18 January 2012

You Can Make SOPA and PIPA Irrelevant (But You're Probably Too Lazy)

SOPA and PIPA are bad laws. And Clay Shirky's TED talk about why they're bad laws is great. But he gets the most important point wrong. Right at the end, he says there are two things you can do.

He says you can call your Congresspeeps, and you can "get ready", because more is coming.

But there aren't two things you can do. There are three. And the third thing is much more powerful than the two things Clay suggests.

You can make SOPA, PIPA, Copyright, and the Media moguls of the Hollywood studios, the music labels, the MPAA, and the RIAA irrelevant. You can cut off their air supply.

You can make your own media, and you can make it free.

And why wouldn't you? It's not like the media that's being made for you - for which the RIAA and the MPAA are willing to break the Internet and put you in jail - is any good.

Today's media is SHIT.

Are you dying to see "April of the Penguins" and "The Taking of Pelham 1-2-3D"?

Can you NOT FUCKING WAIT for the latest Justin Bieber disc?

(If you said "yes", you are not the target audience, and you are not the future. Please leave.)

I've said it before, but it bears repeating. This stuff is NOT WORTH STEALING. The RIAA and the MPAA want to break the Internet to protect Britney Spears and "Alvin and the Chipmunks: Chipwrecked". SRSLY.

You can make your own media, and you can OBVIOUSLY make better media.

My sisters and I made this in 48 hours with one iPhone, one iMac, and software that cost us zero dollars. You can do MUCH MUCH BETTER. (We can too, and we will).

A modern $300 point-and-shoot camera will take hi-def video whose quality would have made Orson Welles cry. A new Mac comes with iMovie and Garage Band FREE. These apps will let you do things a Hollywood studio would have spent millions of dollars on only a decade ago. Robert Rodriguez' 10-minute film schools are on YouTube and will teach you everything you need to know - IF you have a story to tell and a bit of talent.

So why do you pay $12 for a movie ticket to see some hack's cynical sequel to a sequel when you could make movies yourself and share them for free on YouTube or Vimeo?

Because you're lazy and afraid.

If enough of you shake off the fear and lethargy, you can make the Internet a BETTER place to watch movies than the theater: not just a cheaper place, but a BETTER place. Better because the stories are better and better because the viewing experience is better (no DRM, no lawyers, no restrictions on where a movie can be viewed, no need to wait for a movie to be "released" in our towns).

And you know what's even better than that? If you DO make the Internet a better place to watch movies than the theater, you'll also make it a place where the people who MAKE movies get paid. Which would be great, because the current system doesn't pay people who make movies: it pays people who finance movies, distribute movies, and lobby Congress to make sure watching movies stays expensive.

Here's all it would take. You'd get your ass off the couch and write down that story you think really needs to be told. You'd take in a few online tutorials - maybe Dan Allen's short-film and FCPX tutorials (look for iMovie tutorials if you're cheap), and a few GarageBand lessons. You'd read David Mamet's wonderful short book On Directing Film. And then you'd dust off your DSLR or your digital point-and-shoot camera and go out and make a movie.

You'd upload that movie to YouTube or Vimeo, and you'd give it a Creative Commons Attribution Share-Alike license so anybody could embed it, show it, or download it and remix it to create their own works for free.

You might make a really great film. If you do, you might get paid for it - or not, but you'd still have made a really great film. But - and this is the important point - NO MOVIE STUDIO WOULD GET PAID FOR IT. AND NO MOVIE STUDIO LAWYER WOULD BE ABLE TO THREATEN TO TAKE A WEBSITE OFF THE INTERNET FOR HOSTING IT. AND NO MOVIE STUDIO LOBBYIST WOULD BE ABLE TO BREAK THE INTERNET TO PREVENT OTHERS FROM RIFFING ON IT.

If enough of you do this, the movie studios will have less money. Less money to make shit movies, but also less money to pay lobbyists to pay Congressmen to break the Internet.

And if that happens, Clay's fears won't be realized. There won't be another SOPA waiting for us down the road.

But of course, you'd have to get your ass off the couch.

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24 August 2011

What Steve Jobs Built

You've all heard the news by now. Steve Jobs has stepped down as Apple's CEO. I could recite his accomplishments, but you know them. I could link to the videos, but you've seen them. I could tell you to buy a Mac and an iPhone, but you've already got them.

But there is one thing I haven't seen anyone say about Steve, so I'll say it now.

You often hear that we don't build anything in America anymore. And it's true enough that we don't build TVs, and we don't make much steel, and we don't make many textiles, and even Apple doesn't make computers here anymore.

But we still do make ONE thing in America.

We make the future.

And Steve Jobs did that better than anybody, for a long, long time.

Thank you, Steve. I hope you have many happy and healthy years to enjoy the future you've done so much to build. I'm gonna head over to the Mac App Store now and buy Motion as a way-too-tiny token of my profound gratitude.

Photo credit: http://www.flickr.com/photos/home_of_chaos/4645091860 (Creative Commons BY License)

24 July 2011

A Bipartisan Letter From Congress to the American People

Dear America,

We know you're watching the debt ceiling debate with growing alarm, and we just wanted to reassure you that we know exactly what we're doing, and everything is going to be OK.

For us.

You, not so much.

You probably think we don't know your credit card interest rates are going to go up to 30% next week when we refuse to pay the bills we rang up invading Iraq, buying crooked banks, stuffing the pockets of CEOs and Union bosses, and throwing enough nickels at the rest of you to make sure you didn't ask too many questions about what was really going on.

You're wrong. We know.

We just don't care.

You probably think we're anguished about the fact that another million of you are going to have your houses repossessed by the bank when mortgage interest rates shoot up like a rocket in August.

Wrong again. It's not like OUR houses are in any danger.

You might even think we're worried that the dollar is going to inflate like Zimbabwean money until you're begging illegal Mexican immigrants to throw you a Peso or two.

Yeah right.

OUR money is already socked away in overseas gold accounts, and besides, we can always get more by throwing a few scraps to a lobbyist or cranking your tax rate up to 90%.

(If we had half a brain, a whole bunch of us would already have called our brokers and shorted T-Bonds; then we'd make out like BANDITS when we finish pushing US debt to junk-bond status! But that would be unethical. And un-American. Just like shirking our constitutional responsibility to ensure that "The Public Debt of the United States... shall not be questioned". Heh. Heh heh.)

What did you just say?

You're going to vote us out?

You cannot be serious.

We KNOW you don't vote. OK, a few of you vote in the general election. But that's the beauty of it: the general election doesn't matter! By the time the general election rolls around, there's nobody left but idiots, weasels, and nuts (oh my)!

You don't vote in primaries, and you're not going to. Only crazy people vote in primaries. Did you think we were STUPID when we stopped choosing our candidates in smoke-filled rooms? WE knew that the only people who would come out for primaries would be hate-filled lefty and righty extremists too chickenshit to become real terrorists and herds of morons our pollsters and fat cats drive to the polls and pay to vote the party line.

That's why everybody here is a pervert like Anthony Weiner, a crook like Charlie Rangel, or a feeble-minded lunatic like Michelle Bachmann. And it's why the only thing we care about is keeping the money hose pointed at the people who fill OUR trough.

So kiss the dollar goodbye, get used to sleeping in a box, and enjoy the Even Greater Depression, America - you're Boehned!

Oh, and one more thing:

See you in November, suckers!

28 April 2011

Werner Herzog Reads Curious George

When a work finds its truest performer, the magic happens.

:-)

23 April 2011

Symmetry

Radiolab posted this wonderful video to YouTube:

03 April 2011

Improv Everywhere: Triumph of the Human Spirit

Comedy?

25 March 2011

A Beautiful Short Film

How Football came to Panyee. This film is wonderfully made and tells an inspiring story in a little over 5 minutes. It doesn't hurt that the setting, Panyee Thailand, is one of the most beautiful places on the planet.

23 March 2011

How Much Do Movies Really Cost?

A while back I wrote about how much it costs Hollywood to make a movie, using Avatar as a (particularly depressing) example. Avatar seems to have cost about $237 million, of which $150 million went to promotion.

