A search engine for searching books in the Z-Library index on the IPFS network
zlib.zu1k.com
zlib.zu1k.com
Last I remember, Z-Library was having an issue scaling the DHS to handle the number of files [1]. Did those issues get resolved? How is it going now? Also, is there anything being done to ensure every file has seeders?
The security was also a concern, and the scaling had issues. Pinning millions of small items got so slow it would not function. Then I ended up having concerns over hashed based addressing being easy to censor with the architecture IPFS was using (more hub & spoke than anything, given signaling and relay servers were centralized).
I could go on but I ran into so many issues I ended up implementing my own solution that did everything I wanted. Wanted to squeeze even more performance, I’ve been converting that solution to Rust.
This was a couple years ago so maybe things have changed since I used it. Last I checked, they seemed busy on Filecoin.
The idea of IPFS is great and I want to see it succeed, but I think that they got so caught up in their jargon and modularity, the project lost track of some fundamentals.
Your ideas are intriguing to me and I wish to subscribe to your newsletter!
(I really would appreciate any pointers to additional info on something that actually works...)
Until then, what I’m building unfortunately doesn’t seem to have a peer. So I will keep at it. If it gets to a point where I believe it can be useful to others, I will share it freely.
It sounds very useful already.
I’d love to see the code even if it’s not in a quite working state yet.
Please reach out if it fits your use case.
Added to my user page to avoid creating a permanent record. I’ll reply with my personal.
Their intentions seemed good to me they just have an ungodly amount of financing while perhaps lacking a core vision & understanding of what is at stake.
Put another way, seems more like an academic building something rather than a seasoned industry pro.
In any case, I don’t want to disparage their project. I learned a lot from their code & concepts. We are all on our own roads towards brilliance, contributing to each other in all kinds of ways.
In this case, to be blunt, give a bunch of nerds millions / billions of dollars and see how fast their objectives change. Going from being students to having material wealth unimaginable to most suddenly gets you invited to a lot of conferences / parties / inner circles. You’re doing a lot less engineering and a lot more socializing & experiencing, and suddenly those lofty ideals & nerdy curiosities may just not matter as much any more driving around in a lambo with what you’d consider super models. But making even MORE money to do cool things just might.
Very few people exist on this planet that can resist that, and it is the explanation for most people / projects / orgs that make it big losing their way. Once you have a lot of money, suddenly life without it seems impossible, and you start to compromise values to secure more of it. It is a steep downhill journey.
Most projects are unoriginal. Just a derivation slightly improved on, or a recombination of prior works in a compelling new way. Nothing wrong with that; our universe is composed of relatively few atoms combined in all kinds of special ways.
you both are correct on all assumptions. and are now discussing how corruption with money within the existing system is both undetectable/deniable and effective.
ipfs is now, for all purposes, a honeypot against dweb. or at least a way for opposition (dweb proponents) to waste valuable time. as your experiences proved.
Let me share my 2 cents as the Developer Advocate for IPFS (employed by PL).
You claim that our work is largely ineffective but what are you referring to? The IPFS ecosystem is like a cluster of several ecosystems, e.g. Libp2p, IPLD, IPFS, Multiformats.
> Lots of code and specs but nothing really usable
Some of the libraries may not be as actively maintained as others — this is the nature of open source. But to claim nothing is usable is not accurate — there's a lot of stuff that works pretty reliably.
> Code is not very original
Who cares....
> autonat is their version of stun/ice.
It's actually Autonat, DCUtR, and Circuit Relay V2 which are pretty amazing given that it's like STUN/ICE but decentralized! Anyone in the network might help you hole punch through NAT and from network measurements the success rates average around 70% (https://youtu.be/bzL7Y1wYth8?t=1091). Saying it's just "their version of STUN/ICE) takes away from the main qualitative difference of doing it without centralized coordination servers.
> "what apps use libp2p" you won't find anything because nobody uses it.
Ethereum uses libp2p GossipSub since the beacon chain launched. Berty, Satellite (https://satellite.im/), Status (https://discuss.status.im/t/waku-version-2-pitch/1776#org900...).
Either way, I appreciate your comment, we need to be doing a better job of surfacing some of the great progress being made in the IPFS/Libp2p ecosystem.
ConsenSys was founded by Joe Lubin, and is the corporate entity behind MetaMask, Infura, etc. It counts MasterCard and JP Morgan as investors.
Protocol Labs was founded by Juan Benet and is the primary sponsor of IPFS and the dev team behind Filecoin. They're funded primarily from the private token sales of FIL.
