“Every library is a library of preferences, and every chosen category implies an exclusion.”
Ordainers of The Universe, p. 198.
A History of Reading (1996)
Source: Words of a Sage : Selected thoughts of African Spir (1937), p. 52.
“Every library is a library of preferences, and every chosen category implies an exclusion.”
Ordainers of The Universe, p. 198.
A History of Reading (1996)
Source: The Semantic Conception of Truth (1952), p. 45; as cited in: Schaff (1962) pp. 36-37.
OSCON 2002
Context: Here's a simple copyright lesson: Law regulates copies. What's that mean? Well, before the Internet, think of this as a world of all possible uses of a copyrighted work. Most of them are unregulated. Talking about fair use, this is not fair use; this is unregulated use. To read is not a fair use; it's an unregulated use. To give it to someone is not a fair use; it's unregulated. To sell it, to sleep on top of it, to do any of these things with this text is unregulated. Now, in the center of this unregulated use, there is a small bit of stuff regulated by the copyright law; for example, publishing the book — that's regulated. And then within this small range of things regulated by copyright law, there's this tiny band before the Internet of stuff we call fair use: Uses that otherwise would be regulated but that the law says you can engage in without the permission of anybody else. For example, quoting a text in another text — that's a copy, but it's a still fair use. That means the world was divided into three camps, not two: Unregulated uses, regulated uses that were fair use, and the quintessential copyright world. Three categories.
Enter the Internet. Every act is a copy, which means all of these unregulated uses disappear. Presumptively, everything you do on your machine on the network is a regulated use. And now it forces us into this tiny little category of arguing about, "What about the fair uses? What about the fair uses?" I will say the word: To hell with the fair uses. What about the unregulated uses we had of culture before this massive expansion of control?
As quoted in "American Modernists in Painting take the Public into their Confidence" in Current Opinion Vol LX, No. 5 (May 1916), p. 351
Context: Throughout time painting has alternately been put to the service of the Church, the State, arms, individual patronage, scientific phenomena, anecdote and decoration … all the marvelous works that have been painted, whatever the sources of inspiration, still live for us because of absolute qualities they possess in common. The creative force and the expressiveness of painting reside materially in the colour and texture of pigments, in the possibilities of form invention and organisation, and in the flat plane on which these elements are brought into play.
Education helps reduce social problems and improves quality of life
Source: The Political Doctrine of Fascism (1925), p. 112
Source: Humanity Comes of Age, A study of Individual and World Fulfillment (1950), Introduction p. I - XII