Avatar, of course, wasn't just "any old movie" - even by Hollywood standards. It was made by James Cameron, who has a history of making movies that rake in mountains of cash once they're released; Avatar seems to have made North of $2.5 BILLION dollars. It was also made in 3D (ick) using bleeding-edge graphics techniques on a set which was designed from the ground up to make the movie. Avatar won three Oscars, which is evidence that the Oscar should no longer be considered an honor worth having.

You can make a much better movie than Avatar for a lot less money; The Hurt Locker, directed by Cameron's ex-wife Kathryn Bigelow, was a better movie than Avatar even by Hollywood's standards - it won 6 Oscars the same year Avatar won its 3. The Hurt Locker cost less than $20 million to make, and it seems to have earned about $20 million.

You can get production costs down far below $20 million, but total costs are still high if you want a movie released in theaters. The Blair Witch Project cost between $20,000 and $750,000 to make, depending on who you believe and how you define expenses - but it cost $25 million to print, distribute, and advertise.

And of course, Robert Rodriguez famously shot El Mariachi for $7,000 - but again, the total costs of the movie the audience actually saw were much greater. Columbia paid at least another million, and probably more, to print the film, advertise it, and distribute it.

Rodriguez made El Mariachi on 16mm film. Film is expensive, and so is the equipment you need to use to shoot a movie on film. Today you can shoot a movie digitally for even less than Rodriguez spent on El Mariachi. I've done it.

The trick is to do everything yourself (or with a few friends), using consumer equipment, and avoid all the things that make Hollywood films expensive.

I made the movie at the head of this post for last year's Austin 48-Hour Film Project. I wrote the script myself, did all the filming, lighting, editing, and music myself on equipment I already owned, and used friends & family (me, my father, and my former boss) for actors.

Even if I'd had to buy all the equipment new, it would only have cost about $2,000. Here's the complete equipment list:

$1199 13" MacBook Pro

$399 Panasonic DMC-LX3

$43 8GB Class 10 SDHC card

$0: iMovie

$0 Garage Band

$199 8GB iPod Touch

$9.99 BeatMaker app

$14.99 MusicStudio app

$6.99 ThumbJam app

$1.99 Bebot app

$3.99 Bloom app

$0.99 Euphonics app

$1.99 Bowls app

$0.99 Church Organ app

$0 Audacity for Mac

$0 iMovie Tutorials

$0 Garage Band Tutorials

$20 "Conversations with the Great Moviemakers of Hollywood's Golden Age"

$279 Tripod

$10 "On Directing Film"

$30 Three Home Depot worklights with 100W bulbs

The total comes to $2,220.92.

But $1,598 of that is the laptop and a consumer digicam capable of HD video - and there's a good chance you already have one or both of those.

The most important items - David Mamet's book "On Directing Film", the tripod, and the lights - cost only $319.

By the way, you will be tempted to cheap out on the tripod.

DO NOT CHEAP OUT ON THE TRIPOD.

You want a good solid one with a smooth pan action, a quick-release plate, and a leveling bubble.

The moral of this story is that if you have a decent computer and digital camera, you can make a pretty good movie yourself for free. Next time we'll talk about whether you can get anybody to watch it, and whether you can make money from it.

05 August 2010

Storytelling in 30 seconds

Damn.

(Hat tip to Nancy Duarte for the link.)

13 May 2010

Math Education Sucks the Same Way TV Sitcoms suck

Fascinating observation from Dan Meyer at TED. Bonus: shout-out to the iPhone as a cheap & easy way to produce compelling video to fix the math education problem.

24 April 2010

Great Movie, Cheap Gear

While you're waiting for the New Studio's financials, take a second to watch "Uncle Jack":

It's 5 minutes long, its story is far better than Avatar's and it was shot in three days with equipment you can probably afford.

Here's Jamin Winans (the director) explaining how he did it:

23 April 2010

Not Worth Stealing

This week in movie news, Hitler has reacted badly to the news that Constantin Films, who own the copyright to "Downfall", have issued a DMCA notice resulting in the removal of many "Downfall"-based parodies from YouTube.

The Downfall parodies are a prime example of what Larry Lessig calls Remix. Constantin Film AG calls it "theft".

EFF, the Open Video Alliance, and others will argue til the cows come home about whether remix is theft or fair use.

I say the hell with it.

Forget about remix. Why start with crap?

I haven't seen Downfall; it was made in Germany, not Hollywood, so it might not be total crap. But what arguments over the DMCA are distracting us from is that

MODERN MOVIES AREN'T WORTH STEALING!
Take Avatar. It was released on video this week. It won THREE Oscars, and was nominated for six more including best director and best picture. It's a two hour cartoon with a juvenile story you could tell in one minute. Don't believe me? Here you go:
Evil militaristic corporation lands on pristine planet occupied by noble giant smurfs and priceless ore. Military begins wiping out smurfs but one honorable disabled underling falls in love with a smurf, goes rogue, and leads the resistance. Just as all seems lost, the planet itself rises up and crushes the invaders, and the hero is magically transformed into an able-bodied smurf himself. In 3D. With lots of heart-swelling music.
Avatar is crap; the only good thing about its DVD release is that if you watch it at home, you'll be able to pause it every two hours so you can pee; I saw it in the theater and I was praying for a catheter by the halfway point.

Edward Jay Epstein's recent book "The Hollywood Economist" is depressingly clear about why almost every movie made today is crap. In a nutshell, it's because moviemakers can't get distribution deals for pictures which aren't guaranteed to herd teenage boys into the theaters in droves (read the book for more details). Epstein notes on his blog that crap teenager-magnets like Avatar are squeezing indie movies (which are still occasionally worth seeing) out of the theaters. Epstein's conclusion is this:

With the prospect of American distribution rapidly fading, indie producers are now finding pre-sale financing almost impossible. "It's a dead business model," a former Miramax executive said.

If so how can Indie producers continue to make movies? They might be able to find wealthy individuals entranced enough with a movie fantasy to put up the money, but they still need to devise a new way in this digital age to distribute them to an audience willing to see something more than the movie versions of amusement park rides.

Bingo. So let's get started.

I promised you two years ago (I know, I know, but I've been busy…) that I'd post a business plan for a New Studio: "…a new business model that lets creative people make a decent living making good, cheap movies. [The New Studio is] going to trust its audience to pay for quality films. It's going to grow its fan base by distributing entire movies on the Internet with no DRM."

In the unlikely event you've been eagerly waiting for me to keep this promise, you're in luck. Here's the first installment:

What is The New Studio?

The New Studio is a business model which uses the new technologies of low-cost digital capture and editing, high-quality low-cost print-on-demand services, and near-zero-cost electronic distribution to take creative control of cinematic storytelling away from producers and studio executives and give it back to writers and directors.

The New Studio is owned and managed by directors and writers, who produce their own material and retain artistic control of their work. Every director in a New Studio has final cut.

The New Studio accomplishes its financial goals by enabling motion pictures to be produced, marketed, and distributed cheaply enough that there is a high probability of a modest profit (and a smaller possibility of a large profit) for every film the New Studio produces.

The New Studio may accept investments by outside producers. Producers’ relationship with The New Studio is, however, financial rather than creative. In return for lower financial risk (that is, a more predictable return on investment than a traditional studio can promise), investors in The New Studio willingly leave all creative decisions to the New Studio’s writers and directors.

What are the The New Studio’s principles?

Hollywood fears the web. Studios fear that releasing their movies on the web will destroy their revenue stream.

Fear of releasing movies on the web comes from a belief that the product is worthless – so no sane person would voluntarily pay for it. This belief is justified by most of today’s movies. They are made not to satisfy an artistic urge, or to tell a story, but to make money. A lot of money.

If you need to make 100 million dollars, you have no time to think about anything else. Including telling a story.

But you don't need to make 100 million dollars, because you don't need to spend 80 million dollars to make the movie and distribute it. In 2010 you can produce movies cheaply using new technologies, as Robert Rodriguez and others have demonstrated. You can distribute movies essentially free using the Internet. This means that, as long as you’re not greedy, there are stories you can afford to tell with the new tech which studios cannot afford to tell for theatrical release. This is good for the artists but bad for middlemen who add cost but not artistic value to projects.

