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Who Needs a Library Anyway?
When then-President Gerhard Casper rhetorically asked this question, 12 October 1999 – as the title of his remarks at the dedication of the Bing Wing – there was much talk in the air about the imminent demise of libraries. Were these not a bunch of dinosaurs about to be smacked by the meteoric impact of the Web? Was the book not rapidly becoming an anachronism, a fetish object of a dying pulp-based culture? Many of us, with President Casper, disagreed with these glib notions then. But that was several generations ago, on the timescale of the information world around us. How have we fared since on the extinction short list?
Last month, forecaster and chair of our Advisory Council Paul Saffo delighted a select group of our donors with a talk about books, revolutions, and timescales. In a dense web of connected thoughts, he tied the great information revolution of the late 15th century to that of the late 20th, likening the titanic publisher-scholar Aldus Manutius to Steve Jobs, linking the once-revolutionary idea that a printed book is what it is (not a cheap knock-off of a proper manuscript) to the emerging identity of digital works as being something other than bad substitutes for physical books. He reminded us of an intrinsic life-cycle law of objects: things fade, or even disappear, after about a half-century, even (or particularly) Aldine editions or 1960s bestsellers. I am reminded that we avidly collect medieval “binding fragments,” i.e., pieces of manuscripts, mostly on vellum, that were cut up and recycled as stiffeners in bindings of later books, a practice we would now consider barbaric and wasteful (and very expensive). Apparently, after a century or so of European printing, manuscripts were considered expendable, rendered technically obsolescent by the printing press (and the scholarly efflorescence it made possible).
Universities and their libraries have been around for a fairly long time, say 700 or 800 years. The great university libraries that we are familiar with – those with millions of volumes addressing myriad subjects and disciplines – evolved through the vast post-war growth of academic research, coincidentally about a half-century ago. Are they – or, should I say, we – suffering decrepitude and irrelevance? I offer as evidence our experience with the New Graduate Student Orientation program last month, detailed later in this issue. It seems that Stanford’s new crop of grad students, arguably the most savvy and motivated class of information users alive, are quite aware they need libraries. Some of them may even need Aldine editions or binding fragments. All of them will use electronic resources on various sorts of devices. Whatever the form, the libraries will stand ready to help them obtain and use the stuff of scholarship.
Also past the half-century mark,
Andrew Herkovic
The interest of this conference is twofold: the patronage of sacred texts in comparative contexts and the role of inter-religious elements in the production of sacred texts. The participants will address the adoption of book-making techniques across religious boundaries, Jewish/Christian/Muslim collaborative translations of art/text productions, interest in reading, producing, or interpreting the sacred texts of other religious traditions, and other related questions.
Does the iconic value of the book keep us tied to this medium more than we should be? Is our move toward other ways of transmitting information being inhibited by our connection to the book as a representation of knowledge?My questions are: What are the stakes that people (and companies and universities and governments and religions) have in material books? And what are the stakes that people (and companies and universities and governments and religions) have in electronic texts?
The British exhibition even had the subtitle “Discover What We Share.” AndBut the exhibits and, especially, their online promotions linked above also demonstrate how libraries are using electronic media to publicize their treasures. In New York, images from the exhibit will even be projected on the side of a Fifth Avenue building . These electronic texts, far from obscuring the physical books, celebrate and revel in them. They broadcast their iconic, even monumental, status and draw crowds to see the material objects themselves.
in New York, too, the emphasis throughout is on commonality. At this historical
moment, this is meant to defend Islam against anticipated accusations.
The reaction has been mostly led by patrons who say they cannot imagine Santa Clarita with libraries run for profit.Whatever one may think of Mr. Pezzasnite's business, he has described an overlooked phenomena. Why books and the libraries that contain them are regarded as "somehow ... sacred" is precisely what the Iconic Books Project tries to describe, on this blog, through our symposia, and in our publications...
“A library is the heart of the community,” said one opponent, Jane Hanson. “I’m in favor of private enterprise, but I can’t feel comfortable with what the city is doing here.”
... The suggestion that a library is different — and somehow off limits to the outsourcing fever — has been echoed wherever L.S.S.I. has gone.
... “Public libraries invoke images of our freedom to learn, a cornerstone of our democracy,” Deanna Hanashiro, a retired teacher, said at the most recent city council meeting.

