mania in Constant 2009
both technological and animal wonders, for example bees and
ants, electricity and architectural constructions as marvels of artifice
and nature.
Similar accounts abound since the mid 19 th century. Insects sense,
move, build, communicate and even create art in various ways that
raised wonder and awe for example in U.S. popular culture. Apt
86
86
86
87
87
example of the 19 th century insect mania is the New York 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 framework, the classic
of modern entomology, the aforementioned An Introduction to Entomology by Kirby and Spence already implicitly presented throughout
its four volume best seller the idea of a primitive technics of nature –
insect technics that were immanent to their surroundings.
Kirby and Spence's take probably attracted t
mania in Constant 2016
ory of Documentation and
Information science," in Journal of the American Society for
Information Science (1986-1998)48.4 (Apr 1997):
301-309.
• Le Corbusier, Vers une Architecture, Paris: les éditions G.
Crès, 1923.
• Transnational Associations, "Otlet et Le Corbusier" 1927-31,
INGO Development Projects: Quantity or Quality, Issue No:
5, 1987.
• Wouter Van Acker. "Hubris or utopia? Megalomania and
imagination in the work of Paul Otlet," in Cahiers de la
documentation – Bladen voor documentatie – 2012/2,
58-66.
• Wouter Van Acker. "Architectural Metaphors of Knowledge:
The Mundaneum Designs of Maurice Heymans, Paul Otlet,
and Le Corbusier." Library Trends 61, no. 2 (2012):
371-396.
• Van Acker, Wouter, Somsen, Geert, “A Tale of Two World
Capitals – the Internationalisms of Pi
mania in Fuller & Dockray 2011
y through subject matter and
material, then revisiting that library and seeing what needs to be there.
**MF:** I want to follow that kind of strand of habits of accumulation,
sorting, deferring and so on. I wonder, what is a kind of characteristic or
unusual reading behavior? For instance are there people who download the
entire list? Or do you see people being relatively selective? How does the
mania of the net, with this constant churning of data, map over to forms of
bibliomania?
**SD:** Well, in Aaaaarg it's again very specific. Anecdotally again, I have
heard from people how much they download and sometimes they're very selective,
they just see something that's interesting and download it, other times they
download everything and occasionally I hear about this mania of mirroring the
whole site. What I mean about being specific to Aaaaarg is that a lot of the
mania isn't driven by just the need to have everything; it's driven by the
acknowledgement that the source is going to disappear at some point. That
sense of impending disappearance is always there, so I think that drives a lot
of people to download everything because, you know, it's happened a couple
times where it's just gone down or moved or something like that.
**MF:** It's true, it feels like something that is there even for a few weeks
or a few months. By a sheer fluke it could last another year, who knows.
**SD:** It's a different kind of mania, and usually we get lost in this
thinking that people need to possess everything but there is this weird
preservation instinct that people have, which is slightly different. The
dominant sensibility of Aaaaarg at the beginning was the highly partial and
subjective nature to the contents and that is something I would want to
preserve, which is why I never thought it to be particularly exciting to h
mania in Weinmayr 2019
c Sovereign’, Culture Machine 10, 64–108.
Aufderheide, Patricia, Peter Jaszi, Bryan Bello and Tijana Milosevic (2014)
Copyright, Permissions, and Fair Use Among Visual Artists and the Academic and
Museum Visual Arts Communities: An Issues Report (New York: College Art
Association).
Barron, Anne (1998) ‘No Other Law? Author–ity, Property and Aboriginal Art’,
in Lionel Bently and Spyros Maniatis (eds.), Intellectual Property and Ethics
(London: Sweet and Maxwell), pp. 37–88.
Barthes, Roland (1967) ‘The Death of the Author’, Aspen, [n.p.],
Benjamin, Walter (1970) ‘The Author as Producer’ in New Left Review 1.62,
83–96.
Bently, Lionel (1994) ‘Copyright and the Death of the Author in Literature and
Law’, Modern Law
a thing: to say that a work is original in law is to say nothing
more than that it originates from [can be attributed to] its creator’ (Barron,
p. 56). And conversely, in law ‘there can be no ‘copyright work’ […] without
some author who can be said to originate it’ (ibid., p. 55). Anne Barron, ‘No
Other Law? Author–ity, Property and Aboriginal Art’, in Lionel Bently and
Spyros Maniatis (eds.), Intellectual Property and Ethics (London: Sweet and
Maxwell, 1998), pp. 37–88, and Marilyn Strathern, Kinship, Law, and the
Unexpected: Relatives Are Always a Surprise (Cambridge: Cambridge University
Press, 2005).
See also Mario Biagioli’s and Marilyn Strathern’s discussion of the author-
work relationship as kinship in Mario Biagioli, ‘Plagiarism, Kinship and
Slavery’, The
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