Agree with the sibling comment that the focus on modularity and solving "all of the things" rather than focusing on adoption seems to be a pattern with Protocol Labs, though I'm a big fan of what they're trying to build.
ConsenSys is an entirely different company focused on Ethereum, and neither invented nor maintain IPFS. That's Protocol Labs.
Protocol Labs didn't start out of ConsenSys either — in fact, I don't believe they have too much beneficial ownership in common at all. In addition to the separate founding stories already mentioned, you can read about how Protocol Labs was initially funded by Union Square.
Protocol Labs, as you correctly identified, is not a stooge of global corporate interests.
ConsenSys is a company formed by Ethereum co-founder. He has sold out to the big banks, in the opinion of some Consensys shareholders.
https://finance.yahoo.com/news/consensys-shareholders-readyi...
"Falls says he believes both MetaMask and Infura - what he calls "the crown jewels" of ConsenSys - could have been decentralized and tokenized, and that their projected use is "completely anathema" to the peer-to-peer principles of the space.
Meanwhile, a number of teams are looking to bring "institutional DeFi" - with its known counterparties and compliant custody arrangements - to the marketplace.
"Forget about the shareholders for a minute," Falls said. "Think about the consequences of the change in the influence over these infrastructure pieces.""
Out of curiosity I was looking at the evolution of IPFS hashes. They have gotten more complex. IPFS now uses base58btc exclusively. That's "btc" as in Bitcoin. Something like rhash, which has traditionally supported hashes used in peer-to-peer protocols, has no support for base58btc.
People are now trying to associate IPFS with "Web3". For example, check out this paper published a couple of weeks ago.
"Studying the workload of a fully decentralised Web3 system: IPFS"
> People are now trying to associate IPFS with "Web3". For example, check out this paper published a couple of weeks ago.
IPFS has been used to host dApps for a long time — eg the Uniswap frontend. This isn't a recent thing.
That's blatantly wrong. IPFS supports 25 different base representations (https://github.com/multiformats/multibase/blob/master/multib...).
In fact, recently, two community members decided to implement a new base encoding with emojis for fun:
https://cid.ipfs.tech/#%F0%9F%9A%80%F0%9F%AA%90%E2%AD%90%F0%...
https://github.com/multiformats/multihash supports at the very least SHA1 SHA2-256 SHA2-512 SHA3/Keccak Blake2b-256/Blake2b-512/Blake2s-128/Blake2s-256 Blake3 and Strobe. Hashes in IPFS are being standardised through the IETF and W3C https://www.ietf.org/id/draft-multiformats-multihash-05.html.
If you need rhash, you are welcome to submit a PR! We also have a grants program you can use to be rewarded for this.
It is true that Base58 is named for its original implemention in bitcoin but other than the name it has nothing to do with bitcoin.
The difference from Base64: It excludes non-alphanumeric characters and visually similar characters (I, l; O, 0) to make the output more human-friendly[0].
The problem it attempts to solve: Making bitcoin addresses more human-readable. That is likely also why IPFS uses it.
"In CIDv0, hashes are always encoded with base58btc. Always."
https://web.archive.org/web/20200810110206/https://proto.sch...
"Converting CID versions
You can convert any CIDv0 to CIDv1, because the implicit prefixes from v0 become explicit in v1. However, because CIDv1 supports multiple codecs and multiple bases and CIDv0 does not, not all CIDv1 can be converted to CIDv0. In fact, only CIDv1 that have the following properties can be converted to CIDv0:
multibase = base58btc multicodec = dag-pb multihash-algorithm = sha2-256 multihash-length = 32 (32 bytes, equivalent to 256 bits)"
https://proto.school/anatomy-of-a-cid/06/
Thank you @2color for the correction.
https://consensys.net/blog/press-release/consensys-raises-65...
https://www.reuters.com/technology/blockchain-firm-consensys...
https://consensys.net/blog/press-release/protocol-labs-colla...
The #1 lesson they failed to learn from Bittorrent and Tox: your DHT must be sessionless.
QUIC is not a solution to this particular problem. Although QUIC uses UDP, it still creates and manages sessions. This is incompatible with decentralized scaling. At the scale of Bittorrent and DNS you cannot manage this kind of session state without centralization.
The full answer to that question is way, way, way beyond the appropriate length for an HN comment.
DHTs need to accept requests from any random IP address, anywhere on the Internet. If you allocate state, you have to deal with resource exhaustion attacks. Dealing with them turns out to be way harder than anybody thinks when they first start down this path.
