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  </channel><item rdf:about="https://www.artforum.com/events/ravi-agarwal-gallery-espace-review-1234748542/">
    <title>Review of Ravi Agarwal at Gallery Espace by Meera Menezes</title>
    <dc:date>2026-05-13T05:11:37+00:00</dc:date>
    <link>https://www.artforum.com/events/ravi-agarwal-gallery-espace-review-1234748542/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Images of stuffed animals abounded in Ravi Agarwal’s solo show “Historia Denaturalis,” curated by Damian Christinger. Most of them were the taxidermied variety, photographed during the artist activist’s many visits to natural-history museums around the world. Making the museum vitrines and their contents the subject of his investigations, he exposes the colonial project of biological representation that often went hand in hand with the near extinction of species. In the diptych Dystopic Connection, 2026, an image of two crouching cheetahs in a diorama is placed next to a photograph of a rock quarry. The irony is patent: While the habitat of the wild cats has been successively destroyed, the animals are kept “alive” in their stuffed form...

Terming these temples of conservation a “theatre of the absurd,” the artist gestures at the disconnect between the fauna and the fanciful landscapes that surround them....

The show’s title is Agarwal’s counterproposition to the encyclopedic Naturalis Historia penned in the first century by Roman naturalist Pliny the Elder, a multivolume catalogue of the natural world. Agarwal argues that the urge to categorize tends to wrench plants and animals from their indigenous ecosystems and relationships...



Images of stuffed animals abounded in Ravi Agarwal’s solo show “Historia Denaturalis,” curated by Damian Christinger. Most of them were the taxidermied variety, photographed during the artist activist’s many visits to natural-history museums around the world. Making the museum vitrines and their contents the subject of his investigations, he exposes the colonial project of biological representation that often went hand in hand with the near extinction of species. In the diptych Dystopic Connection, 2026, an image of two crouching cheetahs in a diorama is placed next to a photograph of a rock quarry. The irony is patent: While the habitat of the wild cats has been successively destroyed, the animals are kept “alive” in their stuffed form. In the triptych Constructing. Deconstructing Nature, 2026, a large diorama with a painted habitat is bookended by images of a taxidermied deer and animal skulls perched on shelves. Terming these temples of conservation a “theatre of the absurd,” the artist gestures at the disconnect between the fauna and the fanciful landscapes that surround them. 

Agarwal has long interrogated prevalent ideas of nature and the relationship between the human and the more-than-human. The show’s title is Agarwal’s counterproposition to the encyclopedic Naturalis Historia penned in the first century by Roman naturalist Pliny the Elder, a multivolume catalogue of the natural world. Agarwal argues that the urge to categorize tends to wrench plants and animals from their indigenous ecosystems and relationships. In his digital print on archival paper, Nature Culture, 2026, the artist underscores this rupture through the juxtaposition of two images. One depicts deer gazing out at the viewer from a natural-history diorama; the other is a picture that Agarwal took in the 1990s of a Bishnoi tribesman lovingly feeding an antelope. 

Carl Linnaeus’s system of taxonomy also comes under scrutiny in several artworks. As European empires expanded, so did their ordering of the natural world, with Latin names replacing vernacular ones. In Made to Order, 2026, blue and red squares bearing the names of the Swedish botanist’s books, Species Plantarum and Systema Naturae, are superimposed on scenes from dioramas. This classification of flora and fauna served colonial interests, opening up avenues of extraction and exploitation.]]></description>
<dc:subject>natural_history dioramas classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4bd46a2b7101/</dc:identifier>
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<item rdf:about="https://www.vulture.com/article/julio-torres-color-theories-notebooks.html">
    <title>The Notebooks that Julio Torres Used to Make Color Theories</title>
    <dc:date>2026-04-28T01:21:17+00:00</dc:date>
    <link>https://www.vulture.com/article/julio-torres-color-theories-notebooks.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A lot of Torres’s humor is rooted in classification — that’s just where his mind goes, whether for comedy purposes or not. Right now, he is very busy, maybe more than he’d like to be. He has created a Julio Torres taxonomy. “I think of it this way: dividing myself in five. No. 1 is doing all the human things. It’s socializing, it’s exercising, it’s going to the doctor, it’s doing all the little grocery shopping. But because he’s out there doing these things, he’s the one that gets the inspiration and has the ideas...

This is actually a line from the show itself.All quotes from the show itself are from the Off Broadway version. For the HBO version, some of the language shifted, but not all that much. He says it on a set designed as a pop-up storybook with giant pages to be turned, with color splotches on his face, his hair in a goofy updo, while talking to a bluish robot named Bibo. Color Theories is like a TEDTalk for 4-year-olds. Julio, the bratty, charming man-child, is the lecturer. His presentation is classification run amok in which colors are anthropomorphized, and the world is recast as a kind of color war. Like most of Torres’s work, it is preposterous and yet makes perfect sense.]]></description>
<dc:subject>color classification comedy</dc:subject>
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<item rdf:about="https://commons.joe.org/joe/vol62/iss3/11/">
    <title>&quot;Invasive Species Common Names&quot; by Megan M. Weber, Angela Gupta et al.</title>
    <dc:date>2026-04-27T15:31:43+00:00</dc:date>
    <link>https://commons.joe.org/joe/vol62/iss3/11/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Invasive species harm natural and managed ecosystems. Awareness and management of these species depends on effective education and outreach. Traditional common names, including those with geographic references, for many invasive pests may perpetuate slanderous terms or stigmatize people from that place. To create more inclusive invasive species educational materials, the University of Minnesota Extension’s Invasive Species Community of Practice developed guidelines for selection of common names. Suggested names were shared with others involved in invasive species communications, leading to broader adoption. These guidelines may be useful to others who struggle to find descriptive, non-alienating common names for invasive species.
]]></description>
<dc:subject>ecology naming classification library_field invasive_species</dc:subject>
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<item rdf:about="https://longreads.com/2026/03/19/color-dictionary-definitions-kory-stamper/">
    <title>Defining Color - Longreads</title>
    <dc:date>2026-03-22T18:17:35+00:00</dc:date>
    <link>https://longreads.com/2026/03/19/color-dictionary-definitions-kory-stamper/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Part of what was so entrancing about these definitions was that they had a voice. The Third was carefully designed not to have any voice apart from the Corporate One. These color definitions—compared with the staid and rigid style of the rest of the Third—were as flashy as an entire team of cabaret dancers. They were unlike any other color definitions in any of our dictionaries. In fact, they were unlike any other color definitions, period. I had been involved in the creation of dozens of dictionaries at that point and had even written definitions for colors before. The idea was to aim in a spectral direction: “a bright red,” “a moderate blue.” Where in the bluer, yellower, slightly stronger hell had these extensive definitions that referenced “sea pink” and “copen” and thousands of other colors that I, a woman whose job was to read everything within reach and had never heard of before, come from?

The answers to these questions lay in piles of correspondence moldering in the Merriam-Webster basement; in family papers tucked safely away in archival boxes; in neatly typed notes in corporate archives; in long-out-of-print books; in government documents and reports to and from Congress; in fabric swatches and chemistry equations. Each one of these definitions is the crystalline, whittled-down result of dozens of overlapping concerns: the reach of science in the 20th century, the commoditization of color, the scientism of American society and the inevitable backlash, the place of dictionaries in our cultural consciousness, the governmental foray into standardization, the insufficiency of language to describe the abstract, the drudgery of typesetting, the impact of war, the dangers of dye works, the power of love, and the ineffability of sea pink....

One handy marker we’ve used in categorizing things is color. It’s such an elementary marker that it’s also one of the first categories we teach our children. Panthers are black, pumas are brown, and tigers are? “Orange and black!” our preschoolers holler, and we beam with pride. (We will wait until they are in elementary school before we tell them that tigers can also be white and black, like zebras.) Color is so integral to our experience as humans that we can’t conceive of a world without it. It’s as much a part of our lives as air, water, and taxes. And it is maddeningly, beguilingly slippery. ]]></description>
<dc:subject>dictionary language color classification</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=RSpcqXS32JM">
    <title>Ryan Gander | In Conversation | Sainsbury Centre - YouTube</title>
    <dc:date>2026-03-22T01:48:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RSpcqXS32JM</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>boxes storage classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.are.na/editorial/towards-a-library-without-walls">
    <title>Towards A Library Without Walls | Are.na Editorial</title>
    <dc:date>2026-03-21T01:18:43+00:00</dc:date>
    <link>https://www.are.na/editorial/towards-a-library-without-walls</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A few weeks ago, fellow Are.na user Sam Hart posed the question in the Are.na Personals channel, “What might ‘librarianship’ mean for a platform like Are.na?” Embedded within this question is the inverse—what might a platform like Are.na mean for librarianship?...It’s a question I consider often as a longtime Are.na user halfway through my MLIS degree, the accreditation commonly tied to working as a librarian in the United States. The field of library and information studies (LIS) circles around methods for the description, classification, organization, and access of information in all its forms....

Rachel Clarke reports in her essay “Cataloguing for Art and Design School Libraries” that “compared to traditional library users, artists favour ‘peculiar search techniques,’” and library services should be informed by a meaningful understanding of their information-seeking behavior.3 A hypertextual platform like Are.na then can show us what modes of knowledge production and sharing elude the tools already in place in libraries, offering alternative strategies for organizing and sharing information....

In my experience, it’s not uncommon to encounter variations on the hypertext in academic coursework designed for librarians and archivists, including systems proposed by Vannevar Bush (the Memex), Paul Otlet (the Mundaneum), and Ted Nelson (Xanadu). In his article “Visions of Xanadu: Paul Otlet (1868–1944) and Hypertext,” W. B. Rayward defines hypertexts as consisting of two elements—nodes and links—that can be manipulated by the user and serve as the elements of a system in lieu a continuous, linear flow of textual content.4 (In the case of Are.na, blocks serve as nodes and links operate through channels.) Today, the Memex, the Mundaneum, and Xanadu are often referenced as precursors to the present-day Internet, and all three are regularly surface in Are.na channels alongside other examples of associative strategies such as Apple’s Hypercard, Wendy Hall’s Microcosm, the Japanese practice of Zuihitsu, and the poetry of Stéphane Mallarmé.]]></description>
<dc:subject>classification arena collection</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f7aa9e5e3247/</dc:identifier>
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</item>
<item rdf:about="https://syllabus.radicalcatalogue.net/information.html">
    <title>Teaching the Radical Catalogue: A Syllabus 2021-22</title>
    <dc:date>2026-01-30T20:25:26+00:00</dc:date>
    <link>https://syllabus.radicalcatalogue.net/information.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Course Information

The syllabus is part of:
Reading the Library
An exhibition on feminist and de-colonial approaches to systems of ordering knowledge
29. August – 7 November 2021
Sitterwerk St.Gallen

Instructors:
Eva Weinmayr and Lucie Kolb

Days/Times:
2021-2022

Classroom:
Kunstbibliothek, Werkstoffarchiv and syllabus.radicalcatalogue.net

Email:
hello@evaweinmayr.com and lucie.kolb@fhnw.ch

Office:
Kunstbibliothek and Werkstoffarchiv Sitterwerk
Sittertalstrasse 34
CH-9014 St.Gallen

Office hours:
Monday to Friday, 9am–5pm
Sunday, 2–6am
Saturday, closed

Instructors’ backgrounds:
Eva Weinmayr set up the “Library of Inclusions and Omissions” (Göteborg), is co-founder of AND Publishing (London) and explores in “Noun to Verb” the micro-politics of publishing from an intersectional feminist perspective.
Lucie Kolb leads a.i. the Dynamic Order/Werkbank project at Sitterwerk and explores intersectional rewriting strategies at the Critical Media Lab.

]]></description>
<dc:subject>libraries classification cataloguing syllabus</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5a5b25eb2666/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cataloguing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:syllabus"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sitterwerk.ch/en/Journal/Series/Reading_the_Library">
    <title>Stiftung Sitterwerk • Reading the Library</title>
    <dc:date>2026-01-30T20:23:09+00:00</dc:date>
    <link>https://www.sitterwerk.ch/en/Journal/Series/Reading_the_Library</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Reading the Library

An exhibition on feminist and de-colonial approaches to systems of ordering knowledge curated by Barbara Biedermann, Lucie Kolb, and Eva Weinmayr in the Kunstbibliothek Sitterwerk, 29. 8. till 7. 11. 2021]]></description>
<dc:subject>classification organization libraries feminism decolonization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:edc0289540ff/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.ucl.ac.uk/bartlett/events/2026/mar/crunch-imminent-archives-expanding-architectures-canon">
    <title>CRUNCH: Imminent Archives: Expanding Architecture's Canon | UCL Bartlett Faculty of the Built Environment</title>
    <dc:date>2026-01-14T15:15:56+00:00</dc:date>
    <link>https://www.ucl.ac.uk/bartlett/events/2026/mar/crunch-imminent-archives-expanding-architectures-canon</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This seminar posits the archive – and the various ways in which we can dance, play or perform its contents – as a locus for counter-narratives and emerging discourses.

V&A East Storehouse, a working museum store designed by Diller Scofidio + Renfro, offers a radical architectural and curatorial innovation that remembers history, and the museum form, otherwise. Examining the V&A’s collection of 250,000 objects, 350,000 library books and nearly 1,000 archives, Gus Casely-Hayford interrogates how architecture can serve as a medium for new public encounters, critical narratives and a refusal to forget.

The discussion will explore the archive as an anagrammatical site, and how curatorial and design practices might refigure the museum as a theatre of contested histories, knowledge production and new institutional forms. While traditional museums often operate through logics of pan-optic time, counting, categorising and displaying difference, this session asks:

    How can architecture and curatorial work disrupt these logics?
    Can museums become sites for egalitarian discourse and collective memory-making?]]></description>
<dc:subject>storage museums classification archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f35952aae627/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:storage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:museums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://efrathakimi.com/Flora">
    <title>Flora - Efrat Hakimi</title>
    <dc:date>2025-12-24T02:03:44+00:00</dc:date>
    <link>https://efrathakimi.com/Flora</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I have known many of the wildflowers of Palestine by their Hebrew names and only a few by their Arabic names. My moms’ education was as a botanist and in the late eighties, her weekend ritual was to take me and my sisters on little trips in the fields and orchards at the edge of the town where we lived, in Israel. My mom would name the flowers in our mother tongue - Hebrew, rather than her mother’s tongue (a dialect of Morrocan) Arabic.

Flora is an index for the identification of plants, its function is to allow for the initial recognition of plants, and to name them. Plants have two types of names, botanical names, and common names. The botanic names of plants are generally consistent across geographies and languages, whereas the common names are given by peoples of places, communities, and regions in local dialects and relate to local histories, myths, and religious beliefs.
The Hebrew common names are ‘uncommon’ in that only a few of them derive from popular sources like the Arab and Jewish traditions of the country, the Hebrew common names were primarily coined by ‘experts’: linguists, botanists, historians, and others. The effort to name the plants of Palestine in Hebrew intensified in the first half of the 20th century at the time when Zionist activists championed Hebrew Revival and the making of the holy language into a national tongue of everyday speech. By Channeling Hebrew’s sacred qualities into a project of national salvation, supporters of Hebrew Revival wanted to transform Jews into “normal” territorialized nation. The Zionist use of the language was a challenge not only to Arab Palestinians but also to local Jewish communities and their Hebrew. The appropriation of land by means of language is prominent in the Hebrew names of plants, it is visible in the “Palestinian Arum” Hebrew version as “Eretz-Israeli Arum” , the “Palestinian Iris” Hebrew version as “Eretz-Israeli Iris” , and more intrinsic across the breath of the Hebrew Flora, where histories and knowledge are hidden but hopefully not lost in translation.

