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.
The music is both fun to listen to and (obviously) brilliantly performed and mixed, but the standout here is McDaid's lyrics - superb, funny, weird and unexpected poetry in the mode of a Leonard Cohen or Bob Dylan in Subterranean Homesick Blues mode.
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The top single on the album is "Lost in Translation," a track I listened to three times in a row and have been thinking about ever since:
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The album is $12 on Bandcamp, DRM-free, with a 16-page booklet including lyrics and notes. McDaid is a wild man of enormous and varied talents. Highly recommended.
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Imposing penalties on cheating monopolists is hard and must be done with care, lest the companies turn new rules into a competitive advantage - rules they can afford to follow, but which their smaller customers cannot.
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For many years, Big Tech maintained the fiction that their digital sales were consummated somewhere in Irish-adjacent high seas or possibly in a basement in Lichtenstein and thus sales-tax exempt. This let Amazon sell books for 20% less than its non-cheating UK competitors.
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To fix this, the EU created a rule requiring digital retailers to collect two non-contradictory pieces of personally identifying info on each purchaser (including non-EU customers) to determine where they were for tax purposes.
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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.