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Posts tagged information technology

Haystack, how the hackers are going to bring us freedom

H/t to Kevin Carson writing at the Centre for a Stateless Society yesterday for binging this to my attention.  Way back I wrote about how whether our futures are free or totalitarian will likely be down to the fiendishly clever folks who hack away at systems, finding a ay through a firewall here, a method of covering our tracks there.  There are lots of potential internet based technologies that could lock the state out of our private lives, preventing them seeing what we are looking at, finding out how much money we have or are making or spending and so on.

The ironic thing about something like Haystack, intended to protect internet users in Iran from the heavy surveillance their government imposes on such activity, is that the US State Department are assisting with the project because they recognise it as a way of undermining an "enemy" state.  Can they really be so stupid as to not realise that things like this are likely to be the way we undermine their state surveillance in the future I wonder?

Meantime, in Britain, we no longer need intrusive central surveillance; big momma down the road is watching you:

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Information Technology and "Intellectual Property"

It seems so long ago now, but all the way back at the end of February, I was involved with the successful campaign to get a change of direction on the Lib Dem approach to the controversial "Digital Economy Bill".  One off the things I specifically called for in the spring conference motion was for an urgent policy working party to be established to look into issues around information technology and intellectual property.  So it is good to see that that working party is about to be formed, headed up by one of my co-signatories to the conference motion, now MP for Cambridge, Julian Huppert.  

Personally I am convinced that the current state protected system of "intellectual property" is not only unnecessary but also tends to stifle real competition, concentrating our cultural expenditure on those artists able to persuade one of a few oligarchical media giants to promote their cause.  Just so you know I acknowledge there are different "areas" under the amorphous banner of "intellectual property" and I am here of course talking mostly about "copyright" which is the more controversial area and specifically the issue the Digital Economy Act has tried to encompass.

And I think that the advance of information technology can be seen not so much as a threat, except to that oligarchy, but as an opportunity for more artists to get a more equitable share of that market.  What may today be seen as a facilitator of illegal sharing of the work of a relatively small pool of favoured, published and promoted artists could be transformed into a medium of discovery of all those many currently "undiscovered" creators.

Because let's face it, the overwhelming majority of people in the world with a story to tell or a song to sing are already not well rewarded for their creativity, whilst the favoured few achieve vast economic rents way over and above what they could have dreamed of when they switched from, say, unemployed TEFL teacher or jobbing journalist turned part time lecturer.  

There have been several "business models" for maintaining creative artists.  Many of the classical composers whose music survives today had influential, wealthy and often noble patrons.  Even today, nearly all of last year's Billboard top 40 earning musicians made by far the greater proportion (by which I mean up to 95%) of their large incomes from live performances rather than sales of recorded works.

The Internet makes the former of these a great possibility again.  Think of sites such as "Pledgebank" on which people pledge to do something so long as a certain number of others pledge something else.  This provides a mechanism for releasing creative works by subscription for example.  These modern day "patrons" would perhaps get something exclusive in return for their support while the artist could ensure they make a decent living by tailoring their offer as needed.  Serialisation may become viable and popular again - exclusive access, perhaps behind an Internet "pay wall", for fans wanting to be the first to read, view or listen to a new work - here repackaging and republication could be controlled by contract with the subscribers and in any case would be less worthwhile until the entire series had been released.

If publishers, promoters and media giants want a part of a copyright free world (and they need not be involved - with the technology required to produce artistic works getting more and more ubiquitous, low cost and easy to operate they could get frozen out) they would likely compete with each other to bid for exclusive first day launches and access to artists on promotional tours.  But rather than being able to rely on a "long tail" - since anyone could come along, copy the work and sell it in a different binding or imprint - they would make their money not by copyright farming but by actually working to find more and more undiscovered artists with whom to do exclusive launch deals.

Just because there would be no copyright does not mean that "passing off" would be acceptable.  It would likely still be adjudged fraudulent to present someone else's work as your own, and the risk of discovery and subsequent loss of reputation would be a big risk.  

There is a lot of emotive language used in the debate about copyright; such as that those who think copyright an unjust restriction on purchasers don't care about whether artists can monetise their work.  But let's face it, small, undiscovered artists have little real protection against abuse as it is.  Even if someone is caught breaching copyright, the very fact that the originator is unknown and does not make a lot of money from their work stands against them in claiming lost earnings damages.  Any one of the suggestions above ought to ensure that many more artists, currently not privileged by the support of media giants, would be discovered and be able to make a reasonable income, rather than having a few fat cats and many on the breadline.

