Martin Paul Eve

@eve.gd

7032 Followers 3846 Following

Assoc. Project Director @ Knowledge Commons, MSU | Lit and Publishing Research Prof @ Uni of London, Birkbeck | Music on tici taci records | My books: https://books.eve.gd

A green website notification block that says "Article The Soul of Diamond: Infrastructures, Commons, Consolidation and the Origin of Care submitted"
Screenshot of a Knowledge Commons webpage set against an abstract background of overlapping, flowing shapes in dark green, sage, mint, and cream. A large white rounded panel on the left contains a pale-green banner with a globe icon and the text, “Open access, open source, open to all.” Below, a bold headline reads, “Resist enclosure. Join the Commons.” The words “enclosure” and “Commons” are red; the remaining text is black. To the right is a smaller white card with a thin red accent along its left edge. It reads: “Support the Commons Help us keep scholarly resources free and accessible to everyone. Your contribution sustains a community-owned platform that resists commercialization of academic work.” A red rounded button below says, “Contribute Now.” Beneath the main headline is another white rounded panel containing the text: “Knowledge Commons hosts a growing coalition of open knowledge creators across the disciplines and around the world. Discover, connect, and share in a community that believes knowledge should be free.” Three dark-green rounded buttons below read: “Create an Account,” “Explore Works,” and “Become a Champion.”
A photograph of me taking a selfie with the phone held up. I am a 6 foor 2 inch tall white male with short hair and glasses. I am wearing a blue t-shirt that says RAGE AGAINST THE MACHINE LEARNING in the logo style of the band Rage Against the Machine.
Screenshot of the Knowledge Commons Works website. At top left is the green-and-yellow “KNOWLEDGE COMMONS WORKS” logo. The navigation bar includes “Search,” “Collections,” “Add a work,” and icons for help, statistics, and home. Below, a large heading reads “Review of Binding Media by Élika Ortega.” Underneath is the author name “Martin Paul Eve,” followed by a Knowledge Commons logo and a green ORCID iD icon.
Me, standing in front of a wardrobe, wearing a t-shirt with the logo from RUN DMC, except it says RUN CMD (a geeky computer joke). I am a white male wearing glasses with ultra-short hair. I am very thin. In fact, far too thin and malnourished.
The "old man yells at cloud" meme image with Grandpa Simpson featured in a newspaper article, raising his fist, and with the headline "OLD MAN YELLS AT CLOUD"
A picture of a brown dog with black eyes and a black nose. Her ears are folded down. She is called Robyn.
A sculpture of a little owl with its head tilted to the right. It is standing on a plinth. I am not sure what it is made of.
A picture of a dog's face. The dog is called Robyn. She is mostly brown with a black nose. She has small impish bent-over ears.
A desolate landscape of wildfires, all red and black and volcanic
Text in a heading font that says "Repeat, Reset, Return: The Political Imagination of Star Trek: Voyager" and then, below, "Martin Paul Eve, Birkbeck, University of London"
A screenshot from the Leo Technologies page at Companies House that says Accounts overdue. First accounts made up to 31 October 2025 due by 15 July 2026
A picture of me in a red shirt, looking very serious and bordering on angry!
The DVD boxset of Star Trek: Voyager, with the box at the back and then the boxes for the discs laid out. They all feature Voyager, a starfleet insignia/badge, and the color scheme is black and purple.
Slide on a pale blue-grey background titled “Who decides what survives?” under the orange heading “INFRASTRUCTURE POLITICS.” The left-hand text reads: “→ State, university, philanthropic and corporate money each shape the archive differently. → Invisible infrastructure distributes power. → Walled gardens seek capture while preventing totality.” Below is the quotation, “These considerations are ‘essential aspects of distributional justice and planning power’” — Susan Leigh Star. On the right is a photograph of rows of white boxes labelled “archive” on wooden shelves in an ornate, wood-panelled room, with a wall clock visible above them. Slide number 09. Photo: Luke Gaunt / Unsplash.
