ok, alex, here come the questions...          :+)

before i begin, though, i should note outright that
i do not talk shit about people behind their backs.

if i've got something to say about something you do,
i will address you directly...  at least, if i am able to...

so you should know that i have indeed addressed
questions just like these over at archive.org itself.

well, at least until i was banned from their listserve...

just so you know...

***

also, alex, i fully realize these are probably _not_
questions you can answer, not to my satisfaction,
and most likely not even to your own satisfaction.

so you shouldn't feel i am putting _you_ on the spot.

my questions are about stuff above your pay-grade.

that's why i gave this post the subject-header i did...

heck, i expect that you will agree with me completely.

because, honestly, the points i will make are obvious.

i am the little kid saying the emperor has no clothes.

***

so here goes...

***

here's the main question:

1.  how can archive.org put out such crappy e-text?

i mean, seriously...

i've appended a few pages of text from the book that
i have been using in my current "digitization lessons".

that's what users get in the .mobi.  and in the .epub.

look at it.

it's raw o.c.r. is what it is.

it's _bad_.

it's _really_ bad.

it's _so_ bad that i would be _embarrassed_ to put it out.

so embarrassed that i would _refuse_ to put it out at all.

yet archive.org puts it out, trumpets it in press-releases,
and acts like it's doing us a favor instead of insulting us.

look, if brewster can tell the world, as he has done a lot,
that digitization (i.e., scanning) costs 10 cents per page,
why isn't he smart enough to bump it to 12 cents (or 14)
so "digitization" includes the cost of cleaning the o.c.r.?

that's the first question i have, alex, my _main_ question.

and i've got more, but let's let that big one sink in first...

-bowerbird


>          Chapter I.
>          Material and Method.
>          TF the writer who ventures to say something
>   more about books and their uses is wise, he will not
>   begin with an apology; for he will know that, despite
>   all that has been said and written on this engrossing
>   theme, the interest of books is inexhaustible, and that
>   there is always a new constituency to read them. So rich
>   is the vitality of the great books of the world that men are
>   never done with them; not only does each new generation
>   read them, but it is compelled to form some judgment of
>   them. In this way
>   7
>
>          Material and Method.
>   Homer, Dante, Shakespeare, Goethe, and their fellow-artists,
>   are always coming into the open court of public opinion,
>   and the estimate in which they are held is valuable chiefly
>   as affording material for a judgment of the generation which
>   forms it. An age which understands and honours creative artists
>   must have a certain breadth of view and energy of spirit; an age
>   which fails to recognise their significance fails to recognise the
>   range and splendour of life, and has, therefore, a certain
>   inferiority.
>          We cannot get away from the great books of the world,
>   because they preserve and interpret the life of the world ;
>   they are inexhaustible, because, being vitally conceived,
>   they need the commentary of that wide experience which
>   we call history
>   8
>
>          Material and Method.
>          to bring out the full meaning of the text; they are our
>   perpetual teachers, because they are the most complete
>   expressions. In that concrete form which we call art,
>   of the thoughts, acts, dispositions, and passions of humanity.
>   There is no getting to the bottom of Shakespeare,
>   for Instance, or to the end of his possibilities of enriching
>   and Interesting us, because he deals habitually with that
>   primary substance of human life which remains substantially
>   unchanged through all the mutations of racial, national, and
>   personal condition, and which Is always, and for all men, the
>   object of supreme interest. Time, which is the relentless enemy
>   of all that Is partial and provisional. Is the friend of Shakespeare,
>   because It continually brings to the student of his
>   9
>
>          Material and Method.
>          work illustration and confirmation of its truth. There are
>   many things in his plays which are more intelligible and significant
>   to us than they were to the men who heard their musical cadence
>   on the rude Elizabethan stage, because the ripening of experience
>   has given the prophetic thought an historical demonstration ; and
>   there are truths in these plays which will be read with clearer eyes
>   by the men of the next century than they are now read by us.
>         It is this prophetic quality in the books of power which silently
>   moves them forward with the inaudible advance of the successive
>   files in the ranks of the generations, and which makes them
>   contemporary with each generation. For while the mediaeval
>   frame-work upon which Dante constrenerations, and which makes
>   them contemporary with each generation. For while the mediaeval
>   frame-work upon which Dante constructed the " Divine
>   Comedy " be-
>       lO