Julianna Yau’s blog

Because I need to feed the geek in me.

 

Don’t steal? No, don’t devalue art

Passing through Union Station, you’ll sometimes come across stores offering samples of their goods. The commuters understand that this is something the stores are offering as part of a marketing strategy, giving you a literal or figurative taste of what they have to sell before you commit to a purchase.

This practice has parallels in art, with galleries where you can view work prior to purchase (and some even have loan programs where you can borrow a work for a period of time to ensure that you want to make the full investment) and the dying music store and its listening booths/stations.

In these instances, most reasonable people understand the purpose of the sampling strategy being used, and what is considered an acceptable use of the system. Someone who takes enough bagel segments in one visit to make up a whole bagel is obviously abusing the system. Likewise, someone who serially borrows work from a gallery without any intention of a purchase is abusing the loan program.

When I compare the brick-and-mortar practice of samples with the myriad of ways people are using the internet for marketing and exposure, I notice two things. The first is that when physical samples are provided, the party offering the sample is not reprimanded for trying to protect against the offerings being abused. The second is that with physical samples, both the giver and receiver have a consistent and, typically, matching understanding of what constitutes abuse.

So why do neither of these things happen where the internet is concerned? Somehow, in internet land, artists are framed as either greedy or clueless for trying to prevent their work abusive uses of the work they put online. And now that the idea that “everyone is an artist” is not merely more widespread than the emergence of contemporary art, but it is also being met with mixed reactions.

I think it’s great that so many people are creating work. But the use of “artist” as a label for anyone who has every made anything is diluting the value of the creative, administrative and physical effort required to “make for a living”. Art and artist appreciation is already a problem, with art education continuing to be cut from public education in favour of the three Rs. But the devaluation of the artist is a serious issue which is showing itself in the way people are talking about their entitlements to the use and access to art.

What is more appalling to me is that I’m told that creators create because of reasons other than financial gain, as if that were a justification for creators not being paid for the work they do. Why is this logic not applied to chefs, lawyers, educators, social workers, or anyone else who has chosen a career for reasons other than income generation?

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Filed under : art, arts administration, copyright, internet
By Julianna Yau
On June 18, 2008
At 11:19 pm
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TIAC - Connecting Cloth, Culture + Art

John Darlymple from the Textiles Museum of Canada had a great presentation, Connecting Cloth, Culture + Art, on what they have been doing for the last 10 years.

Notes (and Flickr images)

-museums piggypack on technology developed by corporations
-the role of how the money is made
-focusing on the public and the programming; start with the inward looking, but the focus is on the outside
-three themes: reconsidering the role of collection management; keeping/setting pace with technology; how important a really conceptually strong program is for online presence

1997
-concept of shooting digitally was different
-digital cameras were inferior to 35mm cameras
-slides and indexes
-slides were scanned and saved onto CDs
-everything was still very physical
-did have website, built by a volunteer’s son
-very amateurish website
-just getting online, didn’t care what it was
-Museums Assistant Program
-collection management driven

phase 2
-grant from Virtual Museum of Canada
-trying to create a virtual museum –> recreating real world
-John felt this was the wrong decision because the internet is not the real world, but the internet can provide options which aren’t available in the real world
-gallery is decontextualized setting
-Cloth & Clay website –> archived on the Textiles Museum website
-online identity can be bigger than physical presence
-sites were static HTML because that’s all they know
-John attended course where it was taught by a web designer and a curator, but there was no link between the two
Cloth & Clay did as much as they could with static HTML
-requirement for digitalization of work —> Collections Manager
-requirement for better collections management and images

