Each year, @freedomhouse publishes "Freedom on the Net," an annual snapshot of internet policy and outcomes in different countries, from #netneutrality to internet shutdowns to domestic surveillance.
The new report, spanning Jun 2019 to May 2020, tracks the steady (pre- and post-pandemic) march to a locked down internet robbed of its liberatory power and perverted in service to control, censorship and surveillance.
Even before the pandemic, things were bad, but the pandemic accelerates everything: inequality, monopoly, and internet crackdowns. In the name of epidemiology, the world's governments have criminalized some online speech and then arrested journalists and activists.
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These speech restrictions also created a simple pretense for national website blocking and site takedowns, used to remove "unfavorable health statistics, corruption allegations, and other Covid-19-related content."
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The Chinese model of tech as an autocrat's dashboard and control panel is surging around the world, and exposure notification apps are a powerful accelerant for the model, with mandatory location tracking, call-record harvesting, even mandatory quarantine "selfie checkins."
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Ominously, much of the health surveillance is being undertaken by agencies tasked with tracking "domestic terrorism" - treating public health as something that is done TO people, not WITH them, giving spooks unlimited budgets and powers that will outlast the pandemic.
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When all else fails, the world's autocrats turn to internet shutdowns, and these, too, are a comorbidity of the virus.
If you campaign for digital rights, you get used to being called a "tech exceptionalist."
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I am a tech exceptionalist.
Not because I think tech freedom is more important than racial justice, inequality, climate emergency, gender discrimination, or other pressing issues.
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I'm a tech exceptionalist because I believe that we can only address these issues with technological organization tools. As someone who's organized protests by wheatpasting posters to telephone poles, I'm confident there is no going back to predigital forms of resistance.
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I'm a tech exceptionalist, not because I think tech is more important, but because I think it's foundational: it's the terrain on which other battles will be fought. A free, fair and open internet is the necessary but insufficient condition for human liberation.
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Inside: Dystopia as clickbait; Trail of Mars; Bride of Frankenstein and the Monster; The Passenger Pigeon Manifesto; Bricked Ferrari; The Dennis Ball Show; and more!
Tonight's Attack Surface Lecture: Intersectionality: Race, Surveillance, and Tech and Its History with Malkia Cyril and Meredith Whittaker app.gopassage.com/events/cory-do…
A great hero of the copyright wars is @realdjbc, AKA Bob Cronin, creator of the amazing groundbreaking #Beastles mashups, a virtuosic combination of the Beastie Boys and The Beatles:
DRM is a system for prohibiting legal conduct that manufacturers and their shareholders don't like.
Laws like the US DMCA 1201 (and its equivalents all over the world) ban tampering with DRM, even if no copyright infringement takes place.
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That means that manufacturers can design products so that doing things that displease them requires bypassing DRM, and thus committing a felony. It amounts to "felony contempt of business model."
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The expansive language of DRM law makes it a crime to break DRM, to tell people how to break DRM, to point out defects in DRM (including defects that make products unsafe to use), or to traffick in DRM-breaking tools.
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In 2014, I gave a keynote at Museums and the Web on the suicide-mission of cultural institutions that had decided to sacrifice access - making their collections as broadly available as possible - for revenues (selling licenses to rich people).
I argued that rich people didn't want museums, they wanted to own the things the museums had in their collections; so if museums eschewed universal access to get crumbs from plutes, they'd end up with rich people slavering to dismantle them and no public to help them resist.
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Now, a group of professionals and institutions from the galleries, libraries, archives and museums (#GLAM) sector have published the "Passenger Pigeon Manifesto," in which they eloquently make the same point.
I first encountered @jmcdaid through "Uncle Buddy's Funhouse," his 1993 ground-breaking, award-winning hypertext project - one of the first CD ROMs written up in the NY Times. It was such an exciting, original, weird and artistically satisfying piece, especially the music.
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Later, John and I became writing colleagues, attending workshops together, and then friends - for decades now. His work remains weird, erudite, accessible, madcap and brilliant.
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He's just released a new album of filk/folk music: "Trail Of Mars," recorded during the plague months with an all-star set of session musicians whom John was able to contract with thanks to the unprecedented drought in musical work.