Here’s a handy tool that many of our readÂers will appreÂciÂate. Skreemr allows you to search the web for audio conÂtent of your choice. It works like your typÂiÂcal search engine. Type “Mozart” and this is what you get. For tips on how to search most effecÂtiveÂly, click here. If you’re runÂning FireÂfox, you should conÂsidÂer installing the FireÂfox SkreemR search pluÂgÂin. Source: LifeÂhackÂer
In 2006, we learned that staff memÂbers on CapiÂtol Hill logged into Wikipedia and gave a parÂtiÂsan air-brushÂing to the biograÂphies of varÂiÂous ConÂgressÂmen and SenÂaÂtors. MeanÂwhile, in 2005, 15 paraÂgraphs were mysÂteÂriÂousÂly deletÂed from a Wikipedia entry on Diebold, the major AmerÂiÂcan votÂing machine venÂdor that has found itself at the cenÂter of recent elecÂtion conÂtroÂverÂsies. And soon enough, these edits were traced back to a Diebold IP address.
All of this raised the quesÂtion: Just how often is Wikipedia the vicÂtim of biased editÂing? And to what extent can corÂpoÂrate and politÂiÂcal entries be trustÂed? AccordÂing to Wired, some of these quesÂtions may be soon put to rest. A new web site called Wikipedia ScanÂner proÂvides a “searchÂable dataÂbase that ties milÂlions of anonyÂmous Wikipedia edits to orgaÂniÂzaÂtions where those edits apparÂentÂly origÂiÂnatÂed…” Much more easÂiÂly, users can now get a bead on just how prevaÂlent these spin jobs are, and, more imporÂtantÂly, they can help keep these parÂtiÂsan edits under betÂter conÂtrol. Will Wikipedia ScanÂner (and proÂgram like it) help save Web 2.0? PerÂhaps so.
That sounds like a strange propoÂsiÂtion. PodÂcasts are inherÂentÂly mobile, so what can make them more mobile? ApparÂentÂly myPodÂder can. It’s a free, cross-platÂform softÂware packÂage put out by PodÂcast Ready that has two notable advanÂtages. Once you regÂisÂter and install their free softÂware, you’ll no longer need to downÂload podÂcasts first to your comÂputÂer and then to your mp3 playÂer. Instead, you’ll be able to downÂload them directÂly to your MP3 playÂer via the interÂnet and cut out the midÂdle step. Beyond that, myPodÂder lets you update your mp3 playÂer from anyÂwhere you can get an interÂnet conÂnecÂtion. Now, you’re no longer forced to update your podÂcast colÂlecÂtion from one locaÂtion (as is the case with iTunes). It’s all free, so give it a good look.
If you have any othÂer good tips for workÂing with podÂcasts, please send them our way. Drop them in our comÂments below, or send them ma**@oc******.com”>via email.
If you’re genÂerÂalÂly wonÂderÂing how to work with podÂcasts in the first place, please see our PodÂcast Primer.
The most recent major forÂay into the world of culÂtureÂboxÂes comes in an entireÂly difÂferÂent size and marÂket niche: the Apple iPhone. It may look difÂferÂent, but it has all the hallÂmarks of a culÂtureÂbox. The iPhone wants to delivÂer video, audio and the best of the Web; it hopes to revÂoÂluÂtionÂize its marÂket; it requires monthÂly serÂvice fees and a hefty price-tag to use fulÂly.
Just like Microsoft and Tivo, Apple has had some strugÂgles in getÂting their new device to live up to its promisÂes. The batÂterÂies on many of the iPhones are not livÂing up to expecÂtaÂtions and some stanÂdard phone feaÂtures seem to be missÂing. The new phone purÂports to comÂbine the roles of iPod and cell phone more eleÂgantÂly than any othÂer device.
Music. Video. ConÂnecÂtion. The Tivo, Xbox and iPhone all want to sell us culÂturÂal serÂvices through an inteÂgratÂed sysÂtem of digÂiÂtal conÂtrol. Record or purÂchase conÂtent from the authoÂrized digÂiÂtal store and watch it on the authoÂrized device. All three comÂpaÂnies know that the sucÂcess of their prodÂuct depends on mainÂtainÂing a delÂiÂcate balÂance between defendÂing the walls of their digÂiÂtal kingÂdoms and allowÂing in enough outÂside conÂtent to remain flexÂiÂble in uncerÂtain marÂkets. All three boxÂes can be hacked and manipÂuÂlatÂed, of course, but their manÂuÂfacÂturÂers are countÂing on the vast majorÂiÂty of cusÂtomers to play along and pay along.
