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grannyandgrandpascreations · 4 years ago

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Hello Darlin' Garden/Yard Flag

Make your garden, your porch and/or your front yard stand out with our pretty, unique, and fun Garden Flag! Hello Darlin’ with Conway Twitty.

One of Conway Twitty’s amazing songs! This song was written and recorded by the American Country Music artist. Hello Darlin’ was released in March 1970. Hello Darlin’ was Conway Twitty’s fourth number one song on the Billboard Magazine “Hot Country Singles Chart”

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Due to different light settings the actual color might vary a bit from the pictures.

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Make your garden, your porch and/or your front yard stand out with our pretty, unique, and fun Garden Flag! Hello Darlin’ with Conway Twitty.

A tidbit - The Hamm’s Bear, Sascha was named after the wife of the original founder of the company.

Our designed is on a durable 11.81 x 17.72 inches, white single/double layer, polyester durable garden flag.

Fabric Care Instructions: Machine wash cold, no bleach, no softener. Do not dry clean. Do not iron. Air dry.

Due to different light settings the actual color might vary a bit from the pictures.

Flag post is NOT included.

#grannygrandpascustomcreations

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caveartfair · 6 years ago

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Shirin Neshat on Her Path from Art School Outcast to Contemporary Art Icon

Art history is filled with stereotypes of artists that mostly sit at the extremes—the starving artist who can barely afford her or his paints, and the artistic genius whose body of work goes on to influence generations to come. The stories of what happens along the many stages of an artist’s career in between those extremes is too often glossed over. In this new series, we hope to change that by getting the stories behind the rise of some of contemporary art’s greats, hearing the struggles and ultimate triumphs that led them to change art as we know it.

Iranian artist Shirin Neshat, 61, is perhaps an unusual place to start this series: After graduating from art school in 1982, she gave up. Yet despite abandoning artmaking for 10 years, and working at an arts nonprofit in New York City, she eventually returned to Iran and to her art practice. She soon generated a career-making aesthetic: Since 1993, she’s created black-and-white films and photographs that examine political conflict and Muslim culture via a feminist lens.

Shirin Neshat, I Am Its Secret, 1993. © Shirin Neshat. Photo by Plauto. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

Shirin Neshat, Allegiance with Wakefulness, 1994. © Shirin Neshat. Photo by Cynthia Preston. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

Her most famous photographic series, “Women of Allah” (1994), features images of the artist’s body overlaid with Arabic text. A gun appears in many of the images, poking out from between Neshat’s feet or lying over her forearms. More than 20 years after their creation, the pictures remain jarring critiques of violence and traditional gender roles.

Neshat’s 1998 film Turbulent features a split screen with a man singing in front of an audience on one panel, and a woman standing alone on the other, addressing Iran’s prohibition of women singing in public. It won the Venice Biennale’s Golden Lion—among contemporary art’s highest honors.

Neshat is represented by Gladstone Gallery (New York, Brussels) and Goodman Gallery (South Africa), and has exhibited around the globe at major institutions such as the GEM museum of contemporary art in the Netherlands, the British Museum, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. She has received awards from the Rockefeller Foundation, the Venice Film Festival, and the World Economic Forum. This October, the Broad Museum in Los Angeles will open a major survey of Neshat’s work.

But before she was successful, Neshat reveals below, she was just an art-school outcast.

How did you become interested in art? Were there any artworks or artists that were particularly influential?

It’s a funny story. You know, I come from Iran. I lived in a very small, religious, conservative town, Qazvin. I was never really exposed to art as a child. No one in my family was artistic. We didn’t visit museums. Art was considered decoration or craft. It was a foreign idea to become an artist in the way we understand it today. Still, I developed an interest in becoming an “artist”—more romantically so. I never understood this tendency. But ever since I was seven or eight years old, everyone called me an artist because I did drawings at school.