In Flora, I propose the identification of 50 specimens from the Wildflowers of Palestine. The plants’ physical identifications are given in the form of replicas, faux pressed plants, and their impressions. The specimens were adapted from photographs held by the Library of Congress as part of the Matson Photography Collection and dated approximately 1900-1920. The common names of the plants are given in Hebrew, Arabic, and English, the Arabic names were contributed by Reem Ghanayem, a Palestinian Poet and translator.]]></description>
<dc:subject>language translation palestine taxonomy botany plants classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6642b1c31862/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:translation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:palestine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:taxonomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:botany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=23ApnMTNqoQ">
    <title>The Art of Fictional Encyclopedism - YouTube</title>
    <dc:date>2025-11-17T18:15:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=23ApnMTNqoQ</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Art of Fictional Encyclopedism

A lecture by
Pierpaolo Antonello, Yale University

Critics have observed that an “encyclopedic complex” or “encyclopedic impulse,” frequently marked by irony and satire, has informed both modernist and postmodernist literature, from Joyce to Pynchon. While usually linked to the vast architecture of maximalist novels or opere-mondo, this lineage also runs through short, fragmentary, and eccentric texts that resist clear generic classification. In such works, the encyclopedic is refracted through epigrammatic form, with flashes of taxonomic excess, where the discursive frameworks of the sciences are repurposed for arbitrary, imaginary, and parodic schemes of classifications. Jorge Luis Borges emerges as a central precursor, whose fictional encyclopedias anticipated subsequent explorations by Raymond Queneau, Georges Perec, Italo Calvino, and Italian experimentalists such as Giorgio Manganelli, Rodolfo Wilcock, and Edoardo Sanguineti. This lecture examines this genealogy through intermedial instances of fictional encyclopedism, concentrating on Leo Lionni’s Parallel Botany (1976) and Luigi Serafini’s Codex Seraphinianus (1981). Both works conjoin scientific discourse, visual art, and imaginary taxonomy, and interrogate the fantastic through parodic and satirical registers. They exemplify not only the ekphrastic tendencies of contemporary encyclopedism but also a form of “rational fantastic” that exceeds Tzvetan Todorov’s genre definition, reconfiguring encyclopedism as an open, generative aesthetic: a combinatory mechanism for the invention of possible worlds.
]]></description>
<dc:subject>encyclopedias libraries speculative_design classification misfit library_art oulipo epistemology imagination</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c209a4448a90/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:encyclopedias"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:speculative_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:misfit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:oulipo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:imagination"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://sanfordberman.org/">
    <title>Sanford Berman</title>
    <dc:date>2025-10-08T06:36:37+00:00</dc:date>
    <link>https://sanfordberman.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Welcome to the Sanford Berman website devoted to the work of librarian Sanford Berman who created an innovative, radical and inclusive catalog which used terms we use when looking for information instead of the 19th century language of the Library of Congress Subject Headings. Berman worked for the Hennepin County library from 1973 until 1999. Sandy continues to create subject headings and works for political and social justice.]]></description>
<dc:subject>classification alternative_classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:126dc27f1e71/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.artforum.com/features/ecoformalism-vija-celmins-hiroshi-sugimoto-camille-henrot-1234735309/">
    <title>Ecoformalism—A Feature by Harmon Siegel</title>
    <dc:date>2025-10-08T06:36:08+00:00</dc:date>
    <link>https://www.artforum.com/features/ecoformalism-vija-celmins-hiroshi-sugimoto-camille-henrot-1234735309/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[That is why, I take it, the “Dos and Don’ts” include so many pictures of classification. We find an X-ray of teeth, invoking the dental records that scientists have used to differentiate species—as in the debate over whether the Homo ergaster depicted in the Natural History Museum should be considered a subspecies of Homo erectus.20 And a chromosomal chart, the basis of modern cytotaxonomy, a means of sorting organisms based on cellular characteristics. But we also find a mailer from “Who’s Who in France” and a screenshotted digital window with hundreds of numbered JPEGs. Together, these examples define a continuum between anatomical and social taxonomies.21 So too with an embryo screenshotted from her laptop, which invokes the ontogenetic diagrams of zoologist Ernst Haeckel, the coiner of “ecology” who believed that each individual fetus cycles through the entire species’ evolutionary history.]]></description>
<dc:subject>classification archive_art institutional_critique</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6ae66ffec07a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archive_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:institutional_critique"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lav.io/projects/other-orders/">
    <title>Other Orders</title>
    <dc:date>2025-09-14T05:28:28+00:00</dc:date>
    <link>https://lav.io/projects/other-orders/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The following sorts are available:

    Alphabetical
    Alphabetical by Username
    Antisemitism as It Is Understood by the Right
    Apocalyptic
    Approximate Quantity of Shame Expressed
    Chronological
    Cop-Like
    Crudely Understood Marxism
    Density of Adjectives
    Density of Nouns
    Density of People, Places, Brands, Monetary Values and Dates
    Density of Verbs
    Eroticism as an Approximation of Similarity to a Sentence by Anaïs Nin
    Exclamatory
    Gothness
    Kafkaesque-ness
    Length of Tweet
    Neoliberalism as Determined by Proximity to Famous Neoliberals
    Number of Numbers
    Percentage of Words Which Are Filler Words
    Quantity of Gendered Words
    Questioning
    Similarity to @dril I.E. "drilism"
    Similarity to Values Expressed in TED Talks
    Total All-Time Posts from User
    Total Emoji
    Total Favorites
    Total Hashtags
    Total Retweets
    Use of Language Similar to Language Used by Corporate Social Media Accounts Such as Amazon ]]></description>
<dc:subject>sorting algorithms classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fb30f1c1d2f1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sorting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://boot-boyz.biz/products/library-synergy">
    <title>Library Synergy – Boot Boyz Biz</title>
    <dc:date>2025-09-08T18:36:49+00:00</dc:date>
    <link>https://boot-boyz.biz/products/library-synergy</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Synergy paved the way for Revolting Librarians, Booklegger Magazine, Emergency Librarian, Alternatives in Print, Prejudices & Antipathies, and all of the other alternative library publications. But Synergy's staff did more than spur interest in the alternative press. These librarians also urged library professionals to address social issues and to recognize the political context of their work. Ultimately, this threatened a profession that prided itself on its "neutral stance" by raising the important question--was librarianship "neutral" when it came to the provision of access to any form of information?

In the late 1960s, the San Francisco Public Library's experimental Bay Area Reference Center (BARC) provided support reference services to 17 North Bay Cooperative Library System libraries scattered across six counties. BARC looked to non-commercial book publishers to find information on new areas of interest and in 1967 began to publish a monthly newsletter titled Synergy to serve as a reference tool and disseminate news of the project. Synergy's "Update" section listed outstanding new additions to the San Francisco Public Library reference collection, while another section included a bibliography of topical importance "not obtainable through usual channels."

San Francisco was a hotbed of social activity in 1967. From the city's 65,000-person anti-war demonstration held concomitantly with the Spring Mobilization Committee's New York City protest, to the influx of thousands of people for the "Summer of Love" activities, the Bay community manifested social change. Celeste West, Synergy's first editor, commented on the relationship between San Francisco's transformation and the local library scene. She described the city as "a trend-mecca--whether it be communal living, campus riots, gay liberation, independent film making ... you name it and we've got it." But what San Francisco had, she argued, was not reflected in library collections unless somebody took the time to pull together "the elusive printed material." Thus, Synergy began examining the nature of library card catalogs, indexes, and selecting tools because its staff believed that such tools were mostly "rear-view mirrors" that provided little or no bibliographic access to the public's current information needs. 

Synergy's staff believed that because librarians were not sufficiently trained to create access to and/or learn about where to find many forms of information, they were unable to fulfill their professional mandate to present balanced/multiple points of view. The passive nature of library practice grounded on a myth of "neutral" service understated this information access problem. Because librarians were followers and not leaders in the information marketplace, alternative press related topics received attention only when big publishers sensed profit. Synergy consistently included information about neglected topics.

The April-May, 1968 issue, for example, criticized conventional library literature's lack of attention to subjects like astrology, Native Americans, the women's liberation movement, ecology, the drug revolution, library service to prisoners, the occult, the family, the underground press, and the criticisms of the establishment. In subsequent issues, Synergy provided coverage of these and other topics. But Synergy stood for more than just information access. Under West's direction, it called on librarians to become "pivotal agents to enforce" the Library Bill of Rights, to support a free press, and to develop a new professional attitude by shifting from "conserving and organizing" information to "generating or promoting it."  Synergy defined an alternative library culture that worried less about the library as a keeper of the cultural record, and more about the library as an active agent for change. For a number of years, as part of its effort to provide information about the alternative press and alternative library activity, Synergy's staff lobbied for the "Great Unreviewed," which constituted "60%+ of all books published." Because standard reviewing journals like Kirkus Reviews, Publishers Weekly and Choice did not cover the alternative press, Synergy tried to fill the void. It encouraged subscribers to read intensively in their areas of specialty and to get involved in self-publication.

California governor Ronald Reagan had appointed Crockett state librarian, and in West's view, directed Crockett "to kill" Synergy--the flagship alternative library publication that fostered an attitude for change in the profession, gave rise to a wave of alternative library literature, provided a ground for library activists to express their opinions and make connections, and "upped the ante on library periodicals" at a time when most librarians remained the "purveyors of Reader's Digested Status Quo print." 

Toni Samek. (1998) Intellectual Freedom and Social Responsibility: An Ethos of American Librarianship, 1967-1973.

Fifty years ago, a group of self-described radical librarians published a manifesto: Revolting Librarians. Edited by Celeste West, Elizabeth Katz, and Anne Osborn, it’s one of the lasting monuments of the library underground, though the contributors surely never imagined this kind of respectful archiving. Thirty years on, its mixture of wild-eyed idealism and bleary-eyed realism is still a testament of solidarity with the enthusiastic, disgruntled or just plain bolshy librarian, the sort of thing that the Association of Assistant Librarians did so well before putting on a tie and becoming the Career Development Group. 

In 1972, West co-founded Booklegger Press, the first woman-owned American library publisher, with her partner at the time, librarian Sue Critchfield, and Valerie Wheat. The press' first publication was an anthology edited by West and Elizabeth Katz entitled Revolting Librarians. The anthology, which described biases in contemporary library practices and proposed alternative library models, sold 15,000 copies in three years.

The book includes freewheeling essays by library staff from around the United States and Canada on progressive topics ranging from outreach to migrant worker communities to combating pay inequity. It’s fascinating to read in 2022 what radical librarianship looked like in 1972- when this book was self-published in typewriter font and sold for $2 a copy by mail order. A lot has changed, but even more has stayed the same....

Ten Things I Love About Sandy Berman

    He looks great in a dashiki
    The Joy of Cataloging: Essays, Reviews, Letters, and Other Explosions
    The toilet he made of the Library of Congress's water closet
    He added "coprophilia" to my vocabulary
    He adds more subject headings per capita than any other cataloger
    He disseminates knowledge as fast as a speeding postal carrier will allow
    He leaps tall bureaucracies in as many bounds as it takes
    He makes libraryland safe and accessible for the Acronymically challenged; Belly dancers; Chan, Jackie; the Decriminalization of marijuana; Erotic humor; Frisbee; Gay poets, prisoners, & socialists; Heterosexuality; and much, much, more
    I've learned more by his example than I could ever learn by the teaching of any LIS program [if only I were in an IS program!]
    He wears LOVE in his love beads - Jenna Freedman
]]></description>
<dc:subject>libraries little_libraries small_presses publishing alternative_publishing radical_media classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fbea407d34dc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:little_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:small_presses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:radical_media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://elviawilk.substack.com/p/elvia-inc">
    <title>Elvia Inc. - by Elvia Wilk - 𝓯𝓪𝓼𝓽 𝔀𝓻𝓲𝓽𝓲𝓷𝓰</title>
    <dc:date>2025-08-30T03:01:48+00:00</dc:date>
    <link>https://elviawilk.substack.com/p/elvia-inc</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Along the canal, in the parks: the lamps lining the paths and streets are properly yellow-tinted and low-lux and spaced out and many of them are very charming antiques. Even though the city is converting gas to electric (fair), they’re calibrating the lamp temps so you don’t feel like you’re walking through a mall at night.

You get to feel like you’re doing things in secret at night. You get to feel like a mammal whose melatonin levels are fluctuating with celestial regularity. You do not feel “unsafe.” Spending a month in Berlin was good for my circadians....

My favorite grocery store item in Germany is something called Streich, which means: Spread. It is a food item called spread. You spread it. That’s what defines it: what you do with it, not what it is. Technically anything spreadable could be called Spread… but this particular kind of pastey food… made with highly variable ingredients… all fits into this category…

You see a Streich selection on the shelves of most grocery stores, and in a healthy organic store you will find an ENTIRE AISLE dedicated to Streich. You will even encounter it in the drugstore’s food section....

Brotzeit is a known time of day that I hesitate to compare to aperitivo hour, when Germans eat things on bread. Logically it is named Bread Time. At Bread Time, you get a snacky platter. So the Spread industry has tried to capture the essence of what Bread Time tastes like and put it in a jar. What they think it tastes like is onions, caraway seeds, and apples.)  ]]></description>
<dc:subject>cities lighting sleep classification ontology food</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d2e49f085b1f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:lighting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sleep"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ontology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.itsnicethat.com/articles/sam-nicklin-photography-discover-260825">
    <title>Still life photographer Sam Nicklin loves vintage adverts, colour coordination and eBay</title>
    <dc:date>2025-08-27T13:06:52+00:00</dc:date>
    <link>https://www.itsnicethat.com/articles/sam-nicklin-photography-discover-260825</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[If you’ve recently encountered the work of Sam Nicklin, there’s a good chance it’s been his colour coordination series, Colours, which has been receiving much fanfare online. The personal project arose from one of Sam’s core hobbies – collecting. “My flat is full to the brim with weird pieces that I’ve collected from all over the world,” he says, “everywhere from markets to eBay – you can find a gem anywhere.” The series sees Sam curate this mass of “unlikely” objects into colour coordinated collections, which are then photographed individually before being stitched together to create one very satisfying artwork. He’s done orange, mint green, red, green and pink, but it’s not just about the colour – it’s about bringing out the unique characteristics and charm of each of the everyday objects. “Honestly I just love looking at objects and capturing how I see them as more than just a ‘thing’,” Sam says.

