Homage to Catalonia

One of the things that I promised myself was that I would read more fiction after I was done with the PhD. Right now I am reading Orwell’s “Homage to Catalonia” which is a mix of memory and description of the Spanish civil war were Orwell went to fight against facism. For Orwell the journey to Spain was necessary since it was the first country to actually protest the facist regime and to put up a fight against what was to prove to be the last centuries biggest political mistake.

He also writes with brutal honesty about the terrible conditions of those involved in the everyday fighting of the war. There is no glamour and even less honour.

An example which takes place after an attack on a facist position outside the town of Heusca. They took the facist trench but were driven back again:

They had left the parapet and were coming after us. ‘Run!’ I yelled to Moyle, and jumped to my feet. And heavens, how I ran! I had thought earlier in the night that you can’t run when you are sodden from head to foot and weighted down with a rifle and cartridges; I learned now you can always run when you think you have fifty or a hundred armed men after you. But if I could run fast, others could run faster.

On the totality of his experiences in Spain, Orwell writes:

When we went on leave I had been a hundred and fifteen days in the line, and at the time this period seemed to me to have been one of the most futile of my whole life. I had joined the militia in order to fight against Fascism, and as yet I had scarcely fought at all, had merely existed as a sort of passive object, doing nothing in return for my rations except to suffer from cold and lack of sleep. Perhaps that is the fate of most soldiers in most wars. But now that I can see this period in perspective I do not altogether regret it.

This is the most iconic photo of this conflict. It is Robert Capa’s Death of a Republican

Make a Toaster

Some friends and I are kicking around the idea to build a Freedom Toaster. What?, you may ask, is a Freedom Toaster? And why on earth build one? So, first things first.

The Freedom Toaster is like a vending machine. It stands in a central location waiting for customers. But what does it sell? You ask impatiently? Nothing.

The Freedom Toaster is preloaded to dispense free digital products, including software, photography, music and literature. The idea is to bring together a compilation of Free Software based on the GNU/Linux operating system and combine this with music and literature taken either from the public domain or licensed via Creative Commons.

The point is to create a showpiece comprised of an easy to use system which allows users to pick up their own copy of such a CD.

Again, Why?

Well those of us who feel comfortable with Free Software use the Internet as our primary infrastructure of distribution. But to those who are unfamiliar with Free Software finding a site, and deciding which software is needed, downloading it and finally installing it is a process filled with a number of barriers.

The Freedom Toaster is a way to circumvent some of those barriers and will hopefully make people feel more comfortable with the selecting and downloading process. One far reaching goal is to show that Free Software is in the reach of everybody.

CFP Social Network Sites

The Journal of Computer-Mediated Communication (JCMC) has announced a call for papers for a special theme issue on Social Network Sites: People, Practice, and Culture. The guest editors are Danah Boyd and Nicole Ellison.

Potential questions that submissions might address include, but are not limited to:

  • What strategies do individuals use to craft an online presentation of self in a profile, and for what audiences?
  • What privacy or other concerns emerge from use of these sites? What kinds of policy decisions and educational practices might ameliorate these concerns?
  • Can we predict social, psychological, or other outcomes from profile and network analysis?
  • How can “friends” networks most usefully be visualized? What can we learn from network visualizations?
  • How does the network structure differ among sites, and what are the social and cultural implications of these differences? How does the structure of networks in these sites compare to the networks of other communities?
  • What are the patterns of relationship development in these spaces? Do individuals use these sites to meet new people or to maintain pre-existing, offline connections?
  • What role do race, ethnicity, religion, gender, and sexual orientation play in social network sites?

While all social network sites allow participants to create a profile and publicly articulate their social connections within the system, the line between social network sites and dating sites, MMOGs, media sharing sites, blogging tools, and other social community sites can be blurry. Rather than enforcing a strict definition of what constitutes a social network site, we ask authors to explain how their site of study fits into a rubric of social network sites.

Here are some dates to remember:

  • Abstracts due: November 28, 2006
  • Decisions on abstracts: December 8, 2006
  • Full papers due: February 28, 2007
  • Anticipated publication: October 2007 / January 2008

Demonstrate against DRM before 40

Lists are popular. One such list is the things one is supposed to do before turning 40 (for example this book). I don’t know what the book includes but I don’t think it contains what I have recently done… I have applied for, and received, a permit to carry out a public demonstration.

On 3 October between 08.30-10.15 we will be standing outside Chalmers University. Between 11.30-13.15 we will be standing near the statue called Kopparmärra (the copper mare).
We will be wearing yellow overalls and masks while handing out leaflets against DRM. Join us for the Day Against DRM.

