At a time when there’s a virtual arms race of church leaders trying to redefine their theology and ecclesiology better to fit a series of demographic shifts and cultural transformations, why have I not heard any of the soi-disant pioneers call attention to the tremendous loss to the internet’s future, to the beneficiaries of digital innovation, to the ‘public’ of the public domain? Why have they not soberly and humbly taken up the question of where the churches stand relative to the enclosure of common goods by indefinitely-extended copyright periods? Why have they not, at the very least, reminded their blogging, Facebooking, tweeting, tumbling, pinboarding, SMSing, iPod-listening audience that Aaron was agitating on behalf of the very digital affordances that have made their movements possible?
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The theological ramifications of technology are only just beginning to receive searching theological attention. My colleagues Jana Bennett and Brian Brock have written books about it, Alan Jacobs has been at it for a long time, and I pitched in my essay; but when a force of digital nature (as it were) falls silent, stills, stops, one might anticipate at least a murmur of theological deliberation about what’s at stake, how we cane to this pass, how churches might take a deep breath and rethink their relation to copyright and the commons, to digital technology and the increasing centralisation of digital power (exemplified by the intensification of government authority to examine, collect, and redeploy all manner of digital data from emails to browser histories, without a warrant). Without for a moment minimising other concerns about other dimensions of human well-being — does not this concern touch the lives of far more people than are even inchoately aware of it, who are at risk of being made an example by a zealous investigator or a self-righteous media corporation?
— from an essay written by A. K. M. Adam. It is time for morality to have a seat at the IP table. For example, why should publicly-funded scholars and researchers allow their work to exist solely behind paywalls?