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When Does Facebook Stop Being a Startup and Start Being A Government?

A lot of my time is spent thinking about the Internet as a public place. That may seem like an obvious and intuitive concept to grasp, but it is practically difficult for a number of reasons. Some of these reasons are legal, such as copyright law, and other are technical.

Many of Facebook’s struggles are, at their core, symptoms of a public vs. private schizophrenia massive centralized platforms are beginning to suffer from. Wikipedia is one solid counter-example: most decisions and policies are the result of decentralized consensus or vote.

The current row over whether Facebook should allow Holocaust deniers the right to organize at first appears as a freedom of speech issue. This is certainly how the Facebook team has justified allowing certain groups to stay online. But because it is all happening on Facebook’s servers, it is also (and perhaps singularly) a Facebook Terms of Service issue.

Facebook has the right to throw people off their service for reasons they deem appropriate just as Club Penguin has the right to censor children from cursing at each other when playing a video game. Facebook is not the United States government and it is therefore not subject to the same kind of first amendment scrutiny when censoring speech.

But Facebook is a government of some kind. With over 175 million users, the site is now more populous than most countries. They’re also holding elections and convening debate over the rights and responsibilities of their users. It’s clear that they are governing user’s actions much in the same way that a government governs citizens’ actions, but it is now totally unclear what inalienable rights Facebook users have when engaging with their friends and colleagues in what has become a public space. It is my hope that projects like Autonomo.us will help shift the debate towards greater user freedom and data portability in the long run, but we aren’t there yet. More specifically, whether Facebook respects an external bill of rights (as drafted by Autonomou.us) is a separate issue of whether Facebook will ever legally be considered a public or private space. This battle has occurred in the physical world, and the law seems conflicted over whether massive private spaces can be considered public. In Iowa, malls are considered private property, but New Jersey’s State Supreme Court disagrees, and the 1980s Supreme Court decision, Pruneyard Shopping Center v. Robins, the court decided that states like California could affirm free speech rights in places like malls.

The ToS modification fiasco is another example of Facebook’s public vs. private schizophrenia. At the heart of the blow-up over the revised Terms of Service, was a sentence claiming that users content “will survive” on Facebook despite said user deleting an account. Consumerist rightly interpreted this phrase as allowing Facebook to exploit (if not behave as if they own) your content in perpetuity. This was a dire and cynical prediction, but not unfounded.  Julius Harper did a masterful job of organizing the outrage over the modified ToS and was subsequently invited into the negotiations, which was certainly a step in the right direction.

A good-will interpretation of Facebook’s new phrasing was that the sites administrators couldn’t be absolutely sure that all of your content would be gone once you deleted your account. Consequently, Facebook’s lawyers wanted to preclude liability (privacy, copyright and otherwise) if your content happened to show up somewhere in a backup or internally archived version of the site. Anyone familliar with running a user platform (and backing it up) will be aware of the complexity involved in keeping track of user data across many servers, so do not dismiss this challenge as an easy task until you talk to a server administrator.

But there was also a feature-based reasoning behind Facebook’s ToS modification. Facebook did not want to be obligated to remove messages, wall posts, and photos from other users accounts and inboxes simply because one user deleted their account.

If Alice sent Bill a message on Facebook, and then deleted her account, should Facebook be obligated to remove Alice’s message from Bill’s Facebook Inbox? This is something the site could do very easily. We’ve all seen instances of our friends removing status updates, profile information, or photos, so there’s no question Facebook can unilaterally perform the same action without our permission. But our intuition says that they shouldn’t do this. Even though Bill may not own the copyright to reproduce Alice’s content, he should at least be afforded the dignity of perpetually retaining a record of his communication with her, despite her desire to remove her presence from Facebook.

This is how the Internet works: if Alice and Bob were communicating over e-mail, there would be no question as to whether Bob would have the right to retain Alice’s e-mail even if she deletes her e-mail account.

But Facebook is not the public Internet, where users have no control of servers across the world. Quite the opposite: Facebook does have control over everything and can actually unilaterally delete e-mails out of inboxes. This presents a unique liability and responsibility that the company’s lawyers were interested in attenuating. I wouldn’t be surprised it was motivated by threat of a lawsuit by an angry user wanting *all* of their content off the site, including messages sent to other users.

Ultimately, Facebook’s desire to retain the metaphors of Internet communication is at odds with the company’s power to unilaterally control that communication. While Facebook actually has the power to delete Alice’s e-mails from Bob’s Facebook Inbox, they choose not to, out of respect for norms established long ago on the public Internet. In other words, Facebook is attempting to behave like a public space while remaining a private company by crafting its own rules and laws.

