[00:13]
Public Library is the concept, the idea, to encourage people to become a
librarian, where a librarian is a person which can allow access to books – and
also which has a catalogue or index, so that it's searchable. [00:32] And the
person, the human being, can communicate, can talk with others who are
interested in that catalogue of books. [00:43] And then when you have a
librarian, and you have a lot of librarians, you have a Public Library,
because we have access to books, we have a catalogue, and we have a librarian.
That's the basic set up. [00:55] And in order to really work, in practice, we
need to introduce a set of tools which are easy to use, like Calibre, for
example, for book management. [01:07] And then also some part of that set up
should be also developed because at the moment, because of the configuration
of the routers, IP addresses and other things, it's not that easy to share
your local library which you have on your laptop with the world. [01:30] So we
also provide... When I say ‘we,’ it's a small team, at the moment, of
developers who try to address that problem. [01:38] We don't need to reinvent
the public library. It's invented, and it should be just maintained. [01:47]
The old-school public libraries – they are in decline because of many reasons.
And when it comes to the digital networks, the digital books, it's almost like
the worst position. [01:59] For example, public libraries in the US, they are
not allowed to buy digital books, for example from Penguin. So even when they
want to buy, it's not that they are getting them, it's that they can't buy the
books. [02:16] By the current legal regulation, it's considered as illegal – a
million of books, or even more, are unavailable, and I think that these books
should be really available. [02:29] And it doesn't really matter how it got on
Internet – did it come from a graphic designer who is preparing that for
print, or if it was uploaded somewhere from the author of the book (that is
also very common, especially in humanities), or if it was digitised anywhere.
[02:50] So these are the books which we have, and we can't be blinded, they
are here. The practice at the moment is almost like trying to find a
prostitute or something, so when you want to get a book online you need to get
onto the websites with advertisements for casinos, for porn and things like
that. [03:14] I don't think that the library should be like that.
[03:18]
Book Management
[03:22]
What we are trying to provide is just suggesting what kind of book management
software they can use, and also what kind of new software tools they can
install in order to easily get the messy directory into the directory of
metadata which Calibre can recognise – and then you can just use Calibre. The
next step is if you can share your local library with the world. [03:52] You
need something like a management software where it's easy to see who are the
authors, what the titles, publishers and all of the metadata – and it's
accessible from the outside.
[04:08]
Calibre
[04:12]
Calibre is a book management software. It's developed by Kovid Goyal, a
software developer. [04:22] It's a free software, open source, and it started
like many other free software projects. It started as a small tool to solve
very particular small problems. [04:31] But then, because it was useful, it
got more and more users, and then Kovid started to develop it more into a
proper, big book management software. At the moment it has more that 10
million registered users who are running that. [04:52] It does so many things
for book management. It's really ‘the’ software tool... If you have an
e-reader, for example, it recognises your e-reader, it registers it inside of
Calibre and then you can easily just transfer the books. [05:08] Also for
years there was a big problem of file formats. So for example, Amazon, in
order to keep their monopoly in that area, they wouldn't support EPUB or PDF.
And then if you got your book somewhere – if you bought it or just downloaded
from the Internet, you wouldn't be able to read it on your reader. [05:31]
Then Calibre was just developing the converter tools. And it was all in one
package, so that Calibre just became the tool for book management. [05:43] It
has a web server as a part of it. So in a local area network – if you just
start that web server and you are running a local area network, it can have a
read-only searchable access to your local library, to your books, and it can
search by any of these metadata.
[06:05]
Tools Around Calibre
[06:09]
I developed a software which I call Let's Share Books, which is super small
compared to Calibre. It just allows you, with one click, to get your library
shared on the Internet. [06:24] So that means that you get a public URL, which
says something like www some-number dot memoryoftheworld dot net, and that is
the temporary public URL. You can send it to anyone in the world. [06:37] And
while you are running your local web server and share books, it would just
serve these books to the Internet. [06:45] I also set up a web chat – kind of
a room where people can talk to each other, chat to each other. [06:54] So
it’s just, trying to develop tools around Calibre, which is mostly for one
person, for one librarian – to try to make some kind of ecosystem for a lot of
librarians where they can meet with their readers or among themselves, and
talk about the books which they love to read and share. [07:23] It’s mostly
like a social networking around the books, where we use the idea and tradition
of the public library. [07:37] In order to get there I needed to set up a
server which only does routing. So with my software I don’t know which books
are transferred, anything. It’s just like a router. [07:56] You can do that
also if you have control of your router, or what we usually call modem, so the
device which you use to get to the Internet. But that is quite hard to hack,
just hackers know how to do that. [08:13] So I just made a server on the
Internet which you can use with one click, and it just routes the traffic
between you, if you’re a librarian, and your users, readers. So that’s that
easy.
