View source for Project 3 * The Piracy Project

{{Interlink|5_Reflection,_theorization_of_projects#The_Piracy_Project|see chapter 05*Reflection, theorization of projects: The Piracy Project}}

The Piracy Project (PP) is the third of the five projects that I submit for this PhD. Again, what follows is a quick overview. It lists the elements and steps – including short factual descriptions – that Andrea Francke and I have taken during the five years we were actively engaged in the project. A detailed reflection on the ways the PP explored enclosures in knowledge practices is provided in chapter 05*Reflection and theorization of projects. The pink text in the right-hand column is Andrea's voice, who in this form, added her perspective and reflections on the project. This comment feature – specifically coded for this kappa by Varia, Rotterdam – allows for those who have equal stakes in the projects to be present, and comment. This is an ongoing thread throughout this Wiki. I was keen to have the form of the writing mirror the poli-vocality that characterized the practice.</br></br>

= Starting point and context: Byam Shaw School of Art Library closure =

[[File:Piracy Project Byam Shaw Reading Room Co-op-Abake poster.jpg|450px|thumb|left|link=|Byam Shaw Reading Room Co-op. Poster designed by Åbäke, London 2010.]]


The Piracy Project started at Byam Shaw School of Art as a response to restrictive university policies: in 2010, the university management announced its plan to close the Byam Shaw School of Art library due to a merger with Central Saint Martins, University of the Arts London.{{Annotation|Byam Shaw}} Students were advised to visit the library on the main campus in the city center. In a joint effort, students and staff – supported by the acting principal – turned Byam Shaw's art college library into a self-organized and self-governed library that remained public, and intellectually and socially generative. There was not a clear-cut question that triggered TPP at this point. It was rather a political situation at the art school and the desire to organize against it – as well as Andrea Francke's parallel and puzzling discovery of specific cases of book piracy in Peru, where pirates had started to alter and amend the plot of some fiction books anonymously.

[[File:Piracy Project Byam Shaw Fight the cuts demo lowres.jpg|450px|thumb|left|link=| Fight the Cuts Demo London, March 2010.]]
<br clear=all>
<br/>
<br/>

=Open Call for copied, modified, emulated, annotated books=
{{Outerlink|https://www.art-agenda.com/announcements/187996/n-a|see Piracy Project announcement: Art-Agenda newsletter}}
[[File:Piracy Project Open Call Poster.jpg|thumb|left|450px|link=|Piracy Project Open Call Poster circulated at educational and cultural spaces across London, 2011.]] 
</ul></div> 

The open call {{Annotation|AF Open Call}} circulated locally via printed posters and flyers, on AND Publishing's website, and internationally, through an art-agenda newsletter. This also announced "The Pirate Lectures", a series of talks with artists, lawyers, journalists, writers, artists, and independent publishers exploring the topic of book piracy from different perspectives.
The international announcement stated:
"Andrea Francke & AND Publishing would like to invite you to contribute to The Piracy Project, an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.
With a series of talks from guest speakers, workshops, and an open call for pirated book projects to add to a Piracy Collection, we aim to develop a critical and creative platform for issues raised by acts of cultural piracy. After a period of research and production at Byam Shaw Reading Room in London, this unique collection of books will travel to international venues in 2011.
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying / re-editing / translating / paraphrasing / imitating / re-organizing / manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way, it is handled."<br clear=all>
[[File:Piracy Project Open call announcement art agenda.jpg|thumb|none|450px|link=https://www.art-agenda.com/announcements/187996/n-a||AND Publishing announcement on art agenda newsletter, 4 May 2011.]]
[[File:Piracy Project Open Call Leaflet.jpg|thumb|none|450px|link=|The Piracy Project info package, 2011, included: the project description, a photocopy of Jorge Louis Borges's short story 'Pierre Menard, Author of the Quixote', an index card with contact details.]] 

[[File:Piracy Project open call.jpg|thumb|none|450px]]

<br clear=all>

= Searchable online catalog=

{{Outerlink|http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|see project 3* Piracy Project: Searchable Online Catalog}}
[[File:Piracy Project Searchable Online Catalogue.jpg|450px|left|thumb|link=http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|The Piracy Project, [http://andpublishing.org/PublicCatalogue/PCat_thumbs.php '''searchable online catalogue.'''] ]]

The local, national and international entries that we received (i) from students, staff and alumni at the art school, (ii) sent to us from across the world or (iii) found through our research and residencies in Peru, China, and Turkey{{Annotation|AF Catalogue}} are cataloged on a searchable online database. The catalog descriptions, created in collaboration with writer John Moseley, provide selected metadata as well as the strategies of reproduction, modification, and distribution used by the respective pirate. The catalog lists the title, author (= pirate), date, publisher (= pirate), format, print technique, source (the book that had been copied), and context of the activity (as far as we are aware of it).
<br clear=all>

<br/>
<br/>

=Reading Rooms organized=


[[File:Piracy Project Byam Shaw Pirate Lectures and Lab announcement.jpg|thumb|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|left|450px|Piracy Project at Byam Shaw School of Art Library, London, May–June 2011.]]

