bing in Adema 2019

kshelves — get cut in on the action as
well?’[47](ch3.xhtml#footnote-106) These distributed forms of authorship do
not solve issues related to authorship or remuneration but further complicate
them. Nevertheless Montfort is interested in describing the processes involved
in these types of (posthuman) co-authorship, to explore the (previously
unexplored) relationships and processes involved in the authoring of texts
more clearly. As he states, this ‘can help us understand the role of the
diffe

bing in Adema & Hall 2013

the transformed book as an intervention,
something that reflects the inherent critique that book experiments embody with
respect to their own constitution.22 One way of examining reflexively the structures
that make up the book is precisely by disturbing those structures. In certain respects
the page can be thought of as being finite (e.g. physically, materially), but it can also
be understood to be infinite, not least as a result of being potentially different on each
respective viewing/reading. Thi

bing in Barok 2014

b silently brought about a way to _implement_ the plasticity of this
pointing although it has not been realised as the legacy of referencing as we
know it from print. Today, when linking a text and having a particular passage
in mind, and even describing it in detail, the majority of links physically
point merely to the beginning of the text. Hyperlinks are linking documents as
wholes by default and the use of anchors in texts has been hardly thought of
as a _requirement_ to enable precise linking.

bing in Barok 2014

even more as a so-called rhetorical
question]. So there has been one sequence, or line, of the inquiry--about the
kinds of the query and its properties. That sequence itself is a digression,
from within the sequence about what is research and describing its parts
(queries). We are thus returning to it and continue with a question whether
the properties of the inquiry are the same as the properties of the query.

E

But isn't it true that every single utterance occurring in a sequence yields a
query

bing in Bodo 2015

tical text collections on the
internet. It has more than a million scientific works and another million literary works to offer, all free to
download, without any charge or fee, for anyone on the net. I’ve spent months among its virtual stacks,
combing through the catalogue, talking to the librarians who maintain the collection, and watching the
library patrons as they used the collection. I kept going back to Aleph both as a user and as a researcher.
As a user, Aleph offered me books that the loca

jects have since proved, there are more than enough volunteers who are willing
to type whole books into the machine. No wonder that electronic libraries and digital text repositories
were among the first “mainstream” application of computers. Combing through large stacks of matrix-

4

Bodó B. (2015): Libraries in the post-scarcity era.
in: Porsdam (ed): Copyrighting Creativity: Creative values, Cultural Heritage Institutions and Systems of Intellectual Property, Ashgate

printer printouts of s

bing in Constant 2009

Times
story (May 29, 1880) about the ‘cricket mania' of a certain young
lady who collected and trained crickets as musical instruments:
200 crickets in a wirework-house, filled with ferns and shells,
which she called a ‘fernery'. The constant rubbing of the wings
of these insects, producing the sounds so familiar to thousands
everywhere seemed to be the finest music to her ears. She
admitted at once that she had a mania for capturing crickets.
Besides entertainment, and in a much earlier framewor

software in search of new
forms of collaborative and ‘evolving' documentaries; and for myself,
and others around me, I feel disinterest, even aversion, to posting
videos on YouTube. This essay has two threads: (1) I revisit an
earlier essay describing the ‘Evolving Documentary' model to get at
the roots of my enthusiasm for working with video online, and (2) I
examine why I find YouTube problematic, and more a reflection of
television than the possibilities that the web offers.
In 1996, I co-aut

ch it flashes, we claim that complex
systems increasingly tend to interiorise their constitutive differences: the centres of envelopment carry out this interiorisation
of the individuating factors. (Deleuze, 2001, 256)
Much of what I have been describing as the intensive movement
that folds spaces and times inside DSP can be understood in terms
of an interiorisation of constitutive differences. An intensive movement always entails a change in the nature of change. In this case,
a difference in intens

periences and context, emerges as
a result.
The V/J10 video library collects excerpts of performance and dance
video art, and (documentary) film, which reflect upon our complex
body–technique relations. Searching for the indicating, probing, disturbing or subverting gesture(s) in the endless feedback loop between
technology, tools, data and bodies, we collected historical as well as
contemporary material for this temporary archive.

