https://www.mondotheque.be/wiki/api.php?action=feedcontributions&user=Acastro&feedformat=atomMondothèque - User contributions [en]2024-03-29T09:31:48ZUser contributionsMediaWiki 1.27.1https://www.mondotheque.be/wiki/index.php?title=File:Book.pdf&diff=8185File:Book.pdf2016-06-29T14:33:02Z<p>Acastro: Acastro uploaded a new version of File:Book.pdf</p>
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<div>prototype for the publication</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=File:Book.pdf&diff=8171File:Book.pdf2016-06-28T13:19:54Z<p>Acastro: Acastro uploaded a new version of File:Book.pdf</p>
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<div>prototype for the publication</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=The_radiated_book&diff=8170The radiated book2016-06-28T13:01:07Z<p>Acastro: underscores removed from Madame C</p>
<hr />
<div>* '''Mondothèque: a radiated book/un livre radieux/een stralend boek'''<br />
** ''[[Property:Person]] (agents + actors)''<br />
** <span class="lang">EN</span> ''[[Introduction]]''<br />
** <span class="lang">NL</span> ''[[Inleiding]]''<br />
** <span class="lang">FR</span> ''[[Préface]]''<br />
* '''Embedded hierarchies'''<br />
** <span class="lang">FR+NL+EN</span> ''[[The radiated interview/L'entrevue rayonnée/Het gestraalde interview]]''<br />
** <span class="lang">EN</span> ''[[Amateur Librarian - A Course in Critical Pedagogy]]'' '''<span class="name">[[author::Tomislav Medak]]</span>''' & '''<span class="name">[[author::Marcell Mars]]</span>''' (Public Library project)<br />
** <span class="lang">FR</span> ''[[Bibliothécaire amateur - un cours de pédagogie critique]]'' <span class="name">[[author::Tomislav Medak]] & <span class="name">[[author::Marcell Mars]]</span><br />
** <span class="lang">EN</span> ''[[A bag but is language nothing of words]]'' '''<span class="name">[[author::Michael Murtaugh]]</span>''' <br />
** <span class="lang">EN</span> ''[[A Book of the Web]]'' '''<span class="name">[[author::Dušan Barok]]</span>'''<br />
** <span class="lang">NL</span> ''[[De Indexalist]]'' '''<span class="name">[[author::Matthew Fuller]]</span>'''<br />
** <span class="lang">EN</span> ''[[The Indexalist]]'' <span class="name">[[author::Matthew Fuller]]</span><br />
** <span class="lang">FR</span> ''[[Une lecture-écriture du livre sur le livre]]'' '''<span class="name">[[author::Alexia de Visscher]]</span>'''<br />
* '''Disambiguation'''<br />
** <span class="lang">EN</span> ''[[An experimental transcript]]'' '''<span class="name">[[author::Sînziana Păltineanu]]</span>'''<br />
** <span class="lang">EN+FR</span> ''[[LES UTOPISTES and their common logos/et leurs logos communs]]'' '''<span class="name">[[author::Dennis Pohl]]</span>'''<br />
** <span class="lang">EN</span> ''[[X = Y]]'' '''<span class="name">[[author::Dick Reckard]]</span>'''<br />
** <span class="lang">EN+NL</span> ''[[Madame C/Mevrouw C]]'' '''<span class="name">[[author::Femke Snelting]]</span>'''<br />
** <span class="lang">FR</span> ''[[Une histoire préventive du Google Cultural Institute]]'' '''<span class="name">[[author::Geraldine Juárez]]</span>'''<br />
** <span class="lang">EN</span> ''[[A Pre-emptive History of the Google Cultural Institute]]'' <span class="name">[[author::Geraldine Juárez]]</span><br />
** <span class="lang">EN</span> ''[[Special:Disambiguation]]''<br />
* '''Location, location, location'''<br />
** <span class="lang">EN</span> ''[[From Paper Mill to Google Data Center]]'' '''<span class="name">[[author::ShinJoung Yeo]]</span>'''<br />
** <span class="lang">EN</span> ''[[House, City, World, Nation, Globe]]'' '''<span class="name">[[author::Natacha Roussel]]</span>'''<br />
** <span class="lang">EN</span> ''[[The Smart City - City of Knowledge]]'' '''<span class="name">[[author::Dennis Pohl]]</span>'''<br />
** <span class="lang">FR</span> ''[[La ville intelligente - Ville de la connaissance]]'' <span class="name">[[author::Dennis Pohl]]</span><br />
** <span class="lang">EN</span> ''[[The_Itinerant_Archive_(print)|The Itinerant Archive]]''<br />
* '''Cross-readings'''<br />
** <span class="lang">EN</span> ''[[Les Pyramides]]''<br />
** <span class="lang">EN</span> ''[[Transclusionism]]''<br />
** <span class="lang">EN</span> ''[[Reading list]]''<br />
** <span class="lang">FR+EN+NL</span> ''[[Colophon/Colofon]]''<br />
<br />
{{Revision}}</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=The_radiated_book&diff=8169The radiated book2016-06-28T11:57:09Z<p>Acastro: removed pipe from Préface, The radiated interview/L'entrevue rayonnée/Het gestraalde interview, Reading List</p>
<hr />
<div>* '''Mondothèque: a radiated book/un livre radieux/een stralend boek'''<br />
** ''[[Property:Person]] (agents + actors)''<br />
** <span class="lang">EN</span> ''[[Introduction]]''<br />
** <span class="lang">NL</span> ''[[Inleiding]]''<br />
** <span class="lang">FR</span> ''[[Préface]]''<br />
* '''Embedded hierarchies'''<br />
** <span class="lang">FR+NL+EN</span> ''[[The radiated interview/L'entrevue rayonnée/Het gestraalde interview]]''<br />
** <span class="lang">EN</span> ''[[Amateur Librarian - A Course in Critical Pedagogy]]'' '''<span class="name">[[author::Tomislav Medak]]</span>''' & '''<span class="name">[[author::Marcell Mars]]</span>''' (Public Library project)<br />
** <span class="lang">FR</span> ''[[Bibliothécaire amateur - un cours de pédagogie critique]]'' <span class="name">[[author::Tomislav Medak]] & <span class="name">[[author::Marcell Mars]]</span><br />
** <span class="lang">EN</span> ''[[A bag but is language nothing of words]]'' '''<span class="name">[[author::Michael Murtaugh]]</span>''' <br />
** <span class="lang">EN</span> ''[[A Book of the Web]]'' '''<span class="name">[[author::Dušan Barok]]</span>'''<br />
** <span class="lang">NL</span> ''[[De Indexalist]]'' '''<span class="name">[[author::Matthew Fuller]]</span>'''<br />
** <span class="lang">EN</span> ''[[The Indexalist]]'' <span class="name">[[author::Matthew Fuller]]</span><br />
** <span class="lang">FR</span> ''[[Une lecture-écriture du livre sur le livre]]'' '''<span class="name">[[author::Alexia de Visscher]]</span>'''<br />
* '''Disambiguation'''<br />
** <span class="lang">EN</span> ''[[An experimental transcript]]'' '''<span class="name">[[author::Sînziana Păltineanu]]</span>'''<br />
** <span class="lang">EN+FR</span> ''[[LES UTOPISTES and their common logos/et leurs logos communs]]'' '''<span class="name">[[author::Dennis Pohl]]</span>'''<br />
** <span class="lang">EN</span> ''[[X = Y]]'' '''<span class="name">[[author::Dick Reckard]]</span>'''<br />
** <span class="lang">EN+NL</span> ''[[Madame_C/Mevrouw_C]]'' '''<span class="name">[[author::Femke Snelting]]</span>'''<br />
** <span class="lang">FR</span> ''[[Une histoire préventive du Google Cultural Institute]]'' '''<span class="name">[[author::Geraldine Juárez]]</span>'''<br />
** <span class="lang">EN</span> ''[[A Pre-emptive History of the Google Cultural Institute]]'' <span class="name">[[author::Geraldine Juárez]]</span><br />
** <span class="lang">EN</span> ''[[Special:Disambiguation]]''<br />
* '''Location, location, location'''<br />
** <span class="lang">EN</span> ''[[From Paper Mill to Google Data Center]]'' '''<span class="name">[[author::ShinJoung Yeo]]</span>'''<br />
** <span class="lang">EN</span> ''[[House, City, World, Nation, Globe]]'' '''<span class="name">[[author::Natacha Roussel]]</span>'''<br />
** <span class="lang">EN</span> ''[[The Smart City - City of Knowledge]]'' '''<span class="name">[[author::Dennis Pohl]]</span>'''<br />
** <span class="lang">FR</span> ''[[La ville intelligente - Ville de la connaissance]]'' <span class="name">[[author::Dennis Pohl]]</span><br />
** <span class="lang">EN</span> ''[[The_Itinerant_Archive_(print)|The Itinerant Archive]]''<br />
* '''Cross-readings'''<br />
** <span class="lang">EN</span> ''[[Les Pyramides]]''<br />
** <span class="lang">EN</span> ''[[Transclusionism]]''<br />
** <span class="lang">EN</span> ''[[Reading list]]''<br />
** <span class="lang">FR+EN+NL</span> ''[[Colophon/Colofon]]''<br />
<br />
{{Revision}}</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Reading_list&diff=8167Reading list2016-06-28T11:54:58Z<p>Acastro: Acastro moved page Cross-readings to Reading list: Make link from index work</p>
<hr />
<div>__NOTOC__<br />
<div class="book"><onlyinclude>Cross-readings. Not a bibliography.</onlyinclude></div><br />
<br />
== Paul Otlet ==<br />
<br />
* Paul Otlet, [http://www.mondotheque.be/wiki/images/1/1c/Otlet_l_afrique_aux_noirs.pdf ''L’afrique aux noirs''], Bruxelles: Ferdinand Larcier, 1888.<br />
<br />
* Paul Otlet, ''L’Éducation et les Instituts du Palais Mondial (Mundaneum)''. Bruxelles: Union des Associations Internationales, 1926.<br />
<br />
* Paul Otlet, [http://www.mondotheque.be/wiki/images/7/78/Otlet_cite_mondiale.pdf ''Cité mondiale. Geneva: World civic center: Mundaneum'']. Bruxelles: Union des Associations Internationales, 1929.<br />
<br />
* Paul Otlet, [http://www.mondotheque.be/wiki/images/2/2c/OtletTraitDocumentation.pdf ''Traité de documentation''], Bruxelles, Mundaneum, Palais Mondial, 1934.<br />
<br />
* Paul Otlet, [https://biblio.ugent.be/publication/378026/file/460268.pdf ''Monde: essai d'universalisme - Connaissance du Monde, Sentiment du Monde, Action organisee et Plan du Monde''], Bruxelles: Editiones Mundeum 1935. See also: http://www.laetusinpraesens.org/uia/docs/otlet_contents.php<br />
<br />
* Paul Otlet, ''Plan belgique; essai d'un plan général, économique, social, culturel. Plan d'urbanisation national. Liaison avec le plan mondial. Conditions. Problèmes. Solutions. Réformes'', Bruxelles: Éditiones Mundaneum, 1935.<br />
<br />
== Re-reading Otlet == <br />
<br />
* Jacques Gillen, Stéphanie Manfroid, and Raphaèle Cornille (eds.), [http://archives.mundaneum.org/fr/paul-otlet-architecte-du-savoir-artisan-de-paix ''Paul Otlet, fondateur du Mundaneum (1868-1944). Architecte du savoir, Artisan de paix,''] Mons: Éditions Les Impressions Nouvelles, 2010.<br />
<br />
* Françoise Levie, [http://www.lesimpressionsnouvelles.com/l%27homme_qui_voulait_classer_le_monde.htm''L’homme qui voulait classer le monde. Paul Otlet et le Mundaneum''], Bruxelles: Les Impressions Nouvelles, 2006.<br />
<br />
* Warden Boyd Rayward, [http://www.mondotheque.be/wiki/images/9/91/Rayward_The_Universe_of_Information.pdf ''The Universe of Information: the Work of Paul Otlet for Documentation and international Organization''], FID Publication 520, Moscow: International Federation for Documentation by the All-Union Institute for Scientific and Technical Information (Viniti), 1975.<br />
<br />
* Warden Boyd Rayward, ''Universum informastsii Zhizn' i deiatl' nost' Polia Otle'', Trans. R.S. Giliarevesky, Moscow: VINITI, 1976.<br />
* Warden Boyd Rayward (ed.), [http://www.mondotheque.be/wiki/images/1/16/Rayward_International_organisation_and_dissemination_of_knowledge.pdf ''International Organization and Dissemination of Knowledge: Selected Essays of Paul Otlet''], Amsterdam: Elsevier, 1990.<br />
<br />
* Warden Boyd Rayward, ''El Universo de la Documentacion: la obra de Paul Otlet sobra documentacion y organizacion internacional'', Trans. Pilar Arnau Rived, Madrid: Mundanau, 2005.<br />
<br />
* Warden Boyd Raywar, "Visions of Xanadu: Paul Otlet (1868-1944) and Hypertext." Journal of the American Society for Information Science (1986-1998) 45, no. 4 (05, 1994): 235-251.<br />
<br />
* Warden Boyd Rayward (who translated and adapted), [http://www.mondotheque.be/wiki/images/c/ca/Warden_Boyd_Rayward_Mundaneum-_Archives_of_Knowledge.pdf ''Mundaneum: Archives of Knowledge''], Urbana-Campaign, Ill. : Graduate School of Library and Information Science, University of Illinois at Urbana-Champaign, 2010. Original: Charlotte Dubray et al., Mundaneum: Les Archives de la Connaissance, Bruxelles: Les Impressions Nouvelles, 2008.<br />
<br />
* Wouter Van Acker,[http://staging01.muse.jhu.edu/journals/perspectives_on_science/v019/19.1.van-acker.html “Internationalist Utopias of Visual Education. The Graphic and Scenographic Transformation of the Universal Encyclopaedia in the Work of Paul Otlet, Patrick Geddes, and Otto Neurath” in ''Perspectives on Science'', Vol.19, nr.1, 2011, p.&nbsp;32-80.<br />
<br />
* Wouter Van Acker, “Universalism as Utopia. A Historical Study of the Schemes and Schemas of Paul Otlet (1868-1944)”, Unpublished PhD Dissertation, University Press, Zelzate, 2011.<br />
<br />
* Theater Adhoc, [http://www.theateradhoc.com/items/pdf/performance-lecture.pdf The humor and tragedy of completeness], 2005.<br />
<br />
== Fathers of the internet ==<br />
<br />
'''Constructing a posthumous pre-history of contemporary networking technologies.'''<br />
<br />
* Christophe Lejeune, [http://www.mondotheque.be/wiki/images/1/1a/Lejeune_Ce_que_l%E2%80%99annuaire_fait_%C3%A0_Internet.pdf ''Ce que l’annuaire fait à Internet - Sociologie des épreuves documentaires''], in Cahiers dela documentation – Bladen voor documentatie – 2006/3.<br />
<br />
* Paul Dourish and Genevieve Bell, [http://www.mondotheque.be/wiki/images/9/92/Paul_Dourish_Genevieve_Bell_Divining_a_Digital.pdf ''Divining a Digital Future''], Chicago: MIT Press 2011.<br />
<br />
* John Johnston, [http://www.mondotheque.be/wiki/images/f/f1/John_Johnston_The_Allure_of_Machinic_Life_%28BookZZ.org%29.pdf ''The Allure of Machinic Life: Cybernetics, Artificial Life, and the New AI''], Chicago: MIT Press 2008.<br />
<br />
* Charles van den Heuvel [http://www.mondotheque.be/wiki/images/5/57/Heuvel_Building_Society_Constructing_Knowledge.pdf ''Building society, constructing knowledge, weaving the web''], in Boyd Rayward [ed.] European Modernism and the Information Society, London: Ashgate Publishers 2008, chapter 7 pp. 127-153.<br />
<br />
* Tim Berners-Lee, James Hendler, Ora Lassila, [http://www.mondotheque.be/wiki/images/d/d2/Tim_Berners-Lee_James_Hendler_Ora_Lassila_The_Semantic_Web.pdf ''The Semantic Web''], in Scientific American - SCI AMER , vol. 284, no. 5, pp. 34-43, 2001.<br />
<br />
* Alex Wright, [http://www.catalogingtheworld.com/ ''Cataloging the World: Paul Otlet and the Birth of the Information Age''], Oxford University Press, 2014.<br />
<br />
* Popova, Maria, [http://www.brainpickings.org/2014/06/09/paul-otlet-alex-wright/ “The Birth of the Information Age: How Paul Otlet’s Vision for Cataloging and Connecting Humanity Shaped Our World”], ''Brain Pickings'', 2014.<br />
<br />
* Heuvel, Charles van den, “Building Society, Constructing Knowledge, Weaving the Web”. in ''European Modernism and the Information Society – Informing the Present, Understanding the Past'', Aldershot, 2008, pp.&nbsp;127–153.<br />
<br />
== Classifying the world ==<br />
<br />
* ShinJoung Yeo, James R. Jacobs, [http://www.mondotheque.be/wiki/images/6/62/ShinJoung_Yeo%2C_James_R._Jacobs%2C_Diversity_matters.pdf ''Diversity matters? Rethinking diversity in libraries''], Radical Reference Countepoise 9 (2) Spring, 2006. p. 5-8.<br />
<br />
* Thomas Hapke, [http://muse.jhu.edu.sci-hub.io/journals/library_trends/v061/61.2.hapke.pdf ''Wilhelm Ostwald's Combinatorics as a Link between In-formation and Form''], in Library Trends, Volume 61, Number 2, Fall 2012.<br />
<br />
* Nancy Cartwright, Jordi Cat, Lola Fleck, Thomas E. Uebel, [http://www.mondotheque.be/wiki/images/6/65/Okruhlik_Otto_Neurath.pdf ''Otto Neurath: Philosophy Between Science and Politics'']. Cambridge University Press, 2008.<br />
<br />
* Nathan Ensmenger, [http://www.mondotheque.be/wiki/images/0/0b/Ensmenger_The_Computer_Boys_Take_Over%28BookZZ.org%29.pdf ''The Computer Boys Take Over: Computers, Programmers, and the Politics of Technical Expertise'']. MIT Press, 2010.<br />
<br />
* Ronald E. Day, [http://monoskop.org/images/9/92/Day_Ronald_E_Modern_Invention_of_Information_Discourse_History_and_Power.pdf ''The Modern Invention of Information: Discourse, History, and Power''], Southern Illinois University Press, 2001.<br />
<br />
* Markus Krajewski, Peter Krapp [http://www.mondotheque.be/wiki/images/a/ab/Markus_Krajewski%2C_Peter_Krapp_Paper_Machines_Ab.pdf ''Paper Machines: About Cards & Catalogs, 1548-1929''] The MIT Press<br />
* Eric de Groller [http://www.mondotheque.be/wiki/images/f/f3/Groller_A_Study_of_general_categories_applicable_to_classification_and_coding_in_documentation.pdf ''A Study of general categories applicable to classification and coding in documentation'']; Documentation and terminology of science; 1962.<br />
<br />
* Paul Otlet, [http://efele.net/ebooks/livres/000399/ ''L’afrique aux noirs''], Bruxelles: Ferdinand Larcier, 1888.<br />
<br />
* Marlene Manoff, [http://www.mondotheque.be/wiki/images/e/ec/Manoff_Theories_of_the_archive_from_across_the_disciplines.pdf ''"Theories of the archive from across the disciplines,"''] in portal: Libraries and the Academy, Vol. 4, No. 1 (2004), pp. 9–25.<br />
* Charles van den Heuvel, W. Boyd Rayward, [http://www.mondotheque.be/wiki/images/e/e2/Heuvel_Rayward_Facing_Interfaces.pdf ''Facing Interfaces: Paul Otlet's Visualizations of Data Integration'']. Journal of the American society for information science and technology (2011).<br />
<br />
== Don't be evil ==<br />
<br />
'''Standing on the hands of Internet giants'''<br />
<br />
* Rene Koenig, Miriam Rasch (eds), [http://www.mondotheque.be/wiki/images/7/76/Koenig_Rasch_Society_of_the_Query_Reader.pdf ''Society of the Query Reader: Reflections on Web Search''], Amsterdam: Institute of Network Cultures, 2014.<br />
<br />
* Matthew Fuller, Andrew Goffey, [http://www.mondotheque.be/wiki/images/0/07/Fuller_Goffey-Evil_Media.pdf ''Evil Media'']. Cambridge, Mass., United States: MIT Press, 2012.<br />
<br />
* Steve Levy [http://www.mondotheque.be/wiki/images/2/2b/Levy_Steve_In_The_Plex.pdf ''In The Plex'']. Simon & Schuster, 2011.<br />
<br />
* Dan Schiller, ShinJoung Yeo, [http://www.mondotheque.be/wiki/images/9/96/Schiller_Yeo_Powered_By_Google.pdf ''Powered By Google: Widening Access and Tightening Corporate Control''] in: Red Art: New Utopias in Data Capitalism, Leonardo Electronic Almanac, Volume 20 Issue 1 (2015).<br />
<br />
* Invisible Committee, [http://www.mondotheque.be/wiki/images/7/7b/Fuckoffgoogleeng.pdf ''Fuck Off Google''], 2014.<br />
<br />
* Dave Eggers, [http://www.mondotheque.be/wiki/images/c/cc/Dave_Eggers_The_Circle.pdf ''The Circle'']. Knopf, 2014.<br />
<br />
* Matteo Pasquinelli, [http://www.mondotheque.be/wiki/images/3/33/Pasquinelli_Googles_PageRank_Algorithm.pdf ''Google’s PageRank Algorithm: A Diagram of the Cognitive Capitalism and the Rentier of the Common Intellect]''. In: Konrad Becker, Felix Stalder (eds), Deep Search, London: Transaction Publishers: 2009.<br />
<br />
* Joris van Hoboken, [http://www.mondotheque.be/wiki/images/c/ca/Joris_van_Hoboken_Search_Engine_Freedom-_On_the_Implications_of_the_Right_to_Freedom_of_Expression_for_the_Legal_Governance_of_Web_Search_Engines.pdf ''Search Engine Freedom: On the Implications of the Right to Freedom of Expression for the Legal Governance of Web Search Engines'']. Kluwer Law International, 2012.<br />
<br />
* Wendy Hui Kyong Chun, [http://www.mondotheque.be/wiki/images/5/54/Wendy_Hui_Kyong_Chun_Control_and_Freedom.pdf ''Control and Freedom: Power and Paranoia in the Age of Fiber Optics'']. The MIT Press, 2008.<br />
<br />
* Siva Vaidhyanathan, [http://www.mondotheque.be/wiki/images/b/b8/Vaidhyanathan_The_Googlization_of_Everythin.pdf ''The Googlization of Everything (And Why We Should Worry)'']. University of California Press. 2011.<br />
<br />
* William Miller, [http://www.mondotheque.be/wiki/images/3/34/William_Miller_Living_With_Google.pdf ''Living With Google'']. In: Journal of Library Administration Volume 47, Issue 1-2, 2008.<br />
<br />
* Lawrence Page, Sergey Brin [http://www.mondotheque.be/wiki/images/4/4d/Page_Brin_The_Anatomy_of_a_Search_Engine.pdf ''The Anatomy of a Large-Scale Hypertextual Web Search Engine'']. Computer Networks, vol. 30 (1998), pp. 107-117.<br />
<br />
* Ken Auletta [http://www.mondotheque.be/wiki/images/6/65/Ken_Auletta-_Googled_The_End_of_the_World_As_We.pdf ''Googled: The end of the world as we know it'']. Penguin Press, 2009.<br />
<br />
== Embedded hierarchies ==<br />
<br />
* Paul Otlet, [http://archive.org/details/OtletTraitDocumentationUgent ''Traité de documentation''], Bruxelles, Mundaneum, Palais Mondial, 1934. (for alphabet hierarchy, see page 71)<br />
<br />
* Paul Otlet, [http://efele.net/ebooks/livres/000399/ ''L’afrique aux noirs''], Bruxelles: Ferdinand Larcier, 1888.<br />
<br />
* Judy Wajcman, [http://www.mondotheque.be/wiki/images/a/a3/Judy_Wajcman_Feminism_Confronts_Technology.pdf ''Feminism Confronts Technology'',] University Park, Pa: Pennsylvania State University Press, 1991.<br />
<br />
* Judge, Anthony, [http://www.laetusinpraesens.org/docs/otlethyp.php “Union of International Associations – Virtual Organization – Paul Otlet's 100-year Hypertext Conundrum?”], 2001.<br />
<br />
* Ducheyne, Steffen, “Paul Otlet's Theory of Knowledge and Linguistic Objectivism”, in ''Knowledge Organization'', no 32, 2005, pp. 110–116.<br />
<br />
== Architectural visions == <br />
<br />
'''Writings on how Otlet's knowledge site was successively imagined and visualized on grand architectural scales.'''<br />
<br />
* Catherine Courtiau, "La cité internationale 1927-1931," in Transnational Associations, 5/1987: 255-266.<br />
<br />
* Giuliano Gresleri and Dario Matteoni. La Città Mondiale: Andersen, Hébrard, Otlet, Le Corbusier. Venezia: Marsilio, 1982.<br />
<br />
* Isabelle Rieusset-Lemarie, "P. Otlet's Mundaneum and the International Perspective in the History of Documentation and Information science," in Journal of the American Society for Information Science (1986-1998)48.4 (Apr 1997): 301-309.<br />
<br />
* Le Corbusier, [http://www.mondotheque.be/wiki/images/d/d4/Corbusier_vers_une_architecture.pdf ''Vers une Architecture''], Paris: les éditions G. Crès, 1923.<br />
<br />
* Transnational Associations, [http://www.uia.org/sites/uia.org/files/journals/Transnational_Associations_Journal_1987-5.pdf ''"Otlet et Le Corbusier" 1927-31,''] INGO Development Projects: Quantity or Quality, Issue No: 5, 1987.<br />
<br />
* Wouter Van Acker. [http://www.abd-bvd.be/cah/papers/2012-2_Van_Acker.pdf ''"Hubris or utopia? Megalomania and imagination in the work of Paul Otlet,"''] in Cahiers de la documentation – Bladen voor documentatie – 2012/2, 58-66.<br />
<br />
* Wouter Van Acker. "Architectural Metaphors of Knowledge: The Mundaneum Designs of Maurice Heymans, Paul Otlet, and Le Corbusier." Library Trends 61, no. 2 (2012): 371-396.<br />
<br />
* Van Acker, Wouter, Somsen, Geert, “A Tale of Two World Capitals – the Internationalisms of Pieter Eijkman and Paul Otlet”, in ''Revue Belge de Philologie et d'Histoire/Belgisch Tijdschrift voor Filologie en Geschiedenis'', Vol. 90, nr.4, 2012.<br />
<br />
* Wouter Van Acker, [http://www.griffith.edu.au/__data/assets/pdf_file/0008/536966/S16_02_Van-Acker_Opening-the-Shrine-of-the-Mundaneum.pdf ''"Opening the Shrine of the Mundaneum The Positivist Spirit in the Architecture of Le Corbusier and his Belgian “Idolators”''], in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 30, Open, edited by Alexandra Brown and Andrew Leach (Gold Coast,Qld: SAHANZ, 2013), vol. 2, 791-805.<br />
<br />
* Anthony Vidler, “The Space of History: Modern Museums from Patrick Geddes to Le Corbusier,” in The Architecture of the Museum: Symbolic Structures, Urban Contexts, ed. Michaela Giebelhausen (Manchester; New York: Manchester University Press, 2003).<br />
<br />
* Volker Welter. [http://www.mondotheque.be/wiki/images/1/16/Welter_Biopolis_Patrick_Geddes.pdf "Biopolis Patrick Geddes and the City of Life."] Cambridge, Mass: MIT, 2003.<br />
<br />
* Alfred Willis, “The Exoteric and Esoteric Functions of Le Corbusier’s Mundaneum,” Modulus/University of Virginia School of Architecture Review 12, no. 21 (1980).<br />
<br />
== Zeitgeist == <br />
<br />
'''It includes both century-old sources and more recent ones on the parallel or entangled movements around the Mundaneum time.''' <br />
<br />
* Hendrik Christian Andersen and Ernest M. Hébrard. [http://digi.ub.uni-heidelberg.de/diglit/andersen1913 ''Création d'un Centre mondial de communication'']. Paris, 1913.<br />
<br />
* Julie Carlier, "Moving beyond Boundaries: An Entangled History of Feminism in Belgium, 1890–1914," Ph.D. dissertation, Universiteit Gent, 2010. (esp. 439-458.)<br />
<br />
* Bambi Ceuppens, Congo made in Flanders?: koloniale Vlaamse visies op "blank" en "zwart" in Belgisch Congo. [Gent]: Academia Press, 2004.<br />
<br />
* Conseil International des Femmes (International Council of Women), [https://archive.org/details/rapportprsent00offi ''Office Central de Documentation pour les Questions Concernant la Femme. Rapport.''] Bruxelles : Office Central de Documentation Féminine, 1909.<br />
<br />
* Sandi E. Cooper, [http://www.mondotheque.be/wiki/images/4/42/Cooper_Patriotic_Pacifism_Waging_War.pdf ''Patriotic pacifism waging war on war in Europe, 1815-1914.''] New York: Oxford University Press, 1991.<br />
<br />
* Sylvie Fayet-Scribe, "Women Professionals in Documentation in France during the 1930s," Libraries & the Cultural Record Vol. 44, No. 2, Women Pioneers in the Information Sciences Part I, 1900-1950 (2009), pp. 201-219. (translated by Michael Buckland)<br />
<br />
* François Garas, Mes temples. Paris: Michalon, 1907.<br />
<br />
* Madeleine Herren, Hintertüren zur Macht: Internationalismus und modernisierungsorientierte Aussenpolitik in Belgien, der Schweiz und den USA 1865-1914. München: Oldenbourg, 2000. <br />
<br />
* Robert Hoozee and Mary Anne Stevens, Impressionism to Symbolism: The Belgian Avant-Garde 1880-1900, London: Royal Academy of Arts, 1994.<br />
<br />
* Markus Krajewski, [http://www.abd-bvd.be/cah/papers/2012-2_Krajewski.pdf ''Die Brücke: A German contemporary of the Institut International de Bibliographie.''] In: Cahiers de la documentation / Bladen voor documentatie 66.2 (Juin, Numéro Spécial 2012), 25–31. <br />
<br />
* Daniel Laqua, [http://www.mondotheque.be/wiki/images/4/42/Laqua_Transnational_intellectual_cooperation%2C_the_League_of_Nations%2C_and_the_problem_of_order%2C.pdf ''"Transnational intellectual cooperation, the League of Nations, and the problem of order,"''] in Journal of Global History (2011) 6, pp. 223–247.<br />
<br />
* Paul Otlet, [http://efele.net/ebooks/livres/000399/ ''L’afrique aux noirs''], Bruxelles: Ferdinand Larcier, 1888. <br />
<br />
* Lewis Pyenson and Christophe Verbruggen, [http://www.mondotheque.be/wiki/images/c/c2/Pyenson_Ego_and_the_International_The_Modernist_Circle_of_George_Sarton.pdf ''"Ego and the International: The Modernist Circle of George Sarton,"''] Isis, Vol. 100, No. 1 (March 2009), pp. 60-78. <br />
<br />
* Elisée Reclus, Nouvelle géographie universelle; la terre et les hommes, Paris, Hachette et cie., 1876-94.<br />
<br />
* Edouard Schuré, [http://tolteque.thierrycros.net/ebooksGratuits/LesGrandsInities-EdouardSchure.pdf ''Les grands initiés: esquisse de l'histoire secrète des religions''], 1889.<br />
<br />
* [[wikipedia:Warden Boyd Rayward|Rayward, Warden Boyd]] (ed.), [http://www.worldcat.org/title/european-modernism-and-the-information-society-informing-the-present-understanding-the-past/oclc/145379605&referer=brief_results ''European Modernism and the Information Society: Informing the Present, Understanding the Past.''] Aldershot, Hants, England: Ashgate, 2008.<br />
<br />
* Van Acker, Wouter, [http://staging01.muse.jhu.edu/journals/perspectives_on_science/v019/19.1.van-acker.html “Internationalist Utopias of Visual Education. The Graphic and Scenographic Transformation of the Universal Encyclopaedia in the Work of Paul Otlet, Patrick Geddes, and Otto Neurath”], in ''Perspectives on Science'', Vol.19, nr.1, 2011, p. 32-80.<br />
<br />
* Nader Vossoughian, [http://www.academia.edu/3127404/The_Language_of_the_World_Museum_Otto_Neurath_Paul_Otlet_Le_Corbusier "The Language of the World Museum: Otto Neurath, Paul Otlet, Le Corbusier"], Transnational Associations 1-2 (January-June 2003), Brussels, pp 82-93.<br />
<br />
* Alfred Willis, “The Exoteric and Esoteric Functions of Le Corbusier’s Mundaneum,” Modulus/University of Virginia School of Architecture Review 12, no. 21 (1980).<br />
<br />
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[[category:Publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Cross-readings&diff=8168Cross-readings2016-06-28T11:54:58Z<p>Acastro: Acastro moved page Cross-readings to Reading list: Make link from index work</p>
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<div>#REDIRECT [[Reading list]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=The_radiated_interview&diff=8166The radiated interview2016-06-28T11:53:28Z<p>Acastro: Acastro moved page The radiated interview to The radiated interview/L'entrevue rayonnée/Het gestraalde interview: Make link from index work</p>
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<div>#REDIRECT [[The radiated interview/L'entrevue rayonnée/Het gestraalde interview]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_radiating_interview/Un_entrevue_irradiant/Een_irradi%C3%ABrend_gesprek&diff=8165A radiating interview/Un entrevue irradiant/Een irradiërend gesprek2016-06-28T11:53:27Z<p>Acastro: Acastro moved page The radiated interview to The radiated interview/L'entrevue rayonnée/Het gestraalde interview: Make link from index work</p>
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<div>{{Draft}} {{NOTOC}}<br />
<br />
<div class="book">Intro in NL, EN, FR. The Radiated interview, how does this work.<br />
<br />
* ADV = [[Alexia de Visscher]] (Mondothèque)<br />
* DM = [[Dries Moreels]] (Universiteitsbibliotheek Gent)<br />
* EL = [[Églantine Lebacq]] (Koninklijke bibliotheek van Belgie)<br />
* FS = [[Femke Snelting]] (Mondothèque)<br />
* MDH = [[Marc d'Hoore]] (Koninklijke bibliotheek van Belgie)<br />
* RC = [[Raphaèle Cornille]] (Mundaneum archive center, archiviste, responsable des collections iconographiques)<br />
* SM = [[Stéphanie Manfroid]] (Mundaneum archive center, Responsable des Archives)<br />
* SVP = [[Sylvia Van Peteghem]] (Universiteitsbibliotheek Gent)</div><br />
<br />
== Pas mal de choses à faire ==<br />
<br />
ADV : ''Dans votre politique de numérisation, quelle infrastructure d’accès envisagez-vous et pour quel type de données et de métadonnées ?''<br />
<br />