The first and longest-running reading room was at Byam Shaw School of Art Library (2010–12). Situated as part of a politicized community of practice during these years the major part of the books was brought together through a shared struggle to oppose government funding cuts and the planned closure of the art school library, as detailed above. After the Byam Shaw library was eventually closed, The Showroom hosted the PP in the form of a one-year residency. With Arts Council funding we organized a set of workshops and talks at the Showroom (see below). Following this, a range of cultural institutions invited the PP to install temporary reading rooms in their exhibition premises. From this point, the project started to "tour" to different venues, contexts and communities, a development that changed the way the project operated, and which I discuss in the chapter  05*Reflection, theorization of projects. 
<br clear=all>
<div><ul>
<li style="display: inline-block; padding:5px"> [[File:Piracy Project NYABF.jpg|thumb|none|450px|link=https://www.e-flux.com/announcements/35145/the-ny-art-book-fair/|Piracy Project Reading Room, New York Art Book Fair, MoMA PS1, New York. September 30 – October 2, 2011.]] </li>{{Annotation|AF PS1}}

<li style="display: inline-block; padding:5px"> [[File:Piacy Project SALT Istanbul lr.jpg|thumb|none|450px|link=https://saltonline.org/en/274/the-piracy-project|Piracy Project Reading Room, SALT Research Galata, Istanbul (in former bank vault). Curated by Joseph Redwood Martinez. March 6–30, 2012.]] </li>

<li style="display: inline-block; padding:5px"> [[File:Piracy Project The Showroom Casco GDR 1654 lowres.jpg|thumb|none|450px|link=https://www.theshowroom.org/exhibitions/the-grand-domestic-revolution-goes-on| Piracy Project Reading Room, "The Grand Domestic Revolution Goes On", The Showroom London, September 12 – October 27, 2012. <br/> In collaboration with Casco Utrecht. In the organizers' words: The Grand Domestic Revolution (GDR) is an ongoing "living research" project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.]] </li>

<li style="display: inline-block; padding:5px"> [[File:Piracy Project Graz Truth is Concrete Wage for work.jpg|thumb|none|450px|link=http://truthisconcrete.org/programme/programme.php|Contibution by Wages for Work, Piracy Project Reading Room, "Truth is Concrete, Steirischer Herbst", Graz. Curated by Florian Malzacher. September 21–28, 2012.]] </li>{{Annotation|AF Truth is Concrete}}

<li style="display: inline-block; padding:5px"> [[File:Piracy Project Oslo10 Base 0134 lr.jpg|thumb|none|450px|Piracy Project exhibition, "Books From the Ships", Oslo 10, Basel. Curated by Simone Neuenschwander and Christiane Rekade.<br/>November 15, 2012 – January 5, 2013.]] </li>{{Annotation|AF Oslo}}


<li style="display: inline-block; padding:5px"> [[File:Piracy Project Birmingham Grand Union Reading Room 1310 lowres.jpg|thumb|none|450px|link=https://grand-union.org.uk/exhibitions/and-publishing-the-piracy-project|Piracy Project Reading Room, Grand Union, Birmingham. </br>Curated by Cheryl Jones. December 6, 2013 – February 8, 2014.]] </li>

<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room KHM Cologne 2926.jpg|thumb|none|450px|link=https://www.khm.de/glasmoog_programmarchiv/news.3056.the-piracy-project-reading-room-12-09-bis-25-10-2014/|Piracy Project Reading Room, Glasmoog, KHM Academy of Media Art, Cologne. Curated by Heike Ander. September 11 – October 25, 2014.]] </li>

<li style="display: inline-block; padding:5px"> [[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|none|450px|link=http://kunstvereinmuenchen.de/newsletter/piracy-collection.htm|Piracy Project Reading Room, Kunstverein Munich. Curated by Saim Demircan. November 4–28, 2014.]] </li>
{{Annotation|AF Munich}}

<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room Bluecoat Liverpool.jpg|thumb|none|450px|link=http://thisistomorrow.info/articles/resource|Piracy Project Reading Room, in the exhibition "Resource", The Bluecoat Liverpool. Curated by Marie-Anne McQuai. July 18 – September 27, 2015.]] </li>

<li style="display: inline-block; padding:5px"> [[File:Piracy Project Paper Struggles Raven Row lowres.jpg|thumb|none|450px|link=http://www.ravenrow.org/events/paper_struggles/|Piracy Project at "Paper Struggles", Raven Row, London. A short-term exhibition and seminar conceived by Marcell Mars and Tomislav Medak. December 9–11, 2019.]] </li>{{Annotation|AF Paper Struggles}}

</ul></div>

<br clear=all>

=Organizing discursive events= 
[[File:Piracy Project Byam Shaw School of Art Pirate Lab2 lowres.jpg|thumb|left|400px|link=|Workshop: "Pirate Lab", Byam Shaw School of Art Library, London, May–June, 2011.</br> The Pirate Lab was a series of open workshops and conversations on strategies and politics of unauthorized copying and reproduction.]]

