Posts Tagged ‘broadcasting’
“Beware of him who would deny you access to information, for in his heart he dreams himself your master”*…
Stewart Brand once suggested that “Information wants to be free. Information also wants to be expensive. …That tension will not go away.” Indeed, it seems to be growing…
Aaron Swartz was 26 years old when he took his own life. He did so under the shadow of legal prosecution, pursued by government lawyers intent on maximal punishment. If found guilty, he potentially faced up to 50 years in prison and a $1 million dollar fine. Swartz’s crime was not only legal, but political. He had accessed a private computer network and gained possession of highly valuable information with the goal of sharing it. His actions threatened some of the most powerful, connected, and politically protected groups in the country. Their friends in the government were intent on sending a message.
It’s the kind of story you would expect about some far-off political dissident. But Swartz took his life in Brooklyn on a winter day in 2013 and his prosecutor was the U.S. federal government. When Swartz died, he was under indictment for 13 felony charges related to his use of an MIT computer to download too many scientific articles from the academic database JSTOR, ostensibly for the purpose of making them freely available to the public. Ultimately, Swartz potentially faced more jail time for downloading academic papers than he would have if he had helped Al Qaeda build a nuclear weapon. Even the Criminal Code of the USSR stipulated that those who stored and distributed anti-Soviet literature only faced five to seven years in prison. While prosecutors later pointed toward a potential deal for less time, Aaron would still have been labeled a felon for his actions—and to boot, JSTOR itself had reached a civil settlement and didn’t even pursue its own lawsuit.
But Aaron’s cause lived on. This September marks the ten-year anniversary of Sci-Hub, the online “shadow library” that provides access to millions of research papers otherwise hidden behind prohibitive paywalls. Founded by the Kazakhstani computer scientist Alexandra Elbakyan—popularly known as science’s “pirate queen”—Sci-Hub has grown to become a repository of over 85 million academic papers.
The site is popular globally, used by millions of people—many of whom would otherwise not be able to finish their degrees, advise their patients, or use text mining algorithms to make new scientific discoveries. Sci-Hub has become the unacknowledged foundation that helps the whole enterprise of academia to function.
Even when they do not need to use Sci-Hub, the superior user experience it offers means that many people prefer to use the illegal site rather than access papers through their own institutional libraries. It is difficult to say how many ideas, grants, publications, and companies have been made possible by Sci-Hub, but it seems undeniable that Elbakyan’s ten-year-old website has become a crucial component of contemporary scholarship.
The success of Sci-Hub has made it a target for injunctions and investigations. Academic publishers have sued Sci-Hub repeatedly, opponents have accused the site’s creators of collaborating with Russian intelligence, and private sector critics have dubbed it a threat to “national security.” Elbakyan recently tweeted out a notification she received that the FBI had requested her personal data from Apple.
Whatever happens to Sci-Hub or Elbakyan, the fact that such a site exists is something of a tragedy. Sci-Hub currently fills a niche that should never have existed. Like the black-market medicine purchased by people who cannot afford prescription drugs, its very being indicts the official system that created the conditions of its emergence…
The cost of individually purchasing all the articles required to complete a typical literature review could easily amount to thousands of dollars. Beyond paying for the articles themselves, academics often have to pay steep fees to publish their research. Meanwhile, most peer reviewers and editors charged with assessing, correcting, and formatting papers do not receive compensation for their work.
It’s particularly ironic that this situation exists alongside a purported digital “infodemic” of misinformation. The costs of this plague are massive, from opposition to the pandemic response to the conspiracy theories that drove a loving father to fire his gun inside a pizza parlor and a man to kill a mafia boss accused of having ties to the deep state. But few public figures, if any, draw the direct connection between the expensive barricades around scientific research and the conspicuous epistemic collapse of significant portions of the American political discourse…
Whether intended or not, the impossibly high paywalls of academic publishers only serve to keep scientific information out of the population’s hands. What makes this even more discordant is that the people being prevented from accessing the information are often also the taxpayers who helped fund the research in the first place.
