Warez
The Infrastructure and Aesthetics of Piracy
Bibliographic Data
| ID | 19948321 |
|---|---|
| Authors | M P Eve (0000-0002-5589-8511, Birkbeck, University of London, corresponding author) |
| Year | 2021 |
| Pages | 444 |
| Publication date | 2021-12-15 |
| Open Access | Yes |
| Type | BOOK |
| Venue | Warez (SOURCE_BOOK) |
| Publisher | Punctum Books (PUBLISHER • US) |
| DOI | 10.53288/0339.1.00 |
| OpenAlex | W4205691008 |
| Open Library | OL35740478M |
| ISBN | 9781685710361 |
| Language | EN |
| Citations received | 1 |
| References cited | 68 |
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
Computer security · Copying · Cyberculture · Internet privacy · Media studies · Participatory culture · Political science · Sociology · The Internet · World Wide Web · Computer Science · Digital Games and Media · Law · Computer software · Copyright and electronic data processing · Piracy (copyright)
“Deplorable” Satire
How Copyright Affected the Musical Style and Critical Reception of Sample-Based Hip-Hop
The Great Automatic Grammatizator
‘BLOODY Pirates!!!* shakes fist*’
Systems of articulation, logics of change
Music for Nothing Or, I Want My Mp3
Explaining the rise and fall of the Warez MP3 scene
Circulatory Maintenance
Telephone networks, BBSes, and the emergence of the transnational ‘warez scene’
Researching the organization of serious crimes
The mobility of criminal groups
An Introduction to Informal Media Economies
Nerd nation
Cultures of Music Piracy
Subcultures, Scenes or Tribes? None of the Above
Alpha nerds
Sinking the Online “Music Pirates
Reading Caliban and the Witch politically
The Challenges of Regulating Warez Trading
Parameters for Software Piracy Research
Digital Subculture
More Than Just Free Content
Playing on the digital commons
The social organization of audio piracy on the Internet
Pirates of the Pacific Rim
Comic Book Fandom and Cultural Capital
Enclosures, Common Rights, and Women
Where the Counterculture Met the New Economy
What is a technological author? The pirate function and intellectual property
For and against the record industry
The Ethnography of Infrastructure
Rumours and Politics on the Northern Frontier
Towards a General Theory of Piracy
Rumors and Politics in Haiti
Authentic Identities
Subcultural Evolution? Examining the Influence of on- And Off-Line Experiences on Deviant Subcultures
| Unique citing works | 1 |
|---|---|
| Citations per year | 1 |
| Citation span | 2025 - 2025 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |