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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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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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# 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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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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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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@ -6,7 +6,7 @@ has_shards = ["subversionofcopyright.md", "privatization.md", "guerillaopenacces
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# Denial of access to public libraries
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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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# Shadow libraries acting in their stead
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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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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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> 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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@ -27,6 +27,6 @@ Care and redundancy is the reason why we decided to run mirrors. We care and we
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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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@ -11,4 +11,4 @@ glassblowers = ["marcellmars.md", "tomislavmedak.md"]
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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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> 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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> 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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[^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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