From its very beginning, the PP was concerned with testing, discussing and disrupting conceptions of authorship and ownership, and to discuss the moral and legal boundaries of cultural piracy. Therefore, the open call for pirated books as well as our research into existing book piracy (enclosures, property relations, censorship, market monopolies, commercial interests) was a means of exploring these issues. This took place through a range of discursive events{{Annotation|AF Discursive}}  such as workshops, debates, and talks that we organized, mostly in the form of temporary reading rooms with the books as exemplary cases to refer to. 
<br/>
<br/>
<br/>
<br/>
<br/>
<br/>
<br/>
<br/>
<br/>
<div><ul>
<li style=" display: inline-block; padding:0px"> [[File:Piracy Project Pirate Lecture Andreas Findings in Peru lowres.jpg|thumb|link=|left|400px|Talk: "Pirate Books in Peru", an illustrated talk by Andrea Francke, X Marks the Bökship, London, March 25, 2011.</b></br>Book piracy exists in many emerging countries and book pirates in Peru, for example, go beyond creating unlicensed reprints – they have even begun to interfere with the content. An entire genre of "improved" versions is emerging. <br/>
In this illustrated talk artist, Andrea Francke presented the findings of her recent research trip to Lima, where she visited locations where pirated books are for sale, including book stores, copy shops, street markets, and traffic lights. She returned with a heavy suitcase full of reprints to London – displayed at X Marks the Bökship as part of AND's "Publisher of the Month Residency" in 2011.<br/> →[https://vimeo.com/24135913 Watch podcast].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Poster Piracy Lectures lowres.jpg|thumb|400px|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|none|400px| "Pirate Lectures", Byam Shaw School of Art, May–June, 2011.</br>A series of public lectures to explore practical, conceptual, political, and ethical questions around book piracy, the concept of authorship, and politics of copyright.]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture James Bridle lowres.jpg|thumb|link=|none|400px|Pirate Lecture: James Bridle, "The New Pierre Menard: Digitisation and everything after", Byam Shaw School of Art Library, May 5, 2011. <br/>Bio (2011): James Bridle is a publisher, writer, and artist based in London, UK. He makes things with words, books and the internet; sometimes, the results look like businesses, and sometimes they don't. He speaks at conferences worldwide and writes about what he does at booktwo.org.<br/> →[https://vimeo.com/23787096 Watch podcast].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Eleanor Vonne Brown lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Eleanor Vonne Brown, "Copy and Paste: re-reading uncreative writing", Byam Shaw School of Art Library, May 12, 2011. <br/>Bio (2011): Eleanor Vonne Brown set up X Marks the Bökship, a London based project space for independent publishers specialising in publishing works and projects by artists and designers, books by independent publishers, journals and discourse.<br/> →[https://vimeo.com/24129908 Watch podcast].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Daniel McClean lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Daniel McClean, "Authorship & Originality in Art", Byam Shaw School of Art Library, May 19, 2011.<br/>Bio (2011): Daniel McClean is an independent curator, writer, and art-legal adviser. McClean is a solicitor at Finers Stephens Innocent LLP, where he specializes in art, media, and intellectual property law. McClean writes regularly on art legal matters. He was the editor of <i>The Trials of Art</i> (2007), and <i>Dear Images: Art, Copyright and Culture</i> (2002).<br/> →[https://vimeo.com/24384608 Watch podcast].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Maria Fusco low res.jpg|thumb|link=|none|400px|Pirate Lecture: Maria Fusco, "The Incunabulum and the Plastic Bag", Byam Shaw School of Art Library, May 26, 2011. <br/>Bio (2011): Maria Fusco is a Belfast-born writer based in London. Her first collection of short stories <i>The Mechanical Copula</i> has just be published by Sternberg Press. She is the founder/editor of <i>The Happy Hypocrite</i> a semi-annual journal for and about experimental art writing, and Director of Art Writing at Goldsmiths, University of London.<br/> →[https://vimeo.com/25225399 Watch podcast].]]</li> 

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Bobbie Johnson2.jpg|thumb|link=|none|400px|Pirate Lecture: Bobbie Johnson, 
 "The Copy Continuum: cultural perceptions of piracy, and the future of ideas",Byam Shaw School of Art Library, June 2, 2011.<br/>Bio (2011): Bobbie Johnson is a journalist, writer, and trouble-maker based in Brighton who specializes in covering the intersection of technology and society. He has written for a range of outlets from the BBC to Wired and acts as a European editor for technology blog GigaOM. He was previously an editor and reporter with <i>The Guardian</i> for nearly a decade, based in London and San Francisco.<br/> →[https://vimeo.com/24905496 Watch podcast].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Prodromos Tsiavos low res.jpg|thumb|link=|none|400px|Pirate Lecture: Dr. Prodromos Tsiavos, "Of Pirates and Archivists: the boundaries of copyright limitations and exceptions and the underground archiving movement",<br/> Byam Shaw School of Art Library, June 9, 2011.<br/>Bio (2011): Prodromos Tsiavos is the legal project lead for the Creative Commons -England and Wales (CC-EW) and -Greece (CC-Greece) projects, and an associate in Avgerinos Law Firm in Athens. Among other academic engagements, he is a research officer at the London School of Economics and has worked for the European Commission and Oxford University. He advises the Greek Prime Minister's e-Government Task Force on legal issues of open data as well as the Special Secretary for Digital Planning.<br/> →[https://vimeo.com/25130385 Watch podcast].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Berlin Miss Read-Open Mic-flyer.jpg|thumb|none|400px|link=|Open Mic: "I am a pirate – are you? ", Miss Read, KW Institute for Contemporary Art, Berlin, November 25–27, 2011.<br/> Announcement: We are interested in the methodology of piracy and its significance for contemporary culture. The word piracy is applied to very different activities ranging from file sharing to attacking freight ships, from the production of counterfeit goods to mixing culture and – to political parties. We, The Piracy Project, are not only interested in your bit-torrent or fake goods but whether you use the works of others to build your own? Have you been pirated yourself and feel robbed of your intellectual property? Where are the limits in our engagement with culture?

We would like to hear from you! Your input can be a lengthy declaration or as short as one sentence.]] </li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Printed Matter NY.jpg|thumb|none|400px|link=https://www.printedmatter.org/programs/events/76|Panel discussion: "The Piracy Project at Printed Matter", Printed Matter, New York, August 17, 2012.<br/> With David Senior (bibliographer at MoMA), Anthony Huberman, (director of CCA Wattis Los Angeles), Joanne Mc Neil, (editor of Rhizome, NY), Sergio Munoz Sarmiento, (Art and Law, NY) in the exhibition ''Helpless'' curated by Chris Habib (July 14 – September 29, 2012).]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project The Showroom Hemmungs-Wirten lr.jpg|thumb|link=https://www.theshowroom.org/events/and-publishing-residency|none|400px|Roundtable: Eva Hemmungs-Wirtén (Stockholm), "Polyglot Piracy: Translation and the Instability of Texts", The Showroom London, March 23, 2013.<br/>As a catalyst for conflicts over the perceived stability of the literary work; the relationship between authors and readers and the geopolitical tensions between producer and user nations, Professor Wirtén suggests that translation offers a complimentary, productive, and still largely unexplored approach into the authorship – copy-right conundrum relevant for copyright historians and print culture scholars.]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Stephen Wright The Showroom.jpg|thumb|none|400px|link=http://theshowroom.createsend1.com/t/ViewEmail/r/FBAC495AA4EC5F462540EF23F30FEDED/10C944F5747F72EA23B7CB3C95A53812|Roundtable Workshop: Stephen Wright (Paris), "Usership", The Showroom, London, May 18, 2013.<br/> In this workshop with Stephen Wright we will unpack the ideologies that hide behind the word "piracy". "... I feel more comfortable with a notion of "poaching" instead of piracy: poachers are those who, in the shadow of the night, make forays behind the enclosures of the owner's land, capture their prey, and withdraw. I guess poaching, too, has a bad name, but I think both the scale and mode of intervention are more appropriate to describing off-the-radar cultural practices today [...] Usership stands opposed to the whole conceptual institution of ownership – the very thing that piracy, in its contemporary cultural coinage, like poaching and hacking, is supposed to challenge", (Stephen Wright).]] </li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Courtroom Drawing The Showroom.jpg|thumb|none|400px|link=http://andpublishing.org/a-day-at-the-court-room/|Performative Debate: "A Day at the Courtroom", The Showroom London, June 15, 2013.<br/> With Lionel Bently (Professor of Intellectual Property at the University Cambridge), Sergio Muñoz Sarmiento (Art and Law, New York), Prodromos Tsiavos (Creative Commons, England, Wales and Greece).</br>In a performative debate, three intellectual property lawyers will use their different legal backgrounds (USA, UK, Continental Europe) to explore concepts of legality, illegality and the nuances in-between, assessing selected cases from The Piracy Collection. Courtroom drawing by Thandiwe Stephanie Johnstone.]]
</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project New York Artbookfair 2014.jpg|thumb|none|400px|link=https://nyabf2014.printedmatterartbookfairs.org/Programs|Panel Discussion: Sergio Munoz Sarmiento, Lauren Haaften-Schick, Andrea Francke, Eva Weinmayr, "The Classroom", curated by David Senior, The New York Art Bookfair, MoMA PS1, New York, September 28, 2014.<br/>

