to make such a library?
What values does it communicate?
How can the material available in a library shape the discourse around a particular field?
MONOSKOP
Abstract — Monoskop is a Wiki and a Log (repository), aggregating, documenting and mapping works, artists and initiatives related to the avant-gardes, media arts, theory and activism. Initially it focused on Eastern and Central Europe. Built on a Wiki that everyone can contribute to and thoroughly curated by Dušan Barok, who initiated the project, Monoskop provides both an exhaustive, indexical overview of studies of art, media and the humanities, and provides digital access to rare historic finds. In parallel to the Wiki, Monoskop maintains a blog repository featuring daily releases of books, journals or other printed archival material, some digitized by Monoskop and some contributed by the users, authors and publishers. Pdfs are available to download directly, but there are also links to other shadow libraries, which host relevant content. Monoskop runs on MediaWiki software, and is hosted by the Sanchez free art server, maintained by Multiplace. The largest part of the content is formed by top 500 thematic tags from Monoskop Log, each linking full-text publications, mostly books, while some themes also have dedicated wiki pages. The 100 persons--artists, makers and writers--are linked to wiki pages consisted primarily from chronologies and bibliographies of their work, some accompanied with biographies.
Questions —
Who does the library serve?
What could be the motivation to make such a library?
What values does it communicate?
How is it different if you can participate in editing the content of a library, compared to just be a viewer-receiver of the content?
How is it valuable to have carefully and thoroughly edited content in a library?
How can a shadow library defend itself legally, related to the kind of content it provides?
MEMORY OF THE WORLD
Abstract — Memory of the World is a web-based public library, where you find books in PDFs, ePUB provided by the individual online librarians. The library concentrate on the subject of politics-history theory, eastern European, post-communism between 50s and 90s indexed by author, title, tag, date and format. Currently, there are 136,255 books available from 19 librarians online on the web, it might change when more librarians join the network or when they loose the connection. It has the vision that the world’s documentary heritage belongs to all, should be fully preserved and protected for all and, with due recognition of cultural mores and practicalities, should be permanently accessible to all without hindrance. When the librarians are online, you can access to the so-called "a personal digital library" where they randomly share the selection of books. The selection of books are depending on the librarian's choice, which they provides information such as title, authors, publisher, and small description with PDFs or EPUB. The library is publicly open, although the librarian's personal information are perfectly secured. You can use a plugin shared from Calibre, an open-source suite of e-book software, from their local network's library.
Questions —
Who does the library serve?
What does ownership and curatorship mean in a shadow library?
How does it make a difference to transfer the role and the presence of a "librarian" into a web library?
Does the background of the librarian affect the content presented on a library?
Questions
Who does the library serve?
What could be the motivation to make such a library?
What values does it communicate?
Who is responsible and what are they responsible for?
What is it filtered out and what are the political implications of that?


==== [[Calendars:Networked_Media_Calendar/Networked_Media_Calendar/18-04-2019_-Event_1|Thursday 18 April]] ====
==== [[Calendars:Networked_Media_Calendar/Networked_Media_Calendar/18-04-2019_-Event_1|Thursday 18 April]] ====

Revision as of 21:19, 18 June 2019

Interfacing the law 2019

Pirate libraries, shadow libraries, piratical text collections, amateur digital libraries, peer produced libraries and how to read them together.


Schedule

// Week 1

Tuesday 16 April

XPUB1 Special Issue 9: 11:00 - 17:00 / with Femke in the small project space
IFL introductions

Wednesday 17 April

XPUB1: 13:00 - 17:00 RW&RM Steve in the small project space

1) Review reading material

2) Following on from the session with Femke:

Today's outcome: A series of annotated questions (as opposed to a question with an answer) which can provide some basis for further discussion on Thursday.

https://pad.xpub.nl/p/IFL_introductions

Content : What is in the library? How much? Users: Who is using / uploading / downloading? Catalog: What is the system? How is it organised? How about its ontology? Infrastructure: What are technical specs? Software? Hardware? Politics: What is the attitude? Economy: Sponsors? Donation? Advertising? Law: How does it interface?


MEMORY OF THE WORLD https://www.memoryoftheworld.org/

Content : What is in the library? How much? 136241 books, 16 shown Have books 50s - 90s Politics-History-Theory, Eastern European, post-communism Scanned and uploaded books from "librarians" of this library

Plugin, that you could share from calibre, your local network's library Librairians online:

Catalog: What is the system? How is it organised? How about its ontology? Using Callibre Listed by format/title/tag/date Book on their server?

