Author Archives: Elisa

Facebook Censorship: A Sign of the Times?

source: serc.net The internet was recently given a leak of Facebook’s censorship standards. Amine Derkaoui, a previous “employee” of Facebook (employee is in quotes here because he was paid $1 an hour plus commission, which is, in a word, horrid) was so disgruntled that he gave Gawker the handbook used by Derkaoui and other assumedly disgruntled workers to know which photographs and comments to censor on Facebook, which ones to send upwards for decision by an administrator, and which ones were ok. Gawker published the one-page “cheat sheet” summarizing the standards on their website.

source: gawker.com

A summary of Facebook's censorship standards, leaked to Gawker

This gives an interesting perspective of what is considered “acceptable” and tasteful by popular consensus. Ear wax is censored, snot is not? (I guess if it was, millions of baby pictures would have to be deleted). For example, the “cheat sheet” says that “Digital/cartoon nudity” should be censored, but “Art nudity ok”, excluding all digitally created images from “art”, which is sort of a surprisingly passe way for Facebook to define things.

Something interesting about the released standard is the fact that it is clearly representing three categories of social unacceptability. The first, the depiction, commitment, planning, or lauding of criminal activity, is expected in a list like this – sexual assault, organized crime, nudity, and hard drugs are pretty normal in a “delete this” list for any censorship website.

The second category is more nuanced – I can only describe this second category as anything which debases humanity. This includes more obvious things like human organs, mutilation, violent speech, or anything encouraging or lauding mutilation or defacement of the human body (and, in some cases, animals). This also applies to willing defacement: threats of suicide, self-harm, and anything promoting eating disorders – this is interesting in light of the fact that pro-ana groups are still on Facebook. Maybe closed groups are immune to censorship – or the people getting paid next to nothing in other countries just haven’t caught them yet.

Another example of the censorship of non-illegal debasement of humanity: the prohibition of any photoshopped pictures of humans, “whether negative, positive, or neutral.” This is interesting; perhaps it is simply the case that it’s too hard to gauge the positive or negative spin of a photoshopped picture, but I think this rule isn’t just about bullying – it’s about the fact that Facebook doesn’t want to turn into Reddit (if they don’t, then they should stop trying to be Tumblr and take away the “follow” option). Their prohibition of any “versus” photo – any image grafting two photographs of people side by side in comparison – would be for the similar reason of “trying to keep Facebook untacky”. This rule is especially ironic considering Mark Zuckerberg’s famous-now-that-we’ve-all-seen-The-Social-Network first project facemash.com. Prohibitions of holocaust denial fall under the goal of no human debasement – but they apply to the third category as well.

The third and final category I’ll call “Nobody Get Mad At Us Please.” The most interesting rule in this one is the censorship of any maps of a part of Turkey (Kurdistan) and the prohibition of language or images against Mustafa Kemal Ataturk, as those laws seem suspiciously anti-free-speech-ish, and Turkey is a part of the UN.

The internet as it is currently developing has been compared to the semimythical Wild West of early American history – looking back in 50 years on this time, we’ll probably be astonished at how unregulated everything was. Governments just don’t have a good enough grasp on this new platform for data and information to be able to figure out how to effectively and efficiently (and ethically) regulate it – yet. This conversation applies to file sharing and copyright infringement as well, but Facebook’s censorship guidelines illuminate a more necessarily practical standard – things made up by businesses and not government are almost always more necessarily practical, if perhaps less ethically consistent.

Fairy-Tale Weddings and the Decline of Marriage


So marriage is less popular than it was 50 years ago (this may not be terribly surprising but which I am going to back up with SCIENCE): a study by the Pew Research Center (my new favorite thing) revealed that while in 1960 72% of adults were married, only 51% were in 2010. The median age of first marriages also went up like 6 years – 28.7 for men and 26.5 for women; up from 22.8 and 20.3 (respectively) in 1960.

