Medak, Mars & WHW
Public Library
2015


Public Library

may • 2015
price 50 kn

This publication is realized along with the exhibition
Public Library • 27/5 –13/06 2015 • Gallery Nova • Zagreb
Izdavači / Publishers
Editors
Tomislav Medak • Marcell Mars •
What, How & for Whom / WHW
ISBN 978-953-55951-3-7 [Što, kako i za koga/WHW]
ISBN 978-953-7372-27-9 [Multimedijalni institut]
A Cip catalog record for this book is available from the
National and University Library in Zagreb under 000907085

With the support of the Creative Europe Programme of the
European Union

ZAGREB • ¶ May • 2015

Public Library

1.
Marcell Mars, Manar Zarroug
& Tomislav Medak

75

Public Library (essay)
2.
Paul Otlet

87

Transformations in the Bibliographical
Apparatus of the Sciences
(Repertory — Classification — Office
of Documentation)
3.
McKenzie Wark

111

Metadata Punk
4.
Tomislav Medak
The Future After the Library
UbuWeb and Monoskop’s Radical Gestures

121

Marcell Mars,
Manar Zarroug
& Tomislav Medak

Public library (essay)

In What Was Revolutionary about the French Revolution? 01 Robert Darnton considers how a complete collapse of the social order (when absolutely
everything — all social values — is turned upside
down) would look. Such trauma happens often in
the life of individuals but only rarely on the level
of an entire society.
In 1789 the French had to confront the collapse of
a whole social order—the world that they defined
retrospectively as the Ancien Régime — and to find
some new order in the chaos surrounding them.
They experienced reality as something that could
be destroyed and reconstructed, and they faced
seemingly limitless possibilities, both for good and
evil, for raising a utopia and for falling back into
tyranny.02
The revolution bootstraps itself.
01 Robert H. Darnton, What Was Revolutionary about the
French Revolution? (Waco, TX: Baylor University Press,
1996), 6.
02 Ibid.

Public library (essay)

75

In the dictionaries of the time, the word revolution was said to derive from the verb to revolve and
was defined as “the return of the planet or a star to
the same point from which it parted.” 03 French political vocabulary spread no further than the narrow
circle of the feudal elite in Versailles. The citizens,
revolutionaries, had to invent new words, concepts
… an entire new language in order to describe the
revolution that had taken place.
They began with the vocabulary of time and space.
In the French revolutionary calendar used from 1793
until 1805, time started on 1 Vendémiaire, Year 1, a
date which marked the abolition of the old monarchy on (the Gregorian equivalent) 22 September
1792. With a decree in 1795, the metric system was
adopted. As with the adoption of the new calendar,
this was an attempt to organize space in a rational
and natural way. Gram became a unit of mass.
In Paris, 1,400 streets were given new names.
Every reminder of the tyranny of the monarchy
was erased. The revolutionaries even changed their
names and surnames. Le Roy or Leveque, commonly
used until then, were changed to Le Loi or Liberté.
To address someone, out of respect, with vous was
forbidden by a resolution passed on 24 Brumaire,
Year 2. Vous was replaced with tu. People are equal.
The watchwords Liberté, égalité, fraternité (freedom, equality, brotherhood)04 were built through
03 Ibid.
04 Slogan of the French Republic, France.fr, n.d.,
http://www.france.fr/en/institutions-and-values/slogan
-french-republic.html.

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M. Mars • M. Zarroug • T. Medak

literacy, new epistemologies, classifications, declarations, standards, reason, and rationality. What first
comes to mind about the revolution will never again
be the return of a planet or a star to the same point
from which it departed. Revolution bootstrapped,
revolved, and hermeneutically circularized itself.
Melvil Dewey was born in the state of New York in
1851.05 His thirst for knowledge was found its satisfaction in libraries. His knowledge about how to
gain knowledge was developed by studying libraries.
Grouping books on library shelves according to the
color of the covers, the size and thickness of the spine,
or by title or author’s name did not satisfy Dewey’s
intention to develop appropriate new epistemologies in the service of the production of knowledge
about knowledge. At the age of twenty-four, he had
already published the first of nineteen editions of
A Classification and Subject Index for Cataloguing
and Arranging the Books and Pamphlets of a Library,06 the classification system that still bears its
author’s name: the Dewey Decimal System. Dewey
had a dream: for his twenty-first birthday he had
announced, “My World Work [will be] Free Schools
and Free Libraries for every soul.”07
05 Richard F. Snow, “Melvil 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 a category of phenomenon that—together
with free public education, a free public healthcare,
the scientific method, the Universal Declaration of
Human Rights, Wikipedia, and free software, among
others—we, the people, are most proud of.
The public library is a part of these invisible infrastructures that we start to notice only once they
begin to disappear. A utopian dream—about the
place from which every human being will have access to every piece of available knowledge that can
be collected—looked impossible for a long time,
until the egalitarian impetus of social revolutions,
the Enlightment idea of universality of knowledge,
and the expcetional suspenssion of the comercial
barriers to access to knowledge made it possible.
The internet has, as in many other situations, completely changed our expectations and imagination
about what is possible. The dream of a catalogue
of the world — a universal approach to all available
knowledge for every member of society — became
realizable. A question merely of the meeting of
curves on a graph: the point at which the line of
global distribution of personal computers meets
that of the critical mass of people with access to
the internet. Today nobody lacks the imagination
necessary to see public libraries as part of a global infrastructure of universal access to knowledge
for literally every member of society. However, the
08 “Dewey Decimal Classification: 001.”, Dewey.info, 27 October 2014, http://dewey.info/class/001/2009-08/about.en.

78

M. Mars • M. Zarroug • T. Medak

emergence and development of the internet is taking place precisely at the point at which an institutional crisis—one with traumatic and inconceivable
consequences—has also begun.
The internet is a new challenge, creating experiences commonly proferred as ‘revolutionary’. Yet, a
true revolution of the internet is the universal access
to all knowledge that it makes possible. However,
unlike the new epistemologies developed during
the French revolution the tendency is to keep the
‘old regime’ (of intellectual property rights, market
concentration and control of access). The new possibilities for classification, development of languages,
invention of epistemologies which the internet poses,
and which might launch off into new orbits from
existing classification systems, are being suppressed.
In fact, the reactionary forces of the ‘old regime’
are staging a ‘Thermidor’ to suppress the public libraries from pursuing their mission. Today public
libraries cannot acquire, cannot even buy digital
books from the world’s largest publishers.09 The
small amount of e-books that they were able to acquire already they must destroy after only twenty-six
lendings.10 Libraries and the principle of universal
09 “American Library Association Open Letter to Publishers on
E-Book Library Lending”, Digital Book World, 24 September
2012, http://www.digitalbookworld.com/2012/americanlibrary-association-open-letter-to-publishers-on-e-booklibrary-lending/.
10 Jeremy Greenfield, “What Is Going On with Library E-Book
Lending?”, Forbes, 22 June 2012, http://www.forbes.com/
sites/jeremygreenfield/2012/06/22/what-is-going-on-withlibrary-e-book-lending/.

Public library (essay)

79

access to all existing knowledge that they embody
are losing, in every possible way, the battle with a
market dominated by new players such as Amazon.
com, Google, and Apple.
In 2012, Canada’s Conservative Party–led government cut financial support for Libraries and
Archives Canada (LAC) by Can$9.6 million, which
resulted in the loss of 400 archivist and librarian
jobs, the shutting down of some of LAC’s internet
pages, and the cancellation of the further purchase
of new books.11 In only three years, from 2010 to
2012, some 10 percent of public libraries were closed
in Great Britain.12
The commodification of knowledge, education,
and schooling (which are the consequences of a
globally harmonized, restrictive legal regime for intellectual property) with neoliberal austerity politics
curtails the possibilities of adapting to new sociotechnological conditions, 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/c153g.
12 Alison Flood, “UK Lost More than 200 Libraries in 2012”,
The Guardian, 10 December 2012, http://www.theguardian.
com/books/2012/dec/10/uk-lost-200-libraries-2012.

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M. Mars • M. Zarroug • T. Medak

ket-based entrepreneurship. Some have even suggested that the public library should become an
open software platform on top of which creative
developers can build app stores13 or Internet cafés
for the poorest, ensuring that they are only a click
away from the Amazon.com catalog or the Google
search bar. But these proposals overlook, perhaps
deliberately, the fundamental principles of access
upon which the idea of the public library was built.
Those who are well-meaning, intelligent, and
tactfull will try to remind the public of all the many
sides of the phenomenon that the public library is:
major community center, service for the vulnerable,
center of literacy, informal and lifelong learning; a
place where hobbyists, enthusiasts, old and young
meet and share knowledge and skills.14 Fascinating. Unfortunately, for purely tactical reasons, this
reminder to the public does not always contain an
explanation of how these varied effects arise out of
the foundational idea of a public library: universal
access to knowledge for each member of the society produces knowledge, produces knowledge about
knowledge, produces knowledge about knowledge
transfer: the public library produces sociability.
The public library does not need the sort of creative crisis management that wants to propose what
13 David Weinberger, “Library as Platform”, Library Journal,
4 September 2012, http://lj.libraryjournal.com/2012/09/
future-of-libraries/by-david-weinberger/.
14 Shannon Mattern, “Library as Infrastructure”, Design
Observer, 9 June 2014, http://places.designobserver.com/
entryprint.html?entry=38488.

Public library (essay)

81

the library should be transformed into once our society, obsessed with market logic, has made it impossible for the library to perform its main mission. Such
proposals, if they do not insist on universal access
to knowledge for all members, are Trojan horses for
the silent but galloping disappearance of the public
library from the historical stage. Sociability—produced by public libraries, with all the richness of its
various appearances—will be best preserved if we
manage to fight for the values upon which we have
built the public library: universal access to knowledge for each member of our society.
Freedom, equality, and brotherhood need brave librarians practicing civil disobedience.
Library Genesis, aaaaarg.org, Monoskop, UbuWeb
are all examples of fragile knowledge infrastructures
built and maintained by brave librarians practicing
civil disobedience which the world of researchers
in the humanities rely on. These projects are re-inventing the public library in the gap left by today’s
institutions in crisis.
Library Genesis15 is an online repository with over
a million books and is the first project in history to
offer everyone on the Internet free download of its
entire book collection (as of this writing, about fifteen terabytes of data), together with the all metadata
(MySQL dump) and PHP/HTML/Java Script code
for webpages. The most popular earlier reposito15 See http://libgen.org/.

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M. Mars • M. Zarroug • T. Medak

ries, such as Gigapedia (later Library.nu), handled
their upload and maintenance costs by selling advertising space to the pornographic and gambling
industries. Legal action was initiated against them,
and they were closed.16 News of the termination of
Gigapedia/Library.nu strongly resonated among
academics and book enthusiasts circles and was
even noted in the mainstream Internet media, just
like other major world events. The decision by Library Genesis to share its resources has resulted
in a network of identical sites (so-called mirrors)
through the development of an entire range of Net
services of metadata exchange and catalog maintenance, thus ensuring an exceptionally resistant
survival architecture.
aaaaarg.org, started by the artist Sean Dockray, is
an online repository with over 50,000 books and
texts. A community of enthusiastic researchers from
critical theory, contemporary art, philosophy, architecture, and other fields in the humanities maintains,
catalogs, annotates, and initiates discussions around
it. It also as a courseware extension to the self-organized education platform The Public School.17
16 Andrew Losowsky, “Library.nu, Book Downloading Site,
Targeted in Injunctions Requested by 17 Publishers,” Huffington Post, 15 February 2012, http://www.huffingtonpost.
com/2012/02/15/librarynu-book-downloading-injunction_
n_1280383.html.
17 “The Public School”, The Public School, n.d.,
https://www.thepublicschool.org/.

