Elbakyan
Why Science is Better with Communism The Case of Sci-Hub transcript and translation
2016
# Transcript and translation of Sci-Hub presentation
_The University of North Texas 's [Open Access Symposium
2016](/symposium/2016/) included [a presentation via Skype by Alexandra
Elbakyan](/symposium/2016/why-science-better-communism-case-sci-hub), the
founder of Sci-Hub. [Elbakyan's
slides](http://digital.library.unt.edu/ark:/67531/metadc850001/) (and those of
other presenters) have been archived in the UNT Digital Library, and [video of
this presentation](https://youtu.be/hr7v5FF5c8M) (and others) is now available
on YouTube and soon in the UNT Digital Library._
_The presentation was entitled "Why Science is Better with Communism? The Case
of Sci-Hub." Below is an edited transcript of the presentation produced by
Regina Anikina and Kevin Hawkins, with a translation by Kevin Hawkins and Anna
Pechenina._
**Martin Halbert** : We have a recent addition to our lineup of speakers that
we'll start off the day with: Alexandra Elbakyan. As many of you know,
Alexandra is a Kazakhstani graduate student, computer programmer, and the
creator of the controversial Sci-Hub site. The New York Times has compared her
to Edward Snowden for leaking information and because she avoids American law,
but Ars Technica has compared her to Aaron Swartz--so a controversial figure.
We thought it was very important to include her in the dialog about open
access because we want, in this symposium series, to include all the different
perspectives on copyright, intellectual property, open access, and access to
scholarly information. So I'm delighted that we're actually able to have her
here via Skype to present.
---
**Alexandra Elbakyan** : First of all, thank you for inviting me to share my
views. My name is Alexandra. As you might have guessed, I represent the site
Sci-Hub. It was founded in 2011 and immediately became popular among the local
community, almost immediately began providing access to about 40 articles an
hour and now providing more than 200,000.
It has to be said that over the course of the site's development it was
strongly supported by donations, and when for various reasons we had to
suspend the service, there were many displeased users who clamored for the
project to return so that the work in their laboratory could continue.
This is the case not just in poor countries; I can say that in rich countries
the public also doesn't have access to scholarly articles. And not all
universities have subscriptions to those resources that are required for
research.
A few of our users insisted that we start charging users, for example, by
allowing one or two articles to be downloaded for free but charging for more,
so that the service would be supported by those who really need it. But I
didn't end up doing that because the goal of the resource is knowledge for
all.
Certain open-access advocates criticize the site, saying that what we really
need is for articles to be in open access from the start, by changing the
business models of publishers. I can respond by saying that the goal of the
project is first and foremost the dissemination of scholarly knowledge in
society, and we have to work in the conditions we find ourselves in. Of
course, if scholarly publishers had a different business model, then perhaps
this project wouldn't be necessary. We can also imagine that if humans had
wings, we wouldn't need airplanes. But in any case we need to fly, so we make
airplanes.
Scholarly publishers quickly dubbed the work of Sci-Hub as piracy. Admittedly
Sci-Hub violates the laws of copyright, but copyright is related to the rights
of intellectual property. That is, scholarly articles are the property of
publishers, and reading them for free turns out to be something like theft
according to the current law.
The concept of intellectual property itself is not new, although it can seem
otherwise. The history of copyright goes back to around the 18th century,
although the first mentions of something similar can be found in the Talmud.
It's just that recently copyright has been found at the center of passionate
debate since some are trying to forbid the free distribution of information in
the internet.
However, the central focus of the debate is on censorship and privacy. The
defense of intellectual property in the internet requires censorship of
websites, and that is consequently a violation of freedom of speech. This also
raises a question of interference in private life - that is, when the
government in some way monitors users who violate copyright. In principle this
is also an intrusion in communication.
However, the very essence of copyright - that is, the concept of intellectual
property - is almost never questioned. That is, whether knowledge can be
someone's property is rarely discussed.
However, our ancestors were even more daring. They did not just question
intellectual property but property in general. That is, there are works in
which we can find the appearance of the idea of communism. There's Thomas
More's _Utopia_ from the 16th century, but actually such works arose much
earlier, even in Ancient Greece where these questions were already been
discussed in 391 BCE.
If we look at the slogans of communism, we see that one of the core concepts
is the struggle against inequality, the revolt of the suppressed classes,
whose members don't have any power against those who have concentrated basic
resources and power in their hands, with the goal of redistributing these
resources.
