systemic injustice of the U.S. criminal justice system

Aaron Swartz courageously worked for the public interest on the Internet.  His family and partner have without exaggeration described Swartz’s contribution:

Aaron’s commitment to social justice was profound, and defined his life. He was instrumental to the defeat of an Internet censorship bill; he fought for a more democratic, open, and accountable political system; and he helped to create, build, and preserve a dizzying range of scholarly projects that extended the scope and accessibility of human knowledge. He used his prodigious skills as a programmer and technologist not to enrich himself but to make the Internet and the world a fairer, better place. His deeply humane writing touched minds and hearts across generations and continents. He earned the friendship of thousands and the respect and support of millions more.

On January 11, 2013, Aaron Swartz committed suicide.  Out of respect for his work and his memory, please watch the above video.  In it, Swartz describes how mass democratic action stopped a serious threat to civil liberties in the U.S.

Aaron Swartz committed suicide amidst stressful, highly threatening persecution from the U.S. criminal justice system.  Almost exactly two years before he committed suicide, Swartz was arrested for an act of civil disobedience.  Using technological means well-known to computer experts, he downloaded millions of scholarly articles from the JSTOR database.  JSTOR’s capture and sale of scholarly articles reflects a general, continuing practice that needs critical public scrutiny in the Internet era.  Swartz did not distribute the JSTOR articles online.  JSTOR did not seek the prosecution of Swartz.  Nonetheless, the office of U.S. Attorney Carmen Ortiz went forward with a crushing criminal indictment of Swartz.  A U.S. Department of Justice press release proclaimed:

AARON SWARTZ, 24, was charged in an indictment with wire fraud, computer fraud, unlawfully obtaining information from a protected computer, and recklessly damaging a protected computer. If convicted on these charges, SWARTZ faces up to 35 years in prison, to be followed by three years of supervised release, restitution, forfeiture and a fine of up to $1 million.

To put more pressure on Swartz, the Department of Justice in September, 2012, secured a new indictment that increased the number of felony counts against Swartz from four to fourteen.  The U.S. Attorney apparently wanted Swartz to plead guilty to some felony and accept a six-month prison term.  The case record makes clear that Swartz was mired in an expensive, time-consuming, highly threatening federal prosecution.  Those circumstances are reasonably understood as contributing significantly to Swartz’s suicide.[1]  The prosecution of Swartz seems to me to indicate extraordinarily poor prosecutorial judgment.

The persecution of Swartz was, however, business as usual in prosecuting persons in the U.S. criminal justice system.  U.S. Attorney Carmen Ortiz declared, “this office’s conduct was appropriate in bringing and handling this case.”  U.S. prosecutors typically get a rubber-stamp grand jury indictment of a person on a variety of charges.  The threat of those charges typically induces the person to accept a plea for whatever punishment the prosecutor thinks is appropriate.  The whole U.S. constitutional apparatus of due process is irrelevant to the pervasive practice of plea bargaining.  The U.S. criminal justice system is a bargaining game in which prosecutors have enormous discretionary power.  The time, expense, and uncertainty of a criminal trial can prompt innocent defendants to plead guilty to “lesser” charges.

U.S. criminal law places virtually no constraint on the maximum possible criminal punishment.  In the Swartz case, the U.S. Attorney declared, “At no time did this office ever seek – or ever tell Mr. Swartz’s attorneys that it intended to seek – maximum penalties under the law.”  At first the U.S. Attorney brought against Swartz four felony counts, with a punishment of “up to 35 years in prison, to be followed by three years of supervised release, restitution, forfeiture and a fine of up to $1 million.”  Apparently to get more bargaining power, the U.S. Attorney subsequently brought an additional nine felony counts against Swartz. In areas such as computer fraud and wire fraud, anyone is vulnerable to a huge number of felony counts on criminal laws that are vague, technologically anachronistic, and closely related to common, everyday actions. If doing so would have increased her bargaining power with Swartz, the U.S. Attorney probably could have brought against Swartz hundreds of felony counts with punishments of up to 1000s of years in prison.

In the U.S. criminal justice system, criminal charges are merely tools for prosecutors to seek their desired punishment of the accused.  A maximum penalty under the law doesn’t exist in practice.  Most criminal cases aren’t resolved “under the law.”  The prosecutor judges how much to seek to punish someone and then does whatever is necessary to get that punishment.[2]  That’s how the U.S. criminal injustice system works.  It needs fundamental reform.