I occasionally went to Tehran, where there were pockets of cultural activities, but I didn’t know anything about it. I did have a lot of interest in literature. In Iran, we studied poetry. We read a lot. That eventually became a part of my artwork, when I started writing on photographs.

Shirin Neshat (left) at Berkeley circa 1979. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

My art education really began when I came to the U.S. for my last year of high school, when I was 17. I went to UC Berkeley, where I studied art. Before that, it was just this blank. So it’s hard for me to talk about the artists who influenced me, because I didn’t have that until I was in my early twenties.

Diego on my mind (Self-portrait as Tehuana), 1943. Frida Kahlo Art Gallery of New South Wales

No title , 1964. Eva Hesse "Big Picture: Art After 1945" at Seattle Art Museum, Seattle

Judy Chicago Designing the Entry Banners for “The Dinner Party,”, 1978. Judy Chicago Brooklyn Museum

In Berkeley, out of all the artists we studied from Western culture, I remember gravitating toward Frida Kahlo. To this day, I find her fascinating—who she was as a woman and a political figure. Her relationship to Diego. Her style, which became an extension of her artwork. I was more drawn to women artists for sure. I remember being really taken by Eva Hesse, her minimalism and the way she died. I was really saddened by her story when I was in school. I remember Judy Chicago was doing a lot of things that many other women students and I were following. To this day, I’m drawn to women artists who have had interesting, sometimes tragic lives. I’ve even made films about them—Women Without Men (2009), for example, was based on a novel by a woman (Shahrnush Parsipur) who was imprisoned for many years.

Tell me about your first attempts to make art.

In my classes in Iran, the teachers used to ask me to do murals on the blackboard or the walls. There was another strange thing, too: I used to draw women and then design clothes for them. I’d dress them up in certain ways. My cousin told me recently that when I left Iran, she took my book of my drawings. I don’t know what that was about, but I had this fascination with women and dressing them up. My cousin still has that book and I haven’t seen it for 40 years. Maybe I was influenced by magazines—fashion, modernity. As I discovered my own body, I became fascinated (along with the rest of my generation) with a Western look we saw in the movies, television shows, and publications. Gone with the Wind was massively popular in Iran. We watched Peyton Place and The Flying Nun. We were just mesmerized by Hollywood.

Shirin Neshat, Soliloquy Series, 1999. © Shirin Neshat. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

At UC Berkeley, I was totally lost. I immediately realized that my idea of art and being an artist was stupidly romantic. In order to be an artist, you have to have ideas that are more than intuitive. You have to know what you have to say. For the first several years of school, I was trying to come up with ideas that bridged my Persian and Islamic heritage with what I was learning about Western art. That’s so typical of non-Western artists who study at Western schools: trying to build an identity by building a bridge. I was making paintings, prints, and works on paper with Persian iconography. Lots of surrealistic shapes and female figures (which, ironically, eventually resurfaced in my more recent art practice). I don’t think the other students felt they could tap into what I was making.

It was really terrible—I destroyed evidence of all this work. Honestly, I had to be one of the weakest artists at the school.I applied to Berkeley’s graduate program, and my professor told me that I just barely got in.

Shirin Neshat with one of her paintings circa 1980s. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

While I was at Berkeley, there was the Iranian Revolution. Horrific things were going on in my life—I lost my immigration status, couldn’t go home anymore, and was separated from my family. My studies took a backseat. I wasn’t blossoming like some of the other students. After I graduated, I didn’t make art for 10 years. I thought, “Okay, you’re not a good artist, move on with your life.”

“I destroyed evidence of all this work. Honestly, I had to be one of the weakest artists at the school.”

