bently in Mars & Medak 2019


ertainment became the owner of two (MGM, Columbia Pictures) out of eight Golden Age major movie studios (“Major Film Studio,” Wikipedia 2015).

3

In 2012 Sony Music Entertainment is one of the Big Three majors (“Record
Label,” Wikipedia 2015).

4

Since this anecdote was recounted by Marcell in his opening keynote in the
Terms of Media II conference at Brown University, we have received another
batch of takedown notices from the MIT Press. It seemed as no small irony,
because at the time the Terms of Media conference reader was rumored to be
distributed by the MIT Press.

5

“In law, authorship is a point of origination of a property right which, thereafter, like other property rights, will circulate in the market, ending up in the
control of the person who can exploit it most profitably. Since copyright serves
paradoxically to vest authors with property only to enable them to divest that
property, the author is a notion which needs only to be sustainable for an
instant” (Bently 1994).

6

For more on the formal freedom of the laborer to sell his labor-­power, see
chapter 6 of Marx’s Capital (1867).

7

For a more detailed account of the history of printing privilege in Great Britain,
but also the emergence of peer review out of the self-­censoring performed by
the Royal Academy and Académie de sciences in return for the printing privilege, see Biagioli 2002.

8

The transition of authorship from honorific to professional is traced in Woodmansee 1996.

9

Not all publishers are necessarily predatory. For instance, scholar-­led open-­
access publishers, such as those working under the banner of Radical Open
Access (http://radicaloa.disruptivemedia.org) have been experimenting with
alternatives to the dominant publishing models, workflows, and metrics, radicalizing the work of conventional open access, which has by now increasingly
become recuperated by big for-­profit publishers, who see in open access an
opportunity to assume the control over the econo


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