This personal passion bleeds into Sam’s commissioned still life work, where his favourite part of the process is prop-sourcing, slipping those everyday objects in amongst high-fashion wares, like watches (see a Dior watch paired with a crispy stack of onion rings). Tonally, Sam is drawn to vintage print advertising from a bygone era. “The fonts, the colours and the layouts inspire me, and I feel it’s something modern advertisement doesn’t get quite the same.” Safe to say, Sam’s work certainly wouldn’t be out of place in a double spread of a 70s magazine you’ve just nabbed off eBay.]]></description>
<dc:subject>classification props things staging photography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f68c14aba2fc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:staging"/>
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</item>
<item rdf:about="https://iconclass.org/">
    <title>ICONCLASS</title>
    <dc:date>2025-08-12T01:27:37+00:00</dc:date>
    <link>https://iconclass.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The comprehensive classification system for the content of images.

Iconclass is used to provide subject access to their collections by many museums and libraries, but its vocabulary covers a spectrum of visual communication that is broader than that of the traditional cultural heritage domain. ]]></description>
<dc:subject>image_library classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:262f463b58f9/</dc:identifier>
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<item rdf:about="https://www.journals.uchicago.edu/doi/abs/10.1086/736341">
    <title>“Untitled” by Unknown Artist: : Imperfect Metadata for an Imperfect World | Art Documentation: Journal of the Art Libraries Society of North America: Vol 43, No 2</title>
    <dc:date>2025-06-30T23:53:18+00:00</dc:date>
    <link>https://www.journals.uchicago.edu/doi/abs/10.1086/736341</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[NYC Health + Hospitals is a hospital system that has one of the largest public art collections in North America. It is a collection, however, that has been plagued by administrative difficulties, and it exhibits problems due to its distributed nature and its location in active medical facilities. These problems mean that best practices for cataloging visual resources are often sadly unachievable. By using less conventional techniques (or “pretty good practices”), however, the cataloger can obtain quality metadata by thinking around problems that would otherwise be prohibitive.]]></description>
<dc:subject>public_art nyc misfits classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e4a76bfbb2ee/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:misfits"/>
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<item rdf:about="https://scholarlykitchen.sspnet.org/2025/03/25/guest-post-classification-as-colonization-the-hidden-politics-of-library-catalogs/">
    <title>Guest Post - Classification as Colonization: The Hidden Politics of Library Catalogs - The Scholarly Kitchen</title>
    <dc:date>2025-06-18T17:53:29+00:00</dc:date>
    <link>https://scholarlykitchen.sspnet.org/2025/03/25/guest-post-classification-as-colonization-the-hidden-politics-of-library-catalogs/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Library catalogs have always been battlegrounds where content is not merely described but debated. President Trump’s January 20, 2025, Executive Order 14172 directing the renaming of longstanding geographical designations “Mount Denali” and “Gulf of Mexico” to the politically loaded “Mount McKinley” and “Gulf of America” reveal the naked truth of what cataloging has always been: a battlefield where meaning is contested and conquered.
The Word as Weapon and Shield

What makes cataloging such a potent political instrument is not just its ability to name, but its power to make those naming decisions appear neutral and inevitable. Former American Library Association President Emily Drabinski has argued that catalogs don’t merely contain bias — they systematically disguise that bias behind a facade of technical objectivity.

Let’s not kid ourselves. When the Library of Congress spent decades using “Illegal aliens” as an authorized subject heading — despite overwhelming evidence of its pejorative nature — it was exercising power, not objectivity. Librarian Sanford Berman recognized this in 1971 when he published Prejudices and Antipathies: A Tract on the LC Subject Heads Concerning People, documenting how LC headings perpetuated racism, sexism, and xenophobia under the veneer of neutrality.]]></description>
<dc:subject>classification politics colonialism my_work</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ec661ff92b13/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:colonialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:my_work"/>
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</item>
<item rdf:about="https://www.nytimes.com/2025/06/04/arts/design/rosana-paulino-brazil-studio.html">
    <title>Rosana Paulino, a Brazilian Artist Who Wields Poetry and Persistence - The New York Times</title>
    <dc:date>2025-06-10T19:55:31+00:00</dc:date>
    <link>https://www.nytimes.com/2025/06/04/arts/design/rosana-paulino-brazil-studio.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Cecilia Alemani, the director of High Line Art, came to know Paulino while curating the 2022 Venice Biennale, titled “The Milk of Dreams.” Paulino’s art, intertwining botany and a sense of magical transformation from a Black female perspective, was a perfect fit for the exhibition’s concern with “metamorphosis and the relationship between humans and nature,” Alemani said.

The art historian Igor Simões, who was a co-curator of “Amefricana,” Paulino’s 2024 survey at the Museum of Latin American Art in Buenos Aires, called her interpretations of Black Brazilian history and imagination crucial for understanding the broader Afro-Atlantic world. “It’s impossible to depict the Black experience globally if you’re not seeing the work of the most important Black artist in Brazil in the last 30 years,” Simões said....

Paulino moved from family albums to ethnology and botany archives. Both demonstrated the impulse of European researchers to classify what they considered to be wild people — Black and Indigenous — and plants. In Brazil, which abolished slavery only in 1888, photography and enslavement overlapped. The Harvard zoologist Louis Agassiz commissioned images of “pure racial types,” including Augusto Stahl’s photographs of enslaved individuals as naked specimens from the front, back and profile.

Having also studied biology, Paulino was alert to both the manipulation of science in service of racial fallacies and the persistent impulse to avoid its legacy. “The role of pseudoscience was so strong in Brazil,” she said. “In the Modernist period, people did not discuss these photos, these ideas. But for me, we have to put it on the table. It’s essential to understand the country.”...

Paulino’s art often interpolates photographs like Stahl’s as well as archival maps, texts, botanical drawings and decorative illustrations, transferring the imagery through different techniques onto canvas and paper. But she alters them with emancipatory gestures: drawing in bodily features, concealing an exposed subject’s gaze, cutting a canvas then suturing it back with careful stitches — each move a restoration of dignity.
]]></description>
<dc:subject>art colonialism blackness redaction biology classification records documentation archive_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:28c9715fde9d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archive_art"/>
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</item>
<item rdf:about="https://www.archpaper.com/2025/05/diller-scofidio-renfro-va-east-storehouse/">
    <title>Diller Scofidio + Renfro posits a new idea for museum storage with V&amp;A East Storehouse</title>
    <dc:date>2025-05-31T01:21:55+00:00</dc:date>
    <link>https://www.archpaper.com/2025/05/diller-scofidio-renfro-va-east-storehouse/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[On the other side of London, the same institution has opened its doors to V&A East Storehouse, with access to over 250,000 objects. The facility designed by Diller Scofidio + Renfro (DS+R) transforms the obscure world of museum storage into a public experience of collecting, conserving, and storytelling. Like the South Kensington museum, Storehouse also leaves its imprint, inspiring wonder at a moment when public trust in cultural space feels so thin. As Tim Reeve, deputy director of the V&A, put it: “Creative industries are one of the very few success stories of the UK economy.” That creativity is being unpacked....

The 262-by-262-foot (80-by-80-meter) cultural warehouse—once the London 2012 Olympics Media Centre—now welcomes visitors through a plain, functional entrance. Its galvanized steel doors are a modest update on the flexible shell designed by Hawkins\Brown. A plain, functional lobby hosts a new outpost of e5 Bakehouse, softened by new plywood interiors by Thomas Randall-Page. Upstairs, into a brief airlock, and onto a narrow walkway lined with classical busts in crates and on palettes, as if not fully unpacked, you glimpse the ladders, forklifts and shelving below, before you are shot into the dramatic central atrium—a towering scaffold of steel walkways and shelving....

Storehouse isn’t a museum—there are no labels, no curation, no interpretation. It’s a working storage facility, a peek behind the curtain. Instruments hang beside rows of chairs, statues stand among ceramics, building fragments, archival boxes, and garments—some visible, others swaddled after reaching their “light quota.” It’s a new idea for museum storage, one that began in Rotterdam in 2021 with MVRDV’s Depot and is put on steroids here, but DS+R are not new to shifting paradigms....

“The Storehouse defies the logics of conventional taxonomies,” said Diller. “Where else would you encounter suits of armor, stage cloth, biscuit tins, building fragments, puppets, thimbles, chandeliers, motorcycles in one place next to each other?”

These objects were previously hidden away in Blythe House, Olympia, alongside collections from the British Museum and the Science Museum—until the government announced plans to sell the Edwardian bank. This prompted a conversation about what its storage can and could be...

The object collocations feel accidental but profound. What is a Frankfurt Kitchen, with its strict Bauhaus order, doing just down the walkway from the ornate, gilded Torrijos ceiling from Toledo? Why does a safety curtain control panel share a shelf with a bamboo wind instrument? Everyday objects aren’t elevated so much as exposed—invited to speak on new terms, next to things they were never meant to meet....

As Diller put it, the Storehouse is designed with “an inside-out logic,” where the center is public, the middle semi-private, and the outer edge reserved for conservation, research, and protected storage. There are moments where private and public parts interact, for instance in the “conservation overlooks,” where you can watch the conservators at work from public galleries. It quietly teaches that the arts are an industry too; there are opportunities besides being an artist. ]]></description>
<dc:subject>museums storage compact_storage display collection classification metroCRC conservation architecture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:cb12c9064c5f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:compact_storage"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:conservation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:architecture"/>
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</item>
<item rdf:about="https://lithub.com/in-praise-of-the-inherent-queerness-of-nature/?utm_id=01JW9X1KS402E4QNQJ998KS7CB&amp;_kx=55DYiD-gFZACLVufOx5ulHaagY3KUf5LyS0IC9RO5rHfz-_bBde44HsGkMwH8i6L.U5D8ER">
    <title>In Praise of the Inherent Queerness of Nature ‹ Literary Hub</title>
    <dc:date>2025-05-28T15:08:58+00:00</dc:date>
    <link>https://lithub.com/in-praise-of-the-inherent-queerness-of-nature/?utm_id=01JW9X1KS402E4QNQJ998KS7CB&amp;_kx=55DYiD-gFZACLVufOx5ulHaagY3KUf5LyS0IC9RO5rHfz-_bBde44HsGkMwH8i6L.U5D8ER</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The emerging field of queer ecology helps us notice the abounding queerness of nature. The loose collection of scholarship under this umbrella helps us explore how science operates and the ways in which it has been impacted by the wider culture. Queer ecology not only helps us identify faulty narratives around sex and reproduction but also encourages us to document the numerous ways in which human biases have entered science. Queer ecology challenges scientists to ask what boxes exist in our fields, who made them, and what we could learn if we broke them down. Like Zoroastrianism and kin centric ecology, queer ecology highlights the complex lifeworlds of other beings and shifts focus away from the human-centric narratives most of us have become accustomed to.]]></description>
<dc:subject>ecology queerness classification library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5b747ebcb5bb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:queerness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
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</item>
<item rdf:about="https://warburg.sas.ac.uk/events/cataloguing-against-categories">
    <title>Cataloguing Against Categories | The Warburg Institute</title>
    <dc:date>2025-05-21T16:22:39+00:00</dc:date>
    <link>https://warburg.sas.ac.uk/events/cataloguing-against-categories</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Please join us for presentations by Mariana Lanari (Archival Consciousness, Biblio-Graph(Opens in new window)) and Barbara Biedermann (Sitterwerk Library(Opens in new window)).

The event will focus on new and experimental ways of organising a library collection and the relationship between the physical and digital archives.

Archival Consciousness was initiated by artist Mariana Lanari and graphic designer Remco van Bladel to collaborate with libraries and archives in cultural institutions. The project works in close collaboration with archivists to implement methods and infrastructure to make their collections more accessible. Aimed at the long term preservation and dissemination of physical archives, in connection with the digital archive. 

Biblio-Graph(Opens in new window) is a digital archiving system for cultural organizations, publishers, collectives, and social movements that want to make their collections accessible online. It works as an interaction layer on top of existing databases and websites. On Biblio-Graph, you can view and read the archive, moving through the network of people, organizations, objects, and events in the collection.

The initial holdings of Sitterwerk Art Library(Opens in new window) came from the collections of Daniel Rohner and Felix Lehner and include around 25,000 volumes on art, architecture, and their history as well as on material and casting technology. The Art Library continues to expand, with contemporary art and sculpture and their handcrafted production, casting technology, material sciences and iconography as focuses in the case of new acquisitions. The books do not have a fixed location on the shelves; their order is dynamic and associative—they can be rearranged by users again and again, but can nonetheless be found at any time thanks to radio frequency technology. This technique of continuous inventory, which was developed at the Sitterwerk, provides a platform for examining questions relating to knowledge systems and artistic practices in dealing with archives.

Dynamic Order of the Sitterwerk library has been developed to facilitate a constantly changing position of the books on the shelves by means of RFID technology, so that books can be found in new contexts again and again, and extremely diverse contents can thus be accessed. On the other hand, it is possible to personalize, save, and edit the research conducted on the interactive work surface of the Werkbank (workbench). The smartphone app X-Y-Z enables users to annotate and keyword contents, whereby what is striven for and facilitated is a user-based development of the collection.]]></description>
<dc:subject>cataloguing classification order library_art organization CRC</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f02d1760901d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:CRC"/>
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</item>
<item rdf:about="https://warburg.sas.ac.uk/events/art-and-the-book-2025">
    <title>Art &amp; The Book | The Warburg Institute</title>
    <dc:date>2025-05-21T16:22:04+00:00</dc:date>
    <link>https://warburg.sas.ac.uk/events/art-and-the-book-2025</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In an era where libraries and free-to-access spaces are disappearing, and where the book’s monopoly has faded in the face of new digital media, artists’ books have shown a determined ability to last, remain experimental and transmit a unique aesthetic experience. For its summer season, the Warburg Institute will dedicate its programme to artist’s books, across an exhibition display, book fair, series of public talks and bookshop residencies. 

Since the 1960s, artists have made books as artworks, changing the book’s relationship with art. Propelled by the development of widely and cheaply available technologies for reproduction like the photocopier, artists have employed initiatives like mail art and zines to disseminate artworks to large audiences, creating publications with inherent social and political possibilities. Artists’ books and presses have since carved new territory independent from the exclusive hierarchies of commercial publishing and galleries. The recent rise of libraries established by artists underlines the continued desire for playfulness, community and access to all.

The display in the Warburg will showcase works by contemporary book artists from Biblioteka’s and Bunker Basement’s collections. Curated sections of books from the 1960s to today will emphasise the breadth of library practice, photography books, new publishing technologies, and innovative plays with production and format used by artists. 
]]></description>
<dc:subject>little_libraries artists_books exhibition library_art cataloguing classification CRC</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9326bb201676/</dc:identifier>
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</item>
<item rdf:about="https://4columns.org/d-souza-aruna/renee-green">
    <title>Renée Green | 4Columns</title>
    <dc:date>2025-05-09T14:55:52+00:00</dc:date>
    <link>https://4columns.org/d-souza-aruna/renee-green</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Though widely shown in Europe and global biennials, Green is only now receiving a major solo museum exhibition in New York. Its title, The Equator Has Moved, signals many of its themes: space, place, and, above all, mapping—and the way all three are functions of power, including tectonic shifts of colonial domination and empire-building. (If Trump can rename the Gulf of Mexico, why can’t the equator move?) Curated by Jordan Carter with Ella den Elzen, Equator spans two massive galleries at the heart of Dia:Beacon and a long passage running perpendicular to them. Featuring twenty-four pieces, many of which comprise multiple parts—installation, banners, a mural, time-based work, and so on—it feels very big indeed. (There are around six hours of digital film and sound work alone.) This is not a viewing experience for the completist; rather, its pleasures are akin to going down the rabbit holes you stumble upon in an archive and seeing where each new discovery leads you....

