#or like. use any other website ever.

[thenukacolachallenge]

hey. hey buddy? you have your settings to where i can't actually reply to this request, but i need to inform you that if you dont want people reblogging your stuff and adding tags, you can either turn reblogs off, or you could, i don't know, not fucking put it in the main tag for the show, where it'll inevitably get traction.

just a suggestion.

[cacodaemonia]

The fact that a huge amount of information on platforms like tumblr, instagram, and apparently also tik tok is now shared as screenshots of text instead of—you know—the text itself, which is easier to read and can also be scanned by screen readers, makes me want to burn down the internet.

Tumblr is a platform where you can actually make text posts! There's no character limit! Just. Put. The text. There!

Instagram is for photos, not fucking essays!

Tik tok is a video platform, so why the fuck are people sharing screenshots of Tumblr posts (without even linking to he original post, naturally) set to music and calling those videos?

I don't understand why so many people look at extremely limited (as in they have a very specific function and are not intended to be used in any other way) apps like instagram and tik tok, and go "Ah, I will now use this platform to convey information in the most convoluted, least accessible way possible."

Just?? Use a platform that's actually friendly to whatever kind of info you're trying to convey???

I'm sure there are all kinds of factors involved, especially when people are so driven by views/likes/whatever on one platform, but this trend has made the internet so much less user-friendly and accessible. It's like trying to eat soup with a butterknife, while also taking away other people's spoons and making them use butterknives as well.

[detectivenyx]

it's a little weird to see the website that usually goes 'FUCK CORPORATIONS PIRATE AND STEAL FROM THEM FOREVER', when faced with two games utilising AI media generators, completely ignore the one that's not attached to any property in any way except perhaps Bram Stoker's Dracula that actively advertises its usage of AI as a central game mechanic, while tearing into the one that looks like something a large and hostile gaming corporation put out primarily because of that surface level similarity and only using the fact another game of theirs uses AI image generators

[kithj]

why are people on this website so rude 😭 you can make like the most neutral innocent post but once it hits a certain threshold of notes you will constantly get rude and nasty comments in the tags. i need to stop making posts every time they start getting reblogged it stresses me out

[persephoneflouwers]

-

[pvffinsdaisies]

I have to be so honest I think for what Duolingo is and what it offers it’s wayyyyy overly criticised

[numum]

since twitter is busy shitting itself i guess i’ll have to start posting here more often bc if i’m not sufficiently annoying i’ll die

[steakout-05]

eeuuaghh i would like everyone to know that i apologise if i have not responded to your reblogs/mentions/posts on tumblr, i have really terrible social anxiety and for some reason people talking to me makes my nervous system think i'm being hunted for sport by a resident evil boss. sorry if i havent responded i'm not being rude i'm just having a panic attack :P

additionally: social anxiety is actually the reason why a lot of my old posts from late 2022 had weird spacing and spelling mistakes. i was too anxious to type properly

[somuchbetterthanthat]

Someone who knows about intellectual property law explain to me how is it possible for Netflix to not be able to show their own shows that they produced anymore just because Disney has the rights over the raw material they used for them. Like. Those are two separate things at this point, isn't it??

Genuinely, sincerely baffled by this. I get how and why they wouldn't be able to produce more Marvel shows without the rights to use Marvel anymore, yes, okay. But the show in itself, the one that has been already created, it belongs to them doesn't it?? How is it possible they don't get to keep the distribution/streaming of that???

[birdmenmanga]

I know it's probably just the DVD logo in my brain hitting the corner perfectly but I think the reason the Bad Apple animation in r/place makes me so emotional is reminiscent of the pale in Disco Elysium. It's like yeah maybe in a few years Martinaise and Revachol will cease to exist because it'll be swallowed up by the pale... but it exists now, and it's a whole complex, intricate, and aggressively passionate world, and just because it's a bit broken and will soon vanish doesn't mean it wasn't beautiful while it existed.

