Software piracy is a serious problem in the software industry. Software authors and publishing companies lose revenue when pirated software rather than legally purchased software is used. Policy developers are forced to invest time and money into restricting software piracy. Much of the published research literature focuses on software piracy by end-users. However, end-users are only able to copy software once the copy protection has been removed by a ‘cracker’. This research aims to explore why, if copy protection is (...) so difficult to remove, do crackers invest their skill and time in this activity instead of more lucrative and legal employment. This study develops a framework of neutralisation, justification and motivation and goes directly to the initial software crackers to determine what motivates their activities. The study first applies this framework in an anonymous online survey of crackers. The study then conducts cognitive interviews with eight crackers to explore and further validate the survey’s findings. The study finds the challenge of removing the copy protection from software as the strongest motivation for the actions of crackers. Desire for social participation, while found to be rewarding, was considered unnecessary for crackers to continue their actions. Higher social status was not a motivational factor but was a perceived by-product of cracking. The study also raises areas for future research. (shrink)

Week in Review cover story, September 16, 2007.

The digital world provides various ethical frames for individuals to become ethical subjects. In this paper I examine – in a Foucauldian and Luhmannian way – the differences between three systems of communication: the proprietary, the open/free and the cracker system. It is argued that all three systems provide a different set of ethical codes which one can be subjected to. The language of each system is restricted and they cannot understand each other, they merely consider each other as (...) the environment. The systems generate a diversity of ethical codes as they give different shapes to digital objects. To proprietary software companies digital objects are an instrument of financial profit. The free software/open source movement emphasises transparency; the end user must be able to view and alter the source code. The cracker scene sees digital objects in a different way. For this particular system, only copy-protected digital objects are appealing. Copy protection binds its target to the world of matter. Breaking the protection is the ultimate challenge and a way to gain honour and status inside the cracker scene. A copy-protected digital object is simultaneously an utmost example of the hidden source code (the open/free system), a perfect artefact that can be owned and sold (the proprietary system) and a challenge to be cracked (the cracker system). (shrink)

A partir de visualizar Internet como una creación cultural que refleja los principios y valores de sus inventores, analiza cómo Internet y libertad se hicieron para mucha gente sinónimos en todo el mundo, frente a lo cual los estados y las iglesias reaccionaron tratando de restablecer el control administrativo de la expresión y la comunicación. Se plantea luego el dilema de si es controlable Internet, contraponiendo las tecnologías de control y vigilancia a las tecnologías de libertad. Se ponen así en (...) juego actores y principios: los Hackers y crackers, la libertad y la seguridad¸ la encriptación del mensaje. Ejemplifica el autor con la experiencia española de la regulación a Internet. (shrink)

Religion happens -- Crackers and grape juice -- Attention collection -- Choose your ancestors carefully -- I learned it by watching you -- Hurry up and matter! -- The web, the net, and the verse -- The chother -- Policy is liturgy writ large -- Strange negotiations.

When an organization is pressured to respond to moral expressions in capital, consumer and labor markets, it faces a dilemma of how to respond. Should Shell have given in to Greenpeace in deciding how to dispose of the Brent Spar Oil Rig? Should Cracker Barrel give in to pressures to fire homosexual employees? Firms should consider the nature of the moral expressions pressuring them in deciding how to respond. Moral expressions can be divided into three descriptive categories: Benign, Disputed (...) and Problematic. Each carries different implications for corporate action and in some cases will justify corporate resistance to moral expressions by stakeholders. In order to appropriately respond to moral pressures, firms should first engage in a process of discovery aimed at identifying moral pressures relevant to the firmös missions and objectives and then engage in a process of justification concerning their responses. Such a conclusion is consistent with important trends of contemporary thought in ethics and political philosophy and is strongly supported by Kantian analysis. (shrink)