By framing the debate about Sci-Hub as one concerning property rights, both advocates of Elbakyan’s site and its detractors fall afoul of what John Gall called the “operational fallacy.” In his book The Systems Bible, Gall defined the operational fallacy as a situation where “the system itself does not do what it says it is doing.” In other words, what a system calls itself is not always a reliable indicator of its true function. In this case, the name of the “academic publishing industry” implies that it is supposed to be involved in the dissemination of scholarship. But the effective function of the academic publishing industry as it actually exists is to prevent the dissemination of scholarly work.
Given the example of Sci-Hub, the easy logistics of internet publication, and the funding structure of academic research, it seems clear that in the absence of the academic publishing industry, scholarship would be more widely available, not less. If the academic publishing industry did not exist, scientists could still do their research—in fact, it would be easier to do so as more people would have access to scholarly literature. The peer-review process could still function normally—though there are good reasons to change that as well. And the resulting papers could simply be posted in a place where anyone could read them.
When we explore the actual function of the academic publishing industry—restricting access to scholarly research—we see that these publishers have little in common with the companies that have opposed other file-sharing sites. When several record companies sued Napster in 2001, they could make the legitimate case that the economic well-being of the musicians, producers, and all the people who were needed to distribute recorded music was at stake. No such parallel exists in the case of Sci-Hub. Scientists are not paid by the publishers. Peer reviewers are not paid by the publishers. Distribution itself, as proven by Sci-Hub and its more law-abiding brother arXiv, is cheap enough to be provided to the public for free. It’s not surprising, then, that polls reveal that scientists overwhelmingly support Sci-Hub…
Eminently worth reading in full– the civic tragedy of academic publishing: “A World Without Sci-Hub,” from Jason Rhys Perry (@JRhysParry) in @palladiummag.
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As we share and share alike, we might recall that it was on this date in 1970 that the Public Broadcasting Service– PBS– premiered, when it took over (most of) the functions of its predecessor, National Educational Television.
Unlike the five major commercial broadcast television networks in the United States (ABC, CBS, NBC, Fox, and The CW) PBS is technically not a network, but rather a program distributor that provides television content and related services to its member stations. Each station sets its own schedule and programs local content (e.g., local/state news, interviews, cultural, and public affairs programs) that supplements content provided by PBS and other public television distributors.
“It isn’t easy, coming up with book titles. A lot of the really good ones are taken. Thin Thighs in 30 Days, for example. Also The Bible.”*…
“What’s in a name?” mused Shakespeare in Romeo and Juliet (first published in print in 1597 as An Excellent Conceited Tragedie of Romeo and Juliet). Would he have said the same, one wonders, if he’d been around to hear that F. Scott Fitzgerald’s The Great Gatsby was at one point titled Trimalchio in West Egg; or that for Dracula, Bram Stoker considered The Dead Un-Dead? There is certainly an art to the great title, as demonstrated by the late English humourist Alan Coren, who when choosing a name for a collection of essays in 1975 noticed that the most popular books in Britain at that time were about cats, golf and Nazis. So he called his book Golfing for Cats and slapped a swastika on the front cover.
We also learn that care should be taken to avoid tempting an ironic fate. Bill Hillman, the American author of the 2014 guide Fiesta: How to Survive the Bulls of Pamplona, was gored by the bulls of Pamplona that same year—and again the next year. And in the 2017 British national election, the Conservative politician Gavin Barwell, author of How to Win a Marginal Seat, lost his marginal seat.