People will want to pay for a story which is worth the money. No story is worth $100 million (well, maybe just a few. The Bible’s done pretty well at the box office…). But lots of stories are worth $2 million.

When you put content into electronic form you enable people to make an unlimited number of copies for free. There is therefore no such thing as theft. Want proof? If someone makes a free copy of my movie, what have I lost? Only something I never had: the copier’s money. (NOTE: If you thought Digital Rights Management could stop people from making copies, you’re confused. Study until you understand why you’re wrong. Until then, don’t bother us).

While there is no such thing as theft, there is such a thing as publicity. A good product, distributed widely, creates buzz and demand. This in turn generates sales.

People who see honest publicity for a good product want to buy it. Digital Rights Management is based on a worldview of shortage. Our worldview is abundance. We think our stories are good – so good that people who see them will want to own them. We want as many people as possible to see them because we know some (not all) of those people will pay us for them.

What does The New Studio sell?

We sell access, experience, and artifacts.

Access to our products and, to a few lucky fans, access to the process of producing our products.

Experience of the magic of motion pictures – the willing suspension of disbelief, the entry into the story, the magic of the motion-picture production process, the glamour of our stars.

Artifacts including high-quality art produced specially for our customers and actual items used in the production of our motion pictures.

We make motion pictures and sell films.

  1. We release our motion pictures free on the Internet. In high-quality audio and video formats. Before theatrical release.
  2. We sell films. Not DVDs (which are just little round pieces of plastic and metal) – films. Films are released to the retail market simultaneously with free Internet release. The buyer of a film gets a high-resolution DVD with an excellent motion picture that tells a compelling story. This DVD is not region-coded or protected by DRM; the buyer can play it on any device, create any number of copies, and exhibit it to the public if he chooses. The film comes in a high-quality package which creates a film experience.

    The motion picture at the heart of the film is reproduced on the highest-quality media available, so that it will last a lifetime. If media is scratched, or if it degrades, it will be replaced at no cost, with no questions asked – guaranteed.

    The film is sold in one of three editions, and not everyone can own one. The first edition is the limited edition.

    The limited edition film includes original, limited-edition collectible art art (a numbered 8x10 archival black-and-white photograph of one of the stars by an outstanding photographer) which will grow in value over time and which represents a connection between the filmmakers and the buyer.

    The limited edition film includes a high-quality illustrated book containing production stills and a commentary on the production by the screenwriter and the director; this book is available only as part of the film editions.

    The limited edition film includes a unique password for a website which allows the buyer to view dailies and other production details of the next motion picture produced by the studio.

    The limited edition film includes a coupon which can be redeemed for two free tickets to see the motion picture in a local theater after its theatrical release (if it gets released to theaters!).

    And the limited edition film includes a lottery ticket. The two winners of the lottery will be auditioned for roles in a future motion picture produced by the studio. If the winners are not cast in speaking parts, they will be cast as extras or given roles in the crew of the production.

    The limited edition film will be available for only $50 per copy. Only 100,000 limited edition copies of the film will be produced – ever.

    The second edition of the film is the special edition. The special edition film includes all the contents of the limited edition. It also includes a copy of the movie’s poster (signed by the director and shipped rolled, not folded) and a numbered 11x14 archival black-and-white photo of one of the stars by an outstanding photographer, signed on the front by the star and on the back by the photographer. This photo will be shipped ready for framing in a 16x20 archival mat. Both the poster and the photograph will grow in value over time and represent the personal connection between the filmmakers and the buyer.

    The special editions of the film are available for only $250 per copy. Only 1,000 special editions of the film will be produced – ever.

    The third edition of the film is the collector’s edition. These collector’s edition will include, in addition to the special edition film contents, two premiums. The first premium is an actual prop or costume used in the production of the film, with a certificate of authenticity signed by the director and the star most closely associated with the item. The second premium is two tickets to the theatrical premiere of the motion picture, if such a premier is held.

    The collector’s editions of the film are available for only $5,000 per copy. Only 100 collector’s editions of the film will be produced – ever.

  3. We sell motion pictures via iTunes. No motion picture will be released to iTunes until three months after its free Internet release – guaranteed. The motion pictures will be optimized for high-quality playback on iPads and laptop computers, and will be free of any DRM restrictions.

    Our motion pictures will be available via iTunes for only $4.99 per copy (for purposes of comparison, “Chicago” is sold on iTunes for $9.99 per copy).

  4. We sell prints of motion pictures to theatrical distributors. No motion picture will be released to theatrical distribution until one year after its free Internet release – guaranteed. This benefits buyers of films because they will have exclusive access to high-quality prints of the motion picture for a year before the motion picture is released to theaters. It benefits theater owners because they will have access to motion pictures with a proven fan base on the day of release.

How does The New Studio sell?

We sell direct, over the Internet.

We create demand by letting people experience our motion pictures in their entirety, in high-quality reproduction, for no cost. Our customers are not thieves. They are fans. They appreciate motion-picture art when they see it. If they can afford to own motion-picture art, they will choose to buy our films because those films have lasting artistic value, are worth owning, and enhance their lives.

Some of our customers cannot afford our films, but they still love and treasure motion-picture art. We celebrate the opportunity to enrich their lives by providing them with excellent art, even though they cannot afford to buy a film. Many of these people will become more prosperous, and will buy our films in the future; others will pay for downloads of our motion pictures so that they can play them through iTunes. Fans who cannot afford to pay us in cash will pay us with their voices by recommending our motion pictures to friends. A few of our fans will be inspired to make their own motion pictures, and they will tell stories we cannot imagine – and that’s the best part of all.

How does The New Studio advertise?

We don’t. Our product speaks for itself. People will recommend our motion pictures to their friends and companies will recommend them to their customers. Our motion pictures are so good that we think other people will want to use them to advertise their products and services. We approve. We will give a limited number of people and companies with influence, good taste, and good products permission to host our motion pictures, uncut, on their sites – individuals’ blogs and corporate portals – to help them advertise themselves and their products and services to their customers. If you think your audience or your customers would be attracted to your site by an excellent motion picture, get in touch. But hurry – we’ll grant this permission to a limited number of people and companies who believe strongly and early in the value of each of our motion pictures.

In the next entry, I'll run the numbers to convince you that the New Studio can make money.

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30 December 2009

What Does DHS Think TSA's Job Is?

I've been puzzling over Janet Napolitano's comments in the wake of Umar Farouk Abdulmutallab's semi-successful attempt to ignite a bomb onboard a Detroit-bound airliner on Christmas day.

At first I thought her comment that "the system worked" was just normal bureaucratic ass-covering, but after reading and re-reading her comments, and after thinking about the "additional security measures" most widely implemented after the incident, I'm not so sure.

The additional security measures just didn't make sense to me at first:

  1. Passengers limited to one carryon bag (Abdulmutallab had none).
  2. No personal effects in passenger laps during last hour (Abdulmutallab had nothing in his lap; the bomb was inside his clothing).
  3. No moving around the cabin in the last hour (OK, Abdulmutallab did this).
But then I asked myself "what are these rules trying to prevent?"

The answer is unfortunately obvious - the rules are trying to prevent someone who has succeeded in getting a bomb on the plane from detonating it over a populated area near an airport.

What tipped me off was the weird restriction of the new rules to the last hour of the flight - what DHS apparently really doesn't want is a plane exploding in an urban area on TV, because that would look too much like 9/11. If we're going to lose one, let's make sure it goes down over a farm - like United 93.

Just to be perfectly clear, it looks to me like these rules are DHS's (specifically TSA's) attempt to protect the people on the ground, not the people on the plane. The underlying assumption is that terrorists who try to smuggle a bomb onto an airplane will succeed, at least some of the time.