Public library (essay)

83

UbuWeb18 is the most significant and largest online
archive of avant-garde art; it was initiated and is lead
by conceptual artist Kenneth Goldsmith. UbuWeb,
although still informal, has grown into a relevant
and recognized critical institution of contemporary
art. Artists want to see their work in its catalog and
thus agree to a relationship with UbuWeb that has
no formal contractual obligations.
Monoskop is a wiki for the arts, culture, and media
technology, with a special focus on the avant-garde,
conceptual, and media arts of Eastern and Central
Europe; it was launched by Dušan Barok and others.
In the form of a blog Dušan uploads to Monoskop.
org/log an online catalog of curated titles (at the
moment numbering around 3,000), and, as with
UbuWeb, it is becoming more and more relevant
as an online resource.
Library Genesis, aaaaarg.org, Kenneth Goldsmith,
and Dušan Barok show us that the future of the
public library does not need crisis management,
venture capital, start-up incubators, or outsourcing but simply the freedom to continue extending
the dreams of Melvil Dewey, Paul Otlet19 and other
visionary librarians, just as it did before the emergence of the internet.

18 See http://ubu.com/.
19 “Paul Otlet”, Wikipedia, 27 October 2014,
http://en.wikipedia.org/wiki/Paul_Otlet.

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M. Mars • M. Zarroug • T. Medak

With the emergence of the internet and software
tools such as Calibre and “[let’s share books],”20 librarianship has been given an opportunity, similar to astronomy and the project SETI@home21, to
include thousands of amateur librarians who will,
together with the experts, build a distributed peerto-peer network to care for the catalog of available
knowledge, because
a public library is:
— free access to books for every member of society
— library catalog
— librarian
With books ready to be shared, meticulously
cataloged, everyone is a librarian.
When everyone is librarian, library is
everywhere.22


20 “Tools”, Memory of the World, n.d.,
https://www.memoryoftheworld.org/tools/.
21 See http://setiathome.berkeley.edu/.
22 “End-to-End Catalog”, Memory of the World, 26 November 2012,
https://www.memoryoftheworld.org/end-to-end-catalog/.

Public library (essay)

85

Paul Otlet

Transformations
in the Bibliographical Apparatus
of the Sciences [1]
Repertory — Classification — Office
of Documentation
1. Because of its length, its extension to all countries,
the profound harm that it has created in everyone’s
life, the War has had, and will continue to have, repercussions for scientific productivity. The hour for
the revision of the old order is about to strike. Forced
by the need for economies of men and money, and
by the necessity of greater productivity in order to
hold out against all the competition, we are going to
have to introduce reforms into each of the branches
of the organisation of science: scientific research, the
preservation of its results, and their wide diffusion.
Everything happens simultaneously and the distinctions that we will introduce here are only to
facilitate our thinking. Always adjacent areas, or
even those that are very distant, exert an influence
on each other. This is why we should recognize the
impetus, growing each day even greater in the organisation of science, of the three great trends of
our times: the power of associations, technological
progress and the democratic orientation of institutions. We would like here to draw attention to some
of their consequences for the book in its capacity

Transformations In The Bibliographical
Apparatus Of The Sciences

87

as an instrument for recording what has been discovered and as a necessary means for stimulating
new discoveries.
The Book, the Library in which it is preserved,
and the Catalogue which lists it, have seemed for
a long time as if they had achieved their heights of
perfection or at least were so satisfactory that serious
changes need not be contemplated. This may have
been so up to the end of the last century. But for a
score of years great changes have been occurring
before our very eyes. The increasing production of
books and periodicals has revealed the inadequacy of
older methods. The increasing internationalisation
of science has required workers to extend the range
of their bibliographic investigations. As a result, a
movement has occurred in all countries, especially
Germany, the United States and England, for the
expansion and improvement of libraries and for
an increase in their numbers. Publishers have been
searching for new, more flexible, better-illustrated,
and cheaper forms of publication that are better-coordinated with each other. Cataloguing enterprises
on a vast scale have been carried out, such as the
International Catalogue of Scientific Literature and
the Universal Bibliographic Repertory. [2]
Three facts, three ideas, especially merit study
for they represent something really new which in
the future can give us direction in this area. They
are: The Repertory, Classification and the Office of
Documentation.
•••

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Paul Otlet

2. The Repertory, like the book, has gradually been
increasing in size, and improvements in it suggest
the emergence of something new which will radically modify our traditional ideas.
From the point of view of form, a book can be
defined as a group of pages cut to the same format
and gathered together in such a way as to form a
whole. It was not always so. For a long time the
Book was a roll, a volumen. The substances which
then took the place of paper — papyrus and parchment — were written on continuously from beginning to end. Reading required unrolling. This was
certainly not very practical for the consultation of
particular passages or for writing on the verso. The
codex, which was introduced in the first centuries of
the modern era and which is the basis of our present
book, removed these inconveniences. But its faults
are numerous. It constitutes something completed,
finished, not susceptible of addition. The Periodical
with its successive issues has given science a continuous means of concentrating its results. But, in
its turn, the collections that it forms runs into the
obstacle of disorder. It is impossible to link similar
or connected items; they are added to one another
pell-mell, and research requires handling great masses of heavy paper. Of course indexes are a help and
have led to progress — subject indexes, sometimes
arranged systematically, sometimes analytically,
and indexes of names of persons and places. These
annual indexes are preceded by monthly abstracts
and are followed by general indexes cumulated every
five, ten or twenty-five years. This is progress, but
the Repertory constitutes much greater progress.

Transformations In The Bibliographical
Apparatus Of The Sciences

89

The aim of the Repertory is to detach what the
book amalgamates, to reduce all that is complex to
its elements and to devote a page to each. Pages, here,
are leaves or cards according to the format adopted.
This is the “monographic” principle pushed to its
ultimate conclusion. No more binding or, if it continues to exist, it will become movable, that is to
say, at any moment the cards held fast by a pin or a
connecting rod or any other method of conjunction
can be released. New cards can then be intercalated,
replacing old ones, and a new arrangement made.
The Repertory was born of the Catalogue. In
such a work, the necessity for intercalations was
clear. Nor was there any doubt as to the unitary or
monographic notion: one work, one title; one title,
one card. As a result, registers which listed the same
collections of books for each library but which had
constantly to be re-done as the collections expanded,
have gradually been discarded. This was practical
and justified by experience. But upon reflection one
wonders whether the new techniques might not be
more generally applied.
What is a book, in fact, if not a single continuous line which has initially been cut to the length
of a page and then cut again to the size of a justified
line? Now, this cutting up, this division, is purely
mechanical; it does not correspond to any division
of ideas. The Repertory provides a practical means
of physically dividing the book according to the
intellectual division of ideas.
Thus, the manuscript library catalogue on cards
has been quickly followed by catalogues printed on
cards (American Library Bureau, the Catalogue or

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the Library of Congress in Washington) [3]; then by
bibliographies printed on cards (International Institute of Bibliography, Concilium Bibliographicum)
[4]; next, indices of species have been published on
cards (Index Speciorum) [5]. We have moved from
the small card to the large card, the leaf, and have
witnessed compendia abandoning the old form for
the new (Jurisclasseur, or legal digests in card form).
Even the idea of the encyclopedia has taken this
form (Nelson’s Perpetual Cyclopedia [6]).
Theoretically and technically, we now have in
the Repertory a new instrument for analytically or
monographically recording data, ideas, information. The system has been improved by divisionary cards of various shapes and colours, placed in
such a way that they express externally the outline
of the classification being used and reduce search
time to a minimum. It has been improved further
by the possibility of using, by cutting and pasting,
materials that have been printed on large leaves or
even books that have been published without any
thought of repertories. Two copies, the first providing the recto, the second the verso, can supply
all that is necessary. One has gone even further still
and, from the example of statistical machines like
those in use at the Census of Washington (sic) [7],
extrapolated the principle of “selection machines”
which perform mechanical searches in enormous
masses of materials, the machines retaining from
the thousands of cards processed by them only those
related to the question asked.
•••

Transformations In The Bibliographical
Apparatus Of The Sciences

91

3. But such a development, like the Repertory before it, presupposes a classification. This leads us to
examine the second practical idea that is bringing
about the transformation of the book.
Classification plays an enormous role in scientific thought. If one could say that a science was a
well-made language, one could equally assert that
it is a completed classification. Science is made up
of verified facts which are organised in a structure
of systems, hypotheses, theories, laws. If there is
a certain order in things, it is necessary to have it
also in science which reflects and explains nature.
That is why, since the time of Greek thought until
the present, constant efforts have been made to improve classification. These have taken three principal directions: classification studied as an activity
of the mind; the general classification and sequence
of the sciences; the systematization appropriate to
each discipline. The idea of order, class, genus and
species has been studied since Aristotle, in passing
by Porphyrus, by the scholastic philosophers and by
modern logicians. The classification of knowledge
goes back to the Greeks and owes much to the contributions of Bacon and the Renaissance. It was posed
as a distinct and separate problem by D’Alembert
and the Encyclopédie, and by Ampère, Comte, and
Spencer. The recent work of Manouvrier, Durand
de Cros, Goblot, Naville, de la Grasserie, has focussed on various aspects of it. [8] As to systematics,
one can say that this has become the very basis of
the organisation of knowledge as a body of science.
When one has demonstrated the existence of 28 million stars, a million chemical compounds, 300,000

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vegetable species, 200,000 animal species, etc., it is
necessary to have a means, an Ariadne’s thread, of
finding one’s way through the labyrinth formed by
all these objects of study. Because there are sciences of beings as well as sciences of phenomena, and
because they intersect with each other as we better
understand the whole of reality, it is necessary that
this means be used to retrieve both. The state of development of a science is reflected at any given time
by its systematics, just as the general classification
of the sciences reflects the state of development of
the encyclopedia, of the philosophy of knowledge.
The need has been felt, however, for a practical
instrument of classification. The classifications of
which we have just spoken are constantly changing, at least in their detail if not in broad outline. In
practice, such instability, such variability which is
dependent on the moment, on schools of thought
and individuals, is not acceptable. Just as the Repertory had its origin in the catalogue, so practical
classification originated in the Library. Books represent knowledge and it is necessary to arrange them
in collections. Schemes for this have been devised
since the Middle Ages. The elaboration of grand
systems occurred in the 17th and 18th centuries
and some new ones were added in the 19th century. But when bibliography began to emerge as an
autonomous field of study, it soon began to develop
along the lines of the catalogue of an ideal library
comprising the totality of what had been published.
From this to drawing on library classifications was
but a step, and it was taken under certain conditions
which must be stressed.

Transformations In The Bibliographical
Apparatus Of The Sciences

93

Up to the present time, 170 different classifications
have been identified. Now, no cooperation is possible if everyone stays shut up in his own system. It
has been necessary, therefore, to choose a universal
classification and to recommend it as such in the
same way that the French Convention recognized
the necessity of a universal system of weights and
measures. In 1895 the first International Conference
of Bibliography chose the Decimal Classification
and adopted a complete plan for its development. In
1904, the edition of the expanded tables appeared. A
new edition was being prepared when the war broke
out Brussels, headquarters of the International Institute of Bibliography, which was doing this work,
was part of the invaded territory.
In its latest state, the Decimal Classification has
become an instrument of great precision which
can meet many needs. The printed tables contain
33,000 divisions and they have an alphabetical index consisting of about 38,000 words. Learning is
here represented in its entire sweep: the encyclopedia of knowledge. Its principle is very simple. The
empiricism of an alphabetical classification by subject-heading cannot meet the need for organising
and systematizing knowledge. There is scattering;
there is also the difficulty of dealing with the complex expressions which one finds in the modern terminology of disciplines like medicine, technology,
and the social sciences. Above all, it is impossible
to achieve any international cooperation on such
a national basis as language. The Decimal Classification is a vast systematization of knowledge, “the
table of contents of the tables of contents” of all

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Paul Otlet

treatises. But, as it would be impossible to find a
particular subject’s relative place by reference to
another subject, a system of numbering is needed.
This is decimal, which an example will make clear.
Optical Physiology would be classified thus:
5 th Class
3rd Group
5th Division
7th Sub-division

Natural Sciences
Physics
Optics
Optical Physiology

or 535.7
This number 535.7 is called decimal because all
knowledge is taken as one of which each science is
a fraction and each individual subject is a decimal
subdivided to a lesser or greater degree. For the sake
of abbreviation, the zero of the complete number,
which would be 0.5357, has been suppressed because
the zero would be repeated in front of each number.
The numbers 5, 3, 5, 7 (which one could call five hundred and thirty-five point seven and which could
be arranged in blocks of three as for the telephone,
or in groups of twos) form a single number when
the implied words, “class, group, division and subdivision,” are uttered.
The classification is also called decimal because
all subjects are divided into ten classes, then each
of these into at least ten groups, and each group
into at least ten divisions. All that is needed for the
number 535.7 always to have the same meaning is
to translate the tables into all languages. All that is
needed to deal with future scientific developments

Transformations In The Bibliographical
Apparatus Of The Sciences

95

in optical physiology in all of its ramifications is to
subdivide this number by further decimal numbers
corresponding to the subdivisions of the subject
Finally, all that is needed to ensure that any document or item pertaining to optical physiology finds
its place within the sum total of scientific subjects
is to write this number on it In the alphabetic index
to the tables references are made from each word
to the classification number just as the index of a
book refers to page numbers.
This first remarkable principle of the decimal
classification is generally understood. Its second,
which has been introduced more recently, is less
well known: the combination of various classification numbers whenever there is some utility in expressing a compound or complex heading. In the
social sciences, statistics is 31 and salaries, 331.2. By
a convention these numbers can be joined by the
simple sign : and one may write 31:331.2 statistics
of salaries.01
This indicates a general relationship, but a subject also has its place in space and time. The subject
may be salaries in France limited to a period such as
the 18th century (that is to say, from 1700 to 1799).
01 The first ten divisions are: 0 Generalities, 1 Philosophy, 2
Religion, 3 Social Sciences, 4 Philology, Language, 5 Pure
Sciences, 6 Applied Science, Medicine, 7 Fine Arts, 8 Literature, 9 History and Geography. The Index number 31 is
derived from: 3rd class social sciences, 1st group statistics. The
Index number 331.2 is derived from 3rd class social sciences,
3rd group political economy, 1st division topics about work,
2nd subdivision salaries.