The humorous literary award known as the Bookseller/Diagram Prize for Oddest Title of the Year has been running since 1978, with past winners including Oral Sadism and the Vegetarian Personality (1986) by Glenn C. Ellenbogen, The Joy of Waterboiling (2018) by Achse Verlag and The Dirt Hole and its Variations by Charles L. Dobbins (2019). But we can go back centuries earlier to find their ancestors…
For example…
An Essay upon Wind, with Curious Anecdotes of Eminent Peteurs (1787) by Charles James Fox
Sun-beams May Be Extracted From Cucumbers, But the Process is Tedious (1799) by David Daggett
How to Cook Husbands (1898) by Elizabeth Strong Worthington
Fishes I Have Known (1905) by Arthur A. Henry Bevan
Does the Earth Rotate? No! (1919) by William Westfield
Thought Transference (Or What?) in Birds (1931) by Edmund Selous
The Boring Sponges Which Attack South Carolina Oysters (1956) by Bears Bluff Laboratories
A Weasel in My Meatsafe (1957) by Phil Drabble
Proceedings of the Second International Workshop on Nude Mice (1977) edited by Tatsuji Nomura et al.
…
Just a taste of the delights at: “77 Strange, Funny, and Magnificent Book Titles You’ve Probably Never Heard Of.” From @foxtosser.
* Dave Barry
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As we nominate, we might send bright birthday greetings to Greg Sherwood Cohelan; he was born 70 years ago today. An accomplished marketing consultant, he is best known for his decades on the radio and television (as Greg Sherwood) in the San Francisco Bay area.
The son of Don Sherwood, “The World’s Greatest Disc Jockey” (who ruled the Bay Area airwaves in the 1950s and 60s), Greg began his on-air career while in high school as a correspondent for his father, doing a call-in show as he drove across country, “Young Man on the Road”; he followed that with a stint as a morning traffic reporter, flying around in a helicopter doing traffic reports for his dad.
After college he joined KQED, the local public television and radio organization, first as a volunteer, then as an employee. Over the years, he’s become the face of KQED-TV and the voice of KQED radio, hosting interviews, anchoring award-winning documentaries, and especially during pledge periods.
“Call right now, 1 (800) 937-8850.”
“Public radio is alive and kicking, it always has been”*…
Public radio in the U.S. dates back to the birth of the medium, with the up-cropping of community and educational stations across the nation. But it was in 1961, with the backing of the Ford Foundation, the the first real national public radio network, devoted to distributing programming, was formed– The National Educational Radio Network.
Then, in 1970 (after the passage of the the Public Broadcasting Act of 1967 and the establishment of the Corporation for Public Broadcasting, NERN was replaced by National Public Radio, which aired its first broadcast on April 20, 1971, covering Senate hearings on the ongoing Vietnam War.
But the NPR we know was born a couple of weeks later, 50 years ago today, when it broadcast its first original production…
NPR as we now know it began with the May 3, 1971, debut of All Things Considered, in an episode covering, among other items: an anti-war protest, barbers shaving women’s legs (due to “the decline in business with today’s popularity of long hairstyles in men”), and addiction.
The Morning News
Hear that inaugural outing– an aural time capsule– here.
* Harold Brodkey
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As we tune in, we might recall that today is World Press Freedom Day, observed to raise awareness of the importance of freedom of the press and remind governments of their duty to respect and uphold the right to freedom of expression enshrined under Article 19 of the 1948 Universal Declaration of Human Rights. It is scheduled to mark the anniversary of the Windhoek Declaration, a statement of free press principles put together by African newspaper journalists in Windhoek in 1991.
“Presenting honest stories of working people as told by rich Hollywood stars”*…
A self-contained four-man comedy troupe of writers/actors whose medium was the audio record, they created brilliant, multi-layered surrealist satire out of science-fiction, TV, old movies, avant-garde drama and literature, outrageous punning, the political turmoil of the Sixties, the great shows of the Golden Age of Radio, the detritus of high and low culture (James Joyce meets the found poetry of used-car pitch men) and their own intuitive understanding of the technological possibilities of multi-track recording. Their thirteen albums for CBS, recorded in various group permutations between 1967 and 1975, reveal them to have been at once the Beatles of comedy, the counter-cultural Lewis Carroll, and the slightly cracked step-children of Kafka, Bob and Ray, Jorge Luis Borges, Philip K. Dick, Stan Freberg, Samuel Beckett and the Goon Show.