There’s also the issue of public disclosure of private facts on Facebook. American law prevents me from disclosing private facts about Alice that are not news worthy. However, if Alice had disclosed such private facts in a public space (perhaps in front of a large audience), I can pass on the facts to others and even publish them.

But what if Alice discloses her private fact on her Facebook profile? It remains private in the sense that only I and her friends can see it by logging into Facebook’s private service, but it also arguably public in the sense that I and her friends are also an audience. Does it matter how many friends she has? What privacy settings did she have in place?

The public and private nature of Facebook feels very complicated.

In the end, I don’t think the phrase “walled garden” suits the scale and character of these kinds of issues anymore, as we’re no longer talking just about access to content. These issues are about government, control, public spaces, and censorship, so our freedom and laws should apply accordingly.

The Staggering Hypocrisy of the MPAA

MPAA shows how to videorecord a TV set from timothy vollmer on Vimeo.

This video is shot by my friend Timothy Vollmer at the current DMCA exemption hearings. The issue is whether Congress should allow educators and students the rights to rip DVDs for educational purposes. Peter Decherney succeeded in establishing this right for film historians working at universities, and is now seeking to broaden it to all educators and students.

In the video, a representative from the MPAA is demonstrating that it is “easy” to access and compile content from a DVD without the need to rip it using decryption software. Their suggested technique? A camcorder pointed at a flatscreen hooked into the audio signal.

This is evil and hypocritical a number of reasons. First, the MPAA has positioned themselves against camcording movies. Here, they’re showing how easy it is to do. They’re also one of the main organizations which have successfully lobbied for criminal penalties against people bringing camcorders into movie theaters.

Second, the software used in the presentation is VLC. VLC disables the MPAA’s price fixing scheme known as region encoding and can also decrypt DVDs, providing yet another example of where the MPAA thinks their own rules don’t apply to them.

Third, the MPAA has been leading the pack in attempts to close the “analog hole” through legislation and collusion with hardware manufacturers. The analog hole is precisely the phenomenon demonstrated in this video; since audio and visual data needs to be broadcast into an analog signal eventually (our brains are not capable of decrypting 1s and 0s into images and audio yet), there will always be a avenue in which to record media so long as our computers obey us.

Closing the analog hole” refers to forcing manufactures to cripple hardware so that it is incapable of broadcasting analog signals and also incapable of recording them. It is the stuff of a dystopian science fiction plot not technical reality.

Ultimately this video demonstrates the insidiousness of the MPAA’s strategy: they want to force educators to use a technique that they’re simultaneously lobbying to prohibit.

End result? The precise strategy suggested by the MPAA, the analog hole, gets legislated away by the MPAA, and educators are left wasting money and time on multiple copies of crippled media.

UPDATE: Another way I’m thinking about this video: it proves that the MPAA knows closing the analog hole is impossible, thus exposing their attempts at legislation as disingenuous.

Props go to Tim for posting such a illustrative video (not to mention the nerve to post clips of Harry Potter under fair use!)

RiP: A Remix Manifesto Screening with Me & Aram

This Sunday UnionDocs is hosting one of the first screenings in NYC of the new Girl Talk documentary RiP: A Remix Manifesto. I’ll be part of the discussion afterward with my friend Aram Sinnreich.

Email [email protected] for reservations.
7:30pm, May 3rd 2009
322 Union Ave in Williamsburg.
L train to Lorimer / G to Metropolian / J,M,Z to Hewes.
Suggestion Donation: $5
Reservations will only be held until 6:55 pm.

Here’s the trailer:

I hope to see you there!

What would have Twitter looked like on 9/11?

I spent the first week of college living through September 11th in and around New York City and have since endured recurring plane crash nightmares.

Which is why I was relieved to find out after the fact that today’s close call with Air Force One and two F-16s was a photo-op rather than another generation-defining tragedy.

Reading the New York Times’ extensive coverage of the episode on their blog had me wondering about how the event unfolded on everyone’s-favorite-real-time-reporting-source: Twitter. What was the first tweet that observed the fly by? Was it panicked? How many people retweeted it? What would have Twitter looked like on 9/11?

We’ll never know, but I’ve done a bit of searching for terms related to today’s news (“nyc plane”)* and have discovered one of the first tweets at around 10:30am (around the time of the first flyover) by n8s8e asking JetSetCD whether Obama was supposed to be in NYC:

Shortly after, @The_Pace asks a similar question, and then @hugoyles mentions that Goldman’s trading floor was evacuated. Then @ChicagoSooner reports that CNBC had confirmed the sightings. @Rithesh asked if there was a plane crash in lower NYC, and then @grapejamboy breaks the news that the Pentagon confirmed the flights as a photo-op. From then on, most tweets cover the story properly.