We can see that even today there is a certain informational inequality, when,
for example, only students and employees of the most wealthy universities have
full access to scholarly information, while access can be completely lacking
for institutions at the next lower tier and for the general public.
An idea arises: if there isn't private property, then there's no basis for
unequal distribution of wealth. In our case as well: if there's no private
intellectual property and all scholarly publications are nationalized, then
all people will have equal access to knowledge.
However, a question arises: if there is no private property, then what can
stimulate a person to work? One of the ideas is that under communism, rather
than greed or aspiration for wealth being a stimulus for work, a person would
aspire to self-development and learning for the betterment of the world.
Even if such values can't be applied to society as a whole, they at least work
in the world of scholarship. Therefore in the Soviet Union there was a true
cult of science - statues were even erected to the glory of science - and
perhaps thanks to this our country was one of the first to go into space.
However, it's one thing to have a revolution, when there's a mass
redistribution of property in society, but an act of theft is another thing.
This, of course, is not yet a revolution, but it's a small protest against the
property rights and the unequal distribution of wealth. Theft as protest has
always been welcomed and approved of in all eras of society. For example, we
all know about Robin Hood, but there have actually been quite a few noble
bandits in history. I've listed just a few of them.
I think that if the state works well, then accordingly it has a working tax
system and a certain system of redistribution of wealth, and then,
accordingly, there's no cause for revolution, for example. But if for some
reasons the state works poorly, then people begin to solve the problem for
themselves. In this way, Sci-Hub is an appropriate response to the inequality
that has arisen due to lack of access to information.
Pictured is Aldar Köse, a Kazakh folk hero who used his cunning to deceive
wealthy beys and take possession of their property. It's interesting to note
that beys are always depicted as greedy and stupid. And if you look at what's
written in the blogosphere today about scholarly publishers, you can find
these same characteristics.
There's also the interesting figure of the ancient Greek god Hermes, the
patron of thieves. That is, theft was a sufficiently respected activity that
it had its own god.
There's a researcher named Norman Brown who wrote an academic work called
_Hermes the Thief: The Evolution of a Myth_. It turns out that this myth is
related to a certain revolution in ancient Greek society, when the lower
classes, which lacked property, began to rise up.
For example, the poet Theognis of Megara wrote that "those who were nothing
became everything" and vice versa. This is essentially one of the most well-
known communist slogans.
For the ancient Greeks this was related, again as Brown says, to the
appearance of trade. Trade was identified with theft. There was no clear
distinction between the exchange of legal and illegal goods - that is, trade
was just as much considered theft as what we call piracy today.
Why did it turn out this way? Because Hermes was originally a god of
boundaries and transitions. Therefore, we can think that property is related
to keeping something within boundaries. At the same time, the things that
Hermes protected - theft, trade and communication - are related to boundary-
crossing.
If we think about scholarly journals, then any journal is first of all a means
of communication, and therefore it's apparent that keeping journals in closed
access contradicts the essence of what they were intended for.
This is, of course, not even the most interesting thing.
Hermes actually evolved - that is, while he was once an intellectual deity, he
later came to be interpreted as the same as Thoth, the Egyptian god of
knowledge, and further came to oversee such things as astrology, alchemy, and
magic - that is, the things from which, you might say, contemporary sciences
arose. So we can say that contemporary science arose from theft.
Of course, someone can object, saying that contemporary science is very
different from esoterica, such as astrology and alchemy, but if we look at the
history of science, we see that contemporary science differs from the ancient
arts in the former being more open.
That is, when the movement towards greater openness appeared, contemporary
science also appeared. Once again this is not an argument in support of
scholarly publishers.
Indeed, in the cultural consciousness science and the process of learning have
always been closely associated with theft, beginning with the legend of Adam
and Eve and the forbidden tree, which is called simply "the tree of
knowledge." And it's interesting that Elsevier's logo depicts some kind of
tree, which, accordingly, raises associations with this tree in the Garden of
Eden - the tree of knowledge - from which it was forbidden to eat the fruit.
Likewise we can recall the well-known legend of Prometheus, a part of our
cultural consciousness, who stole some knowledge and brought it to humans.
Once again we see the connection between science and theft.
Nowadays, many scholars have described science as the knowledge of secrets.
