With the power of online transparency, together we can beat fake news | Jimmy Wales | Opinion | The Guardian

The rise of the internet may have created our current predicament, but the people who populate the internet can help us get out of it. Next time you go back and forth with someone over a controversial issue online, stick to facts with good sources, and engage in open dialogue. Most importantly, be nice. You may end up being a small part of the process whereby information chaos becomes knowledge.

Fuente: With the power of online transparency, together we can beat fake news | Jimmy Wales | Opinion | The Guardian


How to Leak to The Intercept – The Intercept

How to Leak to The Intercept – The Intercept.

Featured photo - How to Leak to The Intercept

People often tell reporters things their employers, or their government, want to keep suppressed. But leaking can serve the public interest, fueling revelatory and important journalism.

This publication was created in part as a platform for journalism arising from unauthorized disclosures by NSA contractor Edward Snowden. Our founders and editors are strongly committed to publishing stories based on leaked material when that material is newsworthy and serves the public interest. So ever since The Intercept launched, our staff has tried to put the best technology in place to protect our sources. Our website has been protected with HTTPS encryption from the beginning. All of our journalists publish their PGP keys on their staff profiles so that readers can send them encrypted email. And we’ve been running a SecureDrop server, an open source whistleblower submission system, to make it simpler and more secure for anonymous sources to get in touch with us.

But caution is still advised to those who want to communicate with us without exposing their real-world identities.


13 ejemplos de que la censura a la libertad de expresión consigue justo lo contrario | Verne EL PAÍS

13 ejemplos de que la censura a la libertad de expresión consigue justo lo contrario | Verne EL PAÍS.


El atentado contra Charlie Hebdo tampoco servirá para nada

Portada de Charlie Hebdo del 2 de enero de 2011. El nuevo redactor jefe de "Sharia Hebdo" amenaza con "cien latigazos si no te mueres de risa"
Portada de Charlie Hebdo del 2 de enero de 2011. El nuevo redactor jefe de “Sharia Hebdo” amenaza con “cien latigazos si no te mueres de risa”

 

Tres hombres han entrado durante la mañana del miércoles en el semanario satírico francés Charlie Hebdo armados con Kalashnikov y han asesinado a 12 personas, dejando malheridas a otras cuatro. El semanario había sido objeto de amenazas y ataques, después publicar en 2006 caricaturas de Mahoma. De hecho, fue atacado con cócteles molotov en 2011, tras una portada en la que el profeta aparecía como redactor jefe de un número bautizado como Sharia Hebdo.

Si estos asesinatos pretendían que las caricaturas dejaran de circular, han fracasado: a los pocos minutos estos dibujos inundaban Twitter y aparecíangalerías en muchos medios de comunicación. En redes, muchos recogían ademásuna propuesta: que las portadas de los diarios del día siguiente al atentado llevaran las caricaturas de Charlie Hebdo.

Salvando las distancias, es un ejemplo (trágico) del efecto Streisand: cuando alguien intenta censurar algo en internet, se divulga aún más. Este efecto debe su nombre a la denuncia de la actriz y cantante para exigir que se retirara de una web una foto aérea de su casa. La denuncia sólo consiguió que la imagen se difundiera hasta el punto de que aparece hasta en la Wikipedia. El efecto contraproducente de la censura se potencia con internet, pero no es exclusivo de la red, como podemos ver en estos trece ejemplos que muestran que más tarde o más temprano, la libertad de expresión tiene todas las de ganar.


Twitter and Instagram users can learn a lot from a 1920s journalist | Comment is free | The Guardian

Twitter and Instagram users can learn a lot from a 1920s journalist | Comment is free | The Guardian.

Social media give us the power to create a real-time portrait of our age, just as pioneering journalist Ben Hecht documented his own era

Ben Hecht On Horseback
Chicago Daily News reporter Ben Hecht on horseback in 1915 … we can each create a Chicago of the mind as real as the one Hecht created in print. Photograph: Chicago History Museum/Getty

Chicago, late afternoon in 1921. Outside, the pavements are slick with rain and in the newsroom, amid cigar smoke, they can feel the rumble as the Chicago Daily News rolls off the press. Enter reporter Ben Hecht, with a new idea. He will write a daily sketch of the city’s life, modelled on the stories of Scheherazade and entitled 1001 Afternoons in Chicago. Hecht is hired, and from then on, throughout the 1920s, not a day goes by without a miniature masterpiece of reportage.

