Google’s Employees Can No Longer Identify Evil

Google Code of Conduct

Image result for googleGoogle’s first motto was “Don’t Be Evil.” This seemed like a fitting title for any tech company that aims to be a force of good (which who doesn’t want to be a force of good). Of course, they removed the motto from the website in 2018. After years of criticism for doing evil things, did this mean they no longer held this to be their motto? Yes, and in 2019 it is quite clear that the opposite is true.

A recent stoImage result for don't be evilry reports that Google will no longer allow employees to discuss anything but work. Specifically, Google is afraid of being attacked by right-wing ideologues for seeming “liberal” positions. One of those “liberal” positions, I assume is to not be evil. As a result, workers can no can only talk about “facts.” But what is a fact? What types of facts can workers discuss? Who determines which facts are factual? This is especially important in a place highly criticized for its enabling of a post-truth society. How does Google address moderating factual information?

I write this in the context of their motto “don’ be evil.” While it is no longer their motto, it is still part of their code of conduct (though an afterthought).

Google Code of ConductDetermining whether something is evil requires discussion. People need to be able to speak openly and honestly to ensure that they are doing the right thing. In fact, their code of conduct tells employees “don’t be afraid to ask questions of your manager, Legal or Ethics & Compliance.” However, their new rules seem to undo the Code of Conduct.

Employees at Google must be able to discuss more than “facts” in order to make the Internet (which Google is one of the largest monopolies of information on the web) a better place. Now is the time to regulate Google.

Won’t you be my (digital) neighbor?

Image result for neighbors appA white 30-something male walks through a park at night, and reaches in his pocket to pullout his cellphone. An Asian woman walks down a street at night, and takes her smartphone from her purse. A white woman stops in her kitchen to attend to an app on her smartphone. We get the first glimpse of what catches their attention on their phones, a long-haired white guy wearing a hoodie is at someone’s front door. Another white male wakes up in his bed, wearing pajamas, to view the same video. We see that the Asian woman from earlier sees the same video. We learn for the first time that there is text that goes along with the video:

This guy tried to break into my house!

This guy came around the side of my house trying to break in! He ran when I set off my alarm but he may still be in the area

Neighbor 13: I’ve seen this guy before

Neighbor 2: Saw him at my house earlier

Finally, we see a suburban neighborhood with large beautiful homes and pools from the sky. Several dozen homes have a blue halo around them signifying that they use this product. The commercial is for the new app for the Ring doorbell camera. The app, called “Neighbors,” bills itself as the “new neighborhood watch.” The spokesperson says, “At Ring, we want to keep neighborhoods safer, by keeping you informed.”[1]

This advertisement reminds me of my first week in my home in a nice safe neighborhood. My wife and I were walking our 6-month-old son and dog around the neighborhood. An eccentric neighbor began speaking with us, and informed us that her and her husband recently saw a car that did not belong in the neighborhood, and that we need to watch our vehicles because this suspect was probably breaking into caImage result for neighborhood watchrs. While we had no further concrete information about the supposed perpetrator, we had an immediate uneasiness about our new neighborhood (over time it has become an uneasiness about that particular neighbor). Maybe the idea behind this app is that I can have further peace of mind that we can come together to chase away potential car thieves or maybe we turn every person whose appearance we do not like into a potential thief. The point of The Dialectic of Digital Culture was to emphasize that the intention of the developers of these technologies is often the latter. In fact, police agencies developed Neighborhood Watch in the 1970s based upon a perceived increase of threats in neighborhoods. However, the perceived threat during the 1970s was always-already racialized, and not based upon actual increases in crime.[2]

Digital technology infiltrated neighborhoods with community boards long ago. My neighborhood uses the popular “Nextdoor” website. If you feel paranoid, or voyeuristic, you can log on this website and see all kinds of moral panics around perceived folk devils in your community.[3] In one post in my neighborhood, a woman taking a dirty beat-up discarded rug becomes a thief shamed and immortalized on the Internet. WeImage result for nextdoor app can have disconnected conversations with neighbors we do not know about events we do not understand. But we can all pull together and recognize one thing: we are not safe. Neighbors allows us to use digital technology not only to help alert our neighbors of potential threats, but to raise everything to a potential threat. Already, people are developing lists of best practices with your doorbell camera and police departments started programs to tap into these cameras. Whereas Ring professes they designed the Neighbors App to bring together people in a neighborhood, it will recoil us further into our own little webs as we become scared to show-up on a neighbor’s door unannounced for fear of being painted as an intruder or mocked for what we wear.

Furthermore, Ring (and Amazon) partnered with police departments to utilize 911 data to alert people using the “Neighbors” app when their neighbors contacted emergency services. You may be busy changing a diaper, but you can receive an update that your crazy neighbor called 911 because someone let their grass grow too high. Or someone sees a “suspicious” vehicle and alerts the police. Instead of just hearing about your voyeuristic neighbors on the App, you can now hear about every report of any type of incident straight to your phone.