The doorways inside 30 Ocean Parkway, an Art Deco building in Windsor Terrace, Brooklyn, are studded with mezuzas of all sizes and styles: plastic, pewter, simple, gaudy, elegant.
The people behind those doors are an assortment, too: Catholics, Baptists, Episcopalians, Buddhists, atheists and even a few observing the High Holy Days this week.
... Jews have left their mark on every aspect of New York life, but perhaps none are so ubiquitous and tangible as the palm-length encasements attached to countless doorways. So in a city that both savors history and likes to shake things up, it is perhaps inevitable that many of those mezuzas now belong to gentiles.
Left behind when Jewish residents died or moved out, they have survived apartment turnovers, renovations, co-op conversions, paint jobs and other changes wrought by time.
... Jews leaving a home are expected to leave the mezuzas behind if they believe the next residents will also be Jewish. If not, they must take the mezuza with them, to guard against the possibility that a non-Jew might desecrate it, knowingly or not. If a mezuza becomes too weathered, dirty or otherwise damaged, it is to be buried, as are all sacred documents, a service that a rabbi or synagogue can facilitate.
Non-Jews, naturally, are not bound by these customs, but many follow them out of deference. Alex Cohen of Borough Park, Brooklyn, who sells, installs and inspects mezuzas under the business name Mezuzah Man, said he had answered calls from non-Jews asking him to remove their mezuzas. The mezuzas should be handled respectfully, he said: “You don’t just put it in the garbage.”
But many gentiles choose to keep their piece of Judaica in place. “It’s good karma, if I can mix my religious metaphors,” said Brian Hallas .... The prospect of such a paint scar is what kept Eleanor Rodgers from removing the mezuza from the doorway of her home on Albemarle Road in Brooklyn, in a heavily Jewish neighborhood. “We’re not only not Jewish, we dislike organized religion,” said Mrs. Rodgers, a doctor’s receptionist who grew up in Ireland.
... But the idea does not sit right with some observant Jews who see the mezuza as an important emblem of Jewish identity. “To me, it’s very offensive,” said Sara Sloan, a retired schoolteacher in Windsor Terrace. “It’s taking my custom.”
... Still, Connie Peirce, 87, a retired secretary and Catholic who lives in Peter Cooper Village in Manhattan, said she often wished she had inherited a mezuza like many of her non-Jewish neighbors did. The tradition recalled her youth, she said, when her local priest appeared each Easter to write “God bless this house” on her family’s front door.
To her delight, one of her Jewish neighbors recently hung a mezuza on her doorway. “Every time I come home and remember, I kiss it and touch it and then I bless myself, saying, ‘In the name of the Father, the Son and the Holy Spirit, Amen.’ ”
The second edition weighs in at a hundred and thirty-five pounds—about as much as the average woman—and fills four feet of shelf space. Weight and size are central to the idea of what the O.E.D. is; authority, in dictionaries, seems to come proportionate to mass, and when it comes to dictionaries, the O.E.D.’s authority is supreme. I have a sense that a weightless O.E.D., instead of being the last word in words, would become just more “information” of the sort that’s found everywhere online.
... I can’t help but feel that if the printed O.E.D. were to disappear, our language would suddenly feel a little less important. We won’t be able to look at its twenty volumes on our shelves and see just how impressive a thing a language is. Random browsing might become less common, and words might fall out of use as a result. Though serendipity remains possible online, it will be a sad day when we no longer have the joy of stumbling by chance on an exotic, beautiful, and exactly perfect word by opening randomly to one of the O.E.D.’s twenty-two thousand pages.