[08:33]
Librarians
[08:38] It’s super easy to become a librarian, and that is what we should
celebrate. It’s not that the only librarians which we have were the librarians
who were the only ones wanting to become a librarian. [08:54] So lots of
people want to be a librarian, and lots of people are librarians whenever they
have a chance. [09:00] So you would probably recommend me some books which you
like. I’ll recommend you some books which I like. So I think we should
celebrate that now it’s super easy that anyone can be a librarian. [09:11] And
of course, we will still need professional librarians in order to push forward
the whole field. But that goes, again, in collaboration with software
engineers, information architectes, whatever… [09:26] It’s so easy to have
that, and the benefits of that are so great, that there is no reason why not
to do that, I would say.
[09:38]
Functioning
[09:43]
If you want to share your collection then you need to install at the moment
Calibre, and Let’s Share Books software, which I wrote. But also you can – for
example, there is a Calibre plugin for Aaaaarg, so if you use Calibre… from
Calibre you can search Aaaaarg, you can download books from Aaaaarg, you can
also change the metadata and upload the metadata up to Aaaaarg.
[10:13]
Repositories
[10:17]
At the moment the biggest repository for the books, in order to download and
make your catalogue, is Library Genesis. It’s around 900,000 books. It’s
libgen.info, libgen.org. And it’s a great project. [10:33] It’s done by some
Russian hackers, who also allow anyone to download all of that. It’s 9
Terabytes of books, quite some chunk of hard disks which you need for that.
[10:47] And you can also download PHP, the back end of the website and the
MySQL database (a thumb of the MySQL database), so you can run your own
Library Genesis. That’s one of the ways how you can do that. [11:00] You can
also go and join Aaaaarg.org, where it is also not just about downloading
books and uploading books, it’s also about communication and interpretation of
making, different issues and catalogues. [11:14] It’s a community of book
lovers who like to share knowledge, and who add quite a lot of value around
the books by doing that. [11:26] And then there is… you can use Calibre and
Let’s Share Books. It’s just one of these complimentary tools. So it’s not
really that Calibre and Let’s Share Books is the only way how you can today
share books.
[11:45]
Goal
[11:50]
What we do also has a non-hidden agenda for fighting for the public library. I
would say that most of the people we know, even the authors, they all
participate in the huge, massive Public Library – which we don’t call Public
Library, but usually just trying to hide that we are using that because we are
afraid of the restrictive regime. [12:20] So I don’t see a reason why we
should shut down such a great idea and great implementation – a great resource
which we have all around the world. [12:30] So it’s just an attempt to map all
of these projects and to try to improve them. Because, in order to get it into
the right shape, we need to improve the metadata. [12:47] Open Library, a
project which started also with Aaron Swartz, has 20 millions items, and we
use it. There is a basedata.org which connects the hash files, the MD5 hashes,
with the Open Library ID. And we try to contribute to Open Library as much as
possible. [13:10] So with very few people, around 5 people, we can improve it
so much that it will be for a billion of users a great Public Library, and at
the same time we can have millions of librarians, which we never had before.
So that’s the idea. [13:35] The goal is just to keep the Public Library. If we
didn’t screw up the whole situation with the Public Library, probably we’d
just try to add a little bit of new software, and new ways that we can read
the books. [13:53] But at the moment [it’s] super important actually to keep
this infrastructure running, because this super important infrastructure for
the access to knowledge is now under huge threat.
[14:09]
Copyright
[14:13]
I just think that it’s completely inappropriate – that copyright law is
completely inappropriate for the Public Library. I don’t know about other
cases, but in terms of Public Library it’s absolutely inappropriate. [14:29]
We should find the new ways of how to reward the ones who are adding value to
sharing knowledge. First authors, then anyone who is involved in public
libraries, like librarians, software engineers – so everyone who is involved
in that ecosystem should be rewarded, because it’s a great thing, it’s a
benefit for the society. [15:03] If this kind of things happens, so if the law
which regulates this blocks and doesn’t let that field blossom, it’s something
wrong with that law. [15:16] It’s getting worse and worse, so I don’t know for
how long we should wait, because while we’re waiting it’s getting worse.
