The propaganda website InfoWars has been banned from Facebook, the Apple iTunes podcasting platform, and Spotify. Most people have welcomed the fact that these technology companies have finally acted to enforce their own terms and conditions, though others (including, obviously, InfoWars itself) says that this is an infringement of free speech.
I was invited onto the BBC Victoria Derbyshire TV programme today to discuss the issue, alongside Karin Robinson from Democrats Abroad; and Neil Heslin, whose son was murdered at Sandy Hook Elementary School, and who has been taunted and harassed by the InfoWars website and its supporters. Continue reading
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Back in March, I participated in a round-table discussion hosted by the University College London’s Institute of Advanced Studies, on the subject of defamation. I will post my remarks at some point, but for now (primarily because of a media appearance I made today) I wanted to share a remark made by Dr Alex Mills about the state of Facebook Terms & Conditions.
What you have when you look at Facebook’s community standards is a defamation law that you would write on a postcard if you were trying to explain a sort of version of American defamation law to someone who wasn’t a lawyer.
Denmark have banned the burka and the niqab, because “we must be able to see each other and we must also be able to see each other’s facial expressions, it’s a value in Denmark”, according to Justice Minister Søren Pape Poulsen. That’s a strange sort of value: taken literally, it would presumably also mean a ban on motorcycle helmets and many kinds of carnival costumes.
We should call this out for what it is: an illiberal attempt to bait Muslims for electoral gain; and an attack on both freedom of expression and freedom of belief. This was my view when France enacted similar legislation in 2010, and in 2016 when some French municipalities tried to ban the ‘burkini’ on their beaches.
I find myself in the unusual position of agreeing with Boris Johnson on this issue. He wrote about it in his Sunday Telegraph column yesterday. Many people have criticised Johnson for likening the clothing (and the women who wear them) as ‘letterboxes’, which was indeed insulting and wrong. But I think the column as a whole is a classically liberal argument against harassing a minority. The veil might not be our choice, but its wrong to stop others from choosing it. I hate what you wear, but defend your right to wear it, as Voltaire or Tallentyre might have put it.
However, there is one piece of conventional wisdom on this issue that I think should be challenged. Johnson writes:
human beings must be able to see each other’s faces and read their expressions. It’s how we work.
Is it though? I suspect this ‘intuitive’ knowledge may not be as true as we think it is. A couple of years ago, when OFSTED said they would mark down schools where a veiled teacher hindered learning, a friend of mine wrote to me about her experience of being taught by a teacher thus attired:1
I went to a school in East London where five girls in my year group wore a full face veil. All five of them got awards for having the highest GCSE’s in our year.
My maths teacher had a full face veil and I was in her class from year 9 to 11. My maths grade improved from a failing U grade to me getting a C on the Higher Maths Paper. She was the best maths teacher I ever had. I learnt the most from her and improved my maths tremendously. My teacher before her was a man and he made me feel like I was really bad at maths.
It doesn’t matter if a teacher is veiled in my opinion. Even when they’re veiled the body language comes across. It really doesn’t matter at all.
See also the viral blog post by Thomas Mauchline, ’15 things I learnt about Islam and British values being a gay boy living opposite a mosque’:
You can do that look British people do to each other, when someone near by is making a scene, in a full face veil.
The eyes are the ‘windows to the soul’, apparently. So maybe its eye contact and one’s voice that are the real essentials for good communication, rather than facial expressions?
Earlier today I called the Vanessa Feltz breakfast show on BBC Radio London to make these points. The entire programme, with contributions from women who choose to wear the veil, is very interesting. My short twopenn’orth was at about 9:35AM, and you can listen to what I said via the player below or on SoundCloud.
1. Reproduced with permission, and lightly edited to remove names and places.
In an Aeon essay on the (surprisingly early) deforestation of England, Hugh Thomson writes this about our national identity:
The myth panders to our need for a sense of loss. There is an undercurrent of regret running through our history. A nostalgia for what could have been: the unicorn disappearing into the trees; the loss of Roman Britain; the loss of Albion; the loss of Empire. We are forever constructing prelapsarian narratives in which a golden sunlit time — the Pax Romana, the Elizabethan golden age, that Edwardian summer before the First World War, a brief moment in the mid-1960s with the Beatles — prefigure anarchy and decay. Or the cutting down of the forest.
One only need look at the near-ecstatic reception given to Danny Boyle’s Olympic rendition of our ‘green and pleasant land’, complete with shire culture and hobbit mounds, to see how easily history elides with mythology. Britons are supremely comfortable with that blurring — with a mythic dimension that adds gravitas to our self-understanding, and that imbues the land with a kind of enchantment, a magical aspect that is echoed in our narratives of how we came to be a nation, but is as illusory as the Arthurian lake from which the Lady’s hand emerges to grasp the sword.
This is a marvellous articulation of the ‘auto-stereotype’ of Deep England that Paul Watson coined earlier this year and which I wrote about in March.
The rest of Thomson’s essay is fascinating and you should read the whole thing. British woodlands were chopped down much earlier than we suppose.
Photo: The South Downs, by yrstrly. Available as a Creative Commons licensed image on Flickr, here.
I’ve been at Disneyland Paris this week, and it’s compelling. Every element, whether it is the sight lines, the architecture, or the set dressing in the queuing areas, has been carefully ‘imagined’ to create an immersive experience.
And yet the same time the place is weirdly discordant, because the spaces are too close to their Platonic ideal. The real ‘wild west’ could never have been as co-ordinated and compact as Frontierland; and the actual Paris, just a few miles away, has far less consistent architecture than the Ratatouille-themed Parisian square in Walt Disney Studios.
I think these contradictions are what fuels so many people’s obsession with the Disney theme parks (there are four five, the others being in Los Angeles, Orlando, Tokyo and Hong Kong). That, and the non-trivial logistics required to move and cater for thousands of visitors while staging a daily carnival and a several Broadway calibre song-and-dance shows, seven days a week.
Amid the co-ordination of the cast and the chaos of the crowds, I latched onto an obsession of my own—specifically the way in which an iconic design element can iterate its form and its meaning. I am of course talking about the Mickey Ears. Continue reading