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@ -8,11 +8,11 @@ has_reflections = ["avantgarde.md", "shadowlibraries.md", "technologicalresilien
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Marcel Duchamp, one of the founders of avant-garde, in 1935 at the Councours Lépine, an innovation fair, exhibited a series of objects under titled *Rotoreliefs* - twelve cardboard litography discs with spiral motifs in the lithography technique. When rotating *Rotoreliefs* would engender optical illusions. Although he received an honorable mention in the category of industrial art for his exhibit, the product itself turned out to be unsuccessful: he sold two discs to friends and one to a visitor. Duchamp initially produced 500 sets of *Rotoreliefs*, of which 300 disappeared in the Second World War, while rare examples were preserved for posterity.
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At Interliber, a book fair, we are exhibiting the electronic publication *Ubu@50*. UbuWeb (ubu.com) is the largest online archive of avant-garde art. The electronic publication *Ubu@50* contains texts about UbuWeb, a digital library of references used in the texts and a complete archive of UbuWeb.
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At Interliber, a book fair, we are exhibiting the electronic publication *Ubu@50*. [UbuWeb](https://ubu.com) is the largest online archive of avant-garde art. The electronic publication *Ubu@50* contains texts about UbuWeb, a digital library of references used in the texts and a complete archive of UbuWeb.
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# Fragile archives
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 _A screenshot from  on an Android phone_
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UbuWeb celebrated its 25th birthday two years ago. Since the advent of the Internet as a global mass medium, the American conceptual artist Kenneth Goldsmith himself, using rudimentary HTML code and without asking permission, has collected, organized and provided access to otherwise difficult-to-access works of experimental film, video art, contemporary theater, conceptual poetry and concrete music. Years before museums and archives of contemporary art began to digitize material from their depots, Ubu was a place to discover important works of cultural history and potentially the cultural future. However, in times of digital platforms, surveillance and intellectual property restrictions, precious archives like Ubu can disappear overnight. As Custodians.online once wrote in a birthday card for Ubu's 20th:
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@ -24,4 +24,4 @@ In the greeting card, we, people who care, are invited to find our own Ubu. The
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Therefore, those who care will bring a 3TB hard drive and at Interliber will get a chance to copy a mirror of Ubu to that drive. By Ubu's fiftieth we should have fifty mirrors!
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With Ubu@50, we ask what the future should look like to allow Ubu and other autonomous digital archives to survive over the next quarter of a century. What kind of future can we imagine for avant-gardes under the conditions of ubiquitous digital infrastructures, intensive application of artificial intelligence and technological responses to social and ecological crises? And vice versa, what kind of future can we imagine for societies from the perspective of sustainable use of technologies, radical avant-garde gestures and the commons as they were created in digital culture over the previous quarter of a century?
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With Ubu@50, we ask what the future should look like to allow Ubu and other autonomous digital archives to survive over the next quarter of a century. What kind of future can we imagine for avant-gardes under the conditions of ubiquitous digital infrastructures, intensive application of artificial intelligence and technological responses to social and ecological crises? And vice versa, what kind of future can we imagine for societies from the perspective of sustainable use of technologies, radical avant-garde gestures and the commons as they were created in digital culture over the previous quarter of a century?
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content/print/publication.md
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content/print/publication.md
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title="Everything Is Temporary"
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print="mirror/everythingistemporary.md"
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@ -6,8 +6,8 @@ has_shards = ["subversionofcopyright.md", "privatization.md", "guerillaopenacces
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# Denial of access to public libraries
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The transition from print distribution to digital networks has enormously expanded the accessibility of cultural works and science. However, in that expansion of accessibility, public libraries, the central institutions of organizing knowledge and providing access to knowledge in the age of print, were denied from doing with "digital" objects what they were tasked to do with "print" objects. Because of the self-interested concerns of copyright holders, [until the mid-2010s libraries were excluded from lending digital works](http://www.ala.org/news/2012/09/open-letter-america%E2%80%99s-publishers-ala-president-maureen-sullivan) and, thus, platforms that have taken on the task of organizing and facilitating access to digital works for commercial purposes, such as Google and Amazon, have captured that central position. Centralized digital platforms and copyright monopolies, erstwhile arch enemies, have then gradually come to a marriage of interest, creating a new cultural and knowledge industry of subscription access that actively denies the expanded digital access to culture and knowledge to a large part of the world.