When I moved to New York, I did show slides of my work to some prominent galleries. They were charmed by me as a person, but when they saw my art, they looked at me like, “You must be joking.” One gallerist, though, wanted to have coffee with me. I felt embarrassed. It was horrible, and I thought, “I’ll never do this again.” Instead, I worked at the Storefront for Art and Architecture. I was the co-director with my ex-husband, Kyong Park, who founded it. We worked together for 10 years, cultivating this grassroots, not-for-profit organization. We made exhibitions, conferences, panels, and publications. I interacted with artists and architects such as Vito Acconci, Mel Chin, Mary Miss, Kiki Smith, Zaha Hadid, Jean Nouvel, Judith Barry, and Alfredo Jaar. My true art education came from Storefront.

What encouraged you to get back into art?

Shirin Neshat in front of the exhibition space, Storefront, in downtown Manhattan circa 1980s. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

Shirin Neshat, Untitled, 1996. © Shirin Neshat. Photo by Larry Barns. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

There was no diplomatic relationship between the U.S. and Iran for a long time. I feared that if I went back home, I wouldn’t be able to return to the states. Finally, after about 11 years, I got my American citizenship and felt confident enough to make the trip. Those travels were very moving and shocking. When I came back, I felt an urge to make something that kept this relationship alive again between me and Iran. But I knew that I needed time and space to make something.

I applied for this residency at Henry Street Settlement—and I got it. I had a son by that time. I’d leave Storefront two days a week and think about my experience in Iran and ideas for artmaking. At first, I was making drawings of my hands and writing on them. Then I thought, “Wait a minute, I should photograph them.” Slowly, with the help of my photographer friend Plauto, I started to take photographs of myself: my hands, my feet, everything that’s allowed to be shown in Iranian culture. I began to write on Xeroxes of the pictures—lines from the poetry I’d brought back from Iran. It was totally playful. I had no goal of showing the work. These were from my “Unveiling” series, which became part of “Women of Allah.”

“Playing a role, being a performer, I was the master of my own ceremony. I was in control. I felt like, ‘this is me.’”

Then this exhibition space called Franklin Furnace, which was run by the artist Martha Wilson, was asking for proposals. I made up this statement for a show devoted to the female body and literature. They called me and said, “You have a one-person show for next spring.” That became the impetus for me to crystallize my ideas. I showed my photographs and a Super 8 film. This was in 1993. That was my absolute first body of work. I was in my thirties.

I remember Kiki Smith came, bought one of my works, and gave me some good advice. She told me that the way I was making the pictures, writing on Xeroxes, they’d be ruined. She advised me to use photographs. I realized I wasn’t thinking about the long term. I started to teach myself photography.

Shirin Neshat, Fervor (film still), 2000. Photo by Larry Barns. © Shirin Neshat. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

Shirin Neshat, Offered Eyes, 1993. © Shirin Neshat. Photo by Plauto. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

When I made the show at Franklin Furnace, I put everything out there. I felt such a passion for what I was doing. Without any plan to be successful or have a career, I just purely desired to make art. My ideas were unstoppable, shaping naturally. I realized I had this aesthetic that was minimal, highly stylized, poetic, and layered with meaning. Using my body. Playing a role, being a performer, I was the master of my own ceremony. I was in control. I felt like, “This is me.”

Were there early instructors or mentors that really encouraged you?

UC Berkeley, when I was there, was known for these super-macho male teachers who taught a lot of sculpture. Like Frank Stella. But there were two particular teachers I remember.

Harold Parris was an extremely poetic, sensitive artist. Easy-going, non-macho. He let us come to his studio—he really opened up to the students. And Silvia Lark, who taught me printmaking. She was native Indian and later died from cancer. A very tragic life. I was attached to her, and that devastated me.

I gravitated toward instructors who were female or had a more feminine touch. School was not a complete failure. It was just the political climate, and my English wasn’t good. I was a bit of an outcast and didn’t relate very well to other students.

How did Iranian culture or cultural expectations affect your desire to be an artist?

Shirin Neshat, Rapture (still), 1999. © Shirin Neshat. Photo by Larry Barns. Courtesy of Galerie Jérôme de Noirmont, Paris.