A slide with a picture of a wildfire. It reads "Infrastructures for disaster" and "The future archive is not only technically fragile; it is geologically, legally, financially and climatically exposed.". The slide is black with white text and the wildfire is red.
The cover of Richard Hall's book, The Dissolution of the Universities - it has an abstract watercolour painting on the cover of a monastery in ruins
Two fans, one a Dyson bladeless, a red anglepoise lamp, and a large monitor speaker, all sitting atop some audio production equipment
White webpage screenshot for “Hypertext 2026.” Text reads: “Hypertext 2026. London, England. September 14–18 2026.” Centered below is a magenta countdown timer reading “66 : 13 : 08 : 09,” labelled “DAYS HRS MINS SECS.” At the bottom, a block quote with a vertical black line reads: “The topic of Hypertext 2026 is Hypertext as Method. More than just a technological structure, hypertext embodies a way of thinking – nonlinear, networked, dynamic – that allows new forms of storytelling, new approaches to argumentation, new approaches to sense-making and knowledge.”
The main page for Knowledge Commons. Website hero graphic with an abstract green, cream, and teal overlapping-leaf background. Large white rounded panels overlay the design. The main headline reads: “Resist enclosure. Join the Commons.” with “enclosure” and “Commons” in rust red. Above it, a pale green pill with a globe icon reads: “Open access, open source, open to all.” A smaller white panel below says: “Knowledge Commons hosts a growing coalition of open knowledge creators across the disciplines and around the world. Discover, connect, and share in a community that believes knowledge should be free.” Three dark green buttons read: “Create an Account,” “Explore Works,” and “Become a Champion.” On the right, a raised white donation card with a thin red left border reads: “Support the Commons. Help us keep scholarly resources free and accessible to everyone. Your contribution sustains a community-owned platform that resists commercialization of academic work.” A red button says: “Contribute Now.”
Screenshot of a webpage showing the headline “The Quest to Make Humanoid Robots Safe Enough for Humans (6 minute read).” Below, a summary reads: “One of the biggest challenges for robot makers is ensuring that they don't hurt humans. The machines are getting bigger and heavier, which increases their potential for damage. The International Organization for Standardization is expected to publish a standard for humanoid robot safety by mid-2028, but robot makers are already coming up with their own solutions. This article looks at some of those solutions.” Black sans-serif text appears on a plain white background.
A surreal collage illustration on a vivid coral-red background. At the center, two synchronized swimmers in black swimsuits form a near-perfect circle by arching backward and grasping each other's feet, creating a continuous ring with their bodies. Behind them is a large, textured dark red disc resembling a planet or sun, partly obscured by a flowing white organic shape stretching across the image. Three flat coloured circles—burgundy, cyan, and yellow—sit behind the swimmers, adding graphic accents. The composition combines vintage photography with bold geometric forms and strong red, white, and black contrasts.
A picture of a leather watch case with an image of a mouse at the top, then the text Martin Paul Eve, then the text CHUMS EDITION
An image of the profile of @mmorrillart.bsky.app appearing in my feed. The details of the profile are irrelevant, but the important thing is that I do .not follow 5hiw
Two dogs, Robyn and Luka, sit in a hall on a wooden floor covered in multi-coloured strips. Robyn is brown and black and her tongue lolls out to her left. Luka is large and black. His tongue is out at the centre.
Promotional graphic for SHARPies: A Global Book History Festival, with a pale blue background and overlapping white circles containing speakers’ names: Leslie Howsam, Alexander Manshel, Matthew Kirschenbaum, Sydney Shep, Adrian Johns, Ruthie Block, Mark Letteney, Yael Sternhell, Beth Driscoll, Kinohi Nishikawa, Dan Sinykin, Greg Barnhisel, Aakriti Mandhwani, Mary C. Fuller, Mark Lester, Peter McDonald, and Martin Paul Eve. White text reads “Register now!” Red text reads “Join us?” and “…and more!” The SHARPies logo appears at the top right.
Me at the Bridgwater Dialysis Satellite Unit, wearing a surgical mask and a light bluey green shirt, with tubes coming out of my chest, attached to the dialysis machine to my left (photo is mirror image, so looks like it's on my right).