A lot of comments on these statistics revolve around the idea that marriage is being taken less seriously, which certainly has merit: the rising divorce rate makes divorce a less socially discouraged decision and therefore diminishes the permanent sense of the commitment taken. Also, varied living options and mobile societies make the legal ramifications of marriage more public; no longer a church ceremony involving the boy down the street and a community event, marriage is for many people predominately about tax laws and the legal status, not the community proclamation.

And yeah, those things are probably true. But I suggest that there might be another factor: that, as much as marriage is becoming unimportant socially, we are taking weddings way too seriously psychologically.

For the Millenials (born between 1980 and 2000), weddings were presented to us as the Happy Ending to stories. Marriage was the denoument – the end-all-be-all – the MacGuffin. Disney movies, early romantic comedies, books, and plays all dramatize the beginning of a relationship – before commitment, when things are exciting (right?) – and a wedding at the end serves as the success. The idea of a princess wedding fascinated females (I wasn’t/am not by any means a very girly girl, for example, and even I can remember slumber party discussions of wedding colors, flower selections, and first-dance-song-choices) of our entire generation.

source: madameguillotine.comThis may have had something to with Princess Di’s wedding – or at least, that wedding didn’t hinder the fairy tale story by any rate. Kate and William’s wedding will serve a similar (if possibly less dramatic) purpose for the continuation of the happy-ending weddings portrayed in fiction.

So we, in a weird, way, take marriage way too seriously – idealistically. We fetishize it. It has to be Perfect – and so we have modest weddings costing about $10,000 and shows like Bridezillas, a half-and-half(ish) divorce rate, and the married adult population decreasing by about a third in 50 years. Fairy-tale representations of weddings may be part of the cause of marriage’s approachingly fictional status.

This increase in expectations in our generation might also affect the increase in marriage age – the tendency among young adults now is to become established (don’t get married before you own your own home!) and stable before marriage, instead of going through that scarier economic climb with your spouse. The wedding has to be perfect, and so does the relationship and your economic status – and so we wait.

Is this a bad thing? After all, 44% of Millenials think that marriage is becoming an obsolete institution. Cohabitation is increasingly popular. One possible trouble might lie in the instability of couples leading to more single, economically depressed parents, raising children and working on their own: quite the contrast to the fairy-tale weddings we grew up hearing about.

Naked Boys Singing: For Your Enjoyment

After a 13-year run, Naked Boys Singing left its off-Broadway stage, leaving the rest of us to switch to plan B for our bachelorette parties1.

It’s really quite incredible, though – the show ran for 13 years, which is the second longest off-Broadway show ever (the first is the Fantasticks), has had over 3,000 performances and, not surprisingly, hosted over 2,000 bachelorette parties. It’s also been translated into 5 different languages.

The show is a gem of off-Broadway qualified ridiculousness. One of the writers has an Emmy, they had the choreographer from The Producers, 2 of the cast members were porn stars, and one of the cast members only has one testicle (and used a prosthetic). The show is a musical revue, and opens with a song called “Gratuitious Nudity” and goes on to serenade the audience with (for example) a number about being gay in a men’s locker room, and something called “Muscle Addiction”. From reviews, towels and jock straps are sometimes involved, but the majority of the show is performed nude.

The show was more than a little unconventional: after opening and advertising predominately to the young gay population in NYC, the producers quickly realised that they needed a broader viewer base – 13 years later, the show was marketed to “people from all walks of life,” including “men, women, senior citizens, mothers, fathers, Rabbis, [and] strippers” and was a popular bachelorette party destination. The theatre was also once booked by a gay nudist colony, the members of which brought gallon plastic baggies (for their clothes) and towels (for the seats). In 2005, a Milwaukee production of the show was closed down by police, and shows in Atlanta, San Juan, and Provincetown (Mass.) were shut down by the city governments as well. After the Milwaukee production was shut down, the Milwaukee Gay Arts Center won a censorship lawsuit against the city of Milwaukee for $20,000.