For "The Classroom" event program, we invited artist Lauren Haaften-Schick and lawyer Sergio Munoz Sarmiento to discuss their recent article "Cariou v. Prince: towards a theory of aesthetic-judicial judgments" in which they analyze the Second Circuit's verdict in the "Cariou vs. Prince" fair use ruling. In this text, Munoz Sarmiento and van Haaften-Schick reflect on questions of labor, class, and celebrity in this ruling, and what happens when appropriation turns, via fair use, into a tool of power. →[http://wiki.evaweinmayr.com/images/d/d0/Sarmiento_van_Haaften-Schick_Toward-a-Theory-of-Aesthetic-Judicial-Judgments_Cariou-v-Prince.pdf Download article].]]
</li>


<br/>
<br/>

=Talks, interviews and panel discussions=
[[File:Piracy Project Amass Chisenhale Page 1.jpg|link=|thumb|left|400px|link=|Presentation, public conference: "AMASS: Towards an Economy of the Commons", Chisenhale Gallery, London, April 16, 2011. Organized by Doxa, …ment and Amateurist Network, three independent collectives based in London. This one-day event addresses the question, 'What is the protocol of the commons?'. Artists, academics, and policymakers debate culture-led regeneration, precarity in the cultural economy, and open-source practices in the digital domain. www.chisenhale.org.uk]] 

In the early 2000s, the media industry as well as other market monopolies made several efforts to extend and toughen copyright policies against so-called online piracy and peer-to-peer sharing networks. The proposed "Anti-Counterfeiting Trade Agreement" (ACTA, 2011) attempted to establish an international legal standard for intellectual property rights enforcement targeting counterfeit goods, generic medicines and copyright infringement on the Internet. Similarly in the USA, the "Stop Online Piracy Act" (SOPA, 2012) provoked massive international protest and debate among the open culture, open-source, and copyleft movements on disobedient counter-strategies, and practices of commoning as a way to oppose the looming enclosures.
<br clear=all>
<div><ul>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Whitechapel cultural piracy talk CaoChangdi Beijing.jpg|link=|thumb|none|400px|link=https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy|Presentation and panel discussion: "Cultural Piracy", Whitechapel Art Gallery, London, September 24, 2011. With Nick Thurston (information as material, UK), The Piracy Project (UK), Kenneth Goldsmith (Ubuweb, US). Presentation slide: Entrance gate to Ai Weiwei's studio "Fake Design", CaoChangdi, Beijing China, 2012. Photo: The Piracy Project. <br/>
In the organizers' words: "Where does the creative act lie in the process of copying? Cultural piracy is pervading publishing worldwide, but what makes these new forms original and what issues are raised?"
<br/> →[https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy Listen on sound cloud].]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project SALT Istanbul Futures and Options Talk 0443 lowres.jpg|400px|thumb|left|link=https://saltonline.org/en/272/series-of-talks-futures-and-options|Public Talk: "Futures and Options", SALT Beyoğlu, Istanbul, March 15–16, 2012. A lecture series in the context of Joseph Redwood-Martinez's research project, "One Day Everything will be free." With Matteo Pasquinelli, Laurel Ptak, Özgür Uçkan, Caleb Waldorf, the Piracy Project.
<br/><br/>
In the organizers' words: "The seemingly indispensable tools we use daily for social networking and online communication are all increasingly provided to us for free. In fact, as our way of life is becoming dependent on these and other gifted resources, many of the largest and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that one day, everything will be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.

Critical engagement with gift economies, open culture, intellectual property, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. But how are these new economic structures and their fundamental contradictions understood by cultural producers and social activists? How to engage with and situate oneself in relation to systems that facilitate the free exchange of information and ideas, yet simultaneously operate as structures of subjectification or mechanisms of corporatized social responsibility? Perhaps this could just start with a question a little closer to home: SALT is free, but at what or whose cost?

