tang in Tenen & Foxman 2014
ey remain active members of the research group.
In accordance with these principles and following the practice of
scholars like Balazs Bodo ^[9](#fn-2025-9){#fnref-2025-9}^, Eric Priest
^[10](#fn-2025-10){#fnref-2025-10}^, and Ramon Lobato and Leah Tang
^[11](#fn-2025-11){#fnref-2025-11}^, we redact the names of file sharing
services and user names, where such names are not made explicitly public
elsewhere.
**Centralization**
We begin with the intuition that all infrastructure is social to an
exte
nformation.^[23](#fn-2025-23){#fnref-2025-23}^
But, being a cyberlocker-based service, *Gigapedia* did not succeed in
cultivating a meaningful sense of a community (even though it supported
a forum for brief periods of its existence). As Lobato and Tang
^[24](#fn-2025-24){#fnref-2025-24}^ write in their paper on
cyberlocker-based media distribution systems, cyberlockers in general
"do not foster collaboration and co-creation," taking an "instrumental
view of content hosted on their
sites."^[25](#fn-2025-25){#fnref-2025-25}^ Although not strictly a
cyberlocker, *LNU/Gigapedia* fit the profile of a passive,
non-transformative site by these criteria. For Lobato and Tang, the
rapid disappearance of many prominent cyberlocker sites underscores the
"structural instability" of "fragile file-hosting
ecology."^[26](#fn-2025-26){#fnref-2025-26}^ In our case, it would be
more precise to say that cyberlocker architecture hig
the
Law to Lock Down Culture and Control Creativity*. The Penguin Press,
2004.
Liang, Lawrence. "Shadow Libraries E-Flux," last edited 2012 and
archived on October 14, 2014.
http://www.e-flux.com/journal/shadow-libraries/.
Lobato, Ramon, and Leah Tang. "The Cyberlocker Gold Rush: Tracking the
Rise of File-Hosting Sites as Media Distribution Platforms."
*International Journal of Cultural Studies*, November 2013.
Losowsky, Andrew. "Book Downloading Site Targeted in Injunctions
Requested by 17 Publi
Economies* (Social
Science Research Network, March 2011),
[http://piracy.americanassembly.org/the-report/](“http://piracy.americanassembly.org/the-report/”), I.
[[↩](#fnref-2025-23)]{.footnotereverse}]{#fn-2025-23}
24. [Lobato and Tang, "The Cyberlocker Gold Rush."
[[↩](#fnref-2025-24)]{.footnotereverse}]{#fn-2025-24}
25. [Lobato and Tang, "The Cyberlocker Gold Rush," 9.
[[↩](#fnref-2025-25)]{.footnotereverse}]{#fn-2025-25}
26. [Lobato and Tang, "The Cyberlocker Gold Rush," 7.
[[↩](#fnref-2025-26)]{.footnotereverse}]{#fn-2025-26}
27. [GIMEL/viewtopic.php?f=8&t=169; GIMEL/viewtopic.php?f=17&t=299.
[[↩](#fnref-2025-27)]{.footnotereverse}]{#fn-2025-27}
28. [GIMEL/viewtopic.php?f=17
tang in Marczewska, Adema, McDonald & Trettien 2018
29th of October the annual Open Access
Week took place, an international advocacy event focused on open access and
related topics. The theme of 2017’s Open Access week was ‘open in order to…’,
prompting participants to explore the concrete, tangible benefits of openness
for scholarly communication and inviting them to reflect on how openness can
make things possible. Behind this prompt, however, lies a wider discussion on
whether openness is a value that is an end in itself, that is intrinsi
lerated.
The academy’s stylistic strip-down has served to puncture
the unseemly bloat that had disfigured its prose. But its
sweeping injunction against incomprehensibility bears with
it other casualties. As we slim and trim our texts, cutting
any tangents that distract from the argument’s main thrust,
we unwittingly excise writing’s other gaits—those twists,
roils, and scintillating leaps that Eric Hayot, in his recent
rejoinder to academic style guides, so beautifully describes
as ‘gyrati
sentence
fragment, or its vaulting span in the photo quote. These
snags in intelligibility are not evidence of an elitist desire to
exclude, but are precisely the moments in which the decorous
surface of a text cracks open to offer a glimpse of the tangled
expanses beneath. To experience them as such, the reader
must sacrifice her grip on a text’s argument and allow herself
to be swept up in the muddy momentum of its dance. Caught
amidst a piece’s movements, the reader trades intellectual
insigh
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