However, if we look closely, we have to ask: what is a secret? A secret is
something private, in essence private property. Accordingly, the disclosure of
the secret signifies that it ceases to be property. Once again we see the
contradiction between scholarship and property rights.
We can recall Robert Merton, who studied research institutes and revealed four
basic ethical norms that in his opinion are important for their successful
functioning. One of them is communism - that is, knowledge is shared.
Accordingly, if we look at certain traditional communities, then we find that
those communities that function within a caste system (dividing people by
occupation) usually turn out to have certain castes of people with
intellectual occupations, and if you look at the ethical norms of such castes,
you find that they are also communistic. You can find this, for example, in
Plato. Or even if you look at India, you find the accumulation of wealth is
usually the occupation of another caste.
To sum up, we have the following take-aways. Science, as a part of culture, is
in conflict with private property. Accordingly, scholarly communication is a
dual conflict. What open access is doing is returning science to its essential
roots.
**Audience question** : I'm a former university press director. I'd just like
to point out also that "property is theft" is the watchword of French
anarchism, a famous phrase from Pierre-Joseph Proudhon, so perhaps anarchism
and science are also inseparable. But my main question really has to do with a
challenge that a librarian named Rick Anderson posted on the Scholarly Kitchen
blog two days ago, and that has to do with the fact that evidently Sci-Hub
relies a lot on the access codes that faculty have given to Sci-Hub in one way
or another so that Sci-Hub can gain access to the electronic materials that it
then uses to post on its own site. What Anderson does is points out that if
that information falls into the wrong hands, there are all sorts of terrible
things that can be done because those access codes provide access to personal
information, to student data, to all sorts of other things that could be badly
misused, so my question to you is what assurances can you give us that that
kind of information will not fall into the wrong hands.
**Elbakyan** : Well, first of all I doubt that it's possible to gain access to
all the information that is listed in the post on the Scholarly Kitchen. As a
rule, these logins and passwords can only be used for access to the proxy
server through which you can download articles, whereas for access to other
things, such as email, the login and password won't work. [ _Audience reacts
with skepticism._ ]
**Audience question** : Earlier this week a number of us participated in a
panel presentation on scholarly publishing and social justice, and one of the
primary points that came out of that was that the people who create the
published product - not necessarily the scientist but the people who actually
do the work that results in the published product - deserve to be paid for
their labor, and there is definitely labor involved. So if you're replacing
the market for these publications and eliminating these people's opportunities
to make money, where is the appropriate distribution of wealth.
**Elbakyan** : First of all, we shouldn't confuse the compensation that a
person receives for their labor with the excessive profits that publishers
wring out by limiting access to information. For example, Sci-Hub also does a
fair amount of work and has high expenses, but these expenses are for some
reason covered by donations - that is, there's no need to close access to
information - that is, it's a red herring to say that if articles are
distributed for free, people won't have anything to eat. One does not follow
from the other. In my opinion, though, an optimal system for funding would
consist of grants, donations, and membership fees.
**Audience question** : You've spoken so far exclusively about Sci-Hub. I
wonder if you could comment just briefly on LibGen and whether you see the two
models as identical or whether there are any material differences between
LibGen and Sci-Hub.
**Elbakyan** : Well, LibGen is primarily a repository. It doesn't download
new articles but is more aimed at preserving that which has already been
downloaded.
Hamerman
Pirate Libraries and the Fight for Open Information
2015
| | SEPTEMBER 11TH, 2015 | A BI-WEEKLY WEBPAPER | ISSUE 61
|
---|---|---|---|---
PIRATE LIBRARIES and the fight for open information
/ by _Sarah Hamerman_ |
In a digital era that destabilizes traditional notions of intellectual
property, cultural producers must rethink information access.
Over the last several years, a number of _pirate libraries_ have done just
that. Collaboratively run digital libraries such as
[_Aaaaaarg_](http://aaaaarg.fail/),
_[Monoskop](http://www.monoskop.org/Monoskop)_ , _[Public
Library](https://www.memoryoftheworld.org/)_ , and
_[UbuWeb_](http://www.ubuweb.tv/) have emerged, offering access to humanities
texts and audiovisual resources that are technically ‘pirated’ and often hard
to find elsewhere.
Though these sites differ somewhat in content, architecture, and ideological
bent, all of them disavow intellectual copyright law to varying degrees,
offering up pirated books and media with the aim of advancing information
access.
