So what is the Riff-Raff? We are the Riff-Raff. Those deemed not worthy of joining the debate. Basically we want to finding voices from the Riff-Raff with something useful to say.
How do we flood the community with useful information to counter the ever expanding junk news outlets that have infested social media?
There are lots of people in the world with a whole variety of needs. Some are reasonable some are exotic some are crazy some are just stupid. How should anybody judge the opinions and actions of others? What causes people to do things that are abhorrent to others for the good of themselves? What is it some people need so badly that they will do almost anything to get it. These are the big mysteries that take up much, of many peoples time and lives. They ask. Why is the world so fucked-up for me when I haven’t done anything? Continue reading
Opening Up Francis McKee
In November 2003, Wired magazine published an article on the rise of the open source movement, claiming that. “We are at a convergent moment, when a philosophy, a strategy, and a technology have aligned to unleash great innovation.”
Open source ideology has now moved beyond the coding and programming to inform the broader fields of information and content distribution. At this level it acquired the power to fundamentally change the way in which society is organised.[expand title=”trigger more text”]
The term ‘open source’ originally referred to the development of computer software. Rather than a propriety piece of software that a customer would buy but could not then modify, open source software is developed collaboratively by many programmers and the source code is shared freely in the public realm thereby allowing anyone to modify or improve it. Often the programmers developing this software are volunteers, part of a larger collective enterprise producing reliable products that are then in competition with those sold by corporations.
The most obvious success story in open source must be the development of the Linux operating system. In 1991, a Finnish student called Linus Torvalds began writing a new computer program and solicited help via the internet from other volunteer programmers or hackers. Within a few years their exchange of information had spawned a global network of participants who had created a new operating system that was more reliable than many commercial alternatives. And it was free.
As Thomas Goetz points out in his Wired article1, this use of collective intelligence has spread far beyond the basics of computing:
Software is just the beginning. Open source has spread to other disciplines, from the hard sciences to the liberal arts. Biologists have embraced open source methods in genomics and informatics, building massive databases to genetically sequence E. coli, yeast, and other workhorses of lab research. NASA has adopted open source principles as part of its Mars mission, calling on volunteer “clickworkers” to identify millions of craters and help draw a map of the Red Planet. There is open source publishing: With Bruce Perens, who helped define open source software in the ’90s, Prentice Hall is publishing a series of computer books open to any use, modification,
or redistribution, with readers’ improvements considered for succeeding editions. There are library efforts like Project Gutenberg, which has already digitized more than 6,000 books, with hundreds of volunteers typing in, page by page, classics from Shakespeare to Stendhal; at the same time, a related project, Distributed Proofreading, deploys legions of copy editors to make sure the Gutenberg texts are correct. There are open source projects in law and religion. There’s even an open source cookbook.
ROOTS AND SOURCES
Open source ideology is closely bound up with the right to free speech and it is argued that there are links between the rise of the free speech movement in Berkeley in the early 1960s and the later developments in software in the same locality. Ironically, it is an attack: on machinery that lies at the heart of the most celebrated moment of the free speech movement. Concluding a speech on the Berkeley campus in December 1964, activist Mario Savio declared :
There is a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can’t take part; you can’t even passively take part, and you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to make it stop. And you’ve got to indicate to the people who run it, to the people who own it, that unless you’re free, the machine will be prevented from working at all!
In his history of free software, Andrew Leonard3 cites a graduate student from Berkeley at that period who was familiar with both the free speech movement and knew the developing Unix software scene in the area:
Gage grins. Berkeley Unix, he proposes, offered a different way forward from the painful agony of hurling oneself into the operation of a demonic crankshaft. Berkeley Unix, with its source code available to all who wanted it, was the “gears and levers” of the machine. By promoting access to the source code, to the inner workings of that machine, the free-software/open-source movement empowered people to place their hands on the gears and levers, to take control of their computers, their Internet, their entire technological infrastructure.
“The open-source movement is a free speech movement,” says Gage. “Source code looks like poetry, but it’s also a machine—words that do. Unix opens up the discourse in the machinery because the words in Unix literally cause action, and those actions will cause other actions”
It wasn’t just the free speech movement however that provided the context for the development of free software in Berkeley. As the hippie culture evolved in San Francisco it also spawned groups that began to formulate ideas and practical solutions that would provide a framework for an ‘alternative’ society. One of the most important of these groups were the Diggers, activists who tried to create an infrastructure for the burgeoning Haight-Ashbury scene. Their work ranged from radical street theatre to more practical support for the communities appearing across the city, setting up free clinics and soup kitchens. Like Mario Savio, they vilified an industrial culture that folded man into machine though they identify computers as a means to free people from this relationship. In ‘Trip Without, a Ticket’, they state that Industrialization was a battle with 19th-century ecology to win breakfast at the cost of smog and insanity. Wars against ecology are suicidal. The U.S. standard of living is a bourgeois baby blanket for executives who scream in their sleep. No Pleistocene swamp could match the pestilential horror of modern urban sewage. No (children of White Western Progress will escape the dues of peoples forced to haul their raw materials.