By the time he was finished, and had gone to Broadway to write The Front Page, Hecht had documented in detail the everyday world in which all fictional heroes of film noir begin their adventures. It is a world of cardsharps, condemned men, sex workers, Yiddish tailors and Chinese laundrymen. Hecht’s description of one gives a flavour of the way he wrote: “There is something immaculate about Sing Lee. Sing Lee has been ironing out collars and shirts for 35 years. And 35 years have been ironing Sing Lee out.” But beyond the individuals, the main character for Hecht is always Chicago: its windows always rain-spattered, its streets always dark, its coffee always laced with bootlegged brandy.

Hecht was part of an international cadre of reporters who all had a similar idea at the same time: to make newswriting literary, so it could sustain greater length, pack a bigger emotional punch, but to use demotic language for a mass audience. They called it “reportage” – which is only French for reporting, but denotes its character as literary non-fiction.

Thanks to Hecht’s reportage, we possess, 90 years on, a granular social history of the time, one that the people of Chicago were seeing written in real time. While the news pages told them that a judge had released some woman charged with prostitution, Hecht tells us how her eyes pleaded for leniency – “a dog takes a kick like this with eyes like these” – and how, after release, she halted by a drugstore window to reapply her makeup.

Ben Hecht in 1918
The writer Ben Hecht in 1918 … we should be claiming our right to be lyrical and profound on social media. Photograph: Chicago History Museum/Getty

In a brilliant piece, Hecht catches the radical trade union leader Big Bill Haywood watching a burlesque show in a supposed last week of freedom prior to starting a 20-year jail sentence for sedition. A few days later, Haywood escaped to Russia, but Hecht uses this event to take us on a tour of lowlife Chicago through the eyes of a man who loves it, and will never see it again.

Today, technology has given all of us the power to be our own version of Ben Hecht. Amid the trolling and the cat pictures and the clickbait, there are still enough real things said on Twitter, and beautiful images posted on Instagram or Tumblr, to make them function as real-time journals of the public space we inhabit.

Today’s Chinese laundry worker can write his own story; so can the sex worker in the dock. Plus there are millions of us posting cityscapes and candid street photography every second. Nobody can follow it all: but by following a fraction of it we each create a Chicago of the mind just as real as the one Hecht created in newsprint.


One big problem with open access and why the best way to fix it isn't going to work – Curt Rice

One big problem with open access and why the best way to fix it isn’t going to work – Curt Rice.

There’s a conflict, a tension, an inherent contradiction in the open access movement, and while it could be resolved, that seems increasingly unlikely.

The inconsistency goes like this: the shift to open access publishing started idealistically, with enthusiasm and pressure from the grassroots. The business model for disseminating scientific results would be changed. Instead of putting research into journals that were expensive and exclusive, we would make articles available for free. No charge at all. Ready to be downloaded by anyone with an internet connection.

Shaking in their boots

We developed more and more arguments for open access — not just solidarity with colleagues in poorer countries, but also the (im)morality of paying first for research to be done (through salaries) and then for the articles to be reviewed and edited (through volunteer work for journals) and then paying once again to be able to read them (through subscriptions). Add to this the monopolistic price gouging of the biggest publishers, whose profit rates exceed those of oil companies, and change seemed inevitable.

Wall Street analysts say open access has failed, but their analysis might help us succeed. If we dare.

Some of these arguments worked. Gradually, research councils pulled themselves over the gunwales and got onboard. Governments articulated policies. Universities gave their researchers a nudge.

The publishers started to shake in their boots. They really did. They got worried.

But then they got over it.

And this is where the other side of the inconsistency comes into play. The tension in the movement is that its idealistic and anarchistic origins are in conflict with what is needed for success, namely a clear message articulated by visible and visionary leadership.