“Information wants to be free,” has served as a catchphrase in recent internet
activism, calling for information democracy, led by media, library and
information advocates.
As online information access is increasingly embedded within the networks of
capital, the digital text-sharing underground actualizes the Internet’s
potential to build a true information commons.
With such projects, the archive becomes a record of collective power, not
corporate or state power; the digital book becomes unlocked, linkable, and
shareable.
Still, these sites comprise but a small subset of the networks of peer-to-peer
file sharing. Many legal battles waged over the explosion of audiovisual file
sharing through p2p services such as Napster, BitTorrent and MediaFire. At its
peak, Napster boasted over 80 million users; the p2p music-sharing service was
shut down after a high-profile lawsuit by the RIAA in 2001.
The US Department of Justice brought charges against open access activist
_[Aaron Swartz](http://www.fvckthemedia.com/issue51/editorial)_ in 2011 for
his large-scale unauthorized downloading of files from the JStor Academic
database. Swartz, who sadly committed suicide before his trial, was an
organizer for Demand Progress, a campaign against the Stop Online Piracy Act,
which was defeated in 2012. Swartz’s actions and the fight around SOPA
represent a benchmark in the struggle for open-access and anti-copyright
practices surrounding the digital book.
Aaaaaarg, Monoskop, UbuWeb and Public Library are representative cases of the
pirate library because of their explicit engagement with archival form, their
embrace of ideas of the _[digital commons](https://en.wikipedia.org/wiki/Digital_Commons)_ within current left-leaning thought, and their like-minded focus on critical theory and the arts.
All of these projects lend themselves to be considered _as libraries_ ,
retooled for open digital networks.
_Aaaaaarg.org_ , started by Los Angeles based artist Sean Dockray, hosts
full-text pdfs of over 50,000 books and articles. The library is connected to a an
alternative education project called the Public School, which serves as a
platform for self-organizing lectures, workshops and projects in cities across
the globe. _Aaaaaarg_ ’s catalog is viewable by the public, but
upload/download privileges are restricted through an invite system, thus
circumventing copyright law.
The site is divided into a “Library,” in which users can search for texts by
author; “Collections,” or user-generated grouping of texts designed for
reading groups or research interests; and “Discussions,” a message board where
participants can request texts and volunteer for working groups. Most
recently, _Aaaaaarg_ has introduced a “compiler” tool that allows readers to
select excerpts from longer texts and assemble them into new PDFs, and a
reading tool that allows readers to save reference points and insert comments
into texts. Though the library is easily searchable, it doesn’t maintain
high-quality _[metadata](https://en.wikipedia.org/wiki/Metadata)_. Dockray and
other organizers intend to preserve a certain subjective and informal quality,
focusing more on discussion and collaboration than correct preservation and
classification practice.
_Aaaaaarg_ has been threatened with takedowns a few times, but has survived by
creating mirrored sites and reconstituted itself by varying the number of A’s
in the URL. Its shifts in location, organization, and capabilities reflect
both the decentralized, ad-hoc nature of its maintenance and the organizers’
attempts to elude copyright regulations. Text-sharing sites such as _Aaaaaarg_
have also been referred to as _[shadow
libraries_](http://supercommunity.e-flux.com/texts/sharing-instinct/),
reflecting their quasi-covert status and their efforts to evade shutdown.
Monoskop.org, a project founded by media artist _[Dušan
Barok](http://monoskop.org/Du%C5%A1an_Barok)_ , is a wiki for collaborative
studies of art, media and the humanities that was born in 2004 out of Barok’s
study of media art and related cultural practices. Its significant holdings -
about 3,000 full-length texts and many more excerpts, links and citations -
include avant-garde and modernist magazines, writings on sound art, scanned
illustrations, and media theory texts.
As a wiki, any user can edit any article or upload content, and see their
changes reflected immediately. Monoskop is comprised of two sister sites: the
Monoskop wiki and Monoskop Log, the accompanying text repository. Monoskop Log
is structured as a Wordpress site with links hosted on third-party sites, much
like the rare-music download blogs that became popular in the mid-2000s.
Though this architecture is relatively unstable, links are fixed on-demand and
site mirroring and redundancy balance out some of the instability.
Monoskop makes clear that it is offering content under the fair-use doctrine
and that this content is for personal and scholarly use, not commercial use.
