It is fantastic that 14 Paris museums have put images of 150,000 artworks into the public domain. Go take a look. It makes the world visibly better.

But …

…The images are easily accessible one at a time for a human who is browsing. You can also click to download it, and then do whatever you want with it. But they are, apparently purposefully, difficult to batch download. That deprives us of the ability to set computers onto the images and their metadata so that they can discover relationships, and patterns of relationships, among them. That’s a lost opportunity.

I understand it’s hard for institutions to give up on the credit they deserve for maintaining these artworks. Items put in the public domain can be passed around and duplicated without any reference to the source that made them available, or even to the artist who created them. But in return, the culture gets to freely share those images, and to incorporate them into new works, which helps to preserve and extend our shared culture.

So I don’t want to be ungrateful for this enormous gift to the world. But one more step – say, an open API that enables batch download – and the world can benefit even more from these museum’s awesome generosity.

(Hat tip to Keith Dawson.)

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Here are links to the earliest cartoons in Riochard Brody’s excellent article, “Draw Stars,” in the Dec. 30, 2019 New Yorker. (Note: Racist and other stereotypes below.)

Emile Cole, Fantasmagorie, 1908, restored. (Original)

Winsor McCay, Little Nemo, 1911:

McCay, Gertie the Dinosaur, 1914:

Max and Dave Fleischer, Out of the Inkwell: The Tantalizing Fly, 1919 (remastered):

The Fleischers, Jumping Beans, 1922 (remastered):

Wallace Carlson (Bray Studios), How Cartoons Are Made, 1919:

Wallace Carlson, He resolves not to smoke, 1914:

Gregory La Cava, The Breath of a Nation, 1919:

Joseph Sunn claymation: Green Pastures, 1919:

Wallace McCutcheon’s merging of Green Pastures with live action, in The Sculptor’s Nightmare:

Howard S. Moss stop action, Mary & Gretel, part 1, 1916:

Mary & Gretel, part 2:

Walter Ruttmann’s abstract Opus 1, 1921:

Lette Reiniger’s silhouette Cinderella, 1921:

Bryant Fryer’s silhouette Follow the Swallow, 1927:

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SPOILER ALERT: I’m writing this hours before the final episode and will spoil prior episodes.

Based on the end of Episode 5 of Season 8 — the penultimate episode — it sure looks like Arya is on her way to kill Dany. But that’d be a cop out. I hope GoT goes all Red Weddingon us.

The GoT is a pacifist work intent on reminding us of the cost of war. War is unpredictable at both its micro level — even obvious heroes can be killed without warning — and macro level.

At the macro level, Dany certainly seems to have lost her claim to be a virtuous ruler. But so what? GoT should not end based on what will make its audience feel good.

Dany should become the ruler of Westeros. That will require killing Jon since he’s the legit heir to the throne. After that, the script writers will do the old Towering Infernothing of deciding who lives and who dies — for God’s sake, why did they have to kill Fred Astaire? — and who makes it. If I had to guess, I’d say Sansa dies, Tyrion survives in some humiliating role, and Arya lives on as an enemy. Because GoT should not fully resolve … which, given GRRM’s pace, it looks like it never will.

[Confidence level: 12%]

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<rant>

Moral rights of creators are inventions grounded in a bad analogy with property rights.

If you want to maintain your “moral right” to what you’ve written, then don’t publish it.

If you publish it, you are making it public. Thank you for doing so.

You will make money from it for some fixed period — a period designed to provide you (but not necessarily Stephen King) with sufficient incentive to continue to create and publish works, but a short enough period that creative works can be assimilated by the culture.

Why put limits on the author’s exclusive right to publish? To keep culture lively. Which is the same as keeping that culture alive.

Cultural assimilation requires the freedom to talk about your work, to reuse it, misuse it, abuse it, to get it terribly wrong, to make it our own as individuals, to make it ours as a culture.

Imagine a Renaissance in which “moral rights” were enforced. Can’t.

Moral rights kill culture.

(Note that this applies to works that are published as copies. Please don’t take a hammer to any irreplaceable statues. Thanks.)

</rant>

This work is licensed under a Creative Commons Attribution 2.0 Generic License.