Just as the box-makÂers strugÂgle to cut deals with conÂtent proÂducÂers to make their digÂiÂtal offerÂings appealÂing to conÂsumers, the “traÂdiÂtionÂal” culÂture indusÂtries are desÂperÂateÂly strugÂgling to embrace new forms. The New York Times reviews videogames as well as plays, and just about every major media instiÂtuÂtion has launched some kind of blog, web video serÂvice or podÂcast so you can conÂnect with the critÂics on whatÂevÂer culÂtureÂbox you preÂfer.
CulÂture served up on boxÂes is very difÂferÂent from pubÂlic perÂforÂmance or ephemerÂal newsprint. We can save up hours and hours of it; we can carÂry it around or dupliÂcate it. When we build up a library of music and videos, we own culÂturÂal objects in a way that was nevÂer realÂly posÂsiÂble before, when the best we could do was own perÂishÂable physÂiÂcal media. We can replay, reforÂmat, share and colÂlate favorites, and we can use our rankÂings and ratÂings to find new works. A lot of the most excitÂing techÂniÂcal advances have had to do with conÂnectÂing culÂtureÂboxÂes, but that so far that conÂnecÂtivÂiÂty mostÂly goes to proÂvidÂing betÂter culÂture for solo viewÂing. The three devices disÂcussed here all hope to change that.
The reign of culÂtureÂboxÂes is in many ways the perÂsonÂal, digÂiÂtal verÂsion of someÂthing that hapÂpened in the late 18th cenÂtuÂry: The birth of the modÂern museÂum. The idea was to gathÂer art, knowlÂedge and hisÂtoÂry togethÂer and frame them appropriately—saving up culÂture for you in vast marÂble boxÂes. Today’s perÂsonÂal culÂtureÂboxÂes will nevÂer replace theÂater or museÂum-going, but they extend the same promise of culÂturÂal litÂerÂaÂcy (have you finÂished TheSopraÂnos yet?). These days the promise is affilÂiÂatÂed with brand name digÂiÂtal empoÂria.
Like the Xbox, Tivo, and iPhone, many of the first museÂums wantÂed to be everyÂthing for everyÂbody, offerÂing visÂiÂtors hisÂtorÂiÂcal relics, bioÂlogÂiÂcal specÂiÂmens and strange devices in a mishÂmash of art, sciÂence and hokum. No wonÂder the XboxÂes are on the fritz: they’re tryÂing to capÂture all our totalÂly conÂflictÂed interÂests in just one device. EvenÂtuÂalÂly we’ll figÂure out what digÂiÂtal conÂtent realÂly belongs in our pockÂet on a two-inch screen, what needs to stay in the livÂing room, and what to keep out of the box entireÂly. I should have some time to think about it while my Xbox gets repaired.
The online magÂaÂzine Slate runs most of its arts and culÂture stoÂries in a secÂtion called “CulÂtureÂbox.” IronÂiÂcalÂly, it’s takÂen the conÂsumer elecÂtronÂics indusÂtry sevÂerÂal years to catch up, but now it seems like every new gadÂget is marÂketÂed as a culÂtureÂbox, from the shiny iPhone to the pioÂneerÂing Tivo to the hot-runÂning Xbox 360. ManÂuÂfacÂturÂers, adverÂtisÂers and proÂducÂers everyÂwhere are thinkÂing about how to sell us sleekÂer, betÂter boxÂes and the media that go with them.
The trouÂble is, nobody is quite sure what the culÂtureÂbox should look like or what it should do. We can all agree on video, audio and some kind of storÂage funcÂtion. But do we want our media pockÂet-sized or on a big screen? Is the goal to enterÂtain us on the comÂmute or to build up a library of cherÂished media objects? More imporÂtantÂly, when we say “culÂture” do we essenÂtialÂly mean teleÂviÂsion or the whole panoply of forms? Are culÂtureÂboxÂes just TV by othÂer means or are there genÂuineÂly new culÂturÂal forms on the horiÂzon?
