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In the first decade of the 21s century, copyright was high on the political agenda as activists and academics criticised how stricter implementations of copyright laws limited the public access to culture and knowledge and enclosed the information commons. A decade later, streaming media and data mining have changed the information-political agenda, shifting the focus from piracy to privacy, giving concepts such as access to knowledge and information commons new meanings. This article relates the copyfights of the early 2000nds to more recent copyright discussions. It relies on a series of interviews with members of the Pirate Party, conducted between 2011 and 2015 and connects them to more recent debates about the European Union Directive on Copyright for the Digital Single Market (COM/2016/0593) that was passed in march 2019. The article asks if and how the information commons movement and the international political agenda about intellectual property rights and access to information have changed with the rise of a digital economy build around streaming media and data mining. Funding agencies:This work was supported by the Swedish Research Council and the Marie Skldowska Curie Actions under Grant E0633901. Commons and Commodities

Over the last decade piracy has emerged as a growing field of research covering a wide range of different phenomena, from fashion counterfeits and media piracy, through to 17th century buccaneers and present-day pirates off the coast of Somalia. In many cases piracy can be a metaphor or an analytical perspective to understand conflicts and social change. This article relates this fascination with piracy as a practice and a metaphor to academia and asks what a pirate methodology of knowledge production could be: how, in other words, researchers and educators can be understood as ‘pirates’ to the corporate university. Drawing on the history of maritime piracy as well as on a discussion on contemporary pirate libraries that disrupt proprietary publishing, the article explores the possibility of a pirate methodology as a way of acting as a researcher and relating to existing norms of knowledge production. The methodology of piratical scholarship involves exploiting the grey zones and loopholes of contemporary academia. It is a tactical intervention that exploits short term opportunities that arise in the machinery of academia to the strategic end of turning a limiting structure into an enabling field of opportunities. We hope that such a concept of pirate methodologies may help us reflect on how sustainable and constructive approaches to knowledge production emerge in the context of a critique of the corporate university.

This article draws on a series of interviews with members of the Pirate Party, a political party focusing on copyright and information politics, in different countries. It discusses the interviewees’ visions of democracy and technology and explains that copyright is seen as not only an obstacle to the free consumption of music and movies but a threat to the freedom of speech, the right to privacy, and a thriving public sphere. The first part of this article briefly sketches how the Pirate Party’s commitment to the democratic potential of new communication technologies can be interpreted as a defense of a digitally expanded lifeworld against the attempts at colonization by market forces and state bureaucracies. The second part problematizes this assumption by discussing the interactions between the Pirate movement and the tech industry in relation to recent theories on the connection between political agency and social media. Funding text: Helge Ax:son Johnson foundation; Olle Engqvist foundation; Ake Wiberg foundation; Lars Hierta foundation; Riksbankens Jubileumsfond (the Swedish Foundation for Humanities and Social Sciences) Piratkopieringens ideolog: En studie av piratkopiering, upphovsrätt och modernitet i Sverige, USA och Australien

"Piracy" is a concept that seems everywhere in the contemporary world. From the big screen with the dashing Jack Sparrow, to the dangers off the coast of Somalia; from the claims by the Motion Picture Association of America that piracy funds terrorism, to the political impact of pirate parties in countries like Sweden and Germany. While the spread of piracy provokes responses from the shipping and copyright industries, the reverse is also true: for every new development in capitalist technologies, some sort of "piracy" moment emerges. This is maybe most obvious in the current ideologisation of Internet piracy where the rapid spread of so called Pirate Parties is developing into a kind of global political movement. While the pirates of Somalia seem a long way removed from Internet pirates illegally downloading the latest music hit or, it is the assertion of this book that such developments indicate a complex interplay between capital flows and relations, late modernity, property rights and spaces of contestation. That is, piracy seems to emerge at specific nodes in capitalist relations that create both blockages and leaks between different social actors. PiracyLab

