Posts Tagged ‘obscenity’
“Never call an accountant a credit to his profession; a good accountant is a debit to his profession.”*…
The estimable Henry Farrell on accountancy as a lens on the hidden systems of the world…
When reading Cory Doctorow’s latest novel, The Bezzle [which your correspondent highly recommends], I kept on thinking about another recent book, Bruce Schneier’s A Hacker’s Mind: How the Powerful Bend Society’s Rules and How to Bend Them Back [ditto]. Cory’s book is fiction, and Bruce’s non-fiction, but they are clearly examples of the same broad genre (the ‘pre-apocalyptic systems thriller’?). Both are about hackers, but tell us to pay attention to other things than computers and traditional information systems. We need to go beneath the glossy surfaces of cyberpunk and look closely at the messy, complex systems of power beneath them. And these systems – like those described in the very early cyberpunk of William Gibson and others – are all about money and power.
What Bruce says:
In my story, hacking isn’t just something bored teenagers or rival governments do to computer systems … It isn’t countercultural misbehavior by the less powerful. A hacker is more likely to be working for a hedge fund, finding a loophole in financial regulations that lets her siphon extra profits out of the system. He’s more likely in a corporate office. Or an elected official. Hacking is integral to the job of every government lobbyist. It’s how social media systems keep us on our platform.
Bruce’s prime example of hacking is Peter Thiel using a Roth IRA to stash his Paypal shares and turn them into $5 billion, tax free.
This underscores his four key points. First, hacking isn’t just about computers. It’s about finding the loopholes; figuring out how to make complex system of rules do things that they aren’t supposed to. Second, it isn’t countercultural. Most of the hacking you might care about is done by boring seeming people in boring seeming clothes (I’m reminded of Sam Anthony’s anecdote about how the costume designer of the film Hackers visited with people at a 2600 conference for background research, but decided that they “were a bunch of boring nerds and went and took pictures of club kids on St. Marks instead”). Third, hacking tends to reinforce power symmetries rather than undermine them. The rich have far more resources to figure out how to gimmick the rules. Fourth, we should mostly identify ourselves not with the hackers but the hacked. Because that is who, in fact, we mostly are….
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… Still, there are things you can do to fight back. One of the major themes of The Bezzle is that prison is now a profit model. Tyler Cowen, the economist, used to talk a lot about “markets in everything.” I occasionally responded by pointing to “captive markets in everything.” And there isn’t any market that is more literally captive than prisoners. As for-profit corporations (and venal authorities) came to realize this, they started to systematically remake the rules and hack the gaps in the regulatory system to squeeze prisoners and their relatives for as much money as possible, charging extortionate amounts for mail, for phone calls, for books that could only be accessed through proprietary electronic tablets.
That’s changing, in part thanks to ingenious counter hacking. The Appeal published a piece last week on how Securus, “the nation’s largest prison and jail telecom corporation,” had to effectively default on nearly a billion dollars of debt. Part of the reason for the company’s travails is that activists have figured out how to use the system against it…
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… In other sectors, where companies doing sketchy things have publicly traded shares, activists have started getting motions passed at shareholder meetings, to challenge their policies. However, the companies have begun in turn to sue, using the legal system in unconventional ways to try to prevent these unconventional tactics. Again, as both Bruce and Cory suggest, the preponderance of hacking muscle is owned by the powerful, not those challenging them.
Even so, the more that ordinary people understand the complexities of the system, the more that they will be able to push back. Perhaps the most magnificent example of this is Max Schrems, an Austrian law student who successfully bollocksed-up the entire system of EU-US data transfers by spotting loopholes and incoherencies and weaponizing them in EU courts. Cory’s Martin Hench books seem to me to purpose-designed to inspire a thousand Max Schrems – people who are probably past their teenage years, have some grounding in the relevant professions, and really want to see things change.