Last week Microsoft announced that Xbox 360s are failÂing in unpreceÂdentÂed numÂbers: A draÂmatÂic examÂple of CulÂtureÂbox AnxÂiÂety SynÂdrome. The new genÂerÂaÂtion of videogame conÂsoles allow us to do so much more than blastÂing aliens—video on demand, HD and Blu-Ray DVD playÂback, online chatÂting and music library manÂageÂment are just a few of the roles these parÂticÂuÂlar culÂtureÂboxÂes want to serve. The comÂplexÂiÂty is clearÂly an overÂload: the New York Timesargues that the $1 bilÂlion Microsoft is setÂting aside for this probÂlem implies that between a third and half of Xbox 360 conÂsoles could get the culÂtureÂbox blues. Now a high-levÂel Xbox execÂuÂtive has announced his resÂigÂnaÂtion, though few peoÂple think it’s a punÂishÂment since the platÂform is genÂerÂalÂly sellÂing well.
PerÂhaps I’m only writÂing because I use all these gadÂgets and my Xbox recentÂly sucÂcumbed to “red ring of death” synÂdrome. IronÂiÂcalÂly, it only freezes up when I use it to load a videogame. But there is a broadÂer issue here: the transÂforÂmaÂtion of culÂture from someÂthing we expeÂriÂence in conÂcert halls, movie theÂaters and othÂer shared pubÂlic spaces into someÂthing that we do on the couch or on the go.
The online magÂaÂzine Slate runs most of its arts and culÂture stoÂries in a secÂtion called “CulÂtureÂbox.” IronÂiÂcalÂly, it’s takÂen the conÂsumer elecÂtronÂics indusÂtry sevÂerÂal years to catch up, but now it seems like every new gadÂget is marÂketÂed as a culÂtureÂbox, from the shiny iPhone to the pioÂneerÂing Tivo to the hot-runÂning Xbox 360. ManÂuÂfacÂturÂers, adverÂtisÂers and proÂducÂers everyÂwhere are thinkÂing about how to sell us sleekÂer, betÂter boxÂes and the media that go with them.
The trouÂble is, nobody is quite sure what the culÂtureÂbox should look like or what it should do. We can all agree on video, audio and some kind of storÂage funcÂtion. But do we want our media pockÂet-sized or on a big screen? Is the goal to enterÂtain us on the comÂmute or to build up a library of cherÂished media objects? More imporÂtantÂly, when we say “culÂture” do we essenÂtialÂly mean teleÂviÂsion or the whole panoply of forms? Are culÂtureÂboxÂes just TV by othÂer means or are there genÂuineÂly new culÂturÂal forms on the horiÂzon?
Last week Microsoft announced that Xbox 360s are failÂing in unpreceÂdentÂed numÂbers: A draÂmatÂic examÂple of CulÂtureÂbox AnxÂiÂety SynÂdrome. The new genÂerÂaÂtion of videogame conÂsoles allow us to do so much more than blastÂing aliens—video on demand, HD and Blu-Ray DVD playÂback, online chatÂting and music library manÂageÂment are just a few of the roles these parÂticÂuÂlar culÂtureÂboxÂes want to serve. The comÂplexÂiÂty is clearÂly an overÂload: the New York Timesargues that the $1 bilÂlion Microsoft is setÂting aside for this probÂlem implies that between a third and half of Xbox 360 conÂsoles could get the culÂtureÂbox blues. Now a high-levÂel Xbox execÂuÂtive has announced his resÂigÂnaÂtion, though few peoÂple think it’s a punÂishÂment since the platÂform is genÂerÂalÂly sellÂing well.
PerÂhaps I’m only writÂing because I use all these gadÂgets and my Xbox recentÂly sucÂcumbed to “red ring of death” synÂdrome. IronÂiÂcalÂly, it only freezes up when I use it to load a videogame. But there is a broadÂer issue here: the transÂforÂmaÂtion of culÂture from someÂthing we expeÂriÂence in conÂcert halls, movie theÂaters and othÂer shared pubÂlic spaces into someÂthing that we do on the couch or on the go.
Here is a new and free course to come out of a StanÂford UniÂverÂsiÂty proÂgram that (full disÂcloÂsure) I help orgaÂnize. It’s called The Future of the InterÂnet: ArchiÂtecÂture and PolÂiÂcy (iTunes), and it’s taught by Ramesh Johari. The course, designed for non-techies, gets into the imporÂtant quesÂtion of whether the interÂnet will remain “neuÂtral” and freely availÂable to you and me. This course will appeal to anyÂone who has ever liked the work of Lawrence Lessig. (Please note that we’ll be rolling out a couÂple more lecÂtures in this course on a rolling basis.)