If photography is one of the ways colonial power is deployed, so are other means of recording and categorizing. Pigskin Library is a reconstruction of the collection of fifty-nine books Teddy Roosevelt took with him on his 1909–10 expedition to East Africa, Congo, and Sudan to collect samples for the Smithsonian Institution. It is a simple affair—a cloth tent, a table supporting a chest containing “replicas” of Roosevelt’s books (including Paradise Lost and Tales of the Argonauts), and the sounds of John Philip Sousa’s “The Corcoran Cadets.” At the foot of the table is a framed sign with a passage from Roosevelt’s African Game Trails, in which he explains why he had the tomes bound in durable pigskin: “Often my reading would be done while resting under a tree at noon, perhaps beside the carcass of a beast I had killed . . .” The words underscore the connection between scientific investigation and bloodthirst—Roosevelt and his companions slaughtered or trapped over eleven thousand animals during their trip. Outside the tent are two long wooden file boxes filled with color-coded wood placards, each printed with a term culled from the index of African Game Trails; one box contains the Latin names for the small and large mammals Roosevelt discovered, while the other contains phrases organized by rubrics including “hexing,” “comfort,” “luck,” and “passion”—squishy concepts that throw the scientific nature of the mission into question. Most importantly, a small camp stool and a set of white cotton gloves—the kind used by archival researchers—are available for viewers who wish to explore the files, turning them from passive spectators to users of the work...

One of the major themes running through the show is color. It is literally present in the galleries, in the eleven brightly-hued Bichos (modular media-viewing booths named after Lygia Clark’s manipulable sculptures) that run down the centers of each space; the riotously dyed Space Poems (banners printed with fragments of text, both Green’s own words and those of others) that hang from the ceiling and on the walls; and the vinyl lettering of Elsewhere? [Wall version] (2002/25), a mural composed of names of imaginary places, listed in alphabetical order. But color is also present as a concept—a tool for making the world knowable and graspable, an act that Green’s work suggests is inevitably ideological. The exhibition reassembles her 1990 Color series, which might be best understood as mixed-media diagrams, like something out of a science fair: “neutral” gray-painted panels bearing a labeled array of color swatches and framed vellum passages of text....

consider Which? (1990)—a panel painted black and white imprinted with pairs of opposing terms (top/bottom, other/same, passive, active, he/she). Small shelves running down the center support half-filled fishbowls etched with the words “ambiguous,” “shifting,” and “indeterminate”—a material assertion of a “gray area.” Then there is Neutral/Natural (1990), a more complex arrangement that presents gray (in this case, painted panels) as the neutrality that counters the “naturalness” of Angela Davis’s Afro, a specimen jar filled with tree bark, an image of a waterfall, and words representing various branches of Enlightenment knowledge. ]]></description>
<dc:subject>mapping installation flags map_art collecting libraries library_art classification organization color</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2601be2bb4e3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:flags"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collecting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
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</item>
<item rdf:about="https://daily.jstor.org/was-carl-linnaeus-bad-at-drawing/">
    <title>Was Carl Linnaeus Bad at Drawing? - JSTOR Daily</title>
    <dc:date>2025-05-07T18:50:49+00:00</dc:date>
    <link>https://daily.jstor.org/was-carl-linnaeus-bad-at-drawing/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Quality was partly a function of his background, Charmantier explains, but he was quite capable, if it served his purpose in the moment. Linnaeus used visuals to learn and observe, and later to create and convey knowledge. His intentions and goals determined his choice of visual tools. In Systema Naturae, he attempted to organize an enormous amount of information about nature and to make it digestible and memorable. Because of this, he relied on tables and diagrams, which became maps of the natural world.

Charmantier argues that even Linnaeus’s written descriptions of genera used a visual logic. But a genus has too much variation to render in a drawing. Linnaeus’ comment about illustration was specifically about genera—not illustration in general—she points out. In fact, some of his other works contain plenty of illustrations, especially for depicting species. Far from being hostile to visualization, she writes, “his thinking was profoundly visual.”]]></description>
<dc:subject>linnaeus illustration drawing classification natural_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8faec4318ca0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:natural_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://provisionslibrary.cvpa.gmu.edu/">
    <title>Provisions Research Library For Art &amp; Social Change</title>
    <dc:date>2025-04-23T14:03:19+00:00</dc:date>
    <link>https://provisionslibrary.cvpa.gmu.edu/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Provisions Library offers a curated collection of over 6,000 books and publications that aid artists, researchers, and students in discovering new relationships between art and society.

The Meridians are a spectrum of 33 research arenas designed to activate connection and integration for creative social change.]]></description>
<dc:subject>libraries arts_libraries classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8afa2011df44/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:arts_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.itsnicethat.com/articles/adam-maryniak-chair-of-virtue-product-design-publication-010425">
    <title>Take a seat! This online magazine is dedicated to the wackiest chairs out there</title>
    <dc:date>2025-04-02T14:31:43+00:00</dc:date>
    <link>https://www.itsnicethat.com/articles/adam-maryniak-chair-of-virtue-product-design-publication-010425</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Before setting up the glorious online magazine Chair of Virtue, Adam Maryniak moved from Kraków to London to study product design – finding himself on a straight path to becoming an industrial designer. The creative trained as a fabricator for window installations, then moved into the world of set design, making scenery and props for all sorts.

Despite being a very skilled pragmatic designer and maker he’d always been drawn in by the decorative, narrative and impractical. “Growing up in Kraków, due to its bohemian spirit, I’ve always had an interest in stories, myths and meanings depicted through art,” Adam says. “I’d been looking for an outlet that merges utility and art for some time but it was around five years ago that things became clear, and I started being seriously interested in sculptural furniture.”

So, in 2020, the designer started to collate the research he’d been conducting to inform his own practice into something bigger. Inspired by platforms such as @art_as_chairs and @igotathingforchairs, Adam created his own online gallery to share an ongoing edit of some of the finest sculptural chairs, ones that “haven’t been widely seen but definitely deserved recognition”, and Chair of Virtue was born.....

Adam had to put some rules and regulations for the archive. Where do you draw the line? At what point does a chair become a sculpture or a sculpture become a chair? Well to this, Adam responds: “For something to be a chair, it must function as one – providing relative comfort, support, and the ability to bear weight. Proportion matters: if a seat is too wide, it’s a bench; too high or low, it’s useless therefore not a chair. A backrest is essential, of course, otherwise, it’s a stool.” So while you can play around with structure, scale and form, a certain criteria must be met, no matter how wacky the seats (or thrones) get.]]></description>
<dc:subject>chairs furniture intellectual_furnishings classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a538a7ae5ad9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:chairs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.are.na/editorial/on-becoming-moss">
    <title>On Becoming Moss | Are.na Editorial</title>
    <dc:date>2025-01-19T18:24:57+00:00</dc:date>
    <link>https://www.are.na/editorial/on-becoming-moss</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Here’s why: As a species, moss is inspirationally non-hierarchical. It is unhurried; it lives communally; it seems to universally thrive across topographies, climates, and timescales. It is also shaggily sensuous, physically resilient, and able to reproduce with or without sex. In this way, it offers ample provocation for reimagining our social order, for reorienting our attunement to our environments, and—with today’s interview in mind—for understanding how our access to information can systematically limit our thinking.

In the new web-based project Thinking With Moss, bryophytes (aka moss) serve as both subject and inspiration. Created by a transdisciplinary cohort of collaborators led by Elaine Ayers, Ahmed Ansari, and Tega Brain, the site assembles a sprawling range of mossy contributions including essays, historical prose, diaries, lesson plans, and more. Fittingly, the site requires patience and perseverance to browse. It literally changes with the weather, and by choosing to peruse the content as a “root, tree, or moss,” visitors can rearrange (or fully collapse) the site’s informational hierarchy—smartly pointing to how stratified organizing structures govern our world, and our access to all that it contains....

the project aims to take moss’ “ambiguous, downtrodden” nature as a provocation to point out (and fix!) some of the ways that our [primarily Western] institutions use their artifact and specimen collections to hoard power, wealth, and access to education...

We tend to think of “preservation” as a net good, but not only does this supersede questions of repatriation—it also results in us not letting animals or plants go through their own natural systems of decay. Overall, preservation for human-centric accumulation—i.e. institutional collecting—has a very violent and sad history....

I don't think we need to study them, necessarily. The argument that preserving things in museum collections allows us to study them, therefore making it a net good, begs the question: “Who is it good for?” Institutional collections are good for Western scientists, but certainly not for the communities that they came from....

Humans studied plants and animals in many ways before museums ever existed. There are plenty of ways of telling stories, crafting narratives, and understanding histories that don’t involve cataloging unnaturally preserved specimens into collapsible storage and putting Latin names on them—names which have nothing to do with the names they originally had. I think it's profoundly selfish of us to constantly seek preservation for our own purposes...

it’s easier to convince them to take action by saying, “People are going to figure out that you have human bodies in the coffers of your museum, and it’s going to be a much better look if you start the process of repatriation now.” It’s kind of a gross way of doing that work, but it has been the most effective argument.

That’s partially because NAGPRA, a law passed in 1990, is finally being upheld—after 35 years of little to no institutional movement. Even though it’s an incredibly limited law that only applies to federally recognized Native American remains and funerary objects, that’s an area where work is really happening....

it’s much easier to convince people that repatriation is necessary if it’s a human body versus a plant or mineral body—even though plants and minerals were also collected in immensely violent ways that had real impacts on people’s bodies.

One thing I’ve been gunning for with botanical repatriation, which is less of an obvious process, is that the specimens simply go back to botanical gardens or natural history museums within their home nation...

“Sure, the New York Botanic Garden had a colonial history, but now it’s done.” Quite frankly, though, it’s still enacting colonial violence by restricting access to its collection, by underpaying its employees, by holding type specimens collected during colonial missions, and in many other ways. The wealth consolidation at these institutions is a major problem, and there’s a really good case to be made not just for repatriation, but for some form of reparations as well....

Moss teaches us to pay attention in a very different way from how we’re accustomed to seeing things in the attention economy. It inspires us to be more attuned to the systems that are larger than us, which we’re a part of, and to think in terms of reciprocal relationships that extend across timescales. For example: What would it mean to see myself as part of a community extending into the generations that came before me, and that will come after me?...

Moss lives collectively—there is no “individual” moss, which I find so anti-capitalist. It is home and host to many other communities of organisms and microbes. Also, moss is anti-death. Not only is it its own preservative agent, but you can bring dried moss back to life with a drop of water, hundreds of years after it’s supposed death, as long as fruiting bodies are present.

It also reproduces both sexually and asexually, offering a queer lens through which we can see sexuality and reproduction in expansive, category-defying ways....

Choosing “moss” puts everything out there, with the content sort of dancing around the page in constant movement. Choosing “root” will cause things to be unveiled through a taxonomy-based architecture. We tagged every post with questions and themes, so navigating as a root lays bare all of that structured thinking. Then “tree” is the most simple way to browse, as it just gives you all of the entries lined up.... it’s also turned out to be great for accommodating neurodivergence.... It makes me wonder, “Why don’t we get to choose the way that information is presented to us, and how we consume it?” The thing is, it wouldn’t be hard to offer that option....

Moss teaches us that friction and moving slowly are good—and that they’re a necessary part of living, surviving, and thriving in the world. Part of the point of the site is that it forces you to perform some labor in working with it....

The moss chapter became so big and so unbound—which is very mossy—that I realized it needed to be its own thing. ... when people ask me what the book is about, I’m like, “It’s about violence, and shipping, and porn… and all these other things that don’t seem to go together.” Moss is rooted through and entangled with everything. ]]></description>
<dc:subject>archives classification plants solar_networks library_field collections organization ontology preservation decolonization rematriation moss interfaces</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:929497e33be9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:solar_networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:moss"/>
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</item>
<item rdf:about="https://www.forestry-suppliers.com/p/53970/43201/leaves-seeds-common-trees-identification-mounts-series?ref=scopeofwork.net">
    <title>Leaves and Seeds of Common Trees Identification Mounts Series</title>
    <dc:date>2024-12-16T16:01:59+00:00</dc:date>
    <link>https://www.forestry-suppliers.com/p/53970/43201/leaves-seeds-common-trees-identification-mounts-series?ref=scopeofwork.net</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Leaves and Seeds of Common Trees Identification Mounts Series

This set includes 16 individual mounts of leaves and seeds of commonly found trees. The leaves and twigs of each tree are pressed, and the fleshy fruits (from trees such as the Red Mulberry and Black Tupelo) are freeze-dried for excellent presentation. The back of each 5” x 8” mount includes each tree’s common and scientific names, family, leaf arrangement, leaf type, mature height, fruit type, and natural habitat. The mounts are housed in a filing bin for quick reference and convenient storage.]]></description>
<dc:subject>trees plants identification classification display library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4550273461cf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:identification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:display"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
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</item>
<item rdf:about="https://www.thinkingwithmoss.net/">
    <title>Thinking with Moss</title>
    <dc:date>2024-12-03T18:17:57+00:00</dc:date>
    <link>https://www.thinkingwithmoss.net/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Thinking with Moss invites you to explore new models for how we think, design and develop digital collections and archives that speak to the invisible or under attended histories of the natural sciences. Using moss as a guide and thinking device, it examines modern botanical science as emergent from the dynamics of colonial enterprise and of the labor of many unacknowledged figures and their violently suppressed knowledge and practices, working across the span of empire’s reach.

This site presents a transdisciplinary, transmodal collection of texts and creative works from respondents and prompts, questions, observations and insights from a series of workshops, digitized letters, and mossy specimens and artifacts from the Mitten Collection housed at the New York Botanical Garden as an experiment and proof of concept for what digital archives and collections working with knowledges otherwise across the critical humanities, arts and sciences could be....

Archives, like most computational architectures, are structured to support forms of interaction and access in two ways, both of which have been theorized in plant metaphors: hierarchical, top-down and bottom-up ‘arboreal’ structures where users move through pages and subpages, usually searching for what they want by filtering down from more general to more specific content; or by moving laterally through a non-linear ‘rhizomatic’ structure, such as browsing from hyperlink to hyperlink. However amidst a project concerned with moss, this raises the question of what a ‘bryophytic’ archive might look like? As a non-vascular plant, mosses are relatively flat and grow without branches or roots. They also trouble clear distinctions between geology, plant matter and atmosphere. A digital archive modeled on the metaphor of the bryophyte, might therefore have the following characteristics which we have adopted as prompts for how this project has been designed. 