Cloudflare and Google can use stateful HTTP(S) because they are so massive. They can employ hordes of people to constantly tune DOS filters to block griefers before state allocation occurs, and lawyers to deal with any griefers who are as large as they are. If you're happy with that kind of centralization you shouldn't be wasting your time with DHTs; you don't need them.
Aside from resource exhaustion attacks, there are some pretty deep lessons connected to systems and architecture. The bittorrent bootstrap nodes serve some really insane number of requests/second on very modest hardware (I'm still trying to find the link that detailed this...). The Internet root zone DNS servers were, for a very long time (and perhaps still today in one or two cases) just a few good workstations at universities.
Sessionless protocols scale like crazy, on cheap hardware. But they are very hard to design correctly. If you have VC bucks, spend them on hardware and use sessionful protocols.
It would be really hard to launch that attack with a DHT that implements appropriate pruning, drop, and block rules for bad behavior. All that can feed into a personal (& autonomous) web of trust. Any references for me to read more about this?
i.e. Cloudflare. It works great. It is centralized.
> Any references for me to read more about this?
You can score member nodes and gauge bandwidth in the known network. Nodes can set their constraints accordingly and take more requests than others. Nodes that are open to edge & can handle a lot more connections can handle the bulk of onboarding requests.
This does not need to be a centralized process.
I'm not 100% certain what you mean by the DHT being sessionless.
> At the scale of Bittorrent and DNS you cannot manage this kind of session state without centralization.
You don't have to route content via the public DHT. Depending on what kind of data you're publishing, you can use a private DHT swarm, or delegated routing with HTTP.
> This is incompatible with decentralized scaling.
Hackernoon released a blog post comparing the two projects.
https://hackernoon.com/whats-the-difference-between-ipfs-and...
Might be worth reaching out to the site's creator -- info taken from their site [https://zu1k-com/about/]:
"If you have any questions to communicate with me, the preferred way is to comment directly in the comment area of the corresponding blog post, and I will receive an email notification
In addition, you can also reach me in the following ways:
Email: i@zu1k.com
Twitter: @zu1k_lv
GitHub: @zu1k
Keybase: @zu1k
Matrix: @zu1k:mozilla.org
My PGP public key can be obtained at https://pgp.zu1k.com or hkps: //keyserver.ubuntu.com
( 2A65 F6F3 1EDA D922 D7E7 E97B AE38 1A8F B1EF 2CC8)"
They act like gatekeepers. Along with blocking, as in this case, they make browser assumptions that force visitors to use one of the most recent mainstream "approved" and unmodified browsers.
For other browsers, they serve "Checking if the site connection is secure" with javascript fingerprinting and a captcha, and sometimes even solving the captcha won't let me in. i have also seen frontends misbehaving due to them not expecting cloudflare error response codes.
Some dvelopers apparenly just blindly enable cloudflare and don't care. :(
Libgen is not the same as Z-library, there are many books on Z that are not available on libgen.
Sometimes the epubs are very good, with a good cover and metadata as well as chapters and no weird aberrations; other times, they're unreadable. But the only thing you have to judge quality is size and general description of the upload which in this website it's been reduced so everything looks the same.
I think the website looks good, but yeah, would be nice if we could rate quality in some way.
Manuscripts (which are admittedly very niche) often have to be high resolution scans or photographs just to be readable, but zlib and libgen don't really have many of those.
A straight-text book can run as little as 500--750 KiB for 100--200 pages or so.
ePubs may run smaller as they're a compressed archive of HTML files, so how large the straight text is is largely a matter of the additional markup and stylesheets applied. I've generated PDFs from Markdown which are fairly comparable.
Most mainstream trade press books run about 3--6 MiB as PDFs, if they have few images or graphics.
Books with a heavy graphics content can easily swell to 30--300 MiB.
And scanned rather than generated PDFs tend to run similarly sized. Many of those scans are, however, excellent quality.
The largest ebook within my own collection for quite some time was a copy of Lyell's Geography, downloaded from the Internet Archive and based on a library scan of a 19th-century printing. On a colour tablet, it's actually pretty nice reading, on a B&W E-ink tablet, such scans often have a significant background ghosting which may or may not be eliminated by contrast adjustments in your reader.
For newer materials, I've seen any number of issues with ebooks:
- Clean single-page scans with OCR'd text for highlighting and copy/paste are generally my favourite. There's something about original print layouts that I still find preferable to ePubs and other digital-native formats.
- Native PDF can also be quite good though they're far more prone to designeritis, where someone has thought they could improve over ink-on-paper conventions. If you think you can do this, you are almost certainly wrong.
