gutenberg in Medak, Sekulic & Mertens 2014
using the existing catalogues or you can enter metadata manually.
Now you may want to distribute your book. If the work you've digitized is in the public domain
(https://en.wikipedia.org/wiki/Public_domain), you might consider contributing it to the Gutenberg
project
(http://www.gutenberg.org/wiki/Gutenberg:Volunteers'_FAQ#V.1._How_do_I_get_started_as_a_Pr
oject_Gutenberg_volunteer.3F ), Wikibooks (https://en.wikibooks.org/wiki/Help:Contributing ) or
Arhive.org.
If the work is still under copyright, you m
gutenberg in Thylstrup 2019
iated Book,_ authored by an assembly of
activists, artists, and scholars such as Femke Snelting, Tomislav Medak,
Dusan Barok, Geraldine Juarez, Shin Joung Yeo, and Matthew Fuller. 9
Another early precursor of mass digitization emerged with Project Gutenberg,
often referred to as the world’s oldest digital library. Project Gutenberg was
the brainchild of author Michael S. Hart, who in 1971, using technologies such
as ARPANET, Bulletin Board Systems (BSS), and Gopher protocols, experimented
with publishing and distributing books in digital form. As Hart reminisced in
his later text, “The History and Philosophy of Project Gutenberg,”10 Project
Gutenberg emerged out of a donation he received as an undergraduate in 1971,
which consisted of $100 million worth of computing time on the Xerox Sigma V
mainframe at the University of Illinois at Urbana-Champaign. Wanting to make
good use of the donation, Har
ng analog cultural works into digital text in a
format not only available to, but also accessible/readable to, almost all
computer systems: “Plain Vanilla ASCII” (ASCII for “American Standard Code for
Information Interchange”). While Project Gutenberg only converted about 50
works into digital text in the 1970s and the 1980s (the first was the
Declaration of Independence), it today hosts up to 56,000 texts in its
distinctly lo-fi manner.12 Interestingly, Michael S. Hart noted very early on
that th
n accuracy and
accessibility, raising questions both of the limits of commercialized
accelerated digitization processes (see chapter 2 on Google Books) and of
class-based and postcolonial implications (see chapter 4 on shadow libraries).
If Project Gutenberg spearheaded the efforts of bringing cultural works into
the digital sphere through manual conversion of analog text into lo-fi digital
text, a French mass digitization project affiliated with the construction of
the Bibliothèque nationale de France
ving
access to some 4.5 million digital objects from more than 1,000 institutions.
Europeana’s Europeanizing discourse presents a territorializing approach to
mass digitization that stands in contrast to the more universalizing tone of
Mundaneum, Gutenberg, Google Books, and the Universal Digital Library. As
such, it ties in with our final examples, namely the sovereign mass
digitization projects that have in fact always been one of the primary drivers
in mass digitization efforts. To this day, the map
2013, specifically “Historic Overview.” See also chap. 10 in Baker
2002. 7. Pfanner 2012. 8.
2016. 10. Michael S. Hart, “The History and Philosophy of Project Gutenberg,”
Project Gutenberg, August 1992,
11. Ibid. 12.
“Digitization at the Bibliotheque Nationale De F
ong
many other posts on e-book torrent trackers, DC++ networks, extensive
repositories such as LibGen and Aaaaarg, cloud directories, document-sharing
platforms such as Issuu and Scribd, and digital libraries such as the Internet
Archive and Project Gutenberg.36 The shadow library of Monoskop thus slowly
began to emerge, partly through Barok’s own efforts at navigating email lists
and downloading material, and partly through people approaching Monoskop
directly, sending it links to online or scanned mat
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