    A flat ontology where the entire architecture of the site is open to the user to traverse from the first page;
    A troubled of the notion of ‘interface’, where neat distinctions between structure and content are resisted;
    Responsiveness to environmental conditions, where the material conditions and infrastructures sustaining the archive are made visible in the design of the website itself. ]]></description>
<dc:subject>moss plants classification archives library_field morethanhuman interfaces biomedia geoarchives topology trees</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:80b9ff0348f9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:interfaces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:biomedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geoarchives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:topology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://artreview.com/its-art-historian-aby-warburgs-world-were-just-living-in-it/">
    <title>It’s Art Historian Aby Warburg’s World. We’re Just Living In It - ArtReview</title>
    <dc:date>2024-10-26T13:40:45+00:00</dc:date>
    <link>https://artreview.com/its-art-historian-aby-warburgs-world-were-just-living-in-it/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Interest in Warburg, a fascination even, has deepened in the last few decades, allowing the complexities of his thought to become visible. Translations of continental philosophy and the rise of postmodernism during the 1980s in many ways encouraged a framework through which Warburg’s art history can be viewed anew. Art theorist Margaret Iversen was a pioneer here; her 1993 essay ‘Retrieving Warburg’s Tradition’ critiqued the timid domestication of Warburg by Gombrich and Panofsky and cogently asserted that his position could be aligned with postmodernist and feminist perspectives. Similarly, art historians such as Matthew Rampley and Georges Didi-Huberman have succeeded in recovering Warburg’s conceptual approaches, especially his belief that time was not a straight line or a progressive march towards a better future but more like a constellation in which past and present exist simultaneously and haunt one another. As such, Warburg’s writings provide tools for understanding the complex temporalities examined by artists such as Doug Aitken and Tacita Dean, among others, while it impacts upon how the art historian comprehends the artwork in its ‘present’, since the notion of the present, for Warburg, is the survival of the past. Artworks, then, are perhaps defined by Warburg as being perpetually both in and out of context, and ‘anachronism’ is no longer a condemnation but a condition of art. ]]></description>
<dc:subject>atlas warburg little_libraries libraries organization classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:90514f8a174d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:warburg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:little_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pioneerworks.org/broadcast/darwin-tree-of-life-rachel-delue">
    <title>Picture This: Darwin's Diagram | Broadcast</title>
    <dc:date>2024-10-17T14:24:01+00:00</dc:date>
    <link>https://pioneerworks.org/broadcast/darwin-tree-of-life-rachel-delue</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I read Origin for the second time almost two decades later, as a scholar of art history and visual culture, studying works of art and other kinds of images in Europe and the Americas from the eighteenth century to the present. Much of my research considers how art-making and scientific inquiry intersected in this period—how knowledge in the sciences shaped the ways artists and their audiences envisioned their world, and how scientists used images to generate and communicate novel ideas and theories. This time around, I noticed Darwin’s diagram and paid close attention. A more careful reader in my forties than I was in my twenties, I understood that Darwin’s explanation of the diagram elucidates one of the most important principles of his theory: divergence of character. If natural selection describes how species originate, diverge, and become extinct—thereby accounting for the history and diversity of organic life—divergence of character explains, first, how small differences among varieties of organisms in a group can eventually lead to the existence of new species and, second, the critical importance of significant or extreme variation for those species’ survival. The finches of the Galápagos Islands most famously demonstrate divergence of character, even if they did not initially inspire the idea. Closely related but distinct species, the finches are differentiated by the size and depth of their beaks. These differences arose through the selection of specific traits that decreased competition among the birds and enabled many varieties of finch to coexist. Because each variety of bird consumed a different type of seed, as befitting the form of its beak, there was enough food to go around....

the diagram undertakes an impossible task—impossible because evolution as Darwin conceived it presented a near-insurmountable problem for representation in the nineteenth century. Science in Darwin’s time gave rise to radically new ideas about existence, and this new knowledge created something like a crisis of picturing, with tried-and-true methods of visualization, conventionally mimetic in nature, coming up short. Time presented a special problem for scientific images. Just as the Copernican Revolution had displaced Earth from the center of the universe and Darwin’s own theory of evolution would go on to remake the human as just another animal among countless other beasts, geology and the closely related disciplines of paleontology and archaeology radically expanded the timescale of the earth while drastically reducing humanity’s share in its chronology. Deep time, in turn, introduced a very big problem of visibility. “The mind cannot possibly grasp,” Darwin wrote in Origin, “the full meaning of the term a hundred million years; it cannot add up and perceive the full effects of many slight variations, accumulated during an almost infinite number of generations.” What is more, “we see nothing of these slow changes in progress, until the hand of time has marked the long lapse of ages, and then so imperfect is our view into long past geological ages, that we only see that the forms of life are now different from what they formerly were.”...

Given this, I cannot help but think that Darwin’s diagram bears the burden of Darwin’s doubt. It begins in thin air, with a collection of unanchored, dangling lines. And it ends, at the top of the fold-out page, with a spare collection of lines, dashes, letters, and numbers. The spaces between each of the dots in the branching lines indicate a temporal interval. But as a series of empty spaces or blanks, they also conjure absence, as in the absence of seeing or knowing.]]></description>
<dc:subject>trees diagrams darwin classification data_visualization doubt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d1f4707e6243/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:darwin"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:doubt"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.bklynlibrary.org/podcasts/decolonizing-dewey-02549">
    <title>Decolonizing Dewey (025.49) | Brooklyn Public Library</title>
    <dc:date>2024-09-29T19:46:46+00:00</dc:date>
    <link>https://www.bklynlibrary.org/podcasts/decolonizing-dewey-02549</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A lot had changed since Melvil Dewey came up with a classification system to organize all known and not-yet-known knowledge into a string of numbers and search terms. And yet, hundreds of thousands of libraries use the same system to this day, often preserving out-dated and offensive terms. In this episode, we take a look at what has changed—and what hasn't—in our library catalog.

Want to learn more about the topics brought up in this episode? Check out the following links!

    What's with the numbers in the title? See our note at the end of this transcript to find out!
    Discover your next read from our list of books recommendations for this episode, which all fall under the subject heading "Undocumented Immigration" in our library catalog.
    Listen to the rest of Dorothy Porter Wesley's interview on Archival Revival: Camera Original Conversations on Black Life or read more about her work.
    Watch Change the Subject, the documentary about students and librarians at Dartmouth College who petitioned the Library of Congress to change the subject heading "Illegal Alien."
    Learn more about Sandford Berman's petitions for subject heading changes, and read sci-fi writer N. K. Jemisin's take on the classification of her own books. Or, check out a list of books about the problems with library classification systems, curated by librarian Djaz Zulida.
    Dive into the world of classification systems with podcast episode from The Kitchen Sisters or read about a cataloging code of ethics.]]></description>
<dc:subject>libraries classification decolonization Dewey</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0427bec78aa0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:Dewey"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://jeremymillar.org/Daphne-2013">
    <title>Daphne (2013) - Jeremy Millar</title>
    <dc:date>2024-09-29T15:13:38+00:00</dc:date>
    <link>https://jeremymillar.org/Daphne-2013</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A film made in the Photographic Collection of the Warburg Institute, London, during which time research is undertaken into images of Daphne, and her transformation into a laurel tree; other transformations occur, also.
]]></description>
<dc:subject>warburg archive_art library_art film photography classification filing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:add8ae988f82/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archive_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:filing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theguardian.com/artanddesign/2024/sep/25/occult-worlds-weirdest-library-warburg-institute">
    <title>Occult? Try upstairs! Inside the world’s weirdest library, now open to the public | Architecture | The Guardian</title>
    <dc:date>2024-09-29T14:47:04+00:00</dc:date>
    <link>https://www.theguardian.com/artanddesign/2024/sep/25/occult-worlds-weirdest-library-warburg-institute</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Long off-limits to passersby, the Warburg Institute has now been reborn, after a £14.5m transformation, with a mission to be more public than ever.

“We are essentially devoted to the study of what you would now call memes,” says Bill Sherman, director of the Warburg. To clarify, the institute is not a repository of Lolcats and Doges, but of global cultural history and the role of images in society, with a dazzling collection ranging from 15th-century books on Islamic astronomy, to tomes on comets and divination, not to mention original paintings used for tarot cards (about which a show opens here in January). At least half of the books can’t be found in any other library in the country....

The institute was founded in Hamburg at the turn of the 20th century by pioneering German art historian Aby Warburg, whose work focused on tracing the roots of the Renaissance in ancient civilisations, mapping out how images are transmitted across time and space. Long before the algorithms of today’s digital world, he drew unlikely connections between different epochs, regions and media, putting his findings into a sprawling visual diagram of European art. Named the Bilderatlas Mnemosyne, it was a kind of analogue internet of photos, reproductions and newspaper clippings pinned to boards, comprising 1,000 images on 65 panels each one metre tall. Unsurprisingly, it was incomplete by the time of his death in 1929....

Warburg hailed from a wealthy Jewish banking family, so when the Nazis came to power in the 1930s, his institute, its staff, and most of the furniture, were evacuated to Britain. The organisation, with its 60,000 books and 10,000 photographs, became part of the University of London, housed in a building designed by Charles Holden in the 1950s, where it has been ever since. But it has never had much of a public face. It has been an essential resource for artists and scholars for decades, but few outside the rarefied ranks of researchers knew the Warburg was there....

Where once visitors were greeted with an off-putting glass screen and security desk, a new welcoming entrance leads you through to the gallery, where an opening exhibition charts the journey of the institute, alongside artist Edmund de Waal’s Library of Exile of books by exiled authors. Windows from the entrance foyer provide views down into the new archive reading room – giving a glimpse of the previously hidden inner workings of the institute – and across to the auditorium, which appears to float in the white-tiled courtyard, illuminated by light-wells either side.

Conceived as the new heart of the place, the lecture theatre is an atmospheric space, lined with warm timber ribs and topped with an elliptical concrete roof light, modelled on the original Warburg Bibliothek reading room in Hamburg....

The expansion has also enabled the full reinstatement of Warburg’s unique cataloguing system, with four floors each dedicated to Image, Word, Orientation and Action – “uniting the various branches of the history of human civilisation,” as his close collaborator, Fritz Saxl, put it, breaking culture free from the confines of its usual disciplinary silos. There are few other libraries in the world where you might open a drawer of photographs marked Gestures, to find thematic folders labelled Fleeing, Flying, Falling, along with Denudation of breast, Grasping the victim’s head, and Garment raised to eyes (Grief). ]]></description>
<dc:subject>libraries alternative_libraries warburg classification archives media_architecture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:470526222b3c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_libraries"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_architecture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://us.toa.st/blogs/magazine/inside-the-kew-herbarium-matt-collins">
    <title>Inside the Kew Herbarium | TOAST Magazine</title>
    <dc:date>2024-09-14T05:54:24+00:00</dc:date>
    <link>https://us.toa.st/blogs/magazine/inside-the-kew-herbarium-matt-collins</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A remarkably precious artefact, extracted from one of these cupboards, lies on a large oak table in front of me. It is a solanum flower a wild tomato pressed, dried and mounted on paper, collected during Charles Darwin's early 19th century expedition to the Galapagos Islands. The cutting shows every bit its age, all moisture long departed from its browned and brittle stems. However, new annotations decorate the paper mounting. There are catalogue numbers, location notes and sticker- printed barcodes: indications of historical but also ongoing use. As with the seven million other specimens stored in the cupboards of Kew's herbarium, this is not a museum piece; it is a resource with which fundamental questions of plant identity, diversity, conservation and usefulness continue to be answered.]]></description>
<dc:subject>herbarium classification plants library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ed5d14adcaba/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
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</item>
<item rdf:about="https://thisismold.com/object/tool/building-a-design-taxonomy-with-the-holotypic-occlupanid-research-group">
    <title>Building a Design Taxonomy with the Holotypic Occlupanid Research Group - MOLD :: Designing the Future of Food</title>
    <dc:date>2024-09-13T06:21:06+00:00</dc:date>
    <link>https://thisismold.com/object/tool/building-a-design-taxonomy-with-the-holotypic-occlupanid-research-group</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Often overlooked, one organization, the Holotypic Occlupanid Research Group (HORG), has become a champion of the object, bringing the “species” into new light through careful documentation and categorization of the various types of bread tags that can be found in supermarkets across the world....

Thus began what the HORG website calls, the formulation of a synthetic taxonomy, one that forgoes traditional factors such as genetics, derived traits, growth and development, sexual dimorphism, reproduction, or fossil record, in the naming process. Occlupanids, the scientific class for plastic bag tags, are placed under the kingdom Microsynthera, of the phylum Plasticae.]]></description>
<dc:subject>things classification collection food standardization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:df6e2033928c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:standardization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://reassemblingnature.org/about/">
    <title>Reassembling the Natural About</title>
    <dc:date>2024-09-13T05:18:26+00:00</dc:date>
    <link>https://reassemblingnature.org/about/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Reassembling the Natural is an ongoing curatorial research project by Anna-Sophie Springer and Dr. Etienne Turpin. Since 2013, they have developed a unique collaborative practice that draws on their respective disciplinary training and expertise to enable our distinctive work in exhibition making and publishing related to urgent issues across fields such as aesthetics, environmental history, design, museology, and philosophy. The project combines ethnographic research, field work, archival study, and art-science collaboration in order to convene together and curate scientists, artists, and theorists from the Americas, Europe, Amazonia, Southeast Asia, and China for a sustained conversation about the future of “natural history” on Earth.

Reassembling the Natural takes as its objective a serious, transdisciplinary review of the concept of nature—including its role within the knowledge infrastructure of the sciences, its elaborate housing of myths and cultural heritage, and its consistent place within the arts and humanities—in the context of our accelerating planetary extinction. How can those fields of inquiry through which nature came to be shared, studied, and conserved in human cultures begin to reassemble knowledges among the fragmented worlds threatened by anthropogenic transformation? How can new forms of inquiry and collaboration begin to unground the assumptions of knowledge, futurity, and security which limit the discourse of our contemporary environmental crisis? How can we reassemble and exhibit an exemplary plea for a reconsideration of the natural and its vital role in visual culture, design, science and beyond?

Springer and Turpin explore issues around the collection, classification, and display of knowledge; they see this curatorial work as a critical practice because it is a way to encourage various communities and public audiences to learn through unorthodox reinterpretations, appropriations, and juxtapositions that affect the world by changing perspectives of it. Unfolding at the intersection of contemporary art, exhibition-led inquiry, applied philosophy, and environmental justice, their collaborative curatorial work provokes transfers and semiotic shifts between objects, images, texts, media, and ideas in order to critically investigate both traditional museological display practices and contemporary environmental politics through artistic points of view. ]]></description>
<dc:subject>classification nature collection epistemology archives library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:100c38977180/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
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</item>
<item rdf:about="https://threestarbooks.com/SEAN-MICKA-OBJECT-SUBJECT-SLIDES">
    <title>SEAN MICKA — OBJECT / SUBJECT / SLIDES - Three Star Books</title>
    <dc:date>2024-08-28T13:20:51+00:00</dc:date>
    <link>https://threestarbooks.com/SEAN-MICKA-OBJECT-SUBJECT-SLIDES</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“Object/Subject/Slides” are composed of ten individual folders, housed in a clothbound box. Each folder contains three elements: a transparent “slide”, a monochrome print, and a text document. Upon the slide is a UV printed picture of an object taken from an “Object/Subject/Painting”, Micka’s series of hyper-real paintings after photos of objects featured in past auction catalogs. The “slides” are mechanical/digital reproductions of the original catalog photographs, the source images for Micka’s paintings. The selected objects reproduced are items displaying an impressive degree of skilled labor through technical craftwork. Objects of another era. Resold at auction as luxury objects they express the consolidation and accumulation of wealth in their materiality.