MONOSKOP https://monoskop.org/ - Monoskop Wiki: selection of different themes - Monoskop Log: is a digital library of arts and humanities.

like a wikipedia page avant-gardes, media arts and theory and activism a blog repository featuring

Of course because its a wiki you can edit as a member

Monoskop is a wiki, and a repository aggregating, documenting and mapping works, artists and intiatives related to the avant-gardes, media arts and theory and activism. Initially it focused on Eastern and Central Europe. Built on a Wiki that everyone can contribute to and scrupulously curated by its spiritus movens Dušan Barok, it provides both an exhaustive, indexical overview of those fields and provides digital access to rare historic finds. In parallel to the wiki, Monoskop maintains a blog repository featuring daily releases of books, journals or other printed archival material, some digitized by Monoskop and some contributed by the users, authors and publishers. Pdfs are available to download, while there are also links to other shadow libraries which host this content.

Pdfs available to download, also redirecting in other (public) libraries that host this content

Monoskop & copyright https://monoskop.org/About_Monoskop#Copyrights



PROJECT GUTENBERG

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.

Questions — Looks like a clasic collection; the interface is classic; based on a wiki; speaks of legitamacy Who is responsible and what are they responsible for? This is all the stuff that's in the public domain... What could be the motivation to make such a library?

What values does it communicate? 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. What do they mean 'a project'? (is this an agent of legitimacy?) Involves many people; projects into the future; mutable (not set in stone)

What is it filtered out and what are the political implications of that? How does the codex form limit what is available?

Who does the library serve? user friendly interface;

Also limitations of content, classic collection Who is responsible and what are they responsible for?


AAAAARG.FAIL

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" (http://unprojects.org.au/magazine/issues/issue-4-2/the-future-and-the-public-school/ ).

Questions —

Who does the library serve? (who are the customers?) Intellectual snobs. You have to be invited

Forum? What affordance does that give? Sociability? There is a set of manners 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)

How is it different if you can participate in discussing the content of a library, than just be a viewer-receiver of the content?

Who is responsible and what are they responsible for?

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?

How does the collection (and discourse around it) represent the members of the library? If the library is based on user requests, it's a mirror of the members interests/social status/credentials/ideologies/clout

Does this platform require a certain degree of library literacy and research skills?

Does the background of the librarians affect the content presented in a library?


UBUWEB.COM 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.


Questions — Who does the library serve? What could be the motivation to make such a library? What values does it communicate? How can the material available in a library shape the discourse around a particular field?

MONOSKOP Abstract — Monoskop is a Wiki and a Log (repository), aggregating, documenting and mapping works, artists and initiatives related to the avant-gardes, media arts, theory and activism. Initially it focused on Eastern and Central Europe. Built on a Wiki that everyone can contribute to and thoroughly curated by Dušan Barok, who initiated the project, Monoskop provides both an exhaustive, indexical overview of studies of art, media and the humanities, and provides digital access to rare historic finds. In parallel to the Wiki, Monoskop maintains a blog repository featuring daily releases of books, journals or other printed archival material, some digitized by Monoskop and some contributed by the users, authors and publishers. Pdfs are available to download directly, but there are also links to other shadow libraries, which host relevant content. Monoskop runs on MediaWiki software, and is hosted by the Sanchez free art server, maintained by Multiplace. The largest part of the content is formed by top 500 thematic tags from Monoskop Log, each linking full-text publications, mostly books, while some themes also have dedicated wiki pages. The 100 persons--artists, makers and writers--are linked to wiki pages consisted primarily from chronologies and bibliographies of their work, some accompanied with biographies.


Questions — Who does the library serve? What could be the motivation to make such a library? What values does it communicate? How is it different if you can participate in editing the content of a library, compared to just be a viewer-receiver of the content? How is it valuable to have carefully and thoroughly edited content in a library? How can a shadow library defend itself legally, related to the kind of content it provides?

MEMORY OF THE WORLD Abstract — Memory of the World is a web-based public library, where you find books in PDFs, ePUB provided by the individual online librarians. The library concentrate on the subject of politics-history theory, eastern European, post-communism between 50s and 90s indexed by author, title, tag, date and format. Currently, there are 136,255 books available from 19 librarians online on the web, it might change when more librarians join the network or when they loose the connection. It has the vision that the world’s documentary heritage belongs to all, should be fully preserved and protected for all and, with due recognition of cultural mores and practicalities, should be permanently accessible to all without hindrance. When the librarians are online, you can access to the so-called "a personal digital library" where they randomly share the selection of books. The selection of books are depending on the librarian's choice, which they provides information such as title, authors, publisher, and small description with PDFs or EPUB. The library is publicly open, although the librarian's personal information are perfectly secured. You can use a plugin shared from Calibre, an open-source suite of e-book software, from their local network's library.