Given the failure of TSA screening to detect pretty much all hazardous materials, this assumption is depressingly realistic. It also makes Secretary Napolitano's comments to CNN's Candy Crowley much easier to understand. If you're assuming that you can't stop people from smuggling bombs onto airplanes, you're going to assume that you'll lose a plane from time to time, and the best you can do is minimize the damage and respond quickly. Here's what Secretary Napolitano said:

...the system worked. Everybody played an important role here … the passengers and crew of the flight took appropriate action within literally an hour to 90 minutes of the incident occurring all 128 flights in the air had been notified to take some special measures in light of what had occurred on the Northwest Airlines flight. Uh, we instituted new measures on the ground and at screening areas both here in the United States and in Europe … uh … where this flight originated, so … ah … th … the whole process of making sure that we respond properly, directly and effectively went very smoothly.
These are the words of someone who's planning on cleaning up a mess rather than preventing people from making the mess in the first place. When Crowley followed up, the Secretary more or less confirmed that preventing an airplane bombing is a lower priority than keeping the planes running on time:
...what I really think deserves attention is everybody responded quickly effectively … witihout, without, you know, panicking and shutting down the airline systems — air travel.
If you're a taxpayer (or even if you're just a citizen), you're entitled to an opinion about what TSA's job should be. Here's a handy little poster illustrating what this citizen and taxpayer thinks it should be:

If TSA can't do this, or doesn't want to do it, I say shut 'em down and spend the money on something more effective.

You can watch the interview with Secretary Napolitano here.

01 November 2009

Goodbye, Don

Don Bowen died yesterday. He was 51 years and two days old - a bit older than me. He died of a brain tumor. I took the picture of Don you see above in San Diego's Gaslamp district on July 30. Don was attending my company's conference, and a lot of his friends held a party for him in the evening at a local restaurant.

The crowd lined up to see Don that night was huge. If you'd met Don, you'd know why. You can't meet him any more, of course, but you can get an idea of why all of us loved him. He chronicled his two years of living with cancer on his blog. What comes through the details of the story is Don's optimism, his faith, and his love of his friends and of the everyday reality of life. The very last entry sums it up; I imagine Don had prepared this well in advance:

On October 31, 2009, my Lord threw His loving arms around me tightly, invited me to enjoy life in this new world of His and pronounced me cancer free. He promised you and me a miracle if we prayed BIG, and He has kept His promise.

Memorial services will be held at 10:00 am on Saturday, November 28, 2009 at the Northwoods Community Church, 10700 N. Allen Road, Peoria IL 61614

Praise the Lord for His goodness!

Don

For the whole story, you can start at the beginning and read it in order. Goodbye Don. Don't worry about us - we'll be fine too. And we remember.

20 July 2009

Never a Small Step

"The day", to my grandparents's generation, was December 7th.

To my parents', it was November 22.

To me, and to my generation, "the day" is today - July 20.

I like to think that Neil Armstrong fumbled the first half of his famous quote because the false humility stuck in his throat.

It was never a small step. It was always and only a giant leap, and everyone knew it. Armstrong knew it, because he and everyone he worked with signed up for a giant leap, and would never have settled for anything less. Kennedy knew it; he gave the call Armstrong answered. Kruschev knew it, behind all his bluster.

And I knew it, and so did all my fourth-grade friends on Robin Hill drive in Williamsville, New York. That leap defined my generation and set us on our path. The Beatles and the race to the moon were the soundtrack and the backdrop to our childhood (and Walter Cronkite, who's left us just this week, was our narrator.) Armstrong's leap, and his footprint, told us everything we needed to know about how the world worked. It told us that anything we could imagine was possible.

Fantasy and Science Fiction are one section at the bookstore, but they're not the same. Fantasy is the fiction of what can never be; science fiction is the fiction of what has not been yet. The generation of kids before me read fantasy - Tolkien's Lord of the Rings. We read science fiction; Asimov and Bradbury and Clarke and the others. And we watched Star Trek.

NBC cancelled Star Trek just two months before Armstrong took that giant leap for us all. But it was too late - all of us, we 10-year-olds, had been watching, and Armstrong had proved it could really be done.

We remembered. Gene Rodenberry gave Captain Kirk a flip phone in 1966 just as NASA was winding Gemini down and planning for Apollo and the moon. When we got to be old enough to work for companies like Motorola and Nokia, we built that flip phone (Kirk called it a "communicator"), and we gave it to you. Because, after all, that's what Armstrong would have done. And we built lots of other things too; the talking computers and giant electronic encyclopedias and autopilots and phasers we learned about by reading Amazing Science Fiction and watching Star Trek.

My kids' generation is reading fantasy again; Harry Potter. Their day is September 11. Things like that matter; still, I hope they know Armstrong leaped for them, and that if they leap, they can leave footprints too.

19 July 2009

Remembering Frank

Frank McCourt died today.

Frank was famous for Angela's Ashes - his account of his "miserable Irish Catholic childhood". If you haven't read it, you should. He was a wonderful writer.

Mostly by chance, I had the pleasure of spending a week on a bus with Frank. Karen & I signed up for a Photo Mentor Series trek to Ireland in 2003. The Ireland trip was unique among the Photo Mentor series treks in that it had a local host who wasn't a photographer, and Frank was that host. I took the above picture of him in the pitch-dark interior of the Gallarus Oratory on the Dingle peninsula.

The photo mentors - Barbara Kinney, Jill Enfield, and Joe McNally, - were fantastic; Barbara had been Bill Clinton's White House staff photographer, Jill is a leading expert in hand-coloring photographs, and Joe shot the first digital cover for National Geographic.

Frank and Joe hit it off immediately; they were both Irish boys who'd attended Catholic school and come away with a decidedly mixed view of the experience. And they were both master storytellers. They bickered constantly from their seats in the front of the bus about whether it was a more miserable life to be a writer or a photographer. Frank's books give you a hint of what he was like, but they don't really convey how warm or how funny he was as a person.

What they do convey is what he was most passionate about: his hatred of suffering. Angela's ashes is all about that.

It showed in person, too; as we walked up to the Killarney Cathedral, a historical marker caught Frank's eye. The marker said that construction of the cathedral had begun in earnest in 1846. Frank exploded. "1846 was the WORST year of the famine...", he began. I don't even remember if he finished the sentence, but his meaning was clear. The church had spent its money piling up stones instead of feeding its faithful, suffering people.

When we sat down later in the pub, Frank said there were three things every visitor to Ireland must do: see a horse race, attend a mass, and drink a pint of Guinness. Then he narrated the ritual of the pouring and drinking of the Guinness, and remarked that the foam on the top of a properly poured pint was known to the Irish of his youth as a "collar" because of its resemblance to the priest's neckwear. A trekker asked him, this being the case, why we needed to attend the mass and drink the Guinness, and he answered "to see which of them is false".

Frank got to see the end of most of Ireland's suffering; he told us as we were preparing to leave for home that the combination of European Union money and high-tech jobs for highly literate English speakers had transformed Ireland into a place his parents could not have imagined and would not have recognized. He said that without nostalgia; he was happy to see the poverty and the misery pass away, though they had given him the wonderful stories he left for us all.

I suspect Frank would disapprove of any mention of flights of Angels, so I'll pass all that in silence. We're poorer without him.

22 June 2009

In Memoriam

I'm breaking one of my rules because I can't bear to headline this entry with a picture.

As if it weren't bad enough that American Airlines has just announced the demise of the "nerd bird" nonstop flights between Austin and San Jose (when people ask where I'm from I tell them that I live on the nerd bird and vote in Austin) - today comes word of an even more momentous loss.

Kodachrome is no more. It was the world's oldest film in continuous production (invented in 1935 by Kodak's Leopold Godowski and Leopold Mannes - "God and Man") and the most stable color film in existence.

In my closet are 100 Kodak Carousel trays of the Kodachrome slides my grandfather took in 40 years' travel around the world. I have pictures of the Sydney Opera house, unfinished. Of temples in Southeast Asian countries an American can't visit anymore. Of my grandmother in a middle East that now seems like a fairy tale.

All those slides look as good today as they did on the long-ago days the mailman brought them back to Annapolis from the lab.

Kodachrome gave us the nice bright colors; it gave us the greens of summer. It made all the world like a sunny day.

Oh yeah.

Thanks, Kodachrome. You gave us 4 years more than the requisite threescore and ten, and those of us who knew you will never forget.

