mania in Fuller & Dockray 2011
s, and
then we use the classes to also figure out what texts we are going to be
reading in the future, to make new issues and new classes. So it becomes an
organising group, reading and working its way through subject matter and
material, then revisiting that library and seeing what needs to be there.
**MF:** I want to follow that kind of strand of habits of accumulation,
sorting, deferring and so on. I wonder, what is a kind of characteristic or
unusual reading behavior? For instance are there people who download the
entire list? Or do you see people being relatively selective? How does the
mania of the net, with this constant churning of data, map over to forms of
bibliomania?
**SD:** Well, in Aaaaarg it's again very specific. Anecdotally again, I have
heard from people how much they download and sometimes they're very selective,
they just see something that's interesting and download it, other times they
download everything and occasionally I hear about this mania of mirroring the
whole site. What I mean about being specific to Aaaaarg is that a lot of the
mania isn't driven by just the need to have everything; it's driven by the
acknowledgement that the source is going to disappear at some point. That
sense of impending disappearance is always there, so I think that drives a lot
of people to download everything because, you know, it's happened a couple
times where it's just gone down or moved or something like that.
**MF:** It's true, it feels like something that is there even for a few weeks
or a few months. By a sheer fluke it could last another year, who knows.
**SD:** It's a different kind of mania, and usually we get lost in this
thinking that people need to possess everything but there is this weird
preservation instinct that people have, which is slightly different. The
dominant sensibility of Aaaaarg at the beginning was the highly partial and
subjective nature to the contents and that is something I would want to
preserve, which is why I never thought it to be particularly exciting to have
lots of high quality metadata - it doesn't have the publication date, it
doesn't have all the great metadata that say Amazon might provide. The system
is pretty dismal in that way, but I don't min
mania in Weinmayr 2019
s The Piracy Lectures’,
Art Agenda,
Andersson, Jonas (2009) ‘For the Good of the Net: The Pirate Bay as a
Strategic Sovereign’, Culture Machine 10, 64–108.
Aufderheide, Patricia, Peter Jaszi, Bryan Bello and Tijana Milosevic (2014)
Copyright, Permissions, and Fair Use Among Visual Artists and the Academic and
Museum Visual Arts Communities: An Issues Report (New York: College Art
Association).
Barron, Anne (1998) ‘No Other Law? Author–ity, Property and Aboriginal Art’,
in Lionel Bently and Spyros Maniatis (eds.), Intellectual Property and Ethics
(London: Sweet and Maxwell), pp. 37–88.
Barthes, Roland (1967) ‘The Death of the Author’, Aspen, [n.p.],
Benjamin, Walter (1970) ‘The Author as Producer’ in New Left Review 1.62,
83–96.
Bently, Lionel (1994) ‘Copyright and the Death of the Author in Literature and
Law’, Modern Law Review 57, 973–86.
— Andrea Francke, Sergio Muñoz Sarmiento, Prodromos Tsiavos and Eva Weinmayr
(2014) ‘A Day at the Courtroom’, in Andrea Francke and Eva Weinmayr (eds.),
Borrowing, Poachi
Here ‘the producer is being imagined as
the origin of the product’. (Strathern, p. 156). Therefore ‘in law,
originality is simply the description of a causal relationship between a
person and a thing: to say that a work is original in law is to say nothing
more than that it originates from [can be attributed to] its creator’ (Barron,
p. 56). And conversely, in law ‘there can be no ‘copyright work’ […] without
some author who can be said to originate it’ (ibid., p. 55). Anne Barron, ‘No
Other Law? Author–ity, Property and Aboriginal Art’, in Lionel Bently and
Spyros Maniatis (eds.), Intellectual Property and Ethics (London: Sweet and
Maxwell, 1998), pp. 37–88, and Marilyn Strathern, Kinship, Law, and the
Unexpected: Relatives Are Always a Surprise (Cambridge: Cambridge University
Press, 2005).
See also Mario Biagioli’s and Marilyn Strathern’s discussion of the author-
work relationship as kinship in Mario Biagioli, ‘Plagiarism, Kinship and
Slavery’, Theory Culture Society 31.2–3 (2014), 65–91,
[8](ch11.xhtml#footnote-518-backlink) US Copyright Law, Article 17, §102 (a),
amendment 2016,[
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