Modern Times or the Assembly Line
Reflects the body in work enviro

n this prescriptive, conserving sense of the word,
282

282

282

283

283

but as the opportunity to take something forward into the future.
And to do so not by writing down the sounds, or trying to capture
the sounds, but rather as a way of describing the actions necessary
to produce those sounds, is almost to conceive the production of music as a kind of dance, and again to emphasise its embodiment and
physicality.
This sense of performance brings into play the idea of ‘play' itself,
whether �

bing in Constant 2015

e it, people can print with it, do things ... so why not make it even
better? Now we are following InDesign and QuarkXpress, and we are playing
the top league of page layout applications ... we’re kind of in a competition
with them. It is like climbing a mountain and than seeing the next, higher
mountain from the top.

In what way is it important to you that Scribus is Free Software?

Well ... it would not work with closed software. Open software allows you to
get other people that also are interes

good output,
and make that easy for users. If we are in doubt, we think for example:
InDesign does this in quite an OK way, so we try to do it in a similar way;
we do not have any problems with that. On the other hand ... I told you a
bit about climbing mountains ... We cannot go from the one top to the next
one just in one step. We have to move slowly, and have to find our ways and
move through valleys and that sometimes also limits us. I can say: I want it
this way but then it is not possible now,

s
something I would always speak against. Because that means you hide something
that’s there. Which seems a stupid thing to do, especially when you want to find
a kind of more flexible relation to your tools. I want to find a better word for
describing that sort of quick feedback. Because if it’s too much in the way, then
the process stops. The drawing can not be made if I’m worried too much about
the point of my pencil that might break ... or the ... I dont’t know ... the nozzle
being blocke

interaction is one of the things
that one can do, and arguably you’re giving it a different presentational form.
It’s still very much a gradation. It’s how much re-styleability remains. You
can’t ever have complete separation. If I’m describing a company, and [1]
I want to do a marketing brochure, and [2] I want to do an annual report
for the shareholders, and [3] I want to do an internal document for the
engineering team. I can’t have the same content all over those three and just
put st

y of typography actually starts with Free Software, with Donald
Knuth and his TeX. The TeX typesetting system has its own font software
or font system called Metafont. Metafont is a font programming language,
and algebraic programming language describing letter forms. It really gets
into the internal structure of the shapes. This is a very non-visual programming approach to it where you basically use this programming language to
describe with algebra how the shapes make up the letters. If you have a

hat you’ve got one ratio whitch is
the height of the vertical lines and another ratio which is the width between
them and another ratio which is the distance between the top point and the
middle point of the crossbar and the bottom point. By describing all of that
in algebra, you really describe the structure of that shape and that gives you
a lot of power because it means you can trace a pen nib objects over that
skeleton to generate the final typeform and so you can apply variations, you
can rota

that kind of source code. But that
approach is not a visual approach, you have to take it with a mathematical
158

mind and that isn’t something which graphic designers typically have as a
strong part of their skill set.

The next step was describing the outline of a typeface, and the guy who
did this was working, I believe, at URW. He invented a digital typography
system or typedesign program called Ikarus. The rumor is it’s called Ikarus
because it crashed too much. Peter Karow is this guy. H

3

a kind of a practice for writing the dissertation. Then you have to document
your working process throughout the year, you have to submit your working
files, source files. Every single step is documented and you have to write
a small essay describing your process. And also, of course, apart from the
type design, you make a font specimen, so you make a very nice piece of
design that show up your font in use, as commercial companies do. All that
takes a full intense year. For British people, the co

two things overlap.
I am always thinking about documentation. The graffiti writer that was
in Vienna 26 showed me a video that was amazing. It was him and a
friend going out on a sunny day at 15:30 in the afternoon with two head
mounted cameras, bombing an entire train and you hear the birds singing
and you only experience it by these two videos that are linked. There are
interesting constraints: your hands are already full, you don’t want peoples’ faces on camera so the head-mounted cameras wer

I have been doing with graffiti and technology and even way
back with Graffiti Analysis, before GRL (Graffiti Research Lab), the idea
was always to keep the research very close to the people doing graffiti. I
was intentionally working with people bombing a lot and not with graffiti
celebrities. I wanted to work with who’s tag was on my mailbox, who’s
tag do I see a million times when I walk down the street. Since then
a lot has happened, like with more popular projects such as L.A.S.E.R.
Tag, and

fiti writer’s
normal practice in the city. The winning project will be an easy to follow
instruction set that can be reproduced by graffiti writers and amateur technologists. The goal is to create a device that will document a night of graffiti
bombing into an easily retrievable series of Graffiti Markup Language (.gml)
files while not interfering with the normal process of writing graffiti. The
solution should be easy to produce, lightweight, cheap, secure, and require
little to no setup and calib

