adorno in Adema 2009
Lütgert](http://www.wizards-of-
os.org/archiv/wos_3/sprecher/l_p/sebastian_luetgert.html) from Berlin/New York
was sued by the "Hamburger Stiftung zur Förderung von Wissenschaft und Kultur"
for putting online two downloadable texts from Theodor W. Adorno on his
website [textz.com](http://www.medienkunstnetz.de/artist/textz-
com/biography/), an underground archive for Literature. According to
[this](http://de.indymedia.org/2004/03/76975.shtml) Indymedia interview with
Lütgert, textz.com was referred
s Lütgert states _‘Theorie, Romane, Science-Fiction,
Situationisten, Kino, Franzosen, Douglas Adams, Kritische Theorie, Netzkritik
usw’._
The interview becomes even more interesting when Lütgert remarks that one can
still easily download both Adorno texts without much ado if one wants to. This
leads to the bigger question of the real reasons underlying the charge against
textz.com; why was textz.com sued? As Lütgert says in the interview: “ _Das
kann man sowieso_ [when referring to the still available Adorno texts] _._
_Aber es gibt schon lange einen klaren Unterschied zwischen offener
Verfügbarkeit und dem Untergrund. Man kann die freie Verbreitung von Inhalten
nicht unterbinden, aber man scheint verhindern zu wollen dass dies allzu offen
und selbstver
s via p2p networks and
other file sharing community’s (the true
[Darknet](http://en.wikipedia.org/wiki/Darknet_\(file_sharing\)) in a way) –
more and more people are offering (and asking for!) selections of texts and
books (including the ones by Adorno) on openly available websites and blogs,
or they are scanning them and offering them for (educational) use on their
domains. Although the Internet is mostly known for the pirating and
dissemination of pirated movies and music, copyright protected tex
e profits are entirely devoted
to research into truth and meaning.’
Society of Control has a [library
section](http://www.societyofcontrol.com/library/) which contains works from
some of the biggest thinkers of the twentieth century: Baudrillard, Adorno,
Debord, Bourdieu, Deleuze, Habermas, Sloterdijk und so weiter, and so much
more, a lot in German, and all ‘typed out’ texts. The library section offers a
direct search function, a category function and a a-z browse function.
Dillemuth states tha
adorno in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013
online in various forms, especially artistic
ones. Personally, I think this relationship will be one of the pivotal media
arenas of change (and so of new potential territories for experimentation
and innovation) in the coming years.
12. Theodor
W. Adorno,
‘Bibliographical
Musings’ in Notes
to Literature Volume
2, Shierry Weber
Nicholsen (trans),
Rolf Tiedemann
(ed), New York,
Columbia University
Press, 1992, p20.
13. Stéphane
Mallarmé, ‘The
Book: A Spiritual
Instrument’,
Bradford Cook
(tran
Taking a lead from some of these points, I’d like to turn to the material
forms of the book and the archive. Sensory form has historically played a key
role in constituting the body, experience, and metaphors of the book and the
archive. For both Adorno and Mallarmé, the physical and sensory properties of
the book are key to its promise, which lies to a large degree in its existence as
a kind of ‘monad’. For Adorno, the book is ‘something self-contained, lasting,
hermetic - something that absorbs the reader and closes the lid over him, as it
were, the way the cover of the book closes on the text’.12 And for Mallarmé, ‘The
foldings of a book, in compariso
object than, as
you put it, part of an ‘infinite resource’?
SD It is a romantic way of thinking about books - and a way that I also find
appealing - but of course it’s a characterisation that comes after the fact
of the book; it’s a way that Adorno, Mallarmé, and others have described
and generalised their own experiences with these objects. I see no reason
why future readers’ experiences with various forms of digital publishing
won’t cohere into something similar, feelings of attachment,
the physical book itself is becoming
something else - material is recombined and re-published and re-packaged
from the web, such that we now have many more books being published each
year than ever before - perhaps not as self-enclosed as it was for Adorno. I
don’t want to make equivalences between the digital and physical book - there
are very real physiological and psychical differences between holding ink on
paper versus holding a manufactured hard drive, coursing with radio waves
and emitting som
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