Pupil Barrister

Category: Diary (Page 135 of 300)

Things that happen to me, or things I do

Shirky's Third Way

Here’s Clay Shirky in Cognitive Surplus, discussing differing views on human behaviour and how that affects political ideology:

Assumptions that people are selfish can become self-fulfilling prophecies, creating systems that provide lots of individual freedom to act but not a lot of public value or management of collective resources for the greater public good. Systems designed around assumptions of selfishness can also crowd out solutions that could arise when people communicate with one another and enter into agreements that they jointly monitor and enforce. Conversely, systems that assume people will act in ways that create public goods, and that give them opportunities and rewards for doing so, often let them work together better than neoclassical economics would predict.

I think this is as good a description as any as to why some people end up as small-c conservatives and others as small-s socialists. The latter is the view that I tend to, one that seems inherently more optimistic about human nature than conservatives or indeed libertarians would have us believe.
Shirky goes on to describe how neoclassical economics, which prizes the firm and enterprise as the most efficient form of collaboration, prevailed (in the 20th Century) over the socialist, state-led alternative. However, the rest of Cognitive Surplus goes on to describe models of co-ordination that are neither market-driven or state-sponsored. OpenSource projects like Linux and Apache and user-generated websites like Wikipedia are obvious examples. The Third Way is often used to describe a centrism, that combines elements of capitalism and socialism. Private companies as the best way to improve public services, and all the other ideas that defines the approach (and inspired the name ) of my alma mater, the Social Market Foundation. However, a not-for-profit, “commons” approach seems a much better definition of a Third Way – a genuinely different method of co-ordination, not just a split-the-difference compromise.
Moreover, this idea of community project building on a not-for-profit basis seems very close to David Cameron’s Big Society! I am still reading Cognitive Surplus so cannot comment on Shirky’s overall conclusions, but I suspect that Big Society-type alternatives to capitalism and command-and-control will be presented. The question is – Can we use our cognitive surplus to deliver essential services? OpenSource media? Definitely. Maybe even banking and transport. But hospitals?

Free Eynulla Fatullayev

Yesterday, English PEN took part in a demonstration with other free speech organisations outside the Embassy of the Republic of Azerbaijan. We demanded the release of Eynulla Fatullayev, and editor who was imprisoned for defamation of the state (i.e. criticising the government), a law which it is generally agreed is an infringement of the right to free expression.
During the demo we made a short video, featuring yrstrly.

The protest was convened in part to show solidarity with Azeri writers and Fatullayev’s family, so providing a translation was essential. After edting it, we used a nifty tool called CaptionTube to create subtitle tracks for the video.
Photos are available too:

The Psychology of our Immigration Unease

'Her Eyes' by Ranoush on Flickr. Creative Commons Licence.

‘Her Eyes’ by Ranoush on Flickr. Creative Commons Licence.


Having complained earlier this week about The Times reposting wire copy behind their paywall, its now time to point out that some writing is worth paying for.  Despite his Toryness, I think Matthew Parris is one of the most honest and eloquent columnists writing today.
Last Saturday he returned to the subject of burkas, and other religious and cultural uniforms, making an attempt to articulate why he and other British people might find such uniforms uncomfortable:

I wonder whether it really is only the burka’s particular capacity to hide the face that nettles us.  I believe there’s something more: that we see the decision to wear a burka as an insult, however passive, to ourselves; that we take the wearing of this veil as an expression of rejection by the wearer, or her husband, of the culture and society in which they live. We think that they are trying symbolically to shut us out, to define themselves against us. We think we see the uniform of an alien grouping: a passive-aggressive shunning of the host country.
Now this isn’t fair. Many burka wearers would be wearing burkas too in the countries from which their families come. But it is a fact I cannot deny that when I walk the pavements of Whitechapel in East London and pass women in the full black veil whom I sense do not want to acknowledge or speak to me, I feel very slightly affronted. I can’t help this. To any Muslim reader who may protest that I ought not to feel like that, I must, in all sincerity, give this reply: however you think non-Muslims ought to react to the full veil, this is how we always will. You’ll have to take it as a given.
An accepted wisdom of modern sociology is that racial insult is to some degree in the eye of the individual offended, rather than the intention of the offender. If this argument cuts one way, it must cut the other too. On this page yesterday Hugo Rifkind argued that race and culture are sideshows, and it’s all about jobs and economic competition: a powerful argument that I flatly reject. Poles are taking our jobs; burka wearers aren’t. But Poles are quite popular in Britain.
If I’m right about the wearing of religious or cultural uniforms that define the adherent against — as it were — the world in which he finds himself, then this would explain the slight hostility I feel (and must immediately combat in myself) on encountering groups of Hassidim with ringleted hair, in black hats, thick spectacles and heavy black coats. What is wrong with the rest of us (I hear myself mutter) that you want to separate yourselves from us in this aggressive-looking way? I feel it a bit with nuns, too. I feel it with stud-pierced youths with spikes on their lips: “Why do you hate our world so much?” I sense myself silently asking.
Then there are the shouty crucifixes that seem to announce that the rest of us are on the wrong side of a sheep- versus-goats divide. I’ve not the slightest doubt that those orange- swathed Hare Krishna people you see on the London pavement are the most harmless creatures alive, but their uniform is telling me that they’re special, and I’m not; and I don’t react well to that. I’ve even felt this with the wearing of the Jewish skullcap in a secular, mixed and workaday environment: “Ok, but why do you need to wear that thing?” a voice within me says — to which another, fairer, one replies: “And why shouldn’t he? Must he justify to you what he puts on his head?”