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The sign that characterises division by place being
the parenthesis and that by time quotation marks
or double parentheses, one can write:
33:331.2 (44) «17» statistics — of salaries — in
France — in the 17th century
or ten figures and three signs to indicate, in terms
of the universe of knowledge, four subordinated
headings comprising 42 letters. And all of these
numbers are reversible and can be used for geographic or chronologic classification as well as for
subject classification:
(44) 31:331.2 «17»
France — Statistics — Salaries — 17th Century
«17» (44) 31:331.2
17th Century — France — Statistics — Salaries
The subdivisions of relation and location explained
here, are completed by documentary subdivisions
for the form and the language of the document (for
example, periodical, in Italian), and by functional
subdivisions (for example, in zoology all the divisions by species of animal being subdivided by biological aspects). It follows by virtue of the law of
permutations and combinations that the present
tables of the classification permit the formulation
at will of millions of classification numbers. Just as
arithmetic does not give us all the numbers readymade but rather a means of forming them as we
need them, so the classification gives us the means

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of creating classification numbers insofar as we have
compound headings that must be translated into a
notation of numbers.
Like chemistry, mathematics and music, bibliography thus has its own extremely simple notations:
numbers. Immediately and without confusion, it
allows us to find a place for each idea, for each thing
and consequently for each book, article, or document and even for each part of a book or document
Thus it allows us to take our bearings in the midst
of the sources of knowledge, just as the system of
geographic coordinates allows us to take our bearings on land or sea.
One may well imagine the usefulness of such a
classification to the Repertory. It has rid us of the
difficulty of not having continuous pagination. Cards
to be intercalated can be placed according to their
class number and the numbering is that of tables
drawn up in advance, once and for all, and maintained with an unvarying meaning. As the classification has a very general use, it constitutes a true
documentary classification which can be used in
various kinds of repertories: bibliographic repertories; catalogue-like repertories of objects, persons,
phenomena; and documentary repertories of files
made up of written or printed materials of all kinds.
The possibility can be envisaged of encyclopedic
repertories in which are registered and integrated
the diverse data of a scientific field and which draw
for this purpose on materials published in periodicals. Let each article, each report, each item of news
henceforth carry a classification number and, automatically, by clipping, encyclopedias on cards can

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be created in which all the results of international
scientific cooperation are brought together at the
same number. This constitutes a profound change
in the technology of the Book, since the repertory
thus formed is simultaneously a constantly up-dated book and a cooperative book in which are found
printed elements produced in all locations.
•••
4. If we can realize the third idea, the Office of Documentation, then reform will be complete. Such an
office is the old library, but adapted to a new function. Hitherto the library has been a museum of
books. Works were preserved in libraries because
they were precious objects. Librarians were keepers.
Such establishments were not organised primarily
for the use of documents. Moreover, their outmoded
regulations if they did not exclude the most modern
forms of publication at least did not admit them.
They have poor collections of journals; collections
of newspapers are nearly nonexistent; photographs,
films, phonograph discs have no place in them, nor
do film negatives, microscopic slides and many other “documents.” The subject catalogue is considered
secondary in the library so long as there is a good
register for administrative purposes. Thus there is
little possibility of developing repertories in the
library, that is to say of taking publications to pieces and redistributing them in a more directly and
quickly accessible form. For want of personnel to
arrange them, there has not even been a place for
the cards that are received already printed.

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The Office of Documentation, on the contrary, is
conceived of in such a way as to achieve all that is
lacking in the library. Collections of books are the
necessary basis for it, but books, far from being
considered as finished products, are simply materials which must be developed more fully. This
development consists in establishing the connections each individual book has with all of the other
books and forming from them all what might be
called The Universal Book. It is for this that we use
repertories: bibliographic repertories; repertories of
documentary dossiers gathering pamphlets and extracts together by subject; catalogues; chronological
repertories of facts or alphabetical ones of names;
encyclopedic repertories of scientific data, of laws,
of patents, of physical and technical constants, of
statistics, etc. All of these repertories will be set up
according to the method described above and arranged by the same universal classification. As soon
as an organisation to contain these repertories is
created, the Office of Documentation, one may be
sure that what happened to the book when libraries
first opened — scientific publication was regularised
and intensified — will happen to them. Then there
will be good reason for producing in bibliographies,
catalogues, and above all in books and periodicals
themselves, the rational changes which technology and the creative imagination suggest. What is
still an exception today will be common tomorrow.
New possibilities will exist for cooperative work
and for the more effective organisation of science.
•••

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5. Repertory, Classification, Office of Documentation are therefore the three related elements of a
single reform in our methods of registering scientific discoveries and making them available to the
greatest number of people. Already one must speak
less of experiments and uncertain trials than of the
beginning of serious achievement. The International Institute of Bibliography in Brussels constitutes
a vast intellectual cooperative whose members are
becoming more numerous each day. Associations,
scientific establishments, periodical publications,
scientific and technical workers of every kind are
affiliating with it. Its repertories contain millions of
cards. There are sections in several countries02 . But
this was before the War. Since its outbreak, a movement in France, England and the United States has
been emerging everywhere to improve the organisation of the Book. The Office of Documentation has
been suggested as the solution for the requirements
that have been discussed.
It is important that the world of science and
technology should support this movement and
above all that it should endeavour to apply the new
methods to the works which it will be necessary to
re-organise. Among the most important of these is
the International Catalogue of Scientific Literature,
that fine and great work begun at the initiative of the
Royal Society of London. Until now, this work has
02 In France, the Bureau Bibliographique de Paris and great
associations such as the Société pour l’encouragement de
l’industrie nationale, l’Association pour l’avancement des
sciences, etc., are affiliated with it.

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been carried on without relation to other works of
the same kind: it has not recognised the value of a
card repertory or a universal classification. It must
recognise them in the future.03 ❧

03 See Paul Otlet, “La Documentation et I’information au service de I’industrie”, Bulletin de la Société d’encouragement
de l’industrie nationale, June 1917. — La Documentation au
service de l’invention. Euréka, October 1917. — L’Institut
International de Bibliographie, Bibliographie de la France,
21 December 1917. — La Réorganisation du Catalogue international de la littérature scientifique. Revue générale des
sciences, IS February 1918. The publications of the Institute,
especially the expanded tables of the Decimal Classification,
have been deposited at the Bureau Bibliographique de Paris,
44 rue de Rennes at the apartments of the Société de l’encouragement. — See also the report presented by General
Sebert (9] to the Congrès du Génie civil, in March 1918 and
whose conclusions about the creation in Paris of a National
Office of Technical Documentation have been adopted.

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Editor’s Notes
[1] “Transformations operées dans l’appareil bibliographique
des sciences,” Revue scientifique 58 (1918): 236-241.
[2] The International Catalogue of Scientific Literature, an enormous work, was compiled by a Central Bureau under the
sponsorship of the Royal Society from material sent in from
Regional Bureaus around the world. It was published annually beginning in 1902 in 17 parts each corresponding to
a major subject division and comprising one or more volumes. Publication was effectively suspended in 1914. By the
time war broke out, the Universal Bibliographic Repertory
contained over 11 million entries.
[3] For card publication by the Library Bureau and Library of
Congress, see Edith Scott, “The Evolution of Bibliographic
Systems in the United States, 1876–1945” and Editor’s Note
36 to the second paper and Note 5 to the seventh paper in
International Organisation and Dissemination of Knowledge; Selected Essays of Paul Otlet, translated and edited by
W. Boyd Rayward. Amsterdam: Elsevier, 1990: 148–156.
[4] Otlet refers to the Concilium Bibliographicum also in Paper
No. 7, “The Reform of National Bibliographies...” in International Organisation and Dissemination of Knowledge; Selected
Essays of Paul Otlet. See also Editor’s Note 5 in that paper
for the major bibliographies published by the Concilium
Bibliographicum.
[5] A possible example of what Otlet is referring to here is the
Gray Herbarium Index. This was “planned to provide cards
for all the names of vascular plant taxa attributable to the

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Western Hemisphere beginning with the literature of 1886”
(Gray Herbarium Index, Preface, p. iii). Under its first compiler, 20 instalments consisting in all of 28,000 cards were
issued between 1894 and 1903. It has been continued after
that time and was for many years “issued quarterly at the
rate of about 4,000 cards per year.” At the time the cards
were reproduced in a printed catalogue by G. K. Hall in 1968,
there were 85 subscribers to the card sets.
[6] Nelson’s Perpetual Loose-Leaf Encylcopedia was a popular,
12-volume work which went through many editions, its
principle being set down at the beginning of the century.
It was published in binders and the publisher undertook to
supply a certain number of pages of revisions (or renewals)
semi-annually after each edition, the first of which appeared
in 1905. An interesting reference presumably to this work
occurs in a notice, “An Encylcopedia on the Card-Index System,” in the Scientific American 109 (1913): 213. The Berlin
Correspondent of the journal reports a proposal made in
Berlin which contains “an idea, in a sense ... already carried
out in an American loose-leaf encyclopedia, the publishers
of which supply new pages to take the place of those that
are obsolete” (Nelsons, an English firm, set up a New York
branch in 1896. Publication in the U.S. of works to be widely
circulated there was a requirement of the copyright law.)
The reporter observes that the principle suggested “affords
a means of recording all facts at present known as well as
those to be discovered in the future, with the same safety
and ease as though they were registered in our memory, by
providing a universal encyclopedia, incessantly keeping
abreast of the state of human knowledge.” The “bookish”
form of conventional encyclopedias acts against its future
success. “In the case of a mere storehouse of facts the in-

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finitely more mobile form of the card index should however
be adopted, possibly,” the author goes on making a most interesting reference, “in conjunction with Dr. Goldschmidt’s
Microphotographic Library System.” The need for a central
institute, the nature of its work, the advantages of the work
so organised are described in language that is reminiscent
of that of Paul Otlet (see also the papers of Goldschmidt
and Otlet translated in International Organisation and
Dissemination of Knowledge; Selected Essays of Paul Otlet).
[7] These machines were derived from Herman Hollerith’s
punched cards and tabulating machines. Hollerith had
introduced them under contract into the U.S. Bureau of
the Census for the 1890 census. This equipment was later
modified and developed by the Bureau. Hollerith, his invention and his business connections lie at the roots of the
present IBM company. The equipment and its uses in the
census from 1890 to 1910 are briefly described in John H.
Blodgett and Claire K. Schultz, “Herman Hollerith: Data
Processing Pioneer,” American Documentation 20 (1969):
221-226. As they observe, suggesting the accuracy of Otlet’s
extrapolation, “his was not simply a calculating machine,
it performed selective sorting, an operation basic to all information retrieval.”
[8] The history of the classification of knowledge has been treated
in English in detail by E.C. Richardson in his Classification
Theoretical and Practical, the first edition of which appeared
in 1901 and was followed by editions in 1912 and 1930. A
different treatment is given in Robert Flint’s Philosophy as
Scientia Scientarium: a History of the Classification of the
Sciences which appeared in 1904. Neither of these works
deal with Manouvrier, a French anthropologist, or Durand

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de Cros. Joseph-Pierre Durand, sometimes called Durand
de Cros after his birth place, was a French physiologist and
philosopher who died in 1900. In his Traité de documentation,
in the context of his discussion of classification, Otlet refers
to an Essai de taxonomie by Durand published by Alcan. It
seems that this is an error for Aperçus de taxonomie (Alcan,
1899).
[9] General Hippolyte Sebert was President of the Association française pour l’avancement des sciences, and the Société d’encouragement pour l’industrie nationale. He had
been active in the foundation of the Bureau bibliographique
de Paris. For other biographical information about him see
Editor’s Note 9 to Paper no 17, “Henri La Fontaine”, in International Organisation and Dissemination of Knowledge;
Selected Essays of Paul Otlet.