phase 3
-create online destination
-entrypoint to collection
-relevant themes
-told government they needed to digitalize collection and have a database of the images
-creating something online that we can’t do in physical space –> moving objects around; didn’t use quicktime
-also allowed people to zoom into images
-Zoomify
-plugins –> something that’s open and that people would already have
-challenge to store and backup images (highres source images) and space online –> changed much since then
-slides taken by many different people (volunteers, proffessional photographers) and scanned at different resolutions
-need to take the different shots; need to not reshoot images every time; not just file format but relevancy of images
-has style guide for how to shoot images of textiles!
-government funding insisted on digital images
-shot images from a camera on the roof
-MimsyXG vs archaic Access DB
–different levels of consistency of data input, tagging
–need to investigate how to transfer data –> rebuild vs import
–just access isn’t enough –> NEED consistency of data
–needed a fundamental shift of definition/concept of collection management
-60% of collection photographed
-not just adding all sorts of little notes on db info (resulted in inconsistency with use of fields; nothing was publication-ready)
-kept fields simple –> much to document, not many curators to sign-off; wanted to do everything in French (don’t -operate in French, but wanted to be able to offer the information in French online); built thesaurus for terms and used that for standard English data input and translated to French
-Textile Museum: collection; contemporary art & exhibition program (most dynamic part of their programming); educational programming (other programs had educational aspects, but they also have a specific ed program)
-use web to exhibit work for longer than the few weeks they can keep stuff on display due to the fragility of the work
-Digital Threads
-asked artists to create digital art – artists asked were not digital artists; had to work closely with them to make this work
-theme grouping of work, rather than chronological
-Joanna Berzowska
-didn’t want it to be a database experience
-serve researcher, but should be usable for general museum going audience and teachers
-clearest terminology and titles for users

(no, I don’t know what happened to the phase 4 notes…I’m guessing they’re the tail end of the phase 3 notes)

phase 5
launching a new website soon
In Touch (hoping to change name)
deliver online project
create hands-on learning experience
move things, feel the weight, etc
computer animation –> molecular reaction of textile
–> like SL?
take apart a textile online and reconstitute work
physics-based technology
increase level of immersion for users –> cultural journey
mgmgrand.com –> type of immersion textile museum is looking for
–time-out in the immersion experience to get more detail

questions
-level of skillset – challenge?
–had to identify target audience
–design site for target audience and user behaviour

-finding the right partner for these projects, esp for people who are not big on social media

-connection between online presence and marketing
–rely on emarketing
–online museum brings people to the physical museum

-concept of draft publishing versus polished publishing; Sebastian from Australia (forget the gallery…)
–more interactive publishing when things are draft; wikis, etc
–having everything polished only is not necessarily the best option, and they are welcome to feedback

-YorkU –> Kate Fletcher (?) –> takes digital and almost hologram

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Filed under : arts administration, internet, technology in the arts conference
By Julianna Yau
On May 9, 2008
At 4:35 pm
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TIAC - How is the web transforming the arts?

Eli Singer had a great presentation on How is the web transforming the arts?

Here are my notes (Flickr images here):

-memes
-diy culture, share culture
-democracy
-blogs – self publishing
-web breaking down hierarchies
-screen real estate equal for all publishers
-graffiti research lab
-public art and the web
-how to take graffiti to the digital life?
-companies taking grassroots graffiti art and using it for ads
-library of congress
–no histories behind images; put them all on Flickr, and through crowdsourcing, piece together history of the photos
–taking images out of libraries and putting them on the web for everyone
–tags an images
-how to weave yourself into a community or conversation on the web?
–not the same for corporations and arts institutions
–reputation within community
–bringing legitimacy to others by inviting participation
-The Power of the 2×2 Matrix
-casecamp.org –>!!!!!
-focus on the social, not the tool
-how can people connect with each other?
-”the network is the hub”; network can be anything
-strategic use of tools to create experiences for individuals, communities, and brands
-Broadcast model - source: cymfony
-peer to peer model – source: cymfony
-platform ==> community ==> content
-integrate into existing community vs building your own
-when integrating in an existing community, plugging into existing numbers
-who do you want to reach out to and who do
–”head” –> everyone; broadcast
–”tail” –> very specific number of people
–”shoulder” (Eli’s target) –> the mid-ground; not just about broadcast, but dealing with “meaty issues”
-which community are they in?
-word of mouth happening more online (blogs, social networking)
-whippersnapper
-curotatoral podcasting
-whippersnapper also on FB (group)
art is for dead people show
–whippersnapper also has videos to explain how to participate (feels like Drupal instructional vids)
–uploading photos and tag with gallery name!
-SickKids hospital –> radiothon –> social media
–web is built for storytelling
–radiothon videodiary –> daily video; shot on-site; co-branded; rleased online; drive donations
–content –> how to maximize use of small size of screen and closeness to screen
–syndication!
–SickKids hospital widget; share button, donate button; allows websites to customize look of widget and add their own logo
-MoMA –> everyone else taking photos an videos and posting online… where was MoMA? they joined in when question was posed to them

Questions from audience

-permissions forms for people who were interviewed (esp when children involved)
–with SickKids, they already had an existing process and agreement form; added internet to form; contained location for filming