Barok notes that though there have been a small number of takedowns, people
generally appreciate unrestricted access to the types of materials in Monoskop
log, whether they are authors or publishers.
_Public Library_ , a somewhat newer pirate library founded by Croatian
Internet activist and researcher Marcell Mars and his collaborators, currently
offers a collection of about 6,300 texts. The project frames itself through a
utopian philosophy of building a truly universal library, radically extending
enlightenment-era conceptions of democracy. Through democratizing the _tools
of librarianship_ – book scanning, classification systems, cataloging,
information – it promises a broader, de-institutionalized public library.
In __[Public Library: An
Essay](https://www.memoryoftheworld.org/blog/2014/10/27/public-library-an-essay/#sdendnote19sym)__ , Public Library’s organizers frame p2p libraries as
“fragile knowledge infrastructures built and maintained by brave librarians
practicing civil disobedience which the world of researchers in the humanities
rely on.” This civil disobedience is a politically motivated refutation of
intellectual property law and the orientation of information networks toward
venture capital and advertising. While the pirate libraries fulfill this
dissident function as a kind of experimental provocation, their content is
audience-specific rather than universal.
_[UbuWeb](http://www.ubuweb.com/resources/index.html)_ , founded in 1996 by
conceptual artist/ writer Kenneth Goldsmith, is the largest online archive of
avant-garde art resources. Its holdings include sound, video and text-based
works dating from the historical avant-garde era to today. While many of the
sites in the “pirate library” continuum source their content through
community-based or peer-to-peer models, UbuWeb focuses on making available out
of print, obscure or difficult to access artistic media, stating that
uploading such historical artifacts doesn’t detract from the physical value of
the work; rather, it enhances it. The website’s philosophy blends the utopian
ideals of avant-garde concrete poetry with the ideals of the digital gift
economy, and it has specifically refused to accept corporate or foundation
funding or adopt a more market-oriented business model.
**Pirate Libraries vs. “The Sharing Economy”**
In pirate libraries, information users become archive builders by uploading
often-copyrighted content to shared networks.
Within the so-called “ _[sharing
economy](https://en.wikipedia.org/wiki/Sharing_economy)_ ,” users essentially
lease e-book content from information corporations such as Amazon, which
markets both the Kindle as platform. This centralization of intellectual
property has dire impacts on the openness of the digital book as a
collaborative knowledge-sharing device.
In contrast, the pirate library actualizes a gift economy based on qualitative
and communal rather than monetized exchange. As Mackenzie Wark writes in _A
Hacker Manifesto_ (2004), “The gift is marginal, but nevertheless plays a
vital role in cementing reciprocal and communal relations among people who
otherwise can only confront each other as buyers and sellers of commodities.”
From theorizing new media art to building solidarity against repressive
regimes, such communal information networks can crucially articulate shared
bodies of political and aesthetic desire and meaning. According to author
Matthew Stadler, literature is by nature communal. “Literature is not owned,”
he writes. “It is, by definition, a space of mutually negotiated meanings that
never closes or concludes, a space that thrives on — indeed requires — open
access and sharing.”
In a roundtable discussion published in _New Formations_ , _Aaaaaarg_ founder
Sean Dockray remarks that the site “actively explored and exploited the
affordances of asynchronous, networked communication,” functioning upon the
logic of the hack. Dockray continues: “But all of this is rather commonplace
for what’s called ‘piracy,’ isn’t it?” Pirate librarianship can be thought of
as a practice of civil disobedience within the stringent information
environment of today.
These projects promise both the realization and destruction of the public
library. They promote information democracy while calling the _professional_
institution of the Library into question, allowing amateurs to upload,
catalog, lend and maintain collections. In _Public Library: An Essay_ , Public
Library’s organizers _[write](https://www.memoryoftheworld.org/blog/2014/10/27
/public-library-an-essay/)_ : “With the emergence of the internet…
librarianship has been given an opportunity… to include thousands of amateur
librarians who will, together with the experts, build a distributed peer-to-peer network to care for the catalog of available knowledge.”
Public Library frames amateur librarianship as a free, collaboratively
maintained and democratic activity, drawing upon the language of the French
Revolution and extending it for the 21st century. While these practices are
democratic in form, they are not necessarily democratic in the populist sense;
rather, they focus on bringing high theoretical discourses to people outside
the academy. Accordingly, they attract a modest but engaged audience of
critics, artists, designers, activists, and scholars.
