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social sciences software licence madness

xirdalium Posted on Wednesday, 24th May 2006 by zephyrin_xirdalFriday, 5th October 2012

The insanity of greed
 

The day before yesterday an ↑entry called GABEK was posted to ↑ethno::log announcing a new qualitative research method, additionally a link was placed to ‘the method’s website’ gabek.com. It was stated that the method could well be of use for the practitioners of sociocultural anthropology, and the readers were wished to have fun in learning more about the method at said website. Marked as a ‘plus’ it was said that ‘we’ could invite the method’s creator for giving a lecture at ↑my institute. At first glance this kind of posts is an instance of what the blogosphere is good for, the ethno::log put to use as we intended it when we put it online years ago. Very quickly in the comments-section a discussion on the matter started to unfold. In consequence I took a li’l look into the matter myself. What I found made me post a longish comment. After having posted the comment my mind somehow wasn’t able to let drop the issue and more thoughts upon it crept up. So I decided to revise, rewrite and enlarge yesterday’s comment and to post the beefed-up version here. Let’s rock.

The acronym GABEK stands for “GAnzheitliche BEwältigung von Komplexität” [Holistic Processing of linguistic Complexity]. Sounds interesting, doesn’t it? It does, here is ↑a description:
 

Diffuse, particular knowledge is not solely found in organizations, but is nowadays sprawling all over the Internet. In our project we will show how scattered linguistic knowledge can be processed, structured, selected and presented with the aid of the software WINRELAN according the method GABEK to promote a holistic understanding of complex social phenomena and to facilitate decision-making that is accepted and supported by those concerned.

On this problem-oriented background the method GABEK® (GAnzheitliche BEwältigung von Komplexität—holistic processing of complexity) was developed by Josef Zelger and implemented in the software program WINRELAN® (Windows[®?] Relation Analysis) by Josef Schönegger and Josef Zelger, to facilitate the analysis of large unstructured and controversial everyday language data samples. According to a specific philosophical concept of understanding and explanation, verbal data are at first represented as a formal indexing system by GABEK and then processed by means of a multidimensional content analysis. Automated, computerized steps of data processing are accompanied by the semantical work of the researcher.

The indexing system allows different guises of (graphical) representation of linguistic knowledge, all of which can be used for interactive inquiries on the PC and can be exported into Word for Windows[®].

Definitely interesting. Not the MS-Word®-exporting thingie, but the overall concept ↑more concretely described like that: “GABEK® translates experiences and opinions into conceptual knowledge systems in the form of hierarchically organized gestalten trees, association graphs, causal networks, evaluation profiles, relevancy lists etc. for systematic selection procedures.” To be honest, methods like that wouldn’t be my first choice in anthropological work, and I wouldn’t rely solely on them, or worse: on just one of them, but I definitely do have nothing against quantitative, or quantifying, and highly systematized methods. For eyample I deem the ethnographical census or certain kinds of actor network analysis to be great and necessary tools, at least to gain an overview, access, and ideas for the right kind of questions. At ↑Ethnographic Methods there are according manuals and tools —for free, as the project’s mission statement is:
 

Ethnographic Methods publishes a series of methodological material for anthropologists. At the moment it contains two types of publications. The methodological volumes (currently in German only) give detailed introductions to specific methods of data collection and analysis. They are practical guides, and are suited as teaching material. The data collection tools are a growing compilation of ethnographic questionnaires, observation sheets and other material used for data gathering. We publish these “first hand” tools to enable future researchers to profit from the work that has already been done. We seek data collection tools where the results of the analysis have already been published. It is the purpose of these publications to make ethnography a more transparent enterprise. To submit please take a look at the instruction page.

That’s academia 21st-century-style! Reciprocity, gift-economy, idealism and all. And there are more examples, take e.g. ↵community express. Yes, John Burton wants to make some money from the software he created—read his ↑information on that. Sensible, right? Right. And there’s a fully functionable freeware version as well.

But back on topic, back to GABEK®. To set the record straight from the beginning: I did not have my hands on the software itself, nor did I read everything on the according website. I read around the site to a certain extent, but honestly couldn’t yet make heads nor tails about the softwares actual workings, what it exactly does, as I somewhat got lost in a heap of sales-desk style text. Maybe ↑this article would enlighten me, if I’d read it from the first to the last line. But beforehand I already stumbled over a series of things which prevented me from reading the article … so this is some kind of very subjective account of someone who claims to have some insight into anthropology, academia, software and licences attached to the latter. Enough of the prolegomena, now it’s time for some slapping around with a large trout.

