Archive for the ‘Uncategorized’ Category

ICA again

Friday, January 21st, 2005
I was back at the ICA last night for a brilliant talk on Open Access science. Four panel members - Tim Hubbard, Ian Gibson, McKenzie Wark and David Bodanis - thrashed out the finer points of the future of science funding and publishing, with Fiona Fox from the Science Media Centre acting as chair.

Tim Hubbard, who leads the Human Genome Analysis Group at the Sanger Centre talked about how open source models of production in science are continuously competitive. His interpretation of the open source model - as a number of groups working on a project in parallel and reporting back to a central body - could be, he said, an excellent model for government IT projects within the NHS.

He also believed the model could stretch to the production of therapeutic drugs.

When making the argument for decoupling research from sales within the drugs industry, and instead allowing drug R and D to be centralised, he pointed out that nations around the world spend an average of 1% of annual GDP on medicines. Assuming 10% of drug company revenue goes back into research, Hubbard suggested that if countries could prove they were investing 0.1% of GDP into drugs research, they could be exempt from TRIPS. This would permit them to produce generic versions of drugs under patent. For a more detailed explanation of Hubbard’s ideas, read this paper.

Next up was Ian Gibson, chair of the House of Commons Science and Technology Committee. He admitted he found Hubbard’s ideas fairly idealistic (he hadn’t heard McKenzie Wark yet!), and concentrated on the need to liberate scientific publishing and open it up to the wider public.

”Why should the public get their information on science from the front pages of the Sun?”, he asked. He also pointed out that drug companies can access public research whilst they keep their own research hidden from view. Although he admitted with some disdain that the Labour government is far too friendly with industry, he seemed convinced that drugs companies would be coming under increasing pressure from the state to change their ways. You can read his report to the House of Commons here.

McKenzie Wark, author of The Hacker Manifesto, was next to speak. It was him I’d come to see - amid all the furore over Bill Gates calling copylefters “communists” here is a man that relishes Marxist innuendo. I’d read version 4.0 of his manifesto, so was surprised by his wit - “That’s all very well in practice, but what about in theory” was his opener, which immediately warmed the crowd. He stressed that science belonged to everybody, and that unless scientific work was open and easily accessible to the public, not just to peers and industry, then it could not properly call itself science.

Wark outlined what we were up against - the “philosophy of the commodity”. Picking up on the situation with HIV/AIDS in Africa, he characterised this philosophy as “we have to let people who need not die, die, in order to preserve the incentive (for drug companies) to produce other drugs which might possibly save other lives at some unknown point in the future”.

Popular Science author David Bodanis was last to speak. Although he professed his agreement with much of what the previous speakers had outlined, he warned that “you can take a good idea too far”. In particular, he thought that the creative industries needed the protection of an intellectual property framework in order to create. He was also concerned that a model as outlined by Hubbard, where centralised, state-controlled funding bodies took responsibility for all scientific research and development, could lead to “technocracy gone mad”.

An impressive crowd had turned up to hear the speakers. When questions were taken from the floor two main concerns were revealed. Firstly, there was some cynicism as to the public’s ability and willingness to engage with scientific research. And a couple of people were concerned that the ideas we’d heard were unrealistic, in light of the current race to strengthen IP legislation across the world.

Hubbard answered this second complaint with a wary optimism, citing the genome project as “an example of where we won” and pointing to various encouraging developments, including Poland’s last minute intervention on the EU software patent vote, and the development of WIPO away from focussing on intellectual property and towards the advancement of knowledge, as witnessed at last year’s meetings in Geneva. He also mentioned the development of Science Creative Commons, currently on Larry Lessig’s drawing board.

ICA

Wednesday, January 12th, 2005
New Year flu hit the Own It New Media event hard last night, with two of the three billed speakers taken out at the last minute. Alex Chapman, a partner at the IP law firm BRIFFA, bravely held the fort, giving the collected audience a crash course in UK copyright law. I can’t for the life of me remember the name of the new media commentator they’d farmed in at late notice to help him out. Perhaps if he’d spent more time talking and less time fiddling with his PDA he might have made a better impression.