[15:24] I don’t care. And I think that I can say that because I’m an artist.
Because all of these laws are made saying that they are representing art, they
are representing the interest of artists. I’m an artist. They don’t really
represent my interests. [15:46] I think that it should be taken over by the
artists. And if there are some artists who disagree – great, let’s have a
discussion.
[15:58]
Civil Disobedience
[16:03]
In the possibilities of civil disobedience – which are done also by
institutions, not just by individuals – and I think that in such clear cases
like the Public Library it’s easy. [16:17] So I think that what I did in this
particular case is nothing really super smart – it’s just reducing this huge
issue to something which is comprehensible, which is understandable for most
of the people. [16:31] There is no one really who doesn’t understand what
public library is. And if you say to anyone in the world, saying, like hey, no
more public libraries, hey, no books anymore, no books for the poor people. We
are just giving up on something which we almost consensually accepted through
the whole world. [16:55] And I think that in such clear cases, I’m really
interested [in] what institutions could do, like Transmediale. I’m now in
[Akademie] Schloss Solitude, I also proposed to make a server with a Public
Library. If you invest enough it’s a million of books, it’s a great library.
[17:16] And of course they are scared. And I think that the system will never
really move if people are not brave. [17:26] I’m not really trying to
encourage people to do something where no one could really understand, you
know, and you need expertise or whatever. [17:37] In my opinion this is the
big case. And if Transmediale or any other art institution is playing with
that, and showing that – let’s see how far away we can support this kind of
things. [17:56] The other issue which I am really interested in is what is the
infrastructure, who is running the infrastructures, and what kind of
infrastructures are happen in between these supposedly avant-garde
institutions, or something. [08:12] So I’m really interested in raising these
issues.
[18:17]
Art Project
[18:21]
Public Library is also an art project where… I would say that just in the same
way that corporations, by their legal status, can really kind of mess around
with different… they can’t be that much accountable and responsible – I think
that this is the counterpart. [18:44] So civil disobedience can use art just
the same way that corporations can use their legal status. [18:51] When I was
invited as a curator and artist to curate the HAIP Festival in Ljubljana, I
was already quite into the topic of sharing access to knowledge. And then I
came up with this idea and everybody liked it and everybody was enthusiastic.
It's one of these ideas where you can see that it’s great, there is no one
really who would oppose to that. [19:28] At the same time there was an
exhibition, Dear Art, curated by WHW, quite established curators. And then it
immediately became an art piece for that exhibition. Then I was invited here
to Transmediale, and have a couple of other invitations. [19:45] I think that
it also shows that art institutions are accepting that, they play with that
idea. And I think that this kind of projects – by having that acceptance it
becomes the issue, it becomes the problem of the whole arts establishment.
[20:10] So I think that if I do this in this way, and if there is a curator
who invites this kind of projects – so who invites Public Library into their
exhibition – it’s also showing their kind of readiness to fight for that
issue. [20:27] And if there are a number of art festivals, a number of art
exhibitions, who are supporting this kind of, lets say, civil disobedience,
that also shows something. [20:38] And I think that that kind of context
should be pushed into the confrontation, so it’s not anymore just playing “oh,
is it is ok, it is not? We should deal with all the complexity…” [20:57] There
is no real complexity here. That complexity is somewhere else, and in some
other step we should take care of that. But this is an art piece, it’s a well
established art piece. [21:11] If you make a Public Library, I'm fine, I’m
sacrificing for taking the responsibility. But you shouldn't melt down that
art piece, I think. [21:26] And I feel super stupid that such a simple concept
should be, in 2013, articulated to whom? In many ways it’s like playing dummy,
I play dummy. It’s like, why should I? [21:50] When we started to play in
Ljubljana like software developers we came up with so many great ideas of how
to use those resources. So it was immediately… just after couple of hours we
had tools – visualisations of that, a reader of Wikipedia which can embed any
page which is referred, as a reference, a quote. [22:17] It was immediately
obvious for anyone there and for anyone from the outside what a huge resource
is having a Public Library like that – and what’s the huge harm that we don’t
have it. [22:32] But still we need to play dummy, I need to play the artist’s
role, you know.