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From Sylvie and Bruno (1889) by Lewis Carroll:

“If Steam has done nothing else, it has at least added a whole new Species to English Literature!”

“No doubt of it,” I echoed. “The true origin of all our medical books—and all our cookery-books—”

“No, no!” she broke in merrily. “I didn’t mean our Literature! We are quite abnormal. But the booklets—the little thrilling romances, where the Murder comes at page fifteen, and the Wedding at page forty—surely they are due to Steam?”

“And when we travel by Electricity if I may venture to develop your theory we shall have leaflets instead of booklets, and the Murder and the Wedding will come on the same page.”

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Peter Brantley [@naypinya] has posted an important and succinct warning about the effect blockchain technology may have on culture: by making the mechanism of trust cheap, transparent, and more reliable, blockchain could destroy the ambiguity that culture needs in order to thrive. Peter’s post is clearly thought and powerfully put.

Pardon me while I agree with him, including about blockchain’s positive promise.

Culture is the ultimate analog phenomenon, even when it’s communicated digitally, for it is only culture to the extent to which people—we—make it our own. We understand our lives and our world through culture. If we can’t appropriate it, re-express it, and re-use it, culture simply dies.

As Peter says, blockchain could perfect the system of tracking and control, leading us further into the tragic error of thinking that ideas and culture are property. Property has boundaries and borders that can be precisely demarcated and can be defended. Culture by definition does not. Blockchain technology can further the illusion that culture is property.

While blockchain will have a positive, transformative effect on systems where trust is valuable and expensive, it almost inevitably will also be used to impose restrictions on the appropriation of culture that lets culture thrive. If so, I expect we’ll see the same sort of response that we’ve already seen to the Internet’s inherent transparency—the transparency that has simultaneously made it the liberator of culture and the surveillor’s wet dream: We will route around it with some degree of success. And we will—I hope— continue to encourage an ethos of sharing in which creators explicitly exempt their works from the system of copyright totalitarianism.

The license you adopt will be your uniform in the coming culture wars. It already is.

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Dennis Tenen has an excellent post reminding people that calling Reddit a community is at best sloppy. I have committed this sloppiness, although at times I do try to be more careful, because I fundamentally agree with Dennis on this. In fact, I resist calling anything on the Net a community because it’s a word worth preserving, although I’m afraid it has already slipped its moorings and has floated away from its original meaning.

I think of communities in their traditional sense as being people who care about each other more than they have to. Even so, Adrienne Debigare [twitter:adbigare] and I recently wrote about Reddit at HBR.org, and we use the word “community” 32 times. We do, however, try to clarify our sloppiness toward the beginning:

[Reddit] is often talked about as a community, but its scale—169M unique visitors a month—stretches that term. Rather, it’s helpful to think of it not just as a community but as a culture that springs from a set of values and a form of discourse.

Adrienne and I also did a Radio Berkman podcast on this topic, and may have been much sloppier.

Dennis does a more precise job. He notes that a community typically: [1] is a social entity, [2] that occupies some contiguous stretch of real or virtual space, and [3] will usually “share a value system, which in turn manifests itself in specific customs, norms, and modes of governance.”

The pedant in me wants to fiddle with that, but Dennis isn’t arguing about the application of a term. He’s pointing out that it’s a mistake to think that Reddit is a single community, a single culture, a single set of people who share the same values, or whatever terms we want to use. Reddit “can be better described as a platform that facilitates a range of activities: some communal in nature, some commercial, and other simply private.”

Dennis is right.

But I think there are some weak ways in which it make sense to talk about a Reddit culture, even while recognizing that there is nothing one can say about values, discourse, or content that would be true of each of Reddit’s tens of thousands of subreddits. But there are at least four reasons to talk about the “Reddit culture” in the singular.

First, Reddit the Company makes a decision about what the default subreddits are on the front page, and I imagine that some very high percentage of users don’t customize that page. The company therefore has made a decision about what topics, values, and forms of discourse will stand for Reddit.

