“Many users of infringing sites may be unaware that the sites they are viewing carry content unlawfully, and they may find it useful for such unlawful sites to be less readily available.”

Just… wow. Orwell would be proud of such a literary creation. I thought previous New Labour governments were Big Nanny, but this is just absurd. A website owner does not have full rights to the words on the website. Please, Mr ISP, take an active and detailed concern in what websites I visit, and save me from the commercial horror!

Full letter available from its eventual recipient, Matthew Temple (http://www.mattytemple.com/)

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In 2008, economists Richard Thaler and Cass Sunstein made waves with a book called Nudge. It advocated the idea that socially beneficial policy could be implemented without forcing anyone to behave a particular way. All you had to do was make the socially optimal option the default; e.g. saving a certain percentage of your monthly wages.

Anybody not happy with that could opt out and do something different. No freedom or choice is taken away from anyone: you’re just nudged in the right direction.

Well, could nudges help something as ‘far out’ as copyright?

Advocates of the copyleft movement think that in this day and age, more of culture should be in the commons: free to be shared, remixed and disseminated. Scarcity business models are completely out of touch with a world where copy, paste, share & remix is such a ubiquitous feature of cultural participation.

So why not nudge creative works into the commons? I’m talking about default public licensing of copyrighted works (not to be confused with – illiberal and paternalistic – compulsory licensing).

The idea is that by default, new published work would be licensed to the public for non-commercial sharing and remixing (those familiar with the Creative Commons will recognise this as a CC Attribution-NonCommercial-ShareAlike licence).

The author would still be free to override that with any other licence. Copyright it would still fully apply to works; the rights “castle” is still there from day zero of a work. But by default, a non-commercial share/remix “drawbridge” is let down.

You would still have to go to the artist and negotiate a deal (or at least, ask for permission) if you intended to make money from the work or a from remix of it. And she would always be credited, and so the more you share, the more famous the artist would get.

I am posting this because it surely can’t be a new idea, but my googling hasn’t thrown anything up yet. I have a dozen questions/ideas, and so was hoping you either could refer me to existing discussions, or give me your own thoughts (in the comments below, or contacting me directly).

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Wonderful.

Was the current piracy regime so badly broken that this needed to happen?

The Anti-Counterfeiting Trade Agreement (ACTA), the Gallo report, the UK’s Digital Economy Act, and in particular, the brand Combating Online Infringement and Counterfeits Bill, will all:

a) seem completely warranted, and yet

b) will make even moderates presently optimistic about Spotify making copyright enforcement hardening unnecessary, despair

c) finally, the awful copyright policy we’ve seen pushed in 2010 (see above) will seem inadequate to all, and even harsher measures will be necessary. “Throw the safe harbour / intermediary immunity out the window, allow wanton monitoring, consider making wilful downloading of infringing content illegal, bring back DRM, etc… Three strikes? Let’s make it two!! Children are in danger in this Somalia of unregulated theft and piracy*.

And if Mulve had never come along? people would just learn how to conduct their business online with greater discretion. Privacy, anonymity, encryption, closed communities, being selective about which computers you let your PC connect to – hardly a bad schooling?

If it ain’t badly broke, don’t fix it. This is a step backwards for all concerned, not least the freetards that will gorge themselves on a service that seems too good to be true. As an acquaintance recently pointed out, if you don’t know who the free lunch is, there’s a good chance you’re it.

*yes, Lord Andrew Lloyd-Webber really is that cock-mouthed. Children in danger – what a hammy line to trot out, and in the House of Lords. I mean really. And a ‘Somalia of unregulated theft’? As opposed to what, a Somalia of regulated theft? A Wales of unregulated theft? What on Earth does that mean??

How tragic that a legislator can admit that “I do not come equipped with the answers; frankly, they are way beyond my world of musical theatre” in Parliament, then gets so widely lauded (for a rhetoric and bad stat-laden tragic, melodramatic pantomime of a speech) as to be able to kick start the horrifying fisting of the Digital Economy Act (by which I mean hijacking a good bill that was about boosting Britain’s digital telecoms infrastructure, and filling it with copyright enforcement measures so draconian they would have derailed the bill completely but for the use of the ‘wash up’ subterfuge).

