Opinions Are Like Software Applications

For New York magazine, an attempt to explain how Apple’s institutional priorities can be understood by looking at its source code, and what that might mean for the big pending legal battle with the FBI over encryption in the iPhone:

One reliable peril of advanced technologies is that the details of implementation usually aren’t yet common knowledge among most people — often including judges and lawyers, regrettably — but the compulsion of speech, or software-as-speech, isn’t made any more acceptable simply because fewer people know how to interpret it. The FBI’s demands in this case rely on that confusion: Its application for the order to compel Apple to provide them with the custom software states that “writing software code is not an unreasonable burden for a company that writes software code as part of its regular business.” This phrasing contains a subtle gamble: that both the courts and the public will conceive of the software as a tangible artifact produced by an incomprehensible factory in the clouds, rather than fully considering its design and development a coordinated act driven by human motivations, politics, and principles.

Indabalamadingdong

Indaba

Some activity of note on various blogs other than this one:

First, at PopMatters, a quick look at NOBOT‘s awesome score for the delightfully depressing animated short Subprime.

Also, for the past couple months, I’ve been contributing some posts to the blog run by Indaba Music. Their conceptually remarkable project pairs a social network for musicians with an online audio editing platform to facilitate collaborative recording over the internet; think Apple GarageBand running as a Java blob in your browser with Facebook Lite spackled on top.

Now, I’m just on board to feed occasional articles to the community of participating musicians, but the the geek in me is fascinated by this intersection between web development and audio production. Music distribution has been radically transformed by communication technology in the past decade, and now we’re starting to see the creative end change as well — Ableton recently started hosting a repository wherein Live users can share their sessions, and scripts and patches for Max, Pd, and other software platforms are now sometimes shared via Subversion, a kind of version-controlled incremental super-FTP which was previously the domain of hardcore programmers. That’s to say nothing of the online libraries and torrents used for distributing the tools, of course, which are plentiful, if sometimes of dubious pedigree.

As you can see from my archive, however, the Indaba posts are not always technical — some of my favorites thus far have discussed the insect response to Led Zeppelin and the social elements of Green Day’s latest album release and even attempted to earn back the $12 I wasted on seeing the goofy Star Trek prequel. That said, I’m also quite happy with the epic treatise on my favorite delay pedals, mostly because I can’t get away with that sort of post anywhere else.

Well, except for the new blog run by the magnificently eccentric DIY music-making mag Tape Op, that is; you can also occasionally find me there in between articles for the print edition, which aren’t made available online. I should probably post more frequently since I’m the guy who talked the editor into launching a blog in the first place, but if anything, I need to spend less time and energy talking about these things and more time using them.