This translation makes available to the Anglophone world, for the first time, what is possibly Max Stirner’s final reply to his critics, entitled ‘Die Philosophischen Reactionäre’ (1847). The article was signed ‘G. Edward’, and its authorship has been disputed ever since John Henry Mackay ‘cautiously’ attributed it to Stirner and included it in his collection of Stirner’s lesser writings. If it is indeed Stirner’s final reply, then some of the main traits of Der Einzige und sein Eigentum are restated and (...) posited against those whom Stirner scornfully refers to as ‘the philosophers’. Since it was written almost three years after his magnum opus, it would offer a unique insight into Stirner’s own appraisal of the book in the wake of the ultimate demise of Young Hegelianism. Other than its obvious historical-philosophical significance, the text bears witness to Stirner’s own ‘spectrality’. The controversy over Stirner’s authorship is related to the inherently idiosyncratic nature of his thought. Stirner defies – and indeed mocks – all philosophical and theoretical conventions or categorizations. Yet, perhaps the controversy over Stirner’s authorship of ‘Die Philosophischen Reactionäre’ need not be settled after all: the mystery surrounding it only affirms the spectrality of the thinker who, in the words of ‘Edward’, one can ‘go crackers’ on. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Picture Is a Patchwork of Color Laid Out in a Private Space in Which Lie Flat Imitations of LifeDavid Socher, Independent ScholarThe fish to be fried has an ontological head, an epistemic belly, and an aesthetic tail.1 A picture is a patchwork of color laid out in a private space in which lie flat imitations of life. Such a patchwork constitutes a make-believe visual field. I roll out (...) this suggestion under the following headings: Intention, Form and Content, Ontology, Picture Space, Make-believe, Photography, and Resemblance (see Figure 1).In Annie and Alfred's house the wallpaper has daisies, the linoleum has pine trees, the carpet has tigers, and the upholstery has sailboats. In Betty and Bill's house the wallpaper is plaid, the linoleum is checkerboard, the carpet is paisley, and the upholstery herringbone. Annie, Alfred, Betty, and Bill all have a few one-dollar bills and a few five-dollar bills. As you of course know, the ones have Washington on them and the fives have Lincoln on them. It goes without saying that these daisies, pine trees, tigers, sailboats, Washingtons, and Lincolns are, in fact, pictures, a word I have not used until now. The absence of that word was not particularly noticeable. That is just the way a daisy is on wallpaper and that is just the way a president is on currency. (The word picture is not the only word to act this way, to drop out in this fashion. Take the word name. When I am on a list it is because my name, or perhaps my number is on the list.) For starters let us bring aboard the term picture to include these daisies, trees, tigers, sailboats, and presidents. And let us note that there are no pictures in Betty's wallpaper, linoleum, carpet, and upholstery.Some pictures work harder than Annie's daisies. Consider, for example, the use of pictures in pedestrian traffic lights. The pedestrian WALK sign pictures (in plain white light) a walking figure. And the DON"T WALK sign pictures (in flashing red light) an upraised hand enjoining us to stop.2 The first directs us to walk by showing us an example of walking, by picturing a walking person. We do what the figure does. It walks, we walk. In the second picture we sort of make-believe it is the hand of a traffic officer holding [End Page 105] his hand up for us to stop. This picture does not operate by example. We are certainly not expected to hold up our hand; we are expected to stop. With this sign a picture is used to command by picturing a command. In the WALK sign a picture is used to command by picturing compliance. So these are two ways of using a picture to direct our actions—picturing compliance and picturing a command. Here is a third sign—a picture of a cigarette is overlaid with a red X. The sign tells us not to smoke. It does not picture either command or compliance. It pictures, rather, the prohibited thing. This sign has a non-pictorial content, the X. It signals the prohibition. Click for larger view View full resolutionFigure 1.Annie's daisies, sailboats, and presidents are not to be imitated like the walking figure, nor obeyed like the halting hand, nor avoided like the prohibited cigarette. In merely displaying their subject these pictures fulfill their mission (see Table 1).IntentionBut what is the subject of a picture? What determines who or what is pictured? The Cracker Jack box features a boy in a sailor suit. Shortly before that [End Page 106] confection went into production, the founder's young grandson died, and the founder put that picture on the box in his memory. Since, whatever the founder had in mind, we do not take the sailor boy on the box to be that grandson, it is not him. Excluding the important special case of photographs we require, as Wolheim put it, intention fulfilled to specify the subject of a picture.3 In this case, even if the founder regarded his memorializing gesture as one of putting his grandson... (shrink)

Thi Nguyen has given us a cracker of a book in Games: Agency as Art, one that sports philosophers amongst others will learn from for many years. One fascinating (but I will argue, pro...