*  *  *  *  *

Read more:

Notes:

[1] Following Swartz’s suicide, his family and friends declared:

Aaron’s death is not simply a personal tragedy. It is the product of a criminal justice system rife with intimidation and prosecutorial overreach. Decisions made by officials in the Massachusetts U.S. Attorney’s office and at MIT contributed to his death. The US Attorney’s office pursued an exceptionally harsh array of charges, carrying potentially over 30 years in prison, to punish an alleged crime that had no victims. Meanwhile, unlike JSTOR, MIT refused to stand up for Aaron and its own community’s most cherished principles.

MIT’s lack of support for Swartz jarringly contrasts with its wide-open network and its support for new Internet applications.  Describing the U.S. criminal justice system as “rife with intimidation and prosecutorial overreach” seems to me to be no exaggeration.  Max Kennerly has written excellent posts, with many links to relevant discussion, describing the indictment and the stress it created for Swartz.

[2] A leading scholar of criminal law and the criminal justice system has written:

The bodies of law, state and federal, that claim to define crimes and sentences do not really do what they claim. Instead, those bodies of law define a menu – a set of options law enforcers may exercise, or a list of threats prosecutors may use to induce the plea bargains they want. The menu says little about what options are exercised or what threats are used. The real law of crimes and sentences is the sum of those prosecutorial choices.

See William Stuntz, “Plea Bargaining and Criminal Law’s Disappearing Shadow,” Harvard Law Review, v. 117, no. 8 (Jun. 2004) p. 2569.

continuing problem of media consolidation

old AM/FM radio

While types of media and media consumption habits change over time, media consolidation continues to occur and continues to be a source of public concern.  A recent article describing the uncertain future of Washington DC public radio station WPFW declared:

Consumption habits and media consolidation mean that radio is no longer a medium around which communities gather.  You tune into WAMU, or WTOP, or WOL, or WNEW for news on your morning drive.  At work, you’re on Pandora, or Spotify, or Sirius XM, or you listen to your own music collection.  Maybe you’re listening to a local radio broadcast over the air, or maybe you’re listening to a station from another city (or country) over the Internet.  Maybe you’re in a music mood, maybe you’re in a talk-show mood. At home later, you’re cooking dinner—but there isn’t just one station that fits however you identify.  There’s a whole universe of them.

With a whole universe of options for listening, media consolidation continues to threaten radio.

manboobs: dog-men with their heads in their breasts

Who are these men called manboobsHerodotus, a highly learned man writing in Greek about 2450 years ago, described fabulous creatures in Libya:

In that country are the huge snakes and the lions, and the elephants and bears and asps, the horned asses, the dog-headed and the headless men that have their eyes in their chests, as the Libyans say, and the wild men and women, besides many other creatures not fabulous.

{ καὶ γὰρ οἱ ὄφιες οἱ ὑπερμεγάθεες καὶ οἱ λέοντες κατὰ τούτους εἰσὶ καὶ οἱ ἐλέφαντές τε καὶ ἄρκτοι καὶ ἀσπίδες τε καὶ ὄνοι οἱ τὰ κέρεα ἔχοντες καὶ οἱ κυνοκέφαλοι καὶ οἱ ἀκέφαλοι οἱ ἐν τοῖσι στήθεσι τοὺς ὀφθαλμοὺς ἔχοντες, ὡς δὴ λέγονταί γε ὑπὸ Λιβύων, καὶ οἱ ἄγριοι ἄνδρες καὶ γυναῖκες ἄγριαι, καὶ ἄλλα πλήθεϊ πολλὰ θηρία ἀκατάψευστα. }[1]

Perhaps a few hundred years later, the Greek Alexander Romance described some unusual men across the Red Sea:

We saw dog-headed men, and men without heads who had their eyes and mouths in their chests [2]

Dog-headed men were associated with the savage peoples of Gog and Magog.  Savage people are naturally associated with animals.  But a man with his head in his chest requires a more complicated explanation.  According to Adam of Bremen, a German medieval chronicler writing in the second half of the eleventh century, sons of Amazons had heads in their breasts and acted like dogs:

Round about the shore of the Baltic Sea, it is said, live the Amazons in what is now called the land of women. … And when these women come to give birth, if the offspring be of the male sex, they become dog-heads; if of the feminine kind, they become most beautiful women.  Living by themselves, the latter spurn consort with men and, if men do come near, even drive them manfully away.  The dog-heads are men who have their heads on their breasts.  They are often seen in Russia as captives and they voice their words in barks.