-what about getting off the internet? (dying communities) how to shut down a FB page?
–data owned by FB/YouTube/etc, not you
–control issues with own vs other community
–recognized of an issue; islands and walled communities are issues; OpenSocial
–whippersnapper –> difference between their own website and their presence on others
–own website is official voice; limited community
–most of the community lives on FB

-how to build a list of bloggers?
technorati?
–local blog indexes
–flickr –> look for photoblogers in city
–follow linkbacks/trackbacks
–build human relationship first

-street teams for independent music community —> are there incentive-driven activities for online community? offering fans incentive to help? is it happening?
–can happen, but more for companies sending free stuff for reviews
–backstage access for blogging
TIFF –> blogger for them; site listed on TIFF; on both TIFF website and own
—incentive was the affiliation
—real-time feedback
—connection with related ppl
—community, not volunteers
-incentive without alienation

-performance art; unions; limit of how much can be shared–how to address?
–Andy Warhol show –> no photos allowed; had Cronenberg talk about Warhol
Shakespeare Theatre, Washington –> backstage access; interiews; gave bloggers access to their own images rather than bloggers’ images
–Stratord’s blog

-authenticity — how to achieve?
–err on the side of community
–flat hierarchy
–don’t just start broadcasting
–PARTICIPATE
–connect with leaders of community

-online prescence overshadowing brick-and-mortar gallery? (whippersnapper)
–their events are always packed
–made it about participation in the real space too

-engagement process, not just advertising
-people helping each other and having conversations with each other
-supporting social networking with staff –> resource intensive –> start small
-change in cultural experience

-some people don’t want to be involved because they don’t want to give away their story; ho to create more content?
–culture of secrecy
–Apple
–mystique
Steve Job’s product launches!

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By Julianna Yau
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At 4:16 pm
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Goodbye Rogers, Hello Wireless Nomad

A while ago, I was complaining about internet access to Russell McOrmond, and he mentioned Wireless Nomad to me. They’re an ISP co-op offering broadband/highspeed internet access through your phone line, with no caps, and also shares part of your unused connection as a free WiFi hotspot.

The system is fantastic, but it took me a while to switch from Rogers to Wireless Nomad. The reason? I loathe Bell. Really, really, loathe Bell. They wholesale the internet service to Wireless Nomad, and probably to any other phone company I could use instead of them. For the past four to five years, I have been living with only a cell phone because I rarely get calls (thanks to the internet and, again, because of my dislike of Bell). But supporting Wireless Nomad was really something I wanted to do, so the big B is now getting my money.

Getting setup with Wireless Nomad was painless, and David from Linux Caffe even brought my modem and router to me at CopyCamp! I plugged them into their respective ports, and everything was up and running in a few minutes. It was refreshing to not need to configure anything, and to have the option of wired or wireless access.

The speed of the connection is noticeably better than what I was getting with Rogers at their Express level ($44.95/mo, compared to Wireless Nomad’s $36.95/mo). The only thing which might be an issue for people is needing to log into your account to actually start your session if connecting wirelessly. I’m guessing this wouldn’t be an issue for most users who save their usernames and passwords in their web browsers, but I’m too paranoid to do that and am not bothered by having to log in every time.

Cancelling my service with Rogers was surprisingly painless. The “customer relations” guy asked me why I was cancelling, I said I switched to another provider, and he didn’t even ask who my new provider is. He just made sure I already had the new access setup, asked me whether I could return the modem or whether they should pick it up, and told me what the remaining balance was. When returning the modem, there were no hassles, no questions. It was actually refreshing to see that they knew how to handle cancellations properly.

Timeline:

  • requested to be added to their membership list at the beginning of March
  • received an email saying that they were ready to start the signup process in early April
  • phone line setup with Bell mid-April; signed up with Wireless Nomad; received confirmation the next day
  • the modem and customized router was ready for me two weeks later
  • I got the modem and router a few days later
  • time from first email to using their service (including setting up a phone line and going to get the modem & router): 2 months

Comparison of service prices and speeds:

The following information is accurate as of May 2, 2008 from the providers’ websites.

