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leaking in Weinmayr 2019

43/http://blogs.artinfo.com/artintheair/2012/11/14
/new-york-supreme-court-judge-dismisses-marc-jancou%E2%80%99s-lawsuit-against-
sotheby%E2%80%99s/>

Cariou v Prince, et al., No. 11–1197-cv.
[http://www.ca2.uscourts.gov/decisions/isysquery/f6e88b8b-48af-401c-
96a0-54d5007c2f33/1/doc/11-1197_complete_opn.pdf#xml=http://www.ca2.uscourts.gov/decisions/isysquery
/f6e88b8b-48af-401c-
96a0-54d5007c2f33/1/hilite/](http://www.ca2.uscourts.gov/decisions/isysquery
/f6e88b8b-48af-401c-
96a0-54d5007c2f33/1/doc/11-1197_complete_opn.pdf%23xml=http://www.ca2.uscourts.gov/decisions/isysquery
/f6e88b8b-48af-401c-96a0-54d5007c2f33/1/hilite/)

Craig, Carys J. (2007) ‘Symposium: Reconstructing the Author-Self: Some
Feminist Lessons for Copyright Law’, American University Journal of Gender,
Social Policy & the Law 15.2, 207–68.

Di Franco, Karen (2014) ‘The Library Medium’, in Andrea Francke and Eva
Weinmayr (eds.), Borrowing, Poaching, Plagiarising, Pirating, Stealing,
Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking,
Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating,
Translating, Cloning (London: AND Publishing), pp. 77–90.

Fitzpatrick, Kathleen (2018) ‘Generous Thinking The University and the Public
Good’, Humanities Commons,

Foster, Hal (1985) ‘(Post)modern Polemics’, in Recodings: Art, Spectacle,
Cultural Politics (Port Townsend, WA: Bay Press), pp. 121–38.

Foucault, Michel (1977) ‘What Is an Author?’, in [Donald F.
Bouchard](https://www.amazon.co.uk/s/ref=dp_byline_sr_book_2?ie=UTF8&text=Donald+F.+Bouchard
&search-alias=books-uk&field-author=Donald+F.+Bouchard&sort=relevancerank)
(ed.), Language, Counter-Memory, Practice: Selected Essays and Interviews
(Ithaca, NY: Cornell University Press), pp. 113–38.

Genette Gérard (1997) Paratexts, Thresholds of Interpretation (Cambridge:
Cambridge University Press).

Goldsmith, Kenneth (19 April 2012) ‘Richard Prince’s Latest Act

Usership (Eindhoven: Van Abbemuseum, 2013) proposing to replace the
term (media) ‘piracy’ with ‘usership’. He explains: ‘On the one hand, the most
notorious and ruthless cultural pirates today are Google and its subsidiaries
like YouTube (through the institutionalized rip-off of user-generated value
broadly known as Page-Rank), Facebook, and of course Warner Bros etc., but
also academic publishers such as the redoubtable Routledge. On the other hand,
all the user-run and user-driven initiatives like aaaaarg, or
[pad.ma](http://pad.ma), or until recently the wonderful Dr Auratheft. But,
personally, I would hesitate to assimilate such scaled-up, de-creative, user-
propelled examples with anything like “cultural piracy”. They are, through
usership, enriching what would otherwise fall prey to cultural piracy.’ Email
to the author, 1 August 2012.

See also: Andrea Francke and Eva Weinmayr (eds.), Borrowing, Poaching,
Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying,
Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using,
Counterfeiting, Repeating, Translating, Cloning (London: AND Publishing,
2014).

[83](ch11.xhtml#footnote-443-backlink) Richard Prince’s ‘Catcher in the Rye’
forms part of the Piracy Collection. Not the book copy priced at £1,500, just
an A4 colour printout of the cover, downloaded from the Internet. On the shelf
it sits next to Salinger’s copy, which we bought at Barnes and Noble for £20.

[84](ch11.xhtml#footnote-442-backlink) Craig, ‘Symposium: Reconstructing the
Author-Self’, p. 246.

