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This omissum wants to reorient the general impression to which also [this publication] has contributed and finally takes serious the complicated but coherent relation Otlet had with issues of race. Otlet dressed racist statements up as scientific facts, such as for example in a description of 'barbarism in Africa' (in 'L'Afrique Aux Noirs' that was written in 1888, at the beginning of his career) or on the supposed inferior size of the 'negro skull' (in 'Monde', written in 1935, near the end of his life). His apparently benevolent interest in advancing "The African Issue" was fuelled by a firm conviction of the superiority of European culture and intelligence. It neatly fitted the Enlightenment project that he was dedicated to and aligned with his self-identification as a liberal, a universalist and a pacifist.
Otlet's organisational support to the [1921 Pan-African Congress at the Palais Mondial (later renamed: Mundaneum) ][^2] needs to be considered in connection with the racist slur that he published both before and after the event. To say that these different conducts are the result of Otlet's complicated figure is an undeserved indulgence, seeing the violence of his statements and their continuity in his work. As Elodie Mugrefya argues in 'Omission and validation', we also need to stop using arguments that apologise for Otlet and his vicuous remarks, as if they would be ["a reflection of an era and not of a man". ][^3]
Otlet's organisational support to the 1921 Pan-African Congress at the Palais Mondial (later renamed: Mundaneum)[^2] needs to be considered in connection with the racist slur that he published both before and after the event. To say that these different conducts are the result of Otlet's complicated figure is an undeserved indulgence, seeing the violence of his statements and their continuity in his work. As Elodie Mugrefya argues in 'Omission and validation', we also need to stop using arguments that apologise for Otlet and his vicuous remarks, as if they would be ["a reflection of an era and not of a man".[^3]
> ["It was the glorious century of the Enlightenment that saw the beginning of the work on human races, as European scientists entered an era of frenetic classification. Everything had to be classified into categories: plants, rocks, animals and humans. This classifying logic is also at the fundaments of institutions that deal with cultural and scientific heritage, such as museums. Museum collections reflect the encounter between this appetite for classification and the European impulse for extreme accumulation; a conjunction that characterizes Otlet's work very well." ][^4]
> "It was the glorious century of the Enlightenment that saw the beginning of the work on human races, as European scientists entered an era of frenetic classification. Everything had to be classified into categories: plants, rocks, animals and humans. This classifying logic is also at the fundaments of institutions that deal with cultural and scientific heritage, such as museums. Museum collections reflect the encounter between this appetite for classification and the European impulse for extreme accumulation; a conjunction that characterizes Otlet's work very well."[^4]
Otlet's endeavor to catalog and classify, to structure knowledge following a universal taxonomy is an expression of his commitment to the Euro-centric mission of domination and exploitation that continued from the Enlightenment into modernism, and that is still operating today. This worldview is well in tune with the [enthusiastic praise he repeatedly expressed for the colonization of Congo ][^5], omitting and downplaying the atrocities that were by then already public knowledge. It is also an expression of his interest in remaining loyal to [Leopold II, who commissioned the Palais Mondial in 1880. ][^6] The royal patronage confirms that Otlet and Leopold shared the project of the Belgian colonial empire.
Otlet's endeavor to catalog and classify, to structure knowledge following a universal taxonomy is an expression of his commitment to the Euro-centric mission of domination and exploitation that continued from the Enlightenment into modernism, and that is still operating today. This worldview is well in tune with the enthusiastic praise he repeatedly expressed for the colonization of Congo[^5], omitting and downplaying the atrocities that were by then already public knowledge. It is also an expression of his interest in remaining loyal to [Leopold II, who commissioned the Palais Mondial in 1880. [^6] The royal patronage confirms that Otlet and Leopold shared the project of the Belgian colonial empire.
By omitting to signal these problems, [this publication] fails to account for such views and participates in processes that erase histories and lives of African peoples. Therefore, an insertion was made to remind of Otlet's contribution to colonial thought and practice and the tendency for those not directly affected to look away.
> ["The silence around the text L'Afrique Aux Noirs is a manifestation of an enraged preservation of a fantasized heritage, that gives rise to an almost natural desire to make the text disappear with a handwave in order to be able to concentrate on the good, true heritage of Paul Otlet. As if this text was not a part of a whole that must be considered in its entirety in order to uncover the deeply racist and colonial nature of Otlet's person and heritage." ][^7]
> "The silence around the text L'Afrique Aux Noirs is a manifestation of an enraged preservation of a fantasized heritage, that gives rise to an almost natural desire to make the text disappear with a handwave in order to be able to concentrate on the good, true heritage of Paul Otlet. As if this text was not a part of a whole that must be considered in its entirety in order to uncover the deeply racist and colonial nature of Otlet's person and heritage." [^7]
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This omissum was published in February 2020 by members of Mondotheque and Algolit. Mondotheque worked between 2013 and 2016 on unravelling the many implications of a statement that routinely compared the Mundaneum to "Google on paper". Algolit is a group of artists experimenting with F/LOSS text and code that organised the exhibition Data Workers at the Mundaneum in March 2019 using texts of Otlet and the Mundaneum archive. The omissum responds to the generous critiques of Julie Boschat Thorez and Elodie Mugrefya and the growing unease with the problematic silences occuring in both projects.
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