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The transition from print distribution to digital networks has enormously expanded the accessibility of cultural works and science. However, in that expansion of accessibility, public libraries, the central institutions of organizing knowledge and providing access to knowledge in the age of print, were denied from doing with "digital" objects what they were tasked to do with "print" objects. Because of the self-interested concerns of copyright holders,  and, thus, platforms that have taken on the task of organizing and facilitating access to digital works for commercial purposes, such as Google and Amazon, have captured that central position. Centralized digital platforms and copyright monopolies, erstwhile arch enemies, have then gradually come to a marriage of interest, creating a new cultural and knowledge industry of subscription access that actively denies the expanded digital access to culture and knowledge to a large part of the world.
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# Shadow libraries acting in their stead
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In response to that denial, readers across the world have taken to digitizing and sharing digital texts themselves, creating their own piratical systems of access. These systems are called shadow libraries and can be regarded as a form of pirate care in its own right. While mass copying of texts is nothing specific to the age of digital networks — in earlier decades, texts found their shadowy ways of circulation through photocopies or floppy-disk copying, the scale of sharing and the ability to organize texts into large collections has allowed shadow libraries to do what public libraries were not allowed to do. In doing so, shadow libraries and shadow librarians have been articulating a politics of mass disobedience with the system of denial.
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In response to that denial, readers across the world have taken to digitizing and sharing digital texts themselves, creating their own piratical systems of access. These systems are called shadow libraries and can be regarded as a form of pirate care in its own right. While mass copying of texts is nothing specific to the age of digital networks — in earlier decades, texts found their shadowy ways of circulation through photocopies or floppy-disk copying, the scale of sharing and the ability to organize texts into large collections has allowed shadow libraries to do what public libraries were not allowed to do. In doing so, shadow libraries and shadow librarians have been articulating a politics of mass disobedience with the system of denial.
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@ -3,7 +3,7 @@ title = "Database, a new aesthetics of the everyday"
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glassblowers = ["mckenziewark.md"]
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T> he 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.
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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.
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> 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.
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@ -4,29 +4,29 @@ glassblowers = ["Custodiansonline.md"]
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A happy birthday letter from [Custodians.online](https://custodians.online) to UbuWeb on its 20th birthday.
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A [happy birthday letter](https://custodians.online/ubu) from  to UbuWeb on its 20th birthday.
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Dear fellow custodian,
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> Dear fellow custodian,
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[Ubu.com](https://ubu.com) turns 20 this year. For about the same time the Internet has been a mass medium on a global scale and we, personally, have been using it on a daily basis. This is a perfect occasion for a gift - to Ubu, to the Internet and to ourselves: two mirrors, one at [ubu.memoryoftheworld.org](https://ubu.memoryoftheworld.org) and one at [ubu-mirror.ch](https://ubu-mirror.ch).
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> [Ubu.com](https://ubu.com) turns 20 this year. For about the same time the Internet has been a mass medium on a global scale and we, personally, have been using it on a daily basis. This is a perfect occasion for a gift - to Ubu, to the Internet and to ourselves: two mirrors, one at [ubu.memoryoftheworld.org](https://ubu.memoryoftheworld.org) and one at [ubu-mirror.ch](https://ubu-mirror.ch).
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For all accounts and purposes, something like Ubu should not exist. A single person, Kenneth Goldsmith, using no money whatsoever, has created the single-most important archive of avant-garde and outsider art. Works that have played an important role in cultural history, or could play in the future, have been collected, organized and made available to anyone, with no restrictions, just the friendly reminder to respect the works.
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> For all accounts and purposes, something like Ubu should not exist. A single person, Kenneth Goldsmith, using no money whatsoever, has created the single-most important archive of avant-garde and outsider art. Works that have played an important role in cultural history, or could play in the future, have been collected, organized and made available to anyone, with no restrictions, just the friendly reminder to respect the works.
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In a world of money-crazed start-ups and surveillance capitalism, copyright madness and abuse, Ubu represents an island of culture. It shows what a single person, with dedication and focus, can achieve.
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> In a world of money-crazed start-ups and surveillance capitalism, copyright madness and abuse, Ubu represents an island of culture. It shows what a single person, with dedication and focus, can achieve.
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There are lessons to be drawn from this:
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> There are lessons to be drawn from this:
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1. Keep it simple and avoid constant technology updates. Ubu is plain HTML, written in a text-editor.
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2. Even a website should function offline. One should be able to take the hard disk and run. Avoid the cloud - computers of people you don't know and who don't care about you.
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3. Don't ask for permission. You would have to wait forever, turning yourself into an accountant and a lawyer.
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4. Don't promise anything. Do it the way you like it.