Everyone knows that reddit is on its last legs because of the whole API controversy and the timing of r/place feels like a distraction from that. but despite their anger, it also might be the last time an r/place canvas is opened up, and well... if it's the last time, we might as well make something beautiful, right? something that takes a unique advantage of the fact that r/place is a place of change rather than a static canvas, and needs to be meticulously timed and curated? something grand and borderline impossible, just because we love it and we're passionate about it? because reddit is still here right now, even if it's breathing its last, it's a place that their users surely loved, where you were able to meet people who loved the same things you did. our communities might fragment into smaller and smaller pieces in the future if we lose reddit. it might be the last time we can still convene and hold hands like this. so we'll make something as beautiful and as passionate as we can, even if this place will no longer exist in a few years...

[rotshop]

no sorry i do have more to say on this actually. this layout is so indistinguishable from twitter that i genuinely cannot see the appeal in using this site anymore because. erm. well. i have twitter right there. i can just use that if i want to. in fact i would probably like it MORE there because at least thats familiar and not some massive frankensteined overhaul of a layout that's stayed relatively the same for years upon years. yes obviously there are differences in management, but i dont like staff here either. like you all fucking remember that massive wave of bots. mobile has been a warzone. the desktop version is held together with tape and twigs.

also the excuse that this is 'to help twitter users adjust !!' is ummm bullshit and also a lie an also bullshit. like first of all that is the most condescending shit ever. every single site you use is going to take some time to learn and grow familiar with, that's just how your brain works, that makes sense. so now just totally cutting that step out is a little bit 'oh i know this is so so so so so hard for you so im going to make it unbearably easy'. do you get what im saying. also if it was just to help twitter users adjust you wouldn't make it a mandatory change for people who didn't use twitter to adapt to as well. you're literally just shifting your audience. you cant have your cake and eat it too.

[voidimp]

trying to find any information on anything is so fucking impossible these days

[snekdood]

Damn well. One of the clear ways you can tell my ex is bullshitting about me being anywhere near conservative is the fact that i get along well w the left leaning portion of my family vs the right leaning portion whomst i Do Not get along with or interact with

[starryocean]

Does anyone know why rpgmaker.net is down? The only explanation they give is a link to their discord and its very irritating to be forced to join a discord in order to find the answer to something as minor as "why is the website down."

I haven't found any explanation anywhere else (their official twitter page doesn't show their most recent posts and I'm not making a twitter just for this, either, reddit doesn't have anything, etc) and I'm only going to join the discord if there's literally no other option to finding out what happened, so if anyone has any info, I'm all ears.

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

[mostlysignssomeportents]

Kickstarting a book to end enshittification, because Amazon will not carry it

My next book is The Internet Con: How to Seize the Means of Computation: it’s a Big Tech disassembly manual that explains how to disenshittify the web and bring back the old good internet. The hardcover comes from Verso on Sept 5, but the audiobook comes from me — because Amazon refuses to sell my audio:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

Amazon owns Audible, the monopoly audiobook platform that controls >90% of the audio market. They require mandatory DRM for every book sold, locking those books forever to Amazon’s monopoly platform. If you break up with Amazon, you have to throw away your entire audiobook library.

That’s a hell of a lot of leverage to hand to any company, let alone a rapacious monopoly that ran a program targeting small publishers called “Project Gazelle,” where execs were ordered to attack indie publishers “the way a cheetah would pursue a sickly gazelle”:

https://www.businessinsider.com/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10

[Image ID: Journalist and novelist Doctorow (Red Team Blues) details a plan for how to break up Big Tech in this impassioned and perceptive manifesto….Doctorow’s sense of urgency is contagious -Publishers Weekly]

I won’t sell my work with DRM, because DRM is key to the enshittification of the internet. Enshittification is why the old, good internet died and became “five giant websites filled with screenshots of the other four” (h/t Tom Eastman). When a tech company can lock in its users and suppliers, it can drain value from both sides, using DRM and other lock-in gimmicks to keep their business even as they grow ever more miserable on the platform.

Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

[Image ID: A brilliant barn burner of a book. Cory is one of the sharpest tech critics, and he shows with fierce clarity how our computational future could be otherwise -Kate Crawford, author of The Atlas of AI”]

The Internet Con isn’t just an analysis of where enshittification comes from: it’s a detailed, shovel-ready policy prescription for halting enshittification, throwing it into reverse and bringing back the old, good internet.