01 June 2009

Cyber Security

The Obama administration released the results of its Cyber-Security Review last week. The report's conclusions and recommendations aren't going to do any harm, but they're not going to solve the cyber-security problem either.

Start with the obvious: information security has failed, as a technology and as a discipline. A lot of security professionals object to this statement, but let's get real. Hundreds of millions of credit card numbers are stolen from retailers, processors, and other online properties every year. Foreign hackers roam the systems supporting major national defense projects. Spam, malware, and viruses circulate constantly despite the purchase and use of millions of dollars worth of anti-malware tools. Serious penetration tests succeed essentially 100% of the time. The list goes on; the news is all bad, and it's on all the time.

The Cyberspace Policy Review team wants to fix this by building "next generation secure computers and networking for national security applications"; it also wants the government to "provide a framework for research and development strategies that focus on game-changing technologies." These are fine goals, but they're not going to solve the cyber-security problem.

If we eventually do solve the cyber-security problem, the cause of our success is almost certainly not going to be the new, smart things we start doing. It is going to be the old, dumb things we stop doing.

The dumbest thing we're doing right now, in a nutshell, is optimizing our systems for low cost, fast performance, and convenience in the average case. Designing systems this way requires tradeoffs, and those tradeoffs make the systems unsafe in the worst case.

We optimize for the average case because when we're using systems, we're almost always using them in the average case. Things are fine, and we want our systems to be cheap, easy, and fast (insert your own obvious joke here).

We almost never see the worst case, so we don't worry about it much. But that doesn't mean that the worst case isn't a big problem. We built New Orleans' levees for the average case; hurricane Katrina destroyed them (Katrina, of course, wasn't even close to the worst case). We've built our cyber infrastructure, like New Orleans' levees, for the average case.

Unless we (the information security industry, the technology industry as a whole, and society generally) stop sacrificing worst-case safety on the altar of average-case convenience, we're going to continue to fail. But rebuilding cyberspace for a safe worst case is going to require sacrifices.

The Cyberspace Policy Review says "The national dialog on cyber-security must begin today." I agree. Let's start the dialog with a conversation about what sacrifices we're willing to make to get to an acceptable worst-case performance. Here are four questions to get the ball rolling:

Question 1: Are we willing to give anything up?

Not everything can be made secure, and securing some things makes them slower, or less convenient, or less flexible. If we really want security, we're going to have to give up some other things we want. We need to be clear about where security falls on our scale of priorities, we need to be clear about what type and magnitude of loss we're willing to sustain as a result of cyber-security failures, and we need to be clear about what we will have to give up in order to get the security we decide we need.

Are we willing to give up the ability to execute code downloaded from untrusted sources? Are we willing to give up instant enrollment in new services with no meaningful background checks? Are we willing to give up anonymity? Are we willing to give up connecting critical systems to the public internet, even if it means we've got to put human operators in more places to manage disconnected systems?

Question 2: Are we willing to do anything different?

For years the technology community and society generally have been headed down the path of using cheap, generic, general-purpose components for everything. The government calls this strategy "COTS" (Commercial Off-The-Shelf). The strategy is great for building a cheap, convenient average case. It's terrible for building a safe worst case.

Complicated general-purpose systems are impossible to secure. A complicated system sometimes does things its users and even its designers didn't expect. This makes complicated systems unsafe. But we keep using complicated general-purpose systems (Windows computers, for example) to handle security-critical and even safety-critical tasks. It's a recipe for disaster, but it's easy because complicated general-purpose systems are cheap, and they're easy to customize for new applications. Small, simple systems, carefully designed for one specific job, are much safer - but they're also more expensive to buy and more time-consuming to build and test.

Are we willing to build new, special-purpose tools to help us secure cyberspace? Are we willing to tell the general-purpose system vendors that we're not going to use their wares in critical applications?

Question 3: Are we willing to take any blame?

If your painkiller kills not just pain but patients' hearts, you pay the victims. If your Pinto turns into an external combustion engine, you pay the victims.

If your financial software leaks a couple hundred million credit card numbers to a hacker, you write a press release describing your commitment to security.

Are we, the information security community, willing to assume a duty of care to those who use our products? Are we willing to submit to liability when our products are defective or fail to meet a minimum standard of fitness for purpose?

Bruce Schneier has argued in favor of liability for security failures; in fact he's argued that we can't solve the problem without it.

Question 4: Are we willing to give any guarantees?

If your lawnmower doesn't cut grass, or if your printer doesn't load paper, you can take it back to the store and get your money back.

If your information security product doesn't keep hackers out of your corporate secrets, you're out of luck.

Are we, the information security community, willing to stand behind the performance of the products we build?

John F. Kennedy, in his inaugural address, promised the world that the United States would "pay any price, bear any burden, meet any hardship, support any friend, and oppose any foe" to assure the survival of liberty. What, if anything, are we willing to do to assure information security?

01 May 2009

The Porkalypse, Blakley's Law, and the WHO

Swine Flu has been downgraded to Influenza Type A (H1N1) for the sake of the pigs, but the WHO Epidemic and Pandemic Alert and Response Phase is still at 5 ("A pandemic is imminent").

The Department of Homeland Security claims that its National Threat Advisory is at "Yellow" ("Significant risk of terrorist attacks") - but DHS is just kidding. For air travellers it's still "Orange" ("High risk of terrorist attacks").

At first glance these two alarming indicators seem similar. They're not. The DHS National Threat Advisory is a public alert system. That a public alert system is indicating imminent disaster is not surprising. In fact it's inevitable. It's the nature of public alert systems to signal imminent disaster at all times. I've composed "Blakley's Law" (next time I come up with one of these I'll rename this one "Blakley's First Law") to describe the phenomenon:

"Every public alert system's status indicator rises until it reaches its disaster imminent setting and remains at that setting until it is retired from service."
It's easy to see why Blakley's law holds: if something terrible happens and the alert status didn't predict it, the keepers of the alert status will be blamed for not preparing us for the disaster. Setting the alert status to "Disaster imminent" when no disaster is likely costs the public some money and mental health, but it doesn't hurt them in other ways. On the other hand, setting the alert status to "Don't worry, be happy" just before a disaster does happen is the worst case for everyone - nobody prepares for the disaster, and the people in power lose their jobs for failing to prevent or prepare for the crisis.

This is why public alert systems are silly; for political reasons they always tell people to be afraid, but most of the time nothing bad happens so people develop distrust and contempt for the alert system and its operators over time.

It's a pity that the WHO pandemic alert and response phase indicator is being used by the media as if it were a public alert system, because the phase indicator wasn't designed as a public alert system, and what it was designed to do - and does do - is quite important.

What the pandemic alert and response phase indicator was designed to do is to alert healthcare, government, and first-responder organizations (NOT the general public) to prepare to deal with a serious disease outbreak if it occurs. Unlike DHS, which releases none of the underlying facts supporting the National Threat Advisory's current status, the WHO operates the Pandemic Phase as a fact-based system and publishes the phase criteria along with the current phase setting. The real audience for the WHO's status indicator are people who can do something to help if a pandemic breaks out, do need to know what the current situation is to make proper plans, and won't panic when they receive the information.

Unlike the media. And the public.

Influenza Type A (H1N1) may still turn out to give us a very bad season (though that does not seem very likely right now). But the biggest hazard we face from the porkalypse of 2009 seems to me to be that the media's misuse of the WHO's information may discredit the very system we will depend on when we finally do have a really deadly pandemic.

27 March 2009

The Zone of Essential Risk

Bruce and I recently had a bit of email conversation about his eBay Fraud blog entry.

I emailed him saying that this incident is the fraud pattern for which escrow agents were invented; Investopedia defines an escrow agent as:

An entity that has fiduciary responsibilities in the transfer of property from one party to another. Typically associated with selling or buying a home or other property, the escrow agent will secure the property and examine documents to make sure that the terms of the sale are met on each end, serving both the buyer and seller in the transaction.
Bruce pointed out in his return email that while the fraud pattern was a good match for escrow, the transaction size wasn't: since the item exchanged in the eBay transaction he highlighted was sold for only $500, the price of an escrow agent would have been hard to justify. He's right.

