I find the weird sounds that opera singers make — singing — to be creepy, but even I find Bach’s St. John Passion moving. Of course, it helps not to be able to understand the words since it places the blame for the whole Messiah-killing nastiness on the shoulders of a Jewish mob and Jewish law.
There’s a wonderful episode of Christopher Lydon’s Radio Open Source that explores this question from scholarly and musical points of view, always sympathetically, and with transcendently beautiful passages from the work itself.
At Jonathan Zittrain‘s awesome lecture upon the occasion of his ascending to the Bemis Chair at Harvard Law (although shouldn’t you really descend into a chair?), he made the point that through devices like Microsoft Kinect, our TVs are on the verge of knowing how many people are in the room watching. After all, your camera (= phone) already can identify the faces in a photo.
This will inevitably lead to the claim that if five people are watching a for-pay movie on a TV, we ought to be paying 5x what a single person does. After all, it’s delivering five times the value. What are you, a bunch of pirates?
There is some fairness to that claim. We’d pay for five tickets if we saw it in a theater.
But it also feels wrong. Very wrong. And not just because it costs us more.
For example, I’m told that if you buy a subscription to the NY Times it comes with one license for online access. So, if you’re having the old roll o’ stories thrown onto your porch every morning, your spouse is free to read it too, but you’re going to have to buy a separate online subscription if s/he wants to read it online. That doesn’t feel right.
The pay-per-use argument may be fair but it flies in the face of how we all know culture works. Culture only exists if we share what matters to us. There is no culture without this. That’s why it’s so important I can share a physical book with you, or can send you a copy of a magazine article that I think you’ll like. Culture is the sharing of creative works and the conversations we have about them.
That’s why the creators of the US Constitution put a time limit on copyright. Yes, it feels unfair if after fourteen years (the original length of copyright protection) someone publishes my book without my permission and doesn’t give me any of the profits. Sure. But fairness is not the only criterion.
Culture cannot flourish or perhaps even exist when everything has a fair price.
There are a lot of things wrong with how Starbucks implemented its “Race Together” program for which it deserves the mockery it’s been getting. Whether it was intended to stimulate discussions with busy baristas (“So, you want that with nonfat milk and we shouldn’t fill it to the brim. Right? What’s it like being white? Did you say ‘Nicky’ or ‘Mickey’?”) or among customers who in my experience have never struck up a conversation with another customer that was not met by a cold stare or a faked incoming text, it was unlikely to achieve its intended result. (Schultz seems to indicate it was to be a barista-to-customer conversation; see 0:20 in the John Oliver clip linked to “mockery” above.) Likewise, the overwhelming male whiteness of the Starbuck’s leadership team was an embarrassment waiting to happen. The apparent use of only white hands holding cups in the marketing campaign was inconceivably stupid (and yet still better than this).
Yet there’s much that Starbucks deserves praise for more than just its recognition that racial issues permeate our American culture and yet are more often papered over than discussed frankly.
They trusted their on-the-line employees to speak for themselves, and inevitably for the corporation as well, rather than relying on a handful of tightly constrained and highly compensated mouthpieces.
They did not supply talking points for their employees to mouth. That’s pretty awesome. On the other hand, they seem also to have provided no preparation for their baristas, as if anyone can figure out how to open up a productive conversation about race in America. The made-up phrase “racetogether” really isn’t enough to get a conversation going and off to a good start. (Michelle Norris’ Race Card Project might have provided a better way of opening conversations.)
Starbucks got lots wrong. Too bad. But not only was it trying to do something right, it did so in some admirable ways. Starbucks deserves the sarcasm but not just sarcasm.
[Disclosure: No, Starbucks isn’t paying me to say any of this. Plus I hate their coffee. (The fact that I feel the need to put in this disclaimer is evidence of the systemic damage wrought by “native ads” and unscrupulous marketers.)]
The superb novelist and teacher Meredith Sue Willis, who is also my sister-in-law, is teaching a course at a local Veterans Administration hospital on literature and medicine. It’s taught to hospital staff after work in the hospital.
