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A one-way ticket to crazyville

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Tanguma's The Children of the World Dream of P...
Image by rsgranne via Flickr
Tanguma's The Children of the World Dream of P...
Image by rsgranne via Flickr
Tanguma's The Children of the World Dream of P...
Image by rsgranne via Flickr

From Dave Alan’s “Interview with Alex Christopher” (Leading Edge Research Group: 1 June 1996):

Legend: DA [Dave Alan, Host] AC: [Alex Christopher] C: [Caller]

…

(Note: according to former British Intelligence agent Dr. John Coleman, the London-based Wicca Mason lodges are one-third of the overall global conspiracy. The other two thirds are the Black Nobility banking families who claim direct descent from the early Roman emperors, and also the Maltese Jesuits or the Jesuit – Knights of Malta network. All three networks each have 13 representatives within the Bilderberg organization, which is a cover for the Bavarian Illuminati, suggestive that Bavaria itself has orchestrated a “marriage of convenience” between these three formerly competitive global control groups. – Branton)

…

AC: All right. The information, primarily, that is in “Pandora’s Box” covers how the major corporations, railroad and banking concerns in this country were set up through a ‘trust’ that was originally known as the Virginia Company… The deal was that everything would remain under English control, or subservient to it, and that brings us right up to today, because we are still looking at everything falling under that ‘trust’ system going back to the Crown of England. It is mind boggling to think that everyone in this country has been led to believe that the people in the United States had won independence from England, when in fact they never did.

…

AC: The capstone, or the dedication stone, for the Denver airport has a Masonic symbol on it. A whole group of us went out to the airport to see some friends off and see this capstone, which also has a time capsule imbedded inside it. It sits at the south eastern side of the terminal which, by the way, is called “The Great Hall”, which is what Masons refer to as their meeting hall. And, on this thing it mentions “the New World Airport Commission”. …

AC: It has a Masonic symbol on it, and it also has very unusual geometric designs. It depicts an arm rising up out of it that curves at a 45 degree angle. It also has a thing that looks like a keypad on it. This capstone structure is made of carved granite and stainless steel, and it is very fancy.. This little keypad area at the end of the arm has an out-of-place unfinished wooden block sitting on it. The gentleman that was with me on the first trip out to the airport has since died. They say he committed suicide, but everything else tells me that this is not possible. No one can double-tie a catheter behind his own neck and strangle himself. I just don’t think that is possible. But, his name was Phil Schneider, and he started blowing the whistle on all this stuff going on in the underground bases that he had helped build for years and years. He worked on the underground bases at Area 51 and Dulce, New Mexico, as well as several other places. Schneider told me that this keypad-looking area looked like a form of techno-geometry that is “alien-oriented”, and that it had something to do with a “directional system”, whatever that meant, that functioned as a homing beacon to bring ships right into the “Great Hall”.

…

(Note: … Remember even through the Bilderbergers consist of a “marriage of convenience” between Londonese Wicca Masons, Basilian Black Nobility and Roman Maltese Jesuits… the supreme controllers of the Bildeberger cult itself are the secret black Gnostic cults of Bavaria whose ‘Cult of the Serpent’ — or Illuminati — can be traced back to Egypt and ultimately to Babylon itself. These Rockefeller-Nazi projects reportedly continued through at least 1975 during which period many thousands more “underground Nazis” were brought into America from Europe and also, if we are to believe some reports, from the secret German “New Berlin” base under the mountains of Neu Schwabenland, Antarctica that was established during World War II via Nazi-occupied South Africa. Is Neu Schwabenland the REAL power behind the joint Bavarian-Alien New World Order Agenda? …)

…

AC: … It took myself and two other people over eight months to figure out all the symbology that is embodied in these murals. It turned out that some of these are ‘trigger’ pictures, containing symbology designed to trigger altered personalities of people that have been groomed in MKULTRA type programs for specific tasks that they have been trained to do in terms of something connected with Satanic rituals and mind control. I had one woman that called me out of the blue one night, and she was really disturbed about some information. She told me many different things that later turned out to be known MKULTRA triggers. Also, almost every aspect of these murals contains symbols relating back to secret societies. When you get the overall view of what they are talking about in these things, it is very very scary. It goes back to the Bio-diversity Treaty, getting rid of specific races of people, taking over the world and mind control.

…

AC: Well, the gentleman that I was dealing with, Phil Schneider, said that during the last year of construction they were connecting the underground airport system to the deep underground base. He told me that there was at least an eight-level deep underground base there, and that there was a 4.5 square mile underground city and an 88.5 square-mile base underneath the airport.

…

DA: You were telling me that there are huge concrete corridors with sprinklers all along the ceiling. What are these sprinkler heads doing in a concrete bunker, pray tell? (Presumably concrete will not ‘burn’ if there is a potential fire, so is it possible that something other than ‘water’ is meant to be expelled from these sprinklers which are located “all along” the ceiling? – Branton)

…

AC: I think a lot of the people saw things that disturbed them so much that they would not talk about it. I know several people who worked on the project that managed to find their way down into the depths, probably close to the deep underground base, and saw things that scared them so badly they won’t talk about it. I interviewed a few of the former employees on these construction crews that worked out there on these buildings that ended up buried, and they are afraid to talk. They say that everybody is real nervous about it, and they decided to tell some of the secrets that they knew, but they don’t want anybody to know who they are. So, I can tell you that it is a very unusual and spooky type of place, and if you are a sensitive person you get nauseated as soon as you enter the perimeter of the airport. Especially when you go down underground. You become very nauseated a nervous. There is also so much electromagnetic flux in the area that if you get out on the open ground around the airport, you will ‘buzz’.

…

AC: If Phil is right, and all this hooks up to the deep underground base that he was offered the plans to build back in 1979, and that what this other man TOLD me in private [is] that there is a lot of human SLAVE LABOR in these deep underground bases being used by these aliens, and that a lot of this slave labor is children. HE SAID that when the children reach the point that they are unable to work any more, they are slaughtered on the spot and consumed.

DA: Consumed by who?

AC: Aliens. Again, this is not from me, but from a man that gave his life to get this information out. He worked down there for close to 20 years, and he knew everything that was going on.

DA: Hmmm. Who do these aliens eat?

AC: They specifically like young human children, that haven’t been contaminated like adults. Well, there is a gentleman out giving a lot of information from a source he gets it from, and he says that there is an incredible number of children snatched in this country.

DA: Over 200,000 each year.

AC: And that these children are the main entree for dinner.