{ circa haec littora Baltici maris ferunt esse Amazonas, quod nunc terra feminarum dicitur. … Cumque pervenerint ad partum, si quid masculini generis est, fiunt cynocephali, si quid feminini, speciosissimae mulieres. Hae simul viventes, spernunt consortia virorum, quos etiam, si advenerint, a se repellunt viriliter. Cynocephali sunt, qui in pectore caput habent; in Ruzzia videntur sepe captivi, et cum verbis latrant in voce. }[3]

Adam of Breman seems to have conflated earlier reports of dog-headed men and headless men with facial features in their chests.  He apparently associated Amazons’ hostility toward men with the generation of deformed, inferior men.

Today, female supremacists claim that men are dogs.  Captive men, barking incessantly from heads in their breasts, are prevalent today throughout the public sphere.  These men are sometimes called “manboobs.”  If the wisdom of history is to be believed, these are men without fathers, the sons of Amazons.

*  *  *  *  *

Read more:

Notes:

[1] Herodotus, Histories, 4.191.4. Strabo reported that Aeschylus, in a tragedy now lost, referred to “dog-headed men {κῠνοκέφᾰλοι}”:

Aeschylus, when he speaks of “dog-headed men,” of “men with eyes in their breasts,” and of “one-eyed men” (in his Prometheus, it is said); and a host of other tales.

{ Αἰσχύλον δὲ Κυνοκεφάλους καὶ Στερνοφθάλμους καὶ Μονομμάτους (ἐν τῷ Προμηθεῖ φασι) καὶ ἄλλα μυρία. }

Strabo, Geography 7.3, ancient Greek and English translation from Jones (1924). Other references to “dog-headed men {κῠνοκέφᾰλοι}” are in Pliny, Natural History 7.2.23; Philostratus, Life of Apollonius 45; and Tertullian, Apologeticus 7.5.

According to Phlegon of Tralles’ book On Marvels:

The doctor Dorotheus says in his Reminiscences that in Egyptian Alexandria a male homosexual gave birth, and that because of the marvel the newborn infant was embalmed and is still preserved.

From Greek trans. Hansen (1998) p. 257. That’s probably not how most manboobs came into being.

[2] Greek Alexander Romance, III.28, trans. Stoneman, Richard (1991) The Greek Alexander romance (London, England: Penguin Books) p. 146.

[3] Adam of Bremen, Deeds of Bishops of the Hamburg Church {Gesta Hammaburgensis ecclesiae pontificum}, Book 4, Description of the Island of the North Wind (northern Europe) {Descriptio insularum aquilonis}, Chapter 19, Latin text from Schmeidler (1917), English translation from Tschan (1959) p. 200.

A man with his head in his breast could mean a man with his head drooping so low that it appeared to be in his breast.  That could be a physiologically weak-necked man.  Alternatively, a man regularly beaten and fearful might hang his head low.  Such a head position indicates submissiveness across a variety of animals.

References:

Hansen, William F., ed. 1998. Anthology of Ancient Greek Popular Literature. Bloomington, IN: Indiana University Press.

Jones, Horace Leonard, ed. and trans. 1924. Strabo. Geography, Volume III: Books 6-7. Loeb Classical Library 182. Cambridge, MA: Harvard University Press.

Schmeidler, Bernhard, ed. 1917. Scriptores rerum Germanicarum in usum scholarum separatim editi 2: Adam von Bremen, Hamburgische Kirchengeschichte (Magistri Adam Bremensis Gesta Hammaburgensis ecclesiae pontificum). Hanover: Hahnsche Buchhandlung.

Tschan, Francis Joseph, trans. 1959. Adam of Bremen. History of the Archbishops of Hamburg-Bremen. New York, NY: Columbia University Press.

Futurism and the violent art of news at the National Gallery

Futurism was a newspaper trick that intellectual elites took seriously.  The Newseum illustrates the problem.  When the Newseum opened in 2008 its new, large building close to the U.S. Capitol, its theater room featured a Newseum introductory video.  The video had a voice-of-god narrator intoning, “War is news, peace is news, love is news, hate is news” over sensational-conventional news video.  Joe Six-Pack laughed.  Jane Taylor-Smith wept at how beautiful Jacqueline Kennedy’s dress was.  Newspaper leaders fight to gain for themselves an enduring place in the Newseum.