But the tools (that’s all factories are) remain innocent and the ethics of greed aren’t necessary. Computers render the principles of wage-labor obsolete by incorporating them. We are being freed from mechanistic consciousness. We could evacuate the factories, turn them over to androids, clean up our pollution. North Americans could give up self-righteousness to expand their being.
This vision grows into a declaration of a free economy that is linked to a freedom of human impulses:
The Diggers are hip to property. Everything is free, do your own thing. Human beings are the means of exchange. Food, machines, clothing, materials, shelter and props are simply there. Stuff. A perfect dispenser would be an open Automat on the street. Locks are time-consuming. Combinations are clocks.
So a store of goods or clinic or restaurant that is free becomes a social art form. Ticketless theatre. Out of money and control.
“First you gotta pin down what’s wrong with the West. Distrust of human nature, which means distrust of Nature. Distrust of wildness in oneself literally means distrust of Wilderness.” (Gary Snyder).
Diggers assume free stores to liberate human nature. First free the space, goods and services. Let theories of economics follow social facts. Once a free store is assumed, human wanting and giving, needing and taking, become wide open to improvisation.
Written in 1968, these statements provided a Utopian blueprint for the communes and alternative cultures that followed. The practical realities of such schemes often meant they crashed quickly or descended into the same power struggles and petty greed of the society they were supposed to replace. Some practitioners though found practical applications of these ideas in a limited form which worked and revealed alternative economic models which were viable. One remarkable example was the archetypal hippie band, The Grateful Dead, who tacitly permitted the taping of their concert by fans. This led to the formation of a tape-swapping community that bypassed the traditional economics of the recording industry where music was heavily protected by copyright and taping was perceived as a threat. One taper, Alexis Muellner, recalls the events that sprang up around the tapes :
Software is just the beginning. Open source has spread to other disciplines, from the hard sciences to the liberal arts.
The beauty of it was that we were doing our part to expand the taping phenomenon by educating more and more people, and helping to unlock mysteries surrounding the tapes…At the same time, we spread the magic of the music through our events, which then went beyond just the music. They became a fertile ground for exploring artistic and creative freedom through multimedia, dance, and improvisation – some of the same themes the Acid Tests explored. In doing all of this we were creating a large community of active Deadheads in western Massachusetts, who in turn were sharing the music with all of their friends. It was a classic snowball effect.
The tapes not only spread the word about the Grateful Dead’s music but spawned a whole new series of cultural events. The real economic impact of this phenomenon only became clear long after the demise of the Haight-Ashbury culture. By the eighties, the band seldom recorded but toured prodigiously. The tapes in circulation generated such a reputation for the group that they consistently expanded their fan base and established themselves in a secure, and lucrative, position outside the trends of pop or fashion.
THE FREE WORLD
It was within this radical, Utopian context that programmers at Berkeley developed the world’s first standard operating system for computers – Unix. While few of these programmers were active radicals themselves, the general spirit of the region at the time certainly seems to have permeated their labs and gelled with a general academic respect for the sharing of knowledge. As Andrew Leonard6 points out, the most striking aspect of the Berkeley coders was their attitude:
Berkeley’s most important contribution was not software; it was the way Berkeley created software. At Berkeley, a small core group — never more than four people at any one time — coordinated the contributions of an ever-growing network of far- flung, mostly volunteer programmers into progressive releases of steadily improving software. In so doing, they codified a template for what is now referred to as the ‘open-source software development methodology.’ Put more simply, the Berkeley hackers set up a system for creating free software.
This general spirit of freedom and cooperation would have consequences that eventually reverberated far beyond Berkeley. Richard Stallman, a programmer who worked at Harvard in the ’70s, practiced a similar philosophy of sharing, establishing an ‘informal rule’ that if he distributed free copies of the software he was developing, hackers would send any improvements they made baCk to him. When Stallman’s lab community of hackers was eventually drawn into a private company in the ’80s, Stallman retaliated by matching their innovations program by program (distributing his work freely) in an unprecedented bout of coding that lasted almost two years. Setting up GNU in 1984, an organisation dedicated to ‘free software’, Stallman laid the foundations for the emergence of the open source movement in the ’90s.