…

AC: Yes. From some information that has been put out by a group or team that also works in these underground bases that is trying to get information out to people that love this country, THERE IS A WAR THAT IS GOING ON UNDER OUT FEET, AND ABOVE OUR HEADS, that the public doesn’t know anything about, and its between these ALIEN forces and the HUMANS that are trying to fight them.

DA: What other types have you seen?

AC: The ones that I have seen are the big-eyed Greys and the Reptilians.

DA: What do these Reptilians look like?

AC: There are three different types.

…

AC: … Anyway, they were both totally flipped out. I finally got them calmed down enough to let me go home. I went home and went to bed. The next thing I know, I woke up and there is this ‘thing’ standing over my bed. He had wrap-around yellow eyes with snake pupils, and pointed ears and a grin that wrapped around his head. He had a silvery suit on, and this scared the living daylights out of me. I threw the covers over my head and started screaming….I mean, here is this thing with a Cheshire-cat grin and these funky glowing eyes…this is too much. I have seen that kind of being on more than one occasion.

DA: What else can you say about it?

AC: Well, he had a hooked nose and he was [humanoid] looking, other than the eyes, and had kind of grayish skin. Later on in 1991, I was working in a building in a large city, and I had taken a break about 6:00, and the next thing I knew it was 10:30 at night, and I thought I had taken a short break. I started remembering that I was taken aboard a ship, through four floors of an office building, and through a roof. There on the ship is were I encountered ‘GERMANS’ AND ‘AMERICANS’ WORKING TOGETHER, and also the GREY ALIENS, and then we were taken to some other kind of facility and there I saw the REPTILIANS again … the one’s I call the “baby Godzilla’s”, that have the short teeth and yellow slanted eyes, and who look like a VELOCI-RAPTOR, kind of.

DA: So, why would these people pick on you?

AC: Well, I found one common denominator in the abduction, and it keeps on being repeated over and over again. I deal with lots of people who have been abducted, and the one common denominator seems to be the blood line, and its the blood line that goes back to ancient Indian or Native American blood lines.

…

AC: Well, at that facility I saw the almond-eyed Greys, but the thing that sticks in my mind are the beings that look like reptiles, or the veloci-raptors. They are the cruelest beings you could ever imagine, and they even smell hideous. There were a couple of very unusual areas down there where I was taken which looked like cold storage lockers, where these things were in hibernation tubes, and that is about all I remember, other than seeing some black helicopters and little round-wing disk type aircraft

…

In the book “Cosmic Conflict”, the author talks about the ancient city that was uncovered by the Germans before World War II, and tells about their effort to revive some frozen humans they found in this underground city, and that the true humans couldn’t be revived, but the ones that could be revived were in fact reptilians in disguise, and the reptilians have the capability to do shape-shifting and create a [laser] holographic image so when you look at them you see a human, but under that there is no human there. … Allegedly the reptilians re-animated and killed the Soviet scientists and through some type of psychic osmosis drained their minds and assimilated their memories and features through a molecular shape-shifting type process. … The alien ‘impostors’ then called for backup and more scientists came out and were ‘replaced’, and these eventually returned to Russia and began to infiltrate the Communist government.

…

AC: These people that have done all this research and are part of the underground government are telling that the humans on this planet have been at war with these reptilian aliens for thousands of years. At one point, things got so hot on the planet, like it is now, aliens took on this holographic image and infiltrated the human race in order to take it over and undermine it, just like this New World Order is doing right now. They’re saying that the same thing happened to civilization on Earth before, and that the humans before actually had the capability for interplanetary travel, and that it was so bad here with the reptilians that they had to leave… What they are also saying is that these beings that are human-looking that are visiting our planet, at this time, trying to inform people what is going on, and guide them, are actually OUR ANCESTORS THAT ESCAPED FROM EARTH before, when it was under reptilian domination.

…

AC: I went to South Florida a couple of weeks ago and interviewed a man who had done research for 30 years, and oddly enough, he tapped into some of the same information I had, in that our government has had round-winged, saucer-type technology, high mach speed aircraft since the 1920’s, and that in 1952 they had over 500 of these aircraft hidden in secret bases. Now, if they had that in 1952, considering that military technology grows by 44 years for every year that goes by, what do you imagine they have now, 44 years later, after technology has advanced the equivalent of 1,936 years?

…

AC: He claims to be one of the ones who jumped overboard off the Eldridge when it went into hyperspace during the Philadelphia Experiment. He actually traveled forward in time, and asked the people that he encountered there what happened in his future. At that time, he was given the information about the New World Order and that Denver was the location for the NWO Western Sector, and that Atlanta was supposed to be the control center for the Eastern Sector. Can it be that the fact that the Olympics is supposed to be in Atlanta is part of a scenario?

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Denver International Airport, home to alien reptilians enslaving children in deep dungeons

1 Comment / art, history, politics, religion, security, weird / /

From Jared Jacang Maher’s “DIA Conspiracies Take Off” (Denver Westword News: 30 August 2007):

Chris from Indianapolis has heard that the tunnels below DIA [Denver International Airport] were constructed as a kind of Noah’s Ark so that five million people could escape the coming earth change; shaken and earnest, he asks how someone might go about getting on the list.

…

Today, dozens of websites are devoted to the “Denver Airport Conspiracy,” and theorists have even nicknamed the place “Area 52.” Wikipedia presents DIA as a primary example of New World Order symbolism, above the entry about the eyeball/pyramid insignia on the one-dollar bill. And over the past two years, DIA has been the subject of books, articles, documentaries, radio interviews and countless YouTube and forum board postings, all attempting to unlock its mysteries. While the most extreme claim maintains that a massive underground facility exists below the airport where an alien race of reptilian humanoids feeds on missing children while awaiting the date of government-sponsored rapture, all of the assorted theories share a common thread: The key to decoding the truth about DIA and the sinister forces that control our reality is contained within the two Tanguma murals, “In Peace and Harmony With Nature” and “The Children of the World Dream of Peace.”

…

And not all these theorists are Unabomber-like crackpots uploading their hallucinations from basement lairs. Former BBC media personality David Icke, for example, has written twenty books in his quest to prove that the world is controlled by an elite group of reptilian aliens known as the Babylonian Brotherhood, whose ranks include George W. Bush, Queen Elizabeth II, the Jews and Kris Kristofferson. In various writings, lectures and interviews, he has long argued that DIA is one of many home bases for the otherworldly creatures, a fact revealed in the lizard/alien-faced military figure shown in Tanguma’s murals.