It was a very mixed audience. Some had come for a talk on the basics, and Alex did them proud. Others had come to share their experiences of copyleft and Creative Commons, including the guys from Loca Records, who release their stuff under Creative Commons, and Phil Hands, who runs the UK mirror for the Debian project.

The Creative Commons coverage wasn’t excellent, but I’m expecting some good things from Own-it in this respect later in the year. I wrote a factsheet on the subject for them, which will be released at the same time as the UK licences. Prodromos Tsiavos, who is part of the team porting the licence into UK law, was at the event. He’s hoping the UK licence will be ready next week. He’s spent most of the last three months negotiating with various interested parties. It’s a process that’s taken longer than anyone expected.

Listening to Alex Chapman I was struck by how different his approach to copyright was to the man I’ve had most of my IP schooling from, Lawrence Lessig. Chapman had a hands-dirty approach: he advises artists on how to “deal in” their intellectual property everyday. Lessig takes a more scholarly approach, an approach which has helped me get a handle on the issues very quickly. But whereas Lessig’s approach makes the distinction between copyright and Creative Commons very clear, Chapman’s approach to copyright showed, to me at least, how similar the two are to those used to dealing in rights. Artists are used to licensing their work using the same language as Creative Commons (attribution, distribution, though not, admittedly, share alike). The difference is they draft individual contracts and deal in these rights for money.

I don’t think anybody who wasn’t switched on to CC already would have walked away any the wiser as to what it’s all about. Other complaints? Well, file-sharing wasn’t well represented. It was implied that any artist putting their work on a peer-to-peer network invalidated their right to copyright protection, which is utter bunkum. It’s startling how many people believe file-sharing was developed specifically to steal content, rather than as an incredibly practical and efficient way to distribute data. There were enough geeks in the audinece to put Chapman right, but his misrepresentation of the black art of file-sharing did stall things a bit.

But then, how long can you talk about DRM in a room full of techies without toys being thrown out of prams? Prodromos characterised Creative Commons for me after the talk as a benign form of DRM. Heaven forbid that definition grow legs.

Queen of the Sea

Friday, January 7th, 2005
I have a friend called Shenth Ravindra, who recently survived the Queen of the Sea rail disaster when the train, which was travelling down the west coast of Sri Lanka on Boxing Day, was hit by the Asian tsunami. He’s had a lot of media attention since he got home safely, particularly since most of the other passengers on the train perished.

The train was hit by two waves. In between the waves, Shenth took pictures. The G2 section of the Guardian published those pictures yesterday, along with a first person account I ghostwrote for the piece.

Shenth’s story is pretty incredible. I was talking to him on the phone for two hours and the account we eventually published doesn’t do justice to the scale of his good fortune in surviving the crash and the chaos that ensued. The pictures he took are eerie. The first wave only damaged the carriage Shenth was riding in, and the people in the other carriages are seen sitting down, calmly waiting for help. The second wave killed nearly everybody on the train.

Back from Japan

Sunday, January 2nd, 2005
Came back from Tokyo on Boxing Day, after a pleasant two week holiday. Here are some photos taken on my beautiful birthday camera, a petite Canon Ixus i, still drawing lustful looks from all who spy her.

mySociety

Thursday, December 2nd, 2004
My article on the mySociety projects was published in Guardian Online today.

Sherwin responds

Tuesday, November 16th, 2004
Well, my letter (see 2.11.2004) never got printed in The Times, I guess their mailbag was too full of people complaining about the demise of the broadsheet edition. I did, however, get a lovely email reply from the journalist who wrote the original article, reproduced below:

Hi Becky,

Thanks for your letter regarding the Cliff copyright story which was passed on to me.

It is a good point that the laws are supposed to allow more less well-known music into the public domain which might not be freely heard.

Cliff was particularly unmoved about that when I put it to him.

But I think the European Commission is sympathetic to the extending public domain argument and the record industry may not get satisfaction.

Best,

Adam Sherwin

Media Reporter, The Times

So Sir Cliff, in fact, was pretty unmoved by the plight of British music’s unsung heros. At least he wasn’t moved enough to free their music from the commercial vacuum to which another 45 years of copyright would consign it.

