gutenberg in Bodo 2015
ntellectual Property, Ashgate
The fate of libraries is tied to the fate of book markets in more than one way. One connection is structural:
libraries emerged to remedy the scarcity in books. This is true both for the pre-print era as well as in the
Gutenberg galaxy. In the era of widespread literacy and highly developed book markets, libraries offer
access to books under terms publishers and booksellers cannot or would not. Libraries, to a large extent,
are defined to complement the structure of the book
ó B. (2015): Libraries in the post-scarcity era.
in: Porsdam (ed): Copyrighting Creativity: Creative values, Cultural Heritage Institutions and Systems of Intellectual Property, Ashgate
Johns, A. (2010). Piracy: The Intellectual Property Wars from Gutenberg to Gates. University Of
Chicago Press.
Judge, C. B. (1934). Elizabethan book-pirates. Cambridge: Harvard University Press.
Khan, B. Z. (2004). Does Copyright Piracy Pay? The Effects Of U.S. International Copyright Laws On
The Market For Books, 1790-1
gutenberg in Constant 2015
en down’.
We’re preparing a performance for the Balsamine theatre 5 on the topic of
Bootstrapping. In April we will travel as a group to Madrid to LGRU 6 and
LGM 7 . We also continually work on ‘Co-position”’, a project for building
a post-gutenberg typographical tool.
5
6
7
http://www.balsamine.be/
http://lgru.net/
the international Libre Graphics Meeting: http://libregraphicsmeeting.org/2013/
314
Performing Libre Graphics
In April 2014 I traveled from Leipzig to the north of
Germany t
gutenberg in Dekker & Barok 2017
orporate repositories of academic
9
journals.9 Their other emerging role is that of a digital
For more information see,
repository of works in the public domain (the role piowww.sciencemag.org/
news/2016/04/whosneered in the United States by Project Gutenberg and
downloading-piratedInternet Archive). There have been too many attempts
papers-everyone.
Accessed 28 May 2016.
to transpose librarians’ techniques from the paperbound
world into the digital domain. Yet, as I said before, there
is much more to e
gutenberg in Mattern 2014
have had at least to
comprehend, if not become a key node within, evolving systems of media
production and distribution. Consider the medieval scriptoria where
manuscripts were produced; the evolution of the publishing industry and book
trade after Gutenberg; the rise of information technology and its webs of
wires, protocols and regulations. 1 At every stage, the contexts — spatial,
political, economic, cultural — in which libraries function have shifted; so
they are continuously [reinventing
themse
gutenberg in Medak, Mars & WHW 2015
elvil Dewey”, American Heritage 32,
no. 1 (December 1980),
http://www.americanheritage.com/content/melvil-dewey.
06 Melvil Dewey, A Classification and Subject Index for Cataloguing and Arranging the Books and Pamphlets of a
Library (1876), Project Gutenberg e-book 12513 (2004),
http://www.gutenberg.org/files/12513/12513-h/12513-h.htm.
07 Snow, “Melvil Dewey”.
Public library (essay)
77
His dream came true. Public Library is an entry
in the catalog of History where a fantastic decimal08
describes
marginal role.
The proliferation of written matter after the invention of mechanical movable type printing would
greatly increase the number of books, but also the
patterns of literacy and knowledge production. Already in the first fifty years after Gutenberg’s invention, 12 million volumes were printed, and from
this point onwards the output of printing presses
grew exponentially to 700 million volumes in the
18th century. In the aftermath of the explosion in
book production the cost of producing and b
gutenberg in Medak, Sekulic & Mertens 2014
using the existing catalogues or you can enter metadata manually.
Now you may want to distribute your book. If the work you've digitized is in the public domain
(https://en.wikipedia.org/wiki/Public_domain), you might consider contributing it to the Gutenberg
project
(http://www.gutenberg.org/wiki/Gutenberg:Volunteers'_FAQ#V.1._How_do_I_get_started_as_a_Pr
oject_Gutenberg_volunteer.3F ), Wikibooks (https://en.wikibooks.org/wiki/Help:Contributing ) or
Arhive.org.