“Denver is scheduled to be the Western headquarters of the US New World Order during martial law take over,” Icke wrote in his 1999 book, The Biggest Secret. “Other contacts who have been underground at the Denver Airport claim that there are large numbers of human slaves, many of them children, working there under the control of the reptilians.”

On the other end of the conspiracy spectrum is anti-vaccination activist Dr. Len Horowitz, who believes that global viruses such as AIDS, Ebola, West Nile, tuberculosis and SARS are actually population-control plots engineered by the government. The former dentist from Florida does not speak about 2012 or reptiles — in fact, he sees Icke’s Jewish alien lizards as a Masonic plot to divert observers from the true earthly enemies: remnants of the Third Reich. He even used the mural’s sword-wielding military figure as the front cover of his 2001 book, Death in the Air.

“The Nazi alien symbolizes the Nazi-fascist links between contemporary population controllers and the military-medical-petrochemical-pharmaceutical cartel largely accountable for Hitler’s rise to power,” Horowitz explained in a 2003 interview with BookWire.

…

Although conspiracy theories vary widely, they all share three commonalities. “One is the belief that nothing happens by accident,” [Syracuse University professor Michael Barkun, author of the 2006 book A Culture of Conspiracy] points out. “Another is that everything is connected. And a third is that nothing is as it seems.” [Emphasis added]

…

[Alex] Christopher is a 65-year-old grandmother living in Alabama.

…

Christopher, on the other hand, was open to hearing anything. A man called her and said he had found an elevator at DIA that led to a corridor that led all the way down into a military base that also contained alien-operated concentration camps. She detailed this theory in her next book, Pandora’s Box II…

And the scale of DIA reflected this desire: It was to be the largest, most modern airport in the world. But almost as soon as ground was broken in 1989, problems cropped up. The massive public-works project was encumbered by design changes, difficult airline negotiations, allegations of cronyism in the contracting process, rumors of mismanagement and real troubles with the $700 million (and eventually abandoned) automated baggage system. Peña’s successor, Wellington Webb, was forced to push back the 1993 opening date three times. By the time DIA finally opened in February 1995, the original $1.5 billion cost had grown to $5.2 billion. Three months after that opening, the Congressional Subcommittee on Aviation held a special hearing on DIA in which one member said the Denver airport represented the “worst in government inefficiency, political behind-the-scenes deal-making, and financial mismanagement.” …

And what looked like a gamble in 1995 seems to have paid off for Denver. Today, DIA is considered one of the world’s most efficient, spacious and technologically advanced airports. It is the fifth-busiest in the nation and tenth-busiest in the world, serving some 50 million passengers in 2006.

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CopyBot copies all sorts of items in Second Life

art, business, history, security, tech in changing society / /

From Glyn Moody’s “The duplicitous inhabitants of Second Life” (The Guardian: 23 November 2006):

What would happen to business and society if you could easily make a copy of anything – not just MP3s and DVDs, but clothes, chairs and even houses? That may not be a problem most of us will have to confront for a while yet, but the 1.5m residents of the virtual world Second Life are already grappling with this issue.

A new program called CopyBot allows Second Life users to duplicate repeatedly certain elements of any object in the vicinity – and sometimes all of it. That’s awkward in a world where such virtual goods can be sold for real money. When CopyBot first appeared, some retailers in Second Life shut up shop, convinced that their virtual goods were about to be endlessly copied and rendered worthless. Others protested, and suggested that in the absence of scarcity, Second Life’s economy would collapse.

…

Instead of sending a flow of pictures of the virtual world to the user as a series of pixels – something that would be impractical to calculate – the information would be transmitted as a list of basic shapes that were re-created on the user’s PC. For example, a virtual house might be a cuboid with rectangles representing windows and doors, cylinders for the chimney stacks etc.

This meant the local world could be sent in great detail very compactly, but also that the software on the user’s machine had all the information for making a copy of any nearby object. It’s like the web: in order to display a page, the browser receives not an image of the page, but all the underlying HTML code to generate that page, which also means that the HTML of any web page can be copied perfectly. Thus CopyBot – written by a group called libsecondlife as part of an open-source project to create Second Life applications – or something like it was bound to appear one day.

…

Liberating the economy has led to a boom in creativity, just as Rosedale hoped. It is in constant expansion as people buy virtual land, and every day more than $500,000 (£263,000) is spent buying virtual objects. But the downside is that unwanted copying is potentially a threat to the substantial businesses selling virtual goods that have been built up, and a concern for the real-life companies such as IBM, Adidas and Nissan which are beginning to enter Second Life.

Just as it is probably not feasible to stop “grey goo” – the Second Life equivalent of spam, which takes the form of self- replicating objects malicious “griefers” use to gum up the main servers – so it is probably technically impossible to stop copying. Fortunately, not all aspects of an object can be duplicated. To create complex items – such as a virtual car that can be driven – you use a special programming language to code their realistic behaviour. CopyBot cannot duplicate these programs because they are never passed to the user, but run on the Linden Lab’s computers.

As for the elements that you can copy, such as shape and texture, Rosedale explains: “What we’re going to do is add a lot of attribution. You’ll be able to easily see when an object or texture was first created,” – and hence if something is a later copy.

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Luddites and e-books

business, history, on writing, tech in changing society / /

From Clay Shirky’s “The Siren Song of Luddism” (Britannica Blog: 19 June 2007):

…any technology that fixes a problem … threatens the people who profit from the previous inefficiency. However, Gorman omits mentioning the Luddite response: an attempt to halt the spread of mechanical looms which, though beneficial to the general populace, threatened the livelihoods of King Ludd’s band.

… printing was itself enormously disruptive, and many people wanted veto power over its spread as well. Indeed, one of the great Luddites of history (if we can apply the label anachronistically) was Johannes Trithemius, who argued in the late 1400s that the printing revolution be contained, in order to shield scribes from adverse effects.

…

The uncomfortable fact is that the advantages of paper have become decoupled from the advantages of publishing; a big part of preference for reading on paper is expressed by hitting the print button. As we know from Lyman and Varian’s “How Much Information?” study, “the vast majority of original information on paper is produced by individuals in office documents and postal mail, not in formally published titles such as books, newspapers and journals.”

…

The problems with e-books are that they are not radical enough: they dispense with the best aspect of books (paper as a display medium) while simultaneously aiming to disable the best aspects of electronic data (sharability, copyability, searchability, editability.)