A picture of me, a white, bald headed, 40-year old man with glasses, sitting in a dialysis bed. I am eating from a plastic container that has strawberries and kiwi in it. I am wearing a light bluey green shirt. Two tubes are coming out of my chest which is where the dialysis machine is connected. A blood pressure cuff sits on my right arm. I have a wry smile on my face. Just off to the right there is the edge of the dialysis machine visible.
Stonehenge, as seen from the A303, with substantial zoom.
An M3 Macbook Pro running Ubuntu Linux
A map of NHS dialysis centres around Cambridge. There are a fair few.
Robert Darnton's famous communication circuit. Black-and-white flowchart of the book-production and distribution system. Across the top, “Author” and “Publisher” are linked by a two-way arrow. The publisher points to “Printers: Compositors, Pressmen, Warehousemen,” which receives materials from “Suppliers: paper, ink, type, labor.” Printers point down to “Shippers: Agent, Smuggler, Entrepot Keeper, Wagoner etc.,” which points to “Booksellers: Wholesaler, Retailer, Peddler, Binder etc.” Booksellers feed into “Readers: Purchasers, Borrowers, Clubs, Libraries,” linked by a two-way arrow to a separate “Binder” box. A dotted arrow runs from readers back to the author. At the centre are three overlapping circles labelled “Intellectual Influences and Publicity,” “Economic and Social Conjuncture,” and “Political and Legal Sanctions,” with small arrows radiating outward to show their influence on the whole system.
From left to right, a picture of Prof Caroline Edwards, me (Prof Martin Paul Eve) and Prof David Armitage, a Harvard historian. We are all standing and smartly dressed. There is a table in front of us with a bottle of water on it and a plate with some kind of foodstuff. There are two chairs behind the table and I, in the middle, have my hands on the top back of one chair.
A political compass result showing my closest match to be "Paddington". There is a picture of Paddington Bear followed by the text "Bear (1958-)"
Co-editors are expected to work around 3 hours per week in their journal roles, which can be arranged flexibly. The pay for the post is £48,822–£61,759 (Grade 8, 38–46), pro rata; annual salary (based on 150 hours) is £3,858–£4,881. Co-Editors also receive a share of the profits that BAAS receives from journal subscriptions, paid one year in arrears; in 2025, each editor received £3388.48.
A graph showing the different parts of speech in Exercises in Style by Raymond Queneau. It is too large to describe well because there are 99 categories, but it shows that there are strong variations between the different styles, here, and no particular styles really jump out, except Haiku and Interjections
A picture of me holding a vinyl record, which is Fluke - The Second Bite. It is a colourful series of concentric circles, predominantly pink.
An unopened letter/envelope addressed to me that says "DUES RENEWAL INFORMATION ENCLOSED" on the envelope with clear markings of the Modern Language Association at the top left.
An email headed “Honourable Mentions” lists two entries. The first reads: “The Homosaurus Collective, B.M. Bri Watson (Western University)”. The second reads: “ReprocuibilitiTea, Elizabeth Phillips (McMaster University)”. The text appears in large black font on a light grey background.
A photo of me with Fluke. I am back left, jUSTIN cREDIBLE is front right, then Mike Tournier stands smiling in the middle. Mike Bryant looks sceptical at the front right and Jon Fugler peeps over his head. I have my mouth wide open in delight. I was so pleased to get this photo with Fluke.
Screenshot of the Django REST Framework browsable API showing a successful GET /api/discography/releases/puppy/ request. The page heading reads “Release Instance,” with OPTIONS and GET buttons at top right. Below an HTTP 200 OK response header, formatted JSON describes the 2003 release “Puppy” by Fluke: ID 5, slug puppy, name and display title “Puppy,” and year 2003. Nested artist and artists objects include Fluke’s slug and name, plus HATEOAS-style links to the artist’s API endpoint, public HTML page, and the artists collection.