I always felt like if I wasn’t a visual artist, I would have been a poet. Someone who lived in her imagination. I think about living in Iran, in conservative villages and political environments. We relied on literature. That’s where you could find a lot of freedom of expression. Emotionally, I was always a dreamer.

When I came alone to this country, there was a lot of sadness in being isolated, in exile. My best friend was my imagination. I couldn’t completely relate to the American dream or the Iranian community here. In my art, I could create a universe where I felt at home. The New York underground art scene became my haven, what allowed me to persevere.

What were the biggest obstacles to becoming an artist?

Sherin Neshat (right) with a film extra while shooting Rapture circa 2000. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

Finding an identity. I’m very glad I left art when I did. There’s nothing worse than mediocrity. Many of us go to school, and we’re content even if the work isn’t great. I needed to find what I had to say, what people should pay attention to. What makes good art? What do I want to communicate? I figured this out after my experience in Iran.

“Eventually, I made a little money from my artwork, and I couldn’t believe that I had a little bit of luxury. Struggling was an important experience for me.”

I became obsessed with understanding the Islamic Revolution, what had transpired in the country, and how women fit in. I took it upon myself to make a grand project of exploring militant women who were faithful to the revolution and fundamentalism. I was like a person who wants to write a book, then finds a premise. I just created a body of work that raised questions. It was like a sociological study, looking at interesting, contradictory viewpoints.

I never thought of art as a career and a way to make money. At Storefront, we never made any money. My husband and I were the only staff members, and we and our son were living hand to mouth on a shoestring budget. Sometimes there was a struggle to pay bills. I gave up a job at a textile company, making stupid things, for living this way—on the edge, making something out of nothing. Art was an extension of life: a set of questions and circumstances that you experience. We struggled in New York, but we lived richly, meeting the most fantastic artists and architects. Eventually, I made a little money from my artwork, and I couldn’t believe that I had a little bit of luxury. Struggling was an important experience for me.

What would you consider your breakthrough work?

Turbulent, 1998. Shirin Neshat MCA Chicago

I started making “Women of Allah” in 1994. The series became somewhat known. But I think my breakthrough was the video Turbulent (1998), really. That was at the Venice Biennale in 1999. It got the Golden Lion Prize. What happened was that once people discovered the film, they started to recognize my photographs. I became known as a video artist, and people forgot I was a photographer.

Shirin Neshat (center, left) at the opening of her exhibition “Turbulent” at the Whitney Museum in 1998.

The inspiration for Turbulent is a funny story. I was in Istanbul one day, and I saw this young blind woman singing on the street. It was so powerful—this beautiful, guttural voice not intended to please any audience. Yet there were mobs of people surrounding her. I wanted to make a counterpart. In New York, I met my current husband, Shoja Azari. He’s a filmmaker. He ended up being the singer in my film. The piece changed our lives—it turned into an incredible romance.

How did you deal with any rejections you faced early on?

My first serious gallery exhibition was with Annina Nosei (in New York) in 1995. I showed “Women of Allah.” People paid attention because it was strange work. They were completely puzzled by it and taken aback. There was a writer at the New York Times who was particularly confused: Was it sensationalizing violence, or making fundamentalism radical chic? Was I being controversial for the sake of being controversial? What’s the point? Even Iranians wondered if I was supporting the government.

Shirin Neshat, Rebellious Silence, 1994. © Shirin Neshat. Photo by Cynthia Preston. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

Shirin Neshat, Speechless, 1996. © Shirin Neshat. Courtesy of the artist and Gladstone Gallery, New York and Brussels.