They ended up with different names because they had different policies at the beginning instead of having the same
policy as now. They added here a bunch of Latin letters with marks that
were used for example in transcription. So if you’re transcribing Sanskrit for
example, you would use some of the characters here. Then at some point
they realized that this list of accented characters would get huge, and that
there must be a smarter way to do this. Therefore they figured you could
actually use jus

ers and Navajo
speakers without them worrying about changing fonts as long as they specify the language they’re using. But you can’t use this feature for languages
which aren’t in the OpenType specifications as they have their own way of
describing languages than Unicode. It’s really frustrating because, you can
find all the characters in Unicode, not organized in a practical way: you have
to look all around the tables to find the characters that may be used by one
language, and then you have

bing in Constant 2016

The constructed identities and continuities that detach
Otlet and the Mundaneum from a specific historical frame, ignore the different scientific,
social and political milieus involved. It means that these narratives exclude the discording or
disturbing elements that are inevitable when considering such a complex figure in its entirety.
This is not surprising, seeing the parties that are involved in the discourse: these types of
instrumental identities and differences suit the rhetorical tone of Sil

t in new Clarksville data center,” Tennessean, December 22, 2015, http://
www.tennessean.com/story/money/real-estate/2015/12/21/google-invest-500m-new-clarksville-data-center/77474046/.
51. Ingrid Burrington, “The Environmental Toll of a Netflix Binge,” Atlantic, December 16, 2015, http://www.theatlantic.com/
technology/archive/2015/12/there-are-no-clean-clouds/420744/.
52. Mark Bergen, “After Gates, Google Splurges on Green With Largest Renewable Energy Buy for Server Farms,” Re/code,
December 3, 2015, http://recode.net/2015/12/03/after-gates-google-splurges-on-green-with-largest-renewable-energy-buyfor-server-farms/.

53. Burrington, “The Environmental Toll of a Netflix Binge.”; Richard Maxwell and Toby Miller, Greening the media (New
York: Oxford Univeristy Press, 2012)
54. “Finnish Paper Industry Uses Court Order to Block Government Protest,” IndustriAll Global Union, http://www.industriallunion.org/archive/icem/

bing in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013

obstruct) the
scaffolding? It would be interesting to hear too if this manner of existence
runs into any difficulties - do some institutions object to having scaffolding
constructed amidst them?
SD The image of scaffolding was simply a way of describing an orientation
with respect to institutions that was neither inside nor outside, dependent
nor independent, reformist or oppositional, etc. At the time, the institutions
I meant were specifically Universities, which seemed to have absorbed theory
int

bing in Dockray 2013

hermore, this machine can be modified:
objects can be added and removed, changing but not destroying the machine; and it might be,
using Gerald Raunig’s appropriate term, “concatenated” with other machines.

Inevitably, this paradigm for describing the relationship between software objects spread outwards,
subsuming more of the universe outside of the immediate code. External programs, powerful
computers, banking institutions, people, and satellites have all been “encapsulated” and
“abstr

bing in Dockray, Forster & Public Office 2018

or protecting the commercial interests of capitalist property
owners within Western intellectual property regimes, many of the assumptions
and technological implementations are inadequate for the protection of
Indigenous knowledge. Rather than describing access in terms of commodities
and ownership of copyright, it might be defined by membership, status or role
within a community, and the rules of access would not be managed by a
generalised legal system but by the rules and traditions of the people

bing in USDC 2015

er
authenticates educational users who access ScienceDirect through their affiliated university’s
subscription by verifying that they are able to access ScienceDirect from a computer system or
network previously identified as belonging to a subscribing university.
24.

Elsevier does not track individual educational users’ access to ScienceDirect.

Instead, Elsevier verifies only that the user has authenticated access to a subscribing university.
25.