English translation of the Paul Otlet’s text published with the
permission of W. Boyd Rayward. The translation was originally
published as Paul Otlet, “Transformations in the Bibliographical
Apparatus of the Sciences: Repertory–Classification–Office of
Documentation”, in International Organisation and Dissemination of Knowledge; Selected Essays of Paul Otlet, translated and
edited by W. Boyd Rayward, Amsterdam: Elsevier, 1990: 148–156.

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public library

http://aaaaarg.org/

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McKenzie Wark

Metadata Punk

So we won the battle but lost the war. By “we”, I
mean those avant-gardes of the late twentieth century whose mission was to free information from the
property form. It was always a project with certain
nuances and inconsistencies, but over-all it succeeded beyond almost anybody’s wildest dreams. Like
many dreams, it turned into a nightmare in the end,
the one from which we are now trying to awake.
The place to start is with what the situationists
called détournement. The idea was to abolish the
property form in art by taking all of past art and
culture as a commons from which to copy and correct. We see this at work in Guy Debord’s texts and
films. They do not quote from past works, as to do
so acknowledges their value and their ownership.
The elements of détournement are nothing special.
They are raw materials for constructing theories,
narratives, affects of a subjectivity no longer bound
by the property form.
Such a project was recuperated soon enough
back into the art world as “appropriation.” Richard
Prince is the dialectical negation of Guy Debord,

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in that appropriation values both the original fragment and contributes not to a subjectivity outside of
property but rather makes a career as an art world
star for the appropriating artist. Of such dreams is
mediocrity made.
If there was a more promising continuation of
détournement it had little to do with the art world.
Détournement became a social movement in all but
name. Crucially, it involved an advance in tools,
from Napster to Bitorrent and beyond. It enabled
the circulation of many kinds of what Hito Steyerl
calls the poor image. Often low in resolution, these
détourned materials circulated thanks both to the
compression of information but also because of the
addition of information. There might be less data
but there’s added metadata, or data about data, enabling its movement.
Needless to say the old culture industries went
into something of a panic about all this. As I wrote
over ten years ago in A Hacker Manifesto, “information wants to be free but is everywhere in chains.”
It is one of the qualities of information that it is indifferent to the medium that carries it and readily
escapes being bound to things and their properties.
Yet it is also one of its qualities that access to it can
be blocked by what Alexander Galloway calls protocol. The late twentieth century was — among other
things — about the contradictory nature of information. It was a struggle between détournement and
protocol. And protocol nearly won.
The culture industries took both legal and technical steps to strap information once more to fixity
in things and thus to property and scarcity. Inter-

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estingly, those legal steps were not just a question of
pressuring governments to make free information
a crime. It was also a matter of using international
trade agreements as a place outside the scope of de­
mo­­cratic oversight to enforce the old rules of property. Here the culture industries join hands with the
drug cartels and other kinds of information-based
industry to limit the free flow of information.
But laws are there to be broken, and so are protocols of restriction such as encryption. These were
only ever delaying tactics, meant to shore up old
monopoly business for a bit longer. The battle to
free information was the battle that the forces of
détournement largely won. Our defeat lay elsewhere.
While the old culture industries tried to put information back into the property form, there were
other kinds of strategy afoot. The winners were not
the old culture industries but what I call the vulture
industries. Their strategy was not to try to stop the
flow of free information but rather to see it as an
environment to be leveraged in the service of creating a new kind of business. “Let the data roam free!”
says the vulture industry (while quietly guarding
their own patents and trademarks). What they aim
to control is the metadata.
It’s a new kind of exploitation, one based on an
unequal exchange of information. You can have the
little scraps of détournement that you desire, in exchange for performing a whole lot of free labor—and
giving up all of the metadata. So you get your little
bit of data; they get all of it, and more importantly,
any information about that information, such as
the where and when and what of it.

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It is an interesting feature of this mode of exploitation that you might not even be getting paid for your
labor in making this information—as Trebor Scholz
as pointed out. You are working for information
only. Hence exploitation can be extended far beyond
the workplace and into everyday life. Only it is not
so much a social factory, as the autonomists call it.
This is more like a social boudoir. The whole of social
space is in some indeterminate state between public
and private. Some of your information is private to
other people. But pretty much all of it is owned by
the vulture industry — and via them ends up in the
hands of the surveillance state.
So this is how we lost the war. Making information free seemed like a good idea at the time. Indeed, one way of seeing what transpired is that we
forced the ruling class to come up with these new
strategies in response to our own self-organizing
activities. Their actions are reactions to our initiatives. In this sense the autonomists are right, only
it was not so much the actions of the working class
to which the ruling class had to respond in this case,
as what I call the hacker class. They had to recuperate a whole social movement, and they did. So our
tactics have to change.
In the past we were acting like data-punks. Not
so much “here’s three chords, now form your band.”
More like: “Here’s three gigs, now go form your autonomous art collective.” The new tactic might be
more question of being metadata-punks. On the one
hand, it is about freeing information about information rather than the information itself. We need
to move up the order of informational density and

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control. On the other hand, it might be an idea to
be a bit discreet about it. Maybe not everyone needs
to know about it. Perhaps it is time to practice what
Zach Blas calls infomatic opacity.
Three projects seem to embody much of this
spirit to me. One I am not even going to name or
discuss, as discretion seems advisable in that case.
It takes matters off the internet and out of circulation among strangers. Ask me about it in person if
we meet in person.
The other two are Monoskop Log and UbuWeb.
It is hard to know what to call them. They are websites, archives, databases, collections, repositories,
but they are also a bit more than that. They could be
thought of also as the work of artists or of curators;
of publishers or of writers; of archivists or researchers. They contain lots of files. Monoskop is mostly
books and journals; UbuWeb is mostly video and
audio. The work they contain is mostly by or about
the historic avant-gardes.
Monoskop Log bills itself as “an educational
open access online resource.” It is a component part
of Monoskop, “a wiki for collaborative studies of
art, media and the humanities.” One commenter
thinks they see the “fingerprint of the curator” but
nobody is named as its author, so let’s keep it that
way. It is particularly strong on Eastern European
avant-garde material. UbuWeb is the work of Kenneth Goldsmith, and is “a completely independent
resource dedicated to all strains of the avant-garde,
ethnopoetics, and outsider arts.”
There’s two aspects to consider here. One is the
wealth of free material both sites collect. For any-

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body trying to teach, study or make work in the
avant-garde tradition these are very useful resources.
The other is the ongoing selection, presentation and
explanation of the material going on at these sites
themselves. Both of them model kinds of ‘curatorial’
or ‘publishing’ behavior.
For instance, Monoskop has wiki pages, some
better than Wikipedia, which contextualize the work
of a given artist or movement. UbuWeb offers “top
ten” lists by artists or scholars which give insight
not only into the collection but into the work of the
person making the selection.
Monoskop and UbuWeb are tactics for intervening in three kinds of practices, those of the artworld, of publishing and of scholarship. They respond to the current institutional, technical and
political-economic constraints of all three. As it
says in the Communist Manifesto, the forces for social change are those that ask the property question.
While détournement was a sufficient answer to that
question in the era of the culture industries, they try
to formulate, in their modest way, a suitable tactic
for answering the property question in the era of
the vulture industries.
This takes the form of moving from data to metadata, expressed in the form of the move from writing
to publishing, from art-making to curating, from
research to archiving. Another way of thinking this,
suggested by Hiroki Azuma would be the move from
narrative to database. The object of critical attention
acquires a third dimension, a kind of informational
depth. The objects before us are not just a text or an
image but databases of potential texts and images,
with metadata attached.

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The object of any avant-garde is always to practice the relation between aesthetics and everyday
life with a new kind of intensity. UbuWeb and
Monoskop seem to me to be intimations of just
such an avant-garde movement. One that does not
offer a practice but a kind of meta-practice for the
making of the aesthetic within the everyday.
Crucial to this project is the shifting of aesthetic
intention from the level of the individual work to the
database of works. They contain a lot of material, but
not just any old thing. Some of the works available
here are very rare, but not all of them are. It is not
just rarity, or that the works are available for free.
It is more that these are careful, artful, thoughtful
collections of material. There are the raw materials here with which to construct a new civilization.
So we lost the battle, but the war goes on. This
civilization is over, and even its defenders know it.
We live in among ruins that accrete in slow motion.
It is not so much a civil war as an incivil war, waged
against the very conditions of existence of life itself.
So even if we have no choice but to use its technologies and cultures, the task is to build another way
of life among the ruins. Here are some useful practices, in and on and of the ruins. ❧

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http://midnightnotes.memoryoftheworld.org/

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Tomislav Medak

The Future After the Library
UbuWeb and Monoskop’s
Radical Gestures

The institution of the public library has crystallized,
developed and advanced around historical junctures
unleashed by epochal economic, technological and
political changes. A series of crises since the advent
of print have contributed to the configuration of the
institutional entanglement of the public library as
we know it today:01 defined by a publicly available
collection, housed in a public building, indexed and
made accessible with a help of a public catalog, serviced by trained librarians and supported through
public financing. Libraries today embody the idea
of universal access to all knowledge, acting as custodians of a culture of reading, archivists of material
and ephemeral cultural production, go-betweens
of information and knowledge. However, libraries have also embraced a broader spirit of public
service and infrastructure: providing information,
01 For the concept and the full scope of the contemporary library
as institutional entanglement see Shannon Mattern, “Library
as Infrastructure”, Places Journal, accessed April 9, 2015,
https://placesjournal.org/article/library-as-infrastructure/.

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education, skills, assistance and, ultimately, shelter
to their communities — particularly their most vulnerable members.
This institutional entanglement, consisting in
a comprehensive organization of knowledge, universally accessible cultural goods and social infrastructure, historically emerged with the rise of (information) science, social regulation characteristic
of modernity and cultural industries. Established
in its social aspect as the institutional exemption
from the growing commodification and economic
barriers in the social spheres of culture, education
and knowledge, it is a result of struggles for institutionalized forms of equality that still reflect the
best in solidarity and universality that modernity
had to offer. Yet, this achievement is marked by
contradictions that beset modernity at its core. Libraries and archives can be viewed as an organon
through which modernity has reacted to the crises
unleashed by the growing production and fixation
of text, knowledge and information through a history of transformations that we will discuss below.
They have been an epistemic crucible for the totalizing formalizations that have propelled both the
advances and pathologies of modernity.
Positioned at a slight monastic distance and indolence toward the forms of pastoral, sovereign or
economic domination that defined the surrounding world that sustained them, libraries could never
close the rift or between the universalist aspirations
of knowledge and their institutional compromise.
Hence, they could never avoid being the battlefield
where their own, and modernity’s, ambivalent epis-

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temic and social character was constantly re-examined and ripped asunder. It is this ambivalent
character that has been a potent motor for critical theory, artistic and political subversion — from
Marx’s critique of political economy, psychoanalysis
and historic avant-gardes, to revolutionary politics.
Here we will examine the formation of the library
as an epistemic and social institution of modernity
and the forms of critical engagement that continue
to challenge the totalizing order of knowledge and
appropriation of culture in the present.
Here Comes the Flood02
Prior to the advent of print, the collections held in
monastic scriptoria, royal courts and private libraries
typically contained a limited number of canonical
manuscripts, scrolls and incunabula. In Medieval
and early Renaissance Europe the canonized knowledge considered necessary for the administration of
heavenly and worldly affairs was premised on reading and exegesis of biblical and classical texts. It is
02 The metaphor of the information flood, here incanted in the
words of Peter Gabriel’s song with apocalyptic overtones, as
well as a good part of the historic background of the development of index card catalog in the following paragraphs
are based on Markus Krajewski, Paper Machines: About
Cards & Catalogs, 1548–1929 (MIT Press, 2011). The organizing idea of Krajewski’s historical account, that the index
card catalog can be understood as a Turing machine avant
la lettre, served as a starting point for the understanding
of the library as an epistemic institution developed here.