Giorgetta, Nicoletti & Adema
A Conversation on Digital Archiving Practices
2015
# A Conversation on Digital Archiving Practices
A couple of months ago Davide Giorgetta and Valerio Nicoletti (both ISIA
Urbino) did an interview with me for their MA in Design of Publishing. Silvio
Lorusso, was so kind to publish the interview on the fantastic
[p-dpa.net](http://p-dpa.net/a-conversation-on-digital-archiving-practices-
with-janneke-adema/). I am reblogging it here.
* * *
[Davide Giorgetta](http://p-dpa.net/creator/davide-giorgetta/) and [Valerio
Nicoletti](http://p-dpa.net/creator/valerio-nicoletti/) are both students from
[ISIA Urbino](http://www.isiaurbino.net/home/), where they attend the Master
Course in Design for Publishing. They are currently investigating the
independent side of digital archiving practices within the scope of the
publishing world.
As part of their research, they asked some questions to Janneke Adema, who is
Research Fellow in Digital Media at Coventry University, with a PhD in Media
(Coventry University) and a background in History (MA) and Philosophy (MA)
(both University of Groningen) and Book and Digital Media Studies (MA) (Leiden
University). Janneke’s PhD thesis focuses on the future of the scholarly book
in the humanities. She has been conducting research for the
[OAPEN](http://project.oapen.org/index.php/about-oapen) project, and
subsequently the OAPEN foundation, from 2008 until 2013 (including research
for OAPEN-NL and DOAB). Her research for OAPEN focused on user needs and
publishing models concerning Open Access books in the Humanities and Social
Sciences.
**Davide Giorgetta & Valerio Nicoletti: Does a way out from the debate between
publishers and digital independent libraries (Monoskop Log, Ubuweb,
Aaaarg.org) exist, in terms of copyright? An alternative solution able to
solve the issue and to provide equal opportunities to everyone? Would the fear
of publishers of a possible reduction of incomes be legitimized if the access
to their digital publications was open and free?**
Janneke Adema: This is an interesting question, since for many academics this
‘way out’ (at least in so far it concerns scholarly publications) has been
envisioned in or through the open access movement and the use of Creative
Commons licenses. However, the open access movement, a rather plural and
loosely defined group of people, institutions and networks, in its more
moderate instantiations tends to distance itself from piracy and copyright
infringement or copy(far)left practices. Through its use of and favoring of
Creative Commons licenses one could even argue that it has been mainly
concerned with a reform of copyright rather than a radical critique of and
rethinking of the common and the right to copy (Cramer 2013, Hall
2014).1(http://p-dpa.net/a-conversation-on-digital-archiving-practices-
with-janneke-adema/#fn:1 "see footnote") Nonetheless, in its more radical
guises open access can be more closely aligned with the practices associated
with digital pirate libraries such as the ones listed above, for instance
through Aaron Swartz’s notion of [Guerilla Open
Access](https://archive.org/stream/GuerillaOpenAccessManifesto/Goamjuly2008_djvu.txt):
> We need to take information, wherever it is stored, make our copies and
share them with the world. We need to take stuff that’s out of copyright and
add it to the archive. We need to buy secret databases and put them on the
Web. We need to download scientific journals and upload them to file sharing
networks. We need to fight for Guerilla Open Access. (Swartz 2008)
However whatever form or vision of open access you prefer, I do not think it
is a ‘solution’ to any problem—such as copyright/fight—, but I would rather
see it, as I have written
[elsewhere](http://blogs.lse.ac.uk/impactofsocialsciences/2014/11/18
/embracing-messiness-adema-pdsc14/), ‘as an ongoing processual and critical
engagement with changes in the publishing system, in our scholarly
communication practices and in our media and technologies of communication.’
And in this sense open access practices offer us the possibility to critically
reflect upon the politics of knowledge production, including copyright and
piracy, openness and the commons, indeed, even upon the nature of the book
itself.
With respect to the second part of your question, again, where it concerns
scholarly books, [research by Ronald
Snijder](https://scholar.google.com/citations?view_op=view_citation&hl=en&user=PuDczakAAAAJ&citation_for_view=PuDczakAAAAJ:u-x6o8ySG0sC)
shows no decline in sales or income for publishers once they release their
scholarly books in open access. The open availability does however lead to
more discovery and online consultation, meaning that it actually might lead to
more ‘impact’ for scholarly books (Snijder 2010).