Once an educational user authenticates his computer with ScienceDirect on a

university network, that computer is permitted access to ScienceDirect for a limited amount of
6

Case 1:15-cv-04282-RWS Document 1 Filed 06/03/15 Page 7 o

bing in Fuller & Dockray 2011

e system
is pretty dismal in that way, but I don't mind that so much. I read something
on the Internet which said it was like being in the porn section of a video
store with all black text on white labels, it was an absolutely beautiful way
of describing it. Originally Aaaaarg was about trading just those particular
moments in a text that really struck you as important, that you wanted other
people to read so it would be very short, definitely partial, it wasn't a
completist project, although some pe

bing in Goldsmith 0

n without his blessing. We considered it a
victory. In another case, the children of [Stan
VanDerBeek](http://ubu.com/film/vanderbeek.html) contacted Ubu requesting that
we host their father's films. Re:Voir was upset by this, saying that we were
robbing his children of their royalties when they in fact had given the films
to us. We put a link to purchase DVDs from Re:Voir, regardless. We think
Re:Voir serves a crucial function: Many people prefer their beautiful physical
objects and hi-res DVDs to o

bing in Kelty, Bodo & Allen 2018

scribed in a blog post in November of 2016, government
documents librarians have often felt like they are ‘under siege’ not from political
forces, but from the inattention to government documents afforded by our systems
and infrastructure. Describing the challenges facing the profession in light of the
2016 election, she commented: “Government documents collections in print are
being discarded, while few institutions are putting strategies in place for collecting
government information in digit

r systems of establishing and
signaling trustworthiness, quality, reliability and stability of information are in dire
need of creative intervention as well. It is not just publishing but all of our systems
for discovering, sharing, acquiring, describing and storing that scholarship that
need support, maintenance, repair, and perhaps in some cases, replacement. And
this work will rely on scholars, as well as expert information practitioners from a
range of fields (Caswell 2016).

¹ At the time of th

bing in Liang 2012

Diorama
installation at The Hispanic Society of America, New York.

Is the utopian ideal of the universal library as exemplified by the library of
Alexandria or modernist pedagogic institutions of the twentieth century
adequate to the task of describing the space of the shadow library, or do we
need a different account of these other spaces? In an era of the ebook reader
where the line between a book and a library is blurred, the very idea of a
library is up for grabs. It has taken me well over two

bing in Mattern 2018

city,” where tickets sell for ten times
as much. Librarian Ruth Tillman was [struck with “acute irony
poisoning”](https://twitter.com/ruthbrarian/status/932701152839454720) when
she encountered a costly article on rent-seeking and value-grabbing in a
journal of capitalism and socialism, which was itself rentable by the month
for a little over $900.

We’re certainly not the first to acknowledge the paradox. For decades, many
have been advocating for open-access publishing, authors have been

bing in Medak, Mars & WHW 2015

ns, let alone further development, innovation, or even basic maintenance of
public libraries’ infrastructure.
Public libraries are an endangered institution,
doomed to extinction.
Petit bourgeois denial prevents society from confronting this disturbing insight. As in many other
fields, the only way out offered is innovative mar11 Aideen Doran, “Free Libraries for Every Soul: Dreaming
of the Online Library”, The Bear, March 2014, http://www.
thebear-review.com/#!free-libraries-for-every-soul/c15

es in the defense of the opposition start
to show. By treating UbuWeb as massive evidence
for the internet as a process of reappropriation, a
process of “giving to all”, its volunteering spiritus
movens, Kenneth Goldsmith, has been constantly rubbing copyright apologists up the wrong way.
Rather than producing qualifications, evasions and
ambivalences, straightforward affirmation of copy
ing, plagiarism and reproduction as a dominant
yet suppressed mode of operation of digital culture re-enacts

of individual text to segments
of other texts and other digital artifacts across now
permeable boundaries of the book.
Developed as a wiki for collaborative studies of
art, media and the humanities, Monoskop.org took
up the task of mapping and describing avant-gardes and media art in Europe. In its approach both
indexical and encyclopedic, it is an extension of
the collaborative editing made possible by wiki
technology. Wikis rose to prominence in the early
2000s allowing everyone to edit and extend

bing in Sekulic 2018

an be seen as a toolbox of “really useful
knowledge” for someone who has to conceive the notion of freedom. The term
“really useful knowledge” originated with workers' awareness of the need for
self-education in the early-19th century, describing a body of 'unpractical'
knowledge such as politics, economics, and philosophy, workers needed to
understand and change their position in society, and opposed 'useful
knowledge' – knowledge of 'practical' skills which would make them useful to
the e

bing in Stalder 2018

speak
of the digital condition in the singular. Three examples of such forms
stand out in particular. *Referentiality* -- that is, the use of
existing cultural materials for one\'s own production -- is an essential
feature of many methods for inscribing oneself into cultural processes.
In the context of unmanageable masses of shifting and semantically open
reference points, the act of selecting things and combining them has
become fundamental to the production of meaning and the constitution of
the

the billionfold sequences of status
updates, which sometimes involve a link to an interesting video,
sometimes a post of a photograph, then a short list of favorite songs, a
top 10 chart from one\'s own feed, or anything else. Such methods of
inscribing oneself into the world by means of references, combinations,
or alterations are used to create meaning through one\'s own activity in
the world and to constitute oneself in it, both for one\'s self and for
others. In a culture that manifests itself t

thorities, police officers, judges, or other figures within
formal hierarchies. Their power is anchored in disciplinary
institutions, and the dictum of this sort of power is: "You must!" The
power of sociability, on the contrary, functions by prescribing the
conditions or protocols under which people are able to enter into an
exchange with one another. The dictum of this sort of power is: "You
can!" The more people accept certain protocols and standards, the more
powerful these become. Accordingly, t

y
with which a given article is
cited.[^102^](#c2-note-0102){#c2-note-0102a} In both cases, the shift
from analyzing "data" (the content of documents in the traditional
sense) to []{#Page_114 type="pagebreak" title="114"}analyzing
"meta-data" (describing documents in light of their relationships to one
another) is a precondition for being able to make any use at all of
growing amounts of information.[^103^](#c2-note-0103){#c2-note-0103a}
This shift introduced a new level of abstraction. Information i

bing in Stankievech 2016

taloging.50

47

48
49
50

Saxl speaks of “many tentative and personal excrescences” (“The History of
Warburg’s Library,” 331). When Warburg fell ill in 1920 with a subsequent fouryear absence, the library was continued by Saxl and Gertrud Bing, the new and
later closest assistant. Despite the many helpers, according to Saxl, Warburg always
remained the boss: “everything had the character of a private book collection, where
the master of the house had to see it in person that the bills were paid in time,
that the bookbinder chose the right material, or that neither he nor the carpenter
delivering a new shelf over-charged” (Ibid., 329).
Ibid., 331.
Ibid., 329.
A noteworthy aside: Gertrud Bing was in charge of keeping a meticulous index of
names and keywords; evoking the library catalog of Borges’s fiction, Warburg even
kept an “index of un-indexed books.” See Diers, “Porträt aus Büchern,” 21.

99

1. Arg.org supports a collec

bing in Tenen & Foxman 2014

ckens can and will be absorbed into his collected works,
which might further be absorbed into "Novels of 19th Century," and then
into "Foreign Fiction" (as a hypothetical, but realistic example).
According to the rules, the collection doing the absorbing must be "at
least 50% larger than the collection it is absorbing." Releases are
further governed by a subset or rules particular to the forum
subsections (e.g. journals, fiction, documentation, service manuals,
etc.).^[53](#fn-2025-53){#fnref-2025-53

bing in Thylstrup 2019

y, and when to manage
visibilities in mass digitization projects.

Although the media sometimes picked up stories on mass digitization projects
already outlined, it wasn’t until Google entered the scene that mass
digitization became a headline-grabbing enterprise. In 2004, Google founders
Larry Page and Sergey Brin traveled to Frankfurt to make a rare appearance at
the Frankfurt Book Fair. Google was at that time still considered a “scrappy”
Internet company in some quarters, as compared with t

gle Books

## Introduction

In a 2004 article in the cultural theory journal _Critical Inquiry_ , book
historian Roger Chartier argued that the electronic world had created a triple
rupture in the world of text: by providing new techniques for inscribing and
disseminating the written word, by inspiring new relationships with texts, and
by imposing new forms of organization onto them. Indeed, Chartier foresaw that
“the originality and the importance of the digital revolution must therefore
not be un

aligned with, and integrated into, a global
market economy.18 One might see the difference in the French and the EU
responses as a question of infrastructural form and affordance. If French mass
digitization discourses were concerned with circumscribing the French cultural
heritage within the territory of the nation, the EC was in practice more
attuned to the networked aspects of the global economy and an accompanying
discourse of competition and potentiality. The infrastructural shift from
delineat

user? The culture of
connectivity and interoperability has not only allowed Europeana’s collections
to become more visible to a wider public, it has also enabled these publics to
become intentionally or unintentionally involved in the act of describing and
ordering these same collections, for instance by inviting users to influence
existing collections as well as to generate their own collections. The
increased interaction with works also transform them from stable to mobile
objects.65 Mass digitiz

Display 200 300 400 500 600 700 800 900 1000 ALL characters around the word.