The “slides” in this publication allows the reproductions to be manipulated as the images seem to float over the color monochrome prints. The text documents, on page one of each of the ten folders, are copies of the original auction catalog’s lot descriptions.

“Object/Subject/Slides” repurpose the image. By allowing the object to resurface again, the “slide” becomes a shadow of the original. This move allows one to apply to the images a historical distance, a critical perspective.

From Magritte to Baldessari the question of the picture and its many layers of representation has been long persisted in the project of making the invisible visible. “Object/Subject/Slides” by Sean Micka at Three Star Books materializes what John Berger once described, different “ways of seeing”.]]></description>
<dc:subject>things classification objects cataloguing book_art artists_books semiotics slides</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8df10d27e619/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cataloguing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_art"/>
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</item>
<item rdf:about="https://daily.jstor.org/nella-larsens-lessons-in-library-school/">
    <title>Nella Larsen’s Lessons in Library School - JSTOR Daily</title>
    <dc:date>2024-08-22T03:17:49+00:00</dc:date>
    <link>https://daily.jstor.org/nella-larsens-lessons-in-library-school/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Best known for her 1929 novella Passing, Larsen was the first woman with Black heritage admitted to the New York Public Library’s training school, where she studied in 1922 and 1923. Even before she applied to library school, Larsen was working as an assistant and a children’s librarian at the 135th Street Branch of the New York Public Library, a critical cultural space for the Harlem Renaissance, and she continued to work there until 1929....

Librarians like Larsen “were considering their work at the 135th Street Library in relation to larger questions about race, women, the nation, and culture,” according to Karin Roffman. She argues that Larsen’s library career “was a catalyst in her rethinking of social issues, particularly her concerns about how systems of classification work to inhibit the creation of new categories of thinking.”...

This was the system Larsen was working within as a library assistant, and “[g]iven [her] introduction to classification systems, it is not surprising that her novels suggest that she was increasingly skeptical of any institutions that produce comprehensive systems of knowledge,” Roffman argues.]]></description>
<dc:subject>blackness libraries classification racism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0b52e3ca7dd3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:racism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sapiens.org/culture/on-the-tracks-to-translating-indigenous-knowledge/">
    <title>Translating Indigenous Knowledge – SAPIENS</title>
    <dc:date>2024-06-28T19:32:37+00:00</dc:date>
    <link>https://www.sapiens.org/culture/on-the-tracks-to-translating-indigenous-knowledge/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Next year, a team of Indigenous and non-Indigenous researchers will travel 27 hours by train from Toronto, Canada, to Lac Seul First Nation in the northwestern part of Ontario to engage with Knowledge Keepers. For two years, they have been meeting over Zoom as part of a seven-member Teaching Circle.

Imagine joining the team as they journey from Toronto’s Union Station. They will leave behind a vast urban world of more than 6 million people as they savor the last stretches of the lush Carolinian forest.

The mission of the Teaching Circle, envisioned by Lac Seul First Nation co-author George Kenny, is to articulate a worldview held by Indigenous cultural Insiders. Insiders are people like George who practice the worldview called Ahnishinahbayeshshikaywin (pronounced Ah-nish-in-ah-bay-esh-shi-kay-win), which Outsiders—such as many anthropologists—tend to define as “animism.” The term Ahnishinahbayeshshikaywin encompasses practices that establish a relationship between places and people; these reflect a belief in souls, spirits, and the existence of human souls through eternity. Since mountains, rivers, land, plants, and trees are animate, all of these have souls.

In traveling, team members will not only cross physical landscapes. They will also achieve a deeper understanding of that parallel world inherent in the knowledge Lac Seul Elders hold. This knowledge has survived and been adapted amid settler-colonial efforts to manage Indigenous communities and create a viable Canadian state out of a patchwork quilt of settler communities and Indigenous peoples... 

For me (George), the pictographs are neither “art” nor “rock art,” for such categories do not exist in Ahnishinahbayeshshikaywin. Nor are they “symbols,” as everything is interconnected—nothing is separate (individual). Though variations in practices exist among the 77 Northern Ontario First Nations, the world is seen as a single system.

I taught the Teaching Circle my father’s recipe used for pictograph creation and provided the instructions on how to make it. Despite the 1876 Indian Act, our community’s medicine people have preserved their knowledge: It is themselves....

Once in Lac Seul, the Teaching Circle, completed by the presence of the Lac Seul leadership, Elders, and younger community members, will attempt to combine two strands of thinking: the Insider Elders’ polymath and holistic perspective, expounded through “storytelling,” and the Outsider methods of field observation and the quantitative and qualitative methods of classifying flora, fauna, weather, and physical landscapes. They will help translate “animist” Insider worldviews for Outsiders.]]></description>
<dc:subject>epistemology ontology indigenous archives preservation classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f40c0b440e33/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.beautifulpublicdata.com/uspto-trademark-design-codes/?ref=beautiful-public-data-newsletter">
    <title>Trademark Design Codes</title>
    <dc:date>2024-04-09T19:57:19+00:00</dc:date>
    <link>https://www.beautifulpublicdata.com/uspto-trademark-design-codes/?ref=beautiful-public-data-newsletter</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The United States Patent and Trademark Office (USPTO) maintains several massive public databases of registered trademarks, some of which go back to 1870. “Wordmarks” (think Coca-Cola, FedEx and Google) and graphic logos (Starbucks, Apple, Target) of brands large and small are all in there, as are the trademarks of millions of smaller businesses you’ve probably never heard of. 

Trademarks are used to identify goods or services. A trademark protects a company or individual’s unique name or design that applies to a specific application. You can even trademark sounds or smells. But there are only so many names and designs you can come up with, so there is the possibility of consumer confusion. When a company or an individual wants to register a new trademark, the USPTO needs to review the application and then search this vast archive to make sure the applicant’s trademark doesn’t conflict with another trademark already in use. 

But how do you search for a swoosh, a mermaid wearing a crown or a cartoon tiger? To solve this problem, the UPSTO devised a system of 1,400 numeric “trademark design codes'' that describe each trademark. A trademark might have several of these codes representing different elements of the trademark. The numbering system is a clever hierarchical system to create a taxonomy for all the many weird things that might be in a logo. ]]></description>
<dc:subject>design law trademarks classification search</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:553a7b149709/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:law"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trademarks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:search"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://dirt.fyi/article/2024/01/yes-labels">
    <title>Digital culture and entertainment insights daily: The humble DYMO｜Dirt</title>
    <dc:date>2024-03-13T18:19:21+00:00</dc:date>
    <link>https://dirt.fyi/article/2024/01/yes-labels</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The aura of the labelmaker is not exactly glowing. It has an air of corporate efficiency and bullshit jobs, the kind of setting where something misfiled incites a low-stakes crisis. The labelmaker, the name itself a fusion of both output and executor, evinces an attempt at control. It recalls a tightly ordered shelf in elementary school lined with plastic bins—“CONSTRUCTION PAPER” next to “GLUE STICKS”—that more often than not returned from use discombobulated, the label unable to contain children’s disregard for a teacher’s carefully laid schema. And then there is its role in asserting ownership, a grabby mine backed up by a black or red strip bearing an embossed name on a calculator, or as ads from the 1960s recommend, pasted to the neck of a tennis racquet or fishing rod. ]]></description>
<dc:subject>labels names administration classification organization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1a7ca81239fe/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:names"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:administration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://viktoriabinschtok.wordpress.com/">
    <title>Viktoria Binschtok</title>
    <dc:date>2024-03-07T00:28:55+00:00</dc:date>
    <link>https://viktoriabinschtok.wordpress.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>photography art machine_vision classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:96d0d07ac74e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:machine_vision"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://aeon.co/essays/the-birth-of-our-system-for-describing-web-content">
    <title>The birth of our system for describing web content | Aeon Essays</title>
    <dc:date>2024-02-26T16:04:58+00:00</dc:date>
    <link>https://aeon.co/essays/the-birth-of-our-system-for-describing-web-content</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The workshop was quickly co-organised by Weibel and Miller, who wanted to be able to take the results to the next web conference in Germany the following spring. In order to develop a system that worked, they knew they needed input from three different groups of people: encoding and markup experts in specialised disciplines, who could help ensure that metadata was effectively associated with the online files; computer scientists; and librarians, or, as multiple people who attended the first workshop told me with deep affection, ‘the freaks, the geeks, and the ones with sensible shoes’.

Some 52 people showed up to the workshop in Dublin, Ohio. The variety of attendees, and their perspectives on how documents on the web should be organised, was striking. As Priscilla Caplan, a librarian who attended the conference, wrote at the time: ‘There were the IETF [Internet Engineering Task Force] guys, astonishingly young and looking as if they were missing a fraternity party to be there. There were TEI [Text Encoding Initiative] people … geospatial metadata people … publishers and software developers and researchers.’ All had very different goals, but ‘nearly everyone agreed that there was a tremendous need for some standard’.]]></description>
<dc:subject>libraries classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c4cdf89e5fd6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sitterwerk.ch/En/Journal/605/FindersKeepersSearch">
    <title>Stiftung Sitterwerk • Journal • Finders, Keepers: Search – A Symposium</title>
    <dc:date>2024-01-20T03:39:23+00:00</dc:date>
    <link>https://www.sitterwerk.ch/En/Journal/605/FindersKeepersSearch</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Order of Words—Or How We Search and Find

When we talk about order in libraries, we often think of neatly labeled bookshelves and how the books are positioned on them. The dynamic order of the Kunstbibliothek is no different in this respect: It depicts the physical order of the books on the shelves—but they can be removed from and returned to the shelves at random in ever-new combinations and thus also portray past searches. The personal compilations of books that have been left on the shelves invite visitors to immerse themselves in this research and to encounter not only thematically related titles, but also the surprising and the unexpected.

The act of searching when we want to find a specific title, material, or literature on a particular subject area is structured in a different way. What we find depends not only on the accuracy of the terms entered, but also on the completeness of the information and keywords that have been saved in connection with the objects. How does searching in the catalogue differ from searching on the shelves? What strategies are helpful and productive in what context? On what socially and historically produced orders and hierarchies is the catalogue based?

The Sitterwerk Foundation examined these questions in two series of events in the spring of 2021: the online series of discussions “Finders Keepers: Search”—a continuation and refining of the discussion series “Finders Keepers” from the winter of 2020—and the workshop series “Language of Art Production.”

As a result of the proximity to the neighboring Kunstgiesserei, the foundation is interested in finding a shared language that crosslinks the production processes with its books and materials and depicts and makes the on-site knowledge accessible. The question of a site-specific vocabulary occupied us in particular in the workshop series. ]]></description>
<dc:subject>libraries order search organization classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:231d84445728/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:order"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:search"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sitterwerk.ch/en/Event/611/Reading_the_Library">
    <title>Stiftung Sitterwerk • Reading the Library: 29.08.–07.11.2021</title>
    <dc:date>2024-01-20T03:38:53+00:00</dc:date>
    <link>https://www.sitterwerk.ch/en/Event/611/Reading_the_Library</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[An exhibition on feminist and de-colonial approaches to systems of ordering knowledge

Whether a collection of print media or a digital archive, a library is a key place for accessing, activating, and disseminating knowledge. Typically, a library is a highly classified space that formalises and organises knowledge into categories – both intellectually and spatially. The exhibition “Reading the Library” interrogates the prevailing methods and practices of describing, naming, and classifying knowledges and focuses in particular on the library catalogue. The library catalogue reflects these categories and attempts to represent existing contents in the form of records to enable the books to be searched and found. A library is thus a place of strict organisation, standardisation, and discipline. The classification systems widespread in the global North typically pursue the liberal approach structured on the basis of equality or sameness. The problem of equality, however, is its homogenising presumption that the same model will be universally applicable. Moreover, the implicit function of naming denotes delimiting one thing from the other. Such delimitations are, however, inherently based on particular cultural perspectives—and inevitably result in distortions, exclusions, and marginalisations.]]></description>
<dc:subject>little_libraries classification epistemology order</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:92a66b42e588/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:little_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:order"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/architecture/accumulation/533744/the-nuclear-geopolitics-of-anthropogenic-clouds/">
    <title>Accumulation - Yuriko Furuhata - The Nuclear Geopolitics of Anthropogenic Clouds</title>
    <dc:date>2023-12-06T13:52:29+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/accumulation/533744/the-nuclear-geopolitics-of-anthropogenic-clouds/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The classificatory practice of sorting ephemeral clouds has long been a fraught project, as their shape-shifting tendency troubles the taxonomic logic of fixing types. Separating genera of clouds from species of clouds, and species from varieties based on their morphological or evolutionary traits is not an easy task. The same cloud can easily jump from one classificatory category to another in a matter of seconds, and unlike animals and plants, individual cloud “specimens” are difficult to pin down and fixate in definitive terms. While the atlas retains the hierarchical order of Linnean taxonomy and its reliance on binominal nomenclature in Latin, the entry of anthropogenic clouds into the natural-historical domain of the cloud atlas unsettles its epistemic ground. Photographic images of mushroom clouds point to these tensions inherent in the natural historical practice of classifying cloud types....

The accumulation of anthropogenic clouds in the sky invites us to think critically about the classificatory orders of nature in relation to the concrete geopolitical history of anthropogenic weather and climate. Take, for instance, a pair of cloud atlases published at the height of the Cold War in the 1950s: International Cloud Atlas (1956) by the World Meteorological Organization, and Cloud Atlas (Kumo no shashin to zukai, 1954) by Japanese meteorologist Ishimaru Yūkichi. While the Japanese atlas references mushroom clouds resulting from nuclear explosions, the English one explicitly omits it. One might also expect to see photographic examples of mushroom clouds originating from the bombings of Hiroshima and Nagasaki in Ishimaru’s Cloud Atlas. But instead, the book includes the black and white photograph of the mushroom cloud towering above Bikini Atoll during American nuclear weapons testing from Operation Crossroads on July 25, 1946, classified under the miscellaneous category of “special clouds.”...

The entry of mushroom cloud photographs into cloud atlases in the 1950s offers an opportunity to rethink the categorical uncertainty of the Anthropocene in relation to the reconfiguration of imperialism in the Pacific—from Japanese to American—in the twentieth century. This shift in the geopolitical landscape of the Pacific took place alongside the emergence of anthropogenic radiation that reshaped the planetary biosphere and devastated many lives of the Indigenous people in the Republic of the Marshall Islands. Anthropogenic clouds, in this sense, are deeply geopolitical.]]></description>
<dc:subject>clouds classification anthropocene nuclear</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b7f0d5b58740/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:clouds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:anthropocene"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nuclear"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theguardian.com/books/2023/nov/27/the-big-idea-should-we-abolish-literary-genres">
    <title>The big idea: should we abolish literary genres? | Publishing | The Guardian</title>
    <dc:date>2023-11-28T15:18:46+00:00</dc:date>
    <link>https://www.theguardian.com/books/2023/nov/27/the-big-idea-should-we-abolish-literary-genres</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Genre is a confining madness; it says nothing about how writers write or readers read, and everything about how publishers, retailers and commentators would like them to. This is not to criticise the many talented personnel in those areas, who valiantly swim against the labels their industry has alighted on to shift units as quickly and smoothly as possible.