Its also possible to feel the opposite. When I walk between the saris and sarwar kamises on Tooting High Street or Ealing Broadway, it makes me feel cosmopolitian, international, and worldly (although I would be lying if I said I was not similarly puzzled by Burkas). Regardless of my personal feelings, I appreciate Parris’s article because he acknowledges that we are intelligent animals, capable of introspection. We may have certain inate fears about ‘The Other’ (be they Muslims, Jews, or Hare Krishnas) but we are equally capable of some rudimentary self-psychoanalysis.  We are not slaves to our fears or our gut instincts – we can transcend them in favour of a shared humanity.
Acknowledging our discomfort over migrants is the start of a conversation about ourselves, our country, and our species. Contra to what both David Cameron and Ed Miliband seem to be saying, such feeling are not a legitimate reason to criticise immigration policy. Portraying white Britons as uniformly panicked and distrubed by the changing face of our community is patronising and simplistic, and may even legitimise the reactionary views of the Far Right.

Kate's Confirmation Churnalism

Pintando a la Monarquía

Pintando a la Monarquía by americanistadechiapas on Flickr


Last weekend I made the assertion that Kate Middleton’s confirmation had been subjected to a press strategy, and was thus an appropriate topic for debate and conversation on the blogs.
I realised I had not actually linked to any online story announcing the news, which isn’t ‘best practice’ in blogging! However, Googling the story reveals something odd – the stories from many respectable outlets are exactly the same, revealing that they are indulging in lazy churnalism. The structure and wording of the stories in the Telegraph, Standard, BBC, Daily Mail, The Mirror, Daily Express, The Sun, and ITV are all pretty much exactly the same.  The Guardian at least tried to disguise their recycling by adding a knowing, chatty paragraph at the start of their article.. but the content is otherwise similar.
This is understandable, because the earliest of the articles I found was from Reuters, so one assumes that they had the scoop and put it out over their wire for other news organisations to pick up.  That’s how it works.  However, such blatant exposure of the way that news reporting operates should make us reconsider what value newspapers and broadcast media actually bring to us.  In the internet age, is it actually useful to the public to have hundreds of versions of the same story online.  Why not just link to the original post?  Newspapers are quick to tell us that reporting must be paid for, and that we have an obligation to support an independent media.  But why, when they are not doing independent reporting?  Most appalling is the fact that The Times report was also obviously recycled from the same press release, but it is behind a paywall!  Shocking.

War Horse on Broadway


The making of War Horse – projection and animation from 59 Productions on Vimeo.
Tenacious readers will recall that I had some small involvement in War Horse, the preposterously successful National Theatre production that transferred to the West End, and now Broadway. Fifty Nine Productions has just published a short film on the video design element of the show.
In the Guardian, Patrick Kinsley has a round-up of the New York reviews, including some emotional blogging:

“I wept silently yet uncontrollably,” writes blogger Lisa Lindblad. “I am not capable of emotional distance in the face of an animal’s pain nor an animal’s love. I was distraught. And, so, I made it through until intermission and then left. Reluctantly, sadly, but self-protectively.”

Here are the puppeteers behing the show, Adrian Kohler and Basil Jones, speaking (and performing) at a TED talk.  I worked with them in the early workshops for War Horse, and it was fascinating to see how they developed the subtle movements that made the wooden contraptions so lifelike.

For full geek points, you might like to look at this experimental stop-motion animation I made in 2007, one evening after work at the National. In one shot you can see the horse puppets in the background, swaying in the air-conditioning and looking not unlike a real animal resting after a hard day in the field. It was odd yet brilliant that even the most rudimentary rehearsal models seemed to have that life to them.

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