And in this, the books return to some of the original ambitions of ‘cyberpunk,’ a somewhat ungainly and contested term that has come to emphasize the literary movement’s countercultural cool over its actual intentions…
One word that never appears in Neuromancer, and for good reason: “Internet.” When it was written, the Internet was just one among many information networks, and there was no reason to suspect that it would defeat and devour its rivals, subordinating them to its own logic. Before cyberspace and the Internet became entangled, Gibson’s term was a synecdoche for a much broader set of phenomena. What cyberspace actually referred to back then was more ‘capitalism’ than ‘computerized information.’
So, in a very important sense, The Bezzle returns to the original mission statement – understanding how the hacker mythos is entwined with capitalism. To actually understand hacking, we need to understand the complex systems of finance and how they work. If you really want to penetrate the system, you need to really grasp what money is and what it does. That, I think, is what Cory is trying to tell us. And so too Bruce. The nexus between accountancy and hacking is not a literary trick or artifice. It is an important fact about the world, which both fiction and non-fiction writers need to pay attention to…
Eminently worth reading in full: “Today’s hackers wear green eyeshades, not mirrorshades,” from @henryfarrell in his invaluable newsletter Programmable Mutter.
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As we ponder power, we might recall that on this date in 1927, a “counter-hacker” in a different domain, Mae West, was sentenced to jail for obscenity.
Her first starring role on Broadway was in a 1926 play entitled Sex, which she wrote, produced, and directed. Although conservative critics panned the show, ticket sales were strong. The production did not go over well with city officials, who had received complaints from some religious groups, and the theater was raided and West arrested along with the cast. She was taken to the Jefferson Market Court House (now Jefferson Market Library), where she was prosecuted on morals charges, and on April 19, 1927, was sentenced to 10 days for “corrupting the morals of youth.” Though West could have paid a fine and been let off, she chose the jail sentence for the publicity it would garner. While incarcerated on Welfare Island (now known as Roosevelt Island), she dined with the warden and his wife; she told reporters that she had worn her silk panties while serving time, in lieu of the “burlap” the other girls had to wear. West got great mileage from this jail stint. She served eight days with two days off for “good behavior”.
Wikipedia
“Every history is a map”*…
How does one visualize history and chart time? Is it a line, moving forever outward in one direction? A Grecian temple, as Emma Willard envisioned, with Ionic columns representing centuries, receding from view toward a vanishing point at the world’s origin? Or could it be a corkscrew ascending upward, allowing us to look down from our present position into past events similar to our own?
For the Polish educator Antoni Jażwiński, history was best represented by an abstract grid — or at least it was for the purposes of remembering it. The so-called “Polish System” originated in the 1820s and was later brought to public attention in the 1830s and 1840s by General Józef Bem, a military engineer with a penchant for mnemonics. As Anthony Grafton and Daniel Rosenberg catalogue in their Cartographies of Time, the nineteenth century brimmed with new methods and technologies for committing historical information to memory — and Jażwiński’s contribution (and its later adaptations) proved one of the most popular.
The Polish System — which almost anticipates Piet Mondrian’s abstract checkerboards and the wider modernist fascination with grid figures — coupled chronology to the map-making traditions of geography. In Jażwiński’s original chart, each main 10×10 box is a century and the rows separate decades. Within a century box, each individual square is a year, each color a nation (with shading for different monarchs or governments), and symbols can stand for marriages, wars, treaties, and other types of events. Should one become proficient with this system, they can peer down on the history of the world, summarized on a surface not much larger than a chessboard…
More on this proto-modernist memory palace: “Visualizing History: The Polish System.”
* Jacob Bronowski
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As we picture the past, we might recall that it was on this date in 1965 that the FBI Laboratory declared the lyrics of Louie Louie to be officially “unintelligible at any speed.”