…

If we gathered every bit of output from traditional publishers, we could line them up in order of vulnerability to digital evanescence. Reference works were the first to go — phone books, dictionaries, and thesauri have largely gone digital; the encyclopedia is going, as are scholarly journals. Last to go will be novels — it will be some time before anyone reads One Hundred Years of Solitude in any format other than a traditionally printed book. Some time, however, is not forever. The old institutions, and especially publishers and libraries, have been forced to use paper not just for display, for which is it well suited, but also for storage, transport, and categorization, things for which paper is completely terrible. We are now able to recover from those disadvantages, though only by transforming the institutions organized around the older assumptions.

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1st label with more than half of sales from digital

art, business, tech in changing society / /

From Tim Arango’s “Digital Sales Surpass CDs at Atlantic” (The New York Times: 25 November 2008):

Atlantic, a unit of Warner Music Group, says it has reached a milestone that no other major record label has hit: more than half of its music sales in the United States are now from digital products, like downloads on iTunes and ring tones for cellphones.

…

At the Warner Music Group, Atlantic’s parent company, digital represented 27 percent of its American recorded-music revenue during the fourth quarter. (Warner does not break out financial data for its labels, but Atlantic said that digital sales accounted for about 51 percent of its revenue.)

With the milestone comes a sobering reality already familiar to newspapers and television producers. While digital delivery is becoming a bigger slice of the pie, the overall pie is shrinking fast. Analysts at Forrester Research estimate that music sales in the United States will decline to $9.2 billion in 2013, from $10.1 billion this year. That compares with $14.6 billion in 1999, according to the Recording Industry Association of America.

As a result, the hope that digital revenue will eventually compensate for declining sales of CDs — and usher in overall growth — have largely been dashed.

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George Clinton and the sample troll

art, business, history, law, tech in changing society, technology / /

From Tim Wu’s “On Copyright’s Authorship Policy” (Internet Archive: 2007):

On May 4, 2001, a one-man corporation named Bridgeport Music, Inc. launched over 500 counts of copyright infringement against more than 800 different artists and labels.1 Bridgeport Music has no employees, and other than copyrights, no reported assets.2 Technically, Bridgeport is a “catalogue company.” Others call it a “sample troll.”

Bridgeport is the owner of valuable copyrights, including many of funk singer George Clinton’s most famous songs – songs which are sampled in a good amount of rap music.3 Bridgeport located every sample of Clinton’s and other copyrights it owned, and sued based on the legal position that any sampling of a sound recording, no matter how minimal or unnoticeable, is still an infringement.

During the course of Bridgeport’s campaign, it has won two important victories. First, the Sixth Circuit, the appellate court for Nashville adopted Bridgeport’s theory of infringement. In Bridgeport Music, Inc. v. Dimension Films,4 the defendants sampled a single chord from the George Clinton tune “Get Off Your Ass and Jam,” changed the pitch, and looped the sound. Despite the plausible defense that one note is but a de minimus use of the work, the Sixth Circuit ruled for Bridgeport and created a stark rule: any sampling, no matter how minimal or undetectable, is a copyright infringement. Said the court in Bridgeport, “Get a license or do not sample. We do not see this as stifling creativity in any significant way.”5 In 2006 Bridgeport convinced a district court to enjoin the sales of the bestselling Notorious B.I.G. album, Ready to Die, for “illegal sampling.”6 A jury then awarded Bridgeport more than four million dollars in damages.7

The Bridgeport cases have been heavily criticized, and taken as a prime example of copyright’s excesses.8 Yet the deeper problem with the Bridgeport litigation is not necessarily a problem of too much copyright. It can be equally concluded that the ownership of the relevant rights is the root of the problem. George Clinton, the actual composer and recording artist, takes a much different approach to sampling. “When hip-hop came out,” said Clinton in an interview with journalist Rick Karr, “I was glad to hear it, especially when it was our songs – it was a way to get back on the radio.”9 Clinton accepts sampling of his work, and has released a three CD collection of his sounds for just that purpose.10 The problem is that he doesn’t own many of his most important copyrights. Instead, it is Bridgeport, the one-man company, that owns the rights to Clinton’s work. In the 1970s Bridgeport, through its owner Armen Boladian, managed to seize most of George Clinton’s copyrights and many other valuable rights. In at least a few cases, Boladian assigned the copyrights to Bridgeport by writing a contract and then faking Clinton’s signature.11 As Clinton puts it “he just stole ‘em.”12 With the copyrights to Clinton’s songs in the hands of Bridgeport – an entity with no vested interest in the works beyond their sheer economic value – the targeting of sampling is not surprising.

1 Tim Wu, Jay-Z Versus the Sample Troll, Slate Magazine, Nov. 16, 2006, http://www.slate.com/id/2153961/.

2 See Bridgeport Music, Inc.’s corporate entity details, Michigan Department of Labor & Economic Growth, available at http://www.dleg.state.mi.us/bcs_corp/dt_corp.asp?id_nbr=190824&name_entity=BRIDGEPORT%20MUSIC,%20INC (last visited Mar. 18, 2007).

3 See Wu, supra note 1.

4 410 F.3d 792 (6th Cir. 2005).

5 Id. at 801.

6 Jeff Leeds, Judge Freezes Notorious B.I.G. Album, N.Y. Times, Mar. 21, 2006, at E2.

7 Id.

8 See, e.g., Matthew R. Broodin, Comment, Bridgeport Music, Inc. v. Dimension Films: The Death of the Substantial Similarity Test in Digital Samping Copyright Infringemnt Claims—The Sixth Circuit’s Flawed Attempt at a Bright Line Rule, 6 Minn. J. L. Sci. & Tech. 825 (2005); Jeffrey F. Kersting, Comment, Singing a Different Tune: Was the Sixth Circuit Justified in Changing the Protection of Sound Recordings in Bridgeport Music, Inc. v. Dimension Films?, 74 U. Cin. L. Rev. 663 (2005) (answering the title question in the negative); John Schietinger, Note, Bridgeport Music, Inc. v. Dimension Films: How the Sixth Circuit Missed a Beat on Digital Music Sampling, 55 DePaul L. Rev. 209 (2005).

9 Interview by Rick Karr with George Clinton, at the 5th Annual Future of Music Policy Summit, Wash. D.C. (Sept. 12, 2005), video clip available at http://www.tvworldwide.com/showclip.cfm?ID=6128&clip=2 [hereinafter Clinton Interview].

10 George Clinton, Sample Some of Disc, Sample Some of D.A.T., Vols. 1-3 (1993-94).

11 Sound Generator, George Clinton awarded Funkadelic master recordings (Jun. 6, 2005), http://www.soundgenerator.com/news/showarticle.cfm?articleid=5555.