Consider the worst offender: not crime, horror, thriller, science fiction, espionage or romance, but “literary fiction”. It can and does contain many of the elements of the others, but is ultimately meaningless except as a confused shorthand: for what is thought clever or ambitious or beyond the comprehension of readers more suited to “mass market” or “commercial” fiction. What would happen if we dispensed with this non-category category altogether? Very little, except that we might meet a book on its own terms.]]></description>
<dc:subject>genre media classification publishing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8cedbd74dbd2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:genre"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:publishing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.fruitmarket.co.uk/archive/martin-creed-down-over-up/">
    <title>Martin Creed: Down Over Up - Fruitmarket</title>
    <dc:date>2023-11-23T05:18:09+00:00</dc:date>
    <link>https://www.fruitmarket.co.uk/archive/martin-creed-down-over-up/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This exhibition showed new and recent work by Martin Creed, one of Britain’s most highly-regarded and popular artists. Creed’s work captures the public imagination, while also attracting critical acclaim for its generous, accessible approach. He puts ideas out in the world in a variety of materials, not all of them art materials yet not all of them everyday stuff either (while he makes work with readily available, simple things such as planks of wood, stacked chairs or pieces of crumpled paper; he also uses paint, a traditional artist’s material, and professionally trained runners and ballet dancers, neither of which are particularly easy to get hold of). In 2001 he won the Turner Prize with Work No. 227: The lights going on and off, and in 2008 responded to the prestigious Duveen Commission at Tate Britain with the phenomenally popular Work No. 850, in which runners sprinted through the gallery at 30-second intervals.

Consisting of recent and newly-commissioned work, this exhibition focused on stacking and progression in size, height and tone – stacks of planks, chairs, tables, boxes, pieces of lego; series of paintings; and works making use of the musical scale. Creed talks about these works in terms of a picture of growth; showing process, progress and things in movement. A highlight of the exhibition was a new commission in which Creed turned the Gallery’s staircase into a synthesizer, with each step sounding a different note on the scale as the audience walked up or down.]]></description>
<dc:subject>scale size art conceptual_art organization classification standards furniture intellectual_furnishings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b4153d8b3118/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:scale"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:size"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:conceptual_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:standards"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://artreview.com/file-under-non-music-artists-records/">
    <title>File Under Non-Music - ArtReview</title>
    <dc:date>2023-11-18T04:26:18+00:00</dc:date>
    <link>https://artreview.com/file-under-non-music-artists-records/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[the type of records I am most interested in searching for, the ones that get me eagerly reaching for my PayPal login, are the ones flagged as Non-Music. It is here that you will find records of whale calls, religious sermons, pornographic monologues, stereo test records and such gems as Mr. Len Spencer’s Auction Sale Of Household Goods, a two-minute-long vaudeville skit first released on shellac disc in 1899.

I own an album of stereoscopic recordings of various regular and erratic heartbeats, for the training of cardiologists; I have an album of ‘combined uterus sounds’ meant to soothe newborns; and I have a record in which former BBC newsreader Robert Dougall, in a crisp received pronunciation, instructs the listener how to properly set up their home stereo equipment, complete with test frequencies and white noise samples to help the hi-fi enthusiast adjust for wow and flutter, loudspeaker phasing, and so on. These records imply a different set of intentions and listening practices than we ordinarily associate with music. They offer a strangely prosaic glimpse of music’s outsides and its edges, as well as a series of different ways of thinking about what sound and listening might be and might be for....

In 1973, Celant organised the exhibition The Record as Artwork at London’s Royal College of Art, which was then expanded as a touring exhibition in the United States in 1977. Block opened Gelbe Musik in Berlin in 1981, a shop dedicated to records by artists; she went on to curate Extended Play with Christian Marclay at Emily Harvey Gallery, New York, in 1988, and Broken Music later the same year at daadgalerie, Berlin. ]]></description>
<dc:subject>sound_art music genre classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:96016d4e7775/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sound_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:genre"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/architecture/impostor-cities/555017/daily-life-noise/">
    <title>Impostor Cities - Simone Niquille - Daily Life Noise</title>
    <dc:date>2023-11-14T20:09:14+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/impostor-cities/555017/daily-life-noise/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The indoor scene dataset InteriorNet is described as superior to other datasets because it features “daily life noise.” That “noise” was achieved by collaborating with Kujiale, an online interior design software with a large 3D asset database of furniture and home accessories. By using Kujiale’s “product catalogue,” the assumption is made that “product equals home.” While it is true that domestic spaces fulfill similar needs across the globe, the expression of these functions might not be as uniform. A kitchen does not look the same everywhere, nor does a bed. That is true for cultural rituals, family structures, and personal preferences. Geographical differences have pushed global furniture manufacturer IKEA to shift to a product catalogue that almost entirely features digitally rendered images, rather than product photography, to respond to local market preferences without labor intensive physical redesigns....

To avoid uncertain sources and intentions, rigorous documentation is crucial for ethical machine learning research and development. Towards these ends, Margaret Mitchell et al. proposed “Model Cards” in 2018, while Timnit Gebru et al. developed “Datasheets for Datasets,” which recommended that “every dataset be accompanied with a datasheet documenting its creation, composition, intended uses, maintenance, and other properties.” While such documentation is essential for ethical and legal concerns, it cannot record assumptions that are so embedded in knowledge that they become common sense. That is not a shortcoming of a documentation framework, but rather an impossible task, as common sense is so engrained that it is taken for granted....

Hypersim is a dataset released by Apple in 2021 that handles the ambiguity of an object’s function, shape, and use by creating a label category called “otherprop”: a container for all things that don’t fit neatly into other classes. But what in the language of computer vision research is simply called “noise” or “other” is in reality life itself. The miscellaneous memorabilia with emotional value that can’t be rationalized defeats the logic of categorization.
]]></description>
<dc:subject>architecture image_sets daatsets artificial_intelligence noise classification unclassifiable</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:38169e9eb23d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:image_sets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:daatsets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:noise"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:unclassifiable"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/journal/140/572300/critical-auto-theory/">
    <title>Critical (Auto) Theory - Journal #140</title>
    <dc:date>2023-11-07T22:32:12+00:00</dc:date>
    <link>https://www.e-flux.com/journal/140/572300/critical-auto-theory/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Markets work through categories; the book market works through BISAC categories—Book Industry Standards and Communications. For Love and Money, Sex and Death, those categories and sub-categories are “Biography and Autobiography / LGBTQ+ / Personal Memoirs” and “Social Science / LGBTQ+ Studies—Transgender Studies.” In a physical bookstore, that gives a bookseller a few difference places to put it.

BISAC categories help booksellers manage the relation between the product and the potential buyer’s expectations and desires. When you enter a bookstore, you enter a space divided between zones of expectation. If a bookseller shelves my book as “Biography and Autobiography,” the book can be found among those in which the reader might expect that the writer writes of things in her life that actually happened to her. But here’s a question: can “LGBTQ+” lives, specifically this transsexual life, fit within the category of “Biography and Autobiography,” or does that category constraint life-writing to a cis template?

I’ve always had a yen for books that lie askew. That play with genre as form, that tweak a reader’s expectations. Books that, when you open them, open also towards uncategorized desires. Similarly with scholarly books: I like the ones that don’t squat neatly in a field, that evade the keywords assigned to them, that refuse the private property system of owners and their claims to stake out the knowable. In the case of Love and Money, Sex and Death, I wanted it to put some tension through a set of categories like “Social Science / LGBTQ+ Studies—Transgender Studies.”]]></description>
<dc:subject>books classification marketing queering publishing autotheory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:af5236c98226/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:marketing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:queering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:autotheory"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/interactive/2023/10/16/us/census-race-ethnicity.html">
    <title>How Race Categories on U.S. Census Forms Have Evolved - The New York Times</title>
    <dc:date>2023-11-07T01:53:40+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2023/10/16/us/census-race-ethnicity.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Since 1790, the decennial census has played a crucial role in creating and reshaping the ever-changing views of racial and ethnic identity in the United States.

Over the centuries, the census has evolved from one that specified broad categories — primarily “free white” people and “slaves” — to one that attempts to encapsulate the country’s increasingly complex demographics. The latest adaptation proposed by the Biden administration in January seeks to allow even more race and ethnicity options for people to describe themselves than the 2020 census did.

If approved, the proposed overhaul would most likely be adopted across all surveys in the country about health, education and the economy. Here’s what the next census could look like.]]></description>
<dc:subject>classification census race administration governance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b419ab9645a5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:census"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:race"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:administration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:governance"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tandfonline.com/doi/full/10.1080/1369118X.2022.2072753">
    <title>Full article: Mediating Queer and Trans Pasts: The Homosaurus as Queer Information Activism</title>
    <dc:date>2023-07-31T13:48:59+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/1369118X.2022.2072753</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Libraries and archives have long been rich sites of exploration for LGBTQ+ people in search of self-understanding, identification, shared experience, and community. Yet the information infrastructures that guide every quest for queer and trans information remain silently powerful mediators of our research processes. Through an extended discussion of the Homosaurus, an international LGBTQ linked data vocabulary that the authors helped to develop, this article explores how queer information activism can confront the impoverished tools available for describing queer and trans resources. By focusing on both “corrective” and “analytic” strategies, the authors argue that the Homosaurus must work to expand the queer and trans terminology available for subject description while still challenging the structure and process of classificatory systems as always in tension with our queer aspirations.]]></description>
<dc:subject>lgbtqia queer classification libraries</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:af4615722463/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:queer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.index-space.org/products/an-index-is-a-diary-sorting-through-your-personal-lists">
    <title>Index • An Index is a Diary: Sorting Through your Personal Lists</title>
    <dc:date>2023-07-20T22:04:13+00:00</dc:date>
    <link>https://www.index-space.org/products/an-index-is-a-diary-sorting-through-your-personal-lists</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Reflect on your personal collections and establish a creative archiving practice in this two day workshop.

Designers, artists, and researchers alike are invited to bring their to-do lists, diary entries, scraps, fragments and in-process work to analyze, discover common threads, and find focus

Spread the artifacts of your creative practice out in front of you, and out in front of the community. Can we use this space to reflect, discuss, reformat, curate, and question the things we make, supported by and in conversation with one another? What themes may emerge that were previously buried? What possibilities can we reveal by seeing our own works from different vantage points?

Part group critique, part writing workshop, part reflective residency, this workshop invites you to develop a creative archiving practice for your artist practice, diary entries, collection of writings, and more. Outputs will vary, but may look like:]]></description>
<dc:subject>index diaries biographies organization classification textual_form lists</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b5d29c87d901/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:index"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diaries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:biographies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textual_form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:lists"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.horg.com/horg/">
    <title>Holotypic Occlupanid Research Group</title>
    <dc:date>2023-07-10T13:35:06+00:00</dc:date>
    <link>https://www.horg.com/horg/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This site contains several years of research in the classification of occlupanids. These small objects are everywhere, dotting supermarket aisles and sidewalks with an impressive array of form and color. The Holotypic Occlupanid Research Group has taken on the mantle of classifying this most common, yet most puzzling, member of phylum Plasticae....

Occlupanids are generally found as parasitoids on bagged pastries in supermarkets, hardware stores, and other large commercial establishments. Their fascinating and complex life cycle is unfortunately severely under-researched. What is known is that they take nourishment from the plastic sacs that surround the bagged product, not the product itself, as was previously thought. Notable exceptions to this habit are those living off rubber bands and on analog watch hands.]]></description>
<dc:subject>classification error organization archives plastic collections bread food</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:be768d3d3867/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:error"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plastic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collections"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.platformspace.net/home/unarchiving-toward-a-practice-of-negotiating-the-imperial-archive">
    <title>PLATFORM: Unarchiving: Toward a Practice of Negotiating the Imperial Archive</title>
    <dc:date>2023-06-12T14:10:57+00:00</dc:date>
    <link>https://www.platformspace.net/home/unarchiving-toward-a-practice-of-negotiating-the-imperial-archive</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In 1970, a young Ghanaian filmmaker, Nii Kwate Owoo, produced a short documentary on the collection of African artifacts in the British Museum in London. ... Owoo’s film helps us think through the challenges we face when working with and amid imperial archives and collections. The constant awareness that even in reading against the grain, you are valorizing a form of knowledge-making born out of conquest—of brutal expropriation of knowledge-systems, resources, artifacts, bodies, voices—strains the critical voice. Sitting in the tidy halls of an imperial institution, handling artifacts with reverential ardor, to recognize that you can only access the artifacts by submitting to the institutional logic that continues to govern empire, insinuates a discomfort. That continuity, sensing a spatial-temporal resonance with the voices in the archives, is not a solace, nor is it a rude awakening; it is just a nagging recognition of the archival capacity to shape history in the present....

The most remarkable aspect of Owoo’s film is the slow, deliberate way it depicts a young woman and a young man work through boxes and crates in the museum’s basement where rows and rows of storage stacks house the objects: the plunder of a “conquering army.” As a voiceover narrates how the objects got there, we see them open the boxes and remove the plastic covers to look at the objects, holding the baskets, vases, masks, statuettes, jewelry against the light. The stacks, containers, protective covers, and artificial light that comprise this space of hidden dislocated artifacts appear spectral (Figures 2 and 3). In one of the shot sequences, the young man unlocks a series of glass display cases, as if to free the objects from imprisonment. We sense a fleeting possibility of escape...

While Owoo’s film responds to these objects being taken out of their ritual and everyday circulation in African societies, Owoo is also clear that such collections serve a set of very specific economic, political, and cultural uses as hoarded capital.... Critically, the space of collection not only hides most of the objects from view but obscures African knowledge and culture, precisely because such knowledge is a direct challenge to Western intervention and expansion...

Savoy shows that the many attempts by Third World, specifically African, countries to force the issue of repatriation ended in political “defeat.” One could also argue that Third World countries were unsuccessful because they were playing by the same rules as the Western powers: they were abiding by the rules of Western museology that construed a historical narrative through civilizational staging. Here, the assertion of Western authorities that museum conditions in the Third World are “appalling” is particularly important....