RC : On numérise depuis longtemps au Mundaneum, depuis 1995. À l’époque, il y avait déjà du matériel de numérisation. Forcément pas avec les même outils que l’on a aujourd’hui, on n’imaginait pas avoir accès aux bases de données sur le net. Il y a eu des évolutions techniques, technologiques qui ont été importantes. Ce qui fait que pendant quelques années on a travaillé avec le matériel qui était toujours présent en interne, mais pas vraiment avec un plan de numérisation sur le long terme. Juste pour répondre à des demandes, soit pour nous, parce qu’on avait des publications ou des expositions ou parce qu’on avait des demandes extérieures de reproductions.<br />
<br />
L’objectif évidemment c’est de pouvoir mettre à la disposition du public tout ce qui a été numérisé. Il faut savoir que nous avons une base de données qui s’appelle Pallas<ref name="ftn1">« Pallas permet de décrire, de gérer et de consulter des documents de différents types (archives, manuscrits, photographies, images, documents de bibliothèques) en tenant compte des conditions de description spécifiques à chaque type de document. » [http://www.brudisc.be/fr/content/logiciel-pallas http://www.brudisc.be/fr/content/logiciel-pallas]</ref> qui a été soutenue par la Communauté Française depuis 2003. Malheureusement, le logiciel nous pose pas mal de problème. On a déjà tenté des intégrations d’images et ça ne s’affiche pas toujours correctement. Parfois on a des fiches descriptives mais nous n’avons pas l’image qui correspond.<br />
<br />
SM : La Communauté Française a imposé ce système et nous a fournis cela à partir de 2007. L’idée c’est que les centres d’archives utilisent tous un même système. C’est une belle initiative, et dans ce cadre là, c’était l’idée d’avoir une plateforme générale, où toutes les sources liées aux archives publiques, enfin les archives soutenues par la Communauté Française - qui ne sont pas publiques d’ailleurs - puissent être accessibles à un seul et même endroit.<br />
<br />
RC : Il y avait en tout cas cette idée par la suite, d’avoir une plate-forme commune, qui s’appelle numériques.be<ref name="ftn2">« Images et histoires des patrimoines numérisés » [http://numeriques.be]</div></ref>. Malheureusement, ce qu’on trouve sur numeriques.be ce n’est pas ce qu’on retrouve sur Pallas, ce sont deux structures différentes. En gros, si on veut diffuser sur les deux, c’est deux fois le travail.<br />
<br />
En plus, ils n’ont pas configuré numérique.be pour qu’il puisse être moissonné par Europeana<ref name="ftn3">« Notre mission : On transforme le monde par la culture! Nous voulons construire sur le riche héritage culturel européen et donner aux gens la possibilité de le réutiliser facilement, pour leur travail, pour leur apprentissage personnel ou tout simplement pour s’amuser. » [http://www.europeana.eu/ http://www.europeana.eu]</div></ref>. Il y a des normes qui ne correspondent pas.<br />
<br />
SM : Ce sont des choix politiques là. Et nous on dépend de ça. <br />
<br />
RC : Soit il y a un problème technique, soit il y a un problème d’autorisation.<br />
<br />
Il faut savoir que c’est assez complexe au niveau des métadonnées, il y a pas mal de choses à faire. On a pendant tout un temps numérisé, mais on a généré les métadonnées au fur et à mesure, donc il y aussi un gros travail à réaliser par rapport à ça. Normalement, pour le début 2017 on envisagera le passage à Europeana avec des métadonnées correctes et le fait qu’on puisse verser des fichiers corrects.<br />
<br />
C’est assez lourd comme travail parce que nous devons générer les métadonnées à chaque fois. Si vous prenez le Dublin Core<ref name="ftn4">« The Dublin Core Metadata Initiative (DCMI) supports shared innovation in metadata design and best practices across a broad range of purposes and business models. » [http://dublincore.org/about-us/ http://dublincore.org/about-us/]</ref>, c’est à chaque fois 23 champs à remplir par document. On essaye de remplir le maximum. De temps en temps, ça peut être assez lourd quand même.<br />
<br />
== La vie de la pièce ==<br />
<br />
FS : ''Pouvez-vous nous parler du détail de la lecture des documents d’Otlet et de la rédaction de leur description, le passage d’un document « Otletien » à une version numérisée ?''<br />
<br />
RC : Il faut déjà au minimum avoir un inventaire. Il faut que les pièces soient numérotées, sinon c’est un peu difficile de retracer tout le travail. Parfois, ça passe par une petite phase de restauration parce qu’on a des documents poussiéreux et quand on scanne ça se voit. Parfois, on doit faire des mises à plat, pour les journaux par exemple, parce qu’ils sont pliés dans les boîtes. Ça prend déjà un petit moment avant de pouvoir les numériser. Ensuite, on va scanner le document, ça c’est la partie la plus facile. On le met sur le scanner, on appuie sur un bouton, presque.<br />
<br />
Si c’est un manuscrit, on ne va pas pouvoir ''océriser''. Par contre, si c’est un document imprimé, là, on va l’''océriser'' en sachant qu’il va falloir le revérifier par la suite, parce qu’il y a toujours un pourcentage d’erreur. Par exemple, dans les journaux, en fonction de la typographie, si vous avez des mots qui sont un peu effacés avec le temps, il faut vérifier tout ça. Et puis, on va générer les métadonnées Dublin Core. L’identifiant, un titre, tout ce qui concerne les contributeurs : éditeurs, illustrateurs, imprimeurs etc . c’est une description, c’est une indexation par mots clefs, c’est une date, c’est une localisation géographique, si il y en a une. C’est aussi, faire des liens avec soit des ressources en interne soit des ressources externes. Donc par exemple, moi si je pense à une affiche, si elle a été dans une exposition si elle a été publiée, il faut mettre toutes les références.<br />
<br />
SM : La vie de la pièce.<br />
<br />
RC : Et faire le lien par exemple vers d’autres fonds, une autre lettre… Donc, vous avez vraiment tous les liens qui sont là. Et puis, vous avez la description du fichier numérique en lui-même. Nous on a à chaque fois quatre fichiers numériques : Un fichier RAW, un fichier Tiff en 300 DPI, un JPEG en 300 DPI et un dernier JPE en 72 DPI, qui sont en fait les trois formats qu’on utilise le plus. Et puis, là pareil, vous remettez un titre, une date, vous avez aussi tout ce qui concerne les autorisations, les droits… Pour chaque document il y a tout ces champs à remplir.<br />
<br />
SM : Face à un schéma d’Otlet on se demandait parfois ce que sont tous ces gribouillons. On ne comprend pas tout de suite grand chose.<br />
<br />
RC : Ça demande quand même une certaine discipline, de la concentration et du temps pour pouvoir le faire bien.<br />
<br />
FS : ''Qui fait la description ? Plusieurs personnes ou quelqu’un qui travaille seul ?''<br />
<br />
RC : Généralement c’est quelqu’un seul qui décrit. Là c’est un texte libre, donc c’est encore assez facile. Maintenant quand vous devez indexer, il faut utiliser des Thesaurus existants, ce qui n’est pas toujours facile parce que parfois ce sont des contraintes, quand vous devez choisir le champ et que ce n’est pas tout à fait le vocabulaire que vous avez l’habitude d’utiliser.<br />
<br />
SM : On a rencontré une firme, effectivement, quelqu’un qui pensait qu’on allait pouvoir automatiser la chaîne de description des archives avec la numérisation y compris. Il ne comprenait pas que c’était une tâche impossible. C’est une tâche humaine. Et franchement, toute l’expérience qu’on peut avoir par rapport à ça aide énormément. Je ne pense pas, là maintenant, qu’un cerveau humain puisse être remplacé par une machine. Je n’y crois pas.<br />
<br />
== Une méthode d’indexation standardisée ==<br />
<br />
FS : ''Votre travail touche très intimement à la pratique d’Otlet même. En fait, dans les documents que nous avons consultés, nous avons vus plusieurs essais d’indexation, plusieurs niveaux de systèmes de classement. Comment cela se croise-t-il avec votre travail de numérisation ? Gardez-vous une trace de ces systèmes déjà projetés sur les documents eux-mêmes ?''<br />
<br />
SM : Je crois qu’il y a deux éléments. Ici, si la question portait sur les étapes de la numérisation, on part du document lui-même pour arriver à un nommage de fichier et il y a une description avec plusieurs champs. Si finalement la pièce qui est numérisée, elle a sa propre vie, sa propre histoire et c’est ça qu’on comprend. Par contre, au départ, on part du principe que le fond est décrit, il y a un inventaire. On va faire comme si c’était toujours le cas, ce n’est pas vrai d’ailleurs, ce n’est pas toujours le cas.<br />
<br />
Et autre chose, aujourd’hui nous sommes un centre d’archives. Otlet était dans une conception d’ouverture à la documentation, d’ouverture à l’Encyclopédie, vraiment quelque chose de très très large. Notre norme de travail c’est d’utiliser la norme de description générale des archives<ref name="ftn5">La norme générale et internationale de description archivistique, ISAD(G) [http://www.ica.org/sites/default/files/CBPS_2000_Guidelines_ISAD%28G%29_Second-edition_FR.pdf http://www.ica.org/sites/default/files/CBPS_2000_Guidelines_ISAD%28G%29_Second-edition_FR.pdf]</div></ref>, et c’est une autre contrainte. C’est un gros boulot ça aussi.<br />
<br />
On doit pouvoir faire des relations avec d’autres éléments qui se trouvent ailleurs, d’autres documents, d’autres collections. C’est une lecture, je dirais presque en réseau des documents. Évidemment c’est intéressant. Mais d’un autre côté, nous sommes archivistes, et c’est pas qu’on n’aime pas la logique d’Otlet, mais on doit se faire à une discipline qui nous impose aussi de protéger le patrimoine ici, qui appartient à la Communauté Française et qui donc doit être décrit de manière normée comme dans les autres centres d’archives.<br />
<br />
C’est une différence de dialogues. Pour moi ce n’est pas un détail du tout. Le fait que par exemple, certains vont se dire « vous ne mettez pas l’indice CDU dans ces champs » ... vous n’avez d’ailleurs pas encore posé cette question … ?<br />
<br />
ADV : ''Elle allait venir !''<br />
<br />
SM : Aujourd’hui on ne cherche pas par indice CDU, c’est tout. Nous sommes un centre d’archives, et je pense que ça a été la chance pour le Mundaneum de pouvoir mettre en avant la protection de ce patrimoine en tant que tel et de pouvoir l’ériger en tant que patrimoine réel, important pour la communauté.<br />
<br />
RC : En fait la classification décimale n’étant pas une méthode d’indexation standardisée, elle n’est pas demandée dans ces champs. Pour chaque champ à remplir dans le Dublin Core, vous avez des normes à utiliser. Par exemple, pour les dates, les pays et la langue vous avez les normes ISO, et la CDU n’est pas reconnue comme une norme.<br />
<br />
Quand je décris dans Pallas, moi je mets l’indice CDU. Parce que les collections iconographiques sont classées par thématique. Les cartes postales géographiques sont classées par lieu. Et donc, j’ai à chaque fois l’indice CDU, parce que là, ça a un sens de le mettre.<br />
<br />
FS : ''C’est très beau d’entendre cela mais c’est aussi tragique dans un sens. Il y a eu tellement d’efforts faits à cette époque là pour trouver un standard ...''<br />
<br />
RC : Nous n’avons pas encore trouvé aujourd’hui !<br />
<br />
== Un axe de communication ==<br />
<br />
SM : La question de la légitimité du travail d’Otlet se place sur un débat contemporain qui est amené sur la gestion des bases de données, en gros. Ça c’est un axe qui est de communication, ce n’est pas un axe de travail de fond dans nos archives. Il faut distinguer des éléments et la politique de numérisation, ce n’est pas en train de vouloir dire : « Tiens, on est dans la gestion de méga-données chez nous. »<br />
<br />
RC : Le fait d’avoir eu Paul Otlet reconnu comme père de l’internet etcetera, d’avoir pu le rattacher justement à des éléments actuels, c’était des sujets porteurs pour la communication. Ça ne veut pas dire que nous ne travaillons que là dessus. Il en a fait beaucoup plus que ça. C’était un axe porteur, parce qu’on est à l’ère de la numérisation, parce qu’on nous demande de numériser, de valoriser, sans vraiment savoir où on veut aller. On est encore à travailler sur les archives, à dépouiller les archives, à faire des inventaires et donc on est très très loin de ces réflexions justement Big Data et tout ça.<br />
<br />
FS : ''Est-il imaginable qu’Otlet ait inventé le World Wide Web ?''<br />
<br />
SM : Franchement, pour dire les choses platement : C’est impossible, quand on a un regard historique, d’imaginer qu’Otlet à imaginé … enfin il a imaginé des choses, oui, mais est-ce que c’est parce que ça existe aujourd’hui qu’on peut dire « il a imaginé ça » ?. C’est ce qu’on appelle de l’anachronisme en Histoire. Déontologiquement, ce genre de choses, un historien, il ne peut pas le faire. Un communiquant peut le faire mais pas un historien. Un communiquant il ose tout. Je veux dire il n’a pas de difficulté. Il osera vendre sa mère.<br />
<br />
RC : Il y a des concepts qu’il avait déjà compris. Maintenant, en fonction de l’époque, il n’a pas pu tout mettre en place mais, il y a des choses qu’il avait comprises dès le départ. Par exemple, standardiser les choses pour pouvoir les changer. Ça il le comprend dès le départ, c’est pour ça, la rédaction des fiches, c’est standardisé, vous ne pouvez pas rédiger n’importe comment. C’est pour ça qu’il développe la CDU, il faut un langage qui soit utilisable par tous. Il imagine avec les moyens de communications qu’il a à l’époque, il imagine déjà un moment pouvoir les combiner, sans doute parce qu’il a vu un moment l’évolution des techniques et qu’il pense pouvoir aller plus loin. Il pense à des matérialisations, quand il utilise des microfilms, il se dit « attention la conservation papier, il y a un soucis. Il faut conserver le contenu et donc il faut le passer sur un autre support ». D’abord il va essayer sur des plaques photographiques, il calcule le nombre de pages qu’il peut mettre sur une plaque et voilà. Il transforme ça en autre support. <br />
<br />
Je pense qu’il a imaginé des choses, parce qu’il avait cette envie de communiquer le savoir, ce n’est pas quelqu’un qui a un moment avait envie de collectionner sans diffuser, non. C’était toujours dans cette idée de diffuser, de communiquer quelques soient les personnes, quelque soit le pays. C’est d’ailleurs pour ça qu’il adapte le Musée International, pour que tout le monde puisse y aller, même ceux qui ne savaient pas lire avaient accès aux salles et pouvaient comprendre, parce qu’il avait organisé les choses de telles façons. Il imagine à chaque fois des outils de communication qui vont lui servir pour diffuser ses idées, sa pensée.<br />
<br />
Qu’il ait imaginé à un moment donné qu’on puisse lire des choses à l’autre bout du monde ? Il a du y penser, mais maintenant, techniquement et technologiquement, il n’a pas pu concevoir. Mais je suis sûre qu’il avait envisagé le concept.<br />
<br />
== Celui qui fait un peu de tout, il le fait un peu mal ==<br />
<br />
SM : Otlet, à son époque, a par moments réussi à se faire détester par pas mal de gens, parce qu’il y avait une sorte de brouillage au niveau des domaines dans lesquels il exerçait. À la fois, cette fascination de créer une cité politique qui est la Cité Mondiale, et le fait de vouloir mélanger les genres, de ne pas être dans une volonté de standardisation avec des spécialistes, mais aussi une volonté de travailler avec le monde de l’industrie, parce que c’est ce qu’il a réussi. C’est un réel handicap à cette époque là parce que vous avez une spécialisation dans tous les domaines de la connaissance et finalement celui qui fait un peu de tout, il le fait un peu mal. Otlet, dans les milieux scientifiques, bénéficie toujours de cette réputation négative. <br />
<br />
Si moi je parle à la Bibliothèque Royale d’Otlet on me regarde avec un sourire en coin « finalement c’était quand même l’œuvre d’un fou et ça n’a pas de valeur et ça vaut rien en terme de scientifique ». Pourquoi ? Peut être parce que Otlet a critiqué les missions de la Bibliothèque Royale fin 19e ?<br />
<br />
Effectivement, il y a à la fois le Monsieur dans son époque, la vision que les scientifiques vont en garder aujourd’hui et des académiques. Et puis, il y a la fascination de tout un chacun. Notre travail à nous, c’est de faire de tout. C’est à la fois de faire en sorte que les archives soient disponibles pour le tout un chacun, mais aussi que le scientifique qui a envie d’étudier, dans une perspective positive ou négative, puisse le faire.<br />
<br />
== On est pas dans l’Otletaneum ici ==<br />
<br />
FS : ''Le travail d’Otlet met en relation l’organisation du savoir et de la communication. Comment votre travail peut-il, dans un centre d’archives qui est aussi un lieu de rencontre et un musée, être inspiré - ou pas - par cette mission qu’Otlet s’était donné ?''<br />
<br />
SM : Il y a quand même un chose qui est essentielle, c’est qu’on est pas dans l’''Otletaneum'' ici, on n’est pas dans la fondation Otlet.<br />
<br />
Nous sommes un centre d’archives spécialisé, qui a conservé toutes les archives liées à une institution. Cette institution était animée par des hommes et des femmes. Et donc, ce qui les animaient c’était différentes choses, dont le désir de transmission. Et quand à Otlet, on a identifié son envie de transmettre et il a imaginé tous les moyens. Il n’était pas ingénieur non plus, il ne faut pas rire. Et donc, c’est un peu comme Jules Verne, il a rêvé le monde, il a imaginé des choses différentes, des instruments. Il s’est mis à rêver à certaines choses, à des applications. C’est un passionné, c’est un innovateur et je pense qu’il a passionné des gens autour de lui. Mais, autour de lui il y avait d’autres personnes, notamment Henri La Fontaine, qui n’est pas moins intéressant. Il y avait aussi le Baron Descamps et d’autres personnes qui gravitaient autour de cette institution. Il y avait aussi tout un contexte particulier lié notamment à la sociologie, aux sciences sociales, notamment Solvay, et voilà. Tout ceux qu’on retrouve et qui ont traversé une quarantaine d’années.<br />
<br />
Aujourd’hui, nous sommes un centre d’archives avec des supports différents, avec cette volonté encyclopédique qu’ils ont eu et qui a été multi supports, et donc l’œuvre phare n’a pas été uniquement ''Le Traité de Documentation. ''C’était intéressant de comprendre sa genèse avec les visites que vous aviez fait, mais il y d’autres fonds, notamment des fonds liés au pacifisme, à l’anarchisme et au féminisme. Et aussi tout ce département iconographique avec ces essais un peu particuliers qui ne sont pas super connus.<br />
<br />
Donc on n’est pas dans l’''Otletaneum'' et nous ne sommes pas dans le sanctuaire d’Otlet.<br />
<br />
ADV : ''La question est plutôt : comment s’emparer de sa vision dans votre travail ?''<br />
<br />
SM : J’avais bien compris la question. <br />
<br />
RC : C’est vrai que tout à coup on pense qu’il n’y a plus que lui qui a fait le Mundaneum. Il faut savoir que c’est Henri La Fontaine qui dirigeait le projet de la CDU.<br />
<br />
SM : On est sur des stéréotypes.<br />
<br />
RC : Ce n’est pas qu’Otlet ne s’y est pas intéressé, mais c’est vrai que pour toute l’organisation … puisqu’ils ont travaillé à chaque fois avec des spécialistes pour chacun des domaines, mais c’est Henri La Fontaine qui menait tout ça, on l’a oublié.<br />
<br />
ADV : ''Otlet a tout de même énormément écrit ?''<br />
<br />
SM : Il a écrit, il a interprété.<br />
<br />
RC : Ce n’est pas parce que Otlet a écrit que La Fontaine n’a pas travaillé sur le projet. Ce n’était pas du tout les mêmes personnalités. <br />
<br />
Il y a tout des pans d’archives, de documents, de collections qui sont complètements oubliés. Pas qu’on ne travaille plus dessus, mais c’est plutôt perdre la pensée d’Otlet en allant dans un seul sens, parce que lui il voulait justement brasser des savoirs, diffuser l’ensemble de la connaissance. Pour nous l’objectif c’est vraiment de pouvoir tout exploiter, tous les sujets, tous les supports, toutes les thématiques… Quand on dit qu’il a préfiguré internet, c’est juste deux schémas d’Otlet et on tourne autour de deux schémas depuis 2012, même avant d’ailleurs, ces deux schémas A4. Ils ne sont pas grands.<br />
<br />
SM : Ce qui n’est pas juste non plus, c’est le caractère réducteur par lequel on passe quand on réduit le Mundaneum à Otlet et qu’onne réduit Otlet qu’à ça. Et d’un autre côté, ce que je trouve intéressant aussi, c’est les autres personnalités qui ont décidé de refaire aussi le monde par la fiche et là, notre idée était évidemment de mettre en évidence toutes ces personnes et les compositions multiformes de cette institution qui avait beaucoup d’originalité et pas de s’en tenir à une vision « La Fontaine c’est le prix Nobel de la paix, Otlet c’est monsieur Internet, Léonie La Fontaine c’est Madame féminisme, Monsieur MD c’est l’anarchiste … » On ne fait pas l’Histoire comme ça.<br />
<br />
RC : Je me souviens quand je suis arrivée ici en 2002 : Paul Otlet c’était l’espèce de savant fou qui avait voulu créer une cité mondiale et qui l’avait proposée à Hitler. Les gens avaient oublié tout ce qu’il avait fait avant.<br />
<br />
Vous avez beaucoup de bibliothèques qui aujourd’hui encore classent au nom de la CDU mais ils ne savent pas d’où ça vient. Tout ce travail on l’a fait et ça remettait, quand même, les choses à leur place et on l’a ouvert quand même au public. On a eu des ouvertures avec des différents publics à partir de ce moment là.<br />
<br />
SM : C’est aussi d’avoir une vision globale sur ce que les uns et les autres ont fait et aussi de ce qu’a été l’institution, ce qui est d’ailleurs l’une des plus grosse difficulté qui existe. C’est de s’appeler ''Mundaneum'' dans l’absolu.<br />
<br />
On est le « Mundaneum Centre d’archives » depuis 1993. Mais le Mundaneum c’est une institution qui nait après la première guerre mondiale, dont le nom est postérieur. Dans ses gènes elle est bibliographique et peut-être que ce sont ces différentes notions qu’il faut essayer d’expliquer aux gens. <br />
<br />
Mais c’est quand même formidable de dire que Paul Otlet a inventé internet, pourquoi pas. C’est une formule et je pense que dans l’absolu la formule marque les gens. Maintenant, il n’a pas inventé Google. J’ai bien dit ''Internet''.<br />
<br />
== Pour la parodie c’est sympa, pour la réalité moins ==<br />
<br />
FS : ''Qu’est ce que votre collaboration avec Google vous a-t-elle apportée ? Qu’ont-ils numérisé ou pas ?''<br />
<br />
RC : C’est nous qui avons numérisé. C’est moi qui mets les images en ligne sur Google. Google n’a rien numérisé.<br />
<br />
ADV : ''Mais donc vous vous transmettez des images et des métadonnées à Google mais le public n’a pas accès à ces images … ?''<br />
<br />
RC : Ils ont accès, mais ils ne peuvent pas télécharger.<br />
<br />
FS : ''L''e''s images que vous avez mises sur Google Cultural Institute sont aujourd’hui dans le domaine public et donc en tant que public, je ne peux pas voir que les images sont libres de droit, parce qu’elles sont toutes sous la licence standard de Google.''<br />
<br />
RC : Ils ont mis « Collection de la Fédération Wallonie Bruxelles » à chaque fois. Puisque ça fait partie des métadonnées qui sont transmises avec l’image.<br />
<br />
ADV : ''Le problème, actuellement, comme il n’y a pas de catalogue en ligne, c’est qu’il n’y a pas tant d’autres accès. À part quelques images sur numeriques.be, quand on tape « Otlet » sur un moteur de recherche, on a l’impression que ce n’est que via le Google Cultural Institute par lequel on a accès et en réalité c’est un accès limité.''<br />
<br />
SM : C’est donc une impression.<br />
<br />
RC : Vous avez aussi des images sur Wikimedia commons. Il y a la même chose que sur Google Cultural Institute. C’est moi qui les met des deux cotés, je sais ce que je mets. Et là je suis encore en train d’en uploader dessus, donc allez y. Pour l’instant, c’est de nouveau des schémas d’Otlet, en tout cas des planches qui sont mises en ligne.<br />
<br />
Sur Wikimédia Commons je sais pas importer les métadonnées automatiquement. Enfin j’importe un fichier et puis je dois entrer les données moi même. Je ne peux pas importer un fichier Excel. Dans Google je fais ça, j’importe les images et ça se fait tout seul.<br />
<br />
Je ne mets pas plus sur Google Cultural Institute que sur Wikipédia. Je ne favorise pas Google. Ce qu’il y a sur le Cultural Institute, c’est qu’on a la possibilité de réaliser des expositions virtuelles et quand j’upload là, c’est parce qu’on a une exposition qui va être faite.<br />
<br />
On essaye de faire des expositions virtuelles. C’est vrai que ça fonctionne bien pour nous en matière de communication pour les archives. Ça, il ne faut pas s’en cacher. J’ai beaucoup de demandes qui arrivent, des demandes d’images, par ce biais là. Ça nous permet de valoriser des fonds et des thématiques qu’on ne pourrait pas faire dans l’espace. <br />
<br />
On a fait une exposition sur Léonie Lafontaine, qui a permis de mettre en ligne une centaine de documents liés au féminisme, ça n’avait jamais été fait avant. C’était très intéressant et ça a eu un bon retour pour les autres expositions aussi. Moi, c’est plutôt comme ça que j’utilise Google Cultural Institute. Je ne suis pas pro Google mais là, j’ai un outil qui me permet de valoriser les archives.<br />
<br />
ADV : ''Google serait-il la seule solution pour valoriser vos archives ?''<br />
<br />
SM : Notre solution c’est d’avoir un logiciel à nous. Pourquoi avoir cette envie d’aller mettre sur d’autres sites ? Parce qu’on ne l’a pas sur le nôtre. Pour rappel, on travaille pour la Communauté Française qui est propriétaire de la collection et avec laquelle on est conventionné. Elle ne nous demande pas d’avoir un logiciel externe. Elle demande qu’on ait notre propre produit aussi. Et c’est là dessus que l’on travaille depuis 2014, pour le remplacement de Pallas, parce que ça fait des années qu’ils nous disent qu’ils ne vont plus soutenir. C’est plutôt ça qui nous met dans une situation complètement incompréhensible.<br />
<br />
Comment voulez vous qu’on puisse faire transparaître ce que nous avons si on n’a pas un outil qui permette aux chercheurs, quels qu’ils soient, scientifiques ou non, pour qu’ils puissent être autonomes dans leur recherches ? Et pour nous, le travail que nous avons fait en terme d’inventaire et de numérisation, qu’il soit exploitable de manière libre ? <br />
<br />
Moi, franchement, je me demande, si cette question et cette vision que vous avez, elle ne se poserait pas si finalement nous étions déjà sur autre chose que Pallas. On est dans un inconfort de travail de base.<br />
<br />
Je pense aussi que l’information à donner de notre part c’est de dire « il y a tout ceci qui existe, venez le voir ».<br />
<br />
On arrive à sensibiliser aussi sur les collections qu’il y a au centre d’archives et c’est bien, c’est tout à fait intéressant. Maintenant ce serait bien aussi de franchir une autre étape et d’éduquer sur comment ouvrir au patrimoine. C’est ça aussi notre mission.<br />
<br />
Donc Google à sa propre politique, nous avons mis à disposition quelques expositions et ceci peut être l’intérêt. Mais on a quand même tellement de partenaires différents avec lesquels on a travaillé. On ne privilégie pas un seul partenaire. Aujourd’hui, certaines firmes viennent vers nous parce qu’elles ont entendu parler justement plus de Google que du Mundaneum et en même temps du Mundaneum par l’intermédiaire de Google.<br />
<br />
Ce sont des éléments qui nous permettent d’ouvrir peut-être le champ du dialogue avec d’autres partenaires mais qui ne permettent pas d’aller directement en profondeur dans les archives, enfin, dans le patrimoine réel que l’on a.<br />
<br />
Je veux dire, on aura beau dire qu’on fait autre chose, on ne verra que celui là parce que Google est un mastodonte et parce que ça veut dire beaucoup de chose à tout le monde. On est dans une aire de communication particulière.<br />
<br />
RC : Maintenant la collaboration Google et l’image que vous en avez et bien nous on en pâtit énormément au niveau des archives. Et encore, parce que souvent les gens nous disent « mais vous avez un gros mécène »<br />
<br />
SM : Ils nous réduisent à ça. Pour la parodie c’est sympa, pour la réalité moins.<br />
<br />
FS : ''Quand on parle aux gens de l’Université de Gand, c’est clair que leur collaboration avec Google Books a eu une autre fonction. Ce ne sont que des livres, des objets qui sont scannés de manière assez brutes. Il n’y a pas de métadonnées complexes, c’est plutot une question de volume.''<br />
<br />
SM : La politique de numérisation de l’Université de Gand, je pense, est plus en lien avec ce que Google imagine. C’est-à-dire qu’elle est la plus value que ça leur apporte de pouvoir travailler avec à la fois une bibliothèque universitaire telle que la bibliothèque de l’Université de Gand, et le fait de l’associer avec le Mundaneum.<br />
<br />
FS : ''C’est aussi d'autres besoins, un autre type d’accès ? Dans une bibliothèque les livres sont là pour être lus, j’ai l’impression que ce n’est pas la même vision pour un centre d’archives. ''<br />
<br />
SM : C’est bien plus complexe dans d’autres endroits.<br />
<br />
Notre intention en terme de numérisation n’est pas celle là, et nous ne voyons pas notre action, nous, uniquement par ce biais là. C’est clair que l’Université de Gand a collaboré avec Google et qu’elle a numérisé la bibliothèque. Et, donc, pourquoi aller travailler avec l’Université de Gand ? Et bien, d’abord, parce qu’on a une très bonne relation avec eux, premier point. Et d’autre part, c’était un peu pour aussi, je dirais, avoir une association avec un autorité flamande, parce qu’on a un alter égo flamand, parce qu’on a cette habitude de travailler comme ça en Belgique. Et donc voilà, ça n’a rien a voir avec la politique de numérisation dans l’absolu.<br />
<br />
== Tout numériser ==<br />
<br />
FS : ''J’ai entendu quelqu’un se demander « pourquoi ne pas numériser toutes les fiches bibliographiques qui sont dans les tiroirs » ?''<br />
<br />
RC : Ça ne sert à rien. Toutes les fiches ça n’aurait pas de sens. Maintenant, ce serait intéressant d’en étudier quelques-unes.<br />
<br />
