Following up (finally) on a tweet-storm from March about music discovery and libraries now.
I used to subscribe to lots of MP3 blogs. I had lots of free time in high school, and listened fervently to the local college radio station (as I’ve mentioned before, in an autobiography through musical devices.) Music discovery is now fragmented across services—SoundCloud, Spotify, iTunes, Pandora, the now-defunct Rdio, and even 8tracks)—it’s both harder and easier to find new music. The wizardry of Shazam, too, means getting to find out what song is playing in the bar, store, or on the radio so you can buy it or find it later online.
Librarians are an underused, underpaid, and underestimated legion. And one librarian in particular is frustrated by e-book lending. Not just the fact that libraries have to maintain waitlists for access to a digital file, but also that the barriers to checking out an ebook are unnecessarily high. As she puts it,
“Teaching people about having technology serve them includes helping them learn to assess and evaluate risk for themselves.”
In her view,
“Information workers need to be willing to step up and be more honest about how technology really works and not silently carry water for bad systems. People trust us to tell them the truth.”
That seems like the least that can be expected by library patrons.
The Senate Intelligence Committee released hundreds of pages (soon available as a book) detailing acts of torture committed by the CIA.
Pitchfork recently published a great longform essay on music streaming. It covered the past, history, and present of music streaming, and brought up a lot of great points. These are my reactions.
The piece discussed how “the “omnivore” is the new model for the music connoisseur, and one’s diversity of listening across the high/low spectrum is now seen as the social signal of refined taste.” It would be interesting to study how this omnivority splits across genres, age groups, and affinities. I find myself personally falling into omnivore status, as I am never able to properly define my music taste according to genre, and my musical affinities shift daily, weekly, monthly, with common themes.
Also discussed is the cost of music, whether it be licensing, royalties, or record label advances. Having to deal with the cost of music is a difficult matter. I wonder if I would have been such a voracious consumer of music if I hadn’t grown up with so many free options with the library, the radio, and later, music blogs. Now that I’m older, I make the effort to purchase music when I feel the artist deserves it, but as I distance myself (incidentally, really) from storing music on my computer, that effort becomes less important to expend.
In the spirit of @weboesel and being true to my whole identity, I am adding a picture to my blog and my twitter account.
I’ve had a neutral (non-person) picture on both services since I joined. I relish the implicit neutrality that this sort of picture offers me, but I’m choosing to assert the whole of my identity across the services I inhabit.
A neutral picture lends an element of gender-neutrality to the twitter timeline, as there is no face with which to implicitly associate with stereotypes. I feel that without an identifying photo, I am more able to remove associations of my gender from interpretations of my work, although my name is prominent on these services. Perhaps I am merely being overly guarded against potential sexism. There are many other reasons for not using a personal photo online, but this was mine for these sites.
I made the decision to use my own photo, however, because I want to own my full identity. I don’t want to hide my woman-ness (as a proud feminist) for fear of not-yet-existent sexism on these services. That is just another form of self-censorship, in my case. In addition to owning my identity (and letting my true self “shine” in the words of a friend), a photo allows me to more capably link my public identity across services. I will maintain pseudonymity through usernames on other services, but on the services which I identify myself with my full name, I will include a photo. This also allows, in the spirit of Keybase.io, a further layer of identity vetting and verification.
Here’s hoping for the best.
Here’s what was important this week…
Facebook now allows you to choose a “custom” gender option and fill in your own gender on your profile–to a point. Rather than being a free-text field, Facebook instead offers options which autocomplete. Slate went through the effort of tabulating all 58 of them. Facebook is likely avoiding a free-text field because it wants to avoid trolling, but more likely they want to maintain the purity of their data about users.
One issue with Facebook (and in my opinion, this could be extended to many other social networks) is that it requires code switching. Code switching, typically associated with race and ethnicity, is even featured in an NPR blog devoted to the topic, which is introduced with this article. As the first essay mentioned, “Facebook’s design—really, the design of public and semi-private virtual interaction spaces on the web—is starting to feel like it’s reached its past-due date.” While I think there is a future for social media, the act and necessity of code switching is a tiring one.
As more media show up, we’re finding different ways to interact on each one and access different groups through our social media channels–ideally, we’d only need to code switch if we app switched. Personally, I’ve found my Facebook interactions have transformed since I started using the service–I primarily interact with a few specific friends on their walls/timelines, engage more broadly with a few Facebook groups, and the content that I share most broadly (primarily links) still excludes some friends.
Facebook has named its new app offering, which debuted today, “Paper”. As Lev Manovich points out, this naming signifies that “Old media metaphors are not going away” In fact, old media themselves aren’t going away.
Nowadays, fears that e-books and mp3s will dominate the reading and listening landscapes are all over the media. These fears seem somewhat cyclical, with the same old complaints cropping up decade after decade, as documented by the NYTimes more than once, Tom Standage in Wired, and XKCD, among others. Fear of the new manifests itself as dismissal of the digital, or whatever new technology has come to the fore.
Research has proven that not only do books have some staying power, old forms of music media are regaining popularity as well. Millenials are buying more books than other generations, and vinyl records are making a comeback. Cassette tapes, even, have found a resurgence.