When it involves unauthorized access or transmission, it is Filesharing refers to transferringĭigital content between persons and, while not inherently illegal, is often used forĬopyright infringement. Katians are first and foremost filesharers. The Two Scenes: A Brief History of Filesharing Heart of a collective discursive performance of resistance. I argue that piracy is a creative vernacular tradition which lies at the Ideology in order to contextualize the contested identity narratives of contemporary media This article, I trace the history of filesharing, linking it to historical anti-piracy Tradition of resistance that stretches back in time to the earliest outlaw folk heroes. Illegality, Katians negotiate politics of morality and law to locate themselves within a Number of consumer restrictions and the average copyright term lasting well over aĬentury, they perceive copyright as an exploitative system of control. Their small acts of resistance as moral responses to unjust laws. To maintain systems threatened by piratical resistance. Powerful actors with vested interests, from nation-states to media conglomerates, who seek Although 17 th century sea bandits have little in common withĢ1 st century downloaders, they are conceptually and rhetoricallyĮntwined through popular imagination and discourse. Of resistance is inherent in all forms of piracy, from maritime plundering to unauthorizedĬopying. This article is based on ethnographic fieldwork conducted at KAT between 2015-2016Īnd explores the folk culture of piracy and the symbolic meanings Katians create throughĬonnections with historical sea piracy and outlaw folk heroes. Well as draw upon) a tradition of resistance. These repeated individual acts of protest form (as As tEktwo put it, “Pirating is not a crime, it is a It is constituted of small acts, each imbued with symbolic significance but predicated Infringement-oriented way of life rarely includes flashy or large-scale movements rather, The system.to their minimum disadvantage” (Hobsbawm quoted in Scott 1985: xv). Of the risks involved and approached piracy as a calculated strategy, as a way of “working Yet Katians, as in Charsi’s epigraph, were well aware Katians casually discussed and practised piracy amidst theĮver-present danger of legal action. Ideologically motivated, it constituted nothing less than their raison d’être, while for other Katians it was a mundane aspect of their day, akin to going to the store Charsi, May 8, 2016įor many people at Kickass Torrents (KAT), breaking the law through copyright TV show new or old, it will always be there for you. That shitty comedy that you know is crap but watch on your TV, pirating that new Justinīieber album for your kids even though you hate the guy, or catching up on your favorite Way of life, and a feeling of freedom that nothing else can offer. Software for my dad to get back to work, pirated music for my mom, and much more. I have pirated movies for my grandma, pirated
#Pirates 2005 kickass plus#
Cet article soutient que la culture pirate est plus nuancée que ce que l’on dépeint et que, par la pratique traditionnelle, la piraterie est une performance vernaculaire de résistance. Pour les utilisateurs de fichiers qui l’adoptent, l’identité de pirate est un composite construit de manière discursive qui permet aux utilisateurs de s’inspirer (et de créer) des traditions de héros folkloriques hors-la-loi pour s’exprimer et affecter les changements à petite échelle dans le monde qui les entoure. Basé sur un travail de terrain ethnographique mené avec des groupes de craquage de la scène Warez et la communauté Kickass Torrents, cet article situe le discours de la piraterie comme un site d’identité contestée. Appelés hors-la-loi et voleurs, ces partageurs de fichiers pratiquent une tradition vernaculaire de piratage numérique face à un pouvoir étatique accablant. RésuméĪu bord de la frontière numérique, loin des océans de leurs homonymes maritimes, les communautés de pirates fleurissent. This article argues that pirate culture is more nuanced than popularly depicted and that, through traditional practice, piracy is a vernacular performance of resistance. For file-sharers who embrace it, the pirate identity is a discursively-constructed composite that enables users to draw upon (and create) outlaw folk hero traditions to express themselves and affect small-scale change in the world around them. Based on ethnographic fieldwork conducted with Warez Scene cracking groups and the Kickass Torrents community, this article locates piracy discourse as a site of contested identity. Called outlaws and thieves, these file-sharers practice a vernacular tradition of digital piracy in the face of overwhelming state power. On the edge of the digital frontier, far from the oceans of their maritime namesakes, pirate communities flourish.
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