If the work is still under copyright, you m
gutenberg in Stalder 2018
tle: The Digital Condition
---
::: {.figure}
[]{#coverstart}
:::
Table of Contents
, it
has deep historical roots, some of which go back to the late nineteenth
century, but it really came into being after the late 1960s. As many of
the cultural and political institutions shaped by the previous condition
-- which McLuhan called the Gutenberg Galaxy -- fell into crisis, new
forms of personal and collective orientation and organization emerged
which have been shaped by the affordances of this new condition. Both
the historical processes which unfolded over a very long time and the
structur
been the most important project in
my life had it not been for Andrea Mayr. In this regard, I have been
especially fortunate.[]{#Page_xi type="pagebreak"
title="xi"}[]{#Page_xii type="pagebreak" title="xii"}
:::
Introduction [After the End of the Gutenberg Galaxy]{.chapterTitle} []{.chapterSubTitle} {#cintro}
cation
or on social mass media -- lent particular significance to the occasion
as a moment of collective self-perception.
It is more than half a century since Marshall McLuhan announced the end
of the Modern era, a cultural epoch that he called the Gutenberg Galaxy
in honor of the print medium by which it was so influenced. What was
once just an abstract speculation of media theory, however, now
describes []{#Page_2 type="pagebreak" title="2"}the concrete reality of
our everyday life. What\'s more, we ha
atlantic) West, is divided into three chapters. In the first, I
will outline the *historical* developments that have given rise to this
quantitative and qualitative change and have led to the crisis faced by
the institutions of the late phase of the Gutenberg Galaxy, which
defined the last third []{#Page_4 type="pagebreak" title="4"}of the
twentieth century.[^4^](#f6-note-0004){#f6-note-0004a} The expansion of
the social basis of cultural processes will be traced back to changes in
the labor market, to th
ans.\].
[3](#f6-note-0003a){#f6-note-0003} As early as 1995, Wolfgang Coy
suggested that McLuhan\'s metaphor should be supplanted by the concept
of the "Turing Galaxy," but this never caught on. See his introduction
to the German edition of *The Gutenberg Galaxy*: "Von der Gutenbergschen
zur Turingschen Galaxis: Jenseits von Buchdruck und Fernsehen," in
Marshall McLuhan, *Die Gutenberg Galaxis: Das Ende des Buchzeitalters*,
(Cologne: Addison-Wesley, 1995), pp. vii--xviii.[]{#Page_176
type="pagebreak" title="176"}
[4](#f6-note-0004a){#f6-note-0004} According to the analysis of the
Spanish sociologist Manuel Castells, this crisis
nced stagnation
until it ultimately, in a belated effort to reform, collapsed. See
Manuel Castells, *End of Millennium*, 2nd edn (Oxford: Wiley-Blackwell,
2010), pp. 5--68.
[5](#f6-note-0005a){#f6-note-0005} Felix Stalder, *Der Autor am Ende
der Gutenberg Galaxis* (Zurich: Buch & Netz, 2014).
[6](#f6-note-0006a){#f6-note-0006} For my preliminary thoughts on this
topic, see Felix Stalder, "Autonomy and Control in the Era of
Post-Privacy," *Open: Cahier on Art and the Public Domain* 19 (2010):
78--8
}
### Information overload 1.0 {#c2-sec-0003}
The printing press made texts available in the three respects mentioned
above. For one thing, their number increased rapidly, while their price
significantly sank. During the first two generations after Gutenberg\'s
invention -- that is, between 1450 and 1500 -- more books were produced
than during the thousand years
before.[^9^](#c2-note-0009){#c2-note-0009a} And that was just the
beginning. Dealing with books and their content changed from the ground
up. In
that are highly unlikely to occur elsewhere. This implies, of
course, that books contain many textual elements that are highly likely
to be found in other texts, without suggesting that such elements would
have to be regarded as plagiarism.
In the Gutenberg Galaxy, with its fixation on writing, the earliest
textual document is usually understood to represent a beginning. If no
references to anything before can be identified, the text is then
interpreted as a closed entity, as a new text. Thus, fairy tal
-note-0038){#c2-note-0038a}
In tandem with this, the overall commitment to the identities, family
values, and lifestyles promoted by these institutions has likewise been
in decline. The great mechanisms of socialization from the late stages
of the Gutenberg Galaxy have been losing more and more of their
influence, though at different speeds and to different extents. All
told, however, explicitly and collectively normative impulses are
decreasing, while others (implicitly economic, above all) are on the
evisit the terminology introduced at the beginning of this
chapter) or, in more general terms, they create suitable social
institutions for these new opportunities. In this sense, both
developments represent coherent and comprehensive answers to the
Gutenberg Galaxy\'s long-lasting crisis of cultural forms and social
institutions.