We ran into each other at the IAPP Summit and discussed the situation a little more, and I've concluded on the basis of our little chat that there's actually no good solution to the problem in Bruce's example; it falls into what I'm going to call a "zone of essential risk".

The figure at the head of this post illustrates the problem. If you conduct infrequent transactions which are also small, you'll never lose much money and it's not worth it to try to protect yourself - you'll sometimes get scammed, but you'll have no trouble affording the losses.

If you conduct large transactions, regardless of frequency, each transaction is big enough that it makes sense to insure the transactions or pay an escrow agent. You'll have occasional experiences of fraud, but you'll be reimbursed by the insurer or the transactions will be reversed by the escrow agent and you don't lose anything.

If you conduct small or medium-sized transactions frequently, you can amortize fraud losses using the gains from your other transactions. This is how casinos work; they sometimes lose a hand, but they make it up in the volume.

But if you conduct medium-sized transactions rarely, you're in trouble. The transactions are big enough so that you care about losses, you don't have enough transaction volume to amortize those losses, and the cost of insurance or escrow is high enough compared to the value of your transactions that it doesn't make economic sense to protect yourself.

As far as I can see, there are only three ways out of this box: make your transactions smaller, make your transactions bigger, or make your transactions more frequent. If you've got a better idea, I'd love to hear it. But unless you do, I'd advise you not to order your risk medium-rare.

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19 January 2009

Martin

Today we celebrate Martin Luther King.

What I celebrate him for, more than anything, is that he reminded us how to handle injustice.

He did not handle injustice by attacking it, or by blaming others for it, or by taking it to the courts, or by running from it, or by despairing in its face.

He dealt with it by naming it. Again and again, in the face of scorn and threats and violence and discrimination, he stood up and he called it what it was. He said "this is injustice".

It really is that simple.

After a long while, people listened to Martin, and they looked, and they saw injustice.

It's not all gone. But after Martin, it couldn't hide.

Happy Martin Luther King day. Name the injustices you see.

04 January 2009

Role Model

This is Brent Jeffery. I met him tonight on MARTA's Orange-line train from Atlanta Hartsfield airport to Lindbergh Center, and I'm in awe of what he does.

To put it in perspective, I speak to audiences for a living. I've done it for a long time (more than 25 years), and I had a lot of training - 9 years of drama, speech and debate in Junior High School, High School, and College. I'm a good presenter. I study presentation experts like Garr Reynolds, and I watch the best of the best at places like TED to see how I can improve. I spend a lot of time making my presentation materials informative, entertaining, and attractive. But for an old throat injury which forces me to clear my throat a lot to keep my voice from breaking, my delivery is fluid and natural. My audience ratings are consistently high.

I couldn't do what Brent does, though - at least not without a lot of practice and preparation, and not without developing a kind of courage I don't need to have to do the presentations I've been doing up til now.

I do sometimes talk about sensitive subjects - privacy, for example - but I speak to audiences who sign up to come to my talks, who know what I'm going to be talking about, and who want to be there.

Brent talks about the Bible to complete strangers on public transit. His audience paid two bucks to go home, and a lot of them are tired and crabby after a hard day at work or a series of delayed flights. They're not expecting entertainment, and they're sure not looking for a sermon.

After the MARTA train's doors close at the start of the trip, Brent gets up and asks a car full of Atlanta's weary travellers if they can spare two minutes to hear about God.

A lot of them listen. I did. He promises that it will only take two minutes. It's an exaggeration; it's really more like ten minutes. But it seems like two, because Brent's a great presenter.

And he hands out a presentation. Nothing fancy; just a xeroxed page containing a four-paragraph sermon on one verse of the Bible. Today's verse was Proverbs 13:20 ("He that walketh with wise men shall be wise: but a companion of fools shall be destroyed.") Here's the handout:

When he gave it to me, he assured me it wouldn't bite. I guess a lot of people don't reach eagerly for the paper.

Like I said, it's nothing fancy. But Brent respects his materials; at the end of the talk he comes back around the car and asks you not to throw the paper away; you're free to keep it, but if you're not going to keep it, he'd appreciate having it back. Part of the concern is surely for saving money on printing, but I bet if you asked him he'd say that a paper which might bring someone an important message shouldn't be wasted in the trash.

Brent's an inspiration to me as a presenter, and he's reminded me of something important: the most important part of a truly outstanding presentation is a profound belief that the message you're trying to communicate really matters to your audience.

If you're reading this, Brent, thanks for the lesson. It was a pleasure to meet you.

05 November 2008

The 2008 Ceci Award

Penny for the Guy?

It's that time of year again; Guy Fawkes day is here, and with it comes the presentation of the annual Ceci award for the year's most significant contribution to clear thinking about identity, privacy, security, and risk.

Modern Britons often say that Guy Fawkes was "the only man ever to enter Parliament with honorable intentions"; this year's award goes to the US Army, which, with the publication of US Army Field Manual FM 3-07, has demonstrated that it's about to become the only army ever to enter conflict with honorable intentions. Here I don't mean that other armies aren't honorable; I do mean that for the first time the US Army has as an explicit goal not only "victory" but also the transformation of conflict zones into stable, peaceful states under the rule of law. FM 3-07's remarkable opening quote, from Colonel Sir William F. Butler, holds up the example of General Charles George Gordon's British Army as a force more ready to create than to destroy:

It is needless to say that Charles Gordon held a totally different view of the soldier’s proper sphere of action, and with him the building part of the soldier’s profession was far more important than the breaking part…. The nation that will insist upon drawing a broad line of demarcation between the fighting man and the thinking man is liable to find its fighting done by fools and its thinking by cowards.
In this spirit, FM 3-07 introduces the notion of "conflict transformation", which it defines as follows:
Conflict transformation focuses on converting the dynamics of conflict into processes for constructive, positive change. Conflict transformation is the process of reducing the means and motivations for violent conflict while developing more viable, peaceful alternatives for the competitive pursuit of political and socioeconomic aspirations. It aims to set the host nation on a sustainable positive trajectory where transformational processes can directly address the dynamics causing civil strife or violent conflict. It seeks to resolve the root causes of conflict and instability while building the capacity of local institutions to forge and sustain effective governance, economic development, and the rule of law.
Contrast this with the goals of our current enemy, as recited by Abu Dujan al Afghani after the Madrid train bombings:
"You love life and we love death, which gives an example of what the Prophet Muhammad said. If you don't stop your injustices, more and more blood will flow and these attacks will seem very small compared to what can occur in what you call terrorism.
Those who aim only to destroy can never defeat those who aim to create; the contrast is too stark and the choice too obvious. Winning a war against extremist terrorists should be a sure thing, and it is in the long run - but only if we offer an alternative that's not based on pure destruction. Shock and Awe failed this test; FM 3-07 passes it. Look at the focus on legitimacy:
Legitimacy is central to building trust and confidence among the people. Legitimacy is a multifaceted principle that impacts every aspect of stability operations from every conceivable perspective. Within national strategy, legitimacy is a central principle for intervention: both the legitimacy of the host nation government and the legitimacy of the mission...

The credible manner in which intervening forces conduct themselves and their operations builds legitimacy as the operation progresses. Highly professional forces are well disciplined, trained, and culturally aware. They carry with them an innate perception of legitimacy that is further strengthened by consistent performance conforming to the standards of national and international law. For military forces, a clearly defined commander’s intent and mission statement are critical to establishing the initial focus that drives the long-term legitimacy of the mission.

An army thoroughly trained in this doctrine would not have suffered the disgrace of Abu Ghraib, and its officers and men would not have countenanced waterboarding.

We are safe when we are just as well as strong. If we must use the Army, we should use it not only in a just cause but also in a just fashion. FM 3-07 provides a foundation for doing that.

Congratulations to Gen. William Caldwell, LTC Steven Leonard, and the US Army Combined Arms Doctrine Directorate on the publication of FM 3-07. As always, acceptance comments are not expected but would be most welcome.