Rogers Ultra-Lite Rogers Lite Bell Sympatico Essential Wireless Nomad Rogers Express Bell Sympatico Performance Rogers Extreme Bell Sympatico Max Rogers Extreme Plus
Price per month (pre-tax) $24.95 $34.95 $27.95 $36.95 $44.95 $47.95 $54.95 $99.95 $99.95
Speed 500 Kbps 1.0 Mbps 500kbps 3Mbps to 5Mbps 7.0 Mbps 1 Mbps to 7Mbps 10.0 Mbps 1Mbps to 16Mbps 18 Mbps
Bandwidth cap per month 2 GB 25 GB 2GB None 60 GB 60GB 95 GB 100GB 95 GB
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Filed under : internet, technology
By Julianna Yau
On May 2, 2008
At 7:48 pm
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The New Face of Facebook’s Privacy Controls

Filed under : internet, privacy
By Julianna Yau
On March 23, 2008
At 6:56 pm
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Turnitin protected by Fair Use

Georgia Harper writes about the case involving Turnitin, a web service which allows educators to check papers for possible plagiarism. The case deals with not only issues of copyright and plagiarism, but also freedom of choice and the dangers of clickwrap agreements.

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By Julianna Yau
On
At 3:36 pm
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Playing catch-up

After quite a bit of work, I managed to get almost everything for my websites back to normal. The main thing which took longer than expected (and continues to be unresolved) is being able to use the Metaweblog API to get my Ma.gnolia bookmarks posted to this blog. I have since discovered that ModSecurity 2 does not play nice with Metaweblog API. This means, although I love Ma.gnolia’s blog posting feature, I will probably not be using it until there is a way for the Metaweblog API to work with ModSecurity active for everything except my xmlpc file.

My bookmarks continue to be available here, and individual feeds are available for the tags.

Here are the links I’ve wanted to post since my server upgrades:

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Filed under : art, copyright, internet, links
By Julianna Yau
On February 17, 2008
At 8:59 pm
Comments : 0
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CMEC to Creators: Use TPM to protect your work

The Council of Ministers of Education recently posted a press release (PDF) on Changes to the Copyright Law Must Include An Amendment to Address Educational Use of the Internet (also available in French).

Although they start with clarity by highlighting the problems of educational use of materials under current copyright law, they make the surprising comment that anything provided online by content creators is free if it is made available without password protection. Pressing even further, they seem to be supportive of protection of copyrighted materials to a much more draconian extreme than even creator lobbyist groups suggest:

“Free stuff” refers to material posted on the Internet by the copyright owner without password protection or other technological restrictions on access or use. “Free stuff” is posted on the Internet with the intention that it be copied and shared by members of the public using the Internet. It is publicly available for anyone who wants to use it, but the current copyright law may not protect schools, teachers, or students even when they are making normal educational uses of this “free stuff.”

This is an absolutely shocking statement, because I (and I believe many other creators) provide their “stuff” online without “without password protection or other technological restrictions on access or use” because I want to allow free access to the work and to not unnecessarily hinder any fair dealing of the work. I do not understand how, or support the argument, that by not employing “password protection or other technological restrictions” I am automatically releasing the work as royalty-free content. I sincerely hope that the statement made by CMEC was intended to address educational use only, which is currently an exception carved out in the Copyright Act.

…the federal government needs to change the Copyright Act to make it clear that this “free stuff” is available for all educational uses. …rights holders can opt out of the amendment by using passwords or technology that limits access or use of the Internet material. Rights holders can also opt out by informing Internet users that the material cannot be used for educational purposes.

Although I recognize the need for a better administrative system for educators to access works which are truly available royalty-free, I don’t believe this is the best way to achieve it. The Creative Commons licenses already exist and are in wide use (the content of this blog, for example, is made available under the Creative Commons Attribution-NonCommercial 3.0 License). While I do think that creators should be allowed to use TPMs, and allow the market forces to decide whether that is a viable business model, I’m unsettled by the thought that I would need to employ TPMs to lock out educators, or somehow meet a set of criteria for clearly marking work as not being available for royalty-free educational use.

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Filed under : art, copyright, internet, technology
By Julianna Yau
On February 1, 2008
At 6:01 pm
Comments : 4
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Jessica Litman - Rethinking Copyright

Yesterday, I attended the 2008 Grafstein Lecture in Communications at the University of Waterloo. This year’s presenter was Jessica Litman, on the topic of rethinking copyright.

The topic of rethinking copyright was exciting on its own. I have a great deal of respect for Litman’s work, so being able to attend the lecture was something I was looking forward to for several weeks.