It’s clear that Twitter beat traditional news outlets today in relaying that something was happening with a plane over NYC’s downtown skies. However, as @Rithesh’s tweet demonstrates, there is potential that misinformation gets disseminated (there was no crash) as well, so the system is not noise proof.

There’s also a limit to what can be gleaned from Twitter search at any given moment, and a very real chance that all the signal will itself become noise. As commentators smarter than I have observed, this makes Twitter a fantastic “raw material” in a journalist’s process, but not a final product itself.

But really, what’s the difference between leaving a search open in Tweetdeck and leaving CNN on in the background?

UPDATE: Zander points out this great piece in the Nieman Journalism lab breaking down the Twitter accounts of today in much better and greater detail than I did.

*This search is not scientific at all and is probably leaving out earlier sightings. I tried searching for “plane” but Twitter’s search is frustratingly limited to narrowing queries by day as opposed to hour and minute (which would be ideal here) and will only deliver a max of 1500 results for any term. There are obvious security reasons for this, but it presents a fantastic example of how Twitter can capitalize on search: I’m  willing to shell out a couple of dollars for access to do more sophisticated searching.

Things I’ve Been Caught Up With

Apologies for neglecting this blog for a bit. I’m have got lots of drafts saved so some more posts are on their way.

I wanted to announce that in conjunction with my day-to-day job as Outreach Manager at Creative Commons, I’m now working at Eyebeam (a digital arts space in Chelsea) a day or two a week as a research associate with Michael Mandiberg and Patrick Davison. Michael and Patrick and I are developing a project called “One for the Commons” for Eyebeam’s Open Culture group which will help contemporary and notable (notable as defined by Wikipedia’s hive mind) artists release their work into the commons. We’ve done a lot of work to prepare the project, but there’s still a bit more to do before the site launches; you should see something here about it soon.

I’ve also joined the board of Rhizome, which is an digital art organization at the New Museum. This is a great honor and I’m looking forward to helping them grow. You can help Rhizome now by purchasing space on their $50,000 homepage; an homage to the original Million Dollar Homepage. Also check out my 35 Million Pixel Animated gif from 2006.

Aside from that, I’ve been Creative Commons stuff has taken up most of my other time. It’s been great, we’ve seen a lot of interesting and fantastic things happen in 2009, and there is lots more to do. In case you don’t follow my twitter/facebook feed, I was recently on RTE Radio 1 in Ireland talking with Dave Fanning about the future of the music industry, and today I’ll be on a panel at Cardozo talking about why Network Neutrality is important for Creative Commons.

Also, I posted a trance mix I made in high school and got a funny (positive) reaction on facebook about it. Download DJ_Mecredis_-_Bad_Old_Trance.mp3 or listen here:

We Are One if You Are HBO

photo by jurvetson
photo by jurvetson on flickr

Techdirt is reporting that Against Monopoly is reporting that HBO is sending take down notices to people who have uploaded their own recordings of the Inaugural Concert: We Are One.  I haven’t been able to verify this, but if it is indeed the case, it would seem that HBO is misunderstanding their rights under copyright law. Note that I am not a lawyer, so this is not legal advice.

Since HBO merely owns the copyright to their recording of the concert, they can’t control what other people were doing with their own recordings from their own cameras. This is because a work is not entitled to copyright protection unless it is fixed. The actual performance that happened that evening wasn’t fixed or copyrighted until it ended up on HBO’s tapes (or hard drives).

If the content of the concert was in the public domain or free (e.g., The Star-Spangled Banner is in the public domain since it was created prior to 1923), then any audience member who recorded it had the right to make a recording of it and distribute that recording since they owned the copyright to the video. Putting aside questions of anti-bootlegging laws (which are arguably unconstitutional and not relevant to DMCA takedown notices), it is not clear that HBO can prevent distributions of privately filmed performances of public domain works that were performed in a public venue, which, if the Against Monopoly report is correct, is what part of what they’re trying to do.

However, according to the Wikipedia page, a lot of non-public-domain non-free content was performed.

Which means that by recording and distributing a live performance of say, a Bruce Springsting song, an audience member might be infringing on the boss’ copyright, but probably not HBO’s copyright. Does anyone know more about bootlegging laws and how they might or might not apply here?