[85](ch11.xhtml#footnote-441-backlink) Michel Foucault, ‘What Is an Author?’,
in [Donald F.
Bouchard](https://www.amazon.co.uk/s/ref=dp_byline_sr_book_2?ie=UTF8&text=Donald+F.+Bouchard
&search-alias=books-uk&field-author=Donald+F.+Bouchard&sort=relevancerank)
(ed.), Language, Counter-Memory, Practice: Selected Essays and Interviews
(Ithaca, NY: Cornell University Press, 1977), pp. 113–38.

[86](ch11

leaking in Sollfrank 2018

ders, the site is still available under various and changing
domain names.20

The related project Sci-Hub is an online service that processes requests for
pay-walled articles by providing systematic, automized, but unauthorized
backdoor access to proprietary scholarly journal databases. Users requesting
papers not present in LibGen are advised to download them through Sci-Hub; the
respective PDF files are served to users and automatically added to LibGen (if
not already present). According to _Nature_ magazine, Sci-Hub hosts around 60
million academic papers and was able to serve 75 million downloads in 2016. On
a daily basis 70,000 users access approximately 200,000 articles.

The founder of the meta library Sci-Hub is Kazakh programmer Alexandra
Elbakyan, who has been sued by large publishing houses and was convicted twice
to pay almost 20 million US$ in compensation for the losses her activities
allegedly have caused, which is why she had to go underground in Russia. For
illegally leaking millions of documents the _New York Times_ compared her to
Edward Snowden in 2016: “While she didn’t reveal state secrets, she took a
stand for the public’s right to know by providing free online access to just
about every scientific paper ever published, ranging from acoustics to
zymology.” 21 In the same year the prestigious _Nature_ magazine elected her
as one of the ten most influential people in science. 22 Unlike other
persecuted people, she went on the offensive and started to explain her
actions and motives in court documents and blog posts. Sci-Hub encourages new
ways of distributing knowledge, beyond any commercial interests. It provides a
radically open infrastructure thus creating an inviting atmosphere. “It is a
knowledge infrastructure that can be freely accessed, used and built upon by
anyone.”23

As both projects LibGen and Sci-Hub are based in post-Soviet countries, Balazs
reconstructed the history and spirit of Russian reading culture and brings
them into

leaking in Dekker & Barok 2017

CHIVES

initiatives, and individuals. In the early days it was modelled
on Wikipedia (which had been running for two years when
Monoskop started) and contained biographies and descriptions of events from a kind of neutral point of view. Over
the years, the geographic and thematic boundaries have
gradually expanded to embrace the arts and humanities in
their widest sense, focusing primarily on lesser-known
1
phenomena.1 Perhaps the biggest change is the ongoing
See for example
shift from mapping people, events, and places towards
https://monoskop.org/
Features. Accessed
synthesizing discourses.
28 May 2016.
A turning point occurred during my studies at the
Piet Zwart Institute, in the Networked Media programme
from 2010–2012, which combined art, design, software,
and theory with support in the philosophy of open source
and prototyping. While there, I was researching aspects of
the networked condition and how it transforms knowledge,
sociality and economics: I wrote research papers on leaking
as a technique of knowledge production, a critique of the
social graph, and on the libertarian values embedded in the
design of digital currencies. I was ready for more practice.
When Aymeric Mansoux, one of the tutors, encouraged me
to develop my then side-project Monoskop into a graduation
work, the timing was good.
The website got its own domain, a redesign, and most
crucially, the Monoskop wiki was restructured from its
2
focus on media art and culture towards the much wider
https://monoskop.org/
embrace
of the arts and humanities. It turned to a media
Symposium. Accessed
28 May 2016.
library of sorts. The graduation work also consisted of
a symposium about personal collecting and media ar3
chiving,2 which saw its loose follow-ups on media aeshttps://monoskop.org/
thetics (in Bergen)3 and on knowledge classification and
The_Extensions_of_
Many. Accessed
archives (in Mons)4 last year.
28 May 2016.

AD

https://monoskop.org/
Ideographies_of_
Knowledge. Accessed
28 May 2016.

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