One day, everything will be free…" is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being privately funded initiative partially located in the former Ottoman Bank. To encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors. The invited speakers will look at the varied and conflicting legacies and implications of free economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between what is privately owned and publicly shared in society." [https://saltonline.org/en/272/series-of-talks-futures-and-options].]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Graz Truth is concrete 1772 lowres.jpg|400px|left|thumb|link=http://www.truthisconcrete.org/about/|Panel Discussion: "Copycats vs Mr Big" at Truth is Concrete, Steirischer Herbst, Graz, September 29, 2012. With Lucifer / Church of Kopimism (NL), Joost Smiers (NL), Andrea Francke & Eva Weinmayr / The Piracy Project (GB) 
Moderated by Gary Hall (GB).
<br/><br/>In the organizers' words: "Copyright issues are in the media again – this time as part of a propaganda war. Witness Rupert Murdoch using Twitter to accuse Google of piracy, despite himself having been found guilty of heading an organization involved in hacking. Some small victories in this war have been achieved: the service blackout coordinated by Wikipedia and others in January 2012, resulting in the Stop Online Piracy Act (SOPA) bill being postponed. Yet the real winner is Mr. Big, in the guise of the multinational conglomerates of the cultural industries, who continue to control the production, distribution, and marketing of the vast majority of the cinema, music, literature, television, art and design that constitutes our culture.

How, then, might we turn away from copyright laws designed for the benefit of the 1%, to find ways of openly sharing knowledge, culture and education, while at the same time providing creative workers with a fair reward for their labor? Creative Commons licenses, free and open-source software, the movements for open access, open data and open education, free culture, peer-to-peer production, file and text-sharing networks along with other "pirate" strategies may all offer challenges to the current copyright system. Yet do we not need to establish some "chains of equivalence" between them, forms of mutual alignment between, say, open education, free software and even Occupy Wall Street and the student protest movements? Is the struggle for copyleft and copyfarleft only a cultural question? Or does it require the development of a new kind of economy and society: one based far less on possession, accumulation, competition, celebrity, and ideas of knowledge, culture and education as something to be owned, commodified, disseminated and exchanged primarily for the profit of individuals and corporations?" [http://www.truthisconcrete.org/about/].]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Vancouver Institutions by artists talk lowres.jpg|thumb|none|400px|link=http://arcpost.ca/conference|Public Talk: Andrea Francke at "States and Markets", at "Institutions by Artists" convention, Vancouver, October 12–15, 2012. Organized by the Pacific Association of Artist Run Centres (PAARC), Fillip, and the Artist-Run Centres and Collectives Conference (La Conférence des collectifs et des centres d’artistes autogérés, ARCA). <br/> <br/> In the organizers' words: "Institutions by Artists is a three-day, international event that evaluates and activates the performance and promise of contemporary artist-run centers and initiatives.

Convening a world congress of artists, curators, critics, and academics, Institutions by Artists will deliberate, explore, and advance the common interests of artist-run centers, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on such phenomena today. Using experimental formats, performative frameworks, and participatory vehicles, the three-day series of events is designed to challenge and generate new thinking about artist-run initiatives globally, examining many dimensions, whether urban or rural, fixed or mobile, and local or regional, among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; as well as intimate and professional networks, among other critical interrogations".<br/>→[http://arcpost.ca/conference/session-six Watch session 6 "States and Markets"].]] </li>

<li style=" display: inline-block; padding:0px">[[File:Piracy Project Beijng Buying pirated books lowres.jpg|thumb|left|400px|link=|Conference presentation: "Piracy and Jurisprudence", Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, June 21–22, 2013.<br/> Convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law). <br/>Presentation slide: Buying pirated architecture books", Beijing, China, 2012. Credit: The Piracy Project.<br/><br/> 
In the organizers' words: "Adored and detested, pirates evoke moral and ethical ambivalence: and piracy as a term of law has always been exceptionally vulnerable to political agendas. More precisely, it has always been a term of both high imperial/hegemonic art, and significant radical potential. As such, it is a word with a weighty history of complex moral and ethical loading and reloading. But it always invokes a refusal of juridification: it is a term that defines the margins of criminal and international law as juridical categories.
Pirates are a recurring symbol of the ocean as a space beyond jurisdiction and the juridification of thought itself: as such, both known and hidden pirates arguably estrange historical thinking. Piracy is a form of violence that challenges discourses that attempt to shore-up spaces that assert a moral monopoly on violence: and piracy is a form of textual transgression that challenges the very ability of the law to draw boundaries. But even as piracy is a form of violence, it constitutes a challenge to the very violence involved in writing itself. The relationship between piracy and the law directs us to question the constitution of the human condition itself.
This workshop will aim to explicate and explore the multiple significations of piracy and to track the implications of these significations for both abstract and practical notions of justice. Always pursuing a long view of legal histories, the commitment of the workshop and the publication are to disciplinary and geographical diversity and methodological innovation. The workshop will tussle with the distinctiveness and boundlessness of piracy as a 'category' (that refuses categorization).
This interdisciplinary workshop is hosted and kindly sponsored by the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute (SMMI)."]] </li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham Grand Union Public Library Talk.jpg|thumb|left|400px|link=https://archive.org/details/PiracyProjectBirminghamLibrary|Public Talk: "Active and Passive Love of Books, The Piracy Project in conversation with Cornelia Sollfrank". Birmingham Public Library, December 12, 2013. Organized by [https://grand-union.org.uk/gallery/the-piracy-project-2/ Grand Union] <br/><br/>
In the organizers' words: "This panel brings together artists Andrea Francke and Eva Weinmayr (Piracy Project) and Cornelia Sollfrank to discuss the legal frameworks that we engage with when we deal with each others' work. Artists, writers, and publishers are asking: what are the different ideologies behind these systems, and what are their implications?

The speakers will explore the political and social implications of cultural piracy through examples from The Piracy Project collection.