Questions — Who does the library serve? What does ownership and curatorship mean in a shadow library? How does it make a difference to transfer the role and the presence of a "librarian" into a web library? Does the background of the librarian affect the content presented on a library?



Questions Who does the library serve? What could be the motivation to make such a library? What values does it communicate? Who is responsible and what are they responsible for? What is it filtered out and what are the political implications of that?

Thursday 18 April

XPUB1 Special Issue 9: 11:00 - 17:00 / with Femke in the small project space + park

  • 11:00 Intro: m-e-t-h-o-d-o-l-o-g-i-e-s (or not)
  • 11:15 Q + Q
  • 12:00 Response-ability
  • 13:00 Lunch / move to Museumpark
  • 14:00 Phenomenal cartography
  • 15:30 s\p\e\l\l\i\n\g and/or Diffractive reading and/or Renaming|reframing
  • 17:00 Feedback + next session
  • 17:30 end

Readings & References

https://fermentos.kefir.red/english/aco-pele/
https://anarchaserver.org/mediawiki/index.php/Anarchagland
Ursula Le Guin, The Carrier Bag Theory of Fiction
https://xenopraxis.net/readings/stengers_capitalistsorcery.pdf
https://www.feministsearchtool.nl
https://herman.memoryoftheworld.org/
https://0xdb.org/
Karen Barad, Diffracting Diffraction: Cutting Together-Apart (2014)

  • DSC00727.JPG
  • DSC00713.JPG
  • DSC00728.JPG
  • DSC00720.JPG

Rozentuin, 18 April

Download kit: m-e-t-h-o-d-o-l-o-g-i-e-s (or not)

// Week 2

Study Week

// Week 3

May vacation

// Week 4

Tuesday 7 May

XPUB1 Special Issue 9: 11:00 - 17:00 / with Femke + Bodo in the small project space
Workshop with Bodo Balasz

Reading: Bodó, Balázs (2019): The science of piracy, the piracy of science. Who are the science pirates and where do they come from Part I + Part II

Wednesday 8 May

XPUB1: 11:00 - 17:00 RW&RM Steve in the small project space

AM: 1) Design an (an)notation system

AM-PM 2) Read and annotate in groups

PM - 3) Discuss

Outcome 16:30: annotated reading of [part of] text. Meet as a group and explain it all to Steve.


Annotating: Bodó, Balázs (2019): The science of piracy, the piracy of science. Who are the science pirates and where do they come from Part I + Part II

Pad: https://pad.xpub.nl/p/08_05_19

Thursday 9 May

XPUB1 Special Issue 9: 11:00 - 17:00 / with Eva, Martino + Anita @ Rietveld Academy library, Frederik Roeskestraat 96 Amsterdam
Infrastructural Manœuvres in the Library: Bibliographies, categories and metadata with Martino Morandi, Anita Burato and Eva Weinmayr.

  • 09:27 track 9 Rotterdam Centraal NS Intercity richting Lelystad Centrum
  • 10:16 track 1-2 Schiphol Airport
  • 10:31 track 1-2 Schiphol Airport R84 4637 (find Eva!)
  • 10:37 track 2 Amsterdam Lelylaan

Friday 10 May

XPUB1 Special Issue 9: 10:00 - 17:00 / with Eva + Femke in the hub
Workshop with Eva Weynmayr: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Translating, Cloning

Distributed reading: p267-301 from Weinmayr, Eva (2019): "Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice" in: Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity. Edited by Janis Jefferies and Sarah Kember

  • DSC00865.JPG
  • DSC00871.JPG
  • DSC00872.JPG

Reading with Eva Weinmayr, 10 May

// Week 5

Monday 13 May

XPUB1: Prototyping with Andre in the small project space with special guest Amy Suo Wu.

Materiality of digital files: strategies for embedding, revealing, removing, transforming and reimagining, hidden information in digital.

  • 11:00 - 13:30 workshop with André: watermarks in JSTOR and Verso book publications
  • 14:30 - 17:00 presentation by Amy Wu: on steganography Tactics and Poetics of Invisibility ; followed by discussion.

