Archive for the 'Commentary' Category

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This is Not Content; This is a Blog Post

This is not content; this is a blog post.

You are not consuming this blog post. It is not being depleted by you so that it will never be available to anyone ever again. Instead, perhaps you are reading it on a large computer screen. Perhaps you’re reading it on a laptop, large or small, sitting on a desk or in your lap. Perhaps you’re reading it on the screen of a tablet computer, or on the small screen of a cellphone. Perhaps it’s been printed out onto paper, maybe a plain letter sheet, or onto the glossy pages of a magazine, and you’re reading it off that. Perhaps you’re reading it aloud to a group of people, or perhaps you’re in that group of people, having it read aloud to you. But whatever you’re doing as these words enter your brain, you’re most certainly not consuming any content.

There is no such thing as content. There is no content industry full of content creators who create consumable content for content consumers. Instead, there is a diverse field of people, young and old, amateur and professional, communicating and manifesting ideas and information using a wide variety of methods and techniques. The end products of these efforts may be in the form of text, imagery, sound, or interactive experience, but none can be categorized as a generic, consumable commodity known as “content.”

If you are an artist, you are not a content creator. Perhaps you’re a painter, a musician, a filmmaker, a novelist, a comedian, a dramatist, a playwright, a game designer, a sculptor, a photographer, an animator, a puppeteer, a poet, or perhaps you’re a combination of all these things and more, but you do not create content. You make art.

If you are a journalist, you are not a content creator. You may report your stories through written words, through spoken words, through pictures, through video footage, through motion graphics, or a fusion of all these media, but you do not create content. You do journalism.

If you are an entertainer, you are not a content creator. You may entertain by telling a story, by doing a dance, by making people laugh, or by recording your conversations with fascinating people, but whether you broadcast this entertaining act with pictures, sound, or anything else, you do not create content. You do entertainment.

If you are an educator, you are not a content creator. You may write informative articles for an encyclopedia, deliver an enlightening speech to an eager audience, or create a presentation with charts and graphics, but however it is that you communicate your knowledge, you do not create content. You teach lessons.

All of these things are expressions of human thought, and yet rather than respecting their nuances, their diversity, and their individual importance, we marginalize them with our language, relegating all of what makes us unique as human beings to the generic, soulless, meaningless, newspeak descriptor of “content,” and their authors to a status of “content creators”. Yet, we do not refer to architects, carpenters, industrial designers, and the forces of nature themselves as “object creators”, and rarely, if ever, do we collectively refer to the results of their efforts as “objects”.

If you are a maker of things, a disseminator of knowledge, or anyone who contributes to the collective intellectual output of human beings, do not accept the notion that your work is less significant than a house, a chair, a piece of electronic equipment, or a rock. Do not allow yourself to be labeled as a mere “content creator.” Have more dignity than that.

CC0
To the extent possible under law, Zacqary Adam Green has waived all copyright and related or neighboring rights to This is Not Content; This is a Blog Post.
This work is published from: United States.

    MG Siegler Destroys the English Language — Episode 5

    Just when I thought that I’d never have to do one of these ever again.

    MG Siegler Destroys the English Language

    It’s been over a year since our friend MG has committed an act of textual assault (or at least since I’ve noticed). I’d begun to think he’d been reformed, and that perhaps he’d turned over a few new leaves, as opposed to “leafs”. But now, in writing Fast Break: As Of Last Week, Many At Sprint Thought They Were Merging With T-Mobile, MG Siegler has begun to slip back into his old, dark ways — the man he once was coming back to haunt him, reclaiming his soul.

    I’m talking, of course, about this atrocity of a first paragraph:

    This morning’s bombshell news that AT&T would be buying T-Mobile USA from Deutsche Telekom for $39 billion has left a lot of questions. T-Mobile customers want to know what it means for them? AT&T customers want to know what it means for them? Would-be iPhone buyers want to know what it means for them? T-Mobile and AT&T have started addressing those already. One thing not addressed yet: what does this mean for Sprint, the nation’s third-largest carrier?

    No, MG, this morning’s news doesn’t leave a lot of questions. You do, starting with your second sentence.

    “T-Mobile customers want to know what it means for them?”

    I’m not sure, MG, do T-Mobile customers want to know what it means for them? You’re the one writing the article, not me.

    “AT&T customers want to know what it means for them?”

    Or, are these rhetorical questions, MG? Are you expressing shock and disbelief at the fact that AT&T customers want to know what this merger means for them?

    “Would-be iPhone buyers want to know what it means for them?”

    Oh, no, I get it, MG; it’s not that at all. You just don’t know how to use a question mark.

    Really, MG? A question mark? I can understand a semicolon or an em dash — they’re not usually taught in second grade or anything — but a question mark? You don’t know that it’s supposed to be used on questions that you, the writer, are asking, as opposed to simple sentences that are about questions? If you’re making a statement that “T-Mobile customers want to know what it means for them,” then shouldn’t you be using a period? Why do I have to explain this to you? Is it really that difficult to understand? Do you just like using question marks? If that’s the case, there are all sorts of ways to write a sentence which calls for a question mark at the end, so why waste the opportunity on something horribly, horribly wrong?

    MG quickly recovers, using a colon properly in the final sentence of the paragraph, and continuing for the rest of the article with no readability-compromising errors. But the resurgence of his former tendencies concern and frighten me, and I recommend that we keep a close eye on him. MG is our friend, and I think I speak for all of us when I say that I hate seeing him like this.

      What the Hell is Going On With Plankhead.com’s Copyright Notice?


      To anyone with a passing knowledge of copyright, Creative Commons, and The Pirate Bay, the new footer for this website is probably extremely confusing.