In lieu of an abstract, here is a brief excerpt of the content: Five Poems DEBORAH WARREN Bugonia hic vero subitum dictu mirabile monstrum aspiciunt, liquefacta boum per viscera toto stridere apes utero et ruptis effervere costis. —Vergil, Georgics IV The covert’s dark, but Aristaeus sees —beyond it, in the oleandered meadow, walking to her wedding with her maids— Eurydice, as sweet as early windfall apples to the gods of the bitter dead. She runs, from shifting shade to sun to (...) shade until, in a shock of sudden sun, she sways, blinded, blundering into an adder’s kiss, and while the bridegroom waits by the bridal bed, she waits to be undressed by worms instead. But Aristaeus pays for the assault. The mead-gods visit on his apiaries wax-moth, mites, foulbrood and chalk-disease until an oracle orders a hekatomb: after nine days the myrtle-nymphs perform a miracle, and out of the carcases crawl fat new sun-furred drones to work the comb, a gift of the mead-gods who, with the poet, praise the teams of bright collaborating bees as little Romans—parvos Quirites. arion 27.1 spring/summer 2019 And what about Eurydice? The swarm goes humming on, a small Rome in a hive. The story’s not about Eurydice’s second chance, or whether she’ll survive. Eurydice’s a minor character; she’s only one girl, sui generis. Besides, no cattle-trick exists for her. The gods can let the apiaries thrive and armies—even empires—endure; one girl’s more complicated to replace. 44 five poems The Tithonus Club We can begin our visit with the Day Room where, in wheelchairs, some with canes or walkers, members sit: a fraternity so ancient that the confrères mostly ignore each other (club tradition). The dues are paid in decades; no one has an outstanding balance—Sir? Whoa, steady, there! Sit down... yes. Here’s your blanket. The badge of membership—the club regalia? Laminated ceremonial bracelets bear the motto Do Not Resuscitate (legend which, in practice, is seldom honored). Eleven-thirty, gentlemen; lunch is served, and now a little toast while the television mesmerizes the aides: Messieurs, your health! Deborah Warren 45 Aphrodite at the Old-Age Home —for Aphrodite Kalogeris “Honey,” the night nurse said to Aphrodite, “let me fix your bib. Look, Aphrodite! Here’s your juice and crackers, Aphrodite! “She doesn’t speak a blessed word of English,” the night nurse told us, “but she understands as good as if we spoke to her in Greek.” Aphrodite’s ears were as grotesque as the pore-coarse nose that bloomed across her face, but she heard her name: When Aphrodite rose and, beatific, dreamed across the room, traversing a happiness none of us could hear, she spoke a language older than herself but still her own—a dialect of beauty able to translate the fetid air. 46 five poems Climbing Etna We’d see the lava, nights, from the town square, as if the sun—an egg of fire—broke at dusk, threading its incandescent yolk down a mountain hanging in black air. Every night we’d scan the dark horizon looking for those streaks, and every night they took a while to find, however bright: Etna, it seemed, had spent the evening rising off the earth, to hover even higher, as if the mountain meant not to be found. And then, today, we ran the flows to ground, climbing up to the rolling burns of fire— closer, into the shimmering air and hiss that glanced up from the thick and red-flecked river —until our soles were smoking. But the lava sang, inside the mountain: Come, discover the fire’s origin and genesis; more—the heart of the world, in its enceinte of blind white heat. Seeing the lava course wasn’t enough, or watching the rock decant the sun; what brought us up here was the force— the hot loins—of a lightning god as dark as thunder; and, like Eve, like Semele, we wanted to approach. But there’s a spark, a jewel older than geology: stop shy of it—of finding the fire’s source, of closing in on what you shouldn’t see. Deborah Warren 47 Human Sucking strength... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dharma Bums: The Beat Generation and the Making of Countercultural PilgrimageP. J. JohnstonI believe in the sweetness of Jesus And Buddha— I believe, In St. Francis, Avaloki Tesvara, the Saints Of First Century India A D And Scholars Santidevan And Otherwise Santayanan Everywhere.