If you feel like you’ve missed out, the show is still playing London.

1And unconventional bachelor parties.

You Should Care About Super PACs

The new potentially-sort-of-boring-topic-about-which-we-should-educate-ourselves (this is the first election I’m paying attention to and I’m finding a lot of these things) is the issue of Super PACs and their effect on the current election.

To summarize, Political Action Committees (PACs) have been around for a while. They are organizations that raise money to use toward elections, usually television commercials — they are limited to collecting small amounts of money from individuals, political parties, and other PACs — and the stipulation was that they could only accept $5000 per person per year, which meant that (at least in theory) candidates’ support would be semi-related to the amount of supporters donating to them.

In 2010, however, it became legal for some organizations to receive unlimited donations from corporations and unions: organizations which accept these unlimited donations are called “super PACs.” They are like PACs, but much more evil. While PACs forced candidates to build a large support base to earn a substantial amount of money, a few millionaire individuals or corporations can fund a candidate’s entire ad campaign.

Super PACs are devastating to the essence of democracy: Why should congressional and presidential candidates care more about the votes of single constituents than the needs of unions and corporations when campaigns can be made or broken by union and corporate funding?

Super PACs allow campaigns to distance themselves from negative ad campaigns while reaping the benefits from commercials slandering political opponents — Mitt Romney’s PAC (the idiotically named “Restoring Our Future” — okay, one might restore hope for the future, but not the future itself) spent $3 million running negative campaigns against Newt Gingrich, effectively killing his campaign.

(evil?)Super PACs allow corporations and unions to spend huge amounts of money on elections — billions, in the 2010 midterm election — and that directly translates into influence on government decisions. If you’re imagining large men in suits grinning evilly while photographing themselves with dollar bills coming out of their ears, keep imagining it: there’s a picture of Mitt Romney that looks exactly like that.

Super PACs are a key factor in the commercialization of the political process. Since the late 90s, the money involved in elections (adjusted for inflation) has increased at an alarming rate. The amount of money that went into the 2008 election ($1 billion, 86 million) was more than twice that of the 1996 election (599 million dollars, adjusted for inflation) — Barack Obama’s 2008 campaign alone spent more than was spent in 1996 ($799 million).

Super PACs do not have to report the amount of money they receive, or how they spend it. A candidate’s super PAC can fund ridiculous amounts of illogical and negative commercials without having to pin the candidate’s name on the commercials at all. A candidate’s super PAC can also donate money to other PACs, effectively buying the good will of other politicians. Recent Supreme Court decisions deem this legal.

You should buy one of these tshirts on Colbert's website. And protect democracy.

The Colbert Report flaunted the troubling legalities of Super PACs in last Thursday’s episode, when Stephen Colbert’s Super PAC (Americans for a Better Tomorrow, Tomorrow) was transferred from Colbert to Jon Stewart as Colbert announced his fake intention to run for president. Colbert is not supposed to coordinate with the super PAC, his lawyer said on the show, but he could remain business partners with Stewart and the staff of his PAC didn’t have to change, even though they clearly knew everything about his election strategy.

Super PACs are the final step in making political campaigns entirely about money and slander. The political scene becomes a game of who-can-find-the-most-loopholes, with politicians focusing their energies on how to betray the spirit of the law without breaking the letter of it, which seems quite bad indeed.

Sweden Recognizes Kopimism as a Religion: What on Earth does ‘Religion’ Mean?

Sweden’s pretty liberal when it comes to copyright laws, as a government and as a culture – it’s the home of the thepiratebay.org and there’s a healthy anti-anti-piracy-movement movement in Sweden that’s been active since 2001. Further proof of piracy as culture in Sweden is the fact that the Swedish government just officially recognized the Church of Kopimism.

Kopimism’s central dogma centers around the idea that information is a holy thing, and copying information a sacrament. CTRL+C and CTRL+V are considered holy symbols. The English page of the church’s website says:

We challenge all copyright believers – most of which have a great deal of influence in politics, and who derive their power by limiting people’s lives and freedom.