- ePubs rerendered as PDFs are among the worst options. I prefer PDFs generally, but not in this case.
- ePubs ... can ... be reasonably good, though again the principle problem is excessive flexibility for designers. Less is more. I really miss having a single consistent layout of the text, rather than something which reflows as font faces, sizes, and spacing are changed. As a saving grace, cringeworthy (and migrane-inducing) font choices can be overridden with The One True Serif Font.
- Various low-quality scans. 2-up, lots of page skew and placement variation, heavily-marked texts, and such. I'll still almost always prefer these to an ePub or other digital-native format, though the reading can be much harder.
- Tiny-font 3-column scientific publications. Even on my 13" e-ink reader, these can be a challenge, and I'll occasionally resort to a sub-page rendering (this is natively supported in the Onyx NeoReader and several other e-book readers). Why such publications continue to insist on this format as we approach the 2nd quarter of the 21st century I've no idea at all. Scans based on older journal pubs (from ~1950s -- 1980s or so) with both physical wear and scan artefacts can be especially challenging.
Don't get me wrong, I do appreciate the access that libgen and z-lib provide and think on the whole it is beneficial to society. It is still not paying for people's work though.
I still buy books, but these sites have largely replaced traditional libraries for my partner and I because they allow us to read what we actually want instead of Oprah's book club titles or the 50 digital self-help guides my local library stocks with their limited resources. I recognize that they're simply serving what most people want, but the alternative for me is simply not reading recreationally.
The other side of this conversation is that even if we did get rid of pirate libraries there would still be huge, unresolved issues with author compensation. There's been a dramatic decline in how much authors (and the other people directly involved) take home over the past couple decades [1] that has little to do with the marginal number of pirate readers.
[1] https://authorsguild.org/news/authors-guild-survey-shows-dra...
- Metadata and a cover are one click away
- Removing excessive spacing, padding etc. is a few clicks
Do you know how it worked before we had the internet for books? You had to go to a library yourself, which may have taken an hour of your day just in the journey, then hope the library had the book you wanted. If not, you may have to wait weeks for another library in the system to mail the book to your library.
Suppose I check an e-book out of my local library. Because Reasons, the library doesn't "own" unlimited "copies" of the book, so each "copy" can only be checked out to one patron at a time and if there are enough holds then a patron can't renew a checked out book. In short, ebooks in libraries are just like regular paper books, except to you don't have leave your house.
I had this ebook on hold for three months because it's very popular, but finally have it on my device, but I only have 3 weeks before I can no longer read it because of holds. I get about 2/3rds the way through before lock closes on the bits on my device. It's a very popular book, it will be 3 months before I can read it again.
I go online, use some service, find the exact same book, down to all but the locking bits, and download it, finish reading it a few days later, and then forget about it. I might delete it later if I need room.
Is that a crime? Have either the author or publisher lost money? On the one hand, I can say yes because if the libraries purchased more "copies", the waiting list wouldn't be so long, I might have been able to renew it and finish it. On the other hand, I wasn't going to buy the book myself, and the library has to balance budget and demand, so they probably wouldn't purchase additional "copies".
What ethical questions do authors and readers see here?
Reverse engineering yet another ebook format (Nemanja Mijailovic) https://mijailovic.net/2022/12/25/hkpropel/
eg in some countries participation in some parts of it (uploading/downloading/etc) is legal, whereas in other countries it can be the other way around.
As you're not distributing it, the chance of someone coming after you for downloading a non-legal copy is almost non-existent, and pretty much 0 if you've taken some basic precautions.
It sounds like you've answered your own question there; that as you'd read the majority of the book, that there's no real loss to you finishing it for free.
https://podcasts.apple.com/us/podcast/planet-money/id2907834...
https://www.npr.org/2022/11/09/1135639385/libraries-publishe...
Now, I think this question is nuanced. For example, let's take Harry Potter. That book has sold millions. In my mind, J.K. Rowling has already been rewarded by humanity for her work many times over, so if you were to pirate her book then I think that is a far lesser evil than pirating a book written by an author who has barely made any sales.
Basically, I view the question of piracy as follows: (a) have we rewarded the author enough for that specific work? and (b) if not, then it's not right to pirate their book, and I should buy it. I think everyone should ask themselves that question.
The same with movies. Marvel movies are a money-making machine and they have more than enough money to keep them going. An indie film much less so.
