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BIBLIOTHEEK. Een interdisciplinair cultureel collectief geheugen (...)
site De Singel, webpage Curating The Library

One of the major educational roles of any library, in addition to supporting its parent institution's general goals, is to provide alternatives to institutional thinking and to current modes of discourse and directions in research. A library can be the means to preserve or foster both neglected points of view and documentation on neglected artists. A library can also take more chances on the significance of current artists and ideas than a curator might wish to.
Clive Phillpot (Art, Anarchy and the Open Library in: Art Libraries Journal, 1991:4, 10)

The point is that your own library, whether a public, academic, museum or some other type of library, is your gateway to networks of information and information professionals that multiply the immediately apparent resources of the library. And, of course, for someone seeking an answer to a question, or even for someone still seeking their question, the administratieve nature of the library in which the answer to their question resides is probably of little interest. A library is a library is a library.
Clive Phillpot (Art, Anarchy and the Open Library in: Art Libraries Journal, 1991:4, 6)

Open libraries can provide alternatives to established ways of thinking, and can help to facilitate access to the broadest spectrum of ideas.
Clive Phillpot (Art, Anarchy and the Open Library in: Art Libraries Journal, 1991:4, 5)

One of the principal characteristics of librarians is that cooperation features largely in their professional outlook on life.
Clive Phillpot (Art, Anarchy and the Open Library in: Art Libraries Journal, 1991:4, 5)

Welcome to museum administration day at MAN.
Tyler Green (Modern Art Notes blog, entries on 20&19.10.2004)

Als ze hem ooit mochten vangen / in zijn duistere krochten en gangen / en de lucht hem gaat omsluiten, / dan klapt hij binnenstebuiten. / Ook mijn gezicht wordt uitgewist / als men me uit het water vist.
Raymond Queneau (Diepzeevis, vertaald door J.P. Van der Sterre)

There is singularly nothing that makes a difference a difference in beginning and in the middle and in ending except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations and this is what makes everything different otherwise they are all alike and everybody knows it because everybody says it.
Gertrude Stein (Composition as Explanation, 1926)

BIBLIOTHEEK. Een echt boek (...)
site wpzimmer (intro bibliotheekpage)

A Poem A Day
Nico Dockx (work for Utopia Station, 2003)

It is a long-term project and the goal is to enter into collaborations and connections within the virtual space, possibly leading to a distribution of virtual ideas.
Anonymous

It's always been the artist who perceives that alterations in man are caused by a new medium, who recognises that the future is the present, and uses his work to prepare ground for it.
Marshall McLuhan (1969)

BIBLIOTHEEK. Het publieke archief van de VOBK (...)
site Vereenigde Organisatievormen Beeldende Kunst (intro bibliotheekpage)

Here's the key to collaboration, IMO. Find people you trust.
Steven M. Cohen (blog-entry 'Collaboration = Trust' 9.10.2004)

The art library can become a place to reveal, and revel in, the essential disorder of things.
Simon Ford (The Postmodern Art Library, in ALJ, 1993: 3, p. 21)

In de christelijke samenleving zijn afschuwelijke dingen gebeurd, en die gebeuren nog steeds. Op dezelfde manier zijn er afschuwelijke dingen gebeurd in Afrikaanse samenlevingen. Maar als de wereld volhoudt dat wat in Zuid-Afrika is gebeurd (door een Waarheidscommissie komen tot verzoening tussen voormalige onderdrukten en onderdrukkers, SS) een wonder was - en dus elders niet echt toepasbaar is-, in plaats van te erkennen dat dit een van de grootste morele bijdragen van de twintigste eeuw is, zal zij een stuk armer zijn.
Antjie Krog (Westerlingen, de aarde schudt, in De Groene, 24.09.2004)

Our cultural space has a complicated topology: there are closed spaces, open spaces and mixed spaces. In my book 'On the New' I tried to describe how the closed spaces, like museum, library, university, are functioning. Being caught in the closed space, the people are interested in the open spaces - in crossing the borders, breaking the rules, discovering the new. But being left in the open spaces, the people get more interested in the closed spaces - in getting the insight, discovering the hidden, getting the access to the forbidden. The closed spaces are the spaces of curiosity directed to the outside. The open spaces are the spaces of suspicion directed to the hidden inside. The insider is curious, the outsider is suspicious. In our mixed reality, we are, of course, both because we are always insiders as well as outsiders.
Boris Groys (interviewed by Geert Lovink on Nettime, 4.10.2000)

Boeken worden - over het algemeen - rechtopstaand gerangschikt, op dusdanige wijze dat de op de rug van het werk afgedrukte titel zichtbaar is (soms toont men, net als in de etalages van boekhandels, het omslag van boeken, maar wat in ieder geval ongebruikelijk is en haast altijd ook als laakbaar en aanstootgevend geldt, dat is een boek waarvan je alleen de snede ziet).
Georges Perec (Beknopte aantekeningen over het oordeelkundig ordenen van je boeken, vertaling Rokus Hofstede)