Stereo Review
Firesign Theatre started to assemble during 1966 at KPFK, a freeform stereo FM radio station in Los Angeles, which was then a very new thing, during Peter Bergman’s “Radio Free Oz” show. Phil Austin and David Ossman worked at the station and would appear on RFO, while Philip Proctor, an actor friend the “Wizard of Oz” (Bergman) knew from Yale, was invited to join a bit later. The name refers to the fact that all four were born under fire signs in the zodiac, and to Orson Welles’ Mercury Theatre. The late night Radio Free Oz show was so popular—and they were regularly gigging in Hollywood’s folk and rock clubs—that they were quickly offered a record contract.
There are four undisputed “classics” in the vast Firesign canon, all recorded between 1967 and 1971, titled (in order) Waiting for the Electrician or Someone Like Him, How Can You Be in Two Places at Once When You’re Not Anywhere at All (which includes their most famous creation, “The Adventures of Nick Danger, Third Eye”), Don’t Crush That Dwarf, Hand Me the Pliers, and I Think We’re All Bozos on This Bus. Their first album was recorded in the same CBS radio studio where The Jack Benny Show was taped using vintage microphones and sound effects. By the time of their second record they were using 16-track tape machines in the studio, constructing tightly assembled radio plays with extremely creative sound effects and spatial cues that suggested time travel, watching something at a domed planetarium, being on a people mover, getting into a car where the inside is bigger than the outside and so on. These four records are the ultimate presentation of their unusual artform—literature as much as performed comedy that’s been carefully sculpted in a recording studio—but there are at least 20 other albums, dozens upon dozens of hours of live performances recorded onstage and during their radio shows, and TV and film work. Dear Friends, a 1972 released two record compilation of the best of their syndicated radio show of the same name is also considered to be a classic Firesign album, but being culled from live radio, it’s less elaborately constructed, and more spontaneous and improvisational.
These five albums represent the cream of the crop and they are all masterworks of surrealist “theater of the mind” sci-fi counterculture comedy. There was nothing else like them, and the sole thing I can think of to compare them to would be the Monty Python albums. Firesign Theatre were often called “the American Monty Python,” but this comparison would stop at the Python albums, as Firesign were a strictly audio proposition for the most part, and certainly during their late 60s/early 70s golden years. [They are actually much more akin to lysergic Goon Show, of which all four of the Firesign Theatre were fanatical fans. In fact, Peter Bergman wrote some TV comedy sketches in London with Spike Milligan in the early 1960s.]…
These days, everybody is always listening to their favorite podcasts, at the gym, in the car, cooking, whatever, they’ve all got a podcast going on in the background. Why not think of the Firesign oeuvre as the greatest comedy podcast ever made?
Well, you’re in luck as all of the major (and much of the minor) works of Firesign Theatre are streaming from the exact same sources as that weekly true crime thing you always listen to. Spotify, TIDAL, YouTube, Amazon Music, Apple Music, all of them are pumping Firesign Theatre directly into your home. The four (or five) classic albums are super easy for you to listen to. Just a few clicks away from where you are reading this…
An appreciation of past masters: “Firesign Theatre’s ‘Dope Humor of the Seventies’” from @DangerMindsBlog.
* Firesign Theatre
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As we slip on the headphones, we might recall that it was on this date in 1987 that ABC premiered Max Headroom (which had originated on the UK’s Channel 4 in 1985). Painfully prophetic, the series followed the near-future exploits on the digital avatar of Edison Carter, a news host/reporter who hosts the most popular show on Channel 23.