The question of whether an author has been rewarded enough is tricky. For example, if Elon Musk wrote a book, I would have no problem pirating it in a microsecond because society rewarded him enough. But maybe that's not so clear-cut because the editor might be poor. Thus, I think it's safer to go on the basis of sales rather than the wealth of the author, except of course if the author is self-published. In that case, if they are rich, then who cares. Of course, what is rich? Well it's hard to give exact numbers but if they have 10 million dollars that's definitely rich enough.
You didn't say where you are. Copyright infringement tends not to be a criminal offence, unless you're doing it as part of a business (so if you print out copies of that ebook and sell them) or you do so much of it you distort the market (you distribute so many copies of that ebook you destroy the profits that publisher might have made).
The rights holder can sue for their losses, but this tends to be the cost of the item, so they tend not to do that.
In many countries it is at least a copyright violation, although it should be noted that downloading (not sharing while torrenting) is legal in some places.
> Have either the author or publisher lost money?
On average, probably yes, because some people would buy the book, some libraries would get more budget or allocate more of the budget to that book, and most importantly, if you did re-borrow it in 3 months it'd further expand the waitlist, perhaps making someone go "screw that, I'm not waiting 4 months" and buy it.
OTOH, if you took all the money being spent on entertainment (books movies etc.), collected that as a tax, distributed it to the entertainment industry based on what people actually consume, and in exchange made everything available to everyone, there would be no loss of revenue and everyone would benefit from much higher, friction-free levels of access.
That's part of what made Netflix work. It extracted ~$120/year of revenue and gave access to everything. Now, with all the competing services, they probably still don't extract more than one service's yearly fee over the same population (because few people have more than 1-2 services, and the ones that just gave up and went back to piracy probably make up for the ones that now pay for 2 instead of 1 service) but people now have much less access.
Without a massive "media tax" which would have practical issues that don't make it feasible or desirable, some friction on free access is necessary or nobody would pay for content, and at the same time that friction harms society by limiting access. Piracy puts an upper bound on how much friction can be added before people go the yarrr way.
Unless you focus on the very latest releases, most authors are already dead. If you round up just about any list of great works from the 20th century, you'll find that most of those authors are dead and have been for years. If you like 19th century books, all of those authors are dead.
Or else the project is opensource you can install it by yourself:
Error code: 1020
Ray ID: 781a36f1b9b0babd
Country: IT
I got an error when visiting zlib.zu1k.com:
Error code: 1020 Ray ID: 781a37c3aeacbae1 Country: IT Data center: mxp03 IP: 31.157.83.62 Timestamp: 2022-12-30 10:51:01 UTC
The site owner may have set restrictions that prevent you from accessing the site.
Just be sure to confirm a disposable email address with them or they'll never let you in. Registering an account by itself is no longer enough when using tor and their website will block you and not tell you why.
It's ridiculous that this is what people need to do to help others, but that's what ridiculous laws and circus courts get you.
> ..[The 23-year-old student] allegedly earned tens of thousands of pounds (dollars) through advertising on the TVShack website before it was closed down by US authorities.
> The student would be the first British citizen extradited for such an offence. He faces jail if found guilty of the charges, which were brought after a crackdown by the US Immigration and Customs Enforcement agency.
> His lawyer had argued in court that the website did not store copyright material itself and merely directed users to other sites, making it similar to Google.
> The lawyer also argued that his client was being used as a "guinea pig" for copyright law in the United States.
https://phys.org/news/2012-03-britain-student-extradition-we...
Seems he now runs a software biz.
I don't know tantivy well enough to know if it'd be possible to put the folded in one field and the literal in another and then use the search syntax to choose between them
What did I do?
This "AI book reader" doesn't exist yet, right?
However I also got tired of manually extracting text and running my script so now I mostly use: https://www.listenlater.fm though on this I just use the “Matthew”. For 5-10 min articles it doesn’t really matter, you get used to the voices so long as you can do something else in the meantime lol.
The best TTS system for generating ebooks (that I have used so far) is MacOS's TTS. The process is fairly straight forward; first break the book into sentences using the standard heuristics. Run each of those sentences through TTS to generate an audio file for that sentence, then create a subtitle file with the text of the sentence. Then stitch them all together with ffmpeg, optionally adding a dummy video track if your media player of choice needs one to display subtitles (mpv does not, but some do.) Now you have a subtitled "audiobook."
MacOS's TTS has a robotic quality to it, but it generally works and you can become accustomed to it fairly easily if you give it a chance.
EDIT: I'll also add that although there are *many* TTS apps, the true diversity is far less because most of these services are using Amazon Polly, Azure, or GCP's equivalents.