Il y avait un réseau aussi autour du répertoire. C’est à dire que si on a autant de fiches, ce n'est pas seulement parce qu’on a des fiches qui ont été rédigées à Bruxelles, on a des fiches qui viennent du monde entier. Dans chaque pays il y avait des institutions responsables de réaliser des bibliographies et de les renvoyer à Bruxelles.<br />
<br />
Ça serait intéressant d’avoir un échantillon de toutes ces institutions ou de toutes ces fiches qui existent. Ça permettrait aussi de retrouver la trace de certaines institutions qui n’existent plus aujourd’hui. On a quand même eu deux guerres, il y a eu des révolutions etcetera. Ils ont quand même travaillé avec des institutions russes qui n’existent plus aujourd’hui. Par ce biais là, on pourrait retrouver leur trace. Même chose pour des ouvrages. Il y a des ouvrages qui n’existent plus et pour lesquels on pourrait retrouver la trace. Il faut savoir qu’après la deuxième guerre mondiale, en 46-47, le président du Mundaneum est Léon Lesaut. Il est avocat, il habite Mons, sa maison d’ailleurs est au 37 rue de Nimy, pas très loin. Il collabore avec le Mundaneum depuis ses débuts et donc vu que les deux fondateurs sont décédés pendant la guerre, à ce moment là il fait venir l’UNESCO à Bruxelles. Parce qu’on est dans une phase de reconstruction des bibliothèques, beaucoup de livres ont été détruits et on essaye de retrouver leur traces. Il leur dit « venez à Bruxelles, nous on a le répertoire de tous ces bouquins, venez l’utiliser, nous on a le répertoire pour reconstituer toutes les bibliothèques ».<br />
<br />
Donc, tout numériser, non. Mais numériser certaines choses pour montrer le mécanisme de ce répertoire, sa constitution, les différents répertoires qui existaient dans ce répertoire et de pouvoir retrouver la trace de certains éléments, oui. <br />
<br />
Si on numérise tout, cela permettrait d’avoir un état des lieux des sources d’informations qui existaient à une époque pour un sujet.<br />
<br />
SM : Le cheminement de la pensée.<br />
<br />
Il y a des pistes très intéressantes et qui vont nous permettre d’atteindre des aspects protéiformes de l’institution, mais c’est vaste. <br />
<br />
== La mémoire vive de l’institution ==<br />
<br />
FS : ''Nous étions très touchées par les fiches annotées de la CDU que vous nous avez montrées la dernière fois que nous sommes venues.''<br />
<br />
RC : Le travail sur le système lui-même.<br />
<br />
SM : C’est fantastique effectivement, avec l’écriture d’Otlet.<br />
<br />
SM : Autant on peut dire qu'Otlet est un maître du marketing, autant il utilisait plusieurs termes pour décrire une même réalité. C’est pour ça que ne s’attacher qu’à sa vision à lui c’est difficile. Comme classer ses documents, c’est aussi difficile.<br />
<br />
RC : Otlet il était d’une ambiguïté crasse !<br />
<br />
ADV : ''Otlet n’a-t-il pas laissé suffisamment de documentation ? Une documentation qui explicite ses systèmes de classement ?''<br />
<br />
RC : Quand on a ouvert les boîtes d'Otlet en 2002, c’était des caisses à bananes non classées, rien du tout. En fonction de ce qu’on connaissait de l’histoire du Mundaneum à l’époque on a pu déterminer plus ou moins des frontières et donc on avait le IIB, la CDU, la Cité Mondiale aussi, le Musée International.<br />
<br />
SM : Du pacifisme ...<br />
<br />
RC : On a appelé ça « Mundapaix » parce qu’on ne savait pas trop comment le mettre dans l’histoire du Mundaneum, c’était un peu bizarre. Le reste, on l'avait mis de côté parce qu’on n'était pas en mesure, à ce moment là, de les classer dans ce qu’on connaissait. Puis, au fur et à mesure qu’on s’est mis à lire les archives, on s’est mis à comprendre des choses, on a découvert des institutions qui avaient été créées en plus et ça nous a permis d’aller rechercher ces choses qu’on avait mises de coté.<br />
<br />
Il y avait tellement d’institutions qui ont été créées, qui ont pu changer de noms, on ne sait pas si elles ont existé ou pas. Il faisait une note, il faisait une publication où il annonçait : « l’office centrale de machin chose » et puis ce n'est même pas sûr qu’il ait existé quelque part.<br />
<br />
Parfois, il reprend la même note mais il change certaines choses et ainsi de suite … rien que sa numérotation c’est pas toujours facile. Vous avez l’indice CDU, mais ensuite, vous avez tout le système « M » c’est la référence aux manuels du RBU. Donc il faut seulement aller comprendre comment le manuel du RBU est organisé. C’est à dire trouver des archives qui correspondent pour pouvoir comprendre cette classification dans le « M ».<br />
<br />
RC : On n’a pas trouvé un moment donné, et on aurait bien voulu trouver, un dossier avec l’explication de son classement. Sauf qu’il ne nous l’a pas laissé.<br />
<br />
SM : Peut-être qu’il est possible que ça ait existé, et je me demande comment cette information a été expliquée aux suivants. Je me demande même si George Lorphèvre savait, parce qu'il n’a pas pu l’expliquer à Boyd Rayward. Ou alors c’est Boyd qui le n’a pas compris, je ne sais pas. En tout cas, les explications n’ont pas été passées.<br />
<br />
Il faut s’imaginer qu’on est quand même là depuis quelques années et qu’il y a quelques éléments que Boyd Rayward connaît et sur lesquels il a focalisés en terme de valeur historique et que nous lui avons apprises. Raphaèle lui a appris qu’il y avait un fichier « K », il a eu du mal à comprendre, il a fallu lui expliquer plusieurs fois, parce qu’il ne nous croyait pas.<br />
<br />
RC : On n’a pas beaucoup d’informations sur l’origine des collections, c’est-à-dire sur l’origine des pièces qui sont dans les collections. Par hasard, je vais trouver un tiroir où il est mis « dons » et à l’intérieur, je ne vais trouver que des fiches écrites à la main comme « dons de madame une telle de deux drapeaux pour le Musée International » et ainsi de suite.<br />
<br />
Il ne nous a pas laissé un manuel à la fin de ses archives et c’est au fur et à mesure qu’on lit les archives qu’on arrive à faire des liens et à comprendre certains éléments. Aujourd’hui, faire une base de données idéale, ce n’est pas encore possible, parce qu’il y a encore beaucoup de choses que nous-mêmes on ne comprend pas. Qu’on doit encore découvrir. <br />
<br />
''ADV : Serait-il imaginable de produire une documentation issue de votre cheminement dans la compréhension progressive de cette classification ? Par exemple, des textes enrichis donnant une perception plus fine, une trace de la recherche. Est-ce que c’est quelque chose qui pourrait exister ?''<br />
<br />
RC : Oui, ce serait intéressant.<br />
<br />
Par exemple si on prend le répertoire bibliographique. Déjà, il n’y a pas que des références bibliographiques dedans. Vous avez deux entrées : entrée par matière, entrée par auteur, donc vous avez le répertoire A et le répertoire B. Si vous regardez les étiquettes, parfois, vous allez trouver autre chose. Parfois, on a des étiquettes avec « ON ». Vous savez ce que c’est ? C’est « catalogue collectif des bibliothèque de Belgique ». C’est un travail qu’ils ont fait à un moment donné. Vous avez les « LDC » les « Bibliothèques collectifs de sociétés savantes ». Chaque société ayant un numéro, vous avez tout qui est là. Le « K » c’est tout ce qui est administratif donc à chaque courrier envoyé ou reçu, ils rédigeaient une fiche. On a des fiches du personnel, on sait au jour le jour qui travaillait et qui a faisait quoi… Et ça, il ne l’a pas laissé dans les archives.<br />
<br />
SM : C’est presque la mémoire vive de l’institution.<br />
<br />
On a eu vraiment cette envie de vérifier dans le répertoire cette façon de travailler, le fait qu’il y ait des informations différentes. Effectivement, c’était un peu avant 2008, qu’on l'a su et cette information s’est affinée avec des vérifications. Il y a eu des travaux qui ont pu être faits avec l’identification de séries particulières des dossiers numérotés que Raphaèle a identifié. Il y avait des correspondances et toute une structuration qu’on a identifié aussi. Ce sont des sections précises qui ont permis d’améliorer, à la fois la CDU, au départ de faire la CDU, de faire le répertoire et puis de créer d’autres sections, comme la section féministe, comme la section chasse et pèche comme la section iconographique. Et donc, par rapport à ça, je pense qu’il y a vraiment tout un travail qui doit être mis en relation à partir d’une observation claire, à partir d’une réflexion claire de ce qu’il y a dans le répertoire et dans les archives. Et ça, c’est un travail qui se fait étape par étape. J’espère qu’on pourra quand même bien avancer là dessus et donner des indications qui pourront permettre d’aller un peu plus loin, je ne suis pas sûre qu’on verra le bout.<br />
<br />
C’est au moins de transmettre une information, de faire en sorte qu’elle soit utilisable et que certains documents et ces inventaires soient disponibles, ceux qui existent aujourd’hui. Et que ça ne se perde pas dans le temps.<br />
<br />
FS : ''Un jour, pensez-vous pouvoir dire « voilà, maintenant c’est fini, on a compris » ?''<br />
<br />
SM : Je ne suis pas sûre que ce soit si impossible que ça. Ça dépend de notre organisation en interne, de notre possibilité à pouvoir à un certain moment travailler sur certains dossiers de manière continue et structurée.<br />
<br />
Aujourd’hui on est passé à une politique de numérisation par un matériel, par une spécialisation du personnel. Et je pense que cette spécialisation nous a permis, depuis des années, d’aller un peu plus profondément dans les archives et donc de mieux les comprendre. Il y a un historique que l’on comprend véritablement bien aussi, il ne demande qu’à se déployer. Il y a à comprendre comment on va pouvoir valoriser cela autour de journées, autour de publications, autour d’outils qui sont à notre disposition. Et donc, autour de catalogues en ligne, notamment, et de notre propre catalogue en ligne.<br />
<br />
== C’est ça qu’il faut imaginer ==<br />
<br />
FS : ''Les méthodes et les standards de documentation changent, l’histoire institutionnelle et les temps changent, les chercheurs passent… vous avez vécu avec tout ça depuis longtemps. Je me demande comment le faire transparaître, le faire ressentir? ''<br />
<br />
SM : C’est vrai qu’on aimerait bien pouvoir axer la communication de l’institution sur ces différents aspects. C’est bien ça notre rêve en fait, ou notre aspiration. Pour l’instant, on est plutôt en train de se demander comment on va mieux communiquer ''nous'', sur ce que nous faisons ''nous'' ?<br />
<br />
RC : Est-ce que ce serait uniquement en mettant en ligne des documents ? Ou imaginer une application qui permettrait de les mettre en œuvre? Par exemple, si je prends la correspondance, moi j’ai lu à peu près 3000 courriers. En les lisant, on se rend vraiment compte du réseau. C’est-à-dire qu’on se rend compte qu’il a de la correspondance à peu près partout dans le monde. Que ce soit avec des particuliers, avec des bibliothèques, avec des universités, avec des entreprises et donc déjà rien qu’avec cet échantillon-là, ça donne une masse d’informations. Maintenant, si on commence à décrire dans une base de données, lettre par lettre, je ne suis pas sûre que cela apporte quelque chose. Par contre, si on imagine une application qui permette de faire ressortir sur une carte à chaque fois le nom des correspondants, là, ça donne déjà une idée et ça peut vraiment mettre en œuvre toute cette correspondance. Mais prise seule juste comme ça, est-ce que c’est vraiment intéressant ?<br />
<br />
Dans une base de données dite « classique », c’est ça aussi le problème avec nos archives, le Mundaneum n'étant pas un centre d’archives comme les autres de par ses collections, c’est parfois difficile de nous adapter à des standards existants.<br />
<br />
ADV : ''Il n’y aurait pas qu’un seul catalogue ou pas une seule manière de montrer les données. C’est bien ça ?''<br />
<br />
RC : Si vous allez sur Pallas vous avez la hiérarchie du fond Otlet. Est-ce que ça parle à quelqu’un, à part quelqu’un qui veut faire une recherche très spécifique ? Mais sinon ça ne lui permet pas de vraiment visualiser le travail qui a été fait, et même l’ampleur du travail.<br />
<br />
Nous, on ne peut pas se conformer à une base de donnée comme ça. Il faut que ça existe mais ça ne transparaît pas le travail d'Otlet et de La Fontaine. Une vision comme ça, ce n'est pas Mundaneum.<br />
<br />
SM : Il n’y a finalement pas de base de données qui arrive à la cheville de ce qu’ils ont imaginés en terme de papier. C’est ça qu’il faut imaginer.<br />
<br />
FS : ''Pouvez-vous nous parler de cette vision d’un catalogue possible ? Si vous aviez tout l’argent et tout le temps du monde ?''<br />
<br />
SM : On ne dort plus alors, c’est ça ?<br />
<br />
Il y a déjà une bonne structure qui est là, et l’idée c’est vraiment de pouvoir lier les documents, les descriptions. On peut aller plus loin dans les inventaires et numériser les documents qui sont peut-être les plus intéressants et peut-être les plus uniques. Maintenant, le rêve serait de numériser tout, mais est-ce que ce serait raisonnable de tout numériser ?<br />
<br />
FS : ''Si tous les documents étaient disponibles en ligne ?''<br />
<br />
RC : Je pense que ça serait difficile de pouvoir transposer la pensée et le travail d'Otlet et La Fontaine dans une base de données. C’est à dire, dans une base de données, c’est souvent une conception très carrée : vous décrivez le fond, la série, le dossier, la pièce. Ici tout est lié. Par exemple, la collection d’affiches, elle dépend de l’Institut International de Photographie qui était une section du Mundaneum, c’était la section qui conserve l’image. Ça veut dire que je dois d’abord comprendre tous les développements qui ont eu lieu avec le concept de documentation pour ensuite lier tout le reste. Et c’est comme ça pour chaque collection parce que ce ne sont pas des collections qui sont montées par hasard, elles dépendaient à chaque fois d’une section spécialisée. Et donc, transposer ça dans une base de données, je ne sais pas comment on pourrait faire. <br />
<br />
Je pense aussi qu’aujourd’hui on n’est pas encore assez loin dans les inventaires et dans toute la compréhension parce qu’en fait à chaque fois qu’on se plonge dans les archives, on comprend un peu mieux, on voit un peu plus d’éléments, un peu plus de complexité, pour vraiment pouvoir lier tout ça.<br />
<br />
SM : Effectivement nous n’avons pas encore tout compris, il y a encore tous les petits offices : office chasse, office pèche … <br />
<br />
RC : À la fin de sa vie, il va aller vers tout ce qui est standardisation, normalisation. Il va être membre d’associations qui travaillent sur tout ce qui est norme et ainsi de suite. Il y a cet aspect là qui est intéressant parce que c’est quand même une grande évolution par rapport au début. <br />
<br />
Avec le Musée International, c’est la muséographie et la muséologie qui sont vraiment une grosse innovation à l’époque. Il y a déjà des personnes qui s’y sont intéressé mais peut-être pas suffisamment.<br />
<br />
Je rêve de pouvoir reconstituer virtuellement les salles d’expositions du Musée International, parce que ça devait être incroyable de voyager là dedans. On a des plans, des photos. Même si on n’a plus d’objets, on a suffisamment d’informations pour pouvoir le faire. Et il serait intéressant de pouvoir étudier ce genre de salle même pour aujourd’hui, pour la muséographie d’aujourd’hui, de reprendre exemple sur ce qu’il a fait.<br />
<br />
FS : ''Si on s’imagine le Mundaneum virtuel, vraiment, si on essaye de le reconstruire à partir des documents, c’est excitant !''<br />
<br />
SM : On en parle depuis 2010, de ça.<br />
<br />
FS : ''C’est pas du tout comme le scanner hig-tech de Google Art qui passe devant le Mona Lisa … ''<br />
<br />
SM : Non. C’est un autre travail<br />
<br />
FS : ''Ce n’est pas ça le musée virtuel.''<br />
<br />
RC : C’est un autre boulot.<br />
<br />
{{Revision}}<br />
[[Category:Publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Preface&diff=8164Preface2016-06-28T11:50:54Z<p>Acastro: Acastro moved page Preface to Préface: Make link from index work</p>
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<div>#REDIRECT [[Préface]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Pr%C3%A9face&diff=8163Préface2016-06-28T11:50:53Z<p>Acastro: Acastro moved page Preface to Préface: Make link from index work</p>
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<div>Ce ''Livre Radiant-Radieux' est un projet qui à démarré il y a déjà 3 ans à la réception d'un e-mail provenant du centre d'archives du [[Mundaneum]] à Mons. Avec beaucoup d'enthousiasme le message annonçait que [[Elio di Rupo]], alors premier ministre de Belgique, était sur le point de signer un accord portant sur une future collaboration entre le centre d'archives et Google.<br />
<br />
La newsletter citait un article du Monde-magazine qui faisait du Mundaneum un "Google de papier" <ref>Jean-Michel Djian, ''Le Mundaneum, Google de papier'', Le Monde Magazine, 19 décembre 2009</ref>. Ce fut une rencontre avec la première de nombreuses occurrences de ce thème.<br />
<br />
L'ancienne région minière des alentours de Mons est également le terrain où Google a installé son plus grand "datacenter" Européen, tel que cela a été arrangé par le même Di Rupo. A la suite de la valorisation d'Otlet comme 'un père fondateur de l'internet', et 'un inventeur visionnaire du Google de papier' l'oeuvre d'Otlet reçoit enfin une attention internationale. Di Rupo à tiré parti de cette situation, en faisant du Mundaneum un élément central de sa campagne axée sur l'idée de transformer l'ancienne région industrielle en un pôle de l'ère de l'internet. Google - reconnaissant d'avoir découvert de façon posthume ses racines francophones - envoie son évangéliste en chef [[Vint Cerf]] au Mundaneum, à la suite de quoi, le centre d'archives a permis à l'entreprise de publier des centaines de documents sur le site internet du [[Google Cultural Institute]].<br />
<br />
Alors que la ressemblance physique entre une rangée de tiroirs et une ferme de serveurs n'est peut-être pas de l'ordre de la coïncidence, associer, voire incorporer le projet de connaissance universelle imaginé par [[Paul Otlet]] et [[Henri Lafontaine]] avec l'entreprise du géant du traitement de données est un tout autre projet. L'affirmation 'Google en papier' a fait office de provocation, évoquant d'autres cas ou des histoires situées géographiquement , sont transformées en slogans promotionnels, et les infrastructures culturelles poussées dans les mains de corporations globales. <br />
<br />
Un groupe international d'artistes et d'activistes se sont retrouvés pour débrouiller les nombreuses couches de cette histoire. Il semble clair que l'imbrication du projet historique du Mundaneum avec la mission de Alphabet Inc<ref>''Sergey and I are seriously in the business of starting new things. Alphabet will also include our X lab, which incubates new efforts like Wing, our drone delivery effort. We are also stoked about growing our investment arms, Ventures and Capital, as part of this new structure. Alphabet Inc. will replace Google Inc. as the publicly-traded entity (...) Google will become a wholly-owned subsidiary of Alphabet'' https://abc.xyz/</ref> est une simplification qui ressort presque de la manipulation; cependant, démêler les les enjeux de cette association est plus facile à dire qu'à faire. Certains d'entre nous étaient critiques de la représentation donnée à l'oeuvre même de Paul Otlet, d'autres avaient besoin de ramener cette oeuvre à ses origines bruxelloises, ou encore de réinstaller la pratique de la maintenance et du soin dans "un" historique qui l'associe à ses pères antérieurs et pères fondateurs, alors que d'autres encore nous ont rejoint car ils sont inquiets du morne futur de nos institutions culturelles.<br />
<br />
Nous avons installé un MediaWiki Sémantique: une infrastructure du logiciel libre, qui permet d'organiser de larges quantités de contenu en fonction de critères sémantiques, et de le modifier collaborativement. Nous l'avons nommé Mondothèque, du nom de l'appareil imaginé par Paul Otlet en 1934. Le wiki fonctionne comme un dépositaire en ligne et un espace de référence pour le travail qui a été développé durant nos rencontres, différentes visites et au cours de présentations publiques.<ref>http://mondotheque.be</ref> Pour Otlet, la Mondothèque devait être une "machine intellectuelle": à la fois une archive, un générateur de liens, un bureau d'écriture, un catalogue et une station d'émission. Il s'agit pour lui de penser le musée, la bibliothèque, l'encyclopédie, et le langage de classification comme un réseau complexe de relations interdépendantes, Otlet imaginait chaque élément comme étant un point d'entrée vers un autre. Il mettait l'emphase sur l'idée que les relations avec une présentation muséale mettent en jeu des des processus sociaux et intellectuel différents de ceux engagés par la lecture d'un livre dans une bibliothèque, mais il assurait que d'une certaine manière, l'un entraînait l'autre. <ref>''The Mundaneum is an Idea, an Institution, a Method, a Body of workmaterials and Collections, a Building, a Network''. Paul Otlet, Monde (1935)</ref>. <br />
<br />
L'objectif rêvé de la mondothèque était d'interfacer les échelles, les perspectives et les médias, se positionnant à l'intersection de ces différentes pratiques. Selon nous, transporter une machine historique dans le futur, la met en position de devenir une "machine à penser", un lieu ou l'on peut analyser les positions historiques et sociales du projet du Mundaneum, une plate-forme à partir de laquelle nous pouvons envisager nos interventions persistantes respectives. La forme spéculative de la Mondothèque nous a peu à peu permis d'envisager les modalités des formations de pouvoir localisées qui se cristallisent autour du projet, et nous permet de penser de possible formes de résistance.<ref>''The analyses of thèse thèmes are transmitted through narratives -- mythologies or fictions, which I have renamed as "figurations" or cartographies of the present. A cartography is a politically informed map of one's historical and social locations, enabling the analysis of situated formations of power and hence the elaboration of adequate forms of resistance'' Rosi Braidotti, Nomadic Theory (2011)</ref><br />
<br />
Le wiki de http://mondotheque.be croit peu à peu, devenant un labyrinthe d'images, de textes, de cartes et de liens sémantiques, d'outils et de vocabulaires. MediaWiki développé originalement pour les besoins de Wikipedia, présume dans son fonctionnement notamment sa manière de déterminer les liens, d'un certain nombre de pratiques réputées "désirables" dont nous étions curieux. Par ailleurs, nous voulions travailler avec des expressions sémantiques, car nous étions particulièrement intéressés par la manière dont le Web Sémantique<ref>''Some people have said, "Why do I need the Semantic Web? I have Google!" Google is great for helping people find things, yes! But finding things more easily is not the same thing as using the Semantic Web. It's about creating things from data you've complied yourself, or combining it with volumes (think databases, not so much individual documents) of data from other sources to make new discoveries. It's about the ability to use and reuse vast volumes of data. Yes, Google can claim to index billions of pages, but given the format of those diverse pages, there may not be a whole lot more the search engine tool can reliably do. We're looking at applications that enable transformations, by being able to take large amounts of data and be able to run models on the fly - whether these are financial models for oil futures, discovering the synergies between biology and chemistry researchers in the Life Sciences, or getting the best price and service on a new pair of hiking boots.'' Tim Berners-Lee interviewed in Consortium Standards Bulletin, 2005 http://www.consortiuminfo.org/bulletins/semanticweb.php</ref> ressemblait peut-être au système de classification Universel pensé par Otlet. Comme son auteur, nous avons failli nous perdre plusieurs fois dans les tunnels labyrinthiques de la connaissance universelle, l'univers infini des catégorisations, et les nausées des rapports d'échelle. En conséquence, le travail était parfois peu confortable, désordonné et sans règles, mais nous à permis de débrouiller ces questions en public, associant l'urgence politique aux expérimentations poétiques.<br />
<br />
Ce "Livre Radiant-Radieux" a été fait parce que nous voulions organiser un momentum, une incision dans le processus iridescent qui nous a permis d'inviter de nombreux autres à observer le matériel entrelacé, sans avoir la contrainte de production d'un document final. Comme un salut à la toujours "croissante" "Bibliothèque Radieuse" de Otlet, nous avons décidé d'écrire et de générer la publication directement depuis la plate-forme MediaWiki, ce qui explique les différences inattendues et bienvenues sur les pages même du projet.<br />
<br />
Les quatre chapitres que nous proposons mélangent chacun les faits et la fiction, les textes et les images, les documents et les catalogues. De cette manière, les processus et les contenus s'agencent mutuellement répondant aux contraintes matérielles que nous avons rencontrées. Mondothèque, et par conséquent ce "Livre Radiant-Radieux" est une aventure à plusieurs trames, s'écoulant dans la durée, et à plusieurs échelles, ce qui d'une certaine manière reflète une image difractée des ambitions multi-englobantes du Mundaneum. <br />
<br />
''Embedded hierarchies'' ou hierarchies internes explore la manière dont les systèmes de classification, et le rêve de leur usage universel fonctionnent. Cette partie réunit des contributions qui sont concernées par les infrastructures du savoir à plusieurs échelles, depuis les bibliohèques désobéissantes, les pratiques institutionnelles des archives digitales, les structures de métadonnées, jusqu'à l'indexation comme une pathologie. <br />
<br />
''Disambiguation'' élucide certains points de similarité qui se forment autour de l'héritage de Paul Otlet. Par une lecture raprochée de biographies qui seraient proches, de termes et de vocabulaires similaires il réatribue les différentes ambiguïtés.<br />
<br />
''Location, location, location'' décrit les enjeux géopolitique à l'oeuvre. En suivant les archives itinérantes du Mundaneum de par la capitale Européenne, nous rencontrons différentes utopies locales, nationales et globales, ces utopies ont laissé des traces sur la manière dont les histoires sont racontées. Ce chapitre en retrace les schémas dans un paysage physique, depuis l'hyperlocal jusqu'au global.<br />
<br />
''Cross-readings'', ou lecture croisées, est une série d'images de collections et d'autre matériels qui font émerger des connections entre les lectures historiques et contemporaines, ravivant les liens spirituels ou mystiques qui sous tendent le Mundaneum, et laissant à voir les inclusions transversales d'éléments similaires au travers différentes locations.<br />
<br />
La raison d'être d'opérations modestes comme la Mondothèque, est de permettre de construire le courage de demander un accès aux documents et aux instruments technologiques qui permettent de les interfacer et de les communiquer. C'est précisément à cause de l'urgence de la situation, alors que l'érosion des institutions publiques semble évident, et que toutes les formes de communication semblent venir nourrir l'agenda néolibéral, qu'il semble important que nous trouvions le la patience de reconstruire une relation à ces histoires d'une manière qui crée du sens. C'est alors seulement que nous pourrons dépasser le paradigme techno-déterministe de la production de savoir, et pour cela, l'imagination est indispensable.<br />
<br />
{{Revision}}<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Une_lecture-%C3%A9criture_du_livre_sur_le_livre&diff=7855Une lecture-écriture du livre sur le livre2016-06-26T11:57:29Z<p>Acastro: </p>
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<div>[[author::Alexia de Visscher]]<br />
<br />
<div class="book"><onlyinclude>Lecture-écriture du Traité de documentation.<br />
<br />
Cet index constitue une proposition de lecture du ''Traité de documentation - Le livre sur le livre - Théorie et pratique'', ouvrage publié en 1934 qui reprend une somme d'écrits à propos du livre et au delà, la documentation sous toutes ses formes écrites. Dans ce traité, Paul Otlet initie et théorise une science globale de l'écrit, la bibliologie, tendant de dégager faits, principes et règles de classification et d'identification des documents, pour une mise en pratique individuelle et collective. Il s'adresse à tous, à travers une conception humaniste du partage de la connaissance et suggère à travers certains passages le livre à venir comme une expérience multimédia connectée. <br /><br />
<br />
Cet index n'est ni systématique, ni exhaustif. Il témoigne de la façon dont les concepts développés par Otlet dans son livre sont mis en exergue dans la conception même de sa rédaction, au travers d'une écriture fragmentaire. On y décèle un caractère expérimental : en partie incomplet, coquilles et redondances cohabitent, autant de traces qui constituent une forme de documentation sur le procédé éditorial mis en œuvre.<br />
La construction de cet index constitue également une expérience de réappropriation d'une partie de la méthode proposée par Otlet : le dépouillement (la sélection) et le classement (l'indexation) de fragments ou [['':Category:Unité intellectuelle|unités intellectuelle'']]. <br />
<br />
A part être un index, il est aussi un sommaire, qui – à part le fait qu'il soit présenté dans l'ordre alphabétique –, n'a ni entrée, ni sortie particulière. Chaque [[:category:extrait|extrait]] indexé, et chaque catégorie constituante de l'index, forment des pages uniques sur le wiki. Les extraits vont de la courte citation à la retranscription intégrale de sections du Traité. Ces pages sont "appelées" à apparaître dans les catégories auxquelles elles se réfèrent, à plusieurs endroits parfois. Ces occurrences sont commentées, ou non. Les mises en évidence, constituent une forme de soulignage afin de pointer un passage en particulier dans l'extrait choisi. Cet index tend à être collaboratif et invite à la discussion, il aurait peut-être été, en partie, une réponse au [[:Category:Desiderata|desiderata]] d’[[:Category:ubiquité|ubiquité]] qu'Otlet vouait à la documentation.</onlyinclude></div><br />