... the Gainesville event might be the final culmination of the age of hijackers, where a small group’s manipulation of a powerful vehicle has far-reaching disastrous effects. Only in this case, the vehicle is the Qur’an, not an airplane. And the manipulation need only be virtual. Never has book burning been so effective without even occurring. Symbolic actions on the internet and their consequences in the real world now occur almost simultaneously. And the threat of a symbolic gesture and an actual one become one and the same.
Let me go even one step further. One could even say that the suggestion of book-burning is the only possible form of effective action today—far more effective than the book burning itself. In the twenty-first century it is virtually impossible (pun intended) to destroy books as a way of entirely eradicating a class of information, as Diocletian and many other emperors wanted to do. This is impossible to do because books are no longer physical objects but also electronic ones. It is also impossible to do because even electronic destruction may not be effective. At best, no matter how widespread a computer virus (a contemporary version of book-burning), there is no guarantee that such destruction would be complete.
Couples find themselves torn over the “right way” to read. At bedtime, a couple might sit side-by-side, one turning pages by lamplight and the other reading Caecilia font in E Ink on a Kindle or backlighted by the illuminated LCD screen of an iPad, each quietly judgmental.
Although there are no statistics on how widespread the battles are, the publishing industry is paying close attention, trying to figure out how to market books to households that read in different ways.
A few publishers and bookstores are testing the bundling of print books with e-books at a discount. Barnes & Noble started offering bundles in June at about 50 stores and plans to expand the program in the fall.

begins with three pages, each painted black, on which large drops of blood trickle down. The third page has been thoroughly worn. I am not absolutely certain this is the result of kissing, and part of it has been rubbed and smudged rather than merely kissed, but I think it very well could have been partially erased by kissing.

[A few pages later] the pages turn blood red, and thick gouts of blood pour down them from innumerable wounds. This disturbing decoration continues for ten consecutive pages (the last folio was cut out at some date, leaving only a stub). I count approximately 540 wounds on the bloodiest page, so perhaps taken together they were intended to represent the 5400 or more wounds received by Christ according to texts of late medieval devotion.

There are two openings like this before one reaches a third with two further woodcuts pasted in. The first represents a Man of Sorrows surrounded by twenty small compartments with instruments of the passion. Facing it is a larger woodcut of the five wounds of Christ with a heart at the centre over a cross. The left image (think back to the miniature in Harley 2985) carries an indulgence (later defaced): ‘To all them that devoutly say five Pater nosters, five Aves, and a Creed afore such a figure are granted 32,755 years of pardon.’



It is one way of studying their material preconditions, and this in the absence of their function as conduits--a function absent and gone but not forgotten. For nonbooks serve to itemize the features of book-based textuality that may otherwise be subsumed and elided by the channels of tansmission.
What is the Lotus Sutra? The scripture itself provides one ready answer: The Lotus Sutra is a Buddha relic. Like a number of other early Mahayana sutras, the Lotus Sutra asserts an equivalence between a roll of scripture and a relic of the Buddha. Employing a new theory of embodiment, the Lotus Sutra replaces the Buddha's corporeal remains with his textual corpus. The material form of the Buddha's word, rather than the material remains of the Buddha's body, is recognized as the central object of veneration and, as such, is to be enshrined in a stupa, a reliquary previously reserved for the remains of a buddha.
... the texts themselves did not bear the communicative or pedagogical function usually attributed to scripture. Great care and expense went into the production of these texts .... Yet the texts were never to be recited, studie, or taught, or at least not for 5.67 billion years. The value of their production and use lay in their media as much as in their message .... the power of sacred texts lies not only in their words and ideas but also, as the Lotus Sutra insists, in their materiality and instrumentality.
... through their material properties ArtScroll books can be seen to possess forces that strcuture and constrain the ways they are stored, read, displayed, or otherwise used in their designated social settings. This agency, embedded in thematerial design of the books themselves, is hardly incidental to the centrality ArtScroll texts are said to enjoy, whether in everyday life situations or in the ways ArtScroll is publicly imagined, discussed, embraced, or even rejected. (146)This leads Stolow to draw some conclusions about religious books in today's rapidly changing book marketplace:
... books can be said to possess a material agency whereby, for example, a leather covering has the power to convey an affective charge through its signifiers of dignity, solemnity, and artisanal authenticity. Form this perspective, it would appear that the continued (and indeed growing) vitality of the market for printed books rests on a deeper set of cultural assumptions about what kinds of technologies and institutional frameworks are best suited to generate "authentic" religiosu experiences and to sustain the bonds of religious community. ... Far from being rendered obsolete as "old" media, today's printed books have been reinvented as viable means of exercising authority and securing legitimacy through the particular disciplines and habits and the connective tissues that constituteIt's a great read!
text-centered religious community." (178)


Books are where ideas come from. The book is such a great form. Before doing these works, I was making concrete casts of books. What interested me was, if you take all the information out, does the form still have any power?Somewhere along the line I started wondering, well, what does happen when you take the ideas out? So, I started taking out the binding and the pages and setting the words free. And I’ve been working from there.