“The InterÂnet today has evolved a long way from its humÂble beginÂnings as a fedÂerÂalÂly fundÂed research project. As a sociÂety, we find ourÂselves increasÂingÂly depenÂdent on the InterÂnet for our daiÂly rouÂtine; and yet, the future of the InterÂnet remains a matÂter of vigÂorÂous politÂiÂcal, ecoÂnomÂic, and acaÂdÂeÂmÂic debate. This debate cenÂters around ownÂerÂship: who will own the infraÂstrucÂture, and who will own the conÂtent that the netÂwork delivÂers? UnforÂtuÂnateÂly, most of this debate does not involve a subÂstanÂtive disÂcusÂsion of the “archiÂtecÂture” of the netÂwork, or the role that archiÂtecÂturÂal design will play in shapÂing the ownÂerÂship of the future globÂal netÂwork.
This course proÂvides a non-techÂniÂcal introÂducÂtion to the archiÂtecÂture of the InterÂnet, present and future. StuÂdents will be takÂen on a tour through the inner workÂings of the netÂwork, with a view toward how these details inform the curÂrent debate about “netÂwork neuÂtralÂiÂty” and the ownÂerÂship of the future InterÂnet.”
Keen’s arguÂment can essenÂtialÂly be boiled down to this: Web 2.0 has brought us blogs, Youtube-style video, Wikipedia and othÂer platÂforms that proÂmote user-genÂerÂatÂed conÂtent, and it’s all killing our CulÂture. Hacks are now crankÂing out “an endÂless digÂiÂtal forÂest of mediÂocÂrity;” “the proÂfesÂsionÂal is being replaced by the amaÂteur… the HarÂvard proÂfesÂsor by the unschooled popÂuÂlace;” “kids can’t tell the difÂferÂence between credÂiÂble news by objecÂtive proÂfesÂsionÂal jourÂnalÂists and what they read on joeshmoe.blogspot.com;” “every postÂing is just anothÂer perÂsonÂ’s verÂsion of the truth;” with the net result being that in “today’s culÂture of the amaÂteur, the monÂkeys are runÂning the show.” Using his own words, that’s the gist of Keen’s arguÂment.
You’d think that by posiÂtionÂing himÂself as the defendÂer of high culÂture and culÂturÂal authorÂiÂty, Keen would uphold his end of the barÂgain. That is, you’d expect him to offer us a nuanced, careÂfulÂly-craftÂed look at the uses and abusÂes of Web 2.0. But that is not what you get here. MissÂing the mark, The Cult of the AmaÂteur is long on hyperÂbolÂic rhetoric (see above) and short on subÂtle thinkÂing and balÂance. It stretchÂes out arguÂments that ought to fill a 15 page artiÂcle to 215 pages, and reitÂerÂates the same points again and again. (Although tarÂgetÂed to the busiÂness comÂmuÂniÂty, the book places no preÂmiÂum on effiÂcienÂcy.) And then you have sprinÂkled in varÂiÂous diletÂtanÂtish refÂerÂences to philosoÂphers (Marx, Rousseau, HaberÂmas, etc.), couÂpled with slopÂpy readÂings of othÂer conÂtemÂpoÂrary media observers.
The ultiÂmate irony is that Keen’s polemic against amaÂteur conÂtent comes off as strangeÂly amaÂteurÂish. It’s mostÂly operÂatÂing at the same levÂel as the very bloÂgosÂphere he’s attackÂing. And this impresÂsion only gets conÂfirmed by his admisÂsion in the acknowlÂedgÂments: “I conÂfess that, as a writer, I remain a bit of an amaÂteur. This is my first book, and I’m still learnÂing the craft of this comÂplex busiÂness.” ApparÂentÂly, the divide between traÂdiÂtionÂal media and digÂiÂtal media, between high culÂture and low culÂture, is not as real and imperÂmeÂable as Keen would have us believe.
If anyÂone wants my copy of Keen’s book, just let me know. I will send it anyÂwhere in the US at book rate. But be warned that it has some illegÂiÂble marÂginÂaÂlia, and my kid dooÂdled on one page (page 40), unbeÂknownst to me. But think of it this way: You get what you don’t pay for. Our email address is in the banÂner above. First come, first served.
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