So what right does HBO have to send takedown notices for other people’s works? Sending fraudelent DMCA takedown notices is itself a violation of the DMCA, so if you’ve been threatened by HBO for posting videos you recorded at the inaugural concert, you probably have the right to file a putback, and perhaps take action against HBO.

There are bigger questions, however, about the inaugural committee’s right to leverage tax payer money and support to sell off exclusive rights of a public event to a private entity such as HBO. I’m not clear on whether their status as a legal entity would entitle them to do this.

Anyway, while I would like to see HBO put the concert into the public domain along with other works of the federal government, that is probably impossible as the recording contains works that are in copyright, such as Bruce Springsting songs.

There is the possibility that HBO could put the video but not the audio into the public domain, but I do not think there is an easy work around for including both the audio and video. This is not to say, however, that HBO is justified in sending nasty letters to citizens interested in helping celebrate an important event.

I sympathize with the inaugural committee’s desire to produce and execute a fantastic recording of a historic moment in American history. I know that this kind of production costs money and there must be incentives for creating it. But I think the conflicts between HBO and citizens indicate that copyright is not the proper incentive here. It alienates too many citizens interested in documenting their own version of history, and given the context and content of our current president’s administration, sets the wrong precedent for sharing that history. HBO should be ashamed of themselves.

A Spoon Full of Penis^H^H^H^H^H Audience Makes the Public Domain Go Down


I’ve been working as a photographer for MoMA’s PopRally for the last year or so and it has quickly become one of my favorite live events to work for. Last Tuesday was “PopRally: Silent But Deadly“, and the evening’s entertainment would come in form of comedy from and about public domain films. Max Silvestri, a friend and comedian I booked for a Creative Commons Salon was the MC for the night and started off the evening explaining how he was planning on curating MoMA’s Department of Internet Funny Pictures. Above, you can see him highlighting a photo he found on the Internet of a snow penis made in a pickup truck.

What was so special about Tuesday (besides the fact that I took the time to read the instruction manual for my flash prior to showing up) was that MoMA packed the house showing restored mostly-public domain silent films with live improvised piano accompaniment by Ben Model. If you’ve ever watched a silent film, this should surprise you.

On top of that, MoMA featured awesome remixes of those films afterwards. Having taken a couple of film classes and fancying myself a basic appreciation of the history of photography, I know why silent films are historically important but I’ve always had a hard time actually sitting through them. I’ve occasionally downloaded some from the Internet Archive, but never found them particularly engaging or watchable.

But sitting and laughing with the audience at MoMA, I finally understood the appeal of the silent film — it was the presence of an audience affirming and interpreting the screen that allowed me to enjoy it. Since there was no dialog, we, the audience, had to create and share what we thought was happening on screen with our laughter and reactions.

In other words, you’re not supposed to watch silent films by yourself; they require group dynamics to really come alive. This may apply to contemporary film, and may be a reason year after year, Hollywood still breaks box office records despite panicked proclamations that the sky is falling. Theater experiences are highly rivalrous and I think this PopRally really demonstrates why theaters and real live audiences are still very important.

My favorite part of the evening were the remixes that various comedians were commissioned to do. They make less sense without first seeing the original films (none of which seem available online in their entirety), but here’s one that I think definitely works by Joe Mande:


The Knockout: 15 Years Later from Joe Mande on Vimeo.

If you’re not already signed up for PopRally, do not hesitate to join their mailing list, and buy your tickets early because they almost always sell out.

(The ^H’s in the title of this blog post are explained here.)

Progressive Music

More history being made this week for the music industry. First, NIN topped the Amazon MP3 charts with a CC licensed instrumental album.

Today, Apple promised to go DRM free on iTunes by the end of Q1 2009.

In October of 2006, I organized the first DRM protests in the states while a student activist in Free Culture @ NYU. A year later, we protested the midtown Apple store after Tower Records went out of business (Tower was our second target after Virgin Megastore in Union Square.)

A couple of months after the Apple protest, Steve Jobs wrote his famous anti-DRM letter to the music industry. Since then Apple has ostensibly been negotiating variable pricing and removing DRM entirely from the store. Jobs probably sacrificed the one-size-fits all $.99 price per song so that he could get DRM completely out of the store.

There are still things to be done, however, before victory is declared. The iPod supporting truly free formats would be nice (I’m becoming increasingly interested in collecting FLAC music), at least until the various patents controlling MP3 expire. Also, native CC licensing built into music stores like Amazon and iTunes would be nice too.

But as Voltaire said, “The perfect is the enemy of the good.”