The activities of Aaaaaarg and Public Library may fall closer to ‘ _[peer
preservation](http://computationalculture.net/article/book-piracy-as-peer-preservation)_ ’
than ‘peer production,’ as the desires to share information
widely and to preserve these collections against shutdown often come into
conflict. In a _[recent piece](http://supercommunity.e-flux.com/texts/sharing-instinct/)_ for e-flux coauthored with Lawrence Liang, Dockray accordingly
laments “the unfortunate fact that digital shadow libraries have to operate
somewhat below the radar: it introduces a precariousness that doesn’t allow
imagination to really expand, as it becomes stuck on techniques of evasion,
distribution, and redundancy.”
UbuWeb and Monoskop, which digitize rare, out-of-print art texts and media
rather than in-print titles, can be said to fulfill the aims of preservation
and access. UbuWeb and Monoskop are openly used and discussed as classroom
resources and in online arts journalism more frequently than the more
aggressively anti-copyright sources; more on-the-record and mainstream
visibility likely -- but doesn’t necessarily -- equate to wider usage.
**From Alternative Space to Alternative Media**
Aaaaaarg _[locates itself as a
‘scaffolding’](http://chtodelat.org/b9-texts-2/vilensky/materialities-of-independent-publishing-a-conversation-with-aaaaarg-chto-delat-i-cite-mute-and-neural/)_ between institutions, a platform that unfolds between institutional
gaps and fills them in, rather than directly opposing them. Over ten years
after it was founded, it continues to provide a community for “niche”
varieties of political critique.
Drawing upon different strains of ‘alternative networking,’ the digital
text-sharing underground gives a voice to those quieted by the mechanisms of
institutional archives, publishing, and galleries. On the one hand, pirate
libraries extend the logic of alternative art spaces/artist-run spaces that
challenge the “white cube” and the art market; instead, they showcase ways of
making that are often ephemeral, performative, and anti-commercial.
Lawrence Liang refers to projects such as Aaaaaarg as “ _[ludic
libraries](http://supercommunity.e-flux.com/texts/sharing-instinct/)_ ,” as
they encourage a sense of intellectual play that deviates from well-
established norms of utility, seriousness, purpose, and property.
Just as alternative, community-oriented art spaces promote “fringe” art forms,
the pirate libraries build upon open digital architectures to promote “fringe”
scholarship, art, technological and archival practices. Though the comparison
between physical architecture and virtual architecture is a metaphor here, the
impact upon creative communities runs parallel.
At the same time, the digital text-sharing underground builds upon Robert W.
McChesney’s calls in _Digital Disconnect_ for a democratic media system that
promotes the expansion of public, student and community journalism. A truly
heterogeneous media system, for McChesney, would promote a multiplicity of
opinions, supplementing for-profit mass media with a substantial and varied
portion of nonprofit and independent media.
In order to create a political system – and a media system – that reflects
multiple interests, rather than the supposedly neutral status quo, we must
support truly free, not-for-profit alternatives to corporate journalism and
“clickbait” media designed to lure traffic for advertisers. We must support
creative platforms that encourage blending high-academic language with pop-
culture; quantitative analysis with art-making; appropriation with
authenticity: the pirate libraries serve just these purposes.
Pirate libraries help bring about what Gary Hall calls the “unbound book” as
text-form; as he writes, we can perceive such a digital book “as liquid and
living, open to being continually updated and collaboratively written, edited,
annotated, critiqued, updated, shared, supplemented, revised, re-ordered,
reiterated and reimagined.” These projects allow us to re-imagine both
archival practices and the digital book for social networks based on the gift.
Aaaaaarg, Monoskop, UbuWeb, and Public Library build a record of critical and
artistic discourse that is held in common, user-responsive and networkable.
Amateur librarians sustain these projects through technological ‘hacks’ that
innovate upon present archival tools and push digital preservation practices
forward.
Pirate libraries critique the ivory tower’s monopoly over the digital book.
They posit a space where alternative communities can flourish.
Between the cracks of the new information capital, the digital text-sharing
underground fosters the coming-into-being of another kind of information
society, one in which the historical record is the democratically-shared basis
for new forms of knowledge.
From this we should take away the understanding that _piracy is normal_ and
the public domain it builds is abundant. While these practices will continue
just beneath the official surface of the information economy, it is high time
for us to demand that our legal structures catch up.