I'd be happy to pay for a service where I can adjust the readers voice and speed, but this worked amazingly well, and the enhanced version of the audio is really good.
I think I hit the cf limit after 10 searches.
We downloaded libgen sql and zlib sql and exported the necessary data from them.
Where does this "zlib sql" come from? Anna's pilimi-zlib2-index?Is this a static index? Or maybe there's further additions and update in the future?
zlib.zu1k.com’s DNS address could not be found. Diagnosing the problem.
I would love to have a digital library of my physical books though, and that’s where this is coming in handy because I don’t want to buy it twice, especially when the ebook almost costs the same as the physical one. It would be nice if there was a “for ${1..5} more, get the digital one too!” - but then there’s DRM to fight with also.
Yes, the status quo is ridiculous, with libraries having to limit "copies" of ebooks and even simulating wear and tear of these on one side, and having to deal with DRM buying books on the other.
But according to at least one author that I‘d trust in the matter, publishers also provide valuable services to them, such as taking the financial risk of the first print run (including editing, marketing etc.) and paying authors upfront for it.
That said, I really hope that we‘ll see an "iTunes store for ebooks" (open format, no DRM) sooner rather than later.
> Or do you mean a system where people can steal what they want because 'reasons' and 'they want to pay less because xyz'?
If you have a copy of something, and I make a copy of it, and you still have your copy of it, what was stolen? If I find a book in the library and take pictures of each page, is that also theft? What if I write all the words down? What if I use a hand scanner and OCR to copy and transcribe it, is that theft?So the obvious retort is that you may not have bothered to purchase the author's work, forgoing your opportunity to read it, thus the author did not lose their sale.
The conversation will then turn to defending the existence of copyright as an incentivization to produce valuable works worth reading, and then to how the publishing industry eats those incentives anyway.
In the end, no one will exit the conversation having gained any insight.
> So the obvious retort is that you may not have bothered to purchase the author's work, forgoing your opportunity to read it, thus the author did not lose their sale.
I can't speak for all pirates, but I will pirate things I want to sample and then often buy it if it's what I was looking for. At least with books. I haven't bought music in 20 years.Given that I (as an European) pay extra fees for copyright management companies for each photography-enabled device, each memory device, each scanner and each printer, I should be enabled to make as many copies of any copyright-protected work as I want.
Which is incidentally how it works over here. What gets you in trouble is making works accessible to copiers, not owning copies.
Maybe they were an acceptable compromise in a time before e-books and e-readers, but they are neither fair to users, nor do they seem high enough to fairly compensate content creators without their normal revenue channels.
If the intention behind it is a kind of public subsidy for content creation: Sure, there are much worse things to spend tax money on.
But please do it properly then, i.e. something like a "public Spotify/Netflix" for books and films that correctly attributes view counts, rather than just handing money almost exclusively to already popular/financially stable creators as measured by past sales records.
> By the way, the answer to your questions is yes.
You say it's theft to take pictures of the pages of a library book? I would need you to cite your sources please.If it matters, I recently ordered 6 hardcovers from an author who's book that I downloaded from libgen was so impressively written, well sourced and thought provoking that I just had to put his best works (the book I "stole" by downloading, and 5 of his other works) in my physical library.
On the flipside, I recently wanted to read a book (different author) so badly but it wasn't available anywhere for less than $100 since it's out of print, so I downloaded it and don't feel bad at all. I haven't read that one yet, and if I love it I might spend the money for a physical copy, but it wouldn't matter since it's out of print and used and wouldn't make a difference to the author (also, he's dead).
So you copying one page from a book in a library would still lead to some form of compensation, although one could debate whether it is fair or not, whereas using a P2P search engine to locate an online copy of a PDF would not.
Also, IMHO, the discussion of such online libraries should separate the topic of fair compensation of authors (I believe Norway or Finnland have "author stipends" paid by the government that one can apply) and the topic of locating and researching whether a book is what one needs or to one's liking.
But what is even worst is that they are trying to make you pay them forever (subscriptions).
Try to find some lesser known book or newspaper from the 80s in epub legally or non-top films from the 90s and you'll see what I'm saying.
Everything is trashed just after it's being produced. The uncomfortable truth for those large copyright conglomerates is that right now it's the piracy scene which keeps most of the content alive, to the point they even have to pirate their own content to release it again sometimes.
And then there's the whole debate on the length of copyright itself, there's no conceivable damage in any shape or form of pirating the Beatles.
Too many works are currently unavailable commercially/legally.