Zotero item details for a book section titled “The Common Good” by Hussain Waheed and Margaret Kohn, edited by Edward N. Zalta and Uri Nodelman, published in the Fall 2024 edition of The Stanford Encyclopedia of Philosophy by the Metaphysics Research Lab at Stanford University, dated 2024, with a URL to the archived entry.
Screenshot of a social media post by Angus McIntyre (@angusm@mastodon.social). The post humorously claims that the UK government's plan to teach 10 million British children how to use VPNs could become one of the largest IT education projects ever. It jokes that experts support the scheme because peer education and incentives will help it succeed, and includes a mock quote saying that, with the rise of autocratic governments worldwide, VPN literacy is more important than ever and that the project comes at the right time. The humour derives from the implication that government internet restrictions would encourage widespread VPN use among young people.
Conference programme timetable in UTC for Tuesday 7 July to Thursday 9 July. Sessions are colour-coded by type, including interviews, keynotes, conversations, editor insights, author talks, and social events. Martin Paul Eve and Matthew Kirschenbaum’s “A Conversation about Digital-Textual Histories” is scheduled for Tuesday at 13:00 UTC. Other events run from 04:30 to 22:00 UTC across the three days.
A picture of my 2 dogs, Luka and Robyn. Luka is sitting at the back. He is a black husky-labrador type crossbreed. Robyn, our three legged crossbreed, who is brown and black, is sitting nearer me, with her head turned to the side. They are both in our sitting room with a yellow and green velvet sofa to the side and a large wooden bookshelf partially visible behind them.
A picture of Robyn, my three legged dog, who is brown and black, looking up at me appealingly, for treats.
An image of a Wikipedia warning box that reads: This article may be too technical for most readers to understand. Please help improve it to make it understandable to non-experts, without removing the technical details. (January 2026) (Learn how and when to remove this message)
A picture of me, outside the British Library.
A picture of the record for Shadow Libraries and Pirate Infrastructures on the KC Works repo
Me as a child with curly hair, sitting in a chair wearing dungarees
A comic with a purple terminator in the first frame saying "KEEP MOVING, HUMAN SWINE" and then a second frame showing three chained humans, the middle one saying "I GOTTA SAY, THAT CLEAR PURPLE CASING LOOKS SO SICK". It's a comic by BeetleMoses
A photo of Ernesto Priego, Martin Eve, Helen Eve, and Lucy Morris at the seaside in Broadstairs
Ernesto Priego and Martin Eve by the beach
A screenshot of the SeDOA website saying what it does: Registry Registry for Diamond Open Access in Germany Learn more → SeDOA Innovation Lab Innovation Lab for a future-proof Diamond OA Learn more → Networking Services SeDOA connects Diamond Open Access worldwide Learn more → Community Support Events, clarification of legal questions, OJS network, information materials Learn more → Publication services SeDOA strengthens Diamond Publishing & ensures quality Learn more →
Where PLOS is headed This is not a vision PLOS holds at arm’s length. We are building toward it through concrete commitments. PLOS is taking a deliberate approach to developing and contributing to open, shared infrastructure as part of its role in the open science ecosystem. This means not only using open source software, but also actively contributing to it, developing code and shared components, and working with others to shape common solutions. Our transition to Janeway for submissions is one example of this approach. Rather than acting as a passive user of a platform, we are investing engineering effort upstream, contributing code and ideas, and helping to shape the direction of the project alongside a wider community. This approach requires a different way of working. It means engaging with shared standards, working in the open, and accepting the …
The logo for the contemporary American literature journal, Orbit
A card with an etching of a forest and trees by Caroline Matthews
ijbol adjani ✅ @onbeinganangel loved her work but this is really disappointing. i hope she can clear this up Benji @WrnrWrites [redacted] To confirm, this “100% AI generated” passage is the opening of chapter 5 from Mary Shelley’s Frankenstein Your Text is AI/GPT Generated 100% AI GPT* It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half- extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive
Publishers weekly says "Anthropic Settlement Hearing Proceeds Smoothly"
Me, 22 years ago, on top of a white horse - me leaning forwards