How do we do that? With interoperability: the ability to plug new technology into those crapulent, decaying platform. Interop lets you choose which parts of the service you want and block the parts you don’t (think of how an adblocker lets you take the take-it-or-leave “offer” from a website and reply with “How about nah?”):

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

But interop isn’t just about making platforms less terrible — it’s an explosive charge that demolishes walled gardens. With interop, you can leave a social media service, but keep talking to the people who stay. With interop, you can leave your mobile platform, but bring your apps and media with you to a rival’s service. With interop, you can break up with Amazon, and still keep your audiobooks.

So, if interop is so great, why isn’t it everywhere?

Well, it used to be. Interop is how Microsoft became the dominant operating system:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

[Image ID: Nobody gets the internet-both the nuts and bolts that make it hum and the laws that shaped it into the mess it is-quite like Cory, and no one’s better qualified to deliver us a user manual for fixing it. That’s The Internet Con: a rousing, imaginative, and accessible treatise for correcting our curdled online world. If you care about the internet, get ready to dedicate yourself to making interoperability a reality. -Brian Merchant, author of Blood in the Machine]

It’s how Apple saved itself from Microsoft’s vicious campaign to destroy it:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

Every tech giant used interop to grow, and then every tech giant promptly turned around and attacked interoperators. Every pirate wants to be an admiral. When Big Tech did it, that was progress; when you do it back to Big Tech, that’s piracy. The tech giants used their monopoly power to make interop without permission illegal, creating a kind of “felony contempt of business model” (h/t Jay Freeman).

The Internet Con describes how this came to pass, but, more importantly, it tells us how to fix it. It lays out how we can combine different kinds of interop requirements (like the EU’s Digital Markets Act and Massachusetts’s Right to Repair law) with protections for reverse-engineering and other guerrilla tactics to create a system that is strong without being brittle, hard to cheat on and easy to enforce.

What’s more, this book explains how to get these policies: what existing legislative, regulatory and judicial powers can be invoked to make them a reality. Because we are living through the Great Enshittification, and crises erupt every ten seconds, and when those crises occur, the “good ideas lying around” can move from the fringes to the center in an eyeblink:

https://pluralistic.net/2023/06/12/only-a-crisis/#lets-gooooo

[Image ID: Thoughtfully written and patiently presented, The Internet Con explains how the promise of a free and open internet was lost to predatory business practices and the rush to commodify every aspect of our lives. An essential read for anyone that wants to understand how we lost control of our digital spaces and infrastructure to Silicon Valley’s tech giants, and how we can start fighting to get it back. -Tim Maughan, author of INFINITE DETAIL]

After all, we’ve known Big Tech was rotten for years, but we had no idea what to do about it. Every time a Big Tech colossus did something ghastly to millions or billions of people, we tried to fix the tech company. There’s no fixing the tech companies. They need to burn. The way to make users safe from Big Tech predators isn’t to make those predators behave better — it’s to evacuate those users:

https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

I’ve been campaigning for human rights in the digital world for more than 20 years; I’ve been EFF’s European Director, representing the public interest at the EU, the UN, Westminster, Ottawa and DC. This is the subject I’ve devoted my life to, and I live my principles. I won’t let my books be sold with DRM, which means that Audible won’t carry my audiobooks. My agent tells me that this decision has cost me enough money to pay off my mortgage and put my kid through college. That’s a price I’m willing to pay if it means that my books aren’t enshittification bait.