Second, contributors to those default subreddits, and to others, sometimes express a sense of identity, as Dennis notes. You can be a redditor. You can be a good redditor or a bad one. Of course this identity is fluid and not uniformly shared. But it exists. It has something to do with participating generously, accepting some norms of behavior (will the OP deliver?), and appreciating particular values that are assumed to be Reddit’s. These values include things like: valuing what is perceived as free and open speech, responding to challenges with some type of reasoned answer rather than mere assertions or hostility, etc. I’m not saying that Reddit lives up to these; there are deeply troubling gender issues, for example. But to say that someone is a true Redditor is to say something.

Third, the company has expressed political opinions, and has engaged with the “community” directly, responsively, and as equals-in-culture. (Clearly, that’s not been the case in the recent brouhaha.) That is, the company has expressed itself as a culture.

Fourth, the software itself enacts a set of values. Of course it can be used in ways contrary to those values, but it tends toward certain values. For example, it promotes unfiltered speech or speech filtered by the community and its mods; it gives every user equal upvotes or downvotes; it enables digressions from a thread without cost; it encourages linking out to the Web rather than assuming everything interesting is within its boundaries; it generally respects the user by not plastering itself with ads; it encourages pseudonymous speech; it assumes that the “community” will decide for itself which topics are interesting enough to merit creating a new subreddit; it is open source code.

None of these warrant us calling Reddit a single culture, much less a community. I agree with Dennis. I just want to leave room for also talking about Reddit as a culture, or at least as having something like a dominant culture, even as we always append Dennis’ caveats. As he writes, since “Reddit is not a community, then there is no reason for us to expect a uniform set of responses or behaviors from it as a whole. ” That is definitely a mistake we would be wise not to commit.

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In the 1980s, I stopped listening to music for no particular reason. It was only in the early 1990s as I was commuting every week to my mother’s death bed (don’t smoke, kids!) that I started again. Thank you Mssrs. Bach, Gould, and Goldberg.

I have not listened to a Beatles album since before my 1980s quiet period. Let’s say about 35 years. I listen to other groups from that period, some of whom hold up amazingly well. But not the Beatles.

Why? They mean so much to me that there are no occasions that deserve them.

I know that’s nuts. I listen to Bach in utter awe and don’t think to myself, “Well, sure, but too bad George Martin wasn’t around then to help him out.” I do understand than my feelings about the Beatles are inextricably mixed with the growing distance from my youth.

So, it’s embarrassingly symbolic—the sort of thing that would make you stop reading a novel—that I listened to the Beatles on a run this morning while my wife and I are awaiting word that, God willing, we’ve become grandparents. (I don’t have words to talk about that now.)

So, here’s a review of Revolver (the UK version).

Overall: A+. Solid gold. 49 years young.

Track by track:

Taxman. This was not a favorite of mine, catchy though it is. I remember it as being too derivative, too genre-based. And an awkward protest song for the rich. On re-hearing it: It is a genre song with typical Beatles’ inventiveness. Great guitar work. Witty call-back to the Batman theme. Totally enjoyable.

Eleanor Rigby. It’s really hard to write fiction. For me this song doesn’t capture how Eleanor Rigby seems to herself. Yeah, lots people are lonely. But I’d like this song better if it ended with “All the lonely people, where do we all belong?” Not that I’m saying I could have done a better job of it. I’m just saying it’s a little immature and a tad condescending. On the other hand, a song like this is not what you’d expect from a rock band in the ’60s, unless they were the Beatles. It’s the Beatles stretching themselves. The melody is obviously great. The backing vocals are amazing. As always.

I’m Only Sleeping. Q: What sort of song is this? A: A Beatles song. Everything about it is unpredictable: the topic, the minor-major shifts, the harmonies, the bridge, the instrumentation and arrangement. Catchy, too. Try to get John out of bed and you get a tuneful, brilliantly original song. How about leaving a little talent for the rest of us, John, ok?

Love You To. It opens with a sitar. We don’t know where it’s going. We’re not even sure what scale it’s going to be using. And then it turns out that it’s a riff-driven song not unlike Taxman. The melody mixes the West and the East and is pretty minimal. But clearly this is George’s, reflecting his eclecticism and intended to educate us toward Indian music. The Beatles stretching themselves again.

Here, There and Everywhere. An impossibly pretty genre song. A little cupcake of perfection. The little almost-discordant harmony on “Love never dies” kills me every time.