I was just asking questions, questioning martyrdom. I was excited by the fact I was getting a reaction, but I did feel rejected in some ways. I wasn’t sure whether my career would continue, but I think the work raised a lot of eyebrows. While it was controversial, it was also praised. A lot of people wanted to buy it—and show it. By 1997, I felt like a tailor, making editions of my “Women of Allah” works. It was boring! I decided to make video. I rebelled against my own successful signature. But to this day, my “Woman of Allah” photographs are my most popular images.

from Artsy News

#Artsy News

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addictionrecoveryassistance · 6 years ago

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thechasefiles · 6 years ago

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The Chase Files Daily Newscap 1/21/2019

Good MORNING #realdreamchasers! Here is The Chase Files Daily News Cap for Monday 21st January 2019. Remember you can read full articles for FREE via Barbados Today (BT) or Barbados Government Information Services (BGIS) OR by purchasing by purchasing a Daily Nation Newspaper (DN).

EMULATE BARROW – As Barbadians mark Errol Barrow Day today, they are being called upon to remember what the National Hero stood for, and to stamp that across the length and breadth of the island. The challenge was thrown out by Verla DePeiza, president of the Democratic Labour Party that Barrow founded, during a service at the St David’s Anglican Church yesterday to commemorate the life and work of Barrow. “What Errol Barrow means to the Democratic Labour Party, I don’t think any book can ever capture. What he means to this country will live on for generations to come. But what it should mean for each one of us is a motivation to dig deep within ourselves, and find a way that we too, can have a lasting impact on our society,” she told the congregation. She added the country was at a crossroad and asked the citizens to join with the party, which suffered a humiliating 30-0 defeat in last May’s General Election, as it worked to steer the nation back on the right path. (DN)

PSV BOSSES LET’S TALK – If a national consultation on transportation is ever called, the owners of public service vehicles (PSVs) say one of the items they want high on the agenda is the conversion to electric vehicles and its potential to transform the industry. Both Morris Lee and Roy Raphael welcomed the recent call from the Congress of Trade Unions and Staff Associations of Barbados (CTUSAB) for a national consultation and review of the sector. In a media release last week, CTUSAB general secretary Dennis De Peiza said transportation was too important a plank in the social and economic well-being of a country and an efficient service was a necessity. He warned that over time, issues which emerged had called into question the management, regulation, coordination, policing and efficiency of the system, and if ignored, could create a “national crisis”. Chairman of the Alliance Owners of Public Transport (AOPT), Roy Raphael, said they had also called for a consultation because they wanted their voice to be heard and were too important to be left out. (DN)

A 'VERY GOOD' YEAR FOR TOURISM, SAYS SYMMONDS – Minister of Tourism and International Transport, Kerrie Symmonds says the tourism industry’s end of year results for 2018 were “very good”. But he warns that gun violence can possibly put a damper on the sector. Symmonds, who was speaking with members of the media on the sidelines of a reception for repeat visitors held at the Gun Hill Signal Station, revealed that the shooting in St Lawrence Gap last year could have left a bad impression on the visitors who witnessed it. “Tourism is our business. Running about the street with a gun and shooting one another over foolishness is unacceptable! We have to spend long hours working on something that we shouldn’t spend long hours working on because we have to try to contain the fallout of every instance when that happens,” said Symmonds. He pointed out that the marketing point of the island’s tourism sector of cleanliness, friendliness and safety was in a bind. He stressed that the threat to the island’s safety needed to be wrestled to the ground. “We will destroy the Barbados economy if it is that we have people shooting one another because somebody get horn or because somebody’s girlfriend chose to be with another man. We have to come to an understanding that every time this happens we are losing a massive amount of not only money but our reputation is taking a massive hit out there.” Symmonds also revealed that the recently established Cruise Development Commission will soon be providing a final audit of the ports of entry and overall visitor experience. “ I think we have to sit with the people in the craft sector as a whole . . . I have told the BTMI (Barbados Tourism Marketing Inc) that we have to have an opportunity to bring all the craft vendors in Bridgetown onto Trevor’s Way on a Friday night. Bring with them the music and the food and we have an opportunity for visitors to experience Bridgetown by night.” He argued that competitors across the region were creating opportunities for visitors to experience culture and the arts and Barbados could not afford to be satisfied with its current product while the industry was constantly transforming. (BT)