**DG, VN: In which way, if any, are digital archiving practices stimulating
new publishing phenomenons? Are there any innovative outcomes, apart the
obvious relation to p.o.d. tools? (or interesting new projects in this
field)**
JA: Beyond extending access, I am mostly interested in how digital archiving
practices have the potential to stimulate the following practices or phenomena
(which in no way are specific to digital archiving or publishing practices, as
they have always been a potential part of print publications too): reuse and
remix; processual research and iterative publishing; and collaborative forms
of knowledge production. These practices interest me mainly as they have the
potential to critique the way the (printed) book has been commodified and
essentialised over the centuries, in a bound, linear and fixed format, a
practice which is currently being replicated in a digital context. Indeed, the
book has been fixed in this way both discursively and through a system of
material production within publishing and academia—which includes our
institutions and practices of scholarly communication—that prefers book
objects as quantifiable and auditable performance indicators and as marketable
commodities and objects of symbolic value exchange. The practices and
phenomena mentioned above, i.e. remix, versioning and collaboration, have the
potential to help us to reimagine the bound nature of the book and to explore
both a spatial and temporal critique of the book as a fixed object; they can
aid us to examine and experiment with various different incisions that can be
made in our scholarship as part of the informal and formal publishing and
communication of our research that goes beyond the final research commodity.
In this sense I am interested in how these specific digital archiving,
research and publishing practices offer us the possibility to imagine a
different, perhaps more ethical humanities, a humanities that is processual,
contingent, unbound and unfinished. How can these practices aid us in how to
cut well in the ongoing unfolding of our research, how can they help us
explore how to make potentially better interventions? How can we take
responsibility as scholars for our entangled becoming with our research and
publications? (Barad 2007, Kember and Zylinska 2012)
Examples that I find interesting in the realm of the humanities in this
respect include projects that experiment with such a critique of our fixed,
print-based practices and institutions in an affirmative way: for example Mark
Amerika’s [remixthebook](http://www.remixthebook.com/) project; Open
Humanities’ [Living Books about Life](http://www.livingbooksaboutlife.org/)
series; projects such as
[Vectors](http://vectors.usc.edu/issues/index.php?issue=7) and
[Scalar](http://scalar.usc.edu/); and collaborative knowledge production,
archiving and creation projects, from wiki-based research projects to AAAARG.
**DG, VN: In which way does a digital container influence its content? Does
the same book — if archived on different platforms, such as _Internet Archive_
, _The Pirate Bay_ , _Monoskop Log_ — still remain the same cultural item?**
JA: In short my answer to this question would be ‘no’. Books are embodied
entities, which are materially established through their specific affordances
in relationship to their production, dissemination, reception and
preservation. This means that the specific materiality of the (digital) book
is partly an outcome of these ongoing processes. Katherine Hayles has argued
in this respect that materiality is an emergent property:
> In this view of materiality, it is not merely an inert collection of
physical properties but a dynamic quality that emerges from the interplay
between the text as a physical artifact, its conceptual content, and the
interpretive activities of readers and writers. Materiality thus cannot be
specified in advance; rather, it occupies a borderland— or better, performs as
connective tissue—joining the physical and mental, the artifact and the user.
(2004: 72)
Similarly, Matthew Kirschenbaum points out that the preservation of digital
objects is:
> _logically inseparable_ from the act of their creation’ (…) ‘The lag between
creation and preservation collapses completely, since a digital object may
only ever be said to be preserved _if_ it is accessible, and each individual
access creates the object anew. One can, in a very literal sense, _never_
access the “same” electronic file twice, since each and every access
constitutes a distinct instance of the file that will be addressed and stored
in a unique location in computer memory. (Kirschenbaum 2013)
Every time we access a digital object, we thus duplicate it, we copy it and we
instantiate it. And this is exactly why, in our strategies of conservation,
every time we access a file we also (re)create these objects anew over and
over again. The agency of the archive, of the software and hardware, are also
apparent here, where archives are themselves ‘active ‘‘archaeologists’’ of
knowledge’ (Ernst 2011: 239) and, as Kirschenbaum puts it, ‘the archive writes
itself’ (2013).