12 Clinton Interview, supra note 9.

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George Clinton and the sample troll

1 Comment / art, business, history, law, tech in changing society / /

From Tim Wu’s “On Copyright’s Authorship Policy” (Internet Archive: 2007):

On May 4, 2001, a one-man corporation named Bridgeport Music, Inc. launched over 500 counts of copyright infringement against more than 800 different artists and labels.1 Bridgeport Music has no employees, and other than copyrights, no reported assets.2 Technically, Bridgeport is a “catalogue company.” Others call it a “sample troll.”

Bridgeport is the owner of valuable copyrights, including many of funk singer George Clinton’s most famous songs – songs which are sampled in a good amount of rap music.3 Bridgeport located every sample of Clinton’s and other copyrights it owned, and sued based on the legal position that any sampling of a sound recording, no matter how minimal or unnoticeable, is still an infringement.

During the course of Bridgeport’s campaign, it has won two important victories. First, the Sixth Circuit, the appellate court for Nashville adopted Bridgeport’s theory of infringement. In Bridgeport Music, Inc. v. Dimension Films,4 the defendants sampled a single chord from the George Clinton tune “Get Off Your Ass and Jam,” changed the pitch, and looped the sound. Despite the plausible defense that one note is but a de minimus use of the work, the Sixth Circuit ruled for Bridgeport and created a stark rule: any sampling, no matter how minimal or undetectable, is a copyright infringement. Said the court in Bridgeport, “Get a license or do not sample. We do not see this as stifling creativity in any significant way.”5 In 2006 Bridgeport convinced a district court to enjoin the sales of the bestselling Notorious B.I.G. album, Ready to Die, for “illegal sampling.”6 A jury then awarded Bridgeport more than four million dollars in damages.7

The Bridgeport cases have been heavily criticized, and taken as a prime example of copyright’s excesses.8 Yet the deeper problem with the Bridgeport litigation is not necessarily a problem of too much copyright. It can be equally concluded that the ownership of the relevant rights is the root of the problem. George Clinton, the actual composer and recording artist, takes a much different approach to sampling. “When hip-hop came out,” said Clinton in an interview with journalist Rick Karr, “I was glad to hear it, especially when it was our songs – it was a way to get back on the radio.”9 Clinton accepts sampling of his work, and has released a three CD collection of his sounds for just that purpose.10 The problem is that he doesn’t own many of his most important copyrights. Instead, it is Bridgeport, the one-man company, that owns the rights to Clinton’s work. In the 1970s Bridgeport, through its owner Armen Boladian, managed to seize most of George Clinton’s copyrights and many other valuable rights. In at least a few cases, Boladian assigned the copyrights to Bridgeport by writing a contract and then faking Clinton’s signature.11 As Clinton puts it “he just stole ‘em.”12 With the copyrights to Clinton’s songs in the hands of Bridgeport – an entity with no vested interest in the works beyond their sheer economic value – the targeting of sampling is not surprising.

1 Tim Wu, Jay-Z Versus the Sample Troll, Slate Magazine, Nov. 16, 2006, http://www.slate.com/id/2153961/.

2 See Bridgeport Music, Inc.’s corporate entity details, Michigan Department of Labor & Economic Growth, available at http://www.dleg.state.mi.us/bcs_corp/dt_corp.asp?id_nbr=190824&name_entity=BRI DGEPORT%20MUSIC,%20INC (last visited Mar. 18, 2007).

3 See Wu, supra note 1.

4 410 F.3d 792 (6th Cir. 2005).

5 Id. at 801.

6 Jeff Leeds, Judge Freezes Notorious B.I.G. Album, N.Y. Times, Mar. 21, 2006, at E2.

7 Id.

8 See, e.g., Matthew R. Broodin, Comment, Bridgeport Music, Inc. v. Dimension Films: The Death of the Substantial Similarity Test in Digital Samping Copyright Infringemnt Claims—The Sixth Circuit’s Flawed Attempt at a Bright Line Rule, 6 Minn. J. L. Sci. & Tech. 825 (2005); Jeffrey F. Kersting, Comment, Singing a Different Tune: Was the Sixth Circuit Justified in Changing the Protection of Sound Recordings in Bridgeport Music, Inc. v. Dimension Films?, 74 U. Cin. L. Rev. 663 (2005) (answering the title question in the negative); John Schietinger, Note, Bridgeport Music, Inc. v. Dimension Films: How the Sixth Circuit Missed a Beat on Digital Music Sampling, 55 DePaul L. Rev. 209 (2005).

9 Interview by Rick Karr with George Clinton, at the 5th Annual Future of Music Policy Summit, Wash. D.C. (Sept. 12, 2005), video clip available at http://www.tvworldwide.com/showclip.cfm?ID=6128&clip=2 [hereinafter Clinton Interview].

10 George Clinton, Sample Some of Disc, Sample Some of D.A.T., Vols. 1-3 (1993-94).

11 Sound Generator, George Clinton awarded Funkadelic master recordings (Jun. 6, 2005), http://www.soundgenerator.com/news/showarticle.cfm?articleid=5555.

12 Clinton Interview, supra note 9.

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Presidential campaigns, campaign bios, & history

history, politics / /

From Jill Lepore’s “Bound for Glory” (The New Yorker: 20 October 2008):

The biography was published in 1817 as “The Life of Andrew Jackson.” The next year, Eaton was rewarded with an appointment to a vacant seat in the United States Senate. In 1823, Jackson was elected as the other senator from Tennessee, and followed his biographer and friend to the nation’s capital. The two men took lodgings at the same Washington boarding house. The following year, Jackson was a candidate for the Presidency. Eaton headed his campaign. Jackson’s opponent John Quincy Adams refused to campaign at all. In keeping with the tradition of the first five American Presidents, Adams considered currying favor with voters to be beneath the dignity of the office, and believed that any man who craved the Presidency ought not to have it. Adams called this his Macbeth policy: “If chance will have me king, why, chance may crown me, / Without my stir.” Jackson’s supporters leaned more toward Lady Macbeth’s point of view. They had no choice but to stir: their candidate was, otherwise, unelectable. How they stirred has shaped American politics ever since. They told a story, the story of Andrew Jackson’s life. In 1824, Eaton published a revised “Life of Jackson,” founding a genre, the campaign biography. At its heart lies a single, telling anecdote. In 1781, when Jackson was fourteen and fighting in the American Revolution, he was captured. A British officer, whose boots had got muddy, ordered the boy to clean them: Jackson refused, and the officer beat him, badly, with a sword. All his life, he bore the scars. Andrew Jackson would not kneel before a tyrant.