As SyFy Wire explains, this future is a:
…dystopia in which several television networks essentially rule the world. That’s no exaggeration — the government knows all about it too, and plays along, while the networks do what they want without anyone to curtail their schemes. There are no “off” switches on TVs, so you can’t escape the watchful eye of the networks, who’ve even gone so far as to watch citizens through their TVs.
Each episode revolved around the various evil plans the television conglomerates planned to enact on the unsuspecting public. Network 23 is one of the major stations with the highest-rated “new” program, which Edison Carter himself hosts. Real-time ratings are more important than ever in this world, as they translate to money put toward advertisements. In fact, ads have taken over stocks in this world, making whoever performs the best on-air essentially the most powerful entity on the planet.
Every installment of the series is about the inner workings of the crooked conglomerates, up to and including advertisements known as “Blipverts,” which are completely capable of killing people just by airing on television. They’re meant to condense longer ads into a few seconds so the station can run more, but they’re much deadlier than that…
Catch an episode here.
“Ladies and gentlemen, this is the most terrifying thing I have ever witnessed!”*…
As a teenager I was completely suckered in by a television documentary hoax (Forgotten Silver, by Peter Jackson pre-Lord of the Rings). For many years it was quite a sore spot for me that I was duped. I imagine the many people who believed that The War of the Worlds depicted an actual Martian invasion felt the same way. And twelve years before Orson Welles’ famous 1938 radio play another hoax on the airwaves was terrifying the innocent public.
Broadcasting the Barricades by the mystery writer [and Catholic priest] Ronald Knox was performed on BBC Radio in early 1926. Styled like a news report, it described a Bolshevik revolution running through the streets of London. Government ministers were captured and strung up; the Savoy Hotel and the Palace of Westminster were both blown up (thus toppling the Clock Tower and Big Ben too).
Now, there were plenty of clues that it was a hoax. Not least of which was that they told everyone it was not real at the start. Not everyone caught that [as was the case with World of the Worlds], or the many announcements to the same effect on the same channel later that night. Complicating matters, a snowstorm prevented the next day’s newspapers getting out of London, stoking fears that the capital city was in ruins or occupied by revolutionary forces. And 1926 UK was a tense place already: four months after Broadcasting the Barricades, 1.7 million workers joined a general strike in support of locked out coal miners…
The radio hoax that presaged– and inspired– Orson Welles’ The War of the Worlds: “From the Barricades.”
The BBC’s own account of the occasion (the source of the image above) is here. And here is the amusing tale of an Australian variation on the theme, broadcast a year after Knox’s pioneering effort.
Oh, and Forgotten Silver is wonderful!
* “Reporter Carl Phillips” (Frank Readick), The War of the Worlds
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As we check our sources, we might recall that it was on this date in 1843 that John Browne Bell published the first of his London-based newspaper, The News of the World. Bell’s competitive strategy was to focus on the sensational and the lurid– basically, crime and vice… a strategy that served him and subsequent owners, most recently Rupert Murdoch and News Corp., extremely well. Indeed, its long suit in celebrity scoops, gossip, and populist news– especially its somewhat prurient focus on sex scandals– gained it the nickname News of the Screws.
In 2011, 25 years after Murdoch had made it into the Sunday edition of his paper The Sun, The News of the World was closed… sort of. In its last decade it had developed a reputation for exposing celebrities’ drug use, sexual peccadilloes, or criminal acts, by using insiders and journalists in disguise to provide video or photographic evidence, and covert phone hacking in ongoing police investigations. Many of these allegations proved true. On July 4, 2011 it was revealed that, nearly a decade earlier, a private investigator hired by the newspaper had intercepted the voicemail of missing British teenager Milly Dowler, who was later found murdered. Amid a public backlash and the withdrawal of advertising, News International announced the closure of the newspaper three days later.
After a brief hiatus, the fun continued in The Sunday Sun (with many former News of the World staffers), but without several senior News of the World editors, who were arrested and indicted for illegal wiretapping, bribing police officers for information, and other offenses.
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