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Information Technology and "Intellectual Property"

It seems so long ago now, but all the way back at the end of February, I was involved with the successful campaign to get a change of direction on the Lib Dem approach to the controversial "Digital Economy Bill".  One off the things I specifically called for in the spring conference motion was for an urgent policy working party to be established to look into issues around information technology and intellectual property.  So it is good to see that that working party is about to be formed, headed up by one of my co-signatories to the conference motion, now MP for Cambridge, Julian Huppert.  

Personally I am convinced that the current state protected system of "intellectual property" is not only unnecessary but also tends to stifle real competition, concentrating our cultural expenditure on those artists able to persuade one of a few oligarchical media giants to promote their cause.  Just so you know I acknowledge there are different "areas" under the amorphous banner of "intellectual property" and I am here of course talking mostly about "copyright" which is the more controversial area and specifically the issue the Digital Economy Act has tried to encompass.

And I think that the advance of information technology can be seen not so much as a threat, except to that oligarchy, but as an opportunity for more artists to get a more equitable share of that market.  What may today be seen as a facilitator of illegal sharing of the work of a relatively small pool of favoured, published and promoted artists could be transformed into a medium of discovery of all those many currently "undiscovered" creators.

Because let's face it, the overwhelming majority of people in the world with a story to tell or a song to sing are already not well rewarded for their creativity, whilst the favoured few achieve vast economic rents way over and above what they could have dreamed of when they switched from, say, unemployed TEFL teacher or jobbing journalist turned part time lecturer.  

There have been several "business models" for maintaining creative artists.  Many of the classical composers whose music survives today had influential, wealthy and often noble patrons.  Even today, nearly all of last year's Billboard top 40 earning musicians made by far the greater proportion (by which I mean up to 95%) of their large incomes from live performances rather than sales of recorded works.

The Internet makes the former of these a great possibility again.  Think of sites such as "Pledgebank" on which people pledge to do something so long as a certain number of others pledge something else.  This provides a mechanism for releasing creative works by subscription for example.  These modern day "patrons" would perhaps get something exclusive in return for their support while the artist could ensure they make a decent living by tailoring their offer as needed.  Serialisation may become viable and popular again - exclusive access, perhaps behind an Internet "pay wall", for fans wanting to be the first to read, view or listen to a new work - here repackaging and republication could be controlled by contract with the subscribers and in any case would be less worthwhile until the entire series had been released.

If publishers, promoters and media giants want a part of a copyright free world (and they need not be involved - with the technology required to produce artistic works getting more and more ubiquitous, low cost and easy to operate they could get frozen out) they would likely compete with each other to bid for exclusive first day launches and access to artists on promotional tours.  But rather than being able to rely on a "long tail" - since anyone could come along, copy the work and sell it in a different binding or imprint - they would make their money not by copyright farming but by actually working to find more and more undiscovered artists with whom to do exclusive launch deals.

Just because there would be no copyright does not mean that "passing off" would be acceptable.  It would likely still be adjudged fraudulent to present someone else's work as your own, and the risk of discovery and subsequent loss of reputation would be a big risk.  

There is a lot of emotive language used in the debate about copyright; such as that those who think copyright an unjust restriction on purchasers don't care about whether artists can monetise their work.  But let's face it, small, undiscovered artists have little real protection against abuse as it is.  Even if someone is caught breaching copyright, the very fact that the originator is unknown and does not make a lot of money from their work stands against them in claiming lost earnings damages.  Any one of the suggestions above ought to ensure that many more artists, currently not privileged by the support of media giants, would be discovered and be able to make a reasonable income, rather than having a few fat cats and many on the breadline.

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Server farm daydreams via Amazon.com


As my regular readers know, my translation business has really been on the rocks lately. This isn’t all bad. Being dead broke serves as a lot of motivation to look around for other things to do.