Since 1824, no Presidential election year has passed without a campaign biography, printed about the time a candidate is nominated, chiefly for the purpose of getting him elected. (Although, since Reagan’s “A New Beginning,” in 1984, the campaign biography, as book, has been supplanted somewhat by the campaign film, screened at the nominating Convention.)

…

The election of 1824 brought the first campaign buttons, the first public-opinion polls (undertaken by and published in pro-Jackson newspapers), and the first campaign biographies. Eaton’s “Life of Jackson” was the one that established the genre’s enduring conventions. When Eaton revised it in 1824, he turned what was a history, if a decidedly partial one, into political propaganda; his changes are carefully annotated by Frank Owsley, Jr., in a facsimile edition published by the University of Alabama Press. Eaton cut out or waved away everything compromising (the duels Jackson fought, a soldier he had executed), lingered longer over everything wondrous (battles, mainly), and converted into strengths what pundits had construed as weaknesses. Eaton’s Jackson wasn’t reckless; he was fearless. He had almost no political experience; he was, therefore, ideally suited to fight corruption. He lacked political pedigree; his father, a poor Scotch-Irish immigrant, died before he was born—but this only made Jackson more qualified for the White House, since he was, to use a phrase that was coined during his Presidency, a “self-made man.”

…

In 1834, Davy Crockett wrote the first Presidential campaign autobiography. Vying for the Whig nomination, he then wrote an ornery biography of his rival, upbraiding him for having traded his coonskin cap for a swankier hat. “Mr. Van Buren’s parents were humble, plain, and not much troubled with book knowledge, and so were mine,” Crockett allowed. But Van Buren had since put on airs: “He couldn’t bear his rise; I never minded mine.”

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Offline copy protection in games

art, business, history, security, tech in changing society / /

From Adam Swiderski’s “A History of Copy Protection” (Edge: 9 June 2008):

Fortunately, the games industry is creative, and thus it was that the offline copy protection was born and flourished. One of its most prevalent forms was an in-game quiz that would require gamers to refer to the manual for specific information – you’d be asked, for example, to enter the third word in the fourth paragraph on page 14. Some titles took a punishing approach to this little Q & A: SSI’s Star Command required a documentation check prior to each in-game save, while Master of Orion would respond to a failed manual check by gradually becoming so difficult that it was impossible to win. Perhaps the most notorious example of this method is Sierra’s King’s Quest III, in which lengthy passages of potion recipes and other information had to be reproduced from the manual. One typo, and you were greeted with a “Game Over” screen.

Other developers eschewed straight manual checks for in-box tools and items that were more integrated into the games with which they shipped, especially once photocopiers became more accessible and allowed would-be pirates to quickly and easily duplicate documentation. LucasArts made a name for itself in this field, utilizing such gems as the Monkey Island series’ multi-level code wheels. Other games, like Maniac Mansion and Indiana Jones and the Last Crusade shipped with the kind of color-masked text one would find in old-school decoder rings; the documents could not be reproduced by the photocopiers of the day and would require the application of a transparent red plastic filter in order to get at their contents.

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Biometric photo watermarking using your iris

art, business, science, security, tech in changing society / /

From Eric’s “Canon’s Iris Registration Mode – Biological Copyright Metadata” (Photography Bay: 9 February 2008):

A recent Canon patent application (Pub. No.: US 2008/0025574 A1) reveals the next step in digital watermarking – Iris Registration.

The short and sweet of it?

1. Turn the Mode dial to “REG”
2. Choose between “REG 1″ through “REG 5″ (for up to 5 registered users)
3. Put eye to viewfinder
4. Look at display of center distance measurement point
5. Press the shutter button
6. Iris image captured
7. Go shoot

Additional embedded info can be added later. All metadata will be added to images after you’re finished shooting in a collective manner and not for each image. The purpose of the collective tagging, if you will, is to refrain from hampering the camera’s speed (frames per second) while shooting.

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If concerts bring money in for the music biz, what happens when concerts get smaller?

art, business, history, law / /

From Jillian Cohen’s “The Show Must Go On” (The American: March/April 2008):

You can’t steal a concert. You can’t download the band—or the sweaty fans in the front row, or the merch guy, or the sound tech—to your laptop to take with you. Concerts are not like albums—easy to burn, copy, and give to your friends. If you want to share the concert-going experience, you and your friends all have to buy tickets. For this reason, many in the ailing music industry see concerts as the next great hope to revive their business.

…

It’s a blip that already is fading, to the dismay of the major record labels. CD sales have dropped 25 percent since 2000 and digital downloads haven’t picked up the slack. As layoffs swept the major labels this winter, many industry veterans turned their attention to the concert business, pinning their hopes on live performances as a way to bolster their bottom line.

Concerts might be a short-term fix. As one national concert promoter says, “The road is where the money is.” But in the long run, the music business can’t depend on concert tours for a simple, biological reason: the huge tour profits that have been generated in the last few decades have come from performers who are in their 40s, 50s, and 60s. As these artists get older, they’re unlikely to be replaced, because the industry isn’t investing in new talent development.

When business was good—as it was when CD sales grew through much of the 1990s—music labels saw concert tours primarily as marketing vehicles for albums. Now, they’re seizing on the reverse model. Tours have become a way to market the artist as a brand, with the fan clubs, limited-edition doodads, and other profitable products and services that come with the territory.

“Overall, it’s not a pretty picture for some parts of the industry,” JupiterResearch analyst David Card wrote in November when he released a report on digital music sales. “Labels must act more like management companies, and tap into the broadest collection of revenue streams and licensing as possible,” he said. “Advertising and creative packaging and bundling will have to play a bigger role than they have. And the $3 billion-plus touring business is not exactly up for grabs—it’s already competitive and not very profitable. Music companies of all types need to use the Internet for more cost-effective marketing, and A&R [artist development] risk has to be spread more fairly.”

The ‘Heritage Act’ Dilemma

Even so, belief in the touring business was so strong last fall that Madonna signed over her next ten years to touring company Live Nation—the folks who put on megatours for The Rolling Stones, The Police, and other big headliners—in a deal reportedly worth more than $120 million. The Material Girl’s arrangement with Live Nation is known in the industry as a 360-degree deal. Such deals may give artists a big upfront payout in exchange for allowing record labels or, in Madonna’s case, tour producers to profit from all aspects of their business, including touring, merchandise, sponsorships, and more.