Andrea Francke & Eva Weinmayr run jointly The Piracy Project, an international publishing and exhibition project around the concept of originality, the fluidity of authorship and politics of copyright as part of AND Publishing's research program.
www.andpublishing.org

Cornelia Sollfrank, PhD, is an artist and researcher working at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. Since the mid-1990s, her main interest lies in the exploration of the challenges art has to face under digital networked conditions. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework."]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Leipzig Alternate Futures 2166 lowres.jpg|400px|left|thumb|link=|Public Talk: "The Piracy Project, Alternate Futures", convened by Oliver Klimpel, Klasse für Systemdesign, Hochschule für Gestaltung und Buchkunst Leipzig, January 18, 2013.]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Aarhus poster.jpg|link=|thumb|none|400px| Public Lecture: The Piracy Project in the series "Making Social Realities with Books". <br/> Curated by Brett Bloom. Rum 46, Aarhus, April 16, 2013. <br/><br/> In the organizer's words: "The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities, whether it is in small communities, or entire movements within art practices and related activities. For this series Brett and rum 46 invited
[http://wiki.evaweinmayr.com/images/1/13/Making_Social_Realities_with_Books_Art_Leaks.jpg Art Leaks (New Brunswick)], [http://wiki.evaweinmayr.com/images/e/ee/Making_Social_Realities_with_Books_Eva_Egerman.jpg Eva Egerman (Vienna)], [http://wiki.evaweinmayr.com/images/8/86/Making_Social_Realities_with_Books_Public_Collectors.jpg Public Collectors (Chicago)], [http://wiki.evaweinmayr.com/images/d/dc/Making_Social_Realities_with_Books_David_Senior.jpg David Senior (San Francisco)], [http://wiki.evaweinmayr.com/images/8/8d/Making_Social_Realities_with_Books_Banu_Cennetoglu.jpg Banu Cenetoglu (Istanbul)], [http://wiki.evaweinmayr.com/images/5/53/Making_Social_Realities_with_Books_Brandon_LaBelle.jpg Brandon LaBelle (Copenhagen)], [http://wiki.evaweinmayr.com/images/3/37/Making_Social_Realities_with_Books_Delphine_Bedel.jpg Delphine Bedel (Berlin)] and [http://wiki.evaweinmayr.com/images/0/0a/Making_Social_Realities_with_Books_Lauren_van_Haften-Schick.jpg Lauren van Haften-Schick (New York)].]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Talk Feminist-Writing Centre for Feminist Research Goldsmiths London 9.jpg|link=|thumb|none|400px|link=http://wiki.evaweinmayr.com/images/c/c1/Piracy_Project_Talk_Feminist-Writing_Centre_for_Feminist_Research_Goldsmiths_London_Programme.pdf|Conference presentation: "Feminist Writing", organized by the Centre for Feminist Research, Goldsmiths College, London, June 6, 2014. <br/><br/> In the organizers' words: "The questions of what to write, how to write, and where to write have always been central to feminism. Writing matters not only in the dissemination of knowledge but also in the creation of feminist publics. The history of feminism includes a history of materials that have been passed around. In this workshop, we hope both to return to some of these histories of feminist writing (to consider, for example, the role of feminist presses, the uses of brochures and pamphlets as well as experimentations with genres) as well as to reflect on the challenges and opportunities for feminists raised by digitalization. By 'writing' we thus not only refer to scripts or texts but all forms of communication." <br/>  →[https://itunes.apple.com/gb/itunes-u/feminist-writing/id915768638?mt=10&ign-mpt=uo%3D2 Listen on itunes].]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Barcelona FAD Talk.jpg|link=|thumb|none|400px|Conference presentation: "The Piracy Project @ Open Design Shared Creativity". Convened by FAD (Fostering Art and Design), Viviana Narotzky. Barcelona, July 5–6, 2013.<br/>
With Peter Troxler, Cecilia Tham, Marleen Stikker, Femke Snelting, Hannah Perner-Wilson, Cecilia Palmer, Sam Muirhead, Ezio Manzini, Antonin Léonard, Myles Lord, Patrick Kampmann, Tomas Diez, David Cuartielles, Javi Creus, Daniel Charny, Albert Cañigueral, Ricardo Amasté.<br/><br/>

In the organizers' words: "ODSC is an international forum that aims to present a variety of approaches to the concept of open design, touching different configurations of design practice, social design, user involvement and new business models. The main idea is to offer alternative visions to 'closed' and proprietary systems, be it in terms of the design process, business structure, social impact/participation, or dissemination. Digital technology and social networks have reached a point of maturity from which a new industrial culture is emerging, revolutionizing the processes of creation, mediation, distribution and consumption. Taking design in all its expressions and forms as a starting point, the conference is an important international forum of ideas, working platforms and specialized practices that are transforming the articulation of design with society, economy and culture." <br/> 
→[https://www.youtube.com/watch?v=7ZfhULH6lFE Watch on youtube].]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Amsterdam Sister.jpg|link=|thumb|none|400px|Dinner Conversation: "The Piracy Project" in the series "Sister from Another Mister", hosted and organised by Maria Guggenbichler. Florijn, De Bijlmer, Amsterdam, November 9, 2013.<br/><br/> In the organizer's words: "SISTER is a public events program for contemporary art, amateur conversations, users' culture, petit explorations in theory and practice, group hallucinations, specialists' strolls in the neighborhood, semi-academic thinking, science fiction of the past, reverse afro-futurism, the legacy of modernist urbanism, cultural cannibalism and queer appropriations, architecture parties, cooking dances, lingua franca, Wild Styles, Born in Flames, "Soup For The Night" becomes "Marble Cake On Sunday", former upper-class hobbies in what used to be a ghetto, R'n'B stars and HIP HOP. SISTER's home is the studio and apartment of BijlmAIR, artist residency program in Florijn 42, Amsterdam De Bijlmer." <br/>With Eva Weinmayr, Karin Michalski, Silvia Radicioni, Ann Cvetkovich, Sara Mattens, Anna McCarthy, Kapwani Kiwanga, Sun Ra, Wendy Van Wynsberghe, Maria Boletsi, Jerry Kno'Ledge Afriyie, Looi van Kessel, Gerlov van Engelenhoven, Maria Trenkel, Niklaus Mettler, Missy Elliot, DJ Døg, DJ Fair Trade, DJ Miss Samidi, DJ Boris Becker, Yeni Mao, Ivana Hilj, Rachel Somers Miles, Oswald de Andrade, Caetano Carvalho, Luc van Weelden, David Morris, Schizo Culture, Ti Grace Atkinson, Chris Kraus, DJ Nate, KRS-One, Deniz Unal, Leandro Cardoso Nerefuh, Lina Bo Bardi, Alencastro, Stefan Wharton, Alexander Krone, Nikos Doulos, Bart Witte, Nadia Tsulukidze, Stalin, Lieke Wouters, Thomas Hirschhorn, Born in Flames, Innercity, Fyoelk, The-High-Exalted-Never-Out-Dated-Grand Wizard Crem Fresh, Moemlien, Sapi & Cheworee Safari, Jamila Drott, BST Crew, Kristy Fenton, Rammellzee, Butcher's Tears, Paris is Burning, Anne Dersen, Margarita Osipian, Failed Architecture, Tim Verlaan, Mark Minkjan, Katharina Rohde, Roel Griffioen, ¥, and many others.]]</li>

