On Monday, Labour Party members received an e-mail from Liz Kendall in their inboxes: an open letter.
You probably think I’m writing to ask you for your vote in the upcoming election for party leader.
And I am.
But what really matters for our country and our party is another election – the one we’ll fight together in 2020.
By then, our country will have suffered under five more years of the Tories.
&cetera. I was a little underwhelmed by the text, to be honest. The values she lays out do not seem to delineate Kendall from other candidates, or even the other parties. “End inequalities” and “eliminate low pay” are policies that Labour surely shares with the Greens, the Liberal Democrats, Plaid Cymru and the SNP. Conservative Party Leadership Candidates probably would not put these issues at the top of an appeal to their members, but it would be difficult to find a Tory MP that disagrees with either. However, “we need a more caring society”, “We must share power with people” and “We need a future of hope for all our young people” are phrases that would make their way onto a Conservative membership e-mail. Only once in the e-mail does Kendall explain a policy difference between her and anyone else (on inheritance tax). So the aspirations and goals, worthy though they are, seem rote when stated by themselves. Continue reading Liz Kendall as a Quick Case Study on Political Persuasion in the Digital Age→
Ever since my intimate involvement with Sweet Fanny Adams in Eden, Internet-only art has been one of my recurring interests. Most recently, I noted the delightful xkcd cartoon that only really works properly online, using features available in computers. Art that is not simply a recording of a performance that took place in some place and time. Art that is not simply a scan or representation of something that exists on a wall or street corner somewhere. Art that you cannot experience anywhere but on a connected device. Art that could not have been created before the twenty-first century.
Here are two more examples, both extremely simple, both aesthetically pleasing on the surface, and both with an added beauty because of the collaboration that is inherent in their creation.
The ‘Innocence of Muslims’ nonsense also raises the questions on the other side of the controversy: should the American filmmakers have published the video? Should they have been are allowed to upload it to YouTube?
First: The principles of free speech are pretty clear cut in this case. The video is pretty awful, but does not call for violence towards anyone. So banning such a video would set a terrible precedent. It would allow the religious to censor criticism of their religion… And God knows, the Christian fundamentalists in the USA would relish that opportunity.
However, the question of whether the authors should have made the video is another matter. I wish they had not. They did it for hateful, disrespectful reasons. It comes from a bigoted mindset, and is designed to provoke and inflame. People who make that kind of art tend not to be very nice, interesting, or intelligent. But, to repeat the key point of the article I wrote about Günter Grass for the New Statesman, To say this is an act of artistic and moral criticism, not a statement on the principles of free speech.
Finally: should YouTube have removed the clip or suppressed it in certain countries? They did precisely this in Egypt, I believe. I think that this might be the most interesting part of the whole affair. On the one hand, YouTube is a private company, with its own Terms & Conditions that are distinct from the law of the land. If it wants to set a higher bar for free expression then I suppose it has the right to do that. On the other hand, YouTube has become so ubiquitous that It has become part of our public square, a shared communal space that is essential for democracy. Perhaps it has to act more like a government than a private company, and take a more permissive attitude to free expression.
‘Get Well Soon’ is a short film by BRAG Productions. Its a quiet, visceral horror starring Gresby Nash and Laura Howard. I saw it last year at The Exhibit in Balham and thought the combination of cinematography and sound design were particularly effective.
The film has finished its festival run and will be released online on 13th June. Here’s a short video of the cast and crew, talking about the making of the film.
Cycling home on Friday, I was unwittingly caught up in the London Cycling Campaign’s ‘Flashride’ across Blackfriars Bridge. They want the speed limit on the bridge to remain at 20mph but apparently the Mayor of London isn’t heeding the request, and it will become more dangerous for cyclists later this year.
In protest, several hundred cyclists rode together over the bridge, in full compliance with the Highway Code. I was able to take a little bit of footage of the happening.
Without wishing to boast or come across as some kind of syncophantic Mac fanboy, I must note how easy it was to capture and edit the footage. I was able to whip out my birthday iPad on the central reservation, take a couple of minutes of HD footage, and then cycle off down The Cut and homeward. It took all of ten minutes to edit the footage in iMovie and the longest part of the process was the HD upload to YouTube. The speed of ‘broadcast’ and ‘publication’ these days is truly revolutionary – causing a genuine shift in power away from elites.