(Kerouac 1959: 15)Preliminary Polemics“PILGRIM, n. A traveler that is taken seriously.”—Ambrose Bierce, The Devil’s Dictionary 2007: 133As Beat commentator Stephen Prothero describes in his article “On the (...) Holy Road: The Beat Movement as Spiritual Protest” (1991), the Beats and their pilgrimages have most emphatically not been taken seriously. Both critics and scholars have been unkind to members of the Beat generation, and this unkindness has manifested itself in relative neglect of the Beats in all possible aspects of scholarly investigation. But nowhere does this appear more pronounced than in the area of Beat religion. Though some recent scholarship has been picking up from this earlier neglect and it is now [End Page 165] possible to find serious biographies of most of the major Beat writers and some belated attention to the movement as a literary phenomenon, the only book-length treatment of Beat Buddhism I was able to locate (Tonkinson 1995) hardly qualifies as a scholarly work and was published not by an academic press but as a special feature of the Buddhist magazine Tricycle. Prothero hypothesizes that this is because of the movement’s reputation as rebellious and antinomian—in its heyday the movement was characterized in identical unsavory terms by publications representing interests as diverse as Life and Playboy, with the latter describing the Beats as “nihilists” and the former claiming that the Beats were at war with “Mom, Dad, Politics, Marriage, the Savings Bank, Organized Religion, Literary Elegance, Law, the Ivy League Suit and Higher Education, to say nothing of the Automatic Dishwasher, the Cellophane-wrapped Soda Cracker, the Split-Level House and the clean, or peace-provoking H-bomb” (Prothero 1991: 206). Norman Podhoretz of Partisan Review went further still, claiming that the Beats were “hostile to civilization” and that the movement as a whole amounted to “a revolt of the spiritually underprivileged and crippled of soul” and “an affirmation of death” (ibid., 206). One couldn’t ask for a more passionate disavowal of the Beats or a more thorough polemic that the movement was profoundly antireligious.This could not contrast more with the Beats’ representation of their movement and its aims, with Jack Kerouac going so far as to reinterpret the crucial term “Beat” (a term for someone down and out originally borrowed from criminal street jive) as a noun derived from the adjective “beatific,” a specifically religious term familiar from such phrases as “the beatific vision” (ibid., 206–207). Several of the representative Beat writers were practicing Buddhists, influencing the entire movement to such an extent that Buddhist ideas and imagery suffused Beat literature as a whole. Ginsberg and Kerouac especially emphasized the positive and constructive elements of their spiritual vision, arguing that literature such as On the Road and Howl should be understood as religious affirmations of what is good and holy rather than as purely critical undertakings: “For the crucifix I speak out, for the Star of Israel I speak out, for the divinest man who ever lived who was German (Bach) I speak out, for sweet Mohammed I speak out, for Buddha I speak out, for Lao-tse and Chuang-tse I speak out” (ibid., 206–207). Or, as Allen Ginsberg put it less lyrically (and rather more bluntly): “Howl is an ‘Affirmation’ by individual experience of God, sex, drugs, and absurdity... the poems are religious and I meant them to be” (ibid., 207).But for the most part, Beat asseverations in no way diminished scholarly wariness about the Beat movement and its spirituality—as Prothero concludes, “the tendency among literary scholars is to see these [religious] concerns as tangential rather than constitutive” while “historians of American religion who have explored beat spirituality have tended to focus almost exclusively on the beats’ engagement with Zen and then to dismiss that engagement as haphazard” (ibid., 207).It is my contention that the mainstream scholarly neglect of Beat spirituality is in some part... (shrink)