Copyleft & internauti pirati. Editoriale di Engramma 222

This issue of Engramma, titled Copyleft & internauti Pirati, critically examines the contemporary state of digital resource accessibility, the economic and legal frameworks governing knowledge infrastructures, and advocates for the unrestricted dissemination of knowledge. The editorial introduces the pirate as a symbol of resistance against traditional legal confines, drawing upon Carl Schmitt’s The Nomos of the Earth. The issue opens with two contributions that outline the theoretical and militant framework. Peppe Nanni, in ©Tutti i diritti riservati. Proprio tutti?Per un diritto costituente, critiques the contradictions of copyright in digital spaces, calling for a foundational rethinking of law; Engramma Open Access. Aperta origine by the Engramma editorial board, outlines the journal’s long-standing commitment to genuine, non-institutional open access.The issue is then divided in three sections: “Invenzione”, “Chiusura”, “Apertura”. The Section “Invenzione” presents Riprodurre il patrimonio culturale. Quando l’abuso diventa (la) regola in which Mirco Modolo traces the historical control over artistic reproduction; Lorenzo Gigante in Per un’iconografia della noia. Dal Cinquecento al meme: i notai e la xilografia, tra appropriazione e trasgressione explores early visual appropriation by notaries as a proto-meme culture; Maurizia Paolucci in A Tale of Two Misfits. The Sabbath/Shabbat across William Hogarth’s A Harlot’s Progress Series examines copyright’s origins via Hogarth’s fight against pirate copies; Bernardo Prieto presents the volume Yan Thomas, Il valore delle cose, Quodlibet [2002] 2022 with critical glosses. The section “Chiusura” includes Giorgiomaria Cornelio’s No logo? Sul plagio e la vita dei segni, da Melania Trump ai magazzini criminali del Medioevo, a reflection on the irreducibility of signs to ownership; in Il potere segreto. Wikileaks e la digitalizzazione dell’informazione Alessandro Visca interviews Stefania Mauriz about WikiLeaks, Assange, and freedom of information; Museums and the Enclosure of the Public Domain in the Digital Age by Douglas McCarthy denounces digital restrictions by museums on public domain art; Barbara Pasa in Piracy Shield, diritto d’autore e monopoli intellettuali: il caso italiano reconstructs Italy's anti-piracy system as reinforcing monopolies and limiting cognitive justice; in Note su alcune aperture giurisprudenziali al principio del “libero utilizzo” e sugli effetti nelle culture del riuso, Alessia Brandoni explores the jurisdictional horizons supporting creative reuse and transformative citation. In the section “Apertura”, Copyright e Copyleft nell’era dell’intelligenza artificiale. Scenari tecnologici e risposte normative, by Alessandro Del Ninno, analyzes how AI challenges outdated copyright frameworks; Contro il copyright. Pirateria, disobbedienza civile e creatività collettiva by Francesco D’Isa defends piracy and civil disobedience as collective cultural practices; Christian Toson and Elizaveta Kozina present Anna, the Universal Library, presenting Anna’s Archive, the project of a universal digital library; Per una liberazione della retorica dell’archivio. Verso una pratica dell’immagine come relazione is a dialogue with the artist Alessandro Gagliardo on rethinking the archive as a space of relation, not preservation. The “Dalla cambusa” appendix presents a selection of exemplary texts, with a particular focus on open access and copyleft: Corrispondenza con un editore, the epistolar exchange between the International Situationist and the publisher Feltrinelli; Guerilla Open Access Manifesto by the American scholar and activist Aaron Swartz; Elogio de la piratería by the Bolivian film critic Mauricio Souza Crespo; and 10 tesi sull’archivio by the pad.ma collective. This issue of Engramma is dedicated to the memory and work of Aaron Swartz.