A political battle is being waged over the use and control of culture and information. While media companies and copyright organisations argue for stricter intellectual property laws, a growing body of citizens and netizens challenge the contemporary Intellectual property-regime. Lately this has resulted in what could be described as a political mobilisation of piracy. This is maybe most evident in the formation of pirate parties that see themselves as a digital civil rights movement defending the public domain and the citizen’s right to privacy against copyright expansionism and increased surveillance. Since the first pirate party was formed in Sweden in 2006, similar parties have spread across the world, from USA to Australia. This presentation draws on a study of the culture and ideology of copyright resistance which involves a series of interviews with representatives of pirate parties in USA and Canada. The study looks into what ideas, ideals and aspirations motivate active pirate party members in North America and how this relates to traditional values of a modern, democratic society such as freedom of speech, respect for private property and the public access to culture and information. This presentation focuses particularly on the role of democracy and citizenship in pirate politics. It discusses how the pirate ideology envisions the relationship between the citizen and society in a time when digital technology rapidly and radically changes the conditions for political and social agency and participation. Does a movement that relies so much on global networking and sees the principles of swarm intelligence and open source collaboration as the future of democracy also convey a relationship between the citizen and the state? How would, in that case, such a pirate citizen be defined and situated, and how does it relate to old conceptions of citizenship and existing political institutions? Table of ContentsIntroduction The Citizen in the 21st CenturyJames Arvanitakis and Ingrid MatthewsPart 1: Global Citizenship and the Nation State21st Century Citizen Networks in Complex States: Shall We Dance or Play Tug-of-War?Eugene G. KowchNomos Beyond the Earth Josh EntsmingerIsraeli Narratives to the Diaspora and the Construction of an Unequal Diasporic Citizenship Shahar BurlaArendtian Deliberation on the Decline of Political Public Space: The Case of Postwar Japanese Citizenship Yaya MoriMultiple Nationality and the (Ab)Use of Citizenship: Identity Opportunity and Risk Anna TsalapatanisPart 2: Migrant Citizens and Non-CitizensMigrating Rights Laurie BergAsian Democracy and the Problem of Membership: Rules of Exception and ‘Legitimate’ Discrimination against Migrants in South Korea Sohoon LeeExpanding the Citizen in Multicultural Policymaking Rimi KhanUniversalising Citizenship as Identity? Identity Liberalism and the Paradox of Universalism Francis LuongPart 3: Leadership, Membership, Belonging: Young Citizens in the 21st CenturyExpanding Citizenship: Expanding Our Understanding Mitra Gusheh and Anna PowellTeaching and Learning Citizenship: From the Margins to the Centre Ingrid Matthews‘The Kids Are Alright, It’s Just Youth in Trouble’: Re-Thinking Civic Competence through a Presence Model of Youth Citizenship Identity Jennifer UpchurchPart 4: Environmental CitizenshipEnvironment and Citizenship: Rethinking What It Means to Be a Citizen in the 21st Century Benito CaoEnvironmental Citizenship: A Case Study of the Global Young Greens Alex Surace and Amy Tyler Practicing an Individual Ethics of Sustainability Chris RiedyPart 5: Empowering the 21st Century CitizenEngagement and Citizenship: Universities in the Contemporary World James Arvanitakis and Bob HodgeAn Open Source Project for Politics: Visions of Democracy and Citizenship in American Pirate Parties Martin FredrikssonA 21st Century Citizen in a Brave New Republic Spike BoydellConclusionThe 21st Century Citizen and Beyond Ingrid Matthews and James Arvanitakis

Over the last decade piracy has become a source of constant debate. While copyright organisations describe piracy as simple theft, others regard it as a legitimate form of cultural consumption in a digital environment. Piracy is, however, not a phenomenon unique to digital media of the 21st century. This article takes the history of copyright and piracy as a starting point for a discussion about piracy as a cultural and political phenomenon that goes beyond the contemporary preoccupation with particular piratical practices such as file sharing. It seeks to show how copyright and piracy are integrated aspects of modern society, equally situated in the urban, social space of the modern city and the global, geopolitical landscape of colonialism in the past and the present. One might call it a study of how piracy is constituted in space over time. The article sets out with a short overview of the colonial heritage of copyright, followed by a discussion of the re-contextualisation of copyright within the structures of international trade relations in the 1990s, moving on to discuss how this positioned piracy within a postcolonial order of power. It concludes with a brief discussion of how piracy has become an integrated part of everyday life in contemporary, postcolonial cities and how this development reflects piracy's role in the process of late capitalist globalisation.