Walk in the door and into the sunlit atrium and look up. You can't miss the central stacks tower, its skin ripped off and replaced with heavy-duty glass. The books inside beckon, and the people studying and milling around them are clearly visible.
... Not long ago, in the earlier, euphoric days of the Internet, college administrators could be heard questioning the role of the library as a physical place on the campus, especially when one could trawl an ocean of knowledge from the convenience of one's own dorm room or office. What's the point of a library building in an interconnected world?
Ohio State's $109-million library project, which renovated some 300,000 square feet of space constructed in pieces over the past 100 years, is about the strongest refutation of that point of view as any, reinforcing the role of the library as a central hub and place of connection. ...
"Clearly the university wanted to signal that knowledge generation, use, and application is a priority of the institution, and there is no better place than in the stature and status of the library," says Mike Sherman, vice provost for academic administration.
... The tower not only is a prominent structure on Ohio State's Oval, the campus's central lawn, but proved to be a fantastic asset to the renovation. Now clad in glass on the first six floors, the tower is a striking feature at the center of the building. Mr. Lee, from Acock Associates, says that the entrances to the building were intentionally designed with low ceilings, so that visitors could not help but look up and see the stack tower when they entered the atria."It was a conscious attempt to manipulate you by compressing you and then letting the space really open up," he says.
... Library renovations inevitably lead to greater use of the collections and more visits, and Ohio State's project is no different. The building attracted around 3,000 people daily before the renovation; now 12,000 people walk through the door each day.Here and there, the designers laid down clues to the intellectual mission of the building, including the "foundation stones," 49 brass plates set in the terrazzo floor, along with 45 panels etched into elevator doors. The plates and panels represent various forms of writing that have been developed over the past 5,000 years. You can walk around the building and find alphabets, syllabaries, and graphic systems representing a host of languages, including Cree and Aztec, the old Irish alphabet Ogham, musical notation for the African drum called a djembe, and even Tengwar, the elvish script invented by J.R.R. Tolkien.
The stack tower is probably the building's most important statement. Ms. Diedrichs says the glass box of the tower serves as a reminder of what the library is for. "It conveys that scholarship and serious study are an important part of a college education and are a central part of the college," she says.
Ms. Diedrichs works on the third floor and takes the stack-tower elevators up in the morning to see what students are doing and what books they are pulling off the shelves. Early one recent morning she had already seen about 20 books lined up in a book truck, ready for reshelving.
"We like to talk about how everything is digital, but it's not entirely," she says. The marriage of study spaces with a prominent place for print is "like being at the intellectual crossroads of our campus," she says. "Students say, 'I am reminded of why I am at the university.'"

See the video on YouTube where it is clear that the sight of this book-clad vehicle raises curiosity and attracts attention.

Gramota - put' k kommunizmu. [Literacy is the road to communism.] (1920)
Kniga nichto inoe kak chelovek, govoriashchii publichno. [The book is nothing else than a publicly speaking person.] (1920).


the claim Jews envision the tablets in the rectangular while Christians hold them to have been rounded does not stand. For the most part, Jewish artists do seem to have followed the grammar of the biblical phrase luchot avanim (tablets of stone) or luchot ha'brit (tablets of the law), which is always presented in the plural, while many Christian artists attached the two tablets to each other.

