Headless in the Garden – Facebook & Free Speech

It turns out this is Free Speech Week, although I doubt this fact had anything to do with the timing of Facebook’s recent dustup over its decision to allow videos of beheadings on its pages. On Monday, it was reported that executives at Facebook had decided to lift a previously imposed ban on sharing videos that depict actual beheadings committed by terrorists and gangsters. The company almost immediately reversed this decision in response to what appears to have been universal revulsion by users. Of course, our disgust doesn’t mean sharing these videos is not a matter of free speech, but neither is it a First Amendment issue simply because Facebook says it is.  Regardless, the story raises some of the cultural and/or legal questions inherent in our relationship to social media, so it’s an interesting topic after we all agree that almost none of us wishes to see, let alone have our kids stumble upon, a video of someone being decapitated.

The first question it seems we grapple with is whether the company that owns a site like Facebook does or does not bear responsibility for the content we users post on its walls. In principle, if the site establishes any rules governing content at all — and they wouldn’t get far in most countries if they didn’t — then the very existence of said rules implies responsibility.  Facebook, for instance, does not allow nudity to be posted, and the reason is obvious; there are simply too many ways to run afoul of existing laws pertaining to obscenity or to sexuality and minors. Every teenager posting a naked selfie would be a legal entanglement for the company. Yet, it’s easy to wonder why it matters when minors are a mouseclick away from being exposed to every kind of pornography outside the walled garden of Facebook.  While executives at the company are not entirely wrong that protecting kids from exposure to horrific images is a job for parents, our voluntary presence and activity on the site is a bit like entering a shopping mall where the landlords are allowed to turn our interaction into revenue.  As such, it isn’t really public space.  If I put a bunch of violently offensive posters on the walls in my local shopping center, I could be arrested; but the mall owners could easily be sued if they chose to leave the posters up on the grounds that I was exercising my right of free expression.  This argument would never fly in physical space, and it doesn’t appear to work so well in virtual space either.

The attitude of most site owners tends toward a laissez faire approach to content shared or created by users; and this is legitimately understandable given the slippery nature of trying to define protected vs. restricted speech.  Still, I suspect the primary motivations are financial rather than ideological.  When one is in the business of monetizing traffic, it’s simply easier not to care what drives that traffic.  But when thousands or millions of users dog-pile onto some content or activity that is truly depraved, we do have to decide whether we’re okay with allowing the walled gardens of social media to become new Coliseums of grotesque spectacle.  From anecdotal observation, it seems most users are not okay with this and that they do want to hold site owners accountable.   When Caroline Criado-Perez campaigned in the U.K. for Jane Austen to appear on British bank notes, she received  a deluge of death and rape threats via Twitter. The company was ultimately forced to respond to public demand for greater capacity to report and mitigate abuses through the social network.

With regard to the decapitation videos, Facebook tried to play the pubic service card, claiming that people were sharing a particular beheading video “in order to condemn it, but one must ask to what end?  So we can put those pro-beheading folks in their place?  There is a persistent conceit that the Internet brings us realities from around the world that traditional news media does not deliver and that we are thus able to confront hard truths head-on and address them. Sometimes, this is the case, but often it’s just bullshit.  Nothing, for example, will happen as a result of 20,000 or 200,000 people watching a video of a gangster or a terrorist beheading someone except that a majority of viewers will wish they hadn’t seen it, and a small number of viewers  will anesthetize their senses to a medieval form of murder.  What possible social value would Facebook’s perhaps-too-insulated executives imagine coming from allowing these videos?  What is anyone meant to learn that would manifest as some action we might take?  Absent a good answer to those questions, one must conclude that the motivation is spectacle itself.