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5. You don't need search engines. Rely on word-of-mouth and direct linking to slowly build your public. You don't need complicated protocols, digital currencies or other proxies. You need people who care.
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6. Everything is temporary, even after 20 years. Servers crash, disks die, life changes and shit happens. Care and redundancy is the only path to longevity.
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> 1. Keep it simple and avoid constant technology updates. Ubu is plain HTML, written in a text-editor.
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> 2. Even a website should function offline. One should be able to take the hard disk and run. Avoid the cloud - computers of people you don't know and who don't care about you.
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> 3. Don't ask for permission. You would have to wait forever, turning yourself into an accountant and a lawyer.
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> 4. Don't promise anything. Do it the way you like it.
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> 5. You don't need search engines. Rely on word-of-mouth and direct linking to slowly build your public. You don't need complicated protocols, digital currencies or other proxies. You need people who care.
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> 6. Everything is temporary, even after 20 years. Servers crash, disks die, life changes and shit happens. Care and redundancy is the only path to longevity.
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Care and redundancy is the reason why we decided to run mirrors. We care and we want this resource to exist. The first four points are the reason why we could do it fairly easily.
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> Care and redundancy is the reason why we decided to run mirrors. We care and we want this resource to exist. The first four points are the reason why we could do it fairly easily.
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Ubu is now located in the US, Mexico, Iceland and Switzerland. The Iceland mirror is part of a cultural activist community, the Swiss mirror is run by a major art school. None of this matters, as long as ubu.com runs fine. But should shit happen, this multiplicity of locations and institutions might come in handy. We will see.
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> Ubu is now located in the US, Mexico, Iceland and Switzerland. The Iceland mirror is part of a cultural activist community, the Swiss mirror is run by a major art school. None of this matters, as long as ubu.com runs fine. But should shit happen, this multiplicity of locations and institutions might come in handy. We will see.
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Find your Ubu. It's time to mirror each other in solidarity.
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> Find your Ubu. It's time to mirror each other in [solidarity](https://custodians.online).
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*30 November 2016*
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> *30 November 2016*
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> Thus are material acts and facts created that wipe out the collective memory of a past where the emancipatory labour movement and anti-fascism defeated—even if temporarily—Nazism, racism, and exploitation of the underclasses. In their toleration of such material acts and facts that destroy memory, the media, the public, and the intellectuals are complicit in a rewriting of history anew. The monoethnic identity of new capitalist nation-states thus descends into a self-justificatory spiral of historical revisionism.
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— Marcell Mars and Tomislav Medak, "Public Library and the Return of the Repressed", , 74–89. L’internationale Online, 2022.
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— Marcell Mars and Tomislav Medak, "Public Library and the Return of the Repressed",  edited by Sara Buraya Boned, Jennifer Fitzgibbon and Sezin Romi, 74–89. L’internationale Online, 2022.
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> For that reason, too, privatization is not a transition but a permanent state, since it is precisely through the process of privatization that the private discovers its fatal dependence on the state: private spaces are necessarily formed from the remnants of the state monster. It is a violent dismemberment and private appropriation of the dead body of the Socialist state, both of which recall sacred feasts of the past in which members of a tribe would consume a totem animal together. On the one hand, such a feast represents a privatization of the totem animal, since everyone received a small, private piece of it; on the other, however, the justification for the feast was precisely a creation of the supraindividual identity of the tribe.
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— From 
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— From 
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@ -9,8 +9,8 @@ While public libraries were created in the 19th C with the mission to classify,
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---
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[^1]: Stengers, Isabelle. In Catastrophic Times: Resisting the Coming Barbarism. Open Humanities Press, 2015, p. 15.
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[^1]: Stengers, Isabelle. . Open Humanities Press, 2015, p. 15.
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[^2]: Graziano, Valeria, et al. “Local Maximum: On Popular Technical Pedagogy.” Artistic Ecologies: New Compasses and Tools, edited by Emily Pethick et al., Sternberg Press / What, How & for Whom/WHW, 2022, pp. 118–31.
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[^2]: Pirate Care. . Artistic Ecologies: New Compasses and Tools, edited by Emily Pethick et al., Sternberg Press / What, How & for Whom/WHW, 2022, pp. 118–31.
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[^3]: Drabinski, Emily. “What Is Critical about Critical Librarianship?” Art Libraries Journal, vol. 44, no. 2, 2019, pp. 49–57.
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[^3]: Drabinski, Emily. . Art Libraries Journal, vol. 44, no. 2, 2019, pp. 49–57.
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