... after The New York Times published an article about the Torah and the Maryland rabbi, Menachem Youlus, questions surfaced about how it came to be discovered.The significance of using a genuine Holocaust torah scroll was expressed by both the donor and the synagogue's rabbi:
As a result, David M. Rubenstein — a billionaire financier who had bought the Torah from Rabbi Youlus and donated it to Central Synagogue — sought to confirm the scroll’s authenticity. Mr. Rubinstein ... hired Michael Berenbaum, a Holocaust historian and former director of the United States Holocaust Memorial Museum’s Holocaust Research Institute.
“What I found is the claim for the origin of the Torah could not be verified,” Dr. Berenbaum said last week.
... Dr. Berenbaum had him find a Torah “whose Holocaust provenance is not in question” — it was the one placed in the ark on Monday. That Torah had remained in the Romanian Jewish community through the Holocaust and was later taken to Israel.
Mr. Rubenstein said he had donated the Torah to Central Synagogue “so its congregants could have the sacred experience of reading Scripture from a scroll that had survived the Holocaust.”UPDATE:
“As one who has gone to the camps and assimilates into my being the horror of the Holocaust,” Rabbi Rubinstein said at the time, “this gives meaning to Jewish survival.”
Youlus, the self-proclaimed “Jewish Indiana Jones” ... spun cloak-and-dagger tales of “rescuing” sacred Torah scrolls lost during the Holocaust, but those tales were lies. ... Despite Youlus’s claims that he found holy relics at concentration camps, in monasteries and in mass graves, passport records show he never traveled to Europe. ... More than 50 of his purported Holocaust Torahs made their way to congregations in the Washington area and beyond. Synagogues held emotional ceremonies to rededicate the scrolls for worship — a symbolic show of Jewish triumph over Hitler.Youlus was sentenced to 51 months in prison and ordered to pay $990,366.05 in restitution.
the increasingly separate iconic and traditional rare book, manuscript and ephemera markets. They have been moving in diverging [directions] for some time. Great examples of rare and unique items have been selling for substantial prices while no less rare but less known and less coveted material has gone unsold or brought lower than expected prices. As the market has become increasingly transparent the many now see what the few have long known and it is changing what people buy and how much they pay. We are living through a time of significant change: the re-pricing of the market. The iconic category looks safe, pedestrian rarities risky, the in-between the subject of endless interpretation.He credits this separation to "increasing transparency and increasingly unified markets functioning in real [time]," with the result that "highly collectible material should continue to do well while lesser materials continue to leak value."
I think they'll have to do more than that, because the association between a book and its cover will be lost if readers don't see it every time they start to read.Among other changes heralded by the e-book era, digital editions are bumping book covers off the subway, the coffee table and the beach. That is a loss for publishers and authors, who enjoy some free advertising for their books in printed form ...
As publishers explore targeted advertising on Google and other search engines or social networking sites, they figure that a digital cover remains the best way to represent a book.
not completely losing accounts, but the amount of work sent in by customers has plummeted. During the 1980s, the monks bound about 50,000 books per year. By 2000, the number slid to 40,000 and now it stands at 23,000.

Digital content is fragile. The secure retention, therefore, of physical books safe from electronic meddlers, predators, and the hazards of electronic storage is essential. ... actual books printed and bound will continue to be the irreplaceable repository of our collective wisdom.His business model of decentralized digital publishing does not, however, explain how that will be financed.


the “Harmonia Macrocosmica,” Andreas Cellarius's 1661 star atlas, is among the rare books visitors can find at the Linda Hall Library in Kansas City, Mo.
... The Linda Hall is among dozens of libraries across the United States that house dazzling collections and often mount eccentric exhibitions but largely remain unfamiliar to the public.
... Many libraries, whether public or private, are the passionate inspirations of their founders.
Sometimes a visitor is even allowed a peek behind the scenes. On a recent visit to the New York Academy of Medicine Library, I was taken to the conservation floor, where two women were at work in a sunny room overlooking Central Park. Among the works they let me handle was a ninth-century copy of a cookbook by Apicius. Though it is the earliest cookbook in the West, almost nothing is known about Apicius himself. Both women were lawyers who quit to become librarians. At that moment, that seemed like a lovely idea to me.
I began this work thinking about the way memory loss takes away content and eventually even removes form, but then I realized that books themselves are becoming artifacts and iconic forms as digital media takes over content. No matter how much easier it is to read on Kindle, nothing will take the place of a real book in the hand - the smell, the feel, all the surfaces of the cover to be explored, and the physical interaction with the pages. This physicality of the book as object can't be duplicated electronically. We're talking dimensionality here, not pixels.
I had to add this note in the ever-evolving world of "reading devices" (the new, inclusive name for books, kindles, e-books, etc). On the day Apple finally released the news of the iPad, veiled in expectant secrecy as ever, their tagline told of "... a magical and revolutionary device...""This was national scripture, a piece of our Constitution's history," she said of her find in November. "It was difficult to keep my hands from trembling."
As other researchers "realized what was happening, there was a sort of hushed awe that settled over the reading room," Toler said. "One of them said the hair on her arms stood on end."