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estimated that by the 15th century in Western Europe
there were no more than 5 million manuscripts held
mainly in the scriptoria of some 21,000 monasteries and a small number of universities. While the
number of volumes had grown sharply from less
than 0.8 million in the 12th century, the number of
monasteries had remained constant throughout that
period. The number of manuscripts read averaged
around 1,000 per million inhabitants, with the total
population of Europe peaking around 60 million.03
All in all, the book collections were small, access was
limited and reading culture played a 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 buying
books fell drastically, reducing the economic barriers to literacy, but also creating a material vector
for a veritable shift of the epistemic paradigm. The
03 For an economic history of the book in the Western Europe
see Eltjo Buringh and Jan Luiten Van Zanden, “Charting
the ‘Rise of the West’: Manuscripts and Printed Books in
Europe, A Long-Term Perspective from the Sixth through
Eighteenth Centuries”, The Journal of Economic History 69,
No. 02 (June 2009): 409–45, doi:10.1017/S0022050709000837,
particularly Tables 1-5.

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emerging reading public was gaining access to the
new works of a nascent Enlightenment movement,
ushering in the modern age of science. In parallel
with those larger epochal transformations, the explosion of print also created a rising tide of new books
that suddenly inundated the libraries. The libraries
now had to contend both with the orders-of-magnitude greater volume of printed matter and the
growing complexity of systematically storing, ordering, classifying and tracking all of the volumes
in their collection. An once almost static collection
of canonical knowledge became an ever expanding
dynamic flux. This flood of new books, the first of
three to follow, presented principled, infrastructural and organizational challenges to the library that
radically transformed and coalesced its functions.
The epistemic shift created by this explosion of
library holdings led to a revision of the assumption
that the library is organized around a single holy
scripture and a small number of classical sources.
Coextensive with the emergence and multiplication of new sciences, the books that were entering
the library now covered an ever diversified scope
of topics and disciplines. And the sheer number of
new acquisitions demanded the physical expansion of libraries, which in turn required a radical
rethinking of the way the books were stored, displayed and indexed. In fact, the flood caused by the
printing press was nothing short of a revolution in
the organization, formalization and processing of
information and knowledge. This becomes evident
in the changes that unfolded between the 16th and
the early 20th in the cataloging of library collections.

The Future After the Library

125

The initial listings of books were kept in bound
volumes, books in their own right. But as the number of items arriving into the library grew, the constant need to insert new entries made the bound
book format increasingly impractical for library
catalogs. To make things more complicated still,
the diversification of the printed matter demanded
a richer bibliographic description that would allow
better comprehension of what was contained in the
volumes. Alongside the name of the author and the
book’s title, the description now needed to include
the format of the volume, the classification of the
subject matter and the book’s location in the library.
As the pace of new arrivals accelerated, the effort to
create a library catalog became unending, causing a
true crisis in the emerging librarian profession. This
would result in a number of physical and epistemic
innovations in the organization and formalization
of information and knowledge. The requirement
to constantly rearrange the order of entries in the
listing lead to the eventual unbinding of the bound
catalog into separate slips of paper and finally to the
development of the index card catalog. The unbound
index cards and their floating rearrangement, not
unlike that of the movable type, would in turn result in the design of filing cabinets. From Conrad
Gessner’s Bibliotheca Universalis, a three-volume
book-format catalog of around 3,000 authors and
10,000 texts, arranged alphabetically and topically,
published in the period 1545–1548; Gottfried Wilhelm Leibniz’s proposals for a universal library
during his tenure at the Wolfenbüttel library in the
late 17th century; to Gottfried van Swieten’s catalog

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Tomislav Medak

of the Viennese court library, the index card catalog and the filing cabinets would develop almost to
their present form.04
The unceasing inflow of new books into the library
prompted the need to spatially organize and classify
the arrangement of the collection. The simple addition of new books to the shelves by size; canonical
relevance or alphabetical order, made little sense
in a situation where the corpus of printed matter
was quickly expanding and no individual librarian
could retain an intimate overview of the library’s
entire collection. The inflow of books required that
the brimming shelf-space be planned ahead, while
the increasing number of expanding disciplines required that the collection be subdivided into distinct
sections by fields. First the shelves became classified
and then the books individually received a unique
identifier. With the completion of the Josephinian
catalog in the Viennese court library, every book became compartmentalized according to a systematic
plan of sciences and assigned a unique sequence of
a Roman numeral, a Roman letter and an Arabic
numeral by which it could be tracked down regardless of its physical location.05 The physical location
of the shelves in the library no longer needed to be
reflected in the ordering of the catalog, and the catalog became a symbolic representation of the freely
re-arrangeable library. In the technological lingo of
today, the library required storage, index, search
and address in order to remain navigable. It is this
04 Krajewski, Paper Machines, op. cit., chapter 2.
05 Ibid., 30.

The Future After the Library

127

formalization of a universal system of classification
of objects in the library with the relative location of
objects and re-arrangeable index that would then in
1876 receive its present standardized form in Melvil
Dewey’s Decimal System.
The development of the library as an institution of
public access and popular literacy did not proceed
apace with the development of its epistemic aspects.
It was only a series of social upheavals and transformations in the course of the 18th and 19th century
that would bring about another flood of books and
political demands, pushing the library to become
embedded in an egalitarian and democratic political culture. The first big step in that direction came
with the decision of the French revolutionary National Assembly from 2 November 1789 to seize all
book collections from the Church and aristocracy.
Million of volumes were transferred to the Bibliothèque Nationale and local libraries across France.
In parallel, particularly in England, capitalism was
on the rise. It massively displaced the impoverished rural population into growing urban centers,
propelled the development of industrial production and, by the mid-19th century, introduced the
steam-powered rotary press into the book business.
As books became more easily, and mass produced,
the commercial subscription libraries catering to the
better-off parts of society blossomed. This brought
the class aspect of the nascent demand for public
access to books to the fore. After the failed attempts
to introduce universal suffrage and end the system
of political representation based on property entitlements in 1830s and 1840s, the English Chartist

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Tomislav Medak

movement started to open reading rooms and cooperative lending libraries that would quickly become
a popular hotbed of social exchanges between the
lower classes. In the aftermath of the revolutionary
upheavals of 1848, the fearful ruling classes heeded
the demand for tax-financed public libraries, hoping
that the access to literature and edification would
ultimately hegemonize the working class for the
benefits of capitalism’s culture of self-interest and
competition.06
The Avant-gardes in the Library
As we have just demonstrated, the public library
in its epistemic and social aspects coalesced in the
context of the broader social transformations of
modernity: early capitalism and processes of nation-building in Europe and the USA. These transformations were propelled by the advancement of
political and economic rationalization, public and
business administration, statistical and archival
procedures. Archives underwent a corresponding and largely concomitant development with the
libraries, responding with a similar apparatus of
classification and ordering to the exponential expansion of administrative records documenting the
social world and to the historicist impulse to capture the material traces of past events. Overlaying
the spatial organization of documentation; rules
06 For the social history of public library see Matthew Battles,
Library: An Unquiet History (Random House, 2014) chapter
5: “Books for all”.

The Future After the Library

129

of its classification and symbolic representation of
the archive in reference tools, they tried to provide
a formalization adequate to the passion for capturing historical or present events. Characteristic
of the ascendant positivism of the 19th century, the
archivists’ and librarians’ epistemologies harbored
a totalizing tendency that would become subject to
subversion and displacement in the first decades of
the 20th century.
The assumption that the classificatory form can
fully capture the archival content would become
destabilized over and over by the early avant-gardist
permutations of formal languages of classification:
dadaist montage of the contingent compositional
elements, surrealist insistence on the unconscious
surpluses produced by automatized formalized language, constructivist foregrounding of dynamic and
spatialized elements in the acts of perception and
cognition of an artwork.07 The material composition
of the classified and ordered objects already contained formalizations deposited into those objects
by the social context of their provenance or projected onto them by the social situation of encounter
with them. Form could become content and content
could become form. The appropriations, remediations and displacements exacted by the neo-avantgardes in the second half of the 20th century pro07 Sven Spieker, The Big Archive: Art from Bureaucracy (MIT
Press, 2008) provides a detailed account of strategies that
the historic avant-gardes and the post-war art have developed toward the classificatory and ordering regime of the
archive.

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duced subversions, resignifications and simulacra
that only further blurred the lines between histories
and their construction, dominant classifications and
their immanent instabilities.
Where does the library fit into this trajectory? Operating around an uncertain and politically embattled universal principle of public access to knowledge
and organization of information, libraries continued being sites of epistemic and social antagonisms,
adaptations and resilience in response to the challenges created by the waves of radical expansion of
textuality and conflicting social interests between
the popular reading culture and the commodification of cultural consumption. This precarious position is presently being made evident by the third
big flood — after those unleashed by movable type
printing and the social context of industrial book
production — that is unfolding with the transition
of the book into the digital realm. Both the historic
mode of the institutional regulation of access and
the historic form of epistemic classification are
swept up in this transformation. While the internet
has made possible a radically expanded access to
digitized culture and knowledge, the vested interests of cultural industries reliant on copyright for
their control over cultural production have deepened the separation between cultural producers and
their readers, listeners and viewers. While the hypertextual capacity for cross-reference has blurred
the boundaries of the book, digital rights management technologies have transformed e-books into
closed silos. Both the decommodification of access
and the overcoming of the reified construct of the

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131

self-enclosed work in the form of a book come at
the cost of illegality.
Even the avant-gardes in all their inappropriable
and idiosyncratic recalcitrance fall no less under
the legally delimited space of copyrightable works.
As they shift format, new claims of ownership and
appropriation are built. Copyright is a normative
classification that is totalizing, regardless of the
effects of leaky networks speaking to the contrary.
Few efforts have insisted on the subverting of juridical classification by copyright more lastingly than
the UbuWeb archive. Espousing the avant-gardes’
ethos of appropriation, for almost 20 years it has
collected and made accessible the archives of the
unknown; outsider, rare and canonized avant-gardes and contemporary art that would otherwise remained reserved for the vaults and restricted access
channels of esoteric markets, selective museological
presentations and institutional archives. Knowing
that asking to publish would amount to aligning itself with the totalizing logic of copyright, UbuWeb
has shunned the permission culture. At the level of
poetical operation, as a gesture of displacing the cultural archive from a regime of limited, into a regime
of unlimited access, it has created provocations and
challenges directed at the classifying and ordering
arrangements of property over cultural production.
One can only assume that as such it has become a
mechanism for small acts of treason for the artists,
who, short of turning their back fully on the institutional arrangements of the art world they inhabit,
use UbuWeb to release their own works into unlimited circulation on the net. Sometimes there might

132

Tomislav Medak

be no way or need to produce a work outside the
restrictions imposed by those institutions, just as
sometimes it is for academics impossible to avoid
the contradictory world of academic publishing,
yet that is still no reason to keep one’s allegiance to
their arrangements.
At the same time UbuWeb has played the game
of avant-gardist subversion: “If it doesn’t exist on
the internet, it doesn’t exist”. Provocation is most
effective when it is ignorant of the complexities of
the contexts that it is directed at. Its effect starts
where fissures 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 the avant-gardes’ gesture of taking
no hostages from the officially sanctioned systems
of classification. By letting the incumbents of control over cultural production react to the norm of
copying, you let them struggle to dispute the norm
rather than you having to try to defend the norm.
UbuWeb was an early-comer, starting in 1996
and still functioning today on seemingly similar
technology, it’s a child of the early days of World
Wide Web and the promissory period of the experimental internet. It’s resolutely Web 1.0, with
a single maintainer, idiosyncratically simple in its