PAD: https://pad.xpub.nl/p/IFL_2018-05-13

Tuesday 14 May

XPUB1: Prototyping with Michael in the HUB

Thursday 16 May

XPUB1 Special Issue 9: 11:00 - 17:00 / with Femke in the small project space

// Week 6

Tuesday 21 May

XPUB1 Special Issue 9: 11:00 - 13:00 / with Femke in the small project space on-line
Project proposals

Wednesday 22 May

XPUB1: 11:00 - 17:00 RW&RM Steve in the small project space

Femke’s note to Steve: “Today (21-5-19) the first years proposed to develop a collective project, that would connect different individual interests in annotation in the context of digital pirate libraries. We also discussed that the launch was going to be an active situation (workshops?) rather than a presentation, since the practice of piracy seems to matter more than talking about it. One thing that is still being discussed in the group, is what collection of materials they will be annotating.”

// Week 7

Monday 27 May

XPUB1: Prototyping with Andre in the small project space


ORC

Wednesday 29 May

XPUB1: 11:00 - 18:00 Prototyping with Michael in the small project space

// Week 8

Tuesday 4 June

XPUB1 Special Issue 9: 10:00 - 17:00 / with Dusan + Femke in the small project space
Workshop with Dusan Barok

10:00 Discuss launch, plans, TODO-lists (Femke)
11:00 Dusan Barok on Monoskop
13:00 Lunch
14:00 Dusan on annotation; return to plans together

Wednesday 5 June

XPUB1: 11:00 - 17:00 RW&RM Steve in the small project space


https://pad.xpub.nl/p/IFL_2019-06-04

The task for the end of the today is to present a design for a workshop to Steve (at 16:00).

This workshop will be prototyped during your next session with Femke (Wed 12 June) (although you can test it out on each other beforehand, of course).

Three new pads here:

Three groups:

Selection ≥ inclusion https://pad.xpub.nl/p/IFL_2019-06-04-selection

Physical ≥ digital — https://pad.xpub.nl/p/physical_digital_workshop

Processes of collective reading — https://pad.xpub.nl/p/IFL_2019-06-05_Processes-of-collective-reading

// Week 9

Tuesday 11 June

XPUB1: Prototyping with Michael in the small project space

Wednesday 12 June

XPUB1 Special Issue 9: 11:00 - 20:00 / with Femke in the hub
workshop testruns

  • 11:00 start, set up day, check communication
  • 11:30 - 12:30: selection ≥ inclusion, round 1
  • [bring-your-lunch]
  • 13:30 - 14:30: digital ≥ physical, round 1
  • [break]
  • 14:40 - 15:40: collective reading, round 1
  • [break]
  • 15:50 - 16:50: selection ≥ inclusion, round 2
  • [break]
  • 17:00 - 18:00: digital ≥ physical, round 2
  • [break]
  • 18:10 - 19:10: collective reading, round 3
  • discuss, evaluate, make plans
  • 20:00 end!

// Week 10

Monday 17 June

XPUB1: Prototyping with Andre in the small project space

Thursday 20 June

XPUB1 Special Issue 9: 11:00 - 19:00 / Femke in ...
Launch Special Issue 9

Resources

Sample libraries

Reading

Video + film fragments

  • Brian Knappenberger, The Internet's Own Boy: The Story of Aaron Swartz (2014) "follows the story of programming prodigy and information activist Aaron Swartz (...) a personal story about what we lose when we are tone deaf about technology and its relationship to our civil liberties." https://archive.org/details/TheInternetsOwnBoyTheStoryOfAaronSwartz
  • Cornelia Sollfrank, Giving What You Don't Have (2012-2015) "I realised how limited the discourse on appropriation is and shifted the question from what artists can TAKE, to the question of what artists can GIVE, in the sense of what they can contribute to the free circulation of art and culture." http://artwarez.org/projects/GWYDH/ (interview with Andrea Francke, Eva Weinmayr, Piracy Project)
  • Welcome to the scene, Episode 01 (2004) "They are revered, reviled, hunted and admired. No one knows who they are - at least, not as far as they know." http://www.welcometothescene.com/
  • Jamie King, Steal this film II (2007) "If Steal this film II proves at all useful in bringing new people into the leagues of those now prepared to think 'after intellectual property', think creatively about the future of distribution, production and creativity, we have achieved our main goal." http://footage.stealthisfilm.com/browse (interview with Lawrence Liang)
  • Simon Klose, TPB AFK: The Pirate Bay Away from Keyboard (2013) "How did Tiamo, a beer crazy hardware fanatic, Brokep a tree hugging eco activist and Anakata, a paranoid cyber libertarian, get the White House to threaten the Swedish government with trade sanctions?" https://www.youtube.com/watch?v=eTOKXCEwo_8

Previous editions


This page (?) is copyleft Constant (?) 2017, available under a Free Art Licence http://artlibre.org/licence/lal/en/

Retrieved from "https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Bohye_Woo/Special_Issue_9&oldid=148265"