OPPOSITION TEAM COVERING ALL BASES – Opposition Leader Bishop Joseph Atherley presented his official Opposition Spokespersons Team earlier today. He stressed that it was not the launch of a political party, but said that would come in due course. This new team includes several familiar faces who ran in the 2018 General Election under the Solutions Barbados and United Progressive Party (UPP) banners. Thirteen members were announced today with three more to be announced at a later date. The following is the list of team members and the portfolios that they will speak on. Irwin Belgrave – Home Affairs related matters; Rev. John Carter – Agriculture, food security and maritime economy; Dr Philip Corbin – Energy, water resources, telecommunications; Akil Daley – Youth and small business facilitation; Senator Crystal Drakes – Economic, sustainable development and climate change; Paul Forte – Housing, property ownership works and maintenance; Senator Caswell Franklyn – Labour, social security, corporatives and civil establishments; Paul Gibson – Health, wellness services development and environment; Sylvan Greenidge – Transportation, sanitation and sewage service; Bruce Hennis – Internal business and trade, manufacturing and commerce; Maria Philips – Justice, law enforcement, penal system; Alan Springer – Creative economy and sports industry development; Scott Weatherhead – Tourism, regional and international transport. (DN)

EDGEHILL FOLK SHAKEN – The latest accident along Edgehill, St Thomas, has left some residents counting their lucky stars and one with a sleepless night. Shortly after 2 a.m on Sunday, people living in an apartment complex near the bend of the steep slope were rudely awakened when a minibus crashed into the building. It is understood three of the six passengers reported injuries and were taken by ambulance to hospital. The minibus was reportedly coming from a bus crawl when the brakes apparently failed. Up to press time police reports were not forthcoming, but some eyewitnesses said the minibus flipped at least once after striking a utility pole, before coming to rest outside the bedroom of a tenant, who recounted her experience. “I was sleeping and then I heard a funny noise, then a crash and the building shook. That got me right up out my bed. I made sure everybody was good and then I called the police,” she said. (DN)

JONES SMASHES FORDE’S 400M INDOOR RECORD – Jonathan Jones has taken his record-breaking track feats to the United States. Jones’ fast start to his collegiate career continued on Friday when he shattered the Barbados national 400 metres indoor record on the first day of the Clemson Invitational. The University of Texas freshman, who was named BIG 12 Conference Male Athlete Of The Week for his dazzling debut triumph at the Ted Nelson Invitational last week, won the 400 metres in an impressive 46.21 seconds from teammate Micaiah Harris (46.84). The time, which is third on the IAAF list this year, also surpassed the official national record of 46.34 previously set by Elvis Forde in 1987. However, another outstanding quarter-miler, Seibert Straughn, still has the fastest time ever recorded by a Barbadian. Straughn clocked 46.14 seconds at an oversized track in March 1991 while competing at a meet in Murfreesboro, Tennessee, in the United States. Jones now has the second fastest time on the US collegiate circuit this season behind Guyanese Arinze Chance, who replaced him at the top of the NCAA rankings with his 46.15 clocking at the inaugural Gamecock meet. (DN)

FOGGING SCHEDULE 22ND - 25TH JANUARY - The Vector Control Unit of the Ministry of Health resumes its fogging programme next week in Christ Church between 4:30 and 7:30 p.m. each day. On Tuesday, January 22, the team will fog Rendezvous Hill, Rendezvous Ridge, Rendezvous Gardens, Amity Lodge with Avenues and environs. On Wednesday, January 23, they will be spraying Lower Amity Lodge, Rendezvous Hill, Brewster Road, Worthing with Avenues, Bamboo Road, Harmony Hall, Top Rock and surrounding areas. On Thursday, January 24, areas targeted will be St Lawrence Gap, Paradise Village, Highway 7, Worthing Main Road and neighbouring districts. The fogging exercise concludes on Friday, January 25, in Dover Gardens, Headley Road, Dover Terrace, Dover with Avenues and environs.