The Future After the Library

133

layout and programmatically committed to the
eventual obsolescence and sudden abandonment.
No platform, no generic design, no widgets, no
kludges and no community features. Only Beckett
avec links. Endgame.
A Book is an Index is an Index is an Index...
Since the first book flood, the librarian dream of
epistemological formalization has revolved around
the aspiration to cross-reference all the objects in
the collection. Within the physical library the topical designation has been relegated to the confines of
index card catalog that remained isolated from the
structure of citations and indexes in the books themselves. With the digital transition of the book, the
time-shifted hypertextuality of citations and indexes
became realizable as the immediate cross-referentiality of the segments 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 websites running on that technology by mastering a
very simple markup language. Wikis have been the
harbinger of a democratization of web publishing
that would eventually produce the largest collabo-

134

Tomislav Medak

rative website on the internet — the Wikipedia, as
well as a number of other collaborative platforms.
Monoskop.org embraces the encyclopedic spirit of
Wikipedia, focusing on its own specific topical and
topological interests. However, from its earliest days
Monoskop.org has also developed as a form of index
that maps out places, people, artworks, movements,
events and venues that compose the dense network
of European avant-gardes and media art.
If we take the index as a formalization of cross-referential relations between names of people, titles
of works and concepts that exist in the books and
across the books, what emerges is a model of a relational database reflecting the rich mesh of cultural
networks. Each book can serve as an index linking
its text to people, other books, segments in them.
To provide a paradigmatic demonstration of that
idea, Monoskop.org has assembled an index of all
persons in Friedrich Kittler’s Discourse Networks,
with each index entry linking both to its location
in the digital version of the book displayed on the
aaaaarg.org archive and to relevant resources for
those persons on the Monoskop.org and the internet. Hence, each object in the library, an index
in its own right, potentially allows one to initiate
the relational re-classification and re-organization
of all other works in the library through linkable
information.
Fundamental to the works of the post-socialist
retro-avant-gardes of the last couple of decades has
been the re-writing of a history of art in reverse.
In the works of IRWIN, Laibach or Mladen Stilinović, or comparable work of Komar & Melamid,

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135

totalizing modernity is detourned by re-appropriating the forms of visual representation and classification that the institutions of modernity used to
construct a linear historical narrative of evolutions
and breaks in the 19th and 20th century. Genealogical
tables, events, artifacts and discourses of the past
were re-enacted, over-affirmed and displaced to
open up the historic past relegated to the archives
to an understanding that transformed the present
into something radically uncertain. The efforts of
Monoskop.org in digitizing of the artifacts of the
20th century avant-gardes and playing with the
epistemic tools of early book culture is a parallel
gesture, with a technological twist. If big data and
the control over information flows of today increasingly naturalizes and re-affirms the 19th century
positivist assumptions of the steerablity of society,
then the endlessly recombinant relations and affiliations between cultural objects threaten to overflow
that recurrent epistemic framework of modernity’s
barbarism in its cybernetic form.
The institution of the public library finds itself
today under a double attack. One unleashed by
the dismantling of the institutionalized forms of
social redistribution and solidarity. The other by
the commodifying forces of expanding copyright
protections and digital rights management, control
over the data flows and command over the classification and order of information. In a world of
collapsing planetary boundaries and unequal development, those who control the epistemic order

136

Tomislav Medak

control the future.08 The Googles and the NSAs run
on capturing totality — the world’s knowledge and
communication made decipherable, organizable and
controllable. The instabilities of the epistemic order
that the library continues to instigate at its margins
contributes to keeping the future open beyond the
script of ‘commodify and control’. In their acts of
re-appropriation UbuWeb and Monoskop.org are
but a reminder of the resilience of libraries’ instability that signals toward a future that can be made
radically open. ❧

08 In his article “Controlling the Future—Edward Snowden and
the New Era on Earth”, (accessed April 13, 2015, http://www.
eurozine.com/articles/2014-12-19-altvater-en.html), Elmar
Altvater makes a comparable argument that the efforts of
the “Five Eyes” to monitor the global communication flows,
revealed by Edward Snowden, and the control of the future
social development defined by the urgency of mitigating the
effects of the planetary ecological crisis cannot be thought
apart.

The Future After the Library

137

138

public library

http://kok.memoryoftheworld.org

139

Public Library
www.memoryoftheworld.org

Publishers
What, How & for Whom / WHW
Slovenska 5/1 • HR-10000 Zagreb
+385 (0) 1 3907261
whw@whw.hr • www.whw.hr
ISBN 978-953-55951-3-7 [Što, kako i za koga/WHW]
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+385 (0)1 4856400
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Editors
Tomislav Medak • Marcell Mars • What, How & for Whom / WHW
Copy Editor
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Anthony Iles [English]
Translations
Una Bauer
Tomislav Medak
Dušanka Profeta
W. Boyd Rayward
Design & layout
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Typography
MinionPro [robert slimbach • adobe]

English translation of the Paul
Otlet’s text published with the permission of W. Boyd
Rayward. The translation was originally published as
Paul Otlet, “Transformations in the Bibliographical
Apparatus of the Sciences: Repertory–Classification–Office
of Documentation”, in International Organisation and
Dissemination of Knowledge; Selected Essays of Paul Otlet,
translated and edited by W. Boyd Rayward, Amsterdam:
Elsevier, 1990: 148–156. ❧
format / size
120 × 200 mm
pages
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Paper
Agrippina 120 g • Rives Laid 300 g
Printed by
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Print Run
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Price
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May • 2015

This publication, realized along with the exhibition
Public Library in Gallery Nova, Zagreb 2015, is a part of
the collaborative project This Is Tomorrow. Back to Basics:
Forms and Actions in the Future organized by What, How
& for Whom / WHW, Zagreb, Tensta Konsthall, Stockholm
and Latvian Center for Contemporary Art / LCCA, Riga, as a
part of the book edition Art As Life As Work As Art. ❧

Supported by
Office of Culture, Education and Sport of the City of Zagreb
Ministry of Culture of the Republic of Croatia
Croatian Government Office for Cooperation with NGOs
Creative Europe Programme of the European Commission.
National Foundation for Civil Society Development
Kultura Nova Foundation

This project has been funded with support
from European Commision. This publication reflects
the views only of the authors, and the Commission
cannot be held responsible for any use which may be
made of the information contained therein. ❧
Publishing of this book is enabled by financial support of
the National Foundation for Civil Society Development.
The content of the publication is responsibility of
its authors and as such does not necessarily reflect
the views of the National Foundation. ❧
This project is financed
by the Croatian Government Office for Cooperation
with NGOs. The views expressed in this publication
are the sole responsibility of the publishers. ❧

This book is licensed under a Creative
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International License. ❧

Public Library

may • 2015
price 50 kn


Bodo
In the Name of Humanity
2016


# In the Name of Humanity

By [Balazs Bodo](https://limn.it/researchers/bodo/)

![In the Name of Humanity](https://limn.it/wp-
content/uploads/2016/02/Gamelin1_t02-745x1024.jpg)

Jacques Gamelin

![](http://limn.it/wp-content/uploads/2016/02
/Fahrenheit_451_1966_Francois_Truffaut-800x435.png)

Fahrenheit 451 (1966).

As I write this in August 2015, we are in the middle of one of the worst
refugee crises in modern Western history. The European response to the carnage
beyond its borders is as diverse as the continent itself: as an ironic
contrast to the newly built barbed-wire fences protecting the borders of
Fortress Europe from Middle Eastern refugees, the British Museum (and probably
other museums) are launching projects to “protect antiquities taken from
conflict zones” (BBC News 2015). We don’t quite know how the conflict
artifacts end up in the custody of the participating museums. It may be that
asylum seekers carry such antiquities on their bodies, and place them on the
steps of the British Museum as soon as they emerge alive on the British side
of the Eurotunnel. But it is more likely that Western heritage institutions,
if not playing Indiana Jones in North Africa, Iraq, and Syria, are probably
smuggling objects out of war zones and buying looted artifacts from the
international gray/black antiquities market to save at least some of them from
disappearing in the fortified vaults of wealthy private buyers (Shabi 2015).
Apparently, there seems to be some consensus that artifacts, thought to be
part of the common cultural heritage of humanity, cannot be left in the hands
of those collectives who own/control them, especially if they try to destroy
them or sell them off to the highest bidder.

The exact limits of expropriating valuables in the name of humanity are
heavily contested. Take, for example, another group of self-appointed
protectors of culture, also collecting and safeguarding, in the name of
humanity, valuable items circulating in the cultural gray/black markets. For
the last decade Russian scientists, amateur librarians, and volunteers have
been collecting millions of copyrighted scientific monographs and hundreds of
millions of scientific articles in piratical shadow libraries and making them
freely available to anyone and everyone, without any charge or limitation
whatsoever (Bodó 2014b; Cabanac 2015; Liang 2012). These pirate archivists
think that despite being copyrighted and locked behind paywalls, scholarly
texts belong to humanity as a whole, and seek to ensure that every single one
of us has unlimited and unrestricted access to them.

The support for a freely accessible scholarly knowledge commons takes many
different forms. A growing number of academics publish in open access
journals, and offer their own scholarship via self-archiving. But as the data
suggest (Bodó 2014a), there are also hundreds of thousands of people who use
pirate libraries on a regular basis. There are many who participate in
courtesy-based academic self-help networks that provide ad hoc access to
paywalled scholarly papers (Cabanac 2015).[1] But a few people believe that
scholarly knowledge could and should be liberated from proprietary databases,
even by force, if that is what it takes. There are probably no more than a few
thousand individuals who occasionally donate a few bucks to cover the
operating costs of piratical services or share their private digital
collections with the world. And the number of pirate librarians, who devote
most of their time and energy to operate highly risky illicit services, is
probably no more than a few dozen. Many of them are Russian, and many of the
biggest pirate libraries were born and/or operate from the Russian segment of
the Internet.

The development of a stable pirate library, with an infrastructure that
enables the systematic growth and development of a permanent collection,
requires an environment where the stakes of access are sufficiently high, and
the risks of action are sufficiently low. Russia certainly qualifies in both
of these domains. However, these are not the only reasons why so many pirate
librarians are Russian. The Russian scholars behind the pirate libraries are
familiar with the crippling consequences of not having access to fundamental
texts in science, either for political or for purely economic reasons. The
Soviet intelligentsia had decades of experience in bypassing censors, creating
samizdat content distribution networks to deal with the lack of access to
legal distribution channels, and running gray and black markets to survive in
a shortage economy (Bodó 2014b). Their skills and attitudes found their way to
the next generation, who now runs some of the most influential pirate
libraries. In a culture, where the know-how of how to resist information
monopolies is part of the collective memory, the Internet becomes the latest
in a long series of tools that clandestine information networks use to build
alternative publics through the illegal sharing of outlawed texts.

In that sense, the pirate library is a utopian project and something more.
Pirate librarians regard their libraries as a legitimate form of resistance
against the commercialization of public resources, the (second) enclosure
(Boyle 2003) of the public domain. Those handful who decide to publicly defend
their actions, speak in the same voice, and tell very similar stories. Aaron
Swartz was an American hacker willing to break both laws and locks in his
quest for free access. In his 2008 “Guerilla Open Access Manifesto” (Swartz
2008), he forcefully argued for the unilateral liberation of scholarly
knowledge from behind paywalls to provide universal access to a common human
heritage. A few years later he tried to put his ideas into action by
downloading millions of journal articles from the JSTOR database without
authorization. Alexandra Elbakyan is a 27-year-old neurotechnology researcher
from Kazakhstan and the founder of Sci-hub, a piratical collection of tens of
millions of journal articles that provides unauthorized access to paywalled
articles to anyone without an institutional subscription. In a letter to the
judge presiding over a court case against her and her pirate library, she
explained her motives, pointing out the lack of access to journal articles.[2]
Elbakyan also believes that the inherent injustices encoded in current system
of scholarly publishing, which denies access to everyone who is not
willing/able to pay, and simultaneously denies payment to most of the authors
(Mars and Medak 2015), are enough reason to disregard the fundamental IP
framework that enables those injustices in the first place. Other shadow
librarians expand the basic access/injustice arguments into a wider critique
of the neoliberal political-economic system that aims to commodify and
appropriate everything that is perceived to have value (Fuller 2011; Interview
with Dusan Barok 2013; Sollfrank 2013).

