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oapen-20.500.12657-520292022-07-21T14:01:40Z Warez Eve, Martin Paul computing;hacking;history;internet security;piracy;software;warez bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFD Media studies bic Book Industry Communication::J Society & social sciences::JK Social services & welfare, criminology::JKV Crime & criminology::JKVK Corporate crime bic Book Industry Communication::U Computing & information technology::UB Information technology: general issues::UBW Internet: general works When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age. 2021-12-15T10:31:08Z 2021-12-15T10:31:08Z 2021 book 9781685710361 https://library.oapen.org/handle/20.500.12657/52029 eng application/pdf Attribution-NonCommercial-ShareAlike 4.0 International 0339.1.00.pdf https://punctumbooks.com/punctum/wp-content/uploads/2021/05/210510warez-cover-web-front.jpg punctum books Dead Letter Office 10.53288/0339.1.00 10.53288/0339.1.00 979dc044-00ee-4ea2-affc-b08c5bd42d13 9781685710361 ScholarLed Dead Letter Office 444 Brooklyn, NY open access
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When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free.
Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy.
Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age.
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