But not selling on Audible has another cost, one that’s more important to me: a lot of readers prefer audiobooks and 9 out of 10 of those readers start and end their searches on Audible. When they don’t find an author there, they assume no audiobook exists, period. It got so bad I put up an audiobook on Amazon — me, reading an essay, explaining how Audible rips off writers and readers. It’s called “Why None of My Audiobooks Are For Sale on Audible”:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

[Image ID: Doctorow has been thinking longer and smarter than anyone else I know about how we create and exchange value in a digital age. -Douglas Rushkoff, author of Present Shock]

To get my audiobooks into readers’ ears, I pre-sell them on Kickstarter. This has been wildly successful, both financially and as a means of getting other prominent authors to break up with Amazon and use crowdfunding to fill the gap. Writers like Brandon Sanderson are doing heroic work, smashing Amazon’s monopoly:

https://www.brandonsanderson.com/guest-editorial-cory-doctorow-is-a-bestselling-author-but-audible-wont-carry-his-audiobooks/

And to be frank, I love audiobooks, too. I swim every day as physio for a chronic pain condition, and I listen to 2–3 books/month on my underwater MP3 player, disappearing into an imaginary world as I scull back and forth in my public pool. I’m able to get those audiobooks on my MP3 player thanks to Libro.fm, a DRM-free store that supports indie booksellers all over the world:

https://blog.libro.fm/a-qa-with-mark-pearson-libro-fm-ceo-and-co-founder/

Producing my own audiobooks has been a dream. Working with Skyboat Media, I’ve gotten narrators like @wilwheaton​, Amber Benson, @neil-gaiman​ and Stefan Rudnicki for my work:

https://craphound.com/shop/

[Image ID: “This book is the instruction manual Big Tech doesn’t want you to read. It deconstructs their crummy products, undemocratic business models, rigged legal regimes, and lies. Crack this book and help build something better. -Astra Taylor, author of Democracy May Not Exist, but We’ll Miss It When Its Gone”]

But for this title, I decided that I would read it myself. After all, I’ve been podcasting since 2006, reading my own work aloud every week or so, even as I traveled the world and gave thousands of speeches about the subject of this book. I was excited (and a little trepedatious) at the prospect, but how could I pass up a chance to work with director Gabrielle de Cuir, who has directed everyone from Anne Hathaway to LeVar Burton to Eric Idle?

Reader, I fucking nailed it. I went back to those daily recordings fully prepared to hate them, but they were good — even great (especially after my engineer John Taylor Williams mastered them). Listen for yourself!

https://archive.org/details/cory_doctorow_internet_con_chapter_01

I hope you’ll consider backing this Kickstarter. If you’ve ever read my free, open access, CC-licensed blog posts and novels, or listened to my podcasts, or come to one of my talks and wished there was a way to say thank you, this is it. These crowdfunders make my DRM-free publishing program viable, even as audiobooks grow more central to a writer’s income and even as a single company takes over nearly the entire audiobook market.

Backers can choose from the DRM-free audiobook, DRM-free ebook (EPUB and MOBI) and a hardcover — including a signed, personalized option, fulfilled through the great LA indie bookstore Book Soup:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

What’s more, these ebooks and audiobooks are unlike any you’ll get anywhere else because they are sold without any terms of service or license agreements. As has been the case since time immemorial, when you buy these books, they’re yours, and you are allowed to do anything with them that copyright law permits — give them away, lend them to friends, or simply read them with any technology you choose.

As with my previous Kickstarters, backers can get their audiobooks delivered with an app (from libro.fm) or as a folder of MP3s. That helps people who struggle with “sideloading,” a process that Apple and Google have made progressively harder, even as they force audiobook and ebook sellers to hand over a 30% app tax on every dollar they make:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

Enshittification is rotting every layer of the tech stack: mobile, payments, hosting, social, delivery, playback. Every tech company is pulling the rug out from under us, using the chokepoints they built between audiences and speakers, artists and fans, to pick all of our pockets.

The Internet Con isn’t just a lament for the internet we lost — it’s a plan to get it back. I hope you’ll get a copy and share it with the people you love, even as the tech platforms choke off your communities to pad their quarterly numbers.

Next weekend (Aug 4-6), I'll be in Austin for Armadillocon, a science fiction convention, where I'm the Guest of Honor:

https://armadillocon.org/d45/

If you'd like an essay-formatted version of this thread to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con

[Image ID: My forthcoming book 'The Internet Con: How to Seize the Means of Computation' in various editions: Verso hardcover, audiobook displayed on a phone, and ebook displayed on an e-ink reader.]