It remains to be seen whether one of these developments will prevail
entirely or whether and how they will coexist. Despite all of the new
and specialized methods for making pr
gutenberg in Tenen & Foxman 2014
ring of print
media? And what lessons can we draw from them? Our secondary aim is to
continue the work of exploring the phenomenon of book sharing more
widely, placing it in the context of other commons-based peer production
communities like Project Gutenberg and Wikipedia. The archetypal model
of peer production is one motivated by altruistic participation. But the
very history of public libraries is one that combines the impulse to
share and to protect. To paraphrase Jacques Derrida
^[4](#fn-2025-4){#fn
rate with each other
without relying on either market signals or managerial
commands."^[49](#fn-2025-49){#fnref-2025-49}^ *Aleph* answers the
definition of peer production, resembling in many respects projects like
*Linux*, *Wikipedia*, and *Project Gutenberg*.
Yet, *Aleph* is also patently a library. Its work can and should be
viewed in the broader context of Enlightenment ideals: access to
literacy, universal education, and the democratization of knowledge. The
very same ideals gave birth to the public
gutenberg in Thylstrup 2019
iated Book,_ authored by an assembly of
activists, artists, and scholars such as Femke Snelting, Tomislav Medak,
Dusan Barok, Geraldine Juarez, Shin Joung Yeo, and Matthew Fuller. 9
Another early precursor of mass digitization emerged with Project Gutenberg,
often referred to as the world’s oldest digital library. Project Gutenberg was
the brainchild of author Michael S. Hart, who in 1971, using technologies such
as ARPANET, Bulletin Board Systems (BSS), and Gopher protocols, experimented
with publishing and distributing books in digital form. As Hart reminisced in
his later text, “The History and Philosophy of Project Gutenberg,”10 Project
Gutenberg emerged out of a donation he received as an undergraduate in 1971,
which consisted of $100 million worth of computing time on the Xerox Sigma V
mainframe at the University of Illinois at Urbana-Champaign. Wanting to make
good use of the donation, Har
ng analog cultural works into digital text in a
format not only available to, but also accessible/readable to, almost all
computer systems: “Plain Vanilla ASCII” (ASCII for “American Standard Code for
Information Interchange”). While Project Gutenberg only converted about 50
works into digital text in the 1970s and the 1980s (the first was the
Declaration of Independence), it today hosts up to 56,000 texts in its
distinctly lo-fi manner.12 Interestingly, Michael S. Hart noted very early on
that th
n accuracy and
accessibility, raising questions both of the limits of commercialized
accelerated digitization processes (see chapter 2 on Google Books) and of
class-based and postcolonial implications (see chapter 4 on shadow libraries).
If Project Gutenberg spearheaded the efforts of bringing cultural works into
the digital sphere through manual conversion of analog text into lo-fi digital
text, a French mass digitization project affiliated with the construction of
the Bibliothèque nationale de France
ving
access to some 4.5 million digital objects from more than 1,000 institutions.
Europeana’s Europeanizing discourse presents a territorializing approach to
mass digitization that stands in contrast to the more universalizing tone of
Mundaneum, Gutenberg, Google Books, and the Universal Digital Library. As
such, it ties in with our final examples, namely the sovereign mass
digitization projects that have in fact always been one of the primary drivers
in mass digitization efforts. To this day, the map
2013, specifically “Historic Overview.” See also chap. 10 in Baker
2002. 7. Pfanner 2012. 8.
2016. 10. Michael S. Hart, “The History and Philosophy of Project Gutenberg,”
Project Gutenberg, August 1992,
11. Ibid. 12.
“Digitization at the Bibliotheque Nationale De F
ong
many other posts on e-book torrent trackers, DC++ networks, extensive
repositories such as LibGen and Aaaaarg, cloud directories, document-sharing
platforms such as Issuu and Scribd, and digital libraries such as the Internet
Archive and Project Gutenberg.36 The shadow library of Monoskop thus slowly
began to emerge, partly through Barok’s own efforts at navigating email lists
and downloading material, and partly through people approaching Monoskop
directly, sending it links to online or scanned mat
Display 200 300 400 500 600 700 800 900 1000 ALL characters around the word.