To be honest, what struck me first and intuitively let me shy away from the software package, was the (R) symbol attached to GABEK and WinRelan. In the case of knowledge or even ‘products’ stemming from academia I deem a (CC) way more healthier. Way more. That may well be the prejudice of someone who has hung out on the Net for too long, so I read on till I reached the licences. There are two of them, one for academical use (↑English version | ↑German version) of the software and one for commercial use (↑English version | ↑German version).

The commercial licence doesn’t give a figure for the “Lisence fees” [no typo from my side], but states that they’re subject to negotiation. The rest of the licence is a heap of terribly restrictive babble, among which some goodies feature really prominent, like: “L[icencee] has no right to make any changes of any sort to G[ABEK]. Should he/she wish to do so, he/she must inform Z[elger] without delay. L has no rights to reverse engineer, decompil or disassembl the software WinRelan.” [again no typos from my side] All of that in a way is perfectly all right with me, as the victims will be from the corporate world—milk ’em, or suck ’em dry, or whatever is to your taste. Or better: try to do so. But believe me, you won’t be able to pull a fast one on those guys. Two of my close acquaintances are quite some calibres within the managements of Oracle and Hewlett Packard. Them guys tie their ties way more neatly than we do [pun terribly intented].

But now for something completely different, or at least something which should be something completely different, the licence for academical use. Let’s start with the seemingly unavoidable: The minimum fee for using the software for academical purposes amounts to 192,- Euros. *plonk* Usage duration is limited to a maximum of one year. :o Do I get this right? I pay onehundredandninetytwo Euros and am allowed to use the software for one year only? Not even the MPAA goes as far with their IP-craze. Just two days ago I bought “I, Robot” on DVD and had to lay just 12,99 Euros upon the counter. And guess what? Twentieth Century Fox now allows me to watch the movie over and over again until I die. And my heirs, and their heirs, and so on, are allowed to do so, too. But just wait a sec and hold your breath, I’ll reveal the licence’s real goodies in a moment. Please allow me to quote part 3 (“Obligations of the licensee” [It’s licencee, for Christ’s sake!]) in full:
 

L[icencee] keeps Z[elger] informed about the progress and the results of the application of G[ABEK]. L reports on essential experiences (errors, suggested improvements, etc.) and particularly on type and scope of verbal data, especially on:
– problems and background of the situation
– analytical steps implemented and methods of evaluation
– questions that have arisen during implementation, difficulties and their solutions
– a summary of results and experiences gained during realisation
– new and improved application possibilities.
In the case of errors that may occur in the project work L undertakes to document any discrepancies or errors in such a way that a technical revision of the program may be done as quickly and efficiently as possible. Normally the submission of the relevant WinRelan files saved before and after the error and the applicable log-file with a written description of the problem is sufficient Z will receive the final WinRelan-file by e-mail or on disc, the summary on hard copy in quotable form, the final title of the project and possible publications connected with GABEK[6reg;].
Provided there are no express contradictions, the projects can be entered by Z in the list of GABEK[®]-applications under the name of L, title, and assignment area.

In research reports and publications the copyright is to be quoted by L on first mention (i.e. “GABEK[®] and WinRelan[®] © Josef Zelger, Innsbruck”).

I mean, c’mon, r u serious … or insane?

Do you really want me to pay you 192,- Euros in order to gain the right to work for you as a beta-tester for one year? Or is it an alpha, you released? And furthermore I have to give you all my research results, documented research steps, and publications? Who do you think I am? I mean even Mother Theresa would have laughed straight into your face because of that proposal.

The copyright holders of GABEK® aim at a certain academical group as potential customers. As GABEK® is to be used for “a thesis (e.g. master thesis etc)”, and the project has to be “no larger in scope than a dissertation”. Well, till some years ago I was within that group, too, and I wrote a doctoral thesis. Interested in the results? Well, go and buy the book, 395 pages of glossy paper, containing a juicy story of anthropology, sex, drugs, magick, and rock’n’roll. For 19,- Euros, 13,- Euros if you are a student. If you have bought the book, it’s your property, you can do with it whatever you want to. You can read it until you die, you can put it below your table-leg if that one happens to be exactly 2,1 cm too short, or you can make a bonfire of it. As you wish, it’s your property then. No interest in spending nineteen Euros? Then, the fuck, ↑download the whole piece of shit. The exact .pdf-file from which the printer made the book is online for free, CC-licenced. Welcome to the 21st century.