Ultimately, Owoo’s film suggests a method of “unarchiving.” The possibility of comprehending the collection otherwise is lodged neither in the artifact collected nor in the building that houses a collection. It resides in-between the artifact and the building: it is produced by the space of the containers in which the artifacts are stored. The space expands and contracts as objects are taken in and out of the containers and the containers are moved, opened, and put back. In You Hide Me’s foregrounding of the apparatus of boxes, containers, and shelves to demonstrate the implications of colonial collecting, we recognize the context-specificity of the role of containers as framing meaning. Containment makes the collection: the apparatus that contains scattered objects frames the meaning of collections. By mediating the relation between object and space they present the forces and constraints that inform collecting.]]></description>
<dc:subject>archives museums colonialism rematriation storage classification containers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8597be8c62cb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:museums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:colonialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rematriation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:storage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://urielorlow.net/">
    <title>Uriel Orlow – Artist</title>
    <dc:date>2023-05-31T05:10:28+00:00</dc:date>
    <link>https://urielorlow.net/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Uriel Orlow’s practice is research-driven, process-oriented and often in dialogue with other disciplines and people. Projects engage with residues of colonialism, spatial manifestations of memory, social and ecological justice, blind spots of representation and plants as political actors. His multi-media installations focus on specific locations, micro-histories and forms of haunting. Working across installation, photography, film, drawing,  sound and gardens his works bring different image-regimes and narrative modes into correspondence.]]></description>
<dc:subject>plants epistemology classification gardens art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4f73439be9ae/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:gardens"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.artforum.com/print/reviews/202305/uriel-orlow-90467">
    <title>Ayushma Regmi on Uriel Orlow - Artforum International</title>
    <dc:date>2023-05-31T05:08:32+00:00</dc:date>
    <link>https://www.artforum.com/print/reviews/202305/uriel-orlow-90467</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[At first glance, Uriel Orlow’s show “What Plants Were Called Before They Had a Name (Guatemala)” appeared serene and innocuous. Swaths of canvas hung from the ceiling, with illustrations of plants thrown onto them by old-school overhead projectors whose emanating light bathed the entire venue in a warm glow. Each projection showed a single page from a publication on medicinal plants issued in the 1970s by the Instituto Indigenista de Guatemala, with a sketch of the plant and a list of ailments it could treat, as well as its name in Spanish. Every entry is disrupted by scruffy handwritten notes: multiple names in different languages, peppered with divergent spellings and inflections, as inscribed by Mayan spiritual guides whom Orlow asked to annotate the book after noting the absence of Indigenous voices therein. These practitioners, who might be deemed quacks by Western science, thereby become the unorthodox authors of an alternative account....

Reconstructing a battle between conflicting epistemologies, this exhibition extended Orlow’s long-term research into plants, a wider project called “Theatrum Botanicum,” as entities that exert influence over cultures, geographies, and modes of understanding. His work draws attention to the social, ecological, and epistemic injustices wrought by colonialism, while contextualizing scientific knowledge production within the Indigenous experience of loss and erasure. While claiming to rely on empiricism and objectivity, Western science upholds the values and biases of the society from which it stems, thereby propagating an ahistorical worldview preoccupied with standardizing ways of knowing through rigid classifications and hierarchies. This bias results in the prioritizing of investigations that support Western technologies and economies that threaten marginalized communities and the planet. By juxtaposing records of Indigenous learning with an official Spanish account, Orlow contests methodologies that claim to eliminate discrepancies and arrive at a universal infallible truth about the nature of things. The scrawls on the projected pages reminded us that there are many ways of naming, and reinstated these multiplicities as necessary elements rather than impediments to scholarship.]]></description>
<dc:subject>plants classification slides overhead_projectors media_archaeology annotation colonialism indigenous epistemology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ba8410181250/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:slides"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:overhead_projectors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_archaeology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:annotation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:colonialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.artforum.com/print/reviews/202305/irina-lotarevich-90459">
    <title>Hana Ostan Ožbolt on Irina Lotarevich - Artforum International</title>
    <dc:date>2023-05-31T04:56:39+00:00</dc:date>
    <link>https://www.artforum.com/print/reviews/202305/irina-lotarevich-90459</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[With the exhibition “Modular Woman,” Russian-born artist Irina Lotarevich continued her long-standing sculptural confrontation with the processes of standardization and optimization, and with the power mechanisms that maintain social systems. Using casting and other techniques with metals such as stainless steel, aluminum, silver, and tin, she develops a physical relationship with her materials. Pieces that range from large, almost human-size objects to petite, jewelry-like charms reference architecture and comment on labor.

Many of her new works repeat the primary form of a box or a container as a unit, a module, a measure—for example, Modular Body (container ship cross-section), Unit, and Double Relation (all works 2023). Invoking Le Corbusier’s iconic modernist Unité d’Habitation (1947–52)—a housing complex developed according to the architect’s anthropometric scale of proportions, the Modulor, based on the conventional six-foot stature of male detectives in English mystery novels—Lotarevich questions not only the masculine ideal of his buildings, but the existence of universal standards in general... 

In their strict order and logic, some of Lotarevich’s sculptures resemble the structures of hard drives and servers, like analog depictions of technological information systems. Turning away from human exceptionalism and Le Corbusier’s obsession with anthropometric (masculine) scale and standardization, we discover a world teeming with connections between living and nonliving structures, in which the “living” is often solely the remains of human labor, a by-product of standardized life.]]></description>
<dc:subject>classification organization standards standardization containers storage housing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6586905820cf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:standards"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:standardization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:storage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:housing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://vimeo.com/399995696">
    <title>There are things in this world that are yet to be named on Vimeo</title>
    <dc:date>2023-05-27T00:53:31+00:00</dc:date>
    <link>https://vimeo.com/399995696</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[There are things in this world that have yet to be named takes as its starting point Solanum plastisexum - an Australian bush tomato whose sexual expression appears to be unpredictable and unstable, challenging even the fluid norms of the plant kingdom. Because it doesn’t fit within a constant sexual binary, it evaded classification by botanists for decades. The video - filmed as over 50 million acres of land burned in wildfires across Australia - combines footage of the team of botanists who recently named Solanum plastisexum in their lab in Pennsylvania, with shots of Australian plants cultivated in the United States at The Huntington in Los Angeles. The voice-over is an amalgamation of texts including interviews with botanist Tanisha Williams and love letters between Rachel Carson and Dorothy Freeman. Carson was forty-six and Freeman fifty-five when the two met in 1953 on an island in Maine. Though Freeman was married, they sustained a passionate, romantic correspondence throughout Carson’s writing of seminal environmental texts. ]]></description>
<dc:subject>plants classification reproduction archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0440db231a23/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:reproduction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://durhamhistoryofthebook.wordpress.com/">
    <title>Durham History of the Book Conference – A forum for scholars working on premodern book cultures from across the globe</title>
    <dc:date>2023-04-30T17:17:22+00:00</dc:date>
    <link>https://durhamhistoryofthebook.wordpress.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>epistemology material_texts organization classification volvelles diagrams textual_form book_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9c4fcd68b771/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:volvelles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_history"/>
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</item>
<item rdf:about="https://chicago.academia.edu/NoelBlancoMourelle">
    <title>(99+) Noel Blanco Mourelle | University of Chicago - Academia.edu</title>
    <dc:date>2023-04-30T17:12:42+00:00</dc:date>
    <link>https://chicago.academia.edu/NoelBlancoMourelle</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>trees Ramon_Llull teaching_technology volvelles pedagogy classification epistemology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1b06b268d9e0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:Ramon_Llull"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:teaching_technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:volvelles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
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</item>
<item rdf:about="https://rll.uchicago.edu/noel-blanco-mourelle">
    <title>Noel Blanco Mourelle | Romance Languages &amp; Literatures</title>
    <dc:date>2023-04-30T17:11:55+00:00</dc:date>
    <link>https://rll.uchicago.edu/noel-blanco-mourelle</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[My book-project, titled Learning Machines, focuses on the intellectual legacy of the Majorcan theologian and preacher Ramon Llull and the transformation of his Art through medieval and early modern book technology. In the thirteenth-century, Llull composed something he called the "Art" as both a philosophical system and a “machine” for religious conversion. The learning machines referred to in the title of my book-project are the paper-devices and combinatory diagrams that define the textual tradition of the Art of medieval philosopher and preacher, Ramon Llull. The Art is a logic machine, operated by said paper-devices, that was designed to generate a system of notation capable of demonstrating the incontrovertibility of the Christian faith to Jewish and Muslim wise-men throughout the Mediterranean. Theorizing from the specificity of this archive, my book is a material intellectual history, grounded in the notion that textual technologies and man-made artifacts structure ideas, theories and methods. Ramon Llull and his disciples sought to disseminate this Art of conversion by perfecting the technology of the book, incorporating a series of geometrical figures and moveable circles to teach preachers and academics a new intellectual language. Between the fourteenth and the seventeenth centuries scholars and humanists gathered and experimented with the corpus of Llull’s works in university libraries and royal courts. The study of this corpus directly influenced models for imperial political expansion and Christian universalism.]]></description>
<dc:subject>Ramon_Llull textual_form trees volvelles teaching_technology pedagogy classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2369f0976f9a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:volvelles"/>
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</item>
<item rdf:about="https://www.emerald.com/insight/content/doi/10.1108/JD-10-2021-0205/full/html?casa_token=DAM_ebG4_SIAAAAA:0Mrbqi4mMkKvHlVLMKFqrQxKLxkLyY2YnSRGi2e6poemhuUWHYcOgOw927yErospkON7OiZ8LTnPmG_BpaeaZ5RFLdejoUfSWwxOCJLjLckGTuHgEn4">
    <title>A holistic decolonial lens for library and information studies | Emerald Insight</title>
    <dc:date>2023-04-29T16:21:33+00:00</dc:date>
    <link>https://www.emerald.com/insight/content/doi/10.1108/JD-10-2021-0205/full/html?casa_token=DAM_ebG4_SIAAAAA:0Mrbqi4mMkKvHlVLMKFqrQxKLxkLyY2YnSRGi2e6poemhuUWHYcOgOw927yErospkON7OiZ8LTnPmG_BpaeaZ5RFLdejoUfSWwxOCJLjLckGTuHgEn4</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The purpose of this paper is to introduce a holistic framework to contribute to decolonial efforts in LIS. Some efforts to address decolonisation in LIS have begun (see Patin et al., 2021). Given the complex and fragmentary nature of LIS, it was decided to focus on two particular sub-fields in LIS: librarianship and information for development. Librarianship is a critical component of LIS and a traditional bedrock for it, and both practitioners and scholars of librarianship have increasingly attempted to decolonize their practices (Birdi, 2020, 2021). Information for Development, with its emphasis promoting access to information to the most underserved communities, is a field one would expect to already be strongly engaged with decolonial thinking. It has been begun to recognise how concepts like development are increasingly seen as part of the colonial agenda, because they imply that all countries can/should “progress” toward the model offered by the global North (Jiménez and Zheng, 2018, 2021; Vannini et al., 2017a, b).]]></description>
<dc:subject>libraries archives decolonization ontology epistemology classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
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<item rdf:about="https://lithub.com/an-unstandardized-decentralized-carnival-fire-how-rare-books-are-cataloged/">
    <title>An Unstandardized, Decentralized Carnival Fire: How Rare Books Are Cataloged ‹ Literary Hub</title>
    <dc:date>2023-04-16T21:51:58+00:00</dc:date>
    <link>https://lithub.com/an-unstandardized-decentralized-carnival-fire-how-rare-books-are-cataloged/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Collectors being as fastidious as they are, booksellers were faced with a unique ​­challenge—to describe as accurately as possible a specimen of a particular book, communicating all the flaws and merits of that very specific copy, while using as little ink and space as possible. Thus the art of cataloguing, which invokes an entire dialect of terms, abbreviations and insinuations to paint a picture of a book without leaning too heavily on images. On any given day, it’s very likely this is what the booksellers are doing, lurking with their heads in a pile of books, brows furrowed as they try to work out if their copy is supposed to have nineteen pictures....

Most rare books come with some minor defects, but that doesn’t mean one has to be rude about it. It’s much more charming to describe a book as “foxed” than to tell someone that the pages have developed an unsightly mottling, and that if this were a zombie movie we’d already have taken it out back and put it out of its misery.

It’s convention to call a sheepskin binding “roan,” and parchment made from calfskin is oft baptized “vellum.” If we call a book “sophisticated,” we’re saying that we know the book was tampered with, faked or “someone tried very hard to make this look like a first edition,” but that we also feel this perhaps adds to its historical value rather than subtracts. It’s a feature, we argue, not a bug. Using the correct terminology is part of a performance, an elaborate ritual, a secret handshake performed on the part of the bookseller to entice discerning clients.]]></description>
<dc:subject>books rare_books cataloguing classification material_texts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6cbda7eefade/</dc:identifier>
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<item rdf:about="https://www.artnews.com/art-in-america/features/militant-cinema-art-film-censorship-1234661684/">
    <title>Some Filmmakers Label Their Documentaries “Art” to Evade Censorship – ARTnews.com</title>
    <dc:date>2023-03-23T18:20:21+00:00</dc:date>
    <link>https://www.artnews.com/art-in-america/features/militant-cinema-art-film-censorship-1234661684/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In Hong Kong, the public exhibition of films requires approval from the Office of Film, Newspaper and Article Administration (OFNAA), whose criteria are set in accordance with National Security Law. Works deemed critical of the government or depicting criminal offenses (which typically include1 protest documentation) receive warnings, are sometimes confiscated, and can result in imprisonment for their creators. In response, some films move underground, to be screened clandestinely in living rooms and unlisted venues. Others are uploaded to open-access Google Drive folders and shared-log-in Plex accounts—where they are shown freely online but only for those who know how to search for them—or smuggled out of the country for international exhibitions and festivals....

 POLITICAL FILMMAKERS OFTEN USE the subversive tactic of circulating otherwise prohibited materials through film festivals and art venues. Take Jafar Panahi, whose This Is Not a Film (2011) is a video diary the activist filmmaker made while under house arrest on charges of opposing the Iranian government. As the famous story goes, the work was smuggled out of Iran on a flash drive hidden inside a cake, so that it could premiere at the 2011 Cannes Film Festival. Stories of the sort suggest reason to hope that art and film institutions aren’t subject solely to the machinations of capital, but can also occasionally serve as safehouses that facilitate radical thought and expression.

“When a national security law makes certain forms of filmmaking illegal,” Sia told me, “filmmaking, particularly, documentary filmmaking, becomes fugitive. And when filmmaking becomes fugitive, then it becomes militant.” Sia’s comment evokes, if indirectly, the lineage of militant cinema, which usefully orients works by groups like HKDF....

Militant cinema is a movement that transposes concepts, arguments, and motifs across historical
eras and national boundaries but derives from 1920s-era Soviet cinema, characterized by Marxist-Leninist archetypes of the proletariat and their working conditions, and montage editing techniques in the tradition of Sergei Eisenstein. Militant cinema would later expand to encompass the “political modernism” of the French New Wave and Third World cinema movements that support anti-colonial liberation struggles....

The camera was also framed as a weapon by Third Cinema, a movement conceived by Argentine filmmakers Octavio Getino and Fernando Solanas to give shape to the surge of anti-colonial militant films in the ’60s and ’70s. The duo expanded the idea of militant cinema in their 1973 essay “The Cinema as Political Fact,” where they asked: is militant cinema only that produced by socialist parties, or is it “all cinema in a country in which people have taken power and are constructing their definitions of liberation?”...

IT IS PRECISELY THIS TENSION, between cultural venues as both a safe haven for material prohibited elsewhere and places fraught with their own problems, that the New York–based collective Cine Móvil addresses in their programming practice. Made up of students, art administrators, filmmakers, and programmers, Cine Móvil’s operation is not one of production but of exhibition. They organize screenings of leftist and revolutionary films in public parks, bars, abandoned lots, and other unexpected places.]]></description>
<dc:subject>film exhibition censorship artistic_research classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:63418356ee85/</dc:identifier>
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