Tomorrow marks the first ever British Convention on Modern Liberty, co-sponsored by The Guardian, OpenDemocracy, and Liberty. It’s a daylong, nationwide forum on the erosion of liberty, privacy and civil rights in Britain. Boing Boing is a proud sponsor of the event, and I’ll be speaking at the closing plenary with Billy Bragg tomorrow afternoon in London.

We are entering a dangerous period in our country. Economic turmoil threatens profound hardship and disharmony. Disenchantment with politics is growing and even legitimate protest is threatened by an unprecedented programme of challenges to our rights, freedoms and democracy. Sixty years ago Britain was a proud co-author of the Universal Declaration of Human Rights and Fundamental Freedoms. Now it is increasingly centralized, abandoning its historic principles some of which date back to the Magna Carta.

The Government’s continued stated determination to extend detention without charge in terrorism cases to 42 days is one symbol of the damage done to our hard-won rights and freedoms. The Regulation of Investigatory Powers Act 2000 (RIPA), which gives hundreds of agencies access to people’s records without their knowing, is another. The collection of all available records on a huge central database for the use of the authorities is a third.

We believe that such threats can be overcome but only if the public is woken to the dangers. While we may be impatient for action, the issues must be addressed in an open-minded way with as thorough and accessible public debate as possible.

The Convention on Modern Liberty

My latest Guardian column’s just gone up, about the message that entertainment companies send when they put crappy EULAs on their digital downloads:

Here’s the world’s shortest, fairest, and simplest licence agreement: “Don’t violate copyright law.” If I had my way, every digital download from the music in the iTunes and Amazon MP3 store, to the ebooks for the Kindle and Sony Reader, to the games for your Xbox, would bear this – and only this – as its licence agreement.

“Don’t violate copyright law” has a lot going for it, but the best thing about it is what it signals to the purchaser, namely: “You are not about to get screwed.”

You shouldn’t have to sell your soul
just to download some music

My latest Make column is up, “Love the Machine, Hate the Factory,” written for the steampunk theme issue:

For me, the biggest appeal to steampunk is that it exalts the machine and disparages the factory (this is the motto of the excellent and free *Steampunk* magazine: “Love the Machine, Hate the Factory”). It celebrates the elaborate inventions of the scientifically managed enterprise, but imagines those machines coming from individuals who are their own masters. Steampunk doesn’t rail against efficiency — but it never puts efficiency ahead of self-determination. If you’re going to raise your workbench to spare your back, that’s *your* decision, not something imposed on you from the top down.

Love the Machine, Hate the Factory

Information Week’s Internet Evolution’s just published my latest article, “Media-Morphosis: How the Internet Will Devour, Transform, or Destroy Your Favorite Medium” — a noodle on the factors that led to the demise of newspapers, the transformation of music, and the potential destruction of big budget movies and mass-market publishing (and what can be done about the last one):

Big-budget movies (BBMs) require a lot of capital and rely on studios controlling the rate and nature of distribution of the finished product. If you’re going to recoup your $300 million box-office turd, you need to move a hell of a lot of DVDs, TV licenses, foreign exhibition, Happy Meal toys, and assorted “secondary” revenues.

Let’s be realistic here: Nothing anyone does is going to make it harder to get movies when you want them, where you want them, and at whatever price you feel you should pay for them (including free). And the harder you crack down on Internet movie-downloading, the more attractive you make buying pirate DVDs from criminals on the street — a virtually zero-risk transaction that directly displaces DVD purchases.

What’s more, no one has yet successfully crowdsourced a movie that looks and feels like a BBM. There are lots of fabulous 9-minute YouTube Inc. videos, and plenty of lovely and promising machinima flicks, but no one’s yet built the kind of purely escapist, high-production-value feature that we flock to the cinema to see every summer.

Now, maybe film studios can do what Magnolia Pictures is doing — distributing day-and-date releases to satellite, pay-per-view, cinema, DVD, and foreign film outlets — and recapture a lot of the money that is squirting between the fingers of the tightly clenched release-window fist. But if it’s not enough, commercially motivated BBMs might simply die.

Note that movies as a genre won’t vanish. There’s plenty to love about 9-minute YouTubes and the quirky features that come out of indie production houses. There’s never been a time when more moving pictures were being produced and viewed than today. Many of these things are economic propositions, and many are not — they’re a lot more like stage shows than they are like films. They cost less to produce, they reach smaller, more targetted audiences, and they represent an admirable diversity of voice and point of view. But they’re not Big, Culturally Relevant Media in the way that a real classic BBM can be.

Media-Morphosis: How the Internet Will Devour, Transform, or Destroy Your Favorite Medium