Here’s the syllabus, which Sue has put under a Creative Commons license (which is where all syllabi belong, amirite?). It looks like a great set of readings organized around important topics. Isn’t it awesome that we can get curated collections like these from which we can learn and explore?
In fact, it prompted me to start reading The Young Lions, which so far I’m glad I’m doing. Thanks, Sue!
(Ack. I forgot that Sue told me about this because she’s using in the course something I wrote. So I am inadvertently logrolling. But sincerely!)
When Doc Searls and I published our New Clues, we put it into the public domain. Even two months later, it feels good. In fact, seeing it reprinted in its entirety on someone else’s site fills me with an irrational exuberance.
Normally we would have put it under a Creative Commons BY license that entitles anyone to reuse it in whole or in part so long as they attribute it to us. CC BY is great. It takes the “#1. Ask permission” step out of the process by which what you write can be absorbed by your culture. Or anyone’s culture.
The public domain is different. A CC-BY license keeps a work copyrighted, but permits use without first asking permission. Works in the public domain are not copyrighted. Ok, so it’s more complex than that, but that’s basically it. A work in the public domain is like a folk song: you can sing it, you can change the words, you can record it and charge for the recording, you can print the lyrics on the front of your ice cream containers. You can even claim that you wrote it, although that would be wrong of you.
In practical terms, putting New Clues into the public domain [here’s how] really doesn’t do much that CC BY doesn’t do. Yes, someone could reprint our public domain document without crediting Doc and me, but they could do that with CC BY also — we’d have the right to insist that they provide attribution, but Doc and I are likely to use moral suasion in either case, by which I mean that we’d write a polite email to the evil doer. So, pragmatically, there isn’t much difference.
So why does putting it into the public domain make me happier? I get as close to smiling as my stony visage permits when I see a site that’s copied and pasted the whole thing. It makes it feel that what Doc and I wrote was really about what it says and less about what the writing says about Doc and me. The focus is where it should be.
And it feels deeply good to know that we have created something that can spread as far and deeply into the culture — and thus into people’s lives — as our culture wants. The only barriers are those of interest. And we’re not going to try to tease you with a snippet, with a taste. Not interested? Fine. It’s still there for anyone who is.
I expressed this to Peter Suber, who is dedicated full time to expanding the sphere and influence of Open Access works. Peter pointed out that my reaction rests in part on the privileged position I occupy: I can do some writing for free, and because Doc and I are known a bit within the domain of people who blab about the Internet, there’s a disincentive for people who might want to pass off our words as our own. If we were, say, unknown high school students it’d be easier for someone to get away with crudely plagiarizing our work. True enough.
Even so, putting work into the public domain feels good. I recommend you try it.
Peter Hirtle points out that Creative Commons 0 isn’t exactly the same as public domain, although functionally it’s identical. The whole question of trying to eliminate all copyright interests in a work is vexed. Peter points here for details and evidence of the complexity of the issue. Thanks, Peter!
The clues are designed as an open source publishing project: The text is in the public domain, and we’re making the clues available at Github in various computer-friendly formats, including JSON, OPML and XML.
We launched this morning and a happy hell has broken loose. So I’m just going to posts some links for now. In fact, I’m copying and pasting from an email by Doc:
The Harvard Business School Digital Initiative [twitter:digHBS] — led by none other than Berkman‘s Dr. Colin Maclay — has launched its blog. The Digital Initiative is about helping HBS explore the many ways the Net is affecting (or not affecting) business. From my point of view, it’s also an opportunity to represent, and advocate for, Net values within HBS. (Disclosure: I am officially affiliated with the Initiative as an unremunerated advisor. Colin is a dear friend.)
So replied CV Harquail to a question from HBS professor Karim Lakhani about the effect of bad actors in the model of “generative business” she was explaining in a recent talk sponsored by the Digital Initiative.
Karim’s question addressed an issue that more than one of us around the table were curious about. Given CV’s talk, the question was perhaps inevitable.
CV’s response was not inevitable. It was, in fact, surprising. And it seems to me to have been not only entirely appropriate, but also brave… [more]
 I understand that the Net doesn’t really have values. It’s shorthand.
 I’m very happy to say that more than half of the advisors are women.