Way back in 1994 I registered the domain cat.net, when such things cost around US$50 per year. For the next six years, cat.net served as my own personal domain, with a Linux server at home and as many as 8 smaller machines in the house at different times. In 2001, I handed the cat.net domain over to my ex-wife as part of our divorce settlement and started using gogulski.com instead. She later sold the cat.net domain for a rather handsome sum, and the domain has been “parked” with various “coming soon” and parked-domain monetization schemes since then. In 2000, the main host, squeaker.cat.net squeaker.gogulski.com (”Squeaker” is one of Henry’s nicknames), moved into collocation with my ISP employer, carrying all of its email accounts, mailing lists and websites with it. The company collapsed, along with my interest in running my own Linux box, and I started migrating people off before everything at the office got shut down. I haven’t been involved in maintaining my own servers since.

Since June of this year, though, I’ve become very involved in building and supporting web infrastructure for various liberty causes, including operating websites for the Free Agents Network, the Motorhome Diaries, and the Ladies of Liberty Alliance. I’ve also started a blog hosting service, Freedom Blogs, which has now grown to a whopping ten users with no promotion, and am working on a few other new web projects besides.

And I’ve started running into limitations with DreamHost, the web hosting provider where all this stuff lives. I love the reliability and security of having the infrastructure taken care of in a secure data center, but, ARGH I want more control over my hosting environment.

So, I’ve been off at Amazon for a little while putting together a short shopping list for a web hosting cluster.

First, some cheapish web servers:

This could be okay for a just-starting-out database server:

But, oh, I need two of those. One for the database server and one for the storage server. Maybe they can back each other up.

And then a switch, of course:

All this for a mere $30,836 plus tax, shipping, insurance, etc. Oh, and then I need some UPS units, some cables, a rack, a KVM switch. I guess I’ll put this on my Christmas list.

Meanwhile, something like just two of those DL320 machines would work. $2576, plus extras… tra la la. Daydreams sure are nice.



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Tags: Amazon, Cisco, database, HP, information technology, Linux, server, web hosting

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Interview: Markíza Magazine

This interview was published, in Slovak, by Markíza Magazine on 2 July 2009.

The English text here is a loose back-translation of the Slovak text of the published article, which is available at mojacasopis.sk.

This is a translation of a translation of my own interview responses, and a bunch of things inevitably get lost in such a process. In a couple of cases, I’ve footnoted things that I feel I ought to clarify, but, with that, the text:

Verbal Aspect Bothers Me!

Text: Ľuba Kukučková – Photo: Oles Cheresko

Mike Gogulski has a Polish surname, was born an American and today is a citizen of no state. He has worked in the USA and in Belgium. Lately, he’s dropped anchor in Slovakia and has been living in Bratislava for five years.

At the old Slovak National Theater in Bratislava

At the old Slovak National Theater in Bratislava. Photo: Oles Cheresko, Markíza

To the east, he’s been as far as Košice, Guatemala to the south and Vancouver, Canada to the northwest. He doesn’t feel like a globetrotter, and he’s very pleased to be in Bratislava!

Mike’s paternal grandparents emigrated to America at the start of the 1900s. His mother’s ancestors came from Germany. Most of today’s Gogulskis live in the area of Poznań, Poland, but Mike doesn’t know them personally. Like many European emigrants at the beginning of the twentieth century, his ancestors, too, wanted to break their bonds with their motherland and become Americans. They had difficult lives, too, and there remained no time to preserve the Polish language and culture for their children. But now their great-grandchild has come back to Europe after all. He speaks four languages and, thanks to his spontaneous approach to people, has made many friends in Slovakia. In this way, he might be called a true world citizen. Mike Gogulski, however, has no citizenship. He renounced his American citizenship, and for the moment is only considering becoming a Slovak citizen…

School, LSD and Beer

Michael was born on 8 August 1972 in Phoenix, Arizona. His father got a job as an electro-mechanical engineer in Orlando, Florida, and there Mike lived with his family until he was 25 years old. Afterward, he roamed a number of states following jobs, from Minnesota to Connecticut and from California to Wisconsin. Eight years ago, his father died of cancer. His mother, Joan, lives in Florida. Mike’s younger sister, Karen, who works as a nurse, is raising two adorable boys – Cole and Chase – in Orlando with her husband, Billy. Mike sees his nephews only in photos, though. “In 1990 I started studying information technology at a university in Orlando, but then my interest shifted to LSD and beer,” he openly confesses. He quit his studies after the first semester. But he’s found his footing in life quite successfully. He has a ten-year information systems career behind him as a systems administrator, network engineer and IT infrastructure manager. He moved around a large area of the western parts of the US after work.