      First, we have the Kopimi symbol, which is Piratbyrån‘s opposite-of-copyright symbol (i.e. you’re allowed to copy this, in fact please do so). This is then immediately followed by the word “Copyright”. And then to further muck things up, a Creative Commons notice.

      What? Cognitive dissonance? In my Internets?

      Actually, no. This is all easily explained by the third line: “This notice is not an endorsement of intellectual property law.”

      You see, I would love it if I could just slap the Kopimi symbol up there and free everything you see here from the prison of copyright just like that. Unfortunately, that’s not how copyright works.

      Wikipedia says “Kopimi is similar to the CC0 license created by Creative Commons.” This is inaccurate, and I’d change it if there were a source for me to cite (Which, since I’ve posted this, now there is, but it would look really bad if I changed it myself, so somebody else should go do it). You see, CC0 contains legal language which, to the extent possible under law, legally releases the work in question into the public domain. Kopimi, on the other hand, is a picture, a word, and a not particularly well-explained website. It is not legally binding.

      Perhaps this is exactly what Piratbyrån intended: who cares that it’s not legally binding, because we ignore copyright law anyway. I agree with that sentiment. However, I also acknowledge the reality that not everyone is Piratbyrån. Some people would refuse to make use of a free work if it’s still, legally, under traditional copyright. So I need to add some fine print, for their sake.

      Thus, first I add the traditional copyright notice, including the internationally recognized word “Copyright”. This is because, for better or for worse, Plankhead does hold copyright on everything here. I don’t have a choice in the matter. That’s the law.

      However, instead of saying All Rights Reserved, the next line is a declaration of Creative Commons licensing. Why the Attribution license, and not the aforementioned CC0? Because plagiarism is bad. If there’s any reason why some kind of copyright-ish law should exist, it would be to protect against that.

      Of course, I’m not really sure that the legal system should be used to prevent plagiarism. But, again, the people I’m writing this fine print for care about what’s legal and what’s not, so I might as well throw that in there. If you’re a free-spirited pirate, you’re ignoring everything after the big pyramid with the K, anyway.

      Speaking of which, why am I using the Kopimi symbol instead of the perfectly good Creative Commons logos? Because to the people who don’t understand copyright law, and don’t read the fine print, Creative Commons has a branding problem. Says Nina Paley:

      “Creative Commons” means “Non-Commercial” to most people. Fighting it is a sisyphean task. So I’m stuck with a branding problem. As long as I use any Creative Commons license, most people will think it prohibits commercial use.

      Kopimi, on the other hand, is a brand without connotations to most people. We have the opportunity to establish it as a “do whatever the hell you want” symbol, because that is, in fact, what it is.

      So that’s what’s going on with our copyright notice. The legal language is a necessary evil, but unless you’re a lawyer, ignore it all and do whatever you want. As long as you don’t try to pass off something from Plankhead as your own, it’s all good.

        Apple Motion is GPU-Accelerated, and Other Lies

        Well, apparently I was wrong that Apple Motion has no idea what a GPU is. According to Wikipedia:

        With version 3, Apple added 3D compositing, vector paint, and motion tracking to Motion’s toolbox. This added power, plus the GPU accelerated nature of Motion, allows it to be seen as a competitor to the more established packages from Adobe and Discreet.

        And Apple confirms this on the product page. Okay, I stand corrected. Motion is, in fact, GPU-accelerated, in the same way that a car is accelerated by blowing on the rear bumper.

        Or, perhaps it’s GPU-accelerated in the same way that the PC port of Grand Theft Auto IV is GPU-accelerated. In other words, actually isn’t.

        My MacBook Pro may be three years old, but it can run fucking Crysis at 30 frames per second. Here’s what happens when I play one of my Motion projects when there is literally nothing on screen, and every element that would normally be visible from this camera angle is disabled:

        Screenshot of Apple Motion playing absolutely nothing at 7 frames per second
        (Magenta is my background color, which means nothing’s there)

        Seven. Frames. Per. Second.

        Of nothing happening. Except for audio, but that can’t (or shouldn’t) be using that much processing power.

        Again, I don’t have a state-of-the-art system. I shouldn’t need a state of the art system to get a decent framerate of nothing happening.

        In any case, I’m still working on YFIAS. I finished the penultimate conference room scene last Wednesday, and wasn’t able to work Thanksgiving or the day after. Today I started the last conference room scene, and once that’s done I will finally be out of that god damn conference room.

          Major Breakthrough in Cracking HDCP, the DRM System That Restricts the HDTV You Bought


          HDCP, or High-bandwith Digital Content Protection, is a system that degrades the quality of or blocks audio and video from, among other things, Blu-Ray discs being sent to an unlicensed piece of equipment, with the intent of preventing unauthorized copying. In practice, it doesn’t actually prevent copying at all, and only serves to cripple older HDTVs that predate the technology, equipment built by hobbyists and smaller companies without the means to pay the technology’s licensing fees, Mac and Linux users with Blu-ray drives, or even a PS3 being used in a completely normal fashion. Fortunately, its defeat may be imminent.

          An anonymous individual posted the master key for HDCP, the (now former) trade secret on which the system’s encryption algorithm is based. This master key is what’s used to generate the vendor keys unique to each model of TV, Blu-ray player, etc., and now that it’s out in the open, anyone with cryptographic tools can create their own working keys.

          Essentially, the system is blown wide open. Permanently. A new master key can be created, but it would be incompatible with all of the HDCP devices currently in existence.

          No word yet on exactly how the master key was discovered, but it was probably reverse-engineered; it’s been known for a while that one could calculate the master key using less than fifty different vendor keys.

          The person who posted the key requested that it be mirrored, so I’ve decided to do so. Hit the jump if you’d like to see the HDCP master key.
          Continue reading ‘Major Breakthrough in Cracking HDCP, the DRM System That Restricts the HDTV You Bought’