04 November 2008

The End of Taxation

With the election cycle coming to a close here in the USA, there's lots of the usual talk about tax reform. During the campaign, Ron Paul, Mike Huckabee, and John McCain endorsed a "fair tax" - basically a flat national sales tax intended to replace the income tax; Sam Brownback and Rudy Guiliani wanted a "flat tax" - a single-rate income tax. Various candidates wanted to whittle around the edges of the tax code by repealing (or not) the estate tax, raising (or lowering) the capital gains tax, taxing (or not) carried interest, taxing (or not) carbon emissions, raising (or lowering) cigarette and gasoline taxes, and so on. And of course, Barack Obama wants to cut your taxes if you make under $200,000 - a number Joe Biden can't seem to remember. The shared consensus underlying all these proposals is that the existing tax code is neither fair nor simple - and this consensus is correct.

But none of the existing proposals will fix this problem. They'll just reward the constituency of the winner of tonight's election. We'll continue to tinker unsuccessfully with the tax code until we come to grips with a fundamental issue: taxation itself is obsolete.

Wikipedia says taxes originated 5,000 years ago in Egypt. This might be right, or it might not - we probably don't actually know when taxation was invented. But we do know why it was invented. It was invented because Pharaoh was a senior executive: instead of doing work, he supervised it.

Although Pharaoh didn't cultivate a garden, he still had to eat: he had to rely on the fruits of others' labor in order to set his table. Laborers being laborers, many of those growing the fruits doubted that Pharaoh was earning his supper, so they sent rotten produce, or they sent their regrets.

And (Pharaoh being Pharaoh) when the laborers sent their regrets, Pharaoh sent his army, and his army took everything they thought Pharaoh might need to impress his dinner guests (plus a little bonus for the Captain, as I'm sure you'll understand).

In order to minimize conflict (and to keep the Captain poorer than Pharaoh!) this system of royal confiscation was eventually systematized and scheduled, so that the laborers would grow accustomed to the seizures and plan their productivity accordingly (rather than, say, getting all surpirsed and in a huff, and marching on Thebes with sharp farm implements). The result was a tax.

Pharaoh really had no alternative to taxation; he needed grain for his bread and papyrus for his scrolls and tallow for his candles, and the only way to get these things was to go to the people who had them and claim a portion.

Now flash forward 1500 years and swim the Mediterranean to Rome. The Republic, and later the Empire, found it inconvenient to scour the landscape for cattle and grain and tallow and wine every time the legions needed to be paid; the logistics were too daunting, and it was tough to remember that Severus wanted 200 candles but Quintus wanted a cow. So the Romans innovated and came up with a standard medium of exchange - salt. Salt was great stuff. It was infinitely divisible, it was small in proportion to its value, it was imperishable, and it was in lots of demand because you could use it for many useful purposes, including curing meat and hides and flavoring food. So the legions were paid a "salary" (salt ration). Quintus could use his valuable salt to make his camp rations taste better, or he could trade it to the local farmer for that cow he had his eye on.

Commodity media of exchange make taxation much easier. You don't have to see if the cow Quintus sends to the emperor is scrawny or has foot-in-mouth; all you have to do is weight the salt. So the laborers began to bring a portion of their salary to the seat of government and turn it in. They had to do this, of course, because the Republican (and later the Imperial) tax authorities couldn't just make salt - they had to collect it.

Salt is, unfortunately, somewhat tough to test for purity. And, laborers being laborers, they tended to mix the Emperor's salt with sugar, or quartz crystals, or flour, or cocaine, or any number of other things. This made it hard for the Emperor's tax collector to know when he was being cheated. The Emperor hated to be cheated, so he encouraged his tax collectors to innovate. They did so by switching from salt to metal coinage. Soft metals can be tested for purity using a touchstone. Some soft metals are also nice and rare, and they can be turned into pretty jewelry, so they have intrinsic value. And they have another property which is just irresistable to a megalomaniacal Emperor - you can stamp pictures (of, oh, let's see - the Emperor?) onto them, and those pictures are fairly hard to copy exactly and fairly hard to deface.

Putting his face on metal coinage gives the coins a property very dear to the heart of the all-powerful Emperor: he can control its supply. The laborer can't use just any old pure silver as a coin - he can only use a piece of silver with the Emerpor's very own personal face (and other symbols of authority and value) stamped on it. And the Emperor can strictly control who gets to do the stamping. Now pesky foreign potentates can't get richer than the Emperor, at least on the Emperor's own turf, because only the Emperor can create valuable currency.

Taxation was still necessary with metal coinage, because, while the Emperor could make coins, he couldn't make silver - so he had to have the laborers hand in some of their coins so he could turn around and give them to the people who mined his silver and brought it back to the mint.

Now flash forward another thousand years or so. People were getting pretty flush in Europe, and carrying around big bags of metal coins was starting to be a drag. The bags were heavy, and bandits tended to notice them. Keeping the bags under your pillow at home was no solution, as it attracted unwanted visitors. Storage and transport of money, in short, was starting to cause problems. Enterprising merchants, being enterprising merchants, came up with a solution. German merchants began accepting cash deposits and issuing receipts; these receipts (which were much lighter and less conspicuous than bags of cash) could be used to reclaim the deposited amount of metal coinage - either from the merchant who issued the receipt, or from another cooperating merchant. These merchants quickly started charging for their services; they became bankers, and their receipts became a form of paper currency.

As paper currency established itself, people used it to pay their taxes. It was still necessary for the government to collect actual currency from its citizens, since the currency was tied directly to the commodities the government needed to use to build its roads, feed and equip its armies, and write and enforce its laws.

Things worked pretty much this way for a long time; until, in fact, 1975 - at which time the US Government declared that the value of the dollar would no longer be tied to the price of gold. The dollar thus became a fiat currency, which meant, essentially, that the dollar became valuable "because we say it is" rather than "because you can trade it in for a specific amount of some valuable commodity".

This is where our hero - J.S.G. Boggs - comes in. Recall that we first met Boggs way back when we were talking about Similarity vs. Identity. The question Boggs repeatedly forces us to try to answer is "what is money, and why is it valuable?" Here's Boggs on Boggs, as told to Lawrence Weschler:

"Some of the early American paper bills included engravings on the back depicting the metal coins for which the paper bills could at any moment be redeemed. On the back of the five-dollar silver certificate, put out in 1886, there was a picture of five silver dollars. If you wanted to know what a five-dollar bill represented in those days, all you had to do was look at the picture on the back. But anyway, when they started withdrawing the dollar's metal backing - when you couldn't redeem your dollars for gold and in fact were no longer even allowed to posses gold on your own except as jewelry - that's when they started putting that phrase ("In God We Trust") on the currency. When you could no longer trust in gold, they invited you to trust in God. It was like a Freudian slip." "It's all an act of faith. Nobody knows what a dollar is, what the word means, what holds the thing up, what it stands for. And that's also what my work is about. Look at these things, I try to say. They're beautiful. But what the hell are they? What do they do? How do they do it?"
In a fiat-currency system, value is "Boggsian"; there doesn't have to be any particular amount of fiat currency, because there's no absolute standard of value, because it's all fundamentally an act of faith. The basic idea (the "act of faith") behind the value of fiat currency is that the "total wealth" of a society is in some sense equal to the "total value" of all the currency the society has in circulation. If society's total wealth stays the same but the government prints enough currency to double the money supply, the value of each individual bill is cut in half. And, conversely, if society's total wealth stays the same but the banks all get together and throw a party at which they burn half of the bills in existence (a depressingly plausible scenario given recent events), the value of each of the remaining bills doubles.

Let's look at one sentence of the previous paragraph again: If society's total wealth stays the same but the government prints enough currency to double the money supply, the value of each individual bill is cut in half. Think about that carefully; what it means is that every time the government prints a dollar, it is effectively taking that dollar away from "everyone". A government which can do this doesn't need to collect taxes; it can just print the money it needs, and the appropriate amount of value is subtracted from the money you and I still have - automagically! Aristotle would hate this; it's action at a distance.

It's that simple. Taxation is no longer necessary. It's an artifact of an older time when money was made out of stuff instead of made out of ideas. As soon as enough of us realize this, we can simply close the IRS and H&R Block and the Tax Courts.