Walls of design, imagination and segregation

For most of their history walls have been used as a cheap method of control. Their popularity increased in the middle ages with the development of castle architecture in the Crusader kingdoms. The reason for the developments at that particular time and place were that the architecture allowed for the defence of large tracts of land with relatively low numbers of military.

Castles and walls began a period of decline with the development of efficient artillery. As a form of true defence the end of the large-scale fortification came with the vast defence system of the Maginot Line. Its uselessness was demonstrated when the invading army simply moved around the defences.

The wall that symbolises my generation is the Berlin wall. A structure designed to prevent attacks but in reality was there to prevent citizens of the east from defecting to the west. This east-west mentality was the hegemonic worldview until a whole world watched in utter amazement when the citizens of Berlin lost their fear of the wall and began to ignore it as a barrier, hit it with hammers and slowly wear it down. As it turned out the wall was an illusion â?? only powerful as long as everyone agreed it was an impenetrable barrier. When the illusion was lost the wall fell.

With the loss of this wall an odd idea took form. We are a world without such walls. Since the symbol of division was lost we began to think that there were no more divisions. But this is wrong. The wall has never been destroyed. Even though some concrete in Germany was removed.

Spain
Three lines of defensive fences have been built around the Spanish enclaves in Africa (Ceuta & Melilla). the purpose of these fences is not to defend these contested pieces of Spanish rule on the African continent but more to prevent immigrants from attempting to enter Spain (and the EU).

Morocco
The Moroccan Wall is a 2,720 km-long system of defensive walls/berms, running mainly through Moroccan-controlled Western Sahara. It is dubbed The Wall of shame by the Polisario Front and other Sahrawi independence-seekers. It consists of sand and stone walls about three meters in height, with bunkers, fences and landmines throughout.

Israel & West Bank
The Israeli West Bank barrier is arguably the most publicised wall at present. It consists of a network of fences with vehicle-barrier trenches surrounded by an on average 60 meters wide exclusion area (90%) and up to 8 meters high concrete walls (10%). It is located partly within the West Bank, partly along the border between the West Bank and Israel proper.

Italy
Serenissima is a suburb to the Italian city of Padua. It sounds idyllic. Translated it means something like the most serene. Padua is known for its great art and the university, where Galileo was once a professor of mathematics. But this romanticised image is far from the truth. Serenissima is a place filled to the brim with social problems, illegal immigrants, drugs & prostitution. Last month riots, described as pitched battes, broke out between the residents of Serenissima and the police.

An attempt to resolve this has been taken. Not a large scale attempt to deal with the social and economic problems in the area. The solution is a barrier.

A large and ugly barrier has been erected to help protect local residents from the run-down apartment blocks, largely filled with immigrants. Stretching for 84 metres, three metres high and made of thick steel panels, there is a police checkpoint at the entrance as well as CCTV camerasâ?¦The barricade has already been dubbed Paduaâ??s Berlin wall and has reignited a debate about how to treat foreign migrants. (The Guardian).

These examples are not intended to provide a full list. We create walls and barriers of segregation all around ourselves. From gated communities to national defence systems we create and implement technological systems (not always particularly high-tech) to efficiently segregate and control populations.

Anti-DRM Day in Göteborg

The 3rd of October has been announced as the â??Day Against DRMâ??. All over the world action groups are going out to protest against the uses and abuses of DRM. Naturally we will be active in Göteborg – more information below.

The point of the day is to be able to bring forward information to the general public and to show that the public concern about DRM is not limited to online virtual activity.

Anti-DRM actions in the past have taken the form of protesters, often wearing yellow (preferably haz-mat) suits protesting and handing out material.

Here is an example of an anti-DRM action which was held in Chicago on June 10, 2006

Naturally there will be an anti-DRM action in my hometown of Göteborg. So if you want the opportunity to see me in a yellow safety suit, why not join in and take a stand against DRM.

So you want to join in? or just watch the party? Well the dates and times are

3 October 08.30-10.15 Chalmersplatsen (outside Chalmers main entrance)
3 October 11.45-13.15 the corner of �. Hamngatan & �. Larmgatan (next to Kopparmärra)

If you let me know if you are interested in joining in then maybe I can organise a yellow suit for you!

For those of you who maybe follow this blog you will realise that the 3 October is the day after I defend my PhD. So this will be the day after the party…
More about DRM on Wikipedia

Down with DRM video contest

Freeculture are organising a video competition to coincide with the Down with DRM day.

Enter the Down with DRM video contest for a chance to win a Neuros OSD – a portable digital VCR!