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{{#ask: [[Subcategory of::Index Traité de documentation]]|format=array |name=results}}<br />
{{#loop: looper<br />
| 0<br />
| {{#arraysize: results}}<br />
| <br />
<div class="category-title">{{PAGENAME:{{#arrayindex: results | {{#var:looper}} }} }} </div><br />
{{:{{#arrayindex: results | {{#var:looper}} }}}}<br />
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}}<br />
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== Références ==<br />
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[[Category:Publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=An_experimental_transcript&diff=7360An experimental transcript2016-04-30T18:52:52Z<p>Acastro: removed gallery</p>
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<div>{{NOTOC}}<br />
[[author::Sînziana Păltineanu]]<br />
<br />
===a|[[#b|b]]|[[#c|c]]|[[#d|d]]|[[#e|e]]|f|[[#g|g]]|[[#h|h]]|[[#i|i]]|[[#j|j]]|[[#k|k]]|[[#l|l]]|[[#m|m]]|[[#n|n]]|[[#o|o]]|[[#p|p]]|[[#r|r]]|s|[[#t|t]]|[[#u|u]]|[[#v|v]]|[[#w|w]]|[[#y|y]]|[[#z|z]]===<br />
<br />
<div class="book"><onlyinclude>Note: The editor has had the good fortune of finding a whole box of handwritten index cards and various folded papers (from printed screenshots to boarding passes) in the storage space of an institute. Upon closer investigation, it has become evident that the mixed contents of the box make up one single document. Difficult to decipher due to messy handwriting, the manuscript poses further challenges to the reader because its fragments lack a pre-established order. Simply uploading high-quality facsimile images of the box contents here would not solve the problems of legibility and coherence. As an intermediary solution, the editor has opted to introduce below a selection of scanned images and transcribed text from the found box. The transcript is intended to be read as a document sample, as well as an attempt at manuscript reconstruction, following the original in the author's hand as closely as possible: pencilled in words in the otherwise black ink text are transcribed in brackets, whereas curly braces signal erasures, peculiar marks or illegible parts on the index cards. Despite shifts in handwriting styles, whereby letters sometimes appear extremely rushed and distorted in multiple idiosyncratic ways, the experts consulted unanimously declared that the manuscript was most likely authored by one and the same person. To date, the author remains unknown.</onlyinclude></div><br />
<br />
==q==<br />
<br />
I've been running with a word in my mouth, running with this burning untitled shape, and I just can't spit it out. Spit it with phlegm from a balcony, kiss it in a mirror, brush it away one morning. I've been running with a word in my mouth, running... <br />
<br />
… it must have been only last month that I began half-chanting-half-mumbling this looped sequence of sentences on the staircase I regularly take down to work and back up to dream, yet it feels as if it were half a century ago. Tunneling through my memory, my tongue begins burning again and so I recollect that the subject matter was an agonizing, unutterable obsession I needed to sort out most urgently. Back then I knew no better way than to keep bringing it up obliquely until it would chemically dissolve itself into my blood or evaporate through the pores of my skin. To whisper the obsession away, I thought not entirely so naïvely, following a peculiar kind of vengeful logic, by emptying words of their pocket contents on a spiraling staircase. An anti-incantation, a verbal overdose, a semantic dilution or reduction – for the first time, I was ready to inflict harm on words! [And I am sure, the thought has crossed other lucid minds, too.]<br />
<br />
==n==<br />
<br />
[[File:M2.JPG]]<br />
<br />
During the first several days, as I was rushing up and down the stairs like a Tasmanian devil, swirling those same sentences in my expunction ritual, I hardly noticed that the brown marbled staircase had a ravenous appetite for all my sound making and fuss: it cushioned the clump of my footsteps, it absorbed the vibrations of my vocal chords and of my fingers drumming on the handrail. All this unusual business must have carried on untroubled for some time until that Wed. [?] morning when I tried approaching the employee at the reception desk in the hideously large building where I live with a question about elevator safety. I may take the elevator once in a blue moon, but I could not ignore the new disquieting note I had been reading on all elevator doors that week: <br />
<br />
m a k e / s u r e / t h e / e l e v a t o r / c a r / i s / s t a t i o n e d / o n / y o u r / f l o o r / b e f o r e / s t e p p i n g / i n <br />
<br />
==t==<br />
[[File:IMG 0076.jpg]] <br />
[[File:IMG 0077.jpg]]<br />
<br />
<br />
Walking with a swagger, I entered the incandescent light field around the fancy semicircular, brown reception desk, pressed down my palms on it, bent forward and from what I found to be a comfortable inquiry angle, launched question mark after question mark: “Is everything alright with the elevators? Do you know how worrisome I find the new warning on the elevator doors? Has there been an accident? Or is this simply an insurance disclaimer-trick?” Too many floors, too many times reading the same message against my will, must have inflated my concern, so I breathed out the justification of my anxiety and waited for a reassuring head shake to erase the imprint of the elevator shaft from my mind. Oddly, not the faintest or most bored acknowledgment of my inquiry or presence came from across the desk. From where I was standing, I performed a quick check to see if any cables came out of the receptionist's ears. Nothing. Channels unobstructed, no ear mufflers, no micro-devices. Suspicion eliminated, I waved at him, emitted a few other sounds – all to no avail. My tunnel-visioned receptionist rolled his chair even closer to one of the many monitors under his hooked gaze, his visual field now narrowed to a very acute angle, sheltered by his high desk. How well I can still remember that at that exact moment I wished my face would turn into the widest, most expensive screen, with an imperative, hairy ticker at the bottom –<br />
<br />
h e y t o u c h m y s c r e e n m y m u s t a c h e s c r e e n e l e v a t o r t o u c h d o w n s c r e a m<br />
<br />
==j==<br />
<br />
That's one of the first red flags I remember in this situation (here, really starting to come across more or less as a story): a feeling of being silenced by the building I inhabited. [Or to think about it the other way around: it's also plausible and less paranoid that upon hearing my flash sentences the building manifested a sense of phonophobia and consequently activated a strange defense mechanism. In any case, t]hat day, I had been forewarned, but I failed to understand. As soon as I pushed the revolving door and left the building with a wry smile [on my face], the traffic outside wolfed down the warning.<br />
<br />
==e==<br />
<br />
The day I resigned myself to those forces – and I assume, I had unleashed them upon myself through my vengeful desire to hxxx ''{here, a 3-cm erasure}'' words until I could see carcass after carcass roll down the stairs [truth be said, a practice that differed from other people's doings only in my heightened degree of awareness, which entailed a partially malevolent but perhaps understandable defensive strategy on my part] – that gloomy day, the burning untitled shape I had been carrying in my mouth morphed into a permanent official of my cavity – a word implant in my jaw! No longer do I feel pain on my tongue, only a tinge of volcanic ash as an aftermath of this defeat. <br />
<br />
==u==<br />
<br />
I've been running with a word in my mouth, running with this burning untitled shape, and I just can't spit it out. Spit it with phlegm from a balcony, kiss it in a mirror, brush it away one morning. It has become my tooth, rooted in my nervous system. My word of mouth. <br />
<br />
==p==<br />
<br />
[[File:Absence 1.jpg]] <br />
<br />
[[File:DSC04476low.jpg]] <br />
<br />
[[File:GBL 010.png]]<br />
<br />
Since then, my present has turned into an obscure hole, and I can't climb out of it. Most of the time, I'm sitting at the bottom of this narrow oubliette, teeth in knees, scribbling notes with my body in a terribly twisted position. And when I'm not sitting, I'm forced to jump. Agonizing thoughts numb my limbs so much so that I feel my legs turning to stone. On some days I look up, terrified. I can't even make out whether the diffuse opening is egg- or square-shaped, but there's definitely a peculiar tic-tac sequence interspersed with neighs that my pricked ears are picking up on. A sound umbrella, hovering somewhere up there, high above my imploded horizon.<br />
<br />
''{illegible vertical lines resembling a bar code}''<br />
<br />
Hypotheses scanned and merged, I temporarily conclude that a horse-like creature with metal intestines must be galloping round and round the hole I'm in. When I first noticed the sound, its circular cadence was soft and unobtrusive, almost protective, but now the more laps the clock-horse is running, the deeper the ticking and the neighing sounds are drilling into the hole. I picture this as an ever rotating metal worm inside a mincing machine. If I point my chin up, it bores through my throat! <br />
<br />
==b==<br />
<br />
[[File:2919380315 ace106c949 o.jpg]][[File:8-schema.png]]<br />
<br />
What if, in returning to that red flag in my reconstructive undertaking [instead of “red flag”, whose imperialist connotations strike me today, we cross it out and use “pyramid” to refer to such potentially revealing frames, when intuitions ''{two words crossed out, but still legible: seem to}'' give the alarm and converge before thoughts do], we posit that an elevator accident occurred not long after my unanswered query at the High Reception Desk, and that I – exceptionally – found myself in the elevator car that plummeted. Following this not entirely bleak hypothesis, the oubliette I'm trapped in translates to an explainable state of blackout and all the ticking and the drilling could easily find their counterparts in the host of medical devices (and their noise-making) that support a comatose person. What if what I am experiencing now is another kind of awareness, inside a coma, which will be gone once I wake up in a few hours or days on a hospital bed, flowers by my side, someone crying / loud as a horse / in the other corner of the room, next to a child's bed? <br />
<br />
[Plausible as this scenario might be, it's still strange how the situation calls for reality-like insertions to occur through “what if”s...]<br />
<br />
==h==<br />
<br />
Have I fallen into a lucid coma or am I a hallucination, made in 1941 out of gouache and black pencil, paper, cardboard and purchased in 1966? <br />
<br />
[To visualize the equation of my despair, the following elements are given: the above-whispered question escalates into a desperate shout and multiplies itself over a considerable stretch of time at the expense of my vocal chords. After all, I am not made of black pencil or cardboard or paper. Despite this conclusion, the effort has left me sulking for hours without being able to scribble anything, overwhelmed by a sensation of being pinched and pulled sideways by dark particles inside the mineral dampness of this open tomb. What's the use of a vertical territory if you can't sniff it all the way up?]<br />
<br />
''{several overlapping thumbmarks in black ink, lower right corner}''<br />
<br />
==w==<br />
<br />
[[File:MondoRMOScape03.png]]<br />
<br />
/ one gorgeous whale \<br />
my memory's biomorphic shadow<br />
can anyone write in woodworm language?<br />
how to teach the Cyrillic alphabet to woodworms?<br />
how many hypotheses to /re-stabilize\ one's situation? <br />
how many pyramids one on top of the other to the \coma/ surface?<br />
the denser the pyramid net, the more confusing the situation. true/false\fiction<br />
<br />
==o==<br />
<br />
[[File:Phrenology.jpg]]<br />
<br />
Hasty recordings of several escape attempts. A slew of tentacle-thoughts are rising towards the ethereal opening and here I am / hopeful and unwashed \ just beneath a submundane landscape of groping, shimmering arms, hungry to sense and to collect every memory detail in an effort of sense making, to draw skin over hypotheses and hypotheses over bones. It might be morning, it might be yesterday's morning out there or any other time in the past, when as I cracked the door to my workplace, I entered my co-workers' question game and paraverbal exchange:<br />
<br />
Puckered lips open: “Listen, whose childhood dream was it to have one of their eye-bulbs replaced with a micro fish-eye lens implant?” Knitted eyebrows: “Someone whose neural pathways zigzagged phrenologist categories?” Microexpressionist: “How many semiotician-dentists and woodworm-writers have visited the Chaos Institute to date?” A ragged mane: “The same number as the number of neurological tools for brain mapping that the Institute owns?” ''{one lengthy word crossed out, probably a name}'': “Would your brain topography get upset and wrinkle if you imagined all the bureaucrats' desks from the largest country on earth [by pop.] piled up in a pyramid?” Microexpressionist again: “Who wants to draft the call for asemic writers?” Puckered lips closes ''{sic}'' the door.<br />
<br />
==i==<br />
<br />
[[File:Otlet boeken.png]] [[File:Coworker.png]] [[File:Tumblr mabanxfm6n1qhe01n.jpg]]<br />
<br />
It's a humongous workplace, with a blue entrance door, cluttered with papers on both sides. See? Left hand on the entrance door handle, the woman presses it and the three of them [guiding co-worker, faceless cameraman, scarlet-haired interviewer] squeeze themselves inside all that paper. [Door shuts by itself.] Doesn't it feel like entering a paper sculpture? [, she herself appearing for a split second to have undergone a material transformation, to have turned into paper, the left side of her face glowing in a retro light. It's still her.] This is where we work, a hybrid site officially called The Institute for Chaos and Neuroplasticity – packed with folders, jammed with newspapers, stacks of private correspondence left and right, recording devices, boxes with photographs, xeroxed documents on shelves, ''{several pea-sized inkblots}'' printed screenshots and boarding passes – we keep it all, everything that museums or archives have no interest in, all orphaned papers, photographic plates and imperiled books or hard disks relatives might want to discard or even burn after someone's death. Exploring leftovers around here can go up and down to horrifying and overwhelming sensorial levels... <br />
<br />
==z==<br />
<br />
''{a two-centimeter line of rust from a pin in the upper left corner of the index card}''<br />
<br />
Sociological-intelligence rumors have it that ours is the bureau for studying psychological attachment to “garbage” (we very much welcome researchers), while others refer to the Institute as the chaos-brewing place in the neighborhood because we employ absolutely no classification method for storing papers or other media. The chances of finding us? [Raised eyebrows and puckered lips as first responses to the scarlet-haired question.] Well, the incidence is just as low as finding a document or device you're looking for in our storage. Things are not lost; there are just different ways of finding them. A random stroll, a lucky find – be that on-line or off-line –, or a seductive word of mouth may be the entrance points into this experiential space, a manifesto for haphazardness, emotional intuitions, subversion of neural pathways, and non-productive attitudes. A dadaist archive? queried Scarlet Hair. Ours is definitely not an archive, there's no trace of pyramidal bureaucracy or taxonomy here, no nation state at its birth. Hence you won't find a reservoir for national or racial histories in here. Just imagine we changed perception scales, imagine a collective cut-up project that we, chaos workers, are bringing together without scissors or screwdrivers because all that gets through that blue door [and that is the only condition and standard] has already been shaped and fits in here. [Guiding co-worker speaks in a monotonous and plain GPS voice. Interview continues, but she forgets to mention that behind the blue door, in this very big box 1. everyone is an authorized user and 2. time rests unemployed.]<br />
<br />
==k==<br />
<br />
Lately, several trucks loaded with gray matter have been adding extra hours of induced chaos to everyone's content. Although it is the Institute's policy to accept paper donations only from private individuals, it occasionally makes exceptions and takes on leftovers from nonprofit organizations. <br />
<br />
Each time this happens, an extended rite of passage follows so as to slightly delay and thereby ease the arrival of chaos bits: the most reliable chaos worker, Microexpressionist by metonymically selected feature, supervises the transfer of boxes at the very beginning of a long hallway [eyeballs moving left to right, head planted in an incredibly stiff neck]. Then, some fifty meters away, standing in front of the opened blue door, Puckered Lips welcomes newcomers into the chaos, his gestures those of a marshaller guiding a plane into a parking position. But once the gray [?] matter has passed over the threshold, once the last full suitcase or shoe box with USB sticks has landed, directions are no longer provided. Everyone's free to grow limbs and choose temporal neighbors. <br />
<br />
==l==<br />
<br />
[[File:Henri La Fontaine au Congrès universel de la paix, Berlin, 1924.jpg]]<br />
<br />
… seated cross-legged at the longest desk ever, Ragged Mane is randomly extracting photodocuments from the freshest chaos segment with a metallic extension of two of her fingers [instead of a pince-nez, she's the one to carry a pair of tweezers in a small pocket at all times]. <br />
“Look what I've just grabbed,” and she pushes a sepia photograph in front of Knitted Eyebrows, whose otherwise deadpan face instantaneously gets stamped this time with a question mark: “What is it?”<br />
“Another capture, of course! Two mustaches, one hat, three pairs of glasses, some blurred figures in the background, and one most fascinating detail!” – <br />
[… takes out a magnifying glass and points with one of her flashy pink fingers to the handheld object under the gaze of four eyes on the left side of the photo. Then, Ragged Mane continues:] <br />
“That raised right index finger above a rectangular-shaped object... you see it?”<br />
“You mean [00:00 = insertion of a lengthy time frame = 00:47] could this mustachioed fellow be holding a touchscreen mobile phone in his left hand?”<br />
For several unrecorded skeptical moments, they interlock their eyes and knit their eyebrows closer together. Afterward, eyes split again and roll on the surface of the photograph like black-eyed peas on a kitchen table. <br />
“It's all specks and epoch details,” a resigned voice breaks from the chaos silence, when, the same thought crosses their minds, and Ragged Mane and Knitted Eyebrows turn the photo over, almost certain to find an answer. [A simultaneous hunch.] In block letters it most clearly reads: “DOCUMENTING THE FILMING OF PEACEMAKERS / ANALOGUE PHOTOGRAPHY ON FILM SET / BERN, SWITZERLAND / 17.05.2008”<br />
<br />
==x==<br />
<br />
[[File:DSC04568low.jpg]]<br />
<br />
/ meanwhile, the clock-horse has grown really nervous out there – it's drawing smaller and smaller circles / a spasmodic and repetitive activity causing dislocation / a fine powder begins to float inside the oubliette in the slowest motion possible / my breathing has already been hampered, but now my lungs and brain get filled with an asphyxiating smell of old paper / hanging on my last tentacle-thought, on my tiptoes, refusing to choke and disintegrate / NOT READY TO BE RECYCLED / ''{messiest handwriting}''<br />
<br />
<br />
A Cyrillic cityscape is imagining how one day all the bureaucrats' desks from the largest country on earth get piled up in a pyramid. “This new shape is deflating the coherence of my horizon. [the cityscape worries] No matter!” Once the last desk is placed at the very top, the ground cracks a half-open mouth, a fissure the length of Rxssxx. On the outside it's spotted with straddled city topographies, inside, it's filled with a vernacular accumulation of anational dust without a trace of usable pasts. <br />
<br />
''{violent horizontal strokes over the last two lines, left and right from the hole at the bottom of the index card; indecipherable}''<br />
<br />
==m==<br />
<br />
[[File:Letters.png]]<br />
<br />
“What's on TV this afternoon?” This plain but beautifully metamorphosed question has just landed with a bleep on the chaos couch, next to Ragged Mane, who usually loses no chance to retort [that is, here, to admonish too hard a fall]: “Doucement!” Under the weight of a short-lived feeling of guilt, ''{name crossed out}'' echoes back in a whisper – d – o – u – c – e – m – e – n – t –, and then, as if after a palatable word tasting, she clicks her tongue and with it, she searches for a point of clarification: “Doucement is an anagram for documenté – which one do you actually mean?” [All conversations with ''{name crossed out}'' would suffer unsettling Meaning U-turns because she specialized in letter permutation.]<br />
<br />
==y==<br />
<br />
[[File:Screenshot from 2015-10-28 10-44-14.png]]<br />
<br />
Gurgling sounds from a not-so-distant corner of the chaos dump make heads simultaneously rotate in the direction of the TV screen, where a documentary has just started with a drone's-eye view over a city of lined-up skyscrapers. Early on, the commentator breaks into unwitty superlatives and platitudes, while the soundtrack unnecessarily dramatizes a 3D layering of the city structure. Despite all this, the mood on the couch is patient, and viewers seem to absorb the vignetted film. “A city like no other, as atypical as Cappadocia,” explains the low trepid voice from the box, “a city whose peculiarity owes first to the alignment of all its elements, where street follows street in a parallel fashion like in linear writing. Hence, reading the city acquires a literal dimension, skyscrapers echo clustered block letters on a line, and the pedestrian reader gets reduced to the size of a far-sighted microbe.” <br />
<br />
[Woodworm laughs]<br />
<br />
==v==<br />
<br />
[[File:M1.JPG]] [[File:5343895975 cb5e769ebc o.jpg]]<br />
<br />
Minutes into the documentary, the micro-drone camera zooms into the silver district/chapter of the city to show another set of its features: instead of steel and glass, what from afar appeared to be ordinary skyscrapers turn out to be “300-meter-tall lofty towers of mailbox-like constructs of dried skin, sprayed on top with silver paint for rims, and decorated with huge love padlocks. A foreboding district for newlyweds?” [nauseating atmosphere] Unable to answer or to smell, the mosquito-sized drone blinks in the direction of the right page, and it speedily approaches another windowless urban variation: the vastest area of city towers – the Wood Drawers District. “Despite its vintage (here and there rundown) aura, the area is an exquisite, segregated space for library aficionados, designed out of genetically-engineered trees that grow naturally drawer-shaped with a remarkable capacity for self-(re)generation. In terms of real proportions, the size of a mailbox- or a drawer-apartment is comparable to that of a shipping container, from the alternative but old housing projects…” bla bla the furniture bla... <br />
[that chaos corner, so remote and so coal black / that whole atmosphere with blurred echoes beclouds my reasoning / and right now, I'm feeling nauseous and cursed with all the words in an unabridged dictionary / new deluxe edition, with black covers and golden characters]<br />
<br />
==d==<br />
<br />
In front of the place where, above a modest skyline, every single morning [scholars'] desks conjoin in the shape of a multi-storied pyramid, there's a sign that reads: right here you can bend forward, place your hands on your back, press down your spine with your thumbs and throw up an index card, throw out a reality version, take out a tooth. In fact, take out all that you need and once you feel relieved, exchange personas as if in an emergency situation. Then, behind vermillion curtains, replace pronouns at will. <br />
<br />
[Might this have been a pipe dream? An intubated wish for character replacement? ''{Name crossed out}'' would whisper C E E H I N N O R T as place name]<br />
<br />
==r==<br />
<br />
[[File:Screenshot 5c.jpg]]<br />
<br />
[“gray – …<br/><br />
Other Color Terms –<br/><br />
argentine, cerise, cerulean, cyan, ocher, perse, puce, taupe, vermillion”]<br/><br />
<br />
To be able to name everything and everyone, especially all the shades in a gray zone, and then to re-name, re-narrate/re-count, and re-photograph all of it. To treat the ensuing multilayered landscape with/as an infinitive verb and to scoop a place for yourself in the accordion of surfaces.<br />
For instance, take the first shot – you're being stared at, you're under the distant gaze of three ''{words crossed out; illegible}''. Pale, you might think, how pallid and lifeless they appear to be, but try to hold their gaze and notice how the interaction grows uncomfortable through persistence. Blink, if you must. Move your weight from one leg to the other, and become aware of how unflinching their concentration remains, as if their eyes are lured into a screen. And as you're trying to draw attention to yourself by making ampler, pantomimic gestures, your hands touch the dark inner edges of the monitor you're [boxed] in. Look out and around again and again...<br />
<br />
==g==<br />
<br />
[[File:UDC Cancellations Forbidden.png]] [[File:Le corbusier pyramide spiral.png]] [[File:Screenshot RBU.jpg]]<br />
<br />
Some ''{Same?}'' damned creature made only of arms and legs has been leaving a slew of black dots all over my corridors and staircases, ashes on my handrails, and larger spots of black liquid in front of my elevator doors on the southern track – my oldest and dearest vertically mobile installation, the one that has grown only ten floors high. If I were in shape, attuned and wired to my perception angles and sensors, I could identify beyond precision that it is a 403 cabal plotting I begin fearing. Lately, it's all been going really awry. <br />
Having failed at the character recognition of this trickster creature, the following facts can be enumerated in view of overall [damage] re-evaluation, quantification, and intruder excision: emaciating architectural structure, increasingly deformed spiraling of brown marbled staircases, smudged finger- and footprints on all floors, soddened and blackened ceilings, alongside thousands of harrowing fingers and a detection of an insidious and undesirable multiplication of ''{word crossed out: white}'' hands [tbc]. <br />
<br />
==c==<br />
<br />
[[File:Screenshot photo.jpg]] [[File:MondoRMOScrape02.png]]<br />
<br />
Out of the blue, the clock-horse dislocated particles expand in size, circle in all directions like giant flies around a street lamp, and then in the most predictable fashion, they collide with my escapist reminiscences multiple times until I lose connection and the landscape above comes to a [menacing] stillness. [How does it look now? a scarlet-haired question.] I'm blinking, I'm moving my weight from one leg to the other, before I can attempt a description of the earth balls that stagnate in the air among translucent tentacles [they're almost gone] and floating dioramas of miniatures. Proportions have inverted, scraped surfaces have commingled and my U-shaped. reality. and. vision. are. stammering... I can't find my hands! <br />
<br />
==...==<br />
<br />
[[File:014 2R.png]] [[file:Archives MundaneumDSC04616.jpg]] <br />
<br />
--[[User:Ospal|Ospal]] ([[User talk:Ospal|talk]]) 09:27, 19 November 2015 (CET) ''Here is where the transcript ENDS, where the black text lines dribble back into the box. For information on document location or transcription method, kindly contact the editor.''<br />
<br />
===a|[[#b|b]]|[[#c|c]]|[[#d|d]]|[[#e|e]]|f|[[#g|g]]|[[#h|h]]|[[#i|i]]|[[#j|j]]|[[#k|k]]|[[#l|l]]|[[#m|m]]|[[#n|n]]|[[#o|o]]|[[#p|p]]|[[#r|r]]|s|[[#t|t]]|[[#u|u]]|[[#v|v]]|[[#w|w]]|[[#y|y]]|[[#z|z]]===<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=File:Book-accidents.png&diff=7359File:Book-accidents.png2016-04-29T18:43:16Z<p>Acastro: </p>
<hr />
<div></div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=File:Book.pdf&diff=7358File:Book.pdf2016-04-29T18:36:57Z<p>Acastro: Acastro uploaded a new version of File:Book.pdf</p>
<hr />
<div>prototype for the publication</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=File:Book-prototyp-imgs.pdf&diff=7357File:Book-prototyp-imgs.pdf2016-04-29T18:25:21Z<p>Acastro: prototyping images in the book</p>
<hr />
<div>prototyping images in the book</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=An_experimental_transcript&diff=7356An experimental transcript2016-04-29T15:54:11Z<p>Acastro: trying image gaps</p>
<hr />
<div>{{NOTOC}}<br />
[[author::Sînziana Păltineanu]]<br />
<br />
===a|[[#b|b]]|[[#c|c]]|[[#d|d]]|[[#e|e]]|f|[[#g|g]]|[[#h|h]]|[[#i|i]]|[[#j|j]]|[[#k|k]]|[[#l|l]]|[[#m|m]]|[[#n|n]]|[[#o|o]]|[[#p|p]]|[[#r|r]]|s|[[#t|t]]|[[#u|u]]|[[#v|v]]|[[#w|w]]|[[#y|y]]|[[#z|z]]===<br />
<br />
<div class="book"><onlyinclude>Note: The editor has had the good fortune of finding a whole box of handwritten index cards and various folded papers (from printed screenshots to boarding passes) in the storage space of an institute. Upon closer investigation, it has become evident that the mixed contents of the box make up one single document. Difficult to decipher due to messy handwriting, the manuscript poses further challenges to the reader because its fragments lack a pre-established order. Simply uploading high-quality facsimile images of the box contents here would not solve the problems of legibility and coherence. As an intermediary solution, the editor has opted to introduce below a selection of scanned images and transcribed text from the found box. The transcript is intended to be read as a document sample, as well as an attempt at manuscript reconstruction, following the original in the author's hand as closely as possible: pencilled in words in the otherwise black ink text are transcribed in brackets, whereas curly braces signal erasures, peculiar marks or illegible parts on the index cards. Despite shifts in handwriting styles, whereby letters sometimes appear extremely rushed and distorted in multiple idiosyncratic ways, the experts consulted unanimously declared that the manuscript was most likely authored by one and the same person. To date, the author remains unknown.</onlyinclude></div><br />