But Ring goes even further with a relationship to the police. Amazon also provides over 225 police departments with access to video footage from Ring (EDIT: The Washington Post is now reporting over 400!). That means that police departments can see what is going on at your front door. Some police even tout it as a service to the community. You think you have a zone of privacy in at your home because you don’t have a Ring doorbell? Only if your neighbors don’t have one either. If someone else’s doorbell faces your home, police can see your home too! Even worse, they can see in your windows if the camera is pointing at them.

While the commercial for Neighbors app demonstrates one creepy level of the digital dialectic, Ring (and its owner Amazon) tries to outdo itself through targeted marketing on social media. The commercial discussed had thinly veiled racial anxieties behind, but Ring goes further. On the morning of February 8, 2019, I witnessed the full extent of the Ring Neighbor App’s pushing racial anxieties when a Ring sponsored post from September 28, 2018 appeared in my Instagram feed. In this ad, four African American men are displayed through the Ring Neighbor App taking packages and breaking into homes in “Culvert City.” The ad ends with “Wonder what’s going on in your neighborhood? Download the free Neighbors App.” Since the App is free, you do not even need the Ring doorbell to participate in your neighborhood’s surveillance. However, a second level of racialized myth emerges from this Instagram advertisement the surveillance targets people from their computer searches. Since I did research on my various devices about Ring and the Neighbors App, Ring targeted me as a potential customer because companies track my every move on the Internet across platforms. This is especially problematic because of the ubiquity of Amazon; the different platforms that I log into with Amazon track me in the background using cookies. For instance, I read The Washington Post (owned by Jeff Bezos, Amazon’s founder and CEO) on my tablet each morning, which I log in using my Amazon account; often, articles about surveillance draw my attention for my research. Amazon uses this information to target me further. While the first ad featured racist conceptions of vulnerable populations, the target of the ad was obscured, but objectified through white privilege. However, in the second ad, Ring recognized me as a white guy and fed into hegemonic white fears of black bodies. These individualized ads target us based on demographic information. Ring and Amazon proudly stoke racist anxieties for profit.

If you’ve ever been around someone with a Ring doorbell (or you own one yourself), you know they create a minor annoyance. Every time a bee flies by the camera, it sends an alert that there is someone at the door. While annoying, it is the least of the problems. Amazon and Ring are developing a surveillance state that knows everything about you and targets your fears and vulnerabilities in order to increase surveillance. We embed these technologies in our everyday lives, but their pervasiveness needs to be analyzed and not accepted.

[1] Neighbors App: The New Neighborhood Watch: https://youtu.be/wRna48aO6gg

[2] Hall et al., Policing the Crisis: Mugging, the State, and Law and Order.

[3] Cohen, Folk Devils and Moral Panics: The Creation of the Mods and Rockers.

The Dialectic of Digital Culture Published

While The Dialectic of Digital Culture was supposed to be published in mid-September, the team at Lexington Press is incredibly efficient and released the book early!

Jennifer Miller and I spent the weekend in New York City attending the American Sociological Association Annual Conference. When we arrived, our fabulous editor Courtney Morales had her copy in print. Then we started receiving emails and texts from contributors that in fact the book arrived. Of course, since we were away from home, we didn’t receive our copies until Wednesday.

The book would not have been possible without the support of the University of Texas at Arlington’s College of Liberal Arts, Department of Sociology and Anthropology, Department of English, and the Center for Theory. We’re also grateful for all of our wonderful contributors.

The books look great and I couldn’t be happier with the result. Thank you to Courtney, Shelby Russell, and the rest of the team at Lexington Books. Order your copy now.

Here are some pictures from the American Sociological Association conference.

 

David Arditi holding The Dialectic of Digital Culture for the first time.

 

 

Jennifer Miller

Jennifer Miller presenting her Chapter from The Dialectic of Digital Culture

 

 

Brian Connor presenting his Chapter from The Dialectic of Digital Culture at ASA.

Dialectic of Digital Culture at the American Sociological Association Conference

https://www.asanet.org/sites/default/files/styles/banner_promo/public/images/promos/asa19logo.png?itok=lvF0Rdf7

Several of our contributors will be presenting their research at the American Sociological Association Annual Conference in New York City. Both Editors will be at the conference presenting their research.

On the Critical Theory I: Dialectical Engagements, Jennifer Miller will be presenting her chapter from the https://www.asanet.org/sites/default/themes/primary_bootstrap/logo.pngbook entitled “Queer Ends: Digital Culture, Queer Youth, and Heterosexuality Beyond Heteronormativity.” Also on that panel, contributors Brian Connor and Long Doan will be presenting “Government vs. Corporate Surveillance: Privacy Concerns in the Digital World.” We hope that you join them to receive a glimpse of the work in the book.