Whatever prompts them to act, pirate librarians firmly believe that the fruits
of human thought and scientific research belong to the whole of humanity.
Pirates have the opportunity, the motivation, the tools, the know-how, and the
courage to create radical techno-social alternatives. So they resist the
status quo by collecting and “guarding” scholarly knowledge in libraries that
are freely accessible to all.

![](http://limn.it/wp-content/uploads/2016/02/NewtonLibraryBooks-800x484.png)

Water-damaged books drying, 1985.

Both the curators of the British Museum and the pirate librarians claim to
save the common heritage of humanity, but any similarities end there. Pirate
libraries have no buildings or addresses, they have no formal boards or
employees, they have no budgets to speak of, and the resources at their
disposal are infinitesimal. Unlike the British Museum or libraries from the
previous eras, pirate libraries were born out of lack and despair. Their
fugitive status prevents them from taking the traditional paths of
institutionalization. They are nomadic and distributed by design; they are _ad
hoc_ and tactical, pseudonymous and conspiratory, relying on resources reduced
to the absolute minimum so they can survive under extremely hostile
circumstances.

Traditional collections of knowledge and artifacts, in their repurposed or
purpose-built palaces, are both the products and the embodiments of the wealth
and power that created them. Pirate libraries don’t have all the symbols of
transubstantiated might, the buildings, or all the marble, but as
institutions, they are as powerful as their more established counterparts.
Unlike the latter, whose claim to power was the fact of ownership and the
control over access and interpretation, pirates’ power is rooted in the
opposite: in their ability to make ownership irrelevant, access universal, and
interpretation democratic.

This is the paradox of the total piratical archive: they collect enormous
wealth, but they do not own or control any of it. As an insurance policy
against copyright enforcement, they have already given everything away: they
release their source code, their databases, and their catalogs; they put up
the metadata and the digitalized files on file-sharing networks. They realize
that exclusive ownership/control over any aspects of the library could be a
point of failure, so in the best traditions of archiving, they make sure
everything is duplicated and redundant, and that many of the copies are under
completely independent control. If we disregard for a moment the blatantly
illegal nature of these collections, this systematic detachment from the
concept of ownership and control is the most radical development in the way we
think about building and maintaining collections (Bodó 2015).

Because pirate libraries don’t own anything, they have nothing to lose. Pirate
librarians, on the other hand, are putting everything they have on the line.
Speaking truth to power has a potentially devastating price. Swartz was caught
when he broke into an MIT storeroom to download the articles in the JSTOR
database.[3] Facing a 35-year prison sentence and $1 million in fines, he
committed suicide.[4] By explaining her motives in a recent court filing,[5]
Elbakyan admitted responsibility and probably sealed her own legal and
financial fate. But her library is probably safe. In the wake of this lawsuit,
pirate libraries are busy securing themselves: pirates are shutting down
servers whose domain names were confiscated and archiving databases, again and
again, spreading the illicit collections through the underground networks
while setting up new servers. It may be easy to destroy individual
collections, but nothing in history has been able to destroy the idea of the
universal library, open for all.

For the better part of that history, the idea was simply impossible. Today it
is simply illegal. But in an era when books are everywhere, the total archive
is already here. Distributed among millions of hard drives, it already is a
_de facto_ common heritage. We are as gods, and might as well get good at
it.[6]



## About the author

**Bodo Balazs,**  PhD, is an economist and piracy researcher at the Institute
for Information Law (IViR) at the University of Amsterdam. [More
»](https://limn.it/researchers/bodo/)

## Footnotes

[1] On such fora, one can ask for and receive otherwise out-of-reach
publications through various reddit groups such as
[r/Scholar](https://www.reddit.com/r/Scholar) and using certain Twitter
hashtags like #icanhazpdf or #pdftribute.

[2] Elsevier Inc. et al v. Sci-Hub et al, New York Southern District Court,
Case No. 1:15-cv-04282-RWS

[3] While we do not know what his aim was with the article dump, the
prosecution thought his Manifesto contained the motives for his act.

[4] See _United States of America v. Aaron Swartz_ , United States District
Court for the District of Massachusetts, Case No. 1:11-cr-10260

[5] Case 1:15-cv-04282-RWS Document 50 Filed 09/15/15, available at
[link](https://www.unitedstatescourts.org/federal/nysd/442951/).

[6] I of course stole this line from Stewart Brand (1968), the editor of the
Whole Earth catalog, who, in return, claims to have been stolen it from the
British anthropologist Edmund Leach. See
[here](http://www.wholeearth.com/issue/1010/article/195/we.are.as.gods) for
the details.

## Bibliography

BBC News. “British Museum ‘Guarding’ Object Looted from Syria. _BBC News,_
June 5. Available at [link](http://www.bbc.com/news/entertainment-
arts-33020199).

Bodó, B. 2015. “Libraries in the Post-Scarcity Era.” In _Copyrighting
Creativity_ , edited by H. Porsdam (pp. 75–92). Aldershot, UK: Ashgate.

———. 2014a. “In the Shadow of the Gigapedia: The Analysis of Supply and Demand
for the Biggest Pirate Library on Earth.” In _Shadow Libraries_ , edited by J.
Karaganis (forthcoming). New York: American Assembly. Available at
[link](http://ssrn.com/abstract=2616633).

———. 2014b. “A Short History of the Russian Digital Shadow Libraries.” In
Shadow Libraries, edited by J. Karaganis (forthcoming). New York: American
Assembly. Available at [link](http://ssrn.com/abstract=2616631).

Boyle, J. 2003. “The Second Enclosure Movement and the Construction of the
Public Domain.” _Law and Contemporary Problems_ 66:33–42. Available at
[link](http://dx.doi.org/10.2139/ssrn.470983).

Brand, S. 1968. _Whole Earth Catalog,_ Menlo Park, California: Portola
Institute.

Cabanac, G. 2015. “Bibliogifts in LibGen? A Study of a Text‐Sharing Platform
Driven by Biblioleaks and Crowdsourcing.” _Journal of the Association for
Information Science and Technology,_ Online First, 27 March 2015 _._

Fuller, M. 2011. “In the Paradise of Too Many Books: An Interview with Sean
Dockray.” _Metamute._ Available at
[link](http://www.metamute.org/editorial/articles/paradise-too-many-books-
interview-sean-dockray).

Interview with Dusan Barok. 2013. _Neural_ 10–11.

Liang, L. 2012. “Shadow Libraries.” _e-flux._  Available at
[link](http://www.e-flux.com/journal/shadow-libraries/).

Mars, M., and Medak, T. 2015. “The System of a Takedown: Control and De-
commodification in the Circuits of Academic Publishing.” Unpublished
manuscript.

Shabi, R. 2015. “Looted in Syria–and Sold in London: The British Antiques
Shops Dealing in Artefacts Smuggled by ISIS.” _The Guardian,_ July 3.
Available at [link](http://www.theguardian.com/world/2015/jul/03/antiquities-
looted-by-isis-end-up-in-london-shops).

Sollfrank, C. 2013. “Giving What You Don’t Have: Interviews with Sean Dockray
and Dmytri Kleiner.” _Culture Machine_ 14:1–3.

Swartz, A. 2008. “Guerilla Open Access Manifesto.” Available at
[link](https://archive.org/stream/GuerillaOpenAccessManifesto/Goamjuly2008_djvu.txt).


Sollfrank & Snelting
Performing Graphic Design Practice
2014


Femke Snelting
Performing Graphic Design Practice

Leipzig, 7 April 2014

[00:12]
What is Libre Graphics?

[00:16]
Libre Graphics is quite a large ecosystem of software tools, of people –
people that develop these tools, but also people that use these tools;
practices, like how do you then work with them, not just how you make things
quickly and in an impressive way, but also these tools might change your
practice and the cultural artefacts that result from it. So it’s all these
elements that come together, and we call Libre Graphics. [00:53] The term
“Libre” is chosen deliberately. It’s slightly more mysterious that the term
“free”, especially when it turns up in the English language. It sort of hints
that there’s something different, that there’s something done on purpose.
[01:16] And it is a group of people that are inspired by free software
culture, by free culture, by thinking about how to share both their tools,
their recipes and the outcomes of all this. [01:31] So Libre Graphics is quite
wild, it goes in many directions, but it’s an interesting context to work in,
that for me it has been quite inspiring for a few years now.

[01:46]
The context of Libre Graphics

[01:50]
The context of Libre Graphics is multiple. I think that’s part of why I’m
excited about it, and also part of why it’s sometimes difficult to describe it
in a short sentence. [02:04] The context is design – so people that are
interested in design, in creating visuals, in creating animations, videos,
typography. And that is already a multiple context, because each of these
disciplines have their own histories, and their own sort of types of people
that get touched by them. [02:23] Then there is software, people that are
interested in the digital material – so, let’s say, excited about raw bits and
the way a vector gets produced. So that’s a very, almost formal interest in
how graphics are made. [02:47] Then there’s people that do software, so they
are interested in programming, in programming languages, in thinking about
interfaces and thinking about ways software can become a tool. And then
there’s people that are interested in free software, so how can you make
digital tools that can be shared, but also how can you produce processes that
can be shared. [03:11] So there you have from free software activists to
people that are interested in developing specific tools for sharing design and
software development processes, like Git or [Apache] Subversion, or those
kinds of things. So I think that multiple context is really special and rich
in Libre Graphics.

[03:34]
Free software culture

[03:38]
Free software culture… And I use the term culture because I’m more interested
in, let’s say, the cultural aspect of it, and this includes software, for me
software is a cultural object – but I think it’s important to emphasise this,
because it's easily turned into a very technocentric approach which I think is
important to stay away from. [04:01] So free software culture is the thinking
that, when you develop technology – and I’m using technology in the sense that
is cultural as well, to me, deeply cultural – you need to take care of sharing
the recipes for how this technology has been developed as well. [04:28] And
this produces many different other tools, ways of working, ways of speaking,
vocabularies, because it changes radically the way we make and the way we
produce hierarchies. [04:49] So it means, for example, if you produce a
graphic design artefact, for example, that you share all the source files that
were necessary to make it. But you also share, as much as you can,
descriptions and narrations of how it came to be, which does include, maybe,
how much was paid for it, what difficulties were in negotiating with the
printer, and what elements were included – because the graphic design object
is usually a compilation of different elements –, what software was used to
make it and where it might have resisted. [05:34] So the consequences of
taking free software culture seriously in a graphic design or a design
context, means that you care about all these different layers of the work, all
the different conditions that actually make the work happen.

[05:50]
Free culture

[05:54]
The relationship from Libre Graphics to free culture is not always that
explicit. For some people it’s enough to work with tools that are released
under GPL (GNU General Public License), or like an open content license, and
there it stops. So even their work would be released under proprietary
licenses. [06:18] For others it’s important to make the full circle and to
think about what the legal status is of the work they release. So that’s the
more general one. [06:34] Then free culture – we can use that very loosely, as
in everything that is circulating under conditions that it can be reused and
remade, that would be my position – free culture, of course, also refers to
the very specific idea of how that would work, namely Creative Commons.
[06:56] For myself, Creative Commons is problematic, although I value the fact
that it exists and has really created a broader discussion around licenses in
creative practices, so I value that. [07:11] For me, the distinction Creative
Commons makes, almost for all the licenses they promote, between commercial
and non-commercial work, and as a consequence between professional and amateur
work – I find that very problematic, because I think one of the most important
elements of free software culture, for me, is the possibility of people from
different backgrounds, with different skill sets, to actually engage the
digital artefacts they are surrounded with. [07:47] And so by making this
quite lazy separation between commercial and non-commercial, which, especially
in the context of the web as it is right now, since it’s not very easy to hold
up, seems really problematic, because it creates an illusion of clarity that I
think actually makes more trouble than clarity. [08:15] So I use free culture
licenses, I use licenses that are more explicit about the fact that anyone can
use whatever I produce, in any context, because I think that’s where the real
power is of free software culture. [08:31] For me, free software licenses and
all the licenses around them – because I think there are many different types,
and that’s interesting – is that they have a viral power built in. So if you
apply a free software license to, for example, a typeface, it means that
someone else, even someone else you don’t know, has the permission, and
doesn’t have to ask for the permission to reuse the typeface, to change it, to
mix it with something else, to distribute it and to sell it. [09:08] That’s
one part that is already very powerful. But the real secret of such a license
is that once this person re-releases a typeface, it means that they need to
keep the same license. So it means that it propagates across the network, and
that is where it’s really powerful.