Householders are asked to cooperate with the officers of the Vector Control Unit by opening their doors and windows to allow the spray to enter. (BGIS)

SKYWATCHERS AWAIT 'SUPER BLOOD WOLF MOON' – Skywatchers are gearing up for a lunar eclipse, which some are referring to as a “super blood wolf moon”. During the spectacular event, the Earth’s natural satellite turns a striking shade of red. The entire eclipse will be visible from North and South America, as well as parts of western Europe (including the UK) and north Africa. (BT)

For daily or breaking news reports follow us on Instagram, Tumblr, Twitter & Facebook. That’s all for today folks. There are 344 days left in the year. Shalom! #thechasefilesdailynewscap #thechasefiles# dailynewscapsbythechasefiles

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digitalmark18-blog · 6 years ago

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Is Social Media Content Moderation An Impossible Task?

New Post has been published on https://britishdigitalmarketingnews.com/is-social-media-content-moderation-an-impossible-task/

Is Social Media Content Moderation An Impossible Task?

In the early freewheeling days of social media, companies gave little thought to content moderation, focusing all of their efforts on making it as easy as possible for anyone anywhere to post whatever they wanted, no matter how toxic. As the trolls settled in to their new home and hate and violent speech flowed, the ramifications of those decisions became clear and the companies faced increasing pressure from lawmakers to clean up their platforms. From the “free speech wing of the free speech party” that famously guaranteed the right of terrorists to use its tools to recruit and inspire violent attacks, Twitter has undergone a complete reversal of its views towards freedom of speech, with the new Twitter moving aggressively to censor and suspend voices. After years of arguing it simply cannot do more, the threat of new regulation has coincided with Facebook’s similarly aggressive new posture towards censorship. Yet, as the socials take on a newfound focus on global content moderation, is the very concept of enforcing a single set of content rules across the entire planet even an achievable goal?

The online world was created as a decentralized and completely ideologically neutral platform in which anyone anywhere could make anything available to the planet. Other than governmentally enforced court orders, there was no concept of “content moderation.” Even a court order demanding a given website remove a piece of content had limited impact, as that content could instantly reappear on another website in a different country. Indeed, Wikileak’s very existence is due to the borderless collective that is the web.

As the web grew beyond its early academic roots towards the commercialized online landscape we know today, so too did the need for new tools to make it frictionless to publish, consume and discover content. Requiring advanced HTML expertise and Unix server administration to create a website was replaced with one-click instant publishing. Server hosting costs in the hundreds or even thousands of dollars a month was replaced with unlimited free ad-supported hosting. Yet, the discoverability dimension still haunted the early web. In an online world without boundaries and populated with an almost uncountable number of websites, content was so fragmented that even search engines could do little as material was scattered across myriad independent virtual home fronts.

The social media era solved this final limitation by centralizing the web into a single website with a single interface and single set of rules enforced globally.

Initially these shared rules were enforced loosely, if at all. Social media was more preoccupied with encouraging content volume than ensuring the quality of that material. Automated bot content was something to be encouraged and supported as it greatly inflated the volume of content available to advertisers and users. A desire to centralize the remaining corners of the web under their banners led social platforms to offer APIs and partnership programs that enabled bulk export of their data without consideration of the inherent privacy impacts. All of this placed profit over privacy.

The immense shift that has confronted the online world over the past few years has upended this Libertarian worldview and fetishization of the American First Amendment’s absolute guarantee of freedom of speech. In its place, the social platforms are discovering and exercising their power as private companies and their exemptions from the protections afforded by the First Amendment. Unlike public institutions, social platforms are private entities that are under no legal requirement to grant anyone the right to speak or participate in their walled gardens. This affords them the unique ability to both inject themselves as intermediaries between citizens and their governments and decide which voices may be heard.