In this sense a book can be seen as an apparatus, consisting of an
entanglement of relationships between, among other things, authors, books, the
outside world, readers, the material production and political economy of book
publishing, its preservation and material instantiations, and the discursive
formation of scholarship. Books as apparatuses are thus reality shaping, they
are performative. This relates to Johanna Drucker’s notion of ‘performative
materiality’, where Drucker argues for an extension of what a book _is_ (i.e.
from a focus on its specific properties and affordances), to what a book
_does_ : ‘Performative materiality suggests that what something _is_ has to be
understood in terms of what it _does_ , how it works within machinic,
systemic, and cultural domains.’ For, as Drucker argues, ‘no matter how
detailed a description of material substrates or systems we have, their use is
performative whether this is a reading by an individual, the processing of
code, the transmission of signals through a system, the viewing of a film,
performance of a play, or a musical work and so on. Material conditions
provide an inscriptional base, a score, a point of departure, a provocation,
from which a work is produced as an event’ (Drucker 2013).
So, to come back to your question, these specific digital platforms (Monoskop,
The Pirate Bay etc.) become integral aspects of the apparatus of the book and
each in their own different way participates in the performance and
instantiation of the books in their archives. Not only does a digital book
therefore differ as a material or cultural object from a printed book, a
digital object also has materially distinct properties related to the platform
on which it is made available. Indeed, building further on the theories
described above, a book is a different object every time it is instantiated or
read, be it by a human or machinic entity; they become part of the apparatus
of the book, a performative apparatus. Therefore, as Silvio Lorusso has
stated:
**DG, VN: In your opinion, can scholarly publishing, in particular self-
archiving practices, constitute a bridge covering the gap between authors and
users in terms of access to knowledge? Could we hope that these practices will
find a broader use, moving from very specific fields (academic papers) to book
publishing in general?**
JA: On the one hand, yes. Self-archiving, or the ‘green road’ to open access,
offers a way for academics to make their research available in a preprint form
via open access repositories in a relatively simple and straightforward way,
making it easily accessible to other academics and more general audiences.
However, it can be argued that as a strategy, the green road doesn’t seem to
be very subversive, where it doesn’t actively rethink, re-imagine, or
experiment with the system of scholarly knowledge production in a more
substantial way, including peer-review and the print-based publication forms
this system continues to promote. With its emphasis on achieving universal,
free, online access to research, a rigorous critical exploration of the form
of the book itself doesn’t seem to be a main priority of green open access
activists. Stevan Harnad, one of the main proponents of green open access and
self-archiving has for instance stated that ‘it’s time to stop letting the
best get in the way of the better: Let’s forget about Libre and Gold OA until
we have managed to mandate Green Gratis OA universally’ (Harnad 2012). This is
where the self-archiving strategy in its current implementation falls short I
think with respect to the ‘breaking-down’ of barriers between authors and
users, where it isn’t necessarily committed to following a libre open access
strategy, which, one could argue, would be more open to adopting and promoting
forms of open access that are designed to make material available for others
to (re) use, copy, reproduce, distribute, transmit, translate, modify, remix
and build upon? Surely this would be a more substantial strategy to bridge the
gap between authors and users with respect to the production, dissemination
and consumption of knowledge?
With respect to the second part of your question, could these practices find a
broader use? I am not sure, mainly because of the specific characteristics of
academia and scholarly publishing, where scholars are directly employed and
paid by their institutions for the research work they do. Hence, self-
archiving this work would not directly lead to any or much loss of income for
academics. In other fields, such as literary publishing for example, this
issue of remuneration can become quite urgent however, even though many [free
culture](https://en.wikipedia.org/wiki/Free_culture_movement) activists (such
as Lawrence Lessig and Cory Doctorow) have argued that freely sharing cultural
goods online, or even self-publishing, doesn’t necessarily need to lead to any
loss of income for cultural producers. So in this respect I don’t think we can
lift something like open access self-archiving out of its specific context and
apply it to other contexts all that easily, although we should certainly
experiment with this of course in different domains of digital culture.
**DG, VN: After your answers, we would also receive suggestions from you. Do
you notice any unresolved or raising questions in the contemporary context of
digital archiving practices and their relation to the publishing realm?**
JA: So many :). Just to name a few: the politics of search and filtering
related to information overload; the ethics and politics of publishing in
relationship to when, where, how and why we decide to publish our research,
for what reasons and with what underlying motivations; the continued text- and
object-based focus of our archiving and publishing practices and platforms,
where there is a lack of space to publish and develop more multimodal,
iterative, diagrammatic and speculative forms of scholarship; issues of free
labor and the problem or remuneration of intellectual labor in sharing
economies etc.
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