In 2004, in the wake of many work as well as personal expectations and failures, Mike left America. His girlfriend at the time wanted to teach English in a European country, someplace in the eastern bloc. She sent out inquiries and got a response from right here in Slovakia. They both moved to Bratislava and, though their paths parted later, Mike became fond of Bratislava. Since 2006 he’s begun devoting himself more to language, rather than to computers as in the past. He has become a translator, proofreader and editor.

Slovaks are Quieter

“Bratislava has its good and less-good sides,” the American native muses. “I never lived right in the city in the past, in the US. I thought that I’d hate the city, but that’s not so. I find living here pleasant. I like that Bratislava is small enough to offer a peaceful life while being big enough to have everything you’d expect from a city.” He has friends, lovers, ex-lovers as well as enemies here… He has been to Žilina, Košice, Prešov, Banská Bystrica and Zvolen. He has heard that Slovakia is a beautiful land and looks forward to discovering it over time. Does he sometimes compare Slovaks to Americans? To Mike, good and bad people are found everywhere. As a matter of principle, however, he judges people as individual beings, not as members of some group based on place of birth or the geographical divisions of the world. Mike believes that Slovaks, in general, are quieter than Americans. He’s had some awkward moments, though, with the hazards of Slovak. He’d been in Slovakia barely three months when he approached a group of girls at work with whom he often went to smoke outside the building. He asked: “Would you like to smoke?” And they took this a bit differently… They stopped laughing after a bit and explained the sexual undertone* of the question.

At one time he defended his trouble with the language by saying, “my Slovak is good enough for taxi drivers and waiters,” but since then he’s improved dramatically. He reads well in Slovak, in his humble appraisal, writes like a respectable schoolboy but has trouble, though, understanding responses in conversation. He works as a translator, and so he hasn’t mastered slang; he says his Slovak is more lawyerly. Really understanding a language demands growing up in the country. “I didn’t want to live in some sort of isolated bubble with other Americans and English-speaking people,” Mike says. “I would have felt cut off from reality. Many Slovaks say that Slovak is one of the most difficult languages in the world, but I don’t think so. That doesn’t mean, of course, that it’s easy. I took two years of Latin in school, so Slovak declension didn’t surprise me. Still, I’m not good at recalling when and how I should use the various cases. And the hardest thing for me – and perhaps for many westerners who come to Slavic lands – is verbal aspect. I want a magic key that would make it clear for me when to use the perfective aspect, but no such key exists!”

Mike is “Polyamorous”

Besides working with Slovak, Mike also translates official documents from Czech into English. He has simplified his lifestyle, and so he’s also living off smaller earnings. If he travels to the Czech Republic, he gets by in Slovak, and says the local people there observe him with interest. He once spoke Spanish very well, but has forgotten a lot. He believes, however, that if he traveled for a month to Spain or Mexico he would speak fluently by the third week. Though he behaves like a world citizen, he hasn’t traveled that much more of it. “In the US I moved from city to city every two years. I have been as far east as Košice, as far south as Guatemala, and as far north and west as Vancouver, Canada. I have been satisfied living here in Bratislava, and I don’t have any urge to move someplace else soon.” Mike got married in the US at 23, but the marriage lasted for only six years. From the marriage he has a nine-year-old daughter, Kyra, who lives with her mother in Georgia. Nobody from his family has visited him in Bratislava yet, though maybe they will come when his nephews grow up. Is he sad to be alone? “No. These days I am polyamorous (author’s note: in love with more than one person) and I’m not interested in an everlasting relationship of the marriage type.”**

Why did Mike renounce his American citizenship? “In its political, governmental essence, the USA appears to be a criminal organization. I don’t want to be connected with it in any way. I’m not against supporting society, but I am against taxes, which the state criminally demands of me from birth, and I don’t want to support others’ privileges. For me, ridding myself of citizenship was a way to bring my legal and social status into harmony with my beliefs. Perhaps later I will apply for Slovak citizenship, but that will be only for practical reasons, so that I can travel. I don’t want to have any sort of connection with the criminal organization known as the state. And, perhaps, I will not be a citizen of any country until the end of my life.”

* The Slovak verb fajčiť means, literally, “to consume by smoking”, as by smoking a cigarette. In slang it also means “to perform fellatio”.

** My actual words: “These days I am openly polyamorous, and not interested in a state marriage of any kind.”

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Tags: anarchism, Bratislava, information technology, libertarian, marriage, polyamory, renunciation of citizenship, translation

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