<br />
==q==<br />
<br />
I've been running with a word in my mouth, running with this burning untitled shape, and I just can't spit it out. Spit it with phlegm from a balcony, kiss it in a mirror, brush it away one morning. I've been running with a word in my mouth, running... <br />
<br />
… it must have been only last month that I began half-chanting-half-mumbling this looped sequence of sentences on the staircase I regularly take down to work and back up to dream, yet it feels as if it were half a century ago. Tunneling through my memory, my tongue begins burning again and so I recollect that the subject matter was an agonizing, unutterable obsession I needed to sort out most urgently. Back then I knew no better way than to keep bringing it up obliquely until it would chemically dissolve itself into my blood or evaporate through the pores of my skin. To whisper the obsession away, I thought not entirely so naïvely, following a peculiar kind of vengeful logic, by emptying words of their pocket contents on a spiraling staircase. An anti-incantation, a verbal overdose, a semantic dilution or reduction – for the first time, I was ready to inflict harm on words! [And I am sure, the thought has crossed other lucid minds, too.]<br />
<br />
==n==<br />
<br />
[[File:M2.JPG]]<br />
<br />
During the first several days, as I was rushing up and down the stairs like a Tasmanian devil, swirling those same sentences in my expunction ritual, I hardly noticed that the brown marbled staircase had a ravenous appetite for all my sound making and fuss: it cushioned the clump of my footsteps, it absorbed the vibrations of my vocal chords and of my fingers drumming on the handrail. All this unusual business must have carried on untroubled for some time until that Wed. [?] morning when I tried approaching the employee at the reception desk in the hideously large building where I live with a question about elevator safety. I may take the elevator once in a blue moon, but I could not ignore the new disquieting note I had been reading on all elevator doors that week: <br />
<br />
m a k e / s u r e / t h e / e l e v a t o r / c a r / i s / s t a t i o n e d / o n / y o u r / f l o o r / b e f o r e / s t e p p i n g / i n <br />
<br />
==t==<br />
<gallery><br />
IMG 0076.jpg <br />
IMG 0077.jpg<br />
</gallery><br />
<br />
Walking with a swagger, I entered the incandescent light field around the fancy semicircular, brown reception desk, pressed down my palms on it, bent forward and from what I found to be a comfortable inquiry angle, launched question mark after question mark: “Is everything alright with the elevators? Do you know how worrisome I find the new warning on the elevator doors? Has there been an accident? Or is this simply an insurance disclaimer-trick?” Too many floors, too many times reading the same message against my will, must have inflated my concern, so I breathed out the justification of my anxiety and waited for a reassuring head shake to erase the imprint of the elevator shaft from my mind. Oddly, not the faintest or most bored acknowledgment of my inquiry or presence came from across the desk. From where I was standing, I performed a quick check to see if any cables came out of the receptionist's ears. Nothing. Channels unobstructed, no ear mufflers, no micro-devices. Suspicion eliminated, I waved at him, emitted a few other sounds – all to no avail. My tunnel-visioned receptionist rolled his chair even closer to one of the many monitors under his hooked gaze, his visual field now narrowed to a very acute angle, sheltered by his high desk. How well I can still remember that at that exact moment I wished my face would turn into the widest, most expensive screen, with an imperative, hairy ticker at the bottom –<br />
<br />
h e y t o u c h m y s c r e e n m y m u s t a c h e s c r e e n e l e v a t o r t o u c h d o w n s c r e a m<br />
<br />
==j==<br />
<br />
That's one of the first red flags I remember in this situation (here, really starting to come across more or less as a story): a feeling of being silenced by the building I inhabited. [Or to think about it the other way around: it's also plausible and less paranoid that upon hearing my flash sentences the building manifested a sense of phonophobia and consequently activated a strange defense mechanism. In any case, t]hat day, I had been forewarned, but I failed to understand. As soon as I pushed the revolving door and left the building with a wry smile [on my face], the traffic outside wolfed down the warning.<br />
<br />
==e==<br />
<br />
The day I resigned myself to those forces – and I assume, I had unleashed them upon myself through my vengeful desire to hxxx ''{here, a 3-cm erasure}'' words until I could see carcass after carcass roll down the stairs [truth be said, a practice that differed from other people's doings only in my heightened degree of awareness, which entailed a partially malevolent but perhaps understandable defensive strategy on my part] – that gloomy day, the burning untitled shape I had been carrying in my mouth morphed into a permanent official of my cavity – a word implant in my jaw! No longer do I feel pain on my tongue, only a tinge of volcanic ash as an aftermath of this defeat. <br />
<br />
==u==<br />
<br />
I've been running with a word in my mouth, running with this burning untitled shape, and I just can't spit it out. Spit it with phlegm from a balcony, kiss it in a mirror, brush it away one morning. It has become my tooth, rooted in my nervous system. My word of mouth. <br />
<br />
==p==<br />
<br />
[[File:Absence 1.jpg]] <br />
<br />
[[File:DSC04476low.jpg]] <br />
<br />
[[File:GBL 010.png]]<br />
<br />
Since then, my present has turned into an obscure hole, and I can't climb out of it. Most of the time, I'm sitting at the bottom of this narrow oubliette, teeth in knees, scribbling notes with my body in a terribly twisted position. And when I'm not sitting, I'm forced to jump. Agonizing thoughts numb my limbs so much so that I feel my legs turning to stone. On some days I look up, terrified. I can't even make out whether the diffuse opening is egg- or square-shaped, but there's definitely a peculiar tic-tac sequence interspersed with neighs that my pricked ears are picking up on. A sound umbrella, hovering somewhere up there, high above my imploded horizon.<br />
<br />
''{illegible vertical lines resembling a bar code}''<br />
<br />
Hypotheses scanned and merged, I temporarily conclude that a horse-like creature with metal intestines must be galloping round and round the hole I'm in. When I first noticed the sound, its circular cadence was soft and unobtrusive, almost protective, but now the more laps the clock-horse is running, the deeper the ticking and the neighing sounds are drilling into the hole. I picture this as an ever rotating metal worm inside a mincing machine. If I point my chin up, it bores through my throat! <br />
<br />
==b==<br />
<br />
[[File:2919380315 ace106c949 o.jpg]][[File:8-schema.png]]<br />
<br />
What if, in returning to that red flag in my reconstructive undertaking [instead of “red flag”, whose imperialist connotations strike me today, we cross it out and use “pyramid” to refer to such potentially revealing frames, when intuitions ''{two words crossed out, but still legible: seem to}'' give the alarm and converge before thoughts do], we posit that an elevator accident occurred not long after my unanswered query at the High Reception Desk, and that I – exceptionally – found myself in the elevator car that plummeted. Following this not entirely bleak hypothesis, the oubliette I'm trapped in translates to an explainable state of blackout and all the ticking and the drilling could easily find their counterparts in the host of medical devices (and their noise-making) that support a comatose person. What if what I am experiencing now is another kind of awareness, inside a coma, which will be gone once I wake up in a few hours or days on a hospital bed, flowers by my side, someone crying / loud as a horse / in the other corner of the room, next to a child's bed? <br />
<br />
[Plausible as this scenario might be, it's still strange how the situation calls for reality-like insertions to occur through “what if”s...]<br />
<br />
==h==<br />
<br />
Have I fallen into a lucid coma or am I a hallucination, made in 1941 out of gouache and black pencil, paper, cardboard and purchased in 1966? <br />
<br />
[To visualize the equation of my despair, the following elements are given: the above-whispered question escalates into a desperate shout and multiplies itself over a considerable stretch of time at the expense of my vocal chords. After all, I am not made of black pencil or cardboard or paper. Despite this conclusion, the effort has left me sulking for hours without being able to scribble anything, overwhelmed by a sensation of being pinched and pulled sideways by dark particles inside the mineral dampness of this open tomb. What's the use of a vertical territory if you can't sniff it all the way up?]<br />
<br />
''{several overlapping thumbmarks in black ink, lower right corner}''<br />
<br />
==w==<br />
<br />
[[File:MondoRMOScape03.png]]<br />
<br />
/ one gorgeous whale \<br />
my memory's biomorphic shadow<br />
can anyone write in woodworm language?<br />
how to teach the Cyrillic alphabet to woodworms?<br />
how many hypotheses to /re-stabilize\ one's situation? <br />
how many pyramids one on top of the other to the \coma/ surface?<br />
the denser the pyramid net, the more confusing the situation. true/false\fiction<br />
<br />
==o==<br />
<br />
[[File:Phrenology.jpg]]<br />
<br />
Hasty recordings of several escape attempts. A slew of tentacle-thoughts are rising towards the ethereal opening and here I am / hopeful and unwashed \ just beneath a submundane landscape of groping, shimmering arms, hungry to sense and to collect every memory detail in an effort of sense making, to draw skin over hypotheses and hypotheses over bones. It might be morning, it might be yesterday's morning out there or any other time in the past, when as I cracked the door to my workplace, I entered my co-workers' question game and paraverbal exchange:<br />
<br />
Puckered lips open: “Listen, whose childhood dream was it to have one of their eye-bulbs replaced with a micro fish-eye lens implant?” Knitted eyebrows: “Someone whose neural pathways zigzagged phrenologist categories?” Microexpressionist: “How many semiotician-dentists and woodworm-writers have visited the Chaos Institute to date?” A ragged mane: “The same number as the number of neurological tools for brain mapping that the Institute owns?” ''{one lengthy word crossed out, probably a name}'': “Would your brain topography get upset and wrinkle if you imagined all the bureaucrats' desks from the largest country on earth [by pop.] piled up in a pyramid?” Microexpressionist again: “Who wants to draft the call for asemic writers?” Puckered lips closes ''{sic}'' the door.<br />
<br />
==i==<br />
<br />
[[File:Otlet boeken.png]] [[File:Coworker.png]] [[File:Tumblr mabanxfm6n1qhe01n.jpg]]<br />
<br />
It's a humongous workplace, with a blue entrance door, cluttered with papers on both sides. See? Left hand on the entrance door handle, the woman presses it and the three of them [guiding co-worker, faceless cameraman, scarlet-haired interviewer] squeeze themselves inside all that paper. [Door shuts by itself.] Doesn't it feel like entering a paper sculpture? [, she herself appearing for a split second to have undergone a material transformation, to have turned into paper, the left side of her face glowing in a retro light. It's still her.] This is where we work, a hybrid site officially called The Institute for Chaos and Neuroplasticity – packed with folders, jammed with newspapers, stacks of private correspondence left and right, recording devices, boxes with photographs, xeroxed documents on shelves, ''{several pea-sized inkblots}'' printed screenshots and boarding passes – we keep it all, everything that museums or archives have no interest in, all orphaned papers, photographic plates and imperiled books or hard disks relatives might want to discard or even burn after someone's death. Exploring leftovers around here can go up and down to horrifying and overwhelming sensorial levels... <br />
<br />
==z==<br />
<br />
''{a two-centimeter line of rust from a pin in the upper left corner of the index card}''<br />
<br />
Sociological-intelligence rumors have it that ours is the bureau for studying psychological attachment to “garbage” (we very much welcome researchers), while others refer to the Institute as the chaos-brewing place in the neighborhood because we employ absolutely no classification method for storing papers or other media. The chances of finding us? [Raised eyebrows and puckered lips as first responses to the scarlet-haired question.] Well, the incidence is just as low as finding a document or device you're looking for in our storage. Things are not lost; there are just different ways of finding them. A random stroll, a lucky find – be that on-line or off-line –, or a seductive word of mouth may be the entrance points into this experiential space, a manifesto for haphazardness, emotional intuitions, subversion of neural pathways, and non-productive attitudes. A dadaist archive? queried Scarlet Hair. Ours is definitely not an archive, there's no trace of pyramidal bureaucracy or taxonomy here, no nation state at its birth. Hence you won't find a reservoir for national or racial histories in here. Just imagine we changed perception scales, imagine a collective cut-up project that we, chaos workers, are bringing together without scissors or screwdrivers because all that gets through that blue door [and that is the only condition and standard] has already been shaped and fits in here. [Guiding co-worker speaks in a monotonous and plain GPS voice. Interview continues, but she forgets to mention that behind the blue door, in this very big box 1. everyone is an authorized user and 2. time rests unemployed.]<br />
<br />
==k==<br />
<br />
Lately, several trucks loaded with gray matter have been adding extra hours of induced chaos to everyone's content. Although it is the Institute's policy to accept paper donations only from private individuals, it occasionally makes exceptions and takes on leftovers from nonprofit organizations. <br />
<br />
Each time this happens, an extended rite of passage follows so as to slightly delay and thereby ease the arrival of chaos bits: the most reliable chaos worker, Microexpressionist by metonymically selected feature, supervises the transfer of boxes at the very beginning of a long hallway [eyeballs moving left to right, head planted in an incredibly stiff neck]. Then, some fifty meters away, standing in front of the opened blue door, Puckered Lips welcomes newcomers into the chaos, his gestures those of a marshaller guiding a plane into a parking position. But once the gray [?] matter has passed over the threshold, once the last full suitcase or shoe box with USB sticks has landed, directions are no longer provided. Everyone's free to grow limbs and choose temporal neighbors. <br />
<br />
==l==<br />
<br />
[[File:Henri La Fontaine au Congrès universel de la paix, Berlin, 1924.jpg]]<br />
<br />
… seated cross-legged at the longest desk ever, Ragged Mane is randomly extracting photodocuments from the freshest chaos segment with a metallic extension of two of her fingers [instead of a pince-nez, she's the one to carry a pair of tweezers in a small pocket at all times]. <br />
“Look what I've just grabbed,” and she pushes a sepia photograph in front of Knitted Eyebrows, whose otherwise deadpan face instantaneously gets stamped this time with a question mark: “What is it?”<br />
“Another capture, of course! Two mustaches, one hat, three pairs of glasses, some blurred figures in the background, and one most fascinating detail!” – <br />
[… takes out a magnifying glass and points with one of her flashy pink fingers to the handheld object under the gaze of four eyes on the left side of the photo. Then, Ragged Mane continues:] <br />
“That raised right index finger above a rectangular-shaped object... you see it?”<br />
“You mean [00:00 = insertion of a lengthy time frame = 00:47] could this mustachioed fellow be holding a touchscreen mobile phone in his left hand?”<br />
For several unrecorded skeptical moments, they interlock their eyes and knit their eyebrows closer together. Afterward, eyes split again and roll on the surface of the photograph like black-eyed peas on a kitchen table. <br />
“It's all specks and epoch details,” a resigned voice breaks from the chaos silence, when, the same thought crosses their minds, and Ragged Mane and Knitted Eyebrows turn the photo over, almost certain to find an answer. [A simultaneous hunch.] In block letters it most clearly reads: “DOCUMENTING THE FILMING OF PEACEMAKERS / ANALOGUE PHOTOGRAPHY ON FILM SET / BERN, SWITZERLAND / 17.05.2008”<br />
<br />
==x==<br />
<br />
[[File:DSC04568low.jpg]]<br />
<br />
/ meanwhile, the clock-horse has grown really nervous out there – it's drawing smaller and smaller circles / a spasmodic and repetitive activity causing dislocation / a fine powder begins to float inside the oubliette in the slowest motion possible / my breathing has already been hampered, but now my lungs and brain get filled with an asphyxiating smell of old paper / hanging on my last tentacle-thought, on my tiptoes, refusing to choke and disintegrate / NOT READY TO BE RECYCLED / ''{messiest handwriting}''<br />
<br />
<br />
A Cyrillic cityscape is imagining how one day all the bureaucrats' desks from the largest country on earth get piled up in a pyramid. “This new shape is deflating the coherence of my horizon. [the cityscape worries] No matter!” Once the last desk is placed at the very top, the ground cracks a half-open mouth, a fissure the length of Rxssxx. On the outside it's spotted with straddled city topographies, inside, it's filled with a vernacular accumulation of anational dust without a trace of usable pasts. <br />
<br />
''{violent horizontal strokes over the last two lines, left and right from the hole at the bottom of the index card; indecipherable}''<br />
<br />
==m==<br />
<br />
[[File:Letters.png]]<br />
<br />
“What's on TV this afternoon?” This plain but beautifully metamorphosed question has just landed with a bleep on the chaos couch, next to Ragged Mane, who usually loses no chance to retort [that is, here, to admonish too hard a fall]: “Doucement!” Under the weight of a short-lived feeling of guilt, ''{name crossed out}'' echoes back in a whisper – d – o – u – c – e – m – e – n – t –, and then, as if after a palatable word tasting, she clicks her tongue and with it, she searches for a point of clarification: “Doucement is an anagram for documenté – which one do you actually mean?” [All conversations with ''{name crossed out}'' would suffer unsettling Meaning U-turns because she specialized in letter permutation.]<br />
<br />
==y==<br />
<br />
[[File:Screenshot from 2015-10-28 10-44-14.png]]<br />
<br />
Gurgling sounds from a not-so-distant corner of the chaos dump make heads simultaneously rotate in the direction of the TV screen, where a documentary has just started with a drone's-eye view over a city of lined-up skyscrapers. Early on, the commentator breaks into unwitty superlatives and platitudes, while the soundtrack unnecessarily dramatizes a 3D layering of the city structure. Despite all this, the mood on the couch is patient, and viewers seem to absorb the vignetted film. “A city like no other, as atypical as Cappadocia,” explains the low trepid voice from the box, “a city whose peculiarity owes first to the alignment of all its elements, where street follows street in a parallel fashion like in linear writing. Hence, reading the city acquires a literal dimension, skyscrapers echo clustered block letters on a line, and the pedestrian reader gets reduced to the size of a far-sighted microbe.” <br />
<br />
[Woodworm laughs]<br />
<br />
==v==<br />
<br />
[[File:M1.JPG]] [[File:5343895975 cb5e769ebc o.jpg]]<br />
<br />
Minutes into the documentary, the micro-drone camera zooms into the silver district/chapter of the city to show another set of its features: instead of steel and glass, what from afar appeared to be ordinary skyscrapers turn out to be “300-meter-tall lofty towers of mailbox-like constructs of dried skin, sprayed on top with silver paint for rims, and decorated with huge love padlocks. A foreboding district for newlyweds?” [nauseating atmosphere] Unable to answer or to smell, the mosquito-sized drone blinks in the direction of the right page, and it speedily approaches another windowless urban variation: the vastest area of city towers – the Wood Drawers District. “Despite its vintage (here and there rundown) aura, the area is an exquisite, segregated space for library aficionados, designed out of genetically-engineered trees that grow naturally drawer-shaped with a remarkable capacity for self-(re)generation. In terms of real proportions, the size of a mailbox- or a drawer-apartment is comparable to that of a shipping container, from the alternative but old housing projects…” bla bla the furniture bla... <br />
[that chaos corner, so remote and so coal black / that whole atmosphere with blurred echoes beclouds my reasoning / and right now, I'm feeling nauseous and cursed with all the words in an unabridged dictionary / new deluxe edition, with black covers and golden characters]<br />
<br />
==d==<br />
<br />
In front of the place where, above a modest skyline, every single morning [scholars'] desks conjoin in the shape of a multi-storied pyramid, there's a sign that reads: right here you can bend forward, place your hands on your back, press down your spine with your thumbs and throw up an index card, throw out a reality version, take out a tooth. In fact, take out all that you need and once you feel relieved, exchange personas as if in an emergency situation. Then, behind vermillion curtains, replace pronouns at will. <br />
<br />
[Might this have been a pipe dream? An intubated wish for character replacement? ''{Name crossed out}'' would whisper C E E H I N N O R T as place name]<br />
<br />
==r==<br />
<br />
[[File:Screenshot 5c.jpg]]<br />
<br />
[“gray – …<br/><br />
Other Color Terms –<br/><br />
argentine, cerise, cerulean, cyan, ocher, perse, puce, taupe, vermillion”]<br/><br />
<br />
To be able to name everything and everyone, especially all the shades in a gray zone, and then to re-name, re-narrate/re-count, and re-photograph all of it. To treat the ensuing multilayered landscape with/as an infinitive verb and to scoop a place for yourself in the accordion of surfaces.<br />
For instance, take the first shot – you're being stared at, you're under the distant gaze of three ''{words crossed out; illegible}''. Pale, you might think, how pallid and lifeless they appear to be, but try to hold their gaze and notice how the interaction grows uncomfortable through persistence. Blink, if you must. Move your weight from one leg to the other, and become aware of how unflinching their concentration remains, as if their eyes are lured into a screen. And as you're trying to draw attention to yourself by making ampler, pantomimic gestures, your hands touch the dark inner edges of the monitor you're [boxed] in. Look out and around again and again...<br />
<br />
==g==<br />
<br />
[[File:UDC Cancellations Forbidden.png]] [[File:Le corbusier pyramide spiral.png]] [[File:Screenshot RBU.jpg]]<br />
<br />
Some ''{Same?}'' damned creature made only of arms and legs has been leaving a slew of black dots all over my corridors and staircases, ashes on my handrails, and larger spots of black liquid in front of my elevator doors on the southern track – my oldest and dearest vertically mobile installation, the one that has grown only ten floors high. If I were in shape, attuned and wired to my perception angles and sensors, I could identify beyond precision that it is a 403 cabal plotting I begin fearing. Lately, it's all been going really awry. <br />
Having failed at the character recognition of this trickster creature, the following facts can be enumerated in view of overall [damage] re-evaluation, quantification, and intruder excision: emaciating architectural structure, increasingly deformed spiraling of brown marbled staircases, smudged finger- and footprints on all floors, soddened and blackened ceilings, alongside thousands of harrowing fingers and a detection of an insidious and undesirable multiplication of ''{word crossed out: white}'' hands [tbc]. <br />
<br />
==c==<br />
<br />
[[File:Screenshot photo.jpg]] [[File:MondoRMOScrape02.png]]<br />
<br />
Out of the blue, the clock-horse dislocated particles expand in size, circle in all directions like giant flies around a street lamp, and then in the most predictable fashion, they collide with my escapist reminiscences multiple times until I lose connection and the landscape above comes to a [menacing] stillness. [How does it look now? a scarlet-haired question.] I'm blinking, I'm moving my weight from one leg to the other, before I can attempt a description of the earth balls that stagnate in the air among translucent tentacles [they're almost gone] and floating dioramas of miniatures. Proportions have inverted, scraped surfaces have commingled and my U-shaped. reality. and. vision. are. stammering... I can't find my hands! <br />
<br />
==...==<br />
<br />
[[File:014 2R.png]] [[file:Archives MundaneumDSC04616.jpg]] <br />
<br />
--[[User:Ospal|Ospal]] ([[User talk:Ospal|talk]]) 09:27, 19 November 2015 (CET) ''Here is where the transcript ENDS, where the black text lines dribble back into the box. For information on document location or transcription method, kindly contact the editor.''<br />
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<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=An_experimental_transcript&diff=7355An experimental transcript2016-04-29T15:35:31Z<p>Acastro: images in full size</p>
<hr />
<div>{{NOTOC}}<br />
[[author::Sînziana Păltineanu]]<br />
<br />
===a|[[#b|b]]|[[#c|c]]|[[#d|d]]|[[#e|e]]|f|[[#g|g]]|[[#h|h]]|[[#i|i]]|[[#j|j]]|[[#k|k]]|[[#l|l]]|[[#m|m]]|[[#n|n]]|[[#o|o]]|[[#p|p]]|[[#r|r]]|s|[[#t|t]]|[[#u|u]]|[[#v|v]]|[[#w|w]]|[[#y|y]]|[[#z|z]]===<br />
<br />
<div class="book"><onlyinclude>Note: The editor has had the good fortune of finding a whole box of handwritten index cards and various folded papers (from printed screenshots to boarding passes) in the storage space of an institute. Upon closer investigation, it has become evident that the mixed contents of the box make up one single document. Difficult to decipher due to messy handwriting, the manuscript poses further challenges to the reader because its fragments lack a pre-established order. Simply uploading high-quality facsimile images of the box contents here would not solve the problems of legibility and coherence. As an intermediary solution, the editor has opted to introduce below a selection of scanned images and transcribed text from the found box. The transcript is intended to be read as a document sample, as well as an attempt at manuscript reconstruction, following the original in the author's hand as closely as possible: pencilled in words in the otherwise black ink text are transcribed in brackets, whereas curly braces signal erasures, peculiar marks or illegible parts on the index cards. Despite shifts in handwriting styles, whereby letters sometimes appear extremely rushed and distorted in multiple idiosyncratic ways, the experts consulted unanimously declared that the manuscript was most likely authored by one and the same person. To date, the author remains unknown.</onlyinclude></div><br />
<br />
==q==<br />
<br />
I've been running with a word in my mouth, running with this burning untitled shape, and I just can't spit it out. Spit it with phlegm from a balcony, kiss it in a mirror, brush it away one morning. I've been running with a word in my mouth, running... <br />
<br />
… it must have been only last month that I began half-chanting-half-mumbling this looped sequence of sentences on the staircase I regularly take down to work and back up to dream, yet it feels as if it were half a century ago. Tunneling through my memory, my tongue begins burning again and so I recollect that the subject matter was an agonizing, unutterable obsession I needed to sort out most urgently. Back then I knew no better way than to keep bringing it up obliquely until it would chemically dissolve itself into my blood or evaporate through the pores of my skin. To whisper the obsession away, I thought not entirely so naïvely, following a peculiar kind of vengeful logic, by emptying words of their pocket contents on a spiraling staircase. An anti-incantation, a verbal overdose, a semantic dilution or reduction – for the first time, I was ready to inflict harm on words! [And I am sure, the thought has crossed other lucid minds, too.]<br />
<br />
==n==<br />
<br />
[[File:M2.JPG]]<br />
<br />
During the first several days, as I was rushing up and down the stairs like a Tasmanian devil, swirling those same sentences in my expunction ritual, I hardly noticed that the brown marbled staircase had a ravenous appetite for all my sound making and fuss: it cushioned the clump of my footsteps, it absorbed the vibrations of my vocal chords and of my fingers drumming on the handrail. All this unusual business must have carried on untroubled for some time until that Wed. [?] morning when I tried approaching the employee at the reception desk in the hideously large building where I live with a question about elevator safety. I may take the elevator once in a blue moon, but I could not ignore the new disquieting note I had been reading on all elevator doors that week: <br />