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In shopping mall design, the Gruen transfer refers to the moment when consumers respond to "scripted disorientation" cues in the environment. It is named for Austrian architect Victor Gruen

(…)

The Gruen transfer refers to the moment when a consumer enters a shopping mall and, surrounded by an intentionally confusing layout, loses track of their original intentions. Spatial awareness of their surroundings plays a key role, as does the surrounding sound and music

Would love to hear from anyone that knows of any research into this. Is it serious, or speculative?

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      A penny for the Old Guy

The Hollow Men

T. S. Eliot (1925)

I

We are the hollow men

We are the stuffed men

Leaning together

Headpiece filled with straw. Alas!

Our dried voices, when

We whisper together

Are quiet and meaningless

As wind in dry grass

Or rats’ feet over broken glass

In our dry cellar

Shape without form, shade without colour,

Paralysed force, gesture without motion;

Those who have crossed

With direct eyes, to death’s other Kingdom

Remember us — if at all — not as lost

Violent souls, but only

As the hollow men

The stuffed men.

II

Eyes I dare not meet in dreams

In death’s dream kingdom

These do not appear:

There, the eyes are

Sunlight on a broken column

There, is a tree swinging

And voices are

In the wind’s singing

More distant and more solemn

Than a fading star.

Let me be no nearer

In death’s dream kingdom

Let me also wear

Such deliberate disguises

Rat’s coat, crowskin, crossed staves

In a field

Behaving as the wind behaves

No nearer –

Not that final meeting

In the twilight kingdom

III

This is the dead land

This is cactus land

Here the stone images

Are raised, here they receive

The supplication of a dead man’s hand

Under the twinkle of a fading star.

Is it like this

In death’s other kingdom

Waking alone

At the hour when we are

Trembling with tenderness

Lips that would kiss

Form prayers to broken stone.

IV

The eyes are not here

There are no eyes here

In this valley of dying stars

In this hollow valley

This broken jaw of our lost kingdoms

In this last of meeting places

We grope together

And avoid speech

Gathered on this beach of the tumid river

Sightless, unless

The eyes reappear

As the perpetual star

Multifoliate rose

Of death’s twilight kingdom

The hope only

Of empty men.

V

Here we go round the prickly pear

Prickly pear prickly pear

Here we go round the prickly pear

At five o’clock in the morning.

Between the idea

And the reality

Between the motion

And the act

Falls the Shadow

For Thine is the Kingdom

Between the conception

And the creation

Between the emotion

And the response

Falls the Shadow

Life is very long

Between the desire

And the spasm

Between the potency

And the existence

Between the essence

And the descent

Falls the Shadow

For Thine is the Kingdom

For Thine is

Life is

For Thine is the

This is the way the world ends

This is the way the world ends

This is the way the world ends

Not with a bang but a whimper.

(Jazz Saxophonist, Paul Desmond (“Take Five”) parodied “The Hollow Men” in the following quote: Of Vogue fashion models, he said, “Sometimes they go around with guys who are scuffling — for a while. But usually they end up marrying some cat with a factory. This is the way the world ends, not with a whim but a banker.”)

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It’s taken from a 2001 (very musical) madcap scifi film (The American Astronaut) from the Sundance film festival that, as one commenter to the Youtube thread puts it, is “so utterly, almost unfathomably cool”.

Oh my christ. I quoted a youtube commenter, without any note of mockery or sarcasm

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People are strange from Denis Fongue on Vimeo.

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Fluid Sculpture from Charlie Bucket on Vimeo.

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I just picked up on an interview he made with a US-based site, possibly part of an effort to break into the USA. It’s no surprise he feels the urge to get there – with the US featuring in a number of his documentaries, such as The Power of Nightmares, about the parallel and mutualistic development of neo-conservatism and Islamist extremist groups; or The Century of Self, charting the influence of psychology on advertising in the 20th century) – the impact could be large. For investigative journalists and documentary makers alike (where’s the line drawn?), what more are you looking for in life?

In it, he comes across as thoughtful, intelligent, grumpy, but also confident – to the point of narcissism. It’s a fascinating insight into the work of a strong but underexposed force in TV. Here are some interesting takeaways for the time-pressed amongst you:

On the underlying interest driving his work:

I was convinced that power in my society, the power in our societies, moves not just through politics, it goes through science, it goes through public relations, it goes through psychology, it goes through everything and that we should be telling stories about this. And no one was.