No offence to the initial poster at ethno::log, whoever you are—I refrain from some IP-tracking, but I’ve got a vague idea where this process would lead me to, topographically—are you really asking me to invite GABEK®’s sales representative to give a lecture at my institute? And in the end I shall ask the university to cover her/his travel expenses and accomodation? Well, I am making a fool of myself all the time, confessed, but I won’t drive it thus far.

Personally I wouldn’t go as far as Richard Stallman does and state, that software is a human right, but GABEK®’s above quoted licence for academical use goes way too far into the other direction. Yes, information wants to be free, especially information and knowledge generated within academia. And academical knowledge that I am generating—if I ever really will, that is—for sure doesn’t want to be the property of the maker of the tools I used to generate it. Adobe never asked me to send them one of my books for free, just because I used software they created to make a .pdf of my text.

Slap a CC-licence onto your product and write some sane terms of use for academics and I may, I may, have a look into the usability of your software for the noble discipline of sociocultural anthropology. Welcome to the Internet, to the blogosphere, and again to the 21st century.

Now you may ask why I am enraged like that. It’s because of the maldevelopment called the economization of academia. ↵What happens around here in terms of budget- and personnel-structure collapse is worse enough, now add ↑what’s currently happening in the U.S. [↑follow-up by CK]. Those are pressures more or less from the outside. But trying to pull a fast one on your academical peers is the evil of economization from within.

Once upon a time my li’l cybergang over here attented a lecture by cyberpunk-chief-ideologist ↑Bruce Sterling. Mr. Sterling delivered a great rant on ↑spimes, great show, and conjured up a perfect dystopia instilled by overeconomization and corporate ideology going havoc. ↑2R, who was sitting next to me leaned over to me and offered me 10,- Euros if I stood up, ran out of the room panic-stricken, while shouting “We’re all gonna die! We’re all gonna die!” Back then I declined the offer. Now I somehow have got the idea that a performance like that is well overdue.

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game pleasures and media practices

xirdalium Posted on Tuesday, 23rd May 2006 by zephyrin_xirdalFriday, 6th July 2012

One more time something on the workshop ↑Understanding media practices at the ↑9th EASA Biennial Conference. Very interesting to me is ↑Elisenda Ardevol‘s paper on “Game pleasures and media practices”, as it’s very close to my project:
 

This paper will explore the concept of media practice related to the social uses of the new technologies of information and communication in everyday life, focusing on a specific cultural form such as videogames. Videogames can be seen as an intersection of two different logics: narrative representation, characteristic of the audiovisual culture, and the pleasure of play, characteristic of the game culture. Playing videogames can be understood as an experience that involves media and non-media practices; that is, game experience is embedded within a media practice, transforming precedent forms of audiovisual pleasures. Videogames situate “play” at the core of the audiovisual experience, introducing innovative changes in the way audiovisual products are consumed and experienced. Thus, the “voyeuristic pleasure” of watching films or TV programs is substituted by an “immersion pleasure” coming from the articulation between audiovisual representation and subject agency and control. We understand media practices in the context of new media theories. With “new media” we don’t necessarily refer to the “newest technologies” nor the “newest media forms”: as some authors like P. David Marshall or Sonia Livingstone point out, new media can be understood as a new context of relation between traditional and emergent media forms, as a new scenario shaped by the convergence between different forms of audiovisual representation with digital and telecommunication technologies. The social and cultural changes that take place in the new media context are shaped by the way people use “media” for such different purposes as communicating with each other, working, voting, dating or playing. This “new media context” allow us to understand media practice from a transformative point of view that breaks down the division between production and consumption of cultural products, the model of emission/reception in communication theory and the spheres of public and private regarding broadcasting contents. Videogames are a key cultural form in order to understand the way media practices are related to significant social and embodied experiences such as playing and pleasure. [emphasis mine]

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understanding media practices

xirdalium Posted on Tuesday, 23rd May 2006 by zephyrin_xirdalFriday, 6th July 2012

The workshop ↑Understanding media practices at the ↑9th EASA Biennial Conference is complete and all abstracts of the papers to be presented are online—very worthwhile for everyone interested in media anthropology or even cyberanthropology. Here is the workshop’s long abstract:
 