<br />
m a k e / s u r e / t h e / e l e v a t o r / c a r / i s / s t a t i o n e d / o n / y o u r / f l o o r / b e f o r e / s t e p p i n g / i n <br />
<br />
==t==<br />
<br />
[[File:IMG 0076.jpg]] [[File:IMG 0077.jpg]]<br />
<br />
Walking with a swagger, I entered the incandescent light field around the fancy semicircular, brown reception desk, pressed down my palms on it, bent forward and from what I found to be a comfortable inquiry angle, launched question mark after question mark: “Is everything alright with the elevators? Do you know how worrisome I find the new warning on the elevator doors? Has there been an accident? Or is this simply an insurance disclaimer-trick?” Too many floors, too many times reading the same message against my will, must have inflated my concern, so I breathed out the justification of my anxiety and waited for a reassuring head shake to erase the imprint of the elevator shaft from my mind. Oddly, not the faintest or most bored acknowledgment of my inquiry or presence came from across the desk. From where I was standing, I performed a quick check to see if any cables came out of the receptionist's ears. Nothing. Channels unobstructed, no ear mufflers, no micro-devices. Suspicion eliminated, I waved at him, emitted a few other sounds – all to no avail. My tunnel-visioned receptionist rolled his chair even closer to one of the many monitors under his hooked gaze, his visual field now narrowed to a very acute angle, sheltered by his high desk. How well I can still remember that at that exact moment I wished my face would turn into the widest, most expensive screen, with an imperative, hairy ticker at the bottom –<br />
<br />
h e y t o u c h m y s c r e e n m y m u s t a c h e s c r e e n e l e v a t o r t o u c h d o w n s c r e a m<br />
<br />
==j==<br />
<br />
That's one of the first red flags I remember in this situation (here, really starting to come across more or less as a story): a feeling of being silenced by the building I inhabited. [Or to think about it the other way around: it's also plausible and less paranoid that upon hearing my flash sentences the building manifested a sense of phonophobia and consequently activated a strange defense mechanism. In any case, t]hat day, I had been forewarned, but I failed to understand. As soon as I pushed the revolving door and left the building with a wry smile [on my face], the traffic outside wolfed down the warning.<br />
<br />
==e==<br />
<br />
The day I resigned myself to those forces – and I assume, I had unleashed them upon myself through my vengeful desire to hxxx ''{here, a 3-cm erasure}'' words until I could see carcass after carcass roll down the stairs [truth be said, a practice that differed from other people's doings only in my heightened degree of awareness, which entailed a partially malevolent but perhaps understandable defensive strategy on my part] – that gloomy day, the burning untitled shape I had been carrying in my mouth morphed into a permanent official of my cavity – a word implant in my jaw! No longer do I feel pain on my tongue, only a tinge of volcanic ash as an aftermath of this defeat. <br />
<br />
==u==<br />
<br />
I've been running with a word in my mouth, running with this burning untitled shape, and I just can't spit it out. Spit it with phlegm from a balcony, kiss it in a mirror, brush it away one morning. It has become my tooth, rooted in my nervous system. My word of mouth. <br />
<br />
==p==<br />
<br />
[[File:Absence 1.jpg]] [[File:DSC04476low.jpg]] [[File:GBL 010.png]]<br />
<br />
Since then, my present has turned into an obscure hole, and I can't climb out of it. Most of the time, I'm sitting at the bottom of this narrow oubliette, teeth in knees, scribbling notes with my body in a terribly twisted position. And when I'm not sitting, I'm forced to jump. Agonizing thoughts numb my limbs so much so that I feel my legs turning to stone. On some days I look up, terrified. I can't even make out whether the diffuse opening is egg- or square-shaped, but there's definitely a peculiar tic-tac sequence interspersed with neighs that my pricked ears are picking up on. A sound umbrella, hovering somewhere up there, high above my imploded horizon.<br />
<br />
''{illegible vertical lines resembling a bar code}''<br />
<br />
Hypotheses scanned and merged, I temporarily conclude that a horse-like creature with metal intestines must be galloping round and round the hole I'm in. When I first noticed the sound, its circular cadence was soft and unobtrusive, almost protective, but now the more laps the clock-horse is running, the deeper the ticking and the neighing sounds are drilling into the hole. I picture this as an ever rotating metal worm inside a mincing machine. If I point my chin up, it bores through my throat! <br />
<br />
==b==<br />
<br />
[[File:2919380315 ace106c949 o.jpg]] [[File:8-schema.png]]<br />
<br />
What if, in returning to that red flag in my reconstructive undertaking [instead of “red flag”, whose imperialist connotations strike me today, we cross it out and use “pyramid” to refer to such potentially revealing frames, when intuitions ''{two words crossed out, but still legible: seem to}'' give the alarm and converge before thoughts do], we posit that an elevator accident occurred not long after my unanswered query at the High Reception Desk, and that I – exceptionally – found myself in the elevator car that plummeted. Following this not entirely bleak hypothesis, the oubliette I'm trapped in translates to an explainable state of blackout and all the ticking and the drilling could easily find their counterparts in the host of medical devices (and their noise-making) that support a comatose person. What if what I am experiencing now is another kind of awareness, inside a coma, which will be gone once I wake up in a few hours or days on a hospital bed, flowers by my side, someone crying / loud as a horse / in the other corner of the room, next to a child's bed? <br />
<br />
[Plausible as this scenario might be, it's still strange how the situation calls for reality-like insertions to occur through “what if”s...]<br />
<br />
==h==<br />
<br />
Have I fallen into a lucid coma or am I a hallucination, made in 1941 out of gouache and black pencil, paper, cardboard and purchased in 1966? <br />
<br />
[To visualize the equation of my despair, the following elements are given: the above-whispered question escalates into a desperate shout and multiplies itself over a considerable stretch of time at the expense of my vocal chords. After all, I am not made of black pencil or cardboard or paper. Despite this conclusion, the effort has left me sulking for hours without being able to scribble anything, overwhelmed by a sensation of being pinched and pulled sideways by dark particles inside the mineral dampness of this open tomb. What's the use of a vertical territory if you can't sniff it all the way up?]<br />
<br />
''{several overlapping thumbmarks in black ink, lower right corner}''<br />
<br />
==w==<br />
<br />
[[File:MondoRMOScape03.png]]<br />
<br />
/ one gorgeous whale \<br />
my memory's biomorphic shadow<br />
can anyone write in woodworm language?<br />
how to teach the Cyrillic alphabet to woodworms?<br />
how many hypotheses to /re-stabilize\ one's situation? <br />
how many pyramids one on top of the other to the \coma/ surface?<br />
the denser the pyramid net, the more confusing the situation. true/false\fiction<br />
<br />
==o==<br />
<br />
[[File:Phrenology.jpg]]<br />
<br />
Hasty recordings of several escape attempts. A slew of tentacle-thoughts are rising towards the ethereal opening and here I am / hopeful and unwashed \ just beneath a submundane landscape of groping, shimmering arms, hungry to sense and to collect every memory detail in an effort of sense making, to draw skin over hypotheses and hypotheses over bones. It might be morning, it might be yesterday's morning out there or any other time in the past, when as I cracked the door to my workplace, I entered my co-workers' question game and paraverbal exchange:<br />
<br />
Puckered lips open: “Listen, whose childhood dream was it to have one of their eye-bulbs replaced with a micro fish-eye lens implant?” Knitted eyebrows: “Someone whose neural pathways zigzagged phrenologist categories?” Microexpressionist: “How many semiotician-dentists and woodworm-writers have visited the Chaos Institute to date?” A ragged mane: “The same number as the number of neurological tools for brain mapping that the Institute owns?” ''{one lengthy word crossed out, probably a name}'': “Would your brain topography get upset and wrinkle if you imagined all the bureaucrats' desks from the largest country on earth [by pop.] piled up in a pyramid?” Microexpressionist again: “Who wants to draft the call for asemic writers?” Puckered lips closes ''{sic}'' the door.<br />
<br />
==i==<br />
<br />
[[File:Otlet boeken.png]] [[File:Coworker.png]] [[File:Tumblr mabanxfm6n1qhe01n.jpg]]<br />
<br />
It's a humongous workplace, with a blue entrance door, cluttered with papers on both sides. See? Left hand on the entrance door handle, the woman presses it and the three of them [guiding co-worker, faceless cameraman, scarlet-haired interviewer] squeeze themselves inside all that paper. [Door shuts by itself.] Doesn't it feel like entering a paper sculpture? [, she herself appearing for a split second to have undergone a material transformation, to have turned into paper, the left side of her face glowing in a retro light. It's still her.] This is where we work, a hybrid site officially called The Institute for Chaos and Neuroplasticity – packed with folders, jammed with newspapers, stacks of private correspondence left and right, recording devices, boxes with photographs, xeroxed documents on shelves, ''{several pea-sized inkblots}'' printed screenshots and boarding passes – we keep it all, everything that museums or archives have no interest in, all orphaned papers, photographic plates and imperiled books or hard disks relatives might want to discard or even burn after someone's death. Exploring leftovers around here can go up and down to horrifying and overwhelming sensorial levels... <br />
<br />
==z==<br />
<br />
''{a two-centimeter line of rust from a pin in the upper left corner of the index card}''<br />
<br />
Sociological-intelligence rumors have it that ours is the bureau for studying psychological attachment to “garbage” (we very much welcome researchers), while others refer to the Institute as the chaos-brewing place in the neighborhood because we employ absolutely no classification method for storing papers or other media. The chances of finding us? [Raised eyebrows and puckered lips as first responses to the scarlet-haired question.] Well, the incidence is just as low as finding a document or device you're looking for in our storage. Things are not lost; there are just different ways of finding them. A random stroll, a lucky find – be that on-line or off-line –, or a seductive word of mouth may be the entrance points into this experiential space, a manifesto for haphazardness, emotional intuitions, subversion of neural pathways, and non-productive attitudes. A dadaist archive? queried Scarlet Hair. Ours is definitely not an archive, there's no trace of pyramidal bureaucracy or taxonomy here, no nation state at its birth. Hence you won't find a reservoir for national or racial histories in here. Just imagine we changed perception scales, imagine a collective cut-up project that we, chaos workers, are bringing together without scissors or screwdrivers because all that gets through that blue door [and that is the only condition and standard] has already been shaped and fits in here. [Guiding co-worker speaks in a monotonous and plain GPS voice. Interview continues, but she forgets to mention that behind the blue door, in this very big box 1. everyone is an authorized user and 2. time rests unemployed.]<br />
<br />
==k==<br />
<br />
Lately, several trucks loaded with gray matter have been adding extra hours of induced chaos to everyone's content. Although it is the Institute's policy to accept paper donations only from private individuals, it occasionally makes exceptions and takes on leftovers from nonprofit organizations. <br />
<br />
Each time this happens, an extended rite of passage follows so as to slightly delay and thereby ease the arrival of chaos bits: the most reliable chaos worker, Microexpressionist by metonymically selected feature, supervises the transfer of boxes at the very beginning of a long hallway [eyeballs moving left to right, head planted in an incredibly stiff neck]. Then, some fifty meters away, standing in front of the opened blue door, Puckered Lips welcomes newcomers into the chaos, his gestures those of a marshaller guiding a plane into a parking position. But once the gray [?] matter has passed over the threshold, once the last full suitcase or shoe box with USB sticks has landed, directions are no longer provided. Everyone's free to grow limbs and choose temporal neighbors. <br />
<br />
==l==<br />
<br />
[[File:Henri La Fontaine au Congrès universel de la paix, Berlin, 1924.jpg]]<br />
<br />
… seated cross-legged at the longest desk ever, Ragged Mane is randomly extracting photodocuments from the freshest chaos segment with a metallic extension of two of her fingers [instead of a pince-nez, she's the one to carry a pair of tweezers in a small pocket at all times]. <br />
“Look what I've just grabbed,” and she pushes a sepia photograph in front of Knitted Eyebrows, whose otherwise deadpan face instantaneously gets stamped this time with a question mark: “What is it?”<br />
“Another capture, of course! Two mustaches, one hat, three pairs of glasses, some blurred figures in the background, and one most fascinating detail!” – <br />
[… takes out a magnifying glass and points with one of her flashy pink fingers to the handheld object under the gaze of four eyes on the left side of the photo. Then, Ragged Mane continues:] <br />
“That raised right index finger above a rectangular-shaped object... you see it?”<br />
“You mean [00:00 = insertion of a lengthy time frame = 00:47] could this mustachioed fellow be holding a touchscreen mobile phone in his left hand?”<br />
For several unrecorded skeptical moments, they interlock their eyes and knit their eyebrows closer together. Afterward, eyes split again and roll on the surface of the photograph like black-eyed peas on a kitchen table. <br />
“It's all specks and epoch details,” a resigned voice breaks from the chaos silence, when, the same thought crosses their minds, and Ragged Mane and Knitted Eyebrows turn the photo over, almost certain to find an answer. [A simultaneous hunch.] In block letters it most clearly reads: “DOCUMENTING THE FILMING OF PEACEMAKERS / ANALOGUE PHOTOGRAPHY ON FILM SET / BERN, SWITZERLAND / 17.05.2008”<br />
<br />
==x==<br />
<br />
[[File:DSC04568low.jpg]]<br />
<br />
/ meanwhile, the clock-horse has grown really nervous out there – it's drawing smaller and smaller circles / a spasmodic and repetitive activity causing dislocation / a fine powder begins to float inside the oubliette in the slowest motion possible / my breathing has already been hampered, but now my lungs and brain get filled with an asphyxiating smell of old paper / hanging on my last tentacle-thought, on my tiptoes, refusing to choke and disintegrate / NOT READY TO BE RECYCLED / ''{messiest handwriting}''<br />
<br />
<br />
A Cyrillic cityscape is imagining how one day all the bureaucrats' desks from the largest country on earth get piled up in a pyramid. “This new shape is deflating the coherence of my horizon. [the cityscape worries] No matter!” Once the last desk is placed at the very top, the ground cracks a half-open mouth, a fissure the length of Rxssxx. On the outside it's spotted with straddled city topographies, inside, it's filled with a vernacular accumulation of anational dust without a trace of usable pasts. <br />
<br />
''{violent horizontal strokes over the last two lines, left and right from the hole at the bottom of the index card; indecipherable}''<br />
<br />
==m==<br />
<br />
[[File:Letters.png]]<br />
<br />
“What's on TV this afternoon?” This plain but beautifully metamorphosed question has just landed with a bleep on the chaos couch, next to Ragged Mane, who usually loses no chance to retort [that is, here, to admonish too hard a fall]: “Doucement!” Under the weight of a short-lived feeling of guilt, ''{name crossed out}'' echoes back in a whisper – d – o – u – c – e – m – e – n – t –, and then, as if after a palatable word tasting, she clicks her tongue and with it, she searches for a point of clarification: “Doucement is an anagram for documenté – which one do you actually mean?” [All conversations with ''{name crossed out}'' would suffer unsettling Meaning U-turns because she specialized in letter permutation.]<br />
<br />
==y==<br />
<br />
[[File:Screenshot from 2015-10-28 10-44-14.png]]<br />
<br />
Gurgling sounds from a not-so-distant corner of the chaos dump make heads simultaneously rotate in the direction of the TV screen, where a documentary has just started with a drone's-eye view over a city of lined-up skyscrapers. Early on, the commentator breaks into unwitty superlatives and platitudes, while the soundtrack unnecessarily dramatizes a 3D layering of the city structure. Despite all this, the mood on the couch is patient, and viewers seem to absorb the vignetted film. “A city like no other, as atypical as Cappadocia,” explains the low trepid voice from the box, “a city whose peculiarity owes first to the alignment of all its elements, where street follows street in a parallel fashion like in linear writing. Hence, reading the city acquires a literal dimension, skyscrapers echo clustered block letters on a line, and the pedestrian reader gets reduced to the size of a far-sighted microbe.” <br />
<br />
[Woodworm laughs]<br />
<br />
==v==<br />
<br />
[[File:M1.JPG]] [[File:5343895975 cb5e769ebc o.jpg]]<br />
<br />
Minutes into the documentary, the micro-drone camera zooms into the silver district/chapter of the city to show another set of its features: instead of steel and glass, what from afar appeared to be ordinary skyscrapers turn out to be “300-meter-tall lofty towers of mailbox-like constructs of dried skin, sprayed on top with silver paint for rims, and decorated with huge love padlocks. A foreboding district for newlyweds?” [nauseating atmosphere] Unable to answer or to smell, the mosquito-sized drone blinks in the direction of the right page, and it speedily approaches another windowless urban variation: the vastest area of city towers – the Wood Drawers District. “Despite its vintage (here and there rundown) aura, the area is an exquisite, segregated space for library aficionados, designed out of genetically-engineered trees that grow naturally drawer-shaped with a remarkable capacity for self-(re)generation. In terms of real proportions, the size of a mailbox- or a drawer-apartment is comparable to that of a shipping container, from the alternative but old housing projects…” bla bla the furniture bla... <br />
[that chaos corner, so remote and so coal black / that whole atmosphere with blurred echoes beclouds my reasoning / and right now, I'm feeling nauseous and cursed with all the words in an unabridged dictionary / new deluxe edition, with black covers and golden characters]<br />
<br />
==d==<br />
<br />
In front of the place where, above a modest skyline, every single morning [scholars'] desks conjoin in the shape of a multi-storied pyramid, there's a sign that reads: right here you can bend forward, place your hands on your back, press down your spine with your thumbs and throw up an index card, throw out a reality version, take out a tooth. In fact, take out all that you need and once you feel relieved, exchange personas as if in an emergency situation. Then, behind vermillion curtains, replace pronouns at will. <br />
<br />
[Might this have been a pipe dream? An intubated wish for character replacement? ''{Name crossed out}'' would whisper C E E H I N N O R T as place name]<br />
<br />
==r==<br />
<br />
[[File:Screenshot 5c.jpg]]<br />
<br />
[“gray – …<br/><br />
Other Color Terms –<br/><br />
argentine, cerise, cerulean, cyan, ocher, perse, puce, taupe, vermillion”]<br/><br />
<br />
To be able to name everything and everyone, especially all the shades in a gray zone, and then to re-name, re-narrate/re-count, and re-photograph all of it. To treat the ensuing multilayered landscape with/as an infinitive verb and to scoop a place for yourself in the accordion of surfaces.<br />
For instance, take the first shot – you're being stared at, you're under the distant gaze of three ''{words crossed out; illegible}''. Pale, you might think, how pallid and lifeless they appear to be, but try to hold their gaze and notice how the interaction grows uncomfortable through persistence. Blink, if you must. Move your weight from one leg to the other, and become aware of how unflinching their concentration remains, as if their eyes are lured into a screen. And as you're trying to draw attention to yourself by making ampler, pantomimic gestures, your hands touch the dark inner edges of the monitor you're [boxed] in. Look out and around again and again...<br />
<br />
==g==<br />
<br />
[[File:UDC Cancellations Forbidden.png]] [[File:Le corbusier pyramide spiral.png]] [[File:Screenshot RBU.jpg]]<br />
<br />
Some ''{Same?}'' damned creature made only of arms and legs has been leaving a slew of black dots all over my corridors and staircases, ashes on my handrails, and larger spots of black liquid in front of my elevator doors on the southern track – my oldest and dearest vertically mobile installation, the one that has grown only ten floors high. If I were in shape, attuned and wired to my perception angles and sensors, I could identify beyond precision that it is a 403 cabal plotting I begin fearing. Lately, it's all been going really awry. <br />
Having failed at the character recognition of this trickster creature, the following facts can be enumerated in view of overall [damage] re-evaluation, quantification, and intruder excision: emaciating architectural structure, increasingly deformed spiraling of brown marbled staircases, smudged finger- and footprints on all floors, soddened and blackened ceilings, alongside thousands of harrowing fingers and a detection of an insidious and undesirable multiplication of ''{word crossed out: white}'' hands [tbc]. <br />
<br />
==c==<br />
<br />
[[File:Screenshot photo.jpg]] [[File:MondoRMOScrape02.png]]<br />
<br />
Out of the blue, the clock-horse dislocated particles expand in size, circle in all directions like giant flies around a street lamp, and then in the most predictable fashion, they collide with my escapist reminiscences multiple times until I lose connection and the landscape above comes to a [menacing] stillness. [How does it look now? a scarlet-haired question.] I'm blinking, I'm moving my weight from one leg to the other, before I can attempt a description of the earth balls that stagnate in the air among translucent tentacles [they're almost gone] and floating dioramas of miniatures. Proportions have inverted, scraped surfaces have commingled and my U-shaped. reality. and. vision. are. stammering... I can't find my hands! <br />
<br />
==...==<br />
<br />
[[File:014 2R.png]] [[file:Archives MundaneumDSC04616.jpg]] <br />
<br />
--[[User:Ospal|Ospal]] ([[User talk:Ospal|talk]]) 09:27, 19 November 2015 (CET) ''Here is where the transcript ENDS, where the black text lines dribble back into the box. For information on document location or transcription method, kindly contact the editor.''<br />
<br />
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[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7354A bag but is language nothing of words2016-04-29T14:54:58Z<p>Acastro: </p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG]]<br />
<br />
[[File:Liebers P1016859.JPG]]<br />
<br />
[[File:Liebers P1016861.JPG]]<br />
<br />
[[File:Liebers P1016869.JPG]]<br />
<br />
<blockquote>[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote>The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016884.JPG]]<br />
<br />
[[File:Liebers P1016852.JPG]]<br />
<br />
[[File:Liebers P1016880.JPG]]<br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7353A bag but is language nothing of words2016-04-29T14:33:25Z<p>Acastro: </p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG]]<br />
[[File:Liebers P1016859.JPG]]<br />
[[File:Liebers P1016861.JPG]]<br />
[[File:Liebers P1016869.JPG]]<br />
<br />
<blockquote>[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote>The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
<br />
[[File:Liebers P1016884.JPG]]<br />
[[File:Liebers P1016852.JPG]]<br />
[[File:Liebers P1016880.JPG]]<br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7352A bag but is language nothing of words2016-04-29T14:20:14Z<p>Acastro: Undo revision 7351 by Acastro (talk)</p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG]]<br />
[[File:Liebers P1016859.JPG]]<br />
[[File:Liebers P1016861.JPG]]<br />
[[File:Liebers P1016869.JPG]]<br />
<br />
<br />
<blockquote><br />
[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote><br />
The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
<br />
[[File:Liebers P1016884.JPG]]<br />
[[File:Liebers P1016852.JPG]]<br />
[[File:Liebers P1016880.JPG]]<br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7351A bag but is language nothing of words2016-04-29T13:59:57Z<p>Acastro: adding |thumb to images</p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG|thumb]]<br />
[[File:Liebers P1016859.JPG|thumb]]<br />
[[File:Liebers P1016861.JPG|thumb]]<br />
[[File:Liebers P1016869.JPG|thumb]]<br />
<br />
<br />
<blockquote><br />
[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote><br />
The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
<br />
[[File:Liebers P1016884.JPG]]<br />
[[File:Liebers P1016852.JPG]]<br />
[[File:Liebers P1016880.JPG]]<br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7350A bag but is language nothing of words2016-04-29T13:48:54Z<p>Acastro: </p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG]]<br />
[[File:Liebers P1016859.JPG]]<br />
[[File:Liebers P1016861.JPG]]<br />
[[File:Liebers P1016869.JPG]]<br />
<br />
<br />
<blockquote><br />
[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote><br />
The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
<br />
[[File:Liebers P1016884.JPG]]<br />
[[File:Liebers P1016852.JPG]]<br />
[[File:Liebers P1016880.JPG]]<br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7349A bag but is language nothing of words2016-04-29T13:42:48Z<p>Acastro: getting rid of gallery</p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG]]<br />
<br />
[[File:Liebers P1016859.JPG]]<br />
[[File:Liebers P1016861.JPG]]<br />
[[File:Liebers P1016869.JPG]]<br />
<br />
<br />
<blockquote><br />
[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote><br />
The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
<br />
[[File:Liebers P1016884.JPG]]<br />
[[File:Liebers P1016852.JPG]]<br />
[[File:Liebers P1016880.JPG]]<br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=A_bag_but_is_language_nothing_of_words&diff=7348A bag but is language nothing of words2016-04-29T13:25:53Z<p>Acastro: 1 gallery replace for File:</p>
<hr />
<div>(language is nothing but a bag of words)<br />
{{Draft}}<br />
<br />
[[author::Michael Murtaugh]]<br />
{{NOTOC}}<br />
<div class="book">In text indexing and other machine reading applications the term "bag of words" is frequently used to underscore how processing algorithms often represent text using a data structure (word histograms or weighted vectors) where the original order of the words in sentence form is stripped away. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expression's use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothin' but a big BAG-OF-WORDS.</div><br />
<br />
== Bag of words ==<br />
<br />
In information retrieval and other so-called ''machine-reading'' applications (such as text indexing for web search engines) the term "bag of words" is used to underscore how in the course of processing a text the original order of the words in sentence form is stripped away. The resulting representation is then a collection of each unique word used in the text, typically weighted by the number of times the word occurs.<br />
<br />
Bag of words, also known as word histograms or weighted term vectors, are a standard part of the data engineer's toolkit. But why such a drastic transformation? The utility of "bag of words" is in how it makes text amenable to code, first in that it's very straightforward to implement the translation from a text document to a bag of words representation. More significantly, this transformation then opens up a wide collection of tools and techniques for further transformation and analysis purposes. For instance, a number of libraries available in the booming field of "data sciences" work with "high dimension" vectors; bag of words is a way to transform a written document into a mathematical vector where each "dimension" corresponds to the (relative) quantity of each unique word. While physically unimaginable and abstract (imagine each of Shakespeare's works as points in a 14 million dimensional space), from a formal mathematical perspective, it's quite a comfortable idea, and many complementary techniques (such as principle component analysis) exist to reduce the resulting complexity.<br />
<br />
What's striking about a bag of words representation, given is centrality in so many text retrieval application is its irreversibility. Given a bag of words representation of a text and faced with the task of producing the original text would require in essence the "brain" of a writer to recompose sentences, working with the patience of a devoted cryptogram puzzler to draw from the precise stock of available words. While "bag of words" might well serve as a cautionary reminder to programmers of the essential violence perpetrated to a text and a call to critically question the efficacy of methods based on subsequent transformations, the expressions use seems in practice more like a badge of pride or a schoolyard taunt that would go: Hey language: you're nothing but a big BAG-OF-WORDS. Following this spirit of the term, "bag of words" celebrates a perfunctory step of "breaking" a text into a purer form amenable to computation, to stripping language of its silly redundant repetitions and foolishly contrived stylistic phrasings to reveal a purer inner essence.<br />