While 360 deals may work for big stars, insiders warn that they’re not a magic bullet that will save record labels from their foundering, top-heavy business model. Some artists have done well by 360 contracts, including alt-metal act Korn and British pop sensation Robbie Williams. With these successes in mind, some tout the deals as a way for labels to recoup money they’re losing from downloads and illegal file sharing. But the artists who are offered megamillions for a piece of their brand already have built it through years of album releases, heavy touring, and careful fan-base development.

Not all these deals are good ones, says Bob McLynn, who manages pop-punk act Fall Out Boy and other young artists through his agency, Crush Management. Labels still have a lot to offer, he says. They pay for recording sessions, distribute CDs, market a band’s music, and put up money for touring, music-video production, and other expenses. But in exchange, music companies now want to profit from more than a band’s albums and recording masters. “The artist owns the brand, and now the labels—because they can’t sell as many albums—are trying to get in on the brand,” McLynn says. “To be honest, if an artist these days is looking for a traditional major-label deal for several hundred thousand dollars, they will have to be willing to give up some of that brand.

”For a young act, such offers may be enticing, but McLynn urges caution. “If they’re not going to give you a lot of money for it, it’s a mistake,” says the manager, who helped build Fall Out Boy’s huge teen fan base through constant touring and Internet marketing, only later signing the band to a big label. “I had someone from a major label ask me recently, ‘Hey, I have this new artist; can we convert the deal to a 360 deal?’” McLynn recalls. “I told him [it would cost] $2 million to consider it. He thought I was crazy; but I’m just saying, how is that crazy? If you want all these extra rights and if this artist does blow up, then that’s the best deal in the world for you. If you’re not taking a risk, why am I going to give you this? And if it’s not a lot of money, you’re not taking a risk.”

A concert-tour company’s margin is about 4 percent, Live Nation CEO Michael Rapino has said, while the take on income from concessions, T-shirts, and other merchandise sold at shows can be much higher. The business had a record-setting year in 2006, which saw The Rolling Stones, Madonna, U2, Barbra Streisand, and other popular, high-priced tours on the road. But in 2007, North American gross concert dollars dropped more than 10 percent to $2.6 billion, according to Billboard statistics. Concert attendance fell by more than 19 percent to 51 million. Fewer people in the stands means less merchandise sold and concession-stand food eaten.

Now add this wrinkle: if you pour tens of millions of dollars into a 360 deal, as major labels and Live Nation have done with their big-name stars, you will need the act to tour for a long time to recoup your investment. “For decades we’ve been fueled by acts from the ’60s,” says Gary Bongiovanni, editor of the touring-industry trade magazine Pollstar. Three decades ago, no one would have predicted that Billy Joel or Rod Stewart would still be touring today, Bongiovanni notes, yet the industry has come to depend on artists such as these, known as “heritage acts.” “They’re the ones that draw the highest ticket prices and biggest crowds for our year-end charts,” he says. Consider the top-grossing tours of 2006 and 2007: veterans such as The Rolling Stones, Rod Stewart, Barbra Streisand, and Roger Waters were joined by comparative youngsters Madonna, U2, and Bon Jovi. Only two of the 20 acts—former Mouseketeers Justin Timberlake and Christina Aguilera—were younger than 30.

These young stars, the ones who are prone to taking what industry observer Bob Lefsetz calls “media shortcuts,” such as appearing on MTV, may have less chance of developing real staying power. Lefsetz, formerly an entertainment lawyer and consultant to major labels, has for 20 years published an industry newsletter (now a blog) called the Lefsetz Letter. “Whatever a future [superstar] act will be, it won’t be as ubiquitous as the acts from the ’60s because we were all listening to Top 40 radio,” he says.

From the 1960s to the 1980s, music fans discovered new music primarily on the radio and purchased albums in record stores. The stations young people listened to might have played rock, country, or soul; but whatever the genre, DJs introduced listeners to the hits of tomorrow and guided them toward retail stores and concert halls.

…

Today, music is available in so many genres and subgenres, via so many distribution streams—including cell phones, social networking sites, iTunes, Pure Volume, and Limewire—that common ground rarely exists for post–Baby Boom fans. This in turn makes it harder for tour promoters to corral the tens of thousands of ticket holders they need to fill an arena. “More people can make music than ever before. They can get it heard, but it’s such a cacophony of noise that it will be harder to get any notice,” says Lefsetz.

…

Most major promoters don’t know how to capture young people’s interest and translate it into ticket sales, he says. It’s not that his students don’t listen to music, but that they seek to discover it online, from friends, or via virtual buzz. They’ll go out to clubs and hear bands, but they rarely attend big arena concerts. Promoters typically spend 40 percent to 50 percent of their promotional budgets on radio and newspaper advertising, Barnet says. “High school and college students—what percentage of tickets do they buy? And you’re spending most of your advertising dollars on media that don’t even focus on those demographics.” Conversely, the readers and listeners of traditional media are perfect for high-grossing heritage tours. As long as tickets sell for those events, promoters won’t have to change their approach, Barnet says. Heritage acts also tend to sell more CDs, says Pollstar’s Bongiovanni. “Your average Rod Stewart fan is more likely to walk into a record store, if they can find one, than your average Fall Out Boy fan.”

…

Personally, [Live Nation’s chairman of global music and global touring, Arthur Fogel] said, he’d been disappointed in the young bands he’d seen open for the headliners on Live Nation’s big tours. Live performance requires a different skill set from recorded tracks. It’s the difference between playing music and putting on a show, he said. “More often than not, I find young bands get up and play their music but are not investing enough time or energy into creating that show.” It’s incumbent on the industry to find bands that can rise to the next level, he added. “We aren’t seeing that development that’s creating the next generation of stadium headliners. Hopefully that will change.”

Live Nation doesn’t see itself spearheading such a change, though. In an earlier interview with Billboard magazine, Rapino took a dig at record labels’ model of bankrolling ten bands in the hope that one would become a success. “We don’t want to be in the business of pouring tens of millions of dollars into unknown acts, throwing it against the wall and then hoping that enough sticks that we only lose some of our money,” he said. “It’s not part of our business plan to be out there signing 50 or 60 young acts every year.”

And therein lies the rub. If the big dog in the touring pack won’t take responsibility for nurturing new talent and the labels have less capital to invest in artist development, where will the future megatour headliners come from?