Isak Gerson’s personal website (translated by Google) says that a Kopimist a “person who has the philosophical belief that all information should be freely distributed and unrestricted. This philosophy opposes copyrights in all forms and encourages piracy of all types of media including music, movies, TV shows, and software.”

So Gerson (who, weirdly, is also a member of the Christian Student Movement in Sweden) took this philosophy and pasted some “ritual” labels on everything and got a religion (after petitioning to the government 3 times, to his credit). The result is both a straight-faced mockery of the difficulty governments face w/r/t defining ‘religion’ (on the Kopimist website, the first line of one of the definitions of Kopimism is the defense “A religion is a belief system with rituals.”) and a strange manifestation of a strongly held belief.

Religions rooted in the internet are not a new thing. With all those people registering as “Jedi” in the 2001 census, Pastafarianism, and the prevalence of Cthulu worship, the appearance of a semi-ironic religious movement started by otherwise apathetic 20 year old males is becoming a pattern.

Maybe it’s just another irony-soaked fad, like speaking with ridiculous grammar or posting hilarious misquotes – or maybe the semi-ironic religions created will garner more earnestness and lose some irony and become, weirdly, a real way that people define their philosophies. The definition of the word “religion”, in the context of recent events and the influence of internet culture, is changing, and it’ll be interesting to see what happens to it.

World War Z and other Incidences of the Undead

I read World War Z by Max Brooks over break – I tend to stay away from zombie media,1 but the book was interesting enough to win over my zombie-avoiding tendencies and now I can’t stop noticing the huge and recent (I’d say – recent as in like, the last decade) zombie focus almost everywhere in culture.

Did everyone else but me know about this? Did you know how many zombie poetry websites there are? You can even buy a zombie-themed magnetic poetry set. You know, so you can compose some verses about decaying flesh-eating people on the fridge while waiting for your ramen to heat up.

This guy published his work online in 2005 – excerpt:

Making
love with
zombies can
never be
without consequence.

There’s Aim for the Head, an anthology of 50 poets.

There’s Z-Composition, which is a recent start-up with sections slated for poetry, recipes, and flash fiction, and grand ideas of “a bi-monthly literary e-zine with a yearly print anthology slated to launch in 2012”.

The Zombie Nation (the tagline of which is “Begin the Zombpocalypse”) also has zombie poetry posts.

The Zombie Hunter: A Survivalist’s Journal [“A family man’s guide to surviving the zombie apocalypse”] isn’t poetry but is impressive: it’s been going pretty steadily since 2010, complete with pictures, coconuts, and a thorough knowledge of firearms.

Why are zombies so freaking popular? (or: Elisa thinks too much)
The prevalence of a smaller genre like poetry dedicated to the zombie wave is just a piece of the fascinating trend. The prevailing attraction of zombie/zombie-fighting culture, I think, is the focus on vivacity and resourcefulness amidst the breakdown of society. You have to rob the grocery store to eat and you have to destroy the staircase of a building to secure it from zombies, but the stealing and destruction are by themselves also pretty exciting. And in this generation, one of the first to grow up in such a (generally) stable and structured society, craves some sense of rule-breaking and the ability to use their imagined Crusoe/Macguyver-esque survival skills.

Zombies are also about death, but not because they’re dead. Zombies as a villain are extremely basic (I’m talking about slow-moving zombies, here, generally): in World War Z Brooks pointed out that you have no hope of discouraging zombies; there is no leader to go after and you cannot, like humans, make them uncomfortable or fearful. We fear zombies not because they’ll go after us quickly and suprisingly, but because they’re slow and, as much as we ignore or outrun them, we know that they’re still coming. A scenario in which we lose to zombies wouldn’t be large and violent and exciting – it would be, simply, slow and inevitable.

Our fear of zombies precisely mimics our fear of death, which I think is a sort of manifestation of a denial of death in contemporary culture for the past century.