<br />
== Book of words ==<br />
<br />
Lieber's Standard Telegraphic Code, first published in 1896 and republished in various updated editions through the early 1900s, is an example of one of several competing systems of telegraph code books. The idea was for both senders and receivers of telegraph messages to use the books to translate their messages into a sequence of code words which can then be sent for less money as telegraph messages were paid by the word. In the front of the book, a list of examples gives a sampling of how messages like: "Have bought for your account 400 bales of cotton, March delivery, at 8.34" can be conveyed by a telegram with the message "Ciotola, Delaboravi". In each case the reduction of number of transmitted words is highlighted to underscore the efficacy of the method. Like a dictionary or thesaurus, the book is primarily organized around key words, such as ''act'', ''advice'', ''affairs'', ''bags'', ''bail'', and ''bales'', under which exhaustive lists of useful phrases involving the corresponding word are provided in the main pages of the volume. <ref>Benjamin Franklin Lieber, Lieber's Standard Telegraphic Code, 1896, New York; https://archive.org/details/standardtelegrap00liebuoft</ref><br />
<br />
[[File:Liebers P1016847.JPG]]<br />
[[File:Liebers P1016859.JPG]]<br />
[[File:Liebers P1016861.JPG]]<br />
[[File:Liebers P1016869.JPG]]<br />
<br />
<br />
<blockquote><br />
[...] my focus in this chapter is on the inscription technology that grew parasitically alongside the monopolistic pricing strategies of telegraph companies: telegraph code books. Constructed under the bywords “economy,” “secrecy,” and “simplicity,” telegraph code books matched phrases and words with code letters or numbers. The idea was to use a single code word instead of an entire phrase, thus saving money by serving as an information compression technology. Generally economy won out over secrecy, but in specialized cases, secrecy was also important.<br />
<ref>Katherine Hayles, "Technogenesis in Action: Telegraph Code Books and the Place of the Human", How We Think: Digital Media and Contemporary Technogenesis, 2006</ref><br />
</blockquote><br />
<br />
In Katherine Hayles' chapter devoted to telegraph code books she observes how:<br />
<br />
<blockquote><br />
The interaction between code and language shows a steady movement away from a human-centric view of code toward a machine-centric view, thus anticipating the development of full-fledged machine codes with the digital computer. <ref>Hayles</ref><br />
</blockquote><br />
<br />
[[File:Liebers P1016851.JPG]]<br />
Aspects of this transitional moment are apparent in a notice included prominently inserted in the Lieber's code book:<br />
<blockquote>After July, 1904, all combinations of letters that do not exceed ten will pass as one cipher word, provided that it is pronounceable, or that it is taken from the following languages: English, French, German, Dutch, Spanish, Portuguese or Latin -- International Telegraphic Conference, July 1903 <ref>Lieber's</ref><br />
</blockquote><br />
<br />
Conforming to international conventions regulating telegraph communication at that time, the stipulation that code words be actual words drawn from a variety of European languages (many of Lieber's code words are indeed arbitrary Dutch, German, and Spanish words) underscores this particular moment of transition as reference to the human body in the form of "pronounceable" speech from representative languages begins to yield to the inherent potential for arbitrariness in digital representation.<br />
<br />
What telegraph code books do is remind us of is the relation of language in general to economy. Whether they may be economies of memory, attention, costs paid to a telecommunicatons company, or in terms of computer processing time or storage space, encoding language or knowledge in any form of writing is a form of shorthand and always involves an interplay with what one expects to perform or "get out" of the resulting encoding.<br />
<br />
<blockquote>Along with the invention of telegraphic codes comes a paradox that John Guillory has noted: code can be used both to clarify and occlude. Among the sedimented structures in the technological unconscious is the dream of a universal language. Uniting the world in networks of communication that flashed faster than ever before, telegraphy was particularly suited to the idea that intercultural communication could become almost effortless. In this utopian vision, the effects of continuous reciprocal causality expand to global proportions capable of radically transforming the conditions of human life. That these dreams were never realized seems, in retrospect, inevitable. <ref>Hayles</ref><br />
</blockquote><br />
<br />
<gallery><br />
File:Liebers P1016884.JPG<br />
File:Liebers P1016852.JPG<br />
File:Liebers P1016880.JPG<br />
</gallery><br />
<br />
Far from providing a universal system of encoding messages in the English language, Lieber's code is quite clearly designed for the particular needs and conditions of its use. In addition to the phrases ordered by keywords, the book includes a number of tables of terms for specialized use. One table lists a set of words used to describe all possible permutations of numeric grades of coffee (Choliam = 3,4, Choliambos = 3,4,5, Choliba = 4,5, etc.); another table lists pairs of code words to express the respective daily rise or fall of the price of coffee at the port of Le Havre in increments of a quarter of a Franc per 50 kilos ("Chirriado = prices have advanced 1 1/4 francs"). From an archaeological perspective, the Lieber's code book reveals a cross section of the needs and desires of early 20th century business communication between the United States and its trading partners.<br />
<br />
The advertisements lining the Liebers Code book further situate its use and that of commercial telegraphy. Among the many advertisements for banking and law services, office equipment, and alcohol are several ads for gun powder and explosives, drilling equipment and metallurgic services all with specific applications to mining. Extending telegraphy's formative role for ship-to-shore and ship-to-ship communication for reasons of safety, commercial telegraphy extended this network of communication to include those parties coordinating the "raw materials" being mined, grown, or otherwise extracted from overseas sources and shipped back for sale.<br />
<br />
== "Raw data now!" ==<br />
{{RT|rawdata}}<blockquote><section begin='rawdata' /><br />
<p><br />
Tim Berners-Lee:<br />
[...] Make a beautiful website, but first give us the unadulterated data, we want the data. We want unadulterated data. OK, we have to ask for raw data now. And I'm going to ask you to practice that, OK? Can you say "raw"?<br />
</p><br />
<br />
<p>Audience: Raw.</p><br />
<br />
<p>Tim Berners-Lee: Can you say "data"?</p><br />
<br />
<p>Audience: Data.</p><br />
<br />
<p>TBL: Can you say "now"?</p><br />
<br />
<p>Audience: Now!</p><br />
<br />
<p>TBL: Alright, "raw data now"! </p><br />
<br />
<p>[...]</p><section end='rawdata' /><br />
<br />
<p>So, we're at the stage now where we have to do this -- the people who think it's a great idea. And all the people -- and I think there's a lot of people at TED who do things because -- even though there's not an immediate return on the investment because it will only really pay off when everybody else has done it -- they'll do it because they're the sort of person who just does things which would be good if everybody else did them. OK, so it's called linked data. I want you to make it. I want you to demand it. <ref>Tim Berners-Lee: The next web, TED Talk, February 2009 http://www.ted.com/talks/tim_berners_lee_on_the_next_web/transcript?language=en</ref></p><br />
</blockquote><br />
<br />
== Un/Structured ==<br />
As graduate students at Stanford, Sergey Brin and Lawrence (Larry) Page had an early interest in producing "structured data" from the "unstructured" web. <ref>"Research on the Web seems to be fashionable these days and I guess I'm no exception." from Brin's [http://infolab.stanford.edu/~sergey/ Stanford webpage]</ref><br />
<br />
<blockquote><br />
<p><br />
The World Wide Web provides a vast source of information of almost all types, ranging from DNA databases to resumes to lists of favorite restaurants. However, this information is often scattered among many web servers and hosts, using many different formats. If these chunks of information could be extracted from the World Wide Web and integrated into a structured form, they would form an unprecedented source of information. It would include the largest international directory of people, the largest and most diverse databases of products, the greatest bibliography of academic works, and many other useful resources. [...]<br />
</p><br />
<p><br />
'''2.1 The Problem'''<br><br />
Here we define our problem more formally:<br><br />
Let D be a large database of unstructured information such as the World Wide Web [...]<br />
<ref><br />
Extracting Patterns and Relations from the World Wide Web, Sergey Brin,<br />
Proceedings of the WebDB Workshop at EDBT 1998,<br />
http://www-db.stanford.edu/~sergey/extract.ps<br />
</ref><br />
</p><br />
</blockquote><br />
<br />
In a paper titled ''Dynamic Data Mining'' Brin and Page situate their research looking for ''rules'' (statistical correlations) between words used in web pages. The "baskets" they mention stem from the origins of "market basket" techniques developed to find correlations between the items recorded in the purchase receipts of supermarket customers. In their case, they deal with web pages rather than shopping baskets, and words instead of purchases. In transitioning to the much larger scale of the web, they describe the usefulness of their research in terms of its computational economy, that is the ability to tackle the scale of the web and still perform using contemporary computing power completing its task in a reasonably short amount of time.<br />
<br />
<blockquote><br />
A traditional algorithm could not compute the large itemsets in the lifetime of the universe. [...] Yet many data sets are difficult to mine because they have many frequently occurring items, complex relationships between the items, and a large number of items per basket. In this paper we experiment with word usage in documents on the World Wide Web (see Section 4.2 for details about this data set). This data set is fundamentally different from a supermarket data set. Each document has roughly 150 distinct words on average, as compared to roughly 10 items for cash register transactions. We restrict ourselves to a subset of about 24 million documents from the web. This set of documents contains over 14 million distinct words, with tens of thousands of them occurring above a reasonable support threshold. Very many sets of these words are highly correlated and occur often. <ref>Dynamic Data Mining: Exploring Large Rule Spaces by Sampling; Sergey Brin and Lawrence Page, 1998; p. 2 http://ilpubs.stanford.edu:8090/424/</ref><br />
</blockquote><br />
<br />
== Un/Ordered ==<br />
<br />
In programming, I've encountered a recurring "problem" that's quite<br />
symptomatic. It goes something like this: you (the programmer) have<br />
managed to cobble out a lovely "content management system" (either from<br />
scratch, or using any number of helpful frameworks) where your user can enter some "items" into a<br />
database, for instance to store bookmarks. After this ordered items are automatically presented in list<br />
form (say on a web page). The author: It's great, except... could<br />
this bookmark come before that one? The problem stems from the fact that<br />
the database ordering (a core functionality provided by any database)<br />
somehow applies a sorting logic that's almost but not quite right. A<br />
typical example is the sorting of names where details (where to place a<br />
name that starts with a Norwegian "Ø" for instance), are<br />
language-specific, and when a mixture of languages occurs, no single<br />
ordering is necessarily "correct". The (often) exascerbated programmer<br />
might hastily add an additional database field so that each item can also have an<br />
"order" (perhaps in the form of a date or some other kind of<br />
(alpha)numerical "sorting" value) to be used to correctly order the<br />
resulting list. Now the author has a means, awkward and indirect but<br />
workable, to control the order of the presented data on the start page.<br />
But one might well ask, why not just edit the resulting listing as a<br />
document? Not possible! Contemporary content management systems are based on a data flow from a "pure" source of a database, through controlling code and templates to produce a document as a result. The document isn't the data, it's the end result of an irreversible process. This problem, in this and many variants, is widespread and<br />
reveals an essential backwardness that a particular "computer scientist"<br />
mindset relating to what constitutes "data" and in particular it's<br />
relationship to order that makes what might be a straightforward<br />
question of editing a document into an over-engineered database.<br />
<br />
Recently working with Nikolaos Vogiatzis whose research explores<br />
playful and radically subjective alternatives to the list, Vogiatzis was<br />
struck by how from the earliest specifications of HTML (still valid<br />
today) have separate elements (OL and UL) for "ordered" and "unordered"<br />
lists.<br />
<br />
<blockquote><br />
<p><br />
The representation of the list is not defined here, but a bulleted<br />
list for unordered lists, and a sequence of numbered paragraphs<br />
for an ordered list would be quite appropriate. Other possibilities<br />
for interactive display include embedded scrollable browse panels.<br />
<ref>Hypertext Markup Language (HTML): "Internet Draft", Tim<br />
Berners-Lee and Daniel Connolly, June 1993, http://www.w3.org/MarkUp/draft-ietf-iiir-html-01.txt</ref><br />
</p><br />
<br />
</blockquote><br />
<br />
Vogiatzis' surprise lay in the idea of a list ever being considered<br />
"unordered" (or in opposition to the language used in the specification,<br />
for order to ever be considered "insignificant"). Indeed in its<br />
suggested representation, still followed by modern web browsers, the<br />
only difference between the two visually is that UL items are<br />
preceded by a bullet symbol, while OL items are numbered.<br />
<br />
The idea of ordering runs deep in programming practice where essentially different data structures are employed depending on whether order is to be maintained. The indexes of a "hash" table, for instance (also known as an associative array), are ordered in an unpredictable way governed by a representation's particular implementation. This data structure, extremely prevalent in contemporary programming practice sacrifices order to offer other kinds of efficiency (fast text-based retrieval for instance).<br />
<br />
== Data mining ==<br />
<br />
In announcing Google's impending data center in Mons, Belgian prime minister Di Rupo invoked the link between the history of the mining industry in the region and the present and future interest in "data mining" as practiced by IT companies such as Google.<br />
<br />
Whether speaking of bales of cotton, barrels of oil, or bags of words, what links these subjects is the way in which the notion of "raw material" obscures the labor and power structures employed to secure them. "Raw" is always relative: "purity" depends on processes of "refinement" that typically carry social/ecological impact.<br />
<br />
Stripping language of order is an act of "disembodiment", detaching it from the acts of writing and reading. The shift from (human) reading to machine reading involves a shift of responsibility from the individual human body to the obscured responsibilities and seemingly inevitable forces of the "machine", be it the machine of a market or the machine of an algorithm.<br />
<br />
{{RT|raw_work}}<section begin=raw_work />The computer scientists' view of textual content as "unstructured", be it in a webpage or the OCR scanned pages of a book, reflect a negligence to the processes and labor of writing, editing, design, layout, typesetting, and eventually publishing, collecting and cataloging <ref>http://informationobservatory.info/2015/10/27/google-books-fair-use-or-anti-democratic-preemption/#more-279</ref>.<section end=raw_work /><br />
<br />
"Unstructured" to the computer scientist, means non-conformant to particular forms of machine reading. "Structuring" then is a social process by which particular (additional) conventions are agreed upon and employed. Computer scientists often view text through the eyes of their particular reading algorithm, and in the process (voluntarily) blind themselves to the work practices which have produced and maintain these "resources".<br />
<br />
Berners-Lee, in chastising his audience of web publishers to not only publish online, but to release "unadulterated" data belies a lack of imagination in considering how language is itself structured and a blindness to the need for more than additional technical standards to connect to existing publishing practices. <br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Property:Person&diff=7347Property:Person2016-04-29T12:25:32Z<p>Acastro: </p>
<hr />
<div><div class="intro"><onlyinclude>Meet the cast of historical, contemporary and fictional people that populate La Mondothèque.</onlyinclude></div><br />
<br />
{{#ask: [[person::+]]<br />
| ?Person <br />
| sort=Person<br />
| order=desc<br />
| limit=1000<br />
| format=gallery<br />
}}<br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Property:Person&diff=7346Property:Person2016-04-29T12:20:16Z<p>Acastro: </p>
<hr />
<div><div class="intro"><onlyinclude>Meet the cast of historical, contemporary and fictional people that populate La Mondothèque.</onlyinclude></div><br />
<br />
{{#ask: [[person::+]]<br />
| ?Person <br />
| sort=Person<br />
| order=desc<br />
|limit=1000<br />
}}<br />
<br />
<br />
[[category:publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7221User:Acastro2016-03-22T15:24:46Z<p>Acastro: </p>
<hr />
<div>just [[testing]]<br />
<br />
=Maps=<br />
How to create static images?<br />
<br />
http://staticmap.openstreetmap.de//<br />
<br />
http://devblog.mapquest.com/2011/05/11/get-creative-with-the-open-static-maps-api/<br />
<br />
http://wiki.openstreetmap.org/wiki/Static_map_images<br />
<br />
<br />
https://www.semantic-mediawiki.org/wiki/Help:Map_format<br />
<br />
https://www.semantic-mediawiki.org/wiki/Category:Semantic_Maps_examples<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=openlayers<br />
|static=yes<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7217User:Acastro2016-03-22T15:13:18Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
How to create static images?<br />
<br />
http://staticmap.openstreetmap.de//<br />
<br />
http://devblog.mapquest.com/2011/05/11/get-creative-with-the-open-static-maps-api/<br />
<br />
http://wiki.openstreetmap.org/wiki/Static_map_images<br />
<br />
<br />
https://www.semantic-mediawiki.org/wiki/Help:Map_format<br />
<br />
https://www.semantic-mediawiki.org/wiki/Category:Semantic_Maps_examples<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=openlayers<br />
|static=yes<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7204User:Acastro2016-03-22T13:41:52Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=openlayers<br />
|static=yes<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7203User:Acastro2016-03-22T13:40:08Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=map<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7201User:Acastro2016-03-22T13:28:11Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=leaflet<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7200User:Acastro2016-03-22T13:25:30Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=googlemaps<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7182User:Acastro2016-03-22T11:35:50Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=leaflet<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7181User:Acastro2016-03-22T11:35:08Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=googlemaps<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7180User:Acastro2016-03-22T11:34:38Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| service=googlemaps<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7179User:Acastro2016-03-22T11:20:26Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=googlemaps<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7178User:Acastro2016-03-22T11:18:23Z<p>Acastro: /* Maps */</p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=kml<br />
| input type=yahoomap<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Une_lecture-%C3%A9criture_du_livre_sur_le_livre&diff=7165Une lecture-écriture du livre sur le livre2016-03-22T11:03:24Z<p>Acastro: </p>
<hr />
<div><br />
{{Draft}}<br />
[[author::Alexia de Visscher]]<br />
<br />
<br />
<br />
<div class="book"><onlyinclude>Lecture-écriture du Traité de documentation.<br />
* Dépouiller<br />
** Souligner<br />
*** Indexer<br />
**** Organiser<br />
***** re-composer le ''Traité de Documentation - Le livre sur le livre'', afin d'en proposer une lecture-écriture. Proposition d'une lecture fragmentée dont le processus s'appuie sur une réécriture du Traité par lui-même pour mieux y déceler son caractère ''meta''. et dans l'hypothèse que Le ''Traité de documentation'' serait la première expérience mise en œuvre par Otlet afin de valider ses propres principes de documentologie.<br />
<br />
Cet index constitue une proposition de lecture du ''Traité de documentation - Le livre sur le livre - Théorie et pratique'', ouvrage publié en 1934 qui reprend une somme d'écrits à propos du livre et au delà, la documentation sous toutes ses formes écrites. Dans ce traité, Paul Otlet initie et théorise une science globale de l'écrit, la bibliologie, tendant de dégager faits, principes et règles de classification et d'identification des documents, pour une mise en pratique individuelle et collective. Il s'adresse à tous, à travers une conception humaniste du partage de la connaissance et suggère à travers certains passages le livre à venir comme une expérience multimédia connectée. <br /><br />
<br />
Cet index n'est ni systématique, ni exhaustif. Il témoigne de la façon dont les concepts développés par Otlet dans son livre sont mis en exergue dans la conception même de sa rédaction, au travers d'une écriture fragmentaire. On y décèle un caractère expérimental : en partie incomplet, coquilles et redondances cohabitent, autant de traces qui constituent une forme de documentation sur le procédé éditorial mis en œuvre.<br />
La construction de cet index constitue également une expérience de réappropriation d'une partie de la méthode proposée par Otlet : le dépouillement (la sélection) et le classement (l'indexation) de fragments ou [['':Category:Unité intellectuelle|unités intellectuelle'']]. <br />
<br />
A part être un index, il est aussi un sommaire, qui – à part le fait qu'il soit présenté dans l'ordre alphabétique –, n'a ni entrée, ni sortie particulière. Chaque [[:category:extrait|extrait]] indexé, et chaque catégorie constituante de l'index, forment des pages uniques sur le wiki. Les extraits vont de la courte citation à la retranscription intégrale de sections du Traité. Ces pages sont "appelées" à apparaître dans les catégories auxquelles elles se réfèrent, à plusieurs endroits parfois. Ces occurrences sont commentées, ou non. Les mises en évidence, constituent une forme de soulignage afin de pointer un passage en particulier dans l'extrait choisi. Cet index tend à être collaboratif et invite à la discussion, il aurait peut-être été, en partie, une réponse au [[:Category:Desiderata|desiderata]] d’[[:Category:ubiquité|ubiquité]] qu'Otlet vouait à la documentation.</onlyinclude></div><br />
<br />
{{#ask: [[Subcategory of::Index Traité de documentation]]|format=array |name=results}}<br />
{{#loop: looper<br />
| 0<br />
| {{#arraysize: results}}<br />
| <br />
<div class="category-title">{{PAGENAME:{{#arrayindex: results | {{#var:looper}} }} }} </div><br/><br/><br />
{{:{{#arrayindex: results | {{#var:looper}} }}}}<br />
<br />
<br />
}}<br />
<br />
[[Category:Publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=The_radiated_book&diff=7162The radiated book2016-03-22T11:00:10Z<p>Acastro: </p>
<hr />
<div><div class="label"> [http://www.mondotheque.be/wiki/index.php?title=Category:Publication&action=pdfbook Generate PDF (re-ordered alphabetically)]</div><br />
<br />
* Mondothèque: a radiated book<br />
** [[Property:Person]] (agents + actors)<br />
** [[Introduction]] '''[[author::Femke Snelting]]''' + [[Inleiding|NL]] + [[Preface|FR]]<br />
* Embedded hierarchies<br />
** [[An experimental transcript: q, n, t, j, e, u, p, b, n]] '''[[author::Sînziana Păltineanu]]''' <br />
** [[Une_lecture-écriture_du_livre_sur_le_livre|Une lecture-écriture du livre sur le livre]] '''[[author::Alexia de Visscher]]'''<br />
** [[Amateur Librarian - A Course in Critical Pedagogy]] '''[[author::Tomislav Medak]]''' & '''[[author::Marcell Mars]]''' + [[Bibliothécaire Amateur - Un Cours en pédagogie critique|FR]]<br />
** [[A bag but is language nothing of words]] '''[[author::Michael Murtaugh]]'''<br />
** [[A Book of the Web]] '''[[author::Dušan Barok]]'''<br />
** [[De Indexalist]] '''[[author::Matthew Fuller]]''' + [[The Indexalist|EN]]<br />
** [[The radiated interview|The radiated interview/L'entrevue rayonnée/Het gestraalde interview]]<br />
* Disambiguation <br />
** [[An experimental transcript: w, o, i, z, k, l, x, m]] '''[[author::Sînziana Păltineanu]]'''<br />
** [[Appearance|LES UTOPISTES and the common logos]] '''[[author::Dennis Pohl]]'''<br />
** [[X = Y]] '''[[author::Dick Reckard]]'''<br />
** [[Madame C]] '''[[author::Femke Snelting]]''' + [[Mevrouw C|NL]]<br />
** [[Une histoire préemptif de l'Institut culturel de Google]] '''[[author::Geraldine Juárez]]''' + [[A_Pre-emptive_History_of_the_Google_Cultural_Institute|EN]]<br />
** [[Special:Disambiguation]]<br />
* Location, location, location <br />
** [[An experimental transcript: y, v, d, r, g, c, ...]] '''[[author::Sînziana Păltineanu]]'''<br />
** [[From Paper Mill to Google Data Center]] '''[[author::ShinJoung Yeo]]'''<br />
** [[House, City, World, Nation, Globe]] '''[[author::Natacha Roussel]]'''<br />
** [[The Smart City - City of Knowledge]] '''[[author::Dennis Pohl]]'''<br />
** [[Location, location, location|The itinerant archive]]<br />
* Appendix<br />
** [[Les Pyramides]]<br />
** [[Cross-readings]] <br />
** [[Colophon|Colophon/Colofon]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7148User:Acastro2016-03-22T10:15:30Z<p>Acastro: /* Maps */</p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=kml<br />
| format=openlayers<br />
}}<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7147User:Acastro2016-03-22T10:14:27Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=kml,openlayers<br />
}}<br />
<br />
<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7139User:Acastro2016-03-22T10:09:58Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Maps=<br />
<br />
<br />
{{#ask: [[Geo::+]] [[City::Brussels]]<br />
| ?Geo<br />
| ?Date<br />
| ?Place<br />
| format=kml<br />
}}<br />
<br />
<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User_talk:FS&diff=7133User talk:FS2016-03-22T09:52:02Z<p>Acastro: /* Mediawiki Feature Map :) -- ~~~~ */ new section</p>
<hr />
<div>== Mediawiki Feature Map :) -- [[User:Acastro|Acastro]] ([[User talk:Acastro|talk]]) 10:52, 22 March 2016 (CET) ==<br />
<br />
https://www.mediawiki.org/wiki/Feature_map</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7132User:Acastro2016-03-22T09:49:44Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
=MW Feature map =<br />
https://www.mediawiki.org/wiki/Feature_map<br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=7091User:Acastro2016-03-21T21:28:10Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Biblioth%C3%A9caire_amateur_-_un_cours_de_p%C3%A9dagogie_critique&diff=7087Bibliothécaire amateur - un cours de pédagogie critique2016-03-21T21:24:35Z<p>Acastro: </p>
<hr />
<div>__NOTOC__<br />
<br />
VERSION FRANCAISE<br />
<br />
[[author::Tomislav Medak]] & [[author::Marcell Mars]] (Public Library project)<br />
<br />
<div class="book"><onlyinclude>A proposal for a curriculum in amateur librarianship, developed through the activities and exigencies of the Public Library project. Drawing from a historic genealogy of public library as the institution of access to knowledge, the proletarian tradition of really useful knowledge and the amateur agency driven by technological development, the curriculum covers a range of segments from immediately applicable workflows for scanning, sharing and using e-books, over politics and tactics around custodianship of online libraries, to applied media theory implicit in the practices of amateur librarianship. The proposal is made with further development, complexification and testing in mind during the future activities of the Public Library and affiliated organizations.</onlyinclude></div><br />
<br />
== Public library, a political genealogy ==<br />
<br />
Public libraries have historically achieved as an institutional space of exemption from the commodification and privatization of knowledge. A space where works of literature and science are housed and made accessible for the education of every member of society regardless of their social or economic status. If, as a liberal narrative has it, education is a prerequisite for full participation in a body politic, it is in this narrow institutional space that citizenship finds an important material base for its universal realization. <br />