Yellow Submarine. Tell you what, let’s have Ringo throw in a classic kiddy song with enough complexity in the harmonies and arrangements that it’ll be great when you’re high. Anyone see where the Oreos got to?

She Said, She Said. Power rock beginning. Angry high notes. Fuzz guitar echo. Break the tempo on the last line of the verse. Killer harmonies. A bridge that comes out of nowhere (“When I was a boy…”). The whole thing threatening to come apart once you’re out of the safety of the verse, with Ringo doing some wonderful lord knows what. I love the Beatles.

Got to Get You into My Life. Weird tempo. Horns. Who arranged this, Herb Alpert? What sort of song is this? Oh yeah, a Beatles song. This is essentially a solo by Paul, with the horns doing the harmonies. George’s guitar enters late with its usual egolessness—a new melody that serves the song rather than wowing us with George’s originality.

For No One. A melody that just rolls on, taking turns you don’t foresee until afterwards. Rhythmic shifts from waltz to 4/4. A goddamn French horn. An unresolved ending that works melodically and thematically.

Good Day Sunshine. In the first measures you think it’s going to be somber. Instead it turns into something cheery although the genre is confounding. Broadway? Damn those harmonies! Then the stride piano. WTF. Who else could have done this? I’m not sure what it is, but everything about it is great.

And Your Bird Can Sing. Damn. Another one. Incredible guitar work by George. What’s the bird? I don’t care. I’m not saying this is a great song. But whatever you think the Beatles are like, listen to this and remember that the Beatles weren’t like anything.

Doctor Robert. Another riff-driven song, like Taxman. George’s guitar could not be better. Again. The harmonies are amazing. The bridge (“Well, well, well you’re feeling fine”) switches to a chorale that’s as rhythm-free as any bureaucracy. A rollicking good time.

I want to tell you. Everything about this song is weird and unexpected: the chord changes, the instrumentation, the harmonies, the genre shifts. “It’s alright” has a weird dissonant piano behind it. There’s some straight rock guitar work thrown in by George. Where did this song come from?

Tomorrow Never Knows.. The amazing book Revolution in the Head argues pretty fiercely that LSD did not help the Beatles be better at what they do, especially for John. This is a pretty good evidence of that. Even so.

I tell you, these young Beatles are going to be big! Big, I tell you!

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I remember a 1971 National Lampoon article that gave away the endings of a hundred books and movies. Wikipedia and others think that article might have been the first use of the term “spoiler.” But “SPOILER ALERT” has only become a common signpost because of what the Internet has done to time, and in particular, to simultaneity.

In the old days of one-to-many, broadcast media, the events that shaped culture happened once and usually happened on schedule. So, it would make sense to bring up what was on the news broadcast last night, or to chuckle over that hilarious scene in this week’s Beverly Hillbillies. Now we watch on our own schedules, having common moments mainly around sports events and breaking news — games or tragedies. Perhaps this has contributed to our culture’s addiction to extremes.

We need SPOILER ALERT signposts because we watch when we want but the Net is so huge and unconstrained and cheap that it operates like a push medium — the opposite of why traditional broadcast was a push medium. Trying to avoid finding out what happened on Game of Thrones this week is like trying to avoid getting run over when crossing a highway, except that even seeing the approaching cars counts as getting run over.

Game of Thrones spoiler

This change in temporality shows up in the phrase “real time.” We only distinguish one type of time as “real” because it is no longer the default. The default is asynchronous because that’s how most of our communications occur online. Real time increasingly feels like a deprivation. It requires you to drop what you’re doing to participate or you’re going to lose out. And that feels sub-optimal, or even unfair.

Without the requirement of simultaneity, we are more free to follow our interests. And that turns out to fragment our culture. Or liberate it. Or enrich it. Or all of the above.

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I asked my mobile this morning to shuffle up Instant Karma – Save Dafur, a two-volume set of John Lennon covers. Great album. Big mistake.

It played these tracks in this heart-breaking order:

1. Imagine [lyrics]
2. God (I don’t believe) [lyrics]
3. Beautiful Boy [lyrics]
4. Grow old with me [lyrics]

I think I write about John Lennon every spring as I start to run and listen to music again. I’m pretty sure I say the same things every time.

So I’m not going to say anything about this mix except that it shows why inconsistency is the truth.

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