<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham GU-giving what-you-dont-have lowres.jpg.jpg|link=http://artwarez.org/projects/GWYDH/|thumb|none|400px|Interview: "Cornelia Sollfrank in conversation with Andrea Francke and Eva Weinmayr", Grand Union Birmingham, December 6, 2013. <br/> In the context of Cornelia Sollfrank's artistic research project "Giving What you don’t have", exploring the relationship between art and the commons, Postdigital Publishing Lab, Leuphana University, Lüneburg, 2013.<br/>→ [http://artwarez.org/projects/GWYDH/ Watch interview] <br/>→ [http://wiki.evaweinmayr.com/images/3/30/Piracy_Project_interview_Cornelia_Sollfranck_GWYDH.pdf Read the transcript].]]</li>
</ul></div>

=Workshops, Collective Research, Teaching with the Piracy Project= 
[[File:Piracy Project Byam Shaw School of Art Pirate Lab lowres.jpg|400px|left|thumb|link=| Workshop, "Pirate Lab", Byam Shaw School of Art, May–June, 2010.]]
The Piracy Project explores questions of copying, reproducing, appropriating in a practical and hands-on way, whilst simultaneously reflecting on issues that emerge through this practice. As such, it has proven to be an useful and highly engaging teaching method. In the context of both higher education and art spaces and institutions, participants explored the legal and their own moral and ethical boundaries trying to negotiate the conflicts that might arise from this practice.
<br clear=all>

[[File:Piracy Project Aarhus workshop 0123 lr.jpg|400px|left|thumb|link=https://www.facebook.com/MakingSocialRealitieswithBooks| Workshop at "Making Social Realities with Books" convened by Brett Bloom, Rum 46, Arhus. <br/> April, 15–19, 2013.]]

<b>Making Social Realities with Books</b>, Brett Bloom (Temporary Services, Chicago) invited the Piracy Project to run a workshop in the series [https://www.facebook.com/MakingSocialRealitieswithBooks/" Making Social Realities with Books"], which he co-organized with [http://www.rum46.dk/ rum 46] in Copenhagen. The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities. Participants in this one-week workshop traveled from art academies in Denmark, Latvia, and Estonia to collectively think through the complexities of cultural piracy and appropriation. We explored strategies and ethics of unauthorized publishing, built on local facilities and knowledge, visited self-publishers, self-organized print shops, libraries, and bookshops in Aarhus.
<br/> 
<br/> 
<br clear=all>

[[File:Piracy Project Leipzig Alternate Futures1.jpg|400px|left|thumb|link=|Workshop at "Alternate Futures" convened by Oliver Klimpel. Klasse für System Design, Hochschule für Gestaltung und Buchkunst, Leipzig, January 17–19, 2013.]]
<b>Alternate Futures</b> Conceived and organized by Oliver Klimpel and Lina Grumm at the Leipzig Academy of Fine Arts, this course project takes as starting point in Victor Papanek's legacy of socially and ecologically responsible design to explore possible utopias in visual culture and fiction's potential to construct new worlds. A project on speculation, alternatives and the courage to imagine. From the course brief: "Curation from the Commas, Translative Authorship, Visual Re-Authorship, Experimental Authorship, Reductive Re-Authorship, Reductive Subtraction, Identity Subversion, Bootleg (Visual Re-Authorship), Concrete Transformation (Narrative Appropriation), Critical Theory (Denial of Image Clearance), etc. For example: changing the ending, translating, taking out, inserting, etc..."
<br clear=all>
<br/>


<div style="width: 400px;">
<div class="fadingimages">
<slideshow sequence="forward" transition="fade" refresh="2500">
<div>[[Image:Piracy Project Kunstverein Munich workshop announcement.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 18.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 17.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 19.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 16.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 20.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 21.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 22.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 23.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 25.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 24.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 27.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 29.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 33.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 32.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–Anna McCarthy, Tagar publication Page 34.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 35.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 37.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 38.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 40.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div>
</slideshow>
</div></div>
::::::::::::::::::::: <b>One Publishes to Find Comrades</b>, a two-week workshop at Kunstverein Munich, focused on alternative and informal and counter-public archives, collections, libraries and bookshops, as well as independent print shops in Munich. For this research into local and informal knowledge infrastructures we invited '''Ingrid Scherf''', the co-founder of Munich's independent ''Basis'' bookshop and event space (closed in 2010) and co-editor of <i>Das Blatt</i>, West Germany's first alternative city magazine (1973–84) in order to give a voice to those who are not represented by mainstream media. '''Marcell Mars''' visited from his residency at Akademie Schloss Solitude in Stuttgart to speak about his project [https://schloss-post.com/public-library-a-fighting-concept/ Public Library], a collaboration with Tomislav Medak. '''Sarah Käsmayr''' introduced us to her ''Raubkopiebuch'', investigating book piracy in the context of 1960s and 70s German student movement. '''Stephan Dillemuth''' invited us to unpack his zine archive. '''Ruth Höflich''' introduced us to her critical publishing practice and gave a guided tour through her father's print workshop, Druckwerkstatt Höflich, in Munich. '''Anna McCarthy''' invited us for a conversation about her exhibition ''Nein'' and her and Tagar's independent publishing, performance and recording practice. We also visited '''Steffi Hammann''' at the Munich Art Academy, where, as a student and in collaboration with Maria von Mier, she set up a publishing house, [https://hammann-von-mier.com/ Hammann von Mier], that operates from within the art school classroom. Finally we visited the copy shop [http://www.unikopie-muenchen.de/ '''Unikopie'''], where – as the shop owners told us – the space is not only used for print production (making copies), but also for dissemination (leaving copies back in the shop for random people to pick up). [http://wiki.evaweinmayr.com/images/7/71/Piracy_Project_Kunstverein_Munich_One_publisheds_to_find_comrades%E2%80%93publication%E2%80%93lres.pdf  '''Download zine produced during the workshop''']
<br clear=all><br />
<br />
<br />
<br />
<br />