Certainly I believe free speech is the most sacred right to be preserved in a free society, and in order to protect this right, most of us understand that we must defend it absolutely even for expressions we find offensive.  It seems, however, that those who presume to lead in the digital age would expand this principle to include all transactions made through these technologies, even when there is technically no speaker and nothing being said.  This is perhaps a byproduct of labeling all user-provided substance with the generic content.  A rape-threat tweet or a poem are the same thing, measured only by the attention they attract.  It is comforting to see that plenty of so-called users have not quite bought this rationale.  So, Happy Free Speech Week!

Compare & Contrast

Here’s one way the Web is being used by a group of young artists in collaboration with one of the “evil”  big media companies:

backstory 1

 MTVu created a challenge campaign called “Against Our Will,” asking students to submit creative concepts to highlight the problems of modern-day slavery.  The winning entry came from students at James Madison university and grew into an online, multi-media project called The Backstory, combining music, interpretive dance, story-telling, and an RPG-style interface to help viewers understand various human trafficking scenarios that could be happening in their communities. Collaborators on the project include rapper Talib Kweli and dancers from Ailey II, with choreography by Troy Powell and music by Kenna.

Backstory DanceI watched several of the pieces on The Backstory, and there really is something extraordinary that takes place when a concept or message is synthesized through artistic media.  I already pay attention to trafficking stories on a regular basis and have read or watched plenty of documentary video or news segments that convey real and horrific anecdotes about the victims of modern slavery; but seeing the familiar themes transformed into a shadowplay expressed by these exceptional dancers creates a tension between beauty and horror that leaves a unique and lasting impression. It’s not that we should turn away from the cold facts of the documentary forms, but I do think our psyches have natural defenses against staring too long into the real face of depravity; and one thing that art does so well is to build new routes past these defenses to reach our empathic instinct for response.

So, this is what artists do when they decide to lend their talents to fight for freedom — not a perceived, complacent, or academic idea of freedom, but real freedom from real bondage, real abuse, and real murder.  By contrast, it seems to me that too many self-appointed “defenders of the Web” presume to bestow upon every hacker and content exploiter the honorific titles freedom fighter, innovator, or cultural game changer.  The hypocrisy would be funny if it weren’t so serious.

Presently, people like David Lowery, Ellen Seidler, and Chris Castle are focused on mainstream advertisers whose banner ads appear on torrent and other infringing sites, and this is certainly an important issue.  But in the contextual question at to whether or not these sites are about freedom and culture, or using the Web to its best purposes, let’s take a look at what appears to be the majority of advertising on some top torrents.

Kickass KingsHere’s Kickass Torrents, which is listed in the #3 spot by TorrentFreak among the 10 Most Popular of 2012.  Of course, #2 Torrentz is actually a meta-search site, making Kickass the functional #2 behind The Pirate Bay, which supposedly has over two billion page views per month. I purposely chose a page for downloading Oscar winner The King’s Speech, picking a film a little more high-brow than the most popular stuff just to see if it has any effect on ad service; but the reality is that most of what appears on any page on Kickass will be a banner that looks like this:

KA BANNER

It’s one variation or another on themes designed to titillate the 18-24 year-old male, which is the majority demographic using torrents.  The link in the middle reads:  10 Disgraceful Intimate Acts 87% of Girls Regularly Do!

So, just to review before we go any further, The Backstory is just one example of how artists will use the Web to fight the exploitation of women, whereas I’m about ten seconds into my browsing Kickass Torrents before being invited to think of women as 87% sluts.  But where does this ad lead?

If you click on the link, you won’t actually find any research on women who regularly do something “disgraceful and intimate,” but you will be about two clicks away in almost any direction from landing within the reach of a snake-oil business called The Tao of Badass.  This is a kind of self-help program comprised of books, DVDs, a blog, etc. that claim to teach any man how to get women — not how to have a better relationship or find love, just how to get lots and lots of really hot women in the sack using the “techniques” you can only learn from The Tao of Badass.

tao of badass

Now, it’s a given that the majority of torrent users won’t click on any of these banners, but out of let’s say a very conservative three billion page views per quarter, that one half of one percent are men desperate enough to believe they can learn techniques to become real ladykillers.  That’s 15 million potential customers for Tao of Badass.  And let’s say only one percent of these suckers buy the 10 DVD set for the “discount” rate of $47.  That would be over $7 million in sales for Badass Ventures, Inc. based in San Carlos, CA.