I mean, imagine this concept is being popularized at first in the modern era. I'm pretty sure there's a huge opposition, using the very same argument as digital pirates & AI art debate : "It could damage author's income! People will just go read it for free in public library instead of buying it! Public library is morally wrong and should be burned!!"
Video rentals have been popularized in the modern era.
Netflix mail rentals have been popularized in the even more modern era.
I'm sure some copyright holders argued that they should be burned down, but clearly there wasn't a "huge opposition" to it?
A public library buys the book. Many people can read it, but it guarantees one purchase, and often many libraries will buy the book. It also limits the amount of readers to those who live relatively nearby. Books were also traditionally written with the ideas of libraries in the author's mind, and also many authors benefited themselves from libraries.
AI Digital art has many facets which make it detestable for some: it floods the market with stuff that can be generated at near zero cost, it weakens the connection between people because people are no longer looking at something another human created, it cheapens the spirit of creation.
While libraries, Library Genesis, and piracy might have some facets in common, they are separate entities and should not be conflated in any sense.
The irony of not hosting them on IPFS does not escape me :-/
If not, they can always get a job where they have no ownership stake in the fruits of their labor, like almost every other job and 99.9% of people writing code for money.
No one is entitled to have any particular piece of media available to them for free, either?
Talented and savvy consumers can find any number of ways to make money to pay for media, like 99.9% of other consumers.
It’s also not really a matter of entitlement. It’s just an objective fact that trying to gatekeep knowledge behind IP toll bridges is a losing battle which only serves to hinder the development of many realms of human endeavor.
IP laws don’t protect small creators anyway, most of whom will fail regardless. They protect the big conglomerates from multitudes of potential creators who might otherwise find education and success outside of the established institutions.
It's quite possible that the size of such sectors today is excessive, though there's a strong argument that information is under-incentivised whilst entertainment is excessively incentivised, to say nothing of various forms of manipulation and propaganda, or the negative impacts of surveillance and fraud that are intrinsic to the adtech field.
So the question of incentives, compensation, financing, and revenue collection do deserve addressing.
I do agree that the present model is addressing those specific elements quite poorly.
I use OverDrive/LibGen etc because it's generally more convenient than the public library. If I like a book enough to actually finish it, I buy a paper copy because ebooks are inherently inferior and probably always will be. If I was still a student I would use OverDrive/LibGen etc specifically to steal from textbook publishers who charge $100 for an 18th edition riddled with factual and grammatical errors in hope that they would go bankrupt, but it wouldn't work. We have a long way yet to go.
But I will say that I have bought both ebooks and physical books from authors that I like and appreciate the work and effort they have put into their craft. I've spent rather a lot on it, actually.
The publishing industry prefers, however, to hoard its Smaug-gold, make criminals of the curious, deny access both to the vast majority of the population and to the vast majority of works, all to line its own pockets at an immense cost to the rest of us, authors, artists, musicians, and other creators included.
<https://news.ycombinator.com/item?id=33698018>
Nobel laureate economist Joseph Stiglitz: "Knowledge is a public good"
<https://archive.org/details/globalpublicgood0000unse/page/30...>
Copyright is brain damage:
Let's say I just published one hundred books of semi-AI generated bad fiction. When can I expect my cheques?
The model of mechanical royalties already exists in the music industry. That provides a useful model for other copyrighted works. Effectively this creates a regulated, universal, legally-defined market. I can see some variations in rates based on content types, discussed in previous HN discussions.
See:
<https://en.wikipedia.org/wiki/Royalty_payment#Mechanical_roy...>
<https://www.royaltyexchange.com/blog/mechanical-royalties>
<https://www.bmi.com/news/entry/Understanding_Mechanical_Roya...>
Please note that this is discussed at length in the previously-linked thread here: <https://news.ycombinator.com/item?id=33698018>
Q: Who collects [payments]?
A "~$5/mo per household in the US and collected through broadband providers", as stated in my parent comment.
Q: How does dispute resolution work?
Ownership disputes are adjudicated as they are today.
Auditing disputes are adjudicated as they are today, modulo restrictions against binding arbitration and other conditions as discussed by Cory Doctorow and Rebecca Giblin in Chokepoint Capitalism: <https://bookshop.org/p/books/chokepoint-capitalism-how-big-t...>
Payment rate disputes are addressed through a regulator, genre / content-tier basis, and the legislative / political process reflecting interests of the public, creators, publishers, and other stakeholders.
Q: Can I opt out if I don't read books?
No.