In recent years, anthropologists have taken a great interest in the study of media. A plethora of ethnographic studies, three media anthropology readers, one historical survey of this research area and the EASA Media Anthropology Network are some examples of this growing interest. Although this area of research is marked by a high degree of theoretical and empirical diversity, most anthropologists working in it concentrate their efforts on the study of ‘media practices’, including practices of visual representation, telework, TV production and consumption, news making, radio drama, biomedicine, online dating, web forums, cyberactivism, e-government, blogging and text messaging. Drawing on these kinds of case studies, this workshop is aimed at exploring the current state of the anthropological study of media practices, and what directions it may take in future. Contributors may wish to address questions such as: What do we actually mean by ‘media practices’? What are the key theoretical and methodological problems attending their study? How do different theories of practice aid or hinder anthropological analyses of media practices? In what ways do different media practices overlap with one another and with non-media practices? How can we begin to map and theorise the bewildering diversification of media practices in recent years?

Ah, yes, btw, my proposal has been accepted, too. On the workshop’s website there’s the short version of my abstract, the ↵extended version is here

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way faster

xirdalium Posted on Monday, 22nd May 2006 by zephyrin_xirdalThursday, 12th July 2012

Tall building in Zaryadye
 

For the very first time I was faster than boingboing, way faster. One year and one month faster, to be exact. On 20 April 2005 I posted a story called
↵unrealised moscow triggered by the entry ↑soviet metropolis at hinterding, dated 16 April 2005. Just yesterday Cory Doctorow posted an entry at boingboing, also pointing to ↑The Architecture of Moscow from the 1930s to the early 1950s. Unrealised projects, triggered by the entry ↑Soviet Architecture Never Built (awesome photos) at digg, dated 21 May 2006. Obviously the staff at boingboing were so ashamed of their lameness in posting this so delayed that the entry meanwhile seems to have been removed ;-)

Why am I posting this? Well, to be honest, I am not sure myself—and that’s the point. Of course first of all I am interested in how this type of information spreads through the Internet, where it appears, and when, and where it came from. But of course you can find out this faster, better, and more conveniently by letting some crawler or spider run after it. So this obviously is no rationale for the posting. The next entry on the list of possible motives is narcism. For sure a part of it is in the game, I’d never deny that. But where exactly does this narcism stem from, and what exactly do I want to express by my blog, and how exactly do I try to accomplish this? And now we’re well inside the cyberanthropologer’s daily dose of self-reflection. In turn you of course can dub this anthropological navel-gazing, which maybe is just narcism again, in a weak disguise. But that’s exactly what I want to discuss—but not now, as I have to leave in a minute ;-)

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bosozoku paris

xirdalium Posted on Sunday, 21st May 2006 by zephyrin_xirdalFriday, 6th July 2012

C'était un Rendez-Vous
 

In 1976—when Elvis Presley was still alive—Claude Lelouch mounted a movie-camera to the grill of a 6.9 liter Mercedes and raced through Paris, reaching a top-speed of 200 km/h at approaching La place de la Concorde. Lelouch raced for 10 minutes until he reached his destination—he couldn’t go longer as the film on the reel didn’t allow more. The result is the short movie ↑“C’était un Rendez-Vous”—uncut. You can watch the movie e.g. at ↑axe-net, ↑dvblog, and ↑cyberpunkcafe. There are quite some myths spread: That the car was a Ferrari 275 GTB, and that the driver was a friend of Lelouch, a professional Formula 1 pilot. The movie reminded me of the Swedish motorcyclist-underground-cult-star ↑Ghost Rider flics I saw circulating at LAN-partys, and of course of the infamous ↵bosozoku, haunting the metropolitan nights of urban Japan … them, whom the Ghost Rider emulates.
 

Claude Lelouch
 

intitially via entry at cyberpunkcafe

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ghosteye

xirdalium Posted on Saturday, 20th May 2006 by zephyrin_xirdalFriday, 6th July 2012

Ghosteye
 

Finally I found a perfect rendition of how ↵Tally Isham’s eyes are looking. The above screencap stems from the opening sequence of “Ghost in the Shell 2: Innocence” (2004). I guess that’s exactly the way ↑William Gibson envisioned the SimStim-stars’ eyes to look, when he wrote the ↑sprawl trilogy.