In a similar vein to The Dialectic of Digital Culture, I will be the discussant for Digital and Social Media: Perceptions, Uses and Impact. The papers on this panel present a unique opportunity to think about the digital dialectic in more areas. I’m also presenting my music industry research on the Open Topic on Marxist Sociology. My paper “Copyright as Enclosure: State, Capital, and Primitive Accumulation” explores the way copyright is used to exploit musicians.

Contributor Nancy Weiss Hanrahan will be at the ASA as well serving as a discussant for “Positionality and the Construction of Feminist Theory.”

Digital Culture – Undergraduate Syllabus

We want to make it easy for everyone to use The Dialectic of Digital Culture in courses, so we’ll be sharing a syllabus from time to time. Here is an example of how the text can be used in an undergraduate class about Digital Culture. Please email us if you have any questions. dialecticdigitalculture@gmail.com.

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Digital Culture_Undergraduate

 

Book Endorsements

Book Endorsements

Arditi and Miller wrap some excellent essays with an introduction and conclusion centering on Frankfurt School dialectical theory and the emergence of the digital disaster. The core of the book deals with the idea of a digital dialectic and its analysis in chapters on power, politics, culture, and being human. The editors have lined up a stellar group of essays that profoundly engage our digital world and the edges between questions of music, economy, ecology, memes, and related topics. The dialectical nature of the analyses provides both an entryway and unity to the essays. The book makes numerous substantive contributions to several fields and is worth a read for its scholarship and for those building a knowledge base about our contemporary digital world.

In The Dialectic of Digital Culture, Arditi and Miller have assembled a fascinating collection of essays exploring the promise and peril of contemporary digital culture. Insisting that we think about digital media dialectically—as both empowerment and capture—the authors collectively inspire readers to pierce through facile narratives of progress and to think more critically about their relationship to digital technologies. Readers will also find the rich diversity of technologies, platforms, practices, and case studies covered in this book to be engaging and enlightening. This is required reading for students and scholars of digital culture.

Out of Tune: How record companies induce panic about music piracy to increase their profits and exploit artists

From Inquiry Magazine, Fall 2015.

illustration of man wearing digital headphones who is restrained by large foot

On May 2, 2000, Lars Ulrich, drummer for the band Metallica, announced that his group was suing Napster, a free file-sharing service that let fans download music online. During the press conference outside Napster’s headquarters, Ulrich presented the company with a giant stack of papers listing the names of 300,000 Napster users. His assertion: Napster was enabling these people to steal music.

Dramatic optics aside, the issue at hand that day was—and remains—much more complicated than that. It hinges on Americans’ basic misunderstanding of copyright laws. When Ulrich and the music industry argue that file-sharing is theft, they are participating in what I call the “piracy panic narrative,” which goes like this: File-sharing is piracy; piracy is stealing; stealing is negatively affecting recording artists’ ability to make ends meet.

Similar to past panics focused on witches and communists, the piracy panic narrative classifies file-sharers as dangerous enemies. They threaten music, the industry argues, because artists will not write songs if they cannot earn a living from their creative works.

In my new book, iTake-Over: The Recording Industry in the Digital Era, I demonstrate how major record labels produce this panic narrative to secure stronger rights for their industry. Since the public is largely unaware of the mechanics of copyright law, we easily accept the recording industry’s assertion about the illegality of file-sharing—after all, no one wants to steal from their favorite artists. But what we don’t realize is the industry is leveraging this public support to try to change current law so their argument will actually have the legal grounding they’ve claimed it does all along.

In truth, the main barrier to musicians being paid fairly is the recording industry itself, not file-sharers. Record contracts enable the wholesale exploitation of musicians by requiring that artists sign away their own copyrights. As a consequence, they give up their artistic autonomy and a potent source of income. In return for signing a contract, artists receive a monetary advance to record an album, which they must pay back before they see any profits from its sale. They do this with the royalties they earn, but since those usually amount to only 8-15 percent, most artists never make money from their work. Record labels, on the other hand, earn roughly 40 percent of revenue sales.

These record contracts serve as the backdrop for the latest iteration of the piracy panic narrative, which this time targets streaming music services. In a very public move, Neil Portnow, president of The Recording Academy, used the 2015 Grammy Awards to decry the paltry royalties artists receive from streaming services such as Spotify, asking, “What if we’re all watching the Grammys a few years from now and there’s no Best New Artist award because there aren’t enough talented artists or songwriters who are actually able to make a living from their craft?”

His implication, of course, is that if the public does not pay for music, no one will create music. As I’ve explained, this stands in stark contrast to reality, where the vast majority of musicians make no money yet record labels earn millions. Sony Music, for example, has a contract with Spotify that stipulates that the company receive millions of dollars apart from the royalties paid to artists. But Portnow isn’t mentioning this industry-wide exploitation in his appeals to fans.

Ultimately, neither file-sharers nor streaming websites are to blame for the deplorable payments most recording artists receive. The real culprit is the very structure of the contracts every musician must sign—a much more insidious and difficult target to defeat.

Illustration by Brian Stauffer