Your kids want to make Minecraft YouTube videos – but should you let them? | Technology | The Guardian

Don’t put your daughter on the stage, Mrs Worthington. But in 2016, what if the stage is YouTube, and your daughter (or son) is demanding to be put on it, playing Minecraft?That’s the dilemma facing a growing number of parents, whose children aren’t just watching YouTube Minecraft channels like The Diamond Minecart, Stampy and CaptainSparklez – they want to follow in their blocky footsteps.

Fuente: Your kids want to make Minecraft YouTube videos – but should you let them? | Technology | The Guardian

Forget Me: the real reasons people ask Google to erase their online presences | Technology | The Guardian

Forget Me: the real reasons people ask Google to erase their online presences | Technology | The Guardian.

Irrelevant, outdated or otherwise inappropriate? A new website helps you to explain exactly how to get information about yourself removed from Google – so what are the most frequent reasons customers give?
erase history delete button

Forget everything … more than 40,000 requests for removal of online data have been made via the Forget Me website. Photograph: Felix Clay for the Guardian

Why do people exercise their “right to be forgotten” by Google? The website Forget Me, which launched last week and offers users a submission service to Google with templated forms that tick all the search engine’s legal boxes, has released a breakdown of its customer’s motivations.

Invasion of privacy accounted for 306 of the 1,106 submissions that Forget Me filed to Google as of Tuesday, with disclosure of home address the largest subcategory (66 submissions). “Negative opinions”, “redundancy” and “origin, nationality or ethnic identity” follow. Sexual orientation appears way down the list of privacy-related reasons for removing web pages, below disclosure of income and philosophical belief. Forget Me’s sample of just over 1,000 submissions represents a small percentage of the 40,000-plus requests received by Google, but is still large enough to indicate the most pressing concerns.

Privacy puts Edward Snowden centre stage at the Donmar | Stage | The Guardian

Privacy puts Edward Snowden centre stage at the Donmar | Stage | The Guardian.

Playwright James Graham and artistic director Josie Rourke had been contemplating a play on the impact of the digital revolution – and then Snowden came along. Luke Harding speaks to them
James Graham and Josie Rourke

Stage secrets … Josie Rourke and James Graham. Photograph: Linda Nylind for the Guardian

Within a few hours of my meeting with playwright James Graham we are following each other on Twitter. This feels appropriate and cosy in 2014: the right level of intimacy for two people who don’t exactly know each other but have a connection. Graham is a fan of Twitter. He has been on it since the 2010 general election. He admits he has “calmed down” in recent years, and no longer feels compelled to tweet every detail of his existence to unknown others (such as “sunsets or dolphins”).

Graham describes himself on his Twitter bio as a writer of “plays and emails”. This understates his success as one of Britain’s most interesting and original young playwrights. This House, his witty political drama set in the whips’ office of 1970s Westminster, transferred from the National’s Cottesloe theatre to the Olivier, following critical acclaim. In the autumn of 2012, he and Josie Rourke, the new artistic director of the Donmar Warehouse, began discussing how the digital age had transformed human behaviour. Was there, they wondered, a way of turning the modern obsession with social media – the minute self-chronicling of everyday lives, to the point where many people even photograph their food – into a theatrical experience?

What followed was a “quite gentle investigative process”. The two spent a week brainstorming in Rourke’s London kitchen. She considered commissioning a work on the Leveson inquiry, only for the National Theatre of Scotland to beat her to it. “I got interested in the technology around Leveson. What is phone hacking? What are the legalities?” Rourke says. Graham, meanwhile, was busy with This House.

Then, last summer, a 29-year-old contractor working for America’s top-secret National Security Agency gave the project an extraordinary dramatic hook. Over the past 10 months, Edward Snowden‘s revelations – based on documents he swiped and leaked to Guardian journalists – have transformed the way we think about the issue of privacy. The man himself is holed up in Moscow. What once seemed fantastical or unreasonably paranoid or bonkers is now leaked fact.

Thanks to Snowden we know the US and UK governments routinely spy on us, hoover up our private data and store it. This omniscient surveillance captures most of what we do online: web searches, email addresses, headers. The intelligence agencies can do amazing things. They can geo-track our movements. They can help themselves to our selfies. From all this you can tell a rich electronic story of someone’s life: joys, sorrows, loves, secrets.

Snowden doesn’t appear as a character in Graham’s new play Privacy, which opened this week at the Donmar. Instead, he is a giant off-stage presence. Graham likens Snowden’s dramatic role in Privacy to that ofMargaret Thatcher and James Callaghan in This House: neither of them actually come on stage; they inform the mood from outside. “I felt the British media focused too much on Snowden, and on his personality and motivations. It’s the content he revealed that really fascinates me,” Graham says.