Litman started the lecture with some background information, which was mostly “common knowledge” for anyone who has studied copyright and all of which was a precursor to the crux of her position. She reiterated the fact that many creators are trying to manage the changes in the way their work is distributed, accessed and copied with the new technologies available to us, and that the internet is putting some copyright owners out of business and creating opportunities for other copyright owners (primarily creators who wouldn’t have publishers under the old model of creation and distribution). She then reminded us that the costs of paper publishing, both historically and presently, require that much of the revenue go toward the publisher, who is an intermediary between the creator and the user.

Litman stressed the need for a reallocation of the priorities in copyright, with a focus on enhanced rights for readers of works. She reminded us that the dominant businesses in the creative industry are lobbying for change because the current copyright law does not work well for them. In particular, current US copyright law makes it very difficult to license digital copies of music.

Among the distribution problems is the one that creators often have little control over and income from their works. This, I believe, is a problem more common in creative works meant for mass distribution (e.g. literature, movies, software and music), rather than something like visual art where the work is meant to be unique and limited in its distribution.

A very interesting (and under-reported) point that Litman mentioned is that 4 years ago, the Supreme Court of Canada passed a judgement which states ““Research” must be given a large and liberal interpretation in order to ensure that users’ rights are not unduly constrained“. This decision, she felt, should be giving lobbyists for user rights adequate support for their cause.

One of her great observations is that the technology for distributing/copying/publishing is overlapping with the technology for reading/watching/listening. This is where the old concepts of how people interact with creative works shifts, because the technologies create temporary and permanent copies of copyrighted works.

The following are the three ongoing problems she listed as prime examples:

The question Litman posed to us is where do readers, listeners and viewers fall into copyright?

One of the problems she has with current discussions on user rights is that we are rolling all users of copyrighted materials into one category: both the corporate users (e.g. Disney) and the individual readers, listeners and viewers. Note that in the Q&A which followed the lecture, someone asked where Litman would place the new breed of users, which I’ll call the creators of user-generated content. Litman replied that she would draw the line between commercial and non-commercial use. Although I tried drawing that line in the past, I’m still not certain whether that’s the correct or most accurate distinction.

Litman stressed the need to use the distinction of “readers, listeners and viewers” rather than “consumers” (because of the inherit implication that money is involved) or “enjoyers” (because the work may not necessarily be enjoyed, per se). From this point, I’m just going to use “RLV” because I’m too lazy to type “readers, listeners and viewers” every time.

To drive home the need for us to rethink copyright via user rights, Litman argued that the RLVs interact with works and thereby complete the creators’ interests. While I find this notion somewhat romantic, I do agree that the creation and existence of works seems very hollow without anyone on the receiving end. Like having a conversation with yourself, creating a work without an audience is often unfulfilling for the creator.

Litman recognizes that it’s difficult for many people to think about user rights because that’s not normally how we think about copyright. The difficulty I have with thinking about user rights is not the resistance to it, but not knowing what exactly those rights ought to be and which ones are related primarily to copyright.

Personally, I found Litman’s comments about the relationship between the creator and the RLV to be a crucial concept which needs to be explored much more, both within and outside of the realm of copyright. At the Visual Arts Summit, there was discussion of needing to connect audiences with art, and I’m now wondering how much creators have been disconnected with the people for whom they are creating/the people who interact with their creations. Litman likened the trio of creators, publishers an RLVs to an ecosystem which depends on each other, and it was unspoken that there is an imbalance in the ecoystem.

A humorous and true insight from Litman was that while we all agree that there is an imbalance in the amount of power and control allotted to the creators, distributors and RLVs, the disagreement is who has the upper hand. Each side feels that they are being cheated by the other two, and each demands for their rights to be protected. But when their interests conflict, whose rights prevail?

Throughout the lecture, the dominant thought I had was that we need to start rethinking, not copyright, but the entire sphere of creative output and its support systems. To date, most of us have been treating the problems of copyright as the result of changes in technology. But I’m starting to think that we need to see the inadequacies of current copyright law as a symptom of a much greater phenomenon: the very rel change in the way works are created, distributed and read/listened/viewed. Perhaps we can’t come to any resolutions and keep discussing unrelated issues as copyright issues, not because they are unrelated, but because we are starting from the wrong place.

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Filed under : copyright, innovation law and theory workshops
By Julianna Yau
On January 30, 2008
At 6:54 pm
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Facebook doesn’t exist purely for our entertainment? Gasp!

Last week, I was reflecting on the fact that my cynicism actually protects me from quite a bit of frustration. This reflection came just in time for me to be aware that because I don’t expect anything to be done for the right reasons, I am not shocked to find capitalists behind the bubbly front of social networking sites. I do, however, still experience quite a bit of frustration because I maintain that things should still be done properly, and am often called an idealist for that reason…but that’s a whole other discussion.