Joining in Oct 3rd – Day Against DRM, Free Culture will select the 5 best anti-DRM video entries and award a Neuros OSD to each creator. DefectiveByDesign.org is also looking to air selected anti-DRM videos on their website during the week of October 3rd, and we want to give them a hand.

Here are the official rules to enter Free Culture’s Down with DRM video contest:

  • Deadline for submissions: Sunday, October 1 at 11:59pm EDT
  • Criteria for video:
    • Anti-DRM themed
    • Short
    • Video, animation, or remix
    • Make it catchy â?? we want these videos to be viral
  • Please submit your video to the online video sharing network(s) that you prefer. Here are some examples:
  • Please tag your video with “downwithdrm” and “dbdoct3” so that people can search for it.
  • Preference will be given to submissions under free content licenses such as Creative Commons BY-SA, BY, PD, or the Free Art license.
  • E-mail downwithdrm@freeculture.org with a link to your video by October 1 at 11:59pm EDT.
  • Free Culture will select the top 5 entries and award the winners with a Neuros OSD (one per video)

What is wrong with DRM?

What is wrong with DRM?

Most people tend to steer clear of three letter acronyms that they donâ??t immediately understand. DRM (Digital Rights Management) began as a vision of using technology to ensure that owners of intellectual property could maintain control over their property.  In other words it would be impossible to do that which was illegal. So far so good. Making it impossible to do that which is illegal is good. Frustrating illegal behaviour is right.

The problem is that DRM can also prevent behaviour that is not illegal.

A current example is the media player â??Zuneâ?? from Microsoft.

To maintain control over the music stored in the media player Zune is designed to limit music sharing. If music is shared between friends it can only be played three times or stored for three days.

The problem occurs when the music shared is either (1) not copyrighted, (2) in the public domain, or (3) shared with permission.

Supposing you create a song. Really. Or maybe a you create a snappy little limerick. You send it wirelessly to a friend. After three days. Or your friend plays it three times â?? it is gone. This is because Zune wraps all music which is sent in this way in DRM nomatter the rights you have as a creator or listener.

Therefore Microsoft Zune limits the legitimate rights of the user in an effort to comply with or control intellectual property. This is bad.

But wait â?? it is worse!

In the book 1984, Orwell introduces a method of control through the language called Newspeak. The idea was that by limiting the meaning of words we the party in power would eventually limit the way in which the citizens think. In the book the example given was that the term free would loose all connections with freedom and only be used with the idea to be rid of something. The example in the book is that a dog will be free of lice. But the concept of freedom as liberty will be lost.

This is the most damaging part of DRM systems. By controlling what is physically possible they create amongst the users an illusion of what can be done. A technical limitation to our use becomes a law of nature. Copying becomes bad not because it is illegal but because it is impossible.

Therefore by controlling the physical reality the manufacturers of DRM are slowly changing the way in which we see what is possible and impossible. In extension this will also limit our ability to envision what could be possible.

Download Free Classical Music

Visit the Isabella Stewart Gardner Museum‘s website to download “The Concert,â?? a new classical music podcast offered under the Creative Commons Music Sharing license.

Download free recordings of classical music performed live in the museumâ??s Tapestry Room. These exclusive recordings from our regular concert series feature performances by acclaimed master musicians and up-and-coming young artists. A new program is posted every two weeks, so check back often, or receive automatic updates delivered directly to your computer or portable mp3 player with a free subscription.

You are free to share and reproduce these podcasts, and pass this great classical music along to your friends and family. The same goes for the individual tracks youâ??ll find sorted by musician and composer in the Music Library. We only ask that you let people know where you found it, and donâ??t alter the recording or use it commercially.

The podcast features unreleased live performances and includes music by Beethoven, Mozart, Schubert, and Chopin for solo piano, orchestra, string quartet, and voice. A new podcast will be posted on the 1st and 15th of every month.

With “The Concert,” the Gardner Museum becomes the first art museum to encourage sharing and free distribution of its online programming by using a Creative Commons license.

Charlotte Landrum, the museum’s podcast project manager, says:

The single greatest thing about this is that the podcast is providing a really great chance for the public to hear and share recordings that might never have been heard otherwise, that were literally sitting on a shelf in the museum. There are two benefits: first, you get to hear new voices in classical music, artists that might not be distributed as widely on recordings; second, you get to hear master musicians, the ones who are more widely-recorded already, playing things that they may never have released commercially. We’ve already seen these ideas at work with so-called “popular” music online, but this is something new for classical music lovers.

(via Creative Commons)