Each year, the congress can simply instruct the Bureau of Engraving and Printing to fire up the presses and fund the federal budget. This will do the same thing as collecting taxes, but it will do it in a different way: by driving up inflation. It will be, to coin a phrase, a "Boggs Tax".

Switching to a Boggs Tax would have a lot of good effects:

  1. A Boggs Tax taxes wealth. It does not tax income, or economic activity, or personal behavior - which is good because taxing any of these always discriminates against some groups and in favor of others. Because it can't be sheltered against (see below), it taxes the very wealthy much more heavily than the current system does.
  2. It requires no expense to collect. The government simply prints the money it needs. There is no tax return preparation, no Internal Revenue Service, no audit, and no court proceeding.
  3. There is no way to shelter against a Boggs Tax - every dollar in existence is automatically taxed. Whether a dollar sits in the Cayman Islands, or in the bank, or in a municipal bond, or in a corporate stock certificate, or in a mattress, the tax is applied to that dollar as if by magic. A Boggs Tax taxes dollars held overseas just as effectively as those held at home, it taxes dollars held secretly by criminals just as effectively as those held by honest taxpaying citizens, it taxes the "underground" (cash) economy just as effectively as the official economy, and, as a special bonus, it even taxes counterfeit North Korean $100 superbills just as effectively as red-white-and blue US Bureau of Engraving and Printing honest-to-goodness real $100 bills.
  4. There is only one public-policy argument where before there were two. Today we have to talk about who we will take money from and who we will give it to. Under a Boggs tax, we only have to decide who to give it to - since it's taken from every dollar automatically.

There are a couple of arguments against a Boggs tax; it seems to me that the three most important are these:

  1. While a Boggs Tax is radically more progressive than today's tax code at the top end of the wealth scale, it's much more regressive at the bottom end - it taxes the meagre wealth of the poor at the same rate as it taxes the rich. But there's no real problem here; simple annual subsidies to the poor can relieve their burden, and as a bonus, all government's activities are focused on distributing money (which makes people happy) rather than confiscating it (which makes them angry), so the quality of the average citizen's interactions with government improves.
  2. There is evidence to suggest that high inflation makes economies unstable, so a system which operates by increasing inflation might have bad economic effects. I'm not an economist, and I have no desire to play one on TV, so I'll leave this one, for the most part, to the professionals. But I will observe that we already pay an economic cost for our current tax system; operating the IRS and the tax courts, and requiring every citizen to burn a day (or a week) of productive time or pay an accountant to prepare tax returns is a real cost to the economy. Paying this cost produces nothing of value; it's pure economic friction. My guess is that the inflation incurred by a Boggs Tax would be smaller than the total of tax receipts plus collection friction, so the Boggs Tax would have a net positive effect on productivity.
  3. The third objection is the biggie: using inflation to collect taxes guarantees that the value of a dollar held as an investment decreases over time. This means that the dollar's value as a reserve currency is diminished, and it also means that dollar-denominated investments operate at a disadvantage compared to investments in currencies which do not inflate. Again the details of how this would affect the real economy have to be left to economists, but again there's a counter-argument: if a Boggs Tax makes the economy as a whole more efficient (and I hypothesize that it should), inflation due to causes other than taxation might decline - and the overall rate of inflation might not be extreme compared to other economies. Calculating how much inflation the Boggs Tax would create seems tricky. The CIA World Factbook gives a figure of $2.73 Trillion for the US Federal budget. This is the numerator in the inflation calculation, but the denominator is slipperier. It's not GDP (which according to the same source was $13.84 Trillion dollars in 2007) - because GDP only measures newly created wealth for a year. The denominator also doesn't seem to be M2 (the total money supply of the nation, which according to Wikipedia was about $7 Trillion in 2005). The correct denominator is something like "total dollar-denominated wealth in the world"; I can't find a statistical source for this, but it's evidently quite big; according to Wikipedia again, the total wealth of US households and nonprofit organizations (which doesn't count corporate wealth or dollar-denominated assets held overseas) was about $60 Trillion in 2007. If we're very conservative and simply double the US personal wealth number to $120 Trillion, this gives us a figure of about 4% annual inflation for using a Boggs Tax to fund the current US Federal budget - not trivial, but not crippling either.
I don't imagine the administration we elect today will switch the US to a Boggs Tax, at least not in its first term. But I do think a Boggs Tax is coming; traditional taxation is just too twentieth-century to survive in an information economy.

16 October 2008

The Last Polaroid

Photographers today like to call their pictures "images". But when I was a kid, photographs weren't "images". "Images", to quote Abraham, are formless and void. When I was a kid, photographs had very specific forms. When I was a kid, photographs were things.

School photos came in little blue cardboard frames. Slides came in much smaller frames; Kodachromes were the best slides, and they came in tiny, square paper frames with rounded corners and a Kodak logo on the front, with the frame number and date stamped in ink on each one. And Polaroids - ah, Polaroids.

Polaroids came with a gray backing, a white frame, and a slight curl. And they came right away.

You pulled them out of the camera, watched your second hand count to 45, peeled the picture off the backing paper (dont't touch that! It's coated with caustic goo!), smeared the slimy (and slightly mysterious) pink wand across the picture, and there you were - a fully developed photograph in less than a minute. Later - when I was about 10 - Polaroid invented integral film; it didn't even need to be peeled apart, and you could watch the picture emerge like a magic trick from a plain white rectangle of plastic. And it still took less than a minute!

A minute seems like forever to kids who grew up using digital cameras, but to us a minute was a miracle.

Here's what we were used to: buy a roll of film. Shoot for about a week (really! It took us a week to find 24 things worth photographing! Today's DSLR users shoot that many pictures in six seconds!). Unload the film and put it in a mailing envelope addressed to Kodak in Rochester, New York. Drop the envelope in a mailbox. Spend another week checking mail every day to see if the pictures are back yet. Finally!!! Rip open the red-and-yellow return envelope and take out our twenty-four little things.

The weeks of suspense died with Polaroid - but not the excitement. The excitement of Polaroid - for my generation anyway - has never died. But Polaroid itself is dying now.

Polaroid instant film was introduced in the late 50s, and integral Polaroid film (no peeling apart) came on the scene in the early 70s. All Polaroid instant film production is being discontinued this year (though Polaroid will continue to market a very limited selection of instant films produced by Fuji, at least for a while).

My generation's relationship with Polaroid instant film is unique; we were the kids in the Polaroid pictures; when you see a Polaroid of a child, it's one of us. Not coincidentally, I think we may also be the last generation for whom photographs are things and not just "images".

I went back to see my generation this summer at my 30th high school reunion. I heard the news that Polaroid was going to stop making instant film as I was planning my trip. It occurred to me that I had a decent supply of 4x5 Polaroid Type 56 film in my closet waiting for a project, so I cleaned up my 4x5 camera and put it in the car before I hit the road and headed for Bryan High School.

I told my classmates at the beginning of the reunion dinner that Polaroid was going away, and that I'd be happy to give each of them the last Polaroid they were likely to have of themselves.

A lot of people took me up on the offer. I took 70 pictures in about two and a half hours; each one took about a minute to shoot and develop, and I rephotographed each one with a digital camera on a copystand. It was a great experience; I probably talked to more of my classmates than anyone else at the reunion, and the classmates I photographed seemed to be having a great time with the process. A lot of them liked the pictures, and I did too.

For me, one of the most interesting parts of the experience was that people really did get unique, one-of-a-kind things. My digital copies are different from the originals for several reasons; the copystand legs cast shadows on the pictures because I used room lighting instead of copy lighting. I had to use a glass plate to hold the curly polaroids flat, and over the course of the evening the plate developed a film of crud from the surfaces of the pictures, and from my fingerprints.

It's a great irony that digital technology, with its ability to generate perfect copies, left me with imperfect shadows of the unique, original artifacts my subjects took home with them. I love that.

I loved the process too, and the subjects. The Bryan High School class of 1978 are the people I grew up with, and who, to a large extent, made me who I am. It was wonderful to see them again, and to be able to give them something unique as a memento of our getting together in 2008. I'd like to think you can see a little bit of what makes them so special in the pictures. I call the project "The Last Polaroid"; you can see the digital copies of the Polaroid originals here.