In February 1964, an outraged parent wrote to Robert F. Kennedy, then the Attorney General of the U.S., alleging that the lyrics of “Louie Louie” were obscene, suggesting that “The lyrics are so filthy that I can-not [sic] enclose them in this letter.” The Federal Bureau of Investigation investigated the complaint, and looked into the various rumors of “real lyrics” that were circulating among teenagers. In June 1965, the FBI laboratory obtained a copy of the Kingsmen recording and, after 31 months of investigation, concluded that it could not be interpreted– and therefore that the Bureau could not find that the recording was obscene.
In September 1965, an FBI agent interviewed one member of the Kingsmen, who denied that there was any obscenity in the song. The FBI never interviewed songwriter Richard Berry nor consulted the actual lyrics that were on file with the U.S. Copyright Office.
Snopes suggests that while some teenage mondegreens were indeed pretty filthy, the song itself was clean.
“In a free market the people are free, the ideas are locked up”*…
Back when I first studied gift exchange, I dismissed its economic importance—after all, it reflects only a tiny portion of all our transactions. Perhaps it might interest an anthropologist, but only as a kind of curiosity item, a refreshing but impractical alternative to the real substance of economic life. But as I see it now, the gift economy is much larger than I realized—in fact, it’s almost as large as the transaction-based economy. For a start, I’ve seen its predominance in my own life. My wife and I don’t charge my children for their meals or the hours of service we provide them. My friends dealing with elder care or community service or church activities operate off-the-grid, so to speak—at least from a conventional economic perspective. These are gift exchanges, pure and simple, and they are everywhere you look, even in a modern capitalist society.
But I’m concerned here with a different class of activities, ones that straddle these two spheres—and are hard to classify for that very reason. Artistic or creative pursuits, endeavors that are typically pursued for the intrinsic joy of sharing one’s gifts, are also frequently commoditized and placed on the market. Are they part of the gift economy or the transaction economy?…
The estimable Ted Gioia explores: “Gratuity: Who Gets Paid When Art Is Free.”
[image above: source]
* Lewis Hyde, The Gift: Creativity and the Artist in the Modern World
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As we share and share alike, we might recall that it was on this date in 1927 that Mae West was sentenced to 10 days in a workhouse on Roosevelt Island (known then as “Welfare Island”) and fined $500 for obscenity for her play Sex… despite the fact that the play had run over a year before the police raided, and had been seen by 325,000 people– including members of the police department and their wives, judges of the criminal courts, and seven members of the district attorney’s staff.
In the event, she served eight days of her sentence, receiving two days off of time for “good behavior”– and the resulting publicity did great things for Ms. West’s notoriety nationwide.
“Under certain circumstances, profanity provides a relief denied even to prayer”*…
Ofcom, the government regulator of communications in the U.K., recently commissioned research into the relative offensiveness of 150 obscene words and gestures, as a basis for its regulations on content.
The “Quick Reference Guide” is here; the full report, here. As the cover of each notes: “Warning: this guide contains a wide range of words which may cause offence.”
* Mark Twain
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As we titter, we might recall that it was on this date in 1886 that the “tuxedo” made it’s debut, at a formal ball at the then-new Tuxedo Park Club, just outside of New York City.
Earlier that year, Tuxedo Park resident James Brown Potter and his wife were vacationing in England, where they were invited to dinner by the Prince of Wales (later Edward VII). Unprepared to dress for such an occasion, Potter asked the Prince for advice, and was sent to the the Prince’s tailor, Henry Poole & Co., where he was fitted with a short black jacket and black tie– not the then-standard white tie and tails.
Potter brought the ensemble back to Tuxedo Park, where he showed it to Pierre Lorillard IV, the scion of a wealthy tobacco family, who had just opened the Tuxedo Park Club– and whose passion was designing clothes. Lorillard revised the design to include the crepe lapels, covered buttons, and other now-standard details, and unveiled his creation at the Autumn Ball.
The prospect of liberation from tails proved irresistible– and the “tuxedo” steadily replaced traditional “evening wear” as the American formal standard. (Edward continued to wear “black tie,” so the fashion caught on in England too– as the “dinner jacket”– but remained a less formal option…)
Lorillard (in his jacket, but with a white tie)
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