At the same time, the world’s media was being transformed by several key developments. The video recorder was about to become a domestic commonplace, revolutionising viewing habits for cinema and television as films became infinitely reproducible. For musicians, the rise of sampling technology revealed an equally radical future as elements of one song could be lifted and then dropped into an entirely new musical context. The economics of cultural property and intellectual copyright began to be Challenged in ways in whiCh the movie industry, the music business and the art world had not foreseen.
THE NEW WORLD
In the early 21st century ‘open source’ begins to make sense of many of these developments. The ’90s saw traditional media industries flounder as they attempted to come to terms with a changing world where Napster, video pirates and web publishing overturned previous certainties for good. Now, recent initiatives in science and business are beginning to describe a new landscape. Looking at ways in which open source could benefit his business, for instance, Paul Everitt, of Digital Creations explains:
Thus, the question was, “Can going open source increase the value of our company?” Here’s what we saw:
Going open source will increase our user base by a factor of 100 within three months. Wider brand and stronger identity leads to more consulting and increased valuation on our company.
Open source gives rock solid, battle-tested, bulletproof software on more platforms and with more capabilities than closed source, thus increasing the value of our consulting.
Fostering a community creates an army of messengers, which is pretty effective marketing.
This is not the last innovation we’ll make.
In the status quo, the value of packaging the software as a product would approach zero, as we had zero market penetration. What is the value of a killer product with few users? The cost to enter the established web application server market was going to be prohibitive.
The investment grows us into a larger, more profitable company, one that can make a credible push to create a platform via open source. Since our consulting is only on the platform, a strong platform is imperative.
Open source makes the value of our ideas more apparent, thus the perceived value of the company is apparent.
Our architecture is ‘safer’ for consulting customers. With thousands of people using it, the software is far less marginal. The customer is able to fix things themselves or reasonably find someone to do it for them. Finally, the software will “exist forever”. Dramatically increasing the base of users and sites using it gives us a tremendous boost in “legitimacy”.
The exit plan isn’t about the golden eggs (the intellectual property) laid last year. It is about the golden goose and tomorrow’s golden eggs. The shelf life of eggs these days is shrinking dramatically, and the value of an egg that no one knows about is tiny. Give the eggs away as a testament to the value of the goose and a prediction of eggs to come. The community can work with us to dramatically increase the pace of innovation and responsiveness to new technical trends, such as XML and WebDAV.
Ride the coattails of the nascent Open Source community and its established Channels suCh as RedHat. OSS has a certain buzz that is greater than its real customer-closing value, but this buzz is getting hot. Moving aggressively towards Open Source can make us a category killer for the web application server market segment.
Perhaps the developments in science have been even more surprising. Interviewing biologist Michael Eisen, Thomas Goetz (2003) discovered that older models for scientific publishing are in decay:
“The guiding principle of science has been that freely available material is more useful; it’s more likely to generate better science,” Eisen says. But freely available is not the same as free of Charge. Science journals, with their historically narrow readerships, often charge thousands for a subscription. One of the biggest disseminators is Elsevier, the science publishing unit of an Anglo-Dutch media conglomerate, which distributes some 1,700 academic journals, from Advances in Enzyme Regulation to Veterinary Parasitology.
“The whole premise for that model just evaporated with the Internet,” Eisen continues. “Technology now makes openness possible; it’s maximum openness. The rules of the game have changed, but the system has failed to respond.” Proof that the scientific community at large have recognised this failure came in 2003 when TheWellcome Trust: produced a position statement on scientific publishing that acknowledged the value of open source8:
With recent advances in Internet publishing, the Trust is aware that there are a number of new models for the publication of research results and will encourage initiatives that broaden the range of opportunities for quality research to be widely disseminated and freely accessed.
The Wellcome Trust therefore supports open and unrestricted access to the published output of research, including the open access model (defined below), as a fundamental part of its charitable mission and a public benefit to be encouraged wherever possible.
This statement returns science to the spirit of the early natural philosophers sharing discoveries through networks of letters and journals such as the Transactions of the Royal Society.
With the acceptance of open source ideas in such areas of society it becomes more likely that these concepts will have a lasting impact. The collapse of the dot com bubble proved that older models of entrepreneurship lack the intuitive grasp of the internet as a medium and do not yet comprehend the odd mix of gift economy and commerce that have shaped its development. A more agile approach now seems necessary for any entrepreneur entering this new economy.