What’s interesting about the mechanics here is that Tao of Badass is not an overt advertiser on the pages of Kickass Torrents.  It just happens to be the default recipient of the lion’s share of generically produced house-ad traffic.  And guess whose books and videos are not available for free download on the Kickass sites? Smell funny in here yet?

But let’s move on to an even more relevant contrast to The Backstory

MLP Asian

Welcome to The Pirate Bay, where a large portion of the ads are like this one:  We Got Asian Schoolgirls, in this case appearing next to a list of episodes of My Little Pony. Now, I understand that particular show isn’t just for little girls, but we’ll leave the phenomenon of the Brony for another conversation. Suffice to say that these ads generally lead to one version or another of a page promoting a “dating service,” which is generally not about dating so much as international matchmaking.  These services connect western men with women in Asia, Russia, Ukraine, etc. So, far, the reviews on these services seem mixed.  I haven’t seen any reports connecting these legal (if a little sleazy) matchmaking services with sex tourism, which is a different enterprise known to involve trafficked sex workers.

At worst, it seems that these sites and services are generally designed to string men along while extracting as much money as possible from them. It doesn’t appear that many happy marriages come about in this way.  And here’s a fun example that you have to love:  the top service and the one most likely to be linked to The Pirate Bay, Anastasia Date, supposedly charges up to $8 per email between the user and the apparently interested woman on the other side of the world.

So, let’s review again. . .

The Pirate Bay provides stolen, free media that users are too cheap to pay for, but  the site is littered with ads designed to entice some of those users to cough up eight bucks an email to correspond with Olga in Odessa, who might actually be Brad in Bangor, Maine (Bangor is where Anastasia International, Inc. is located).  Is it getting creepy in here, or is it just me?

There is no question the Web is very often used as a tool to exercise free expression in unprecedented ways and from nearly any voice.  But when the leaders of that industry presume to claim that our criticism of sites like Kickass Torrents or The Pirate Bay is tantamount to chilling the same right of speech being exercised by the artists behind a project like The Backstory, how does all reason not veer into the abyss of ordinary ignorance?

Paying Attention to the Echo Chamber at CES Copyright Panel Discussion

“The Pirate Bay is speech.” This is a quote from one of the gurus perched on the mountaintop of techno-utopianism, John Perry Barlow, who appeared yesterday as a member of a panel discussion held at CES2013 in Las Vegas.

The subject of the discussion was “A pro-artist/pro-innovation approach to copyright,” although the panel did not include anyone representing any counterpoint from contemporary artists, and the conversation was typically vague on what exactly these folks mean by “innovation.” According to moderator Declan McCullugh, a reporter for CNet, an invitation to join the panel was declined by the MPAA; and I suppose that could be considered an effort toward balance, although I think it’s a little like saying, “We’re here to talk auto manufacturing, and the president of Ford doesn’t want to be a straw man, so we didn’t bother to invite any of a zillion other people who make a living actually building cars.” To his credit, McCullugh was mildly deprecating about the one-sided, anti-copyright love fest he was hosting — there’s not much to moderate when everyone agrees with one another — but that doesn’t mean the discussion failed to reveal anything of interest.