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cyberpunk reading list

xirdalium Posted on Thursday, 18th May 2006 by zephyrin_xirdalWednesday, 3rd October 2012

This is it by Moebius
 

Bruce Sterling’s compilation of ↑what should be in every cyberpunk library is all very well, but have a look at ↑The Cyberpunk Reading List! Now I know what I am going to do the next 1001 nights. Just some examples for you to dig, like Victor Milan’s “The Cybernetic Samurai”: “After a limited nuclear exchange, scientists in Japan work to create the first artificial consciousness. Trained in the way of Bushido—the warrior code—it unifies Japan through its influence in an effort to stop WW4.” Plus its sequel “The Cybernetic Shogun”: “The offspring of the cybernetic samurai disagree about what role they should play in the world’s affairs following the fourth world war.” I mean, c’mon, get me those books! Or that one by Ronald Anthony Cross, “Prisoners of Paradise”: “The descendants of guests at a gigantic hotel carry on with their day to day survival in their universe of elevators and hallways. Meanwhile the hotel computer battles with its electronic head bell-boy for control of the guests’ destinies.” *plonk* And now for something completely different—in fact for loose ends coming together finally. I was waiting for that about thirty years. More or less. In the list there also are Dashiell Hammett’s “The Maltese Falcon” and Raymond Chandler’s “The Big Sleep” … And just in case you can’t find sleep, but are too tired to read, head over to SFAM’s ↑Working List of Cyberpunk Movies—complete with hyperlinks to his excellent reviews.

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cyberpunk reading list

xirdalium Posted on Thursday, 18th May 2006 by zephyrin_xirdalThursday, 19th January 2012

This is it!
Bruce Sterling’s compilation of ↑what should be in every cyberpunk library is all very well, but have a look at ↑The Cyberpunk Reading List! Now I know what I am going to do the next 1001 nights. Just some examples for you to dig, like Victor Milan’s “The Cybernetic Samurai”: “After a limited nuclear exchange, scientists in Japan work to create the first artificial consciousness. Trained in the way of Bushido—the warrior code—it unifies Japan through its influence in an effort to stop WW4.” Plus its sequel “The Cybernetic Shogun”: “The offspring of the cybernetic samurai disagree about what role they should play in the world’s affairs following the fourth world war.” I mean, c’mon, get me those books! Or that one by Ronald Anthony Cross, “Prisoners of Paradise”: “The descendants of guests at a gigantic hotel carry on with their day to day survival in their universe of elevators and hallways. Meanwhile the hotel computer battles with its electronic head bell-boy for control of the guests’ destinies.” *plonk* And now for something completely different—in fact for loose ends coming together finally. I was waiting for that about thirty years. More or less. In the list there also are Dashiell Hammett’s “The Maltese Falcon” and Raymond Chandler’s “The Big Sleep” … And just in case you can’t find sleep, but are too tired to read, head over to SFAM’s ↑Working List of Cyberpunk Movies—complete with hyperlinks to his excellent reviews.

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toys

xirdalium Posted on Thursday, 18th May 2006 by zephyrin_xirdalFriday, 6th July 2012

Kunst-Fu's Hitlerko
 

The picture at the above left I found via my pal Vít Šisler’s ↑Videogames and politics (↵Šisler 2005). It reminded me of a drawing Hypher—a core-member of ‘my tribe’—did in August 2004, which I have put at the top right. Here’s the according quote from Vít’s article:
 

This shift of political struggle from mass media to computer games, which are still largely considered as a playground reserved for children or teenagers, is something that worries many. In 2002, Slovakian artistic group Kunst-fu released a picture showing a baby peacefully sleeping in a bed with a Hitler-like doll. The title of the art was “wwwiete s cim sa hraju vase deti?” a pun hard to translate; it connects the question “Do you know what your children are playing with?” with a name of a webpage. This reflects quite well the fear within the society of uncontrolled content of webpages and online games.
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counter existentialism

xirdalium Posted on Thursday, 18th May 2006 by zephyrin_xirdalThursday, 12th July 2012

counter existentialism
 

Jon Griggs’ ↑Deviation definitely is a piece of ↵CS–↵machinima worthwhile to watch:

The short film ‘Deviation’ was shot using an online game engine with the virtual actors and director never having met one another. Macintyre, an online-game character and member of a four-man counter-terrorist squad, attempts to break out of the cycle of futile violence that has been his sole existence. Dropped into the middle of a mission and faced with the prospect of climbing into an ambush at the end of a manhole tunnel, Macintyre strives to convince the other squad members that there is another way…

via entry at boingboing

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