[09:31]
Free tools

[09:35]
It’s important to have tools that are released under conditions that allow me
to look further than its surface, for many reasons. There is an ethical
reason. It’s very problematic, I think, to, as a friend explained last week,
to feel like you are renting a room in a hotel – because that is often the way
practitioners nowadays relate to their tools, they have no right to remove the
furniture, they’ve no right to invite friends to their hotel room, they have
to check out at 11, etc. So it’s a very sterile relationship to your tools. So
that’s one part. [10:24] The other is that there is little way of coming into
contact with the cultural aspects of the tools. Something that I suspected
before I started to use free software tools for my practice, but has been
already for almost ten years continuously exciting, is the whole… let’s say,
all the other elements around it: the way people organise themselves in
conferences, mailing lists, the fact that the kinds of communications that
happens, the vocabularies, the histories, the connections between different
disciplines. [11:07] And all that is available to look at, to work with, to
come into contact with, even to speak to people that do these tools and ask
them, why is like this and not like that. And so to me it seems obvious that
artists want to have that kind of, let’s say, layered relation with their
tools, and not just accept whatever comes out of the next-door shop. [11:36] I
have a very different, almost different physical experience of these tools,
because I can enter on many levels. And that makes them part of my practice
and not just means to an end, I really can take them into my practice, and
that I find interesting as an artist and as a designer.

[11:56] Artefacts

[12:00] The outcomes of this type of practice are different, or at least the
kind of work I make, try to make, and the people I like to work with. There’s
obviously also a group of people that would like to do Hollywood movies with
those tools. And, you know, that’s kind of interesting too, that that happens.
[12:21] For me, somehow the technological context or conditions that made the
work possible will always occur in the final result. So that’s one part.
[12:38] And the other is that the, let’s say, the product is never the end. So
it means that because, in whatever way, source materials would be released,
would be made available, it means that the product is always the beginning of
another project or product, either by me or by other people. [13:02] So I
think that’s two things that you can always see in the kind of works we make
when we do Libre Graphics – my style.

[13:15] Libre Fonts

[13:18] A very exciting part of Libre Graphics is the Libre Font movement,
which is strong, and has been strong for a long time. Fonts are the basic
building block of how a graphic comes to life. I mean, when you type
something, it’s there. [13:40] And the fact that that part of the work is free
is important in many levels. Things that you often don’t think about when we
speak English and we stay within a limited character set, is that when you
live in, let’s say, India, the language you speak is not available as a
digital typeface, meaning that when you want to produce book in the tools that
are available, or publish it online, your language has no way of expressing
itself. [14:26] And so it’s important, and that has to do with commercial
interests, laws, ways that the technical infrastructure has been built. And so
by understanding that it’s important that you can express yourself in the
language and with the characters you need, it’s also obvious that that part
needs to be free. [14:53] Fonts are also interesting because they exist on
many levels. They exist on your system. They are almost software, because they
are quite complicated objects. They appear in your screen, when you print a
document – they are there all the time. [15:17] But at the same time it’s the
alphabet. It’s the most, let’s say… we consider it as a totally accessible,
available and universal right, to have the alphabet at our disposal. [15:29]
So I think, politically and, let’s say, from a sort of interest in that kind
of practice that is very technical but at the same time also very basic, in
the sense that is about “freeing an A,” that’s quite a beautiful energy – I
think that that has made the Libre Font movement very strong.

[15:55] Free artefacts / open standards

[15:59] It took me a while to figure out myself – that for me it was so
obvious that if you do free software, that you would produce free artefacts, I
mean, it seems kind of obvious, but that is not at all the case. [16:12] There
is full-fledged commercial production happening with these tools. But one
thing that sort of keeps the results, the outcomes of these projects, freer
than most commercial tools is that there is really an emphasis on open
document formats. [16:34] And that is extremely important because, first of
all, through this sort of free software thinking it’s very obvious that the
documents that you produce with the tool should not belong to the software
vendor, they are yours. [16:49] And to be able to own your own documents you
need to be able to look, to inspect how they are produced. I know many tragic
stories of designers that with several upgrades of “their” tool set lost
documents, because they could never open them again. [17:12] So there’s really
an emphasis and a lot of work in making sure that the documents produced from
these tools remain inspectable, are documented, so that either you can open
them in another tool, or could develop a tool to open them in, to have these
files available for you. [17:38] So it’s really part and parcel of free
software culture, it’s that you care about that what generates your artefact,
but also about the materiality of your artefact. And so there, open standards
are extremely important – or maybe, let’s say, that file formats are
documented and can be understood. [18:04] And what’s interesting to see is
that in this whole Libre Graphics world there is also a very strong group of
reverse engineers, that are document formants, document activists, I would
say. [18:19] And I think that’s really interesting. They claim, they say,
documents need to be free, and so we would go against… let’s say, we would
risk breaking the law to be able to understand how non-free documents actually
are constructed. [18:37] So they are really working to be able to understand
non-free documents, to be able to read them, and to be able to develop tools
for them, so that they can be reused and remade. [18:54] So the difference
between a free and a non-free document is that, for example, an InDesign file,
which is the result of a commercial product, there’s no documentation
available to how this file works. [19:10] This means that the only way to open
the file is with that particular program. So there is a connection between
that what you’ve made and the software you’ve used to produce it. [19:24] It
also means that if the software updates, or the license runs out, you will not
have access to your own file. It means it’s fixed, you can never change it,
and you can never allow anyone else to change it. [19:39] And open document
format has documentation. That means that not only the software that created
it is available, and so that way you can understand how it was made, but also
there’s independent documentation available. [19:55] So that whenever a
project, like a software, doesn’t work anymore or it’s too old to be run, or
you don’t have it available, you have other ways of understanding the document
and being able to open it, and reuse and remake it. [20:11] Examples of open
document formats are, for example, SVG (Scalable Vector Graphics), ODT (Open
Document Text format), or OGG, a format for video that allows you to look at
all the elements that are packed into the video format. [20:31] What’s
important is that, around these open formats, you see a whole ecosystem exists
of tools to inspect, to create, to read, to change, to manipulate these
formats. And I think it’s very easy to see how around InDesign files this
culture does not exist at all.

[20:55] Getting started

[20:59] If you would be interested to start using Libre Graphics, you can
enter it in different levels. There’s well-developed tools that look a bit
like commercial photo manipulation tools, or layout tools. [21:19] There’s
something called Gimp, which is a well-developed software for treating photos.
There’s Blender, which is a fast-developing animation software, that’s being
used by thousands of thousands of people, and even it’s being used in
commercial productions, Pixar-style stuff. [21:43] These tools can be
installed on any system, so you don’t have to run a Linux system to be able to
use them. You can install them on a Macintosh or on a Windows, for example. Of
course, they are usually more powerful when you run them on a system that
recognises that power.

[22:09] Sharing practice / re-learn

[22:14] This way of working changes the way you learn, and also therefore the
way you teach. And so, as many of us have understood the relation between
learning and practice, we’ve all been somehow involved in education, many of
us are teaching in formal design or art education. [22:43] And it’s very clear
how those traditional schools are really not fit for the type of learning and
teaching that needs to happen around Libre Graphics. [22:57] So one of the
problems that we run into is the fact that art academies are traditionally
really organised on many levels – so that the validation systems are really
geared towards judging individuals. And our type of practice is always
multiple, it’s always about, let’s say, things that happen with many people.
[23:17] And it’s really difficult to inspire students to work that way, and at
the same time know that at the end of the day, they will be judged on their
own, what they produce as an individual. So that’s one part. [23:31] In
traditional education there’s always like a separation between teaching
technology and practice. So you have, in different ways, let’s say, you have
the studio practice and then you have the workshops. And it’s very difficult
to make conceptual connections between the two, so we end up trying to make
that happen but it’s clearly not made for that. [24:02] And then there is the
problematics of the hierarchies between tutors and students, that are hard to
break in formal education, just because the set up is – even when it’s a very
informal situation – that someone comes to teach and someone else comes to be
taught. [24:28] And there’s no way to truly break that hierarchy because
that’s the way the school works. So since a year we’ve been starting to think
about how to do… Well, no, for years we’ve been thinking about how to do
teaching differently, or how to do learning differently. [24:48] And so last
year for the first time we organised a summer school, just as a kind of
experiment to see if we could learn and teach differently. And the title, the
name of the school is Relearn, because the sort of relearning, for yourself
but also to others, through teaching-learning, has became really a good
methodology, it seems.

[25:15] Affiliations

[25:19] If I say “we”, that’s always a bit uncomfortable, because I like to be
clear about who that is, but when I’m speaking here there’s many “we” in my
mind. So there’s a group of designers called OSP (Opens Source Publishing).
They started in 2006 with the simple decision to not use any proprietary
software anymore for their work. And from that this whole set of questions,
and practices and methods developed. [25:51] So right now that’s about twelve
people working in Brussels having a design practice. And I’m lucky to be an
honorary member of this group, and so I’m in close contact with them, but I’m
not actively working with the design group. [20:11] Another “we”, and
overlapping “we”, is Constant, an association for art and media active in
Brussels since 1996, 1997 maybe. Our interest is more in mixing copyleft
thinking, free software thinking and feminism. And in many ways that
intersects with OSP, but they might phrase it in a different way. [26:42]
Another “we” is the Libre Graphics community, which is even a more
uncomfortable “we” because it includes engineers that would like to conquer
the world, and small hyper-intelligent developers that creep out of their
corner to talk about the very strange world they are creating, or typographers
that care about universal typefaces. [27:16] I mean, there’s many different
people that are involved in that world. So I think, in this conversation the
“we” are Contant, OSP and Libre Graphics community, whatever that is.

[27:29] Libre Graphics annual meeting, Leipzig 2014

[27:34] We worked on a Code of Conduct – which is something that seems to
appear in free software or tech conferences more and more, it comes a bit from
the U.S. context – where we have started to understand that the fact that free
software is free doesn’t mean that everyone feels welcome. [28:02] For long
there still are large problems with diversity in this community. The
excitement about freedom has led people to think that people that were no
there would probably not want to be there, and therefore had no role to be
there. [28:26] And so if you think, for example, the fact that there is very
little, that there’s not a lot of women active in free software, a lot less
than in proprietary software, which is quite painful if you think about it.
[28:41] That has to do with this sort of cyclical effects of: because women
are not there they would probably be not interested, and because they are not
interested they might not be capable, or feel capable of being active, and
they feel they might not belong. So that’s one part. [29:07] The other part is
that there’s a very brutal culture of harassment, of racist and sexist
language, of using imagery that is, let’s say, unacceptable. And that needs to
be dealt with. [29:26] Over the last two years, I think, the documents like
the Code of Conduct have started to come out from feminists active in this
world, like Geek Feminism or the Ada Initiative, as a way to deal with this.
And what it does is it describes, in a bit… let’s say, it’s slightly pompous
in the sense that you describe your values. [29:56] But it is a way to
acknowledge the fact that this communities have a problem with harassment,
first; that they explicitly say, we want diversity, which is important; that
it gives very clear and practical guidelines for what someone that feels
harassed can do, who he or she can speak to, and what will be the
consequences. [30:31] Meaning that it takes away the burden from, well, at
least as much as possible, from someone who is harassed to defend, actually,
the gravity of the case.

[30:43] Art as integrative concept

[30:47] For me, calling myself an artist is useful, it’s very useful. I’m not
so busy, let’s say, with the institutional art context – that doesn’t help me
at all. [31:03] But what does help me is the figure of the artist, the kinds
of intelligences that I sort of project on myself, and I use from others, from
my colleagues (before and contemporary), because it allows me to not have too
many… to be able to define my own context and concepts without forgetting
practice. [31:37] And I think art is one of the rare places that allows this.
Not only it allows it, but actually it rigorously asks for it. It’s really
wanting me to be explicit about my historical connections, my way of making,
my references, my choices, that are part of the situation I build. [32:11] So
the figure of the artist is a very useful toolbox in itself. And I think I use
it more than I would have thought, because it allows me to make these cross-
connections in a productive way.



 

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