[..] the thing that fuels these programs is not a sympathy for a particular side or another, it’s just a general grumpiness about the way reality is being portrayed. And then on top of that, I’m trying to ask, well, why are they obsessed with portraying this fantasy? So there are two levels in my films. There is a factual story and then, on top of that, I try and say, hang on, why has this happened?

I’ve always been fascinated by 19th century novelists because they are very cinematic. They take a panorama of a society and they have characters moving through it and they tell the story of the characters, but they also tell you something about society at the same time.

On documentaries vs. journalism on TV and US vs. UK TV

I don’t think I make documentaries. I’m going to go on about this. I’m a journalist. I’m a modern journalist. I use pictures imaginatively to argue a piece of journalism essay-making. Documentaries are for people who make achingly plangent films with no commentary about graves in Bosnia. There’s a wonderful place for those in television and in cinema but I do something else. I tell people about the world and I use my voice and I tell them what I think and I show pictures that I like.

I don’t know how it would work here, but at the BBC, I argued that, although these films are critical, you wouldn’t know quite what my politics were. And actually, I keep my politics perfectly out of this. This is a very interesting area and I think that TV in my country is beginning to adapt to this. I don’t know whether your television is; I think it’s much more timid. It’s really a simple question. Why can’t television stations have Op-Ed pages? It’s as simple as that. Why not? It’s not like it’s a polemic – I’m writing a critical piece.

I am fascinated by the structure of television, because television is episodic. You can have ten episodes or twelve, or you can have 25 episodes; you can criss and cross and make things work in a structure which, in a one-off film, you can’t necessarily do.

I just think television is a really original medium which people haven’t yet fully exploited and discovered. I mean, we were talking earlier on about how so much really good drama, from our British point of view, is being done on American television now. It’s really inventive. Some of the cutting and the structure. The structure of a series like The Wire, even 24 – whatever you think about the ludicrousness of the plot, it uses many of the avant-garde techniques of the filmmakers of the 60s.

On the insufficiency of “big idea” journalism on TV:

Marlow: Do you ever feel that it’s not actually the politics that American stations disagree with, but the fact that you actually tackle big ideas, and we’re not well-known for dealing with big ideas?

Curtis: I think there is a fear of doing ideas on television. And to be honest, if you look at the mind of a television executive, it is quite well-founded. I know the archives at the BBC. Programs about ideas are so boring because what you tend to have is, you have a well-known personality. They do lots of shots of them striding around usually different parts of the world and then they do illustrative bits in between and they’re really dull. What I do is find stories that I then use to illustrate the ideas.

The scary part – bemoaning absences of elitist confidence. Doesn’t that advocate dogmatism? Isn’t that a prerequisite for fascism? What does he think of Obama I wonder?

Many of the people who make television programs have run out of ideas. They haven’t got anything more to say. So what they do is they entertain the masses by making reality TV. It’s as much their fault as it is the fault of the masses. They’ve run out of confidence. They haven’t got the faintest idea of what to do. They don’t know what’s right or what’s wrong any longer. It’s partly what my programs are all about; it’s the failure of the elite to really have confidence any longer. That’s true in television as it is in politics and journalism.

And he makes no bones about being part of that elite:

Marlow: And you use yourself as a benchmark?

Curtis: I think I’m quite normal. I think what I would like, other people would like. People like stories, it’s just a given fact. However much some filmmakers try to get away from it, storytelling, even in it’s most dislocated form, is what drives movies.

[discussing works that  intertwine initially disparate storylines, and social commentary] Personally, I think that people like me are pushing television towards what great novels were like in the 19th century.

He puts across a narcissism in this interview that I’ve rarely encountered before, though thankfully it’s a lot less apparent in his work. What’s more, his talent, points of view and the stories he tells are so unique that he gets away with it – proving his point, in a way.

Again, the link to the interview in full: https://www.greencine.com/central/node/430?page=0,0

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The next day (as Daz and Katie went off to Missouri) Tom and I went to take a look at the Beatles’ isolated ashram (spiritual community), the fertile grounds credited with the White Album’s conception. It was abandoned in 1997 and the tropical forest has been rapidly reclaiming it ever since – Tom and I walked right past it at first, and noticed throughout that it was covering the traces of previous tourist visitors faster than they could carve paths through it. For a modest 100 Rupees a half-dressed man – ostensibly a caretaker – opened the rusted and creaking gates to us, and after a half minute’s incomprehensible garble (probably some ground rules, duly disobeyed) we were left to our own devices in the huge hillside complex. The feeling of freedom and and adventure we enjoyed as we clambered around the crumbling, vegetation-strewn ruins is difficult to put into words – but it’s a deep-felt liberation when less than a week ago we were in Britain, where rules are king and all visits are perspex-framed, path-defined and velvet cordon-bound.