THE CCA – CENTRE FOR CONTEMPORARY ARTS IN GLASGOW
In 2006 CCA began to develop an ‘open source’ approach to its organisational structure as a pragmatic response to the expansion of the building in 2001. The lottery refurbishment of CCA added greatly increased the size of the building which now occupied most of the Greek Thomson structure, and all of the 19th villa behind it. The organisation struggled economically to fill such a large set of spaces and the aggressive business model that accompanied the new building did not work with the kind of programming that was expected by CCA’s audiences. It was clear though that the new building has fine resources, excellent gallery spaces, an acoustically perfect performance space, a dramatic central courtyard with a restaurant, a wood workshop, a small cinema, an artist’s flat. And Glasgow is a city with a large artists community, a great music scene, audiences hungry for film, literature and performance. It seemed clear that the building had much to contribute to those wider groups. In its debilitated state in 2006, the preciousness
The collapse of the dot com bubble proved that older models of entrepreneurship lack the intuitive grasp of the internet as a medium
of the building as a ‘lottery jewel’ had also faded. This gave us an opportunity to ‘repurpose’ several spaces. The bookshop space that felt misplaced became a third gallery on the ground floor. CCA office spaces that felt overly luxurious became a hack-lab and the Creative Lab residency space. Glasgow Life came in to support an independent programme for Intermedia Gallery which had become unmoored from King Street. Initially through word-of-mouth the theatre, clubroom and cinema were made available to artists and organisations that needed temporary project space.
When it became clear that offering the space in this way was useful and supportive to other organisations we started to formalise the process. For artists and organisations with minimal funding we would offer space for free. Technicians and Front of House staff would have to be paid for if needed but we offered our staff at cost, taking no profit from the organisations. Of course, if organisations clearly had additional funding we would charge for the space but still at a subsidised rate. The galleries on the ground floor remain at the heart of CCA’s own programme and are programmed solely by our own curatorial team.
To make this policy work two elements are vital. The first is co-ordination. As activities grew in the building, we created a role for someone to liaise and co- ordinate the multiple events across the building. The second vital element involves selection. Clearly such a policy could easily be taken advantage of or it could quickly become a kaleidoscope of random events. To prevent this, each event and every partner programme is considered internally and every new event must be proposed to the CCA.
Our criteria for inclusion in the programme are based on a wide variety of things. Quality is a priority and we also give a great deal of consideration to whether the proposal is appropriate to CCA. Our programme stresses experimental work and activities that cannot be easily housed in other venues. So, for instance mainstream theatre proposals are not a high priority as there are many venues
across the city that are better suited to those proposals. Equally, proposals that tend to demand high amounts of rehearsal time are not high priorities as they occupy space that could be used by other, more public, activities.
Over several years we have built up many long term partners through this open source policy. Regular users tend to come to. us at the beginning of the year and speak to us about dates across the entire year. The benefits for everyone from this include a much greater feeling of ownership of the space by a wider spectrum of the arts community. The openness of the programme also brings in a broader variety of audiences and helps us break down some of the barriers to access that can easily grow around an art centre. The building can provide support for a large section of the arts
community in the city and the programme can reflect more cultural perspectives than our small team could achieve on its own. Perhaps the bottom fine is we hope the activity cultural momentum and diversity of the programme demonstrates the best possible use of public funding for the arts in the city.
Opening up Francis McKee
Source: East End Transmissions I 15
By Michael Albert
Source Z Communications
Greenwald is as quick, succinct, and clear in conversation as he appears in videos. He stuck me as likeable and certainly not the harsh fellow he is often made out to be. But some of his interview answers were troubling.
Greenwald understands the coercive possibilities of capitalist owners or the state curtailing adversarial journalism from above. That is the danger Greenwald believes will not overtake First Look/Intercept because he feels the owner, Pierre Omidyar, is sincerely committed to never imposing restrictions and, more positively, to actively establishing a journalism-friendly workplace.
Keep reading article INTERCEPT?
Times are hard for all media, and particularly for alternative media. This is due to a combination of factors including but not limited to a growing audience disinclination to pay for information. If you couple that with alternative media being unable, in many cases, to get foundation or large donor funding, and with its commitment to not selling its audience to advertisers, which would likely yield little revenue in any event, the situation becomes dire.
In the face of such trends, only a few avenues, other than surrender and dissolution, exist.
- A project can seek to generate new income from new channels, to pay its bills.
- A project can severely reduce its costs.
- A project can convince its audiences that support is desirable and worth their attention.
Z is following all these paths.
Keep Reading article The Future of ZCommunications