Konačno sam dobio prostor da sa ovom zajednicom razgovaram i o kulturi i sličnim društvenim paradigmama koje je oblikuju. U suštini bih ovde postavljao knjige, razgovore i slično štivo koje obradjuju teme open-source zajednice i sličnih pokreta.
In this thread I would post books and other literature about hacker communities and open-source culture.
Za početak ću postaviti par knjiga koje smatram da su značajno doprinele demistifikaciji hakerske zajednice. S obzirom da nema mogućnosti da se postavljaju knjige za sada, možete mi se obratiti kako bih vam poslao kopiju.
Mislim da je za knjige najbolje da ih kacis na libgen.is isto i ovde okacis link, pored uploada ovde. Zato sto onda ostaju na libgenu i jos ce ih naci ljudi koji ni ne znaju za nas, ali traze tu knjigu.
Hvala na dopuni biblioteke. Ova druga knjiga Gabrijele Kolman (Haker, trol…) mi je baš pisana za bestseller opciju. Čista tržišna knjiga, i što se mene tiče, totalno van njenih naučnih, antropoloških okvira u kome inače stvara. Ali svakako zanimljivo štivo, barem za potrebe razbijanja medijskog narativa navedenih pojmova, za one koji ih ne prate
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.
Pirates, Protest, and Politics in FM Radio Activism
An examination of how activists combine political advocacy and technical practice in their promotion of the emancipatory potential of local low-power FM radio.
The United States ushered in a new era of small-scale broadcasting in 2000 when it began issuing low-power FM (LPFM) licenses for noncommercial radio stations around the country. Over the next decade, several hundred of these newly created low-wattage stations took to the airwaves. In Low Power to the People, Christina Dunbar-Hester describes the practices of an activist organization focused on LPFM during this era. Despite its origins as a pirate broadcasting collective, the group eventually shifted toward building and expanding regulatory access to new, licensed stations. These radio activists consciously cast radio as an alternative to digital utopianism, promoting an understanding of electronic media that emphasizes the local community rather than a global audience of Internet users.
Dunbar-Hester focuses on how these radio activists impute emancipatory politics to the “old” medium of radio technology by promoting the idea that “microradio” broadcasting holds the potential to empower ordinary people at the local community level. The group’s methods combine political advocacy with a rare commitment to hands-on technical work with radio hardware, although the activists’ hands-on, inclusive ethos was hampered by persistent issues of race, class, and gender.
Dunbar-Hester’s study of activism around an “old” medium offers broader lessons about how political beliefs are expressed through engagement with specific technologies. It also offers insight into contemporary issues in media policy that is particularly timely as the FCC issues a new round of LPFM licenses.