<br/> <br/><br/>

=Edited Publications=


[[File:Piracy Project Publication The-Piracy-Collection-Catalogue-as-of-2011.gif|400px|left|thumb|link=http://andpublishing.org/the-piracy-collection-as-of-25-11-2011/|<i>The Piracy Collection as of 25.11.2011</i>, <br/>21 × 15.4 cm, 90 pages, b&w, digital print, AND Publishing London, 2011]]

<i>The Piracy Collection as of 25.11.2011</i>, printed in black and white with a blank library card slid into the front cover, contains the full catalog of the books in The Piracy Collection received by November 25, 2011. It represents a specific point in time, as the collection is constantly evolving. Alongside an introduction, the catalog contains cover images and short descriptions of each of the submitted book projects demonstrating many different strategies and approaches to un-authorized copying and piracy.
<br/><br/>
<br clear=all>

[[File:Piracy Project Piracy Papers lowres.jpg|400px|left|thumb|link=http://andpublishing.org/category/we-publish|Piracy Paper#1: <i>Jackson Hole, Dear Grandpa</i> by Michael Eddy & Grandpa Eddy, London: AND Publishing, 2012 <br/>
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle, London: AND Publishing, 2013 <br/>
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil, London: AND Publishing, 2014]]

<i>The Piracy Papers</i> is a series of aperiodically published pamphlets, that contain stories and essays that were previously published online.<br/><br/>
Piracy Paper #1: <i>Jackson Hole</i> by Michael Eddy & Grandpa Eddy. Michael Eddy's <i>Jackson Hole</i> is an email exchange between Michael (based in Bejing) and his grandfather (based near Jackson Hole, USA) about the re-creation of the eponymous American town on the outskirts of Beijing, China, and both writers' reflections on these two places that – although connected – are so different from each other.
<br/>
<br/>
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle. In this short story, James Bridle explores the possibilities and practices created by the employment of overseas workers in the digitization of English Classics into e-books. What are the systems that guarantee the truthful "transformation" of these texts?
<br/><br/>
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil. In this short story, Joanne McNeil describes a series of encounters with different types of counterfeit cultures around the world and their interaction with digital technologies.
<br/><br/>
<br clear=all>
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see publication: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}
[[File:Piracy Project Reader–lowres.jpg|400px|left|thumb|link=http://andpublishing.org/borrowing-poaching-plagiarising-pirating-stealing-gleaning-referencing-leaking-copying-imitating-adapting-faking-paraphrasing-quoting-reproducing-using-counterfeiting-repeating-cloni-2/| <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr,<br/> 25 x 21 cm, 140 pages, digital print. Published, designed and produced by AND, London, 2014.]]

<i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> is an open-ended reader, which will develop over time as people buy shares in its chapters. The book explores the vocabulary that became relevant to the Piracy Project. In an attempt to acknowledge the paradoxical positions that the reductive legal-illegal binary produce, the book explores an alternative vocabulary of relationships to the work of others.

At the time of writing, the book contains essays and contributions by Dave Hickey, Eva Hemmungs-Wirtén, Joanne McNeil, Karen Di Franco, Lionel Bently, Prodromos Tsiavos, Sergio Munoz Sarmiento and awaits prospective essays by James Bridle, Stephen Wright and 16 others. Courtroom drawings are by Stephanie Thandiwe Johnstone.<br/>
Excerpt from the introduction to the book: "This book is not finished. It is the start of a dialogue that will grow as we go along. Normally when you publish a book it aims to be a resolved object, an endpoint of a process. Not this one. The thing is that there are two of us, and that has become one of the key determinants of how the project evolves. There are always two voices, and that allows us always to be open to different positions. I guess that's what I call a dialogue." (...)

<br clear=all>
<br/>
<br/>

=What Others Say=

<div><ul>
<li style="display: inline-block; padding:0px"> [[File:Piracy Project SALT Ali Diker 0384 lowres.jpg|link=http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf|thumb|none|400px|Ali Diker researching for his article "Korsan Proje", in <i>Bloomberg Businessweek Turkiye</i>, April 1–7, 2012 (Turkish).<br/> [http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf →Download article].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project Rhizome Orit Gat 2011 lowres.jpg|link=http://rhizome.org/editorial/2011/oct/25/piracy-project|thumb|none|400px|"The Piracy Project" by Orit Gat, <i>Rhizome</i>, October 25, 2011. <br/>
→[http://rhizome.org/editorial/2011/oct/25/piracy-project/ Read article].]]</li>

<li style="display: inline-block; padding:0px"> [[File:Piracy Project article pathologies of dissent art and education 2011.jpg|link=http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf|thumb|none|400px|<i>Pathologies of Dissent</i>, Sidney Hart and Noah Bremer, art and education, e-flux paper, 2012. <br/>
→[http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf Read article].]]</li>

</ul></div>
Annotation	Byam Shaw +, AF Open Call +, AF Catalogue +, AF PS1 +, AF Truth is Concrete +, AF Oslo +, AF Munich +, AF Paper Struggles + and AF Discursive +
Annotator	AF +