linkdump for 2006.08.31

linkdump for 2006.08.29

like a stagnant pond

I think it’s a little funny that I met the leader of Norman’s hottest new indiepop sensation in Austin. I met Evangelicals leader Josh Jones at a happy hour for a local arts organization. He had just moved to Austin from Boston, where he attended the Berklee School of Music, so when he remarked on the number of Austin High football fans filling the bar, I explained, “Oh, high school football in this part of the country is serious business.” I was about to explain how rabid fans in Oklahoma and Texas are, when he said, “Oh, I know. I grew up in Norman, Oklahoma.” Anyway, he acknowledged that my high school, Jenks, owns Oklahoma football, but it was fun when we learned we knew many of the same people in Norman.

Anyway, the often-ridiculed indie-music site Pitchfork has an interview with Josh today, which discusses the Norman/Oklahoma City music scene and The Evangelicals latest record. In the interview, Josh offers readers a bit of advice I have to contest.

People should quit their jobs, move to Oklahoma, move in with 34 people, pay $100 a month in rent and start a band or start painting. That way you’ll feel like you have a purpose if you lose your mind, and you’ll have some fun on the way.

Um, no they shouldn’t. In my experience, you will lose your mind, but you’ll be bored and suffocated all the while. Josh clearly has had a different experience, finding success in Norman that he didn’t find in Austin, and I do think Norman is better now than it was in the late nineties. In particular, The Opolis provides Norman’s indie community with a place for shows and visibility that the suburb lacked when I lived there.

Update: While I’m linking to Pitchfork and not saying anything snarky about it, I’ll point to two dead-tree articles about the online music publication. The September issue of Wired focuses on changes in the music industry, and has a feature about Pitchfork. The Austin Chronicle also ran a piece a few weeks back about the origins of the site. Both articles discuss how the economics of Web publishing allow Pitchfork to make money writing about relatively obscure bands, while developing a reach that allows it to take bands like Broken Social Scene and The Arcade Fire to a more mainstream audience.

linkdump for 2006.08.28

  • Archive.org has cached millions of websites related to the events surrounding Hurricane Katrina. They’re the folks responsible for the Wayback Machine, so they would probably be caching this information anyway, but it’s nice they have the Katrina gateway.

hack with a seam ripper

Tim O’Reilly’s post on Chumby piqued my interest in the cute little device, but, even after reading the vendor’s page, I still wasn’t sure what the gizmo does. My next step, of course, was to consult Wikipedia, hoping that someone from Chumby or a FOO camp attendee created an article explaining what it does and how it works. (”Web-enabled wifi clock radio” doesn’t do much for me: I mean, will it be Web 2.0 compliant?) At the time, there was a Wikipedia article about Chumby, but the article was already nominated for deletion. It seems a little over-zealous to nominate an article for deletion when the product was introduced over the weekend.

Of course, I added a vote to keep the Chumby article, but its future on Wikipedia doesn’t seem bright. The discussion on the Articles for Deletion page are pretty revealing of what Wikipedia users regard as legitimate sources for articles. Apparently personal blogs – even Tim O’Reilly’s – don’t qualify as legitmate sources, and neither do manufacturers’ sites. The Chumby skeptics are waiting for stories about the gizmo to filter out to the mainstream or, at least, computer trade press before they’ll vote to keep the article.

Althought I’m still not sure what Chumby does, it does seems like it could be a useful device. (Hopefully a FOO Camp attendee will bring his to the next Austin Bloggers Stammtisch.) I don’t use Tiger’s Dashboard much, but offloading some of the widgets like weather, Flickr feeds, and terror alert levels to a little device that plays mp3s could be nice. However, how many devices to I want to carry around? I don’t use a smartphone, but integrating these features to a phone would probably make more sense than embedding them in a cute fuzzy package.

The real opportunity of Chumby, as O’Reilly points out, is hackability. Telcos, including the wireless carriers are notorious for wanting retain control over everything on their network. (My students are always surprised when I tell them that before the 1984 consent decree Americans were forbidden from owning their own telephones.) I doubt we’ll ever see a mobile handset as hackable as the Chumby, and technologies like J2ME which could enable end-user software development seems to be dead in the water. Chumby may never take off, but it seems like a great step in the direction of hackable personal gadgets.