The full panel included:

  • John Perry Barlow – Co-Founder , Electronic Frontier Foundation, EFF
  • Wilson Holmes – Co-Director , Fight for the Future
  • Mike Masnick – CEO and Founder , TechDirt
  • Hank Shocklee – Founder and CEO, Shocklee Entertainment
  • Gigi Sohn – Co-Founder and President, Public Knowledge
  • (And surprise panelist) Derek Khanna

Of course, had the panel included an independent filmmaker, a small record label producer, a photographer, or an independent musician, the conversation might have been forced to settle down from its lofty heights and overused talking points poking “the content industry” into the nuts and bolts of everyday realities faced by middle and working-class creators. But the petty challenges of middle-class individuals seem to be of little concern to these folks, who believe they’re on a mission to bring about a brave new world. Gigi Sohn stated that any kind of new anti-piracy legislation, were it to dare raise its head in the post-SOPA landscape of net snipers like Public Knowledge, ought to be “grounded in reality.” It’s hard not to laugh at this in light of the fear-mongering exaggerations promoted by her organization and others about SOPA, but beyond that, reality is by definition something different from the the Internet. As such, I’m grateful to Barlow for making one of the few declarative statements that gets right to the reality underlying much of the noise on these issues.

We could set aside all the nit-picky squabbling over dollars lost and earned by big corporations, all the petty complaints about occasional, improper takedowns, all of Lawrence Lessig’s celebration of remix culture and Derek Khanna’s vague references to innovation, and make a decision as a society as to whether or not Barlow’s statement, “The Pirate Bay is speech,” is correct.

Taking a conservative point of view, law is what we as a society agree is immutable (e.g. murder will probably remain illegal), and anything beyond that is up for discussion and maybe shouldn’t be law. Before we could have a discussion about a new approach to copyright, then, we’d have to decide what, if anything, is immutable. Either Barlow is right that an enterprise like The Pirate Bay, which (let’s not mince words) makes its revenues by exploiting the works and investments of other people, is protected by free speech, or he’s wrong. This is a decision the next generation, one that is used to getting entertainment media for free, has to make; and I believe that if they make the expedient decision that Barlow is right, that they and their kids will pay dearly in the future. And the price could be more than the loss of creative culture.

I think it’s safe to say that, before we were on the Internet, before everything could become sharable data, that nobody would rationally have argued that selling bootleg CDs out of a car trunk would be an act protected by free speech. That being the case, the philosophical/legal question is, “What’s really changed?” The techno-utopian says we have to expand our definition of speech on the grounds that, in the digital age, it is all too easy to chill speech; but they fail to acknowledge that they’re standing on a theoretical peak with slippery slopes on all sides. If we define everything as speech, then it’s true that any restrictions of any kind in the digital world can be said to chill speech. The slippery slope in the other direction, though, is that if the business of The Pirate Bay really is speech, then so is a site or a link that promotes human trafficking. As a matter of pure reason, what’s the difference? In real life, both enterprises involve the exploitation of actual human beings (albeit one more grave than the other); but in cyberspace, both enterprises are just benign data, right? Either we will choose to define boundaries going forward, or we will not; and I am not alone in believing the consequences of that decision will become very real within a couple of decades.

Techno-utopians like the ones on yesterday’s panel like to refer to the horrors of a grandmother having her video taken down, either purposely or by accident, from YouTube and then imply that each of these anomalous incidents moves us one step closer toward authoritarian rule. In response to the comparatively benign deprivation of having a video removed from the Web, these folks would have us hyper-extend speech to the inclusion of real physical and economic harm. As I have argued before, this is like legalizing homicide in order to make sure no one is ever again wrongfully sent to death row. If we can negotiate the gravity of such flaws in our legal framework, surely we can get past a few wrongful yet survivable takedowns on the web.

Ostensibly, this panel discussion was about a copyright system that’s good for artists and innovators; but Barlow’s foundational statement puts the artists, who historically test the power of free speech to profound cultural effect, on par with common thieves who dilute both the cultural and economic value of the works they steal. And the implications could be far more serious than what happens to music and movies. To quote Chris Ruen from his new book Freeloading, in which he unknowingly echoes the name of this blog: “But behind free content’s superficial illusion of more lies a long-term reality of less. Sooner or later, it is something we all have to pay for.” Looking beyond the Web’s ability to expand sharing of entertainment media, I believe that price could be something far more dear than money.