Tom Hodgkinson’s article on the “shady” inner workings of Facebook sound, to me, like the lamentations of someone who is more naive than insightful.

I totally respect the fact that there are many people out there who choose not to participate on websites like Facebook (even though I give some of them a hard time, just for fun). Like phones, email, post mail, VOIP, instant messaging and “the rest”, a social networking site is merely a tool, and doesn’t work for everyone.

Personally, I like maintaining regular contact with friends and colleagues through Facebook because it allows me to do it on my own time. Of course, it’s no substitute for in-person interaction but I find it very handy for keeping abreast of my friends’ more mundane events. By doing so, I’ve noticed that when I have lunch with a friend, we can have more [frequent and valuable] meaningful conversations without having to play catch-up firstly.

If someone else wants to use it as a make-shift dating site or homage to themselves, do I really care? Not so long as I continue to be able to ignore their requests to be my friend. Like in a high school or any other social space, cliques form naturally and most people gravitate towards others who are there for similar purposes. I’m sure the people who are merely on Facebook to boost their self-image think that people like me are taking the fun out of Facebook by using it to network professionally, but don’t really care because there’s enough space for us all.

Hodgkinson’s profiles on the brains and finances behind Facebook were actually a very interesting read. I’m sure he had intended for the information to show how that Facebook is really being operated by “The Man”, but I found their histories to be quite cool. I had not known about Peter Thiel prior to reading Hodgkinson’s article, but found his work to be extremely exciting. I know my affinity towards Thiel is mostly due to “The Diversity Myth”, which he co-wrote, because it seems to be a more expansive version of the same realization I reached in high school during one of our many assemblies to “celebrate multiculturalism”.

Although I don’t think Facebook is perfect (far from it; I agree with Hodgkinson’s, and most other people’s, dislike for the recent fiasco over the opt-out/opt-in problem with Beacon), many of the problems Hodgkinson has with Facebook are not unique to Facebook.

1 Everyone will advertise at you

Facebook doesn’t charge for membership, and instead uses advertisement as its main source of revenue. Even newspapers like The Guardian, in which Hodgkinson’s article was published, use advertisement. Not only do many other businesses use ads, and targeted ads, as part of their revenue source, not all of them are transparent about their ad targeting practices.

2 Nothing ever gets deleted on the internet

Maybe not nothing ever gets deleted, but data retention is a huge issue which is not limited to Facebook. You’ve got to be very new to the internet if you aren’t aware that anything you put online will probably exist until the end of time (or at least the end of the internet), either online, on a backup, or on someone’s personal computer.

3 Privacy isn’t guaranteed anywhere anymore

Social networking sites may make private detectives a thing of the past, only to be relived in Film Noir, and are certainly making people realize that privacy is an illusion. While I don’t agree that privacy should be allowed to be an illusion, I also realize that anyone who really wants to know about my most intimate confessions will find a way to do so, whether I’m on Facebook or not. Luckily, I don’t think anyone really cares to do so.

4 Facebook only knows what you tell it

Most of the information you give Facebook for it to build a profile on you is optional. Users need to take responsibility for how they share their information. If you’re going to do it through Facebook, of course they’re going to use that data. Duh. Many of the fields, like your gender and marital status, are optional. So are the bajillion applications which harvest more information about users. Just because you’re presented with a field doesn’t mean you need to complete it. Social networking sites need to be responsible for how they use the data they have, but the users who provide that data share that responsibility and need to start owning up to it.

5 Opting out doesn’t mean closed communication…ever

If Hodgkinson ever read any other privacy policy (like the one for a financial institution or utilities company), he’s probably likely to find that they also indicate that opting out of notifications will not cease all communications. I assume those clauses exist so that the company with which you’re doing business can still contact you if there’s a problem with your account—whether they abuse that is a whole other issue, and I have yet to be spammed by Facebook. They actually deliver fewer direct mailings (via email) to me than my credit card companies, opting instead to broadcast updates on their blog.

6 The CIA would probably look at your stuff anyway, if they really needed to

Does anyone really think that the CIA, or any other homeland security organization, would not be able to access your information on a social networking site just because that site’s TOS didn’t say that they could? I don’t.

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Filed under : internet, privacy, social networking
By Julianna Yau
On January 27, 2008
At 4:58 pm
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