Update: Here’s some inside info on the Chumby from one of it’s developers. Also, after I posted this, I made a perhaps idiosyncratic connection between Chumby and an earlier cute information appliance, 3com’s ill-fated Audrey.

linkdump for 2006.08.27

linkdump for 2006.08.26

struggle of decolonizing

Driving around Wednesday afternoon, I noticed a substantial uptick in auto and pedestrian traffic around the UT campus. I felt a sudden pang of anxiety – did I have the first day of class wrong? I teach on the first day of class this semester – I know students are automatically dropped if they don’t attend the first class meeting, but what happens if the instructor doesn’t show up? I assured myself that the first day of class is indeed this Wednesday, August 30th.

This semester my friend Olivier is teaching what could only be an awesome class, RTF 370 “The Cinemas of Sub-Saharan Africa.” It was added late, and Olivier is worried that not enough students will enroll for the class to make. It’s not often that the RTF department offers classes that address film from the Global South, so this may be your only chance to take a class dealing with movies from the developing world. If you’re a UT student have any interest in African cinema, post-colonial cinema, or critical race theory, I strongly encourage you to enroll.

In other College of Communication news, The Daily Texan has a story on the closure of the CoC’s home across the street from home. According to the story, the space now occupied by Little City will become a “Chinese food cafe” and serve coffee roasted by Little City. There was no word on where they plan to locate the roaster. Hopefully the new restaurant will be cheap and casual enough for communication students to colonize.

linkdump for 2006.08.25

inappropriate material

Green Cine has a long interview with one of my favorite filmmakers, Craig Baldwin. I’d put his Tribulation 99: Alien Anomalies Under America in my top five movies to recommend to others except that the film has been unavailable on DVD, until now. The film uses archival footage to tell a non-linear tale of an alien invasion of the U.S. that implicates a variety of groups including the CIA and killer bees. While I first read the film a highly political science-fiction reverie, Baldwin considers Tribulation 99 to be based in reality.

Really, the CIA was way more imaginative than any Hollywood writer. What they were doing for political purposes, not just in Nicaragua but also Cuba, had much more of an imaginative punch than any tame little yuppie in Hollywood who is writing a romantic comedy. What they were doing was taking fantasy and fiction and turning that into political tactics. So, God, just turn it around! I was thinking, just turn it one more time.

Baldwin makes a good point. I think of the revelations that the CIA condoned the Nicaraguan Contras’s fund-raising efforts, which included smuggling cocaine into the US during the 1990s. While killer bee invasions may be a metaphorical device in Tribulation 99, like Alex Cox’s Walker it uses history and magic realism to comment on US intervention in Nicaragua.

Perhaps Baldwin’s best-known film is Sonic Outlaws a 1996 documentary about the band Negativland and intellectual property issues. Much of the film focuses on the Negativland’s cover of U2’s “I Still Haven’t Found What I’m Looking For” (which you can download here) and the ensuing legal battles between the band and Island Records. At one point, a Negativland member interviews U2 guitarist The Edge, leading to a confrontation over artistic freedom. It’s a very analog take on issues that we’re now confronted with in the digital age. When asked about the future of copyright, Baldwin’s outlook is dismal.

I have no hope. My prospects for the future are very, very dim. What we’ve all seen, and you know as well as I, is this absolutely egregious privatization of the public sphere. Certainly, on a legal level, things are much more restrictive now.

They’re moving in on us, that’s for sure. They’re closing the public commons. I feel on the defensive. That could be one good sound bite. I feel restricted. I just hope there’s enlightened souls and forces and maybe institutions that could maybe hold them back from totally eating up everything that is due us, or our common cultural legacies, our libraries, our archives.

Like Negativland, Baldwin’s work relies on appropriating from other texts, so the efforts by the content industries to restrict fair use not only threaten the rights of consumers, but the ability for artists to do their work.

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