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4 Bruce Sterling, Distraction (New York: Bantam, 1998 [i999]), 1o4; see also 121.

5 This evocation of the Communist Manifesto is not entirely flippant. The Manifesto was written to take advantage of the revolutionary moment of 1848, when an old order suddenly crumbled amid a technological, communications, and industrial revolution. The ferment of that period bears comparison with that which prevailed after the implosion of Soviet communism amid the advent of digital networked media i5o years later. A number of "hacker's manifestoes" attempted to draw the same parallel. The most self-important is M. Wark's Hacker Manifesto (Cambridge, Mass.: Harvard University Press, 2004); the most heartfelt and original, The Mentor, "Conscience of a Hacker/Hacker's Manifesto," Phrack i, no. 7 (September 25, 1986): 3.

6 Quoted in G. Davies, Piracy ofPhonograms, 2nd ed. (Oxford: ESC Publishing, for European Commission, 1986), 4. To be fair, Davies did then advance a more substantive definition.

7 See chapter io below, and also B. Sherman and L. Bently, The Making of Modern Intellectual Property Law: The British Experience, 176o-1911 (Cambridge: Cambridge University Press, 1999).

8 C. Pulling, They Were Singing.•And What They SangAbout (London: G. G. Harrap, 1952), 112-13.

9 D. T. Pottinger, The French Book Trade in theAncien Regime, 1500-1991 (Cambridge, Mass.: Harvard University Press, 1958), 151-52.

10 For the issues at stake in framing the subject this way, see A. Grafton, E. L. Eisenstein, and A. Johns, "How Revolutionary Was the Print Revolution?" American Historical Review 107, no. i (February 2002): 84-128.

11 Miguel de Cervantes, Don Quixote, trans. E. Grossman (New York: Ecco, 2003), 270, 423-28, 938.

12 P. O. Long, Openness, Secrecy, Authorship: TechnicalArts and the Culture of Knowledge fromAntiquity to the Renaissance (Baltimore: Johns Hopkins University Press, 2001), 11.

13 R. Chapman, Selling the Sixties: The Pirates and Pop Music Radio (London: Routledge, 1992). I mean to explore this further in a future book, to be called Death of a Pirate.

14 P-H. Dopp, La contrefafon des livres franfais en Belgique, 1815-1852 (Louvain: Universite de Louvain, 1932).

15 Versions of this hypothesis are articulated explicitly in organs like the Economist that believe in a modernization trajectory toward free markets, enforceable contracts, and property rights.

16 N. Anderson, `A War ofAttrition," Ars Technica, March 18, 2007: http:// arstechnica.com/articles/culture/mediadefender.ars;j. A. Halderman and E. W. Felten, "Lessons from the Sony CD DRM episode" (2006), at http:// itpolicy.princeton.edu/pub/sonydrm-ext.pdf; Center for Food Safety, "Monsanto vs. American farmers" (2005), at http://www.centerforfood safety.org/pub s/CFSMOnsantovsFarmerReporti.13. o5.pd f.

2 THE INVENTION OF PIRACY

I Liber F (entries of copies March 2, 1656/57 to December 8, 1682). For this and the other register, see R. Myers, The Stationers'CompanyArchive: AnAccount of the Records, 1554-1984 (Winchester: St. Paul's Bibliographies, 1990), 25.

2 Vitruvius, Ten Books onArchitecture, trans. I. D. Rowland (Cambridge: Cambridge University Press, 1999), 85 (VII:1-3); E. Fantham, Roman Literary Culture: From Cicero toApuleius (Baltimore: Johns Hopkins University Press, 1996), 15; P. O. Long, Openness, ,Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance (Balti- more:Johns Hopkins University Press, 2001), 43; H.J. Martin, The History and Power of Writing (Chicago: University of Chicago Press, 1994), 49-50; L. D. Reynolds and N. G. Wilson, Scribes and ,Scholars: A Guide to the Transmission of Greek and Latin Literature, 3rd ed. (Oxford: Oxford University Press, 1991), 23-29.

3 W. P. McCray, Glassmaking in Venice: The Fragile Craft (Aldershot: Ashgate, 1999), esp. 149-63; Long, Openness, 89-92.

4 Long, Openness, 88-ioi; M. Biagioli, "From Print to Patents: Living on Instruments in Early Modern Europe," History ofScience 44 (2006): 1-48.

5 Long, Openness, 92-95.

6 Long,