Although I’m really pleased Mr Sherwin thought to put the question to him, as well as having the admirable good manners to let me know, I wish he’d had the balls to expose Sir Cliff’s hypocrisy. But then he probably likes his job as Media Reporter for the Times.

As for the record industry “not getting satisfaction” - I’m not so sure. When I spoke to Francine Cunningham at the IFPI for my Index on Censorship article she let me know that their lobbying efforts would be concentrated on the European Parliament, once the Commission had submitted its report, because the European Commission were “very cautious about change”. The European Parliament might be just the sort of people likely to respect the opinion of an aging old hypocrite like Cliff Richard. But we live in hope.

Firefox

Thursday, November 11th, 2004
Techtank have published my article on security vulnerabilities in Microsoft Internet Explorer and the release of the new, open source browser, Mozilla Firefox today. It doesn’t look like they’ve credited me, but I promise it was me wot wrote it.

Apologies, reg req’d.

Lady of letters

Thursday, November 11th, 2004
Yesterday, Murdoch snoozpaper The Times hinted at the wonderful news that The British Library may inherit the record collection of the late, great John Peel. According to the article “it would be the largest and most significant collection deposited with the national Sound Archive at the British Library”. This 2000 article from the Guardian gives us a glimpse of what treasures lie in wait.

However, the warm glow initiated by this news was quickly chilled when I read this hunk of junk, which, in the print edition appeared RIGHT NEXT TO the Peel revelation. So, “[Sir] Cliff challenges rock’n'roll swindle”? Well done mate, looks like you’ve just undone all the good and then some for the archiving of obscure musical treasures of the past.

Now, I have never written a letter to a newspaper in my life. I have to say I prefer getting paid for writing in newspapers. But, since the likelihood of me ever wanting to write for The Times is about the same as John Peel wanting to shake Sir Cliff’s hand when the latter finally decides to enter the pearly gates, well then reader, I wrote. And here’s what I wrote *just in case* the editors of the Times decide not to print it

To Mr Adam Sherwin

I write in response to your article in the November 1 issue of The Times “Cliff challenges EU rock’n'roll ’swindle’”

Sir Cliff Richard, though no doubt admirable in his desire to lead “a fight for music’s unsung heroes” should understand that he is achieving quite the opposite through his lobbying of the EU to extend the terms of copyright on sound recordings beyond 50 years. For it is those creators of music in the 60s that is no longer commercially viable today who will really lose out should the copyright term be extended.

Because as well as lusty pornographers, who are no doubt itching to use Sir Cliff’s happy ditties to soundtrack their nefarious visuals, there is a community of online music enthusiasts who lust after the not so well-sung musical heroes of the sixties. Once it is released into the public domain, this community will be free to distribute fringe music to a whole new generation of fans. Okay, the composers of the music will get no (immediate) financial compensation - but they wouldn’t anyway. And what they will get is new recognition for their work, recognition that has been denied to them ever since their record companies decided they were no longer commercially viable, and stopped releasing their music.

Because for every song that record companies treasure for ongoing back-catalogue profits, there are hundreds if not thousands of recordings that have been languishing on record company shelves for decades, with nobody to hear them. Should the EU choose to heed Sir Cliff, keeping his work out of the public domain for a further 45 years or even more, he will drag down with him this huge body of commercially worthless but culturally significant work. It is this body of work that “those who believe that music should be ‘free’” are truly worried about - and it is the emancipation of this music, not the financial cost, with which they are concerned.

Yours sincerely

Becky Hogge, Writer and Researcher, London E9

RTS address

Friday, November 5th, 2004
My brief report of Paula le Dieu’s address to the Royal Television Society on the Creative Archive last week was published in Guardian Online yesterday. For transcripts and recordings of the event, have a look at these links from bOING bOING.

Intro to OS

Friday, October 29th, 2004
My article on the launch of the Creative Commons licence in the UK was published in Guardian Online yesterday.

And it looks like techtank have finally put up my introduction to open source (reg req’d - apologies).