The Rights of Creativity is a study of Swedish copyright history from the birth of Sweden’s first copyright legislation in the early 19th century to the passing of the current law in 1960. As the title suggests, the law is regarded as part of a wider cultural context and the dissertation moves beyond the borders of legal history and analyses the law in relation to the history of literature, film, television and other media that partly reflect and partly intersect with the legislative process. The main object of the study is to see how the author is constructed in legal and cultural discourses during the 19th and 20th century. The dissertation focuses on three Swedish copyright laws from 1877, 1919 and 1960, but these laws and their preambles are also related to a few contemporary cultural intertexts, namely: August Strindberg’s novel Röda rummet [The Red Room] from 1879; the director Mauritz Stiller’s films Gunnar Hedes Saga [The Blizzard] and Gösta Berlings saga [The Saga of Gösta Berling] from 1923 and 1924, and finally the television shows Hylands hörna and Skäggen from 1962 and 1963. Apart from this it also pays some attention to the Freedom of the Press Act from 1810 that came to include Sweden’s first copyright statement, as well as to the development after 1960. Eventually it aims to show how the historical legacy has affected the copyright legislation and debates of today. Skapandets rätt handlar om hur den juridiska synen på upphovsmannen rätt och skapandets villkor har förändrats i förhållande till den kulturella utvecklingen i Sverige under 1800 och 1900-talet. Avhandlingen består av en kronologisk studie av de upphovsrättslagar som antogs 1877, 1919 och 1960, men den behandlar också 1810 års tryckfrihetsförordning och de senaste årens rättsutveckling i korthet. Denna upphovsrättshistoriska exposé placeras in i ett litteratur- och mediehistoriskt sammanhang och lagtexterna underkastas en intertextuell analys där deras relation till några olika kulturella intertexter analyseras. Inledningsvis diskuteras hur 1810 års Tryckfrihetsförordning kom att innefatta Sveriges första upphovsrättsbestämmelse. Därefter kontrasteras Sveriges första separata upphovsrättslag från 1877 mot August Strindbergs genombrottsroman Röda rummet, allt i ljuset av Jürgen Habermas teori om den borgerliga offentligheten. 1919 års lagstiftning relateras sedan till Mauritz Stiller filmatiseringar av Selma Lagerlöfs romaner En herrgårdssägen och Gösta Berlings saga. Instiftandet av dagens upphovsrättslag från 1960 analyseras slutligen mot bakgrund av den nya tidens TV-medium som här exemplifieras av Hylands hörna och Skäggen. Avslutningsvis knyts allt samman i en kapitel där historiens lärdomar appliceras på dagens debatt. Här diskuteras hur tre föreställda oppositioner mellan konstnär-publik, privat-offentligt och original-kopia har format upphovsrättens historia och hur de fortfarande färgar samtidens upphovsrättsdiskussioner.

The Rights of Creativity is a study of Swedish copyright history from the birth of Sweden’s first copyright legislation in the early 19th century to the passing of the current law in 1960. As the title suggests, the law is regarded as part of a wider cultural context and the dissertation moves beyond the borders of legal history and analyses the law in relation to the history of literature, film, television and other media that partly reflect and partly intersect with the legislative process. The main object of the study is to see how the author is constructed in legal and cultural discourses during the 19th and 20th century. The dissertation focuses on three Swedish copyright laws from 1877, 1919 and 1960, but these laws and their preambles are also related to a few contemporary cultural intertexts, namely: August Strindberg’s novel Röda rummet [The Red Room] from 1879; the director Mauritz Stiller’s films Gunnar Hedes Saga [The Blizzard] and Gösta Berlings saga [The Saga of Gösta Berling] from 1923 and 1924, and finally the television shows Hylands hörna and Skäggen from 1962 and 1963. Apart from this it also pays some attention to the Freedom of the Press Act from 1810 that came to include Sweden’s first copyright statement, as well as to the development after 1960. Eventually it aims to show how the historical legacy has affected the copyright legislation and debates of today. Skapandets rätt handlar om hur den juridiska synen på upphovsmannen rätt och skapandets villkor har förändrats i förhållande till den kulturella utvecklingen i Sverige under 1800 och 1900-talet. Avhandlingen består av en kronologisk studie av de upphovsrättslagar som antogs 1877, 1919 och 1960, men den behandlar också 1810 års tryckfrihetsförordning och de senaste årens rättsutveckling i korthet. Denna upphovsrättshistoriska exposé placeras in i ett litteratur- och mediehistoriskt sammanhang och lagtexterna underkastas en intertextuell analys där deras relation till några olika kulturella intertexter analyseras. Inledningsvis diskuteras hur 1810 års Tryckfrihetsförordning kom att innefatta Sveriges första upphovsrättsbestämmelse. Därefter kontrasteras Sveriges första separata upphovsrättslag från 1877 mot August Strindbergs genombrottsroman Röda rummet, allt i ljuset av Jürgen Habermas teori om den borgerliga offentligheten. 1919 års lagstiftning relateras sedan till Mauritz Stiller filmatiseringar av Selma Lagerlöfs romaner En herrgårdssägen och Gösta Berlings saga. Instiftandet av dagens upphovsrättslag från 1960 analyseras slutligen mot bakgrund av den nya tidens TV-medium som här exemplifieras av Hylands hörna och Skäggen. Avslutningsvis knyts allt samman i en kapitel där historiens lärdomar appliceras på dagens debatt. Här diskuteras hur tre föreställda oppositioner mellan konstnär-publik, privat-offentligt och original-kopia har format upphovsrättens historia och hur de fortfarande färgar samtidens upphovsrättsdiskussioner.