It was in this complex that we made our first on-the-road acquaintances – a strange ad-hoc bunch comprising two Israelis traveling the world after compulsory military service; a mute Finn woman, and delicate Swede, and a swarthy – but totally barmy – Iranian university professor. He was familiar with the layout, leading us through dense vegetation to a now hidden auditorium, the dilapidated roof echoing the Israeli’s weak Beatles renditions. We stopped for a smoke and shared backgrounds, musical tastes and racist jokes, and scheduled a meetup at a local cafe that night.

With one of the Israelis acting as our guide, we watched the village’s daily riverside ceremony, a pooja delivered in honour of Shiva (the creator/destroyer of worlds). Dozens of small candles were sent twinkling down the Ganges as locals and pilgrims burned petals in a central pyre. As night fell and the ceremony drew to a close, the clouds rolled in from the Himalayas and opened up, dispersing the pilgrims. Tom and I ran back to the hotel across a vast footbridge over the Ganges, as solid sheets of rain came down and bolts of lightning over the mountains lit up the suspension wires in the night. The power in the hotel was off so my shower was taken in the flashing glow of my strobe bike light – a decent approximation of what we’d just experienced!

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– the view from the balcony today – in stark contrast to our previous residences:

– our Delhi hostel – TV, shower and sofa + coffee table! luxury. Except when the electricity cuts out in the middle of the night and you wake up with rivulets of sweat pouring down your every nook & cranny. Fenton has once again left a mystery stain on the bedsheets. Must be a common feature to all his travels.

– the sleeper train. Not so bad, actually. Might smother my couchette with vicks vaporub next time though – tad smelly sometimes.

We arrived here having taken a sleeper train from Delhi Wednesday night after a crazy dash through the crumbling, traffic-gorged streets of old Delhi in two autorickshaws, getting on the train 5 minutes after it was due to leave (thank goodness the trains, like us, run on Delhi time, a local unoffical +20min timezone!) Not much sleep to be had on the sleeper, despite decent comfort and nice temperatures. I put it down to the constantly changing (interesting) scenery along the trip, the driver’s addiction to sounding the foghorn (like all drivers in India, for that matter – it gets used more frequently than both the indicator and the gearshift), and the men walking down the train every 20 minutes shouting ‘Tea! Coffee! Chai!’

Delhi is an interesting city, where India’s upwardly mobile youth – skinny jeans, bling, slick hair, westernised (but distinctly Hindi) music – come shoulder to shoulder with abject poverty. It’ll be interesting to see what happens should this dichotomy accentuate – which it seems likely to do, given the huge problem the government faces brining so many millions out of poverty whilst attempting to nurture growth of the other classes. As argued by Prospect several months ago, vast swathes of the Indian middle class seemingly lacks the will to contribute to a social program aimed at helping India’s poorest. The use of technology is fascinating, too – the ‘mobile phones’ you see in use of the street tend to be rows of satellite phones fixed to bike carts, like a mobile phonebox! No iPhones visible, despite its supposed availability in India.

The new Metro system is largely overlooked by the Lonely Planet guidebooks we’ve been using – we discovered it almost by chance, after an unsuccessful con was tried on us (and again the next day, by the same guy! what cheek!!) – it’s modern, built for capacity, much, much cleaner and more efficient than the London Underground; and it’s extremely cheap. Here’s a photo putting Delhi’s traffic problems in context – one can only hope uptake of tube services will grow exponentially. Indian traffic is MENTAL.

Delhi is also home to a seriously new-age temple of the Ba’hai faith (which Daz subscribes to). Set in the middle of huge, green grounds (in Delhi!), the moment of Zen walking around and sitting inside the huge hall was refreshing after a blackout night in the madhouse – though the smelly banter with an american Bah’ai convert in the Information Centre was not.

Also zen: the Red Fort, one of India’s most famous monuments

For an up to date gallery of the photos I’ve been taking on this trip, view the whole thing here:
http://picasaweb.google.com/philbradley/India#

As always, email us with your news – it’s good to know what’s going on back home, plus we may soon find we need other talking points than Katie’s voracious appetite for pizza.

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