<br />
The library as an institution of public access and popular literacy, however, did not develop before a series of transformations and social upheavals unfolded in the course of 18th and 19th century. These developments brought about a flood of books and political demands pushing the library to become embedded in an egalitarian and democratizing political horizon. The historic backdrop for these developments was the rapid ascendancy of the book as a mass commodity and the growing importance of the reading culture in the aftermath of the invention of the movable type print. Having emerged almost in parallel with capitalism, by the early 18th century the trade in books was rapidly expanding. While in the 15th century the libraries around the monasteries, courts and universities of Western Europe contained no more than 5 million manuscripts, the output of printing presses in the 18th century alone exploded to formidable 700 million volumes.<ref>For an economic history of the book in the Western Europe see Eltjo Buringh and Jan Luiten Van Zanden, “Charting the ‘Rise of the West’: Manuscripts and Printed Books in Europe, A Long-Term Perspective from the Sixth through Eighteenth Centuries,” ''The Journal of Economic History'' 69, No. 02 (June 2009): 409–45, doi:10.1017/S0022050709000837, particularly Tables 1-5.</ref> And while this provided a vector for the emergence of a bourgeois reading public and an unprecedented expansion of modern science, the culture of reading and Enlightenment remained largely a privilege of the few. <br />
<br />
Two social upheavals would start to change that. On 2 November 1789 the French revolutionary National Assembly passed a decision to seize all library holdings from the Church and aristocracy. Million of volumes were transferred to the Bibliothèque Nationale and local libraries across France. At the same time capitalism was on the rise, particularly in England. It massively displaced the impoverished rural population into growing urban centres, propelled the development of industrial production and, by the mid-19th century, introduced the steam-powered rotary press into the commercial production of books. As books became more easily mass-produced, the commercial subscription libraries catering to the better-off parts of society blossomed. This brought the class aspect of the nascent demand for public access to books to the fore. <br />
<br />
After the failed attempt to introduce universal suffrage and end the system of political representation based on property entitlements through the Reform Act of 1832, the English Chartist movement started to open reading rooms and cooperative lending libraries that would quickly become a popular hotbed of social exchange between the lower classes. In the aftermath of the revolutionary upheavals of 1848, the fearful ruling classes finally consented to the demand for tax-financed public libraries, hoping that the access to literature and edification would after all help educate skilled workers that were increasingly in demand and ultimately hegemonize the working class for the benefits of capitalism's culture of self-interest and competition.<ref>For the social history of public library see Matthew Battles, ''Library: An Unquiet History'' (Random House, 2014) chapter 5: “Books for all”.</ref><br />
<br />
== Really useful knowledge==<br />
<ref>For this concept we remain indebted to the curatorial collective What, How and for Whom/WHW, who have presented the work of Public Library within the exhibition ''Really Useful Knowledge'' they organized at Museo Reina Sofía in Madrid, October 29, 2014 – February 9, 2015.</ref><br />
<br />
It's no surprise that the Chartists, reeling from a political defeat, had started to open reading rooms and cooperative lending libraries. The education provided to the proletariat and the poor by the ruling classes of that time consisted, indeed, either of a pious moral edification serving political pacification or of an inculcation of skills and knowledge useful to the factory owner. Even the seemingly noble efforts of the Society for the Diffusion of the Useful Knowledge, a Whig organization aimed at bringing high-brow learning to the middle and working classes in the form of simplified and inexpensive publications, were aimed at dulling the edge of radicalism of popular movements.<ref>“Society for the Diffusion of Useful Knowledge,” ''Wikipedia, the Free Encyclopedia'', June 25, 2015, https://en.wikipedia.org/w/index.php?title=Society_for_the_Diffusion_of_Useful_Knowledge&oldid=668644340.</ref><br />
<br />
These efforts to pacify the downtrodden masses pushed them to seek ways of self-organized education that would provide them with literacy and really useful knowledge – not applied, but critical knowledge that would allow them to see through their own political and economic subjection, develop radical politics and innovate shadow social institutions of their own. The radical education, reliant on meagre resources and time of the working class, developed in the informal setting of household, neighbourhood and workplace, but also through radical press and communal reading and discussion groups.<ref>Richard Johnson, “Really Useful Knowledge,” in ''CCCS Selected Working Papers: Volume 1'', 1 edition, vol. 1 (London u.a.: Routledge, 2014), 755.</ref><br />
<br />
The demand for really useful knowledge encompassed a critique of “all forms of ‘provided’ education” and of the liberal conception “that ‘national education’ was a necessary condition for the granting of universal suffrage.” Development of radical “curricula and pedagogies” formed a part of the arsenal of “political strategy as a means of changing the world.”<ref>Ibid., 752.</ref><br />
<br />
== Critical pedagogy ==<br />
<br />
This is the context of the emergence of the public library. A historical compromise between a push for radical pedagogy and a response to dull its edge. And yet with the age of digitization, where one would think that the opportunities for access to knowledge have expanded immensely, public libraries find themselves increasingly limited in their ability to acquire and lend both digital and paper editions. It is a sign of our radically unequal times that the political emancipation finds itself on a defensive fighting again for this material base of pedagogy against the rising forces of privatization. Not only has mass education become accessible only under the condition of high fees, student debt and adjunct peonage, but the useful knowledge that the labour market and reproduction of the neoliberal capitalism demands has become the one and only rationale for education. <br />
<br />
No wonder that over the last 6-7 years we have seen self-education, shadow libraries and amateur librarians emerge again to counteract the contraction of spaces of exemption that have been shrunk by austerity and commodity. <br />
<br />
The project Public Library was initiated with the counteraction in mind. To help everyone learn to use simple tools to be able to act as an Amateur Librarian – to digitize, to collect, to share, to preserve books and articles that were unaffordable, unavailable, undesirable in the troubled corners of the Earth we hail from. <br />
<br />
Amateur Librarian played an important role in the narrative of Public Library. And it seems it was successful. People easily join the project by 'becoming' a librarian using Calibre<ref>http://calibre-ebook.com/</ref> and [let’s share books].<ref>https://www.memoryoftheworld.org/blog/2014/10/28/calibre-lets-share-books/</ref> Other aspects of the Public Library narrative add a political articulation to that simple yet disobedient act. Public Library detects an institutional crisis in education, an economic deadlock of austerity and a domination of commodity logic in the form of copyright. It conjures up the amateur librarians’ practice of sharing books/catalogues as a relevant challenge against the convergence of that crisis, deadlock and copyright regime.<br />
<br />
To understand the political and technological assumptions and further develop the strategies that lie behind the counteractions of amateur librarians, we propose a curriculum that is indebted to a tradition of critical pedagogy. Critical pedagogy is a productive and theoretical practice rejecting an understanding of educational process that reduces it to a technique of imparting knowledge and a neutral mode of knowledge acquisition. Rather, it sees the pedagogy as a broader “struggle over knowledge, desire, values, social relations, and, most important, modes of political agency”, “drawing attention to questions regarding who has control over the conditions for the production of knowledge.”<ref>Henry A. Giroux, ''On Critical Pedagogy'' (Bloomsbury Academic, 2011), 5.</ref><br />
<br />
No industry in the present demonstrates more the asymmetries of control over the conditions of production of knowledge than the academic publishing. The denial of access to outrageously expensive academic publications for many universities, particularly in the Global South, stands in stark contrast to the super-profits that a small number of commercial publishers draws from the free labour of scientists who write, review and edit contributions and the extortive prices their institutional libraries have to pay for subscriptions. It is thus here that the amateur librarianship attains its poignancy for a critical pedagogy, inviting us to closer formulate and unfold its practices in a shared process of discovery.<br />
<br />
== A curriculum ==<br />
<br />
Public library is:<br />
* free access to books for every member of society,<br />
* library catalogue,<br />
* librarian.<br />
<br />
The curriculum in amateur librarianship develops aspects and implications of this definition. Parts of this curriculum have evolved over a number of workshops and talks previously held within the Public Library project, parts of it are yet to evolve from a process of future research, exchange and knowledge production in the education process. While schematic, scaling from the immediately practical, over strategic and tactical, to reflexive registers of knowledge, there are actual – here unnamed – people and practices we imagine we could be learning from.<br />
<br />
The first iteration of this curriculum could be either a summer academy rostered with our all-star team of librarians, designers, researchers and teachers, or a small workshop with a small group of students delving deeper into one particular aspect of the curriculum. In short it is an open curriculum: both open to educational process and contributions by others. We welcome comments, derivations and additions. <br />
<br />
=== MODULE 1: Workflows ===<br />
<br />
* from book to e-book<br />
** '''digitizing a book on a book scanner'''<br />
** '''removing DRM and converting e-book formats'''<br />
<br />
* from clutter to catalogue<br />
** '''managing an e-book library with Calibre'''<br />
** '''finding e-books and articles on online libraries'''<br />
<br />
* from reference to bibliography <br />
** '''annotating in an e-book reader device or application'''<br />
** '''creating a scholarly bibliography in Zotero'''<br />
<br />
* from block device to network device<br />
** '''sharing your e-book library on a local network to a reading device'''<br />
** '''sharing your e-book library on the internet with [let’s share books]'''<br />
<br />
* from private to public IP space<br />
** '''using [let’s share books] & library.memoryoftheworld.org'''<br />
** '''using logan & jessica'''<br />
** '''using Science Hub'''<br />
** '''using Tor'''<br />
<br />
=== MODULE 2: Politics/tactics ===<br />
<br />
* from developmental subordination to subaltern disobedience<br />
** '''uneven development & political strategies'''<br />
** '''strategies of the developed v strategies of the underdeveloped : open access v piracy'''<br />
<br />
* from property to commons<br />
** '''from property to commons'''<br />
** '''copyright, scientific publishing, open access'''<br />
** '''shadow libraries, piracy, custodians.online'''<br />
<br />
* from collection to collective action<br />
** '''critical pedagogy & education'''<br />
** '''archive, activation & collective action'''<br />
<br />
=== MODULE 3: Abstractions in action ===<br />
<br />
* from linear to computational<br />
** '''library & epistemology: catalogue, search, discovery, reference'''<br />
** '''print book v e-book: page, margin, spine'''<br />
<br />
* from central to distributed <br />
** '''deep librarianship & amateur librarians'''<br />
** '''network infrastructure(s)/topologies (ruling class studies)'''<br />
<br />
* from factual to fantastic<br />
** '''universe as library as universe'''<br />
<br />
=== Reading List ===<br />
<br />
https://www.zotero.org/groups/amateur_librarian_-_a_course_in_critical_pedagogy_reading_list<br />
<br />
[[Category:Publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=Amateur_Librarian_-_A_Course_in_Critical_Pedagogy&diff=7086Amateur Librarian - A Course in Critical Pedagogy2016-03-21T21:24:01Z<p>Acastro: </p>
<hr />
<div>__NOTOC__<br />
<br />
[[author::Tomislav Medak]] & [[author::Marcell Mars]] (Public Library project)<br />
<br />
<div class="book"><onlyinclude>A proposal for a curriculum in amateur librarianship, developed through the activities and exigencies of the Public Library project. Drawing from a historic genealogy of public library as the institution of access to knowledge, the proletarian tradition of really useful knowledge and the amateur agency driven by technological development, the curriculum covers a range of segments from immediately applicable workflows for scanning, sharing and using e-books, over politics and tactics around custodianship of online libraries, to applied media theory implicit in the practices of amateur librarianship. The proposal is made with further development, complexification and testing in mind during the future activities of the Public Library and affiliated organizations.</onlyinclude></div><br />
<br />
== Public library, a political genealogy ==<br />
<br />
Public libraries have historically achieved as an institutional space of exemption from the commodification and privatization of knowledge. A space where works of literature and science are housed and made accessible for the education of every member of society regardless of their social or economic status. If, as a liberal narrative has it, education is a prerequisite for full participation in a body politic, it is in this narrow institutional space that citizenship finds an important material base for its universal realization. <br />
<br />
The library as an institution of public access and popular literacy, however, did not develop before a series of transformations and social upheavals unfolded in the course of 18th and 19th century. These developments brought about a flood of books and political demands pushing the library to become embedded in an egalitarian and democratizing political horizon. The historic backdrop for these developments was the rapid ascendancy of the book as a mass commodity and the growing importance of the reading culture in the aftermath of the invention of the movable type print. Having emerged almost in parallel with capitalism, by the early 18th century the trade in books was rapidly expanding. While in the 15th century the libraries around the monasteries, courts and universities of Western Europe contained no more than 5 million manuscripts, the output of printing presses in the 18th century alone exploded to formidable 700 million volumes.<ref>For an economic history of the book in the Western Europe see Eltjo Buringh and Jan Luiten Van Zanden, “Charting the ‘Rise of the West’: Manuscripts and Printed Books in Europe, A Long-Term Perspective from the Sixth through Eighteenth Centuries,” ''The Journal of Economic History'' 69, No. 02 (June 2009): 409–45, doi:10.1017/S0022050709000837, particularly Tables 1-5.</ref> And while this provided a vector for the emergence of a bourgeois reading public and an unprecedented expansion of modern science, the culture of reading and Enlightenment remained largely a privilege of the few. <br />
<br />
Two social upheavals would start to change that. On 2 November 1789 the French revolutionary National Assembly passed a decision to seize all library holdings from the Church and aristocracy. Million of volumes were transferred to the Bibliothèque Nationale and local libraries across France. At the same time capitalism was on the rise, particularly in England. It massively displaced the impoverished rural population into growing urban centres, propelled the development of industrial production and, by the mid-19th century, introduced the steam-powered rotary press into the commercial production of books. As books became more easily mass-produced, the commercial subscription libraries catering to the better-off parts of society blossomed. This brought the class aspect of the nascent demand for public access to books to the fore. <br />
<br />
After the failed attempt to introduce universal suffrage and end the system of political representation based on property entitlements through the Reform Act of 1832, the English Chartist movement started to open reading rooms and cooperative lending libraries that would quickly become a popular hotbed of social exchange between the lower classes. In the aftermath of the revolutionary upheavals of 1848, the fearful ruling classes finally consented to the demand for tax-financed public libraries, hoping that the access to literature and edification would after all help educate skilled workers that were increasingly in demand and ultimately hegemonize the working class for the benefits of capitalism's culture of self-interest and competition.<ref>For the social history of public library see Matthew Battles, ''Library: An Unquiet History'' (Random House, 2014) chapter 5: “Books for all”.</ref><br />
<br />
== Really useful knowledge==<br />
<ref>For this concept we remain indebted to the curatorial collective What, How and for Whom/WHW, who have presented the work of Public Library within the exhibition ''Really Useful Knowledge'' they organized at Museo Reina Sofía in Madrid, October 29, 2014 – February 9, 2015.</ref><br />
<br />
It's no surprise that the Chartists, reeling from a political defeat, had started to open reading rooms and cooperative lending libraries. The education provided to the proletariat and the poor by the ruling classes of that time consisted, indeed, either of a pious moral edification serving political pacification or of an inculcation of skills and knowledge useful to the factory owner. Even the seemingly noble efforts of the Society for the Diffusion of the Useful Knowledge, a Whig organization aimed at bringing high-brow learning to the middle and working classes in the form of simplified and inexpensive publications, were aimed at dulling the edge of radicalism of popular movements.<ref>“Society for the Diffusion of Useful Knowledge,” ''Wikipedia, the Free Encyclopedia'', June 25, 2015, https://en.wikipedia.org/w/index.php?title=Society_for_the_Diffusion_of_Useful_Knowledge&oldid=668644340.</ref><br />
<br />
These efforts to pacify the downtrodden masses pushed them to seek ways of self-organized education that would provide them with literacy and really useful knowledge – not applied, but critical knowledge that would allow them to see through their own political and economic subjection, develop radical politics and innovate shadow social institutions of their own. The radical education, reliant on meagre resources and time of the working class, developed in the informal setting of household, neighbourhood and workplace, but also through radical press and communal reading and discussion groups.<ref>Richard Johnson, “Really Useful Knowledge,” in ''CCCS Selected Working Papers: Volume 1'', 1 edition, vol. 1 (London u.a.: Routledge, 2014), 755.</ref><br />
<br />
The demand for really useful knowledge encompassed a critique of “all forms of ‘provided’ education” and of the liberal conception “that ‘national education’ was a necessary condition for the granting of universal suffrage.” Development of radical “curricula and pedagogies” formed a part of the arsenal of “political strategy as a means of changing the world.”<ref>Ibid., 752.</ref><br />
<br />
== Critical pedagogy ==<br />
<br />
This is the context of the emergence of the public library. A historical compromise between a push for radical pedagogy and a response to dull its edge. And yet with the age of digitization, where one would think that the opportunities for access to knowledge have expanded immensely, public libraries find themselves increasingly limited in their ability to acquire and lend both digital and paper editions. It is a sign of our radically unequal times that the political emancipation finds itself on a defensive fighting again for this material base of pedagogy against the rising forces of privatization. Not only has mass education become accessible only under the condition of high fees, student debt and adjunct peonage, but the useful knowledge that the labour market and reproduction of the neoliberal capitalism demands has become the one and only rationale for education. <br />
<br />
No wonder that over the last 6-7 years we have seen self-education, shadow libraries and amateur librarians emerge again to counteract the contraction of spaces of exemption that have been shrunk by austerity and commodity. <br />
<br />
The project Public Library was initiated with the counteraction in mind. To help everyone learn to use simple tools to be able to act as an Amateur Librarian – to digitize, to collect, to share, to preserve books and articles that were unaffordable, unavailable, undesirable in the troubled corners of the Earth we hail from. <br />
<br />
Amateur Librarian played an important role in the narrative of Public Library. And it seems it was successful. People easily join the project by 'becoming' a librarian using Calibre<ref>http://calibre-ebook.com/</ref> and [let’s share books].<ref>https://www.memoryoftheworld.org/blog/2014/10/28/calibre-lets-share-books/</ref> Other aspects of the Public Library narrative add a political articulation to that simple yet disobedient act. Public Library detects an institutional crisis in education, an economic deadlock of austerity and a domination of commodity logic in the form of copyright. It conjures up the amateur librarians’ practice of sharing books/catalogues as a relevant challenge against the convergence of that crisis, deadlock and copyright regime.<br />
<br />
To understand the political and technological assumptions and further develop the strategies that lie behind the counteractions of amateur librarians, we propose a curriculum that is indebted to a tradition of critical pedagogy. Critical pedagogy is a productive and theoretical practice rejecting an understanding of educational process that reduces it to a technique of imparting knowledge and a neutral mode of knowledge acquisition. Rather, it sees the pedagogy as a broader “struggle over knowledge, desire, values, social relations, and, most important, modes of political agency”, “drawing attention to questions regarding who has control over the conditions for the production of knowledge.”<ref>Henry A. Giroux, ''On Critical Pedagogy'' (Bloomsbury Academic, 2011), 5.</ref><br />
<br />
No industry in the present demonstrates more the asymmetries of control over the conditions of production of knowledge than the academic publishing. The denial of access to outrageously expensive academic publications for many universities, particularly in the Global South, stands in stark contrast to the super-profits that a small number of commercial publishers draws from the free labour of scientists who write, review and edit contributions and the extortive prices their institutional libraries have to pay for subscriptions. It is thus here that the amateur librarianship attains its poignancy for a critical pedagogy, inviting us to closer formulate and unfold its practices in a shared process of discovery.<br />
<br />
== A curriculum ==<br />
<br />
Public library is:<br />
* free access to books for every member of society,<br />
* library catalogue,<br />
* librarian.<br />
<br />
The curriculum in amateur librarianship develops aspects and implications of this definition. Parts of this curriculum have evolved over a number of workshops and talks previously held within the Public Library project, parts of it are yet to evolve from a process of future research, exchange and knowledge production in the education process. While schematic, scaling from the immediately practical, over strategic and tactical, to reflexive registers of knowledge, there are actual – here unnamed – people and practices we imagine we could be learning from.<br />
<br />
The first iteration of this curriculum could be either a summer academy rostered with our all-star team of librarians, designers, researchers and teachers, or a small workshop with a small group of students delving deeper into one particular aspect of the curriculum. In short it is an open curriculum: both open to educational process and contributions by others. We welcome comments, derivations and additions. <br />
<br />
=== MODULE 1: Workflows ===<br />
<br />
* from book to e-book<br />
** '''digitizing a book on a book scanner'''<br />
** '''removing DRM and converting e-book formats'''<br />
<br />
* from clutter to catalogue<br />
** '''managing an e-book library with Calibre'''<br />
** '''finding e-books and articles on online libraries'''<br />
<br />
* from reference to bibliography <br />
** '''annotating in an e-book reader device or application'''<br />
** '''creating a scholarly bibliography in Zotero'''<br />
<br />
* from block device to network device<br />
** '''sharing your e-book library on a local network to a reading device'''<br />
** '''sharing your e-book library on the internet with [let’s share books]'''<br />
<br />
* from private to public IP space<br />
** '''using [let’s share books] & library.memoryoftheworld.org'''<br />
** '''using logan & jessica'''<br />
** '''using Science Hub'''<br />
** '''using Tor'''<br />
<br />
=== MODULE 2: Politics/tactics ===<br />
<br />
* from developmental subordination to subaltern disobedience<br />
** '''uneven development & political strategies'''<br />
** '''strategies of the developed v strategies of the underdeveloped : open access v piracy'''<br />
<br />
* from property to commons<br />
** '''from property to commons'''<br />
** '''copyright, scientific publishing, open access'''<br />
** '''shadow libraries, piracy, custodians.online'''<br />
<br />
* from collection to collective action<br />
** '''critical pedagogy & education'''<br />
** '''archive, activation & collective action'''<br />
<br />
=== MODULE 3: Abstractions in action ===<br />
<br />
* from linear to computational<br />
** '''library & epistemology: catalogue, search, discovery, reference'''<br />
** '''print book v e-book: page, margin, spine'''<br />
<br />
* from central to distributed <br />
** '''deep librarianship & amateur librarians'''<br />
** '''network infrastructure(s)/topologies (ruling class studies)'''<br />
<br />
* from factual to fantastic<br />
** '''universe as library as universe'''<br />
<br />
=== Reading List ===<br />
<br />
https://www.zotero.org/groups/amateur_librarian_-_a_course_in_critical_pedagogy_reading_list<br />
<br />
[[Category:Publication]]</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=6988User:Acastro2016-03-21T14:49:02Z<p>Acastro: </p>
<hr />
<div>just testing<br />
<br />
=Disambiguation=<br />
{{Special:DisambiguationPages}}<br />
<br />
{{DisambiguationPages}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=6985User:Acastro2016-03-21T14:45:41Z<p>Acastro: /* Disambiguation */</p>
<hr />
<div>just testing<br />
<br />
=Disambiguation=<br />
{{Special:DisambiguationPages}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastrohttps://www.mondotheque.be/wiki/index.php?title=User:Acastro&diff=6983User:Acastro2016-03-21T14:42:36Z<p>Acastro: /* Disambiguation */</p>
<hr />
<div>just testing<br />
<br />
=Disambiguation=<br />
{{Special:Disambiguation}}<br />
<br />
{{Main page}}<br />
<br />
<br />
{{Special:AllPages}}<br />
<br />
=Math=<br />
<math><msqrt><mn>2</mn></msqrt></math><br />
<br />
-----<br />
[[:Category:Index_Traité_de_documentation|Une lecture-écriture du livre sur le livre.]] <br />
<br />
[[:Category:Index_Traité_de_documentation]]<br />
<br />
[[User:Acastro/test-author]]<br />
<br />
[[User:Acastro/test-Person]]<br />
<br />
----<br />
=navigating SMW=<br />
[[Special:Properties|All properties]]<br />
<br />
[[Special:Ask|Semantic Search ]]<br />
<br />
=ideas for a map=<br />
Asking what pages under category Publication have authors seems quite dull. <br />
I'd like to create maps that explore the "link" of each page, and connect pages based on these "links".<br />
Use the links, the relational structures between content, to tell stories. <br />
<br />
''What is it that I exactly call "links"?''<br />
Maybe I need to think of examples:<br />
* for instances the pyramid. I want to see what pages refer to the pyramid, and draw its map.<br />
While writing an text, an author can say <nowiki>[[subject::pyramid]]</nowiki><br />
* a timeline<br />
<br />
* a map of images. <br />
** [[Property:Place]] includes the page [[File:12987026569226.jpg]] and has the value: [[Cimetière_d'Ixelles]] or '''in other words''' [[Cimetière_d'Ixelles]] has the propety-value <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki> <br />
** [[Cimetière_d'Ixelles]] is also linked from [[House,_City,_World,_Nation,_Globe]], where it appears on a timeline:<br />
<pre><br />
|-<br />
| [[date::1944]]<br />
|| Death of [[Paul Otlet]]. He is buried in [[Cimetière d'Ixelles|Etterbeek cemetery]].<br />
|| EVENT<br />
|| CITY<br />
|-<br />
</pre> <br />
** why is the date the only semantic property and Cimetière d'Ixelles does not appear as <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>??<br />
** if <nowiki>[[Place::Cimetière d'Ixelles]]</nowiki>, when searching for that place, we would be pointed to that place in the timeline.<br />
** in that way we could correlate Date and Place<br />
<br />
* A Date based index<br />
* A Place based index</div>Acastro