On the basis that the common wealth created by others having access to information is a public good and benefit, much as police, fire, health, sewerage, and defence services are. Note that the cost is indexed to wealth/income, such that those of limited means pay little or nothing. Keep in mind that you are already paying roughly $800/year per head for content access through advertising. This isn't an additional fee, it's a restructuring of an existing financing model with many perverse outcomes in terms of manipulation, the type(s) of content incentivised, a pervasive surveillance model, and frauds against both advertising targets and advertisers.
Q: What if everyone opts out?
See above.
Q: What about AI-generated crud?
This is where I see a graduated compensation model with a number of tiers. AI-based glurge would see rates based on the costs of production, as would investigative journalism. The former would result in very low compensation rates, the latter should see higher. Quality-determination by various means might well be an element. Whilst individual negotiation by bidders isn't something I see as part of the model, a collective bidding based on sectors, guilds, and/or major aggregated publishers could be.
Discussed earlier: <https://news.ycombinator.com/item?id=26893033> <https://news.ycombinator.com/item?id=10077674> <https://old.reddit.com/r/dredmorbius/comments/1uotb3/a_modes...>
This HN comment search on "content syndication by:dredmorbius" should address numerous other concerns: <https://hn.algolia.com/?dateRange=all&page=0&prefix=false&qu...>
I refer to your earlier post, though:
> …could provide access to every work ever published, pay authors, and eliminate both the need and practice of piracy.
I don’t think the model of music royalties, as it exists, could or does any of those things, nor do I think the model could ever be adapted to achieve those ends.
Moreover, I don’t think in a free society there can possibly be a place for a governmental or quasi-governmental body that would somehow assess the objective quality of all art, and decide on the compensation of artists accordingly. It would mark the death of all avant-garde art, and the rise of a massive rent-seeking class of mediocre and unchallenging artists. Not to even mention the implications for speech: there’d be no more artists holding up the mirror to the face of power, no more social criticism through art.
I don’t often say this, but that is a truly chilling vision of the future. Thank God it will never happen.
Q: I don’t think the model of music royalties ... could do any of these things ...
My larger point is that the money is already in the system, and is being paid by households. Only that it's via advertising with multiple perverse effects on the media ecosystem itself.
Some examples I've addressed in earlier posts:
<https://old.reddit.com/r/dredmorbius/comments/23twec/weaponi...>
<https://news.ycombinator.com/item?id=11592888>
You're being vague as to what the failings of a royalty-based system are, and whilst I could presume some of those problems and/or possible solutions (<coff> UBI <coff>). Much of what I'd suggest revolves around a number of concepts:
1. That content-creation as it exists is a high-stakes, infrequent-reward, winner-take-most sweepstakes. Much of existing publishing and distribution actually mitigates for this, as with "tentpost" cinema, music, and publishing titles and/or talents.
2. That in-depth detailed work in journalism, education, science, and technology especially relies strongly on durable institutions with a reliable income as well as defence mechanisms against the various forms of attacks and corruption these draw, e.g., libel, co-option. Large publishers often have strong legal defence teams, as well as contracts. Educational institutions, NGOs, publishing groups, news organisations, and creators' guilds might be possible such durable organisations. Groups need not be large. I'm reminded of visiting a local library to inquire about free room reservations: these were available to any citizen group requesting one, where a group was three or more people. There's power in numbers, especially when given an organisational banner.
3. That "reward for audience" is itself a fairly poor compensation metric. Yes, there are justifiable winners, but there are far too many unjustified losers, or works recongised only at much remove for their quality. Some way of balancing this out might be useful, and I'm open for ideas and criticisms.
4. That remunerative reward is a rather poor inducement for quality authorship. I discovered my spirit animal in Schopenhauer's "On Authorship": <https://en.wikisource.org/wiki/The_Art_of_Literature/On_Auth...>
Q: It would mark the death...
To which I respond:
- The system I propose would not be the only compensation mechanism, but it would be a guaranteed one (perhaps again with other mechanisms such as UBI and group/guild organisations).
- I'm honestly baffled as to why you think that dissenting voices would not have access to such a system. It is universal to both audience and creators.
- The extant system has marked the death of numerous forms of desirable and even essential authorship, most notably quality, incisive, independent local journalism, but extending to artistic works in text, audio, and film.
- What conditions would promote the types of works you describe? How well, exactly, does the present model work for those?
- Complaints about the rise of a massive rent-seeking class of mediocre and unchallenging artists in light of the present state of publishing seem ... archly ironic.
Again, if you care to follow up by email, invitation's open. I'm also @dredmorbius@toot.cat on the Fediverse.