…

Indeed, despite its all-encompassing moniker, the 360 deal isn’t the only option for musicians, nor should it be. Some artists may find they need the distribution reach and bankroll that a traditional big-label deal provides. Others might negotiate with independent labels for profit sharing or licensing arrangements in which they’ll retain more control of their master recordings. Many will earn the bulk of their income from licensing their songs for use on TV shows, movie soundtracks, and video games. Some may take an entirely do-it-yourself approach, in which they’ll write, produce, perform, and distribute all of their own music—and keep any of the profits they make.

There are growing signs of this transition. The Eagles recently partnered with Wal-Mart to give the discount chain exclusive retail-distribution rights to the band’s latest album. Paul McCartney chose to release his most recent record through Starbucks, and last summer Prince gave away his newest CD to London concertgoers and to readers of a British tabloid. And in a move that earned nearly as much ink as Madonna’s 360 deal, rock act Radiohead let fans download its new release directly from the band’s website for whatever price listeners were willing to pay. Though the numbers are debated, one source, ComScore, reported that in the first month 1.2 million people downloaded the album. About 40 percent paid for it, at an average of about $6 each—well above the usual cut an artist would get in royalties. The band also self-released the album in an $80 limited-edition package and, months later, as a CD with traditional label distribution. Such a move wouldn’t work for just any artist. Radiohead had the luxury of a fan base that it developed over more than a dozen years with a major label. But the band’s experiment showed creativity and adaptability.

If concerts bring money in for the music biz, what happens when concerts get smaller? Read More »

10,000 hours to reach expertise

art, education, science / /

From Malcolm Gladwell’s “A gift or hard graft?” (The Guardian: 15 November 2008):

This idea – that excellence at a complex task requires a critical, minimum level of practice – surfaces again and again in studies of expertise. In fact, researchers have settled on what they believe is a magic number for true expertise: 10,000 hours.

“In study after study, of composers, basketball players, fiction writers, ice-skaters, concert pianists, chess players, master criminals,” writes the neurologist Daniel Levitin, “this number comes up again and again. Ten thousand hours is equivalent to roughly three hours a day, or 20 hours a week, of practice over 10 years… No one has yet found a case in which true world-class expertise was accomplished in less time. It seems that it takes the brain this long to assimilate all that it needs to know to achieve true mastery.”

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6 reasons why “content” has been devalued

art, business, history, law, technology / /

From Jonathan Handel’s “Is Content Worthless?” (The Huffington Post: 11 April 2008):

Everyone focuses on piracy, but there are actually six related reasons for the devaluation of content. The first is supply and demand. Demand — the number of consumers and their available leisure time – is relatively constant, but supply — online content — has grown enormously in the last decade. Some of this is professional content set free from boundaries of time and space, now available worldwide, anytime, and usually at no cost (whether legally or not). Even more is user generated content (UGC) — websites, blogs, YouTube videos — created by non-professionals who don’t care whether they get paid, and who themselves pay little or nothing to create and distribute it.

The second is the loss of physical form. It just seems natural to value a physical thing more highly than something intangible. Physical objects have been with us since the beginning of time; distributable intangible content has not. Perhaps for that reason, we tend to focus on per-unit costs (zero for an intangible such as a movie download), while forgetting about fixed costs (such as the cost of making the movie in the first place). Also, and critically, if you steal something tangible, you deny it to the owner; a purloined DVD is no longer available to the merchant, for instance. But if you misappropriate an intangible, it’s still there for others to use. …

The third reason is that acquiring content is increasingly frictionless. It’s often easier, particularly for young people, to access content on the Internet than through traditional means. …

Fourth is that most new media business models are ad-supported rather than pay per view or subscription. If there’s no cost to the user, why should consumers see the content as valuable, and if some content is free, why not all of it? …

Fifth is market forces in the technology industry. Computers, web services, and consumer electronic devices are more valuable when more content is available. In turn, these products make content more usable by providing new distribution channels. Traditional media companies are slow to adopt these new technologies, for fear of cannibalizing revenue from existing channels and offending powerful distribution partners. In contrast, non-professionals, long denied access to distribution, rush to use the new technologies, as do pirates of professional content. As a result, technological innovation reduces the market share of paid professional content.

Finally, there’s culture. A generation of users has grown up indifferent or hostile to copyright, particularly in music, movies and software.

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Bruno’s memory structures

education, history / /

From Laura Miller’s “The heretic” (Salon: 25 August 2008):

Still, the mental powers of Bruno and his fellow memory artists seem almost superhuman today. The basic principle, Rowland explains, is simple enough, “to link words with images.” Nevertheless, the structures employed were mind-boggling: vast, elaborate patterns and nested wheels within wheels (like the color wheels used by visual designers) that could be used to juxtapose and rearrange huge quantities of information without recourse to any extra-mental form of storage (like writing). This ability makes the minds of Renaissance intellectuals radically different from our own, almost incomprehensibly so.

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John Berryman’s suicide note

art, history, language & literature / /

From Steve Marsh’s “Homage to Mister Berryman” (Mpls St Paul Magazine: September 2008):

Berryman’s last words to Kate came on that January morning—he told her he was going to campus to clean his office. He had never said that before, she says, but Kate, who was attending Al-Anon meetings at the time, was trying “not to manage this situation.” Berryman had actually been sober for several months following repeated periods of hospitalization, twice at St. Mary’s and once at Hazelden. “But he had developed a hum,” Kate says. “He would hum all the time. And he stopped talking very much.”

After his suicide, Kate found a note written on the back of an envelope in a wastebasket.

O my love Kate, you did all you could.
I’m unemployable & a nuisance.
Forget me, remarry, be happy.

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Web design contrasted with graphic design

art, business, technology / /

From Joshua Porter’s “Do Canonical Web Designs Exist?” (Bokardo: 14 November 2007):

… web designers necessarily approach design from a different perspective than graphic designers.

Graphic designers can judge by looking. Web designers cannot. Web designers must judge by doing (or observing others doing). The problem is that too many people judge web designs without actually using them. Instead, they look. When you use the shortcut of looking, you tend to judge what you’re looking at: the visuals. But when you use something, your relationship to that thing necessarily changes. I wonder how often Armin uses Google.

That’s why web design is different. Peer production, in particular, is extremely different. When I buy a book on Amazon, when you buy a book, we change the way the site works for someone else buying books, which is in turn changed by the reviews we write afterward. Is this not amazing design?

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Like music, authors will make more money from personal appearances

art, business, on writing / /

From Douglas Rushkoff’s response to R.U. Sirius’ “Is The Net Good For Writers?” (10 Zen Monkeys: 5 October 2007):

But I think many writers – even good ones – will have to accept the fact that books can be loss-leaders or break-even propositions in a highly mediated world where showing up in person generates the most income.

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