Even the media itself has come to question whether free speech is a good thing, with a frontpage CNN story asking “what happened to the argument of free speech? The idea that anyone can say anything they like, as long as it doesn’t cause harm to someone else, is unraveling in the age of online fake news, alternative facts, trolling and conspiracy theories.”

As social media platforms step into this void and embrace the concept of active moderation, they have increasingly transitioned from minimal community standards that focused only on the most egregious behavior and were only loosely enforced towards elaborate policies that are being aggressively, but selectively enforced.

In their rush to embrace content moderation and censorship, the social media companies have each developed centralized systems that entail a single set of rules enforced globally.

While we simply accept that this is what the web has become, it is important to recognize that this is not the only possible option.

The web’s decentralized structure permitted it to transparently adapt to the differing cultural sensitivities of the world, enabling a person in the US to document Tiananmen Square, even while Chinese citizens are blocked from discussing it. While this enables repressive regimes to constrain what is available to their citizens, it also reflects the basic fact that humankind is not uniform. The seven billion people inhabiting Planet Earth are an immensely diverse collection of nearly every conceivable culture, language, demographic, life experience, views and beliefs.

The things we find important and those we find offensive vary by who we are – there is no universal “truth.”

In contrast, Facebook, Twitter and their Silicon Valley brethren have determined to create a single set of rules to be enforced globally to all. Much as humorists discover that a joke one person finds hilarious another may find horrifically offensive, when it comes to determining acceptable speech, it is impossible to find a single set of common ground rules that will fit the needs and desires of every person on earth.

As I’ve written extensively over the years, the world constitutes a rich patchwork quilt of cultural standards of what constitutes acceptable speech in each corner of the world and each demographic and attempting to unify all of those into a single master set of speech rules is doomed from the start.

Publicly Facebook has portrayed these global rules as empowering all with the protections and guarantees of the Western world. That by creating a single set of rules for all countries on earth, the company is able to grant to all citizens across the globe the American ideals of free speech.

Yet, in reality, the company appears to be going in the opposite direction. The realities of being a global business and subject to the laws and whims of all the world’s countries means social platforms have instead embarked upon a race to the bottom, developing policies that are in effect an amalgamation of the restrictions of every country on earth. Instead of empowering all the world with Western ideals of freedom, they are repressing all under the restrictions of the most limited countries on earth.

In contrast to Sheryl Sandberg’s upbeat Congressional testimony last week that the company would never sacrifice its ideals to do business in a country, the company’s own Transparency Reports document in considerable detail just how willing the company is to cave to local demands to censor uncomfortable voices.

Indeed, two years ago when I asked the company whether it would commit on the record to never restrict the right of women around the world to freely express themselves on its platform even if such restrictions would benefit it economically, the company notably declined to do so. For a company that professes to place empowerment and democratic ideals over all else, its refusal to commit to the freedoms that underlie such ideals speaks far louder than its words.

In the end, the problem is that there simply is no universal set of standards of acceptable speech that would cover the incredible diversity that is our global human society. No single set of rules or conduct could possibly fit the needs of every person. Our backgrounds, experiences, views and beliefs are simply too different across the world and our definitions of right and wrong too varied. To a privileged Western cubicle dweller in Silicon Valley, it might seem relatively trivial to type out a few lines of code to bend the rest of the world to their ideal view of life, but as they have failed to learn again and again, real life isn’t the Matrix and society will always find a way to bend technology to its needs and when profit and privacy, business and idealism collide, the path to economic riches will always win out.

Source: https://www.forbes.com/sites/kalevleetaru/2018/09/08/is-social-media-content-moderation-an-impossible-task/

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moretatahousingsereinthane-blog · 7 years ago

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Ten Things You Should Know Before Embarking On Tata Housing Serein Thane

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#Pokhran Road Pre Launch TataTata Thane West Pre LaunchTata Pokhran Road Pre Launch

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