O maternal ditch, almost full of muddy water!  Fair factory drain!  In my mouth I savored fully your fortifying mud that recarnated for me the holy black breast of my Sudanese wet-nurse! [1]

Shock of the News, showing at the U.S. National Gallery of Art through January 27, 2013, documents more extensively the influence of Futurism.  The exhibit presents art that uses newspapers.  The exhibit’s press release explains:

Arranged chronologically, Shock of the News traces the development of the newspaper phenomenon from 1909 to 2009 and demonstrates its remarkable ability to adapt to and shift with the times while remaining vital to the present.

That description is classic newspeak.  The art spans a century (1909 to 2009) for alternate, weighty description.  The art is arranged chronologically, as if art has a date of creation like a newspaper’s date of publication.  Shock of the News presents a narrative created from cliches, conventions, and an abstraction.  It is “the newspaper phenomenon.”

Filippo Tommaso Marinetti’s Futurism Manifesto is a key work for understanding the newspaper phenomenon.  The manifesto exudes male sexuality struggling against social suppression.  A deep structure of male sexuality is devaluation of the male self and violence against other men.  The manifesto celebrates men’s youth and strength.  It endorses the self-effacement of men upon reaching the age of forty: “When we are forty let younger and stronger men than we throw us in the waste paper basket like useless manuscripts!”  The manifesto declares that “we” (“my frinds and I”, a group of men) will “glorify war — the world’s only hygiene — militarism, patriotism, the destructive gesture of freedom-bringers.”  War for millennia has been organized as men killing men.  Concern for loss of men’s lives, or men’s relatively short lifespans, doesn’t sell newspapers.  Men killing men is invisible within the newspaper phenomenon.  Newspapers write only of war.

Museums in the Futurism Manifesto are a synecdoche for institutions of everyday communicative authority.  The Futurism Manifesto is filled with figurative language.  It was published in Le Figaro, a highly respected Paris-based newspaper with the largest circulation of any newspaper in Europe at that time.  The Futurism Manifesto prudently addressed newspapers with poetic indirection through museums:

Museums: cemeteries! …  Identical, surely, in the sinister promiscuity of so many bodies unknown to one another.  Museums: public dormitories where one lies forever beside hated or unknown beings.  Museums: absurd abattoirs of painters and sculptors ferociously slaughtering each other with color-blows and line-blows, the length of the fought-over walls!

That one should make an annual pilgrimage, just as one goes to the graveyard on All Souls’ Day — that I grant.  That once a year one should leave a floral tribute beneath the Gioconda, I grant you that….  But I don’t admit that our sorrows, our fragile courage, our morbid restlessness should be given a daily conducted tour through the museums.  Why poison ourselves?  Why rot?

Marinetti’s Futurism Manifesto confounded Le Figaro’s communicative authority.  Not only did the Futurism Manifesto celebrate the male-killing dimension of male sexuality, it demonstrated the shocking allure of that male sexuality to a young woman:

Marinetti, who grew up in Egypt, made the front page {had his Futurism Manifesto printed on the front page of Le Figaro} by wooing the only daughter of a family friend, Mohammed El Rachi Pascia, a wealthy Egyptian tycoon and major stockholder in Le Figaro. To please his daughter and her suitor, El Rachi Pascia browbeat the editors into publishing the manifesto. [2]

The world fearfully awaits the nihilistic, outrageous Heartiste seducing a daughter of one of America’s reigning newspaper family dynasties.

Abandon Futurism! Leave your newspaper bunker. The world is beautiful!

The horror of Futurism dominates the exhibit Shock of the News.  The exhibit includes guards to prevent the public from making photographs of the newspaper art.  Spread the news!  These guards are apt representations of the digital restrictions on use being built into digital news platforms.  Digital guards are cheaper than human guards.  Legal intimidation via digital notices is cheaper than physical intimidation.  Will the public in the future be as free to use the news as artists in Shock of the News were?

Grand, elegiac nostalgia for the past, that lost time back when newspapers had something to say, is a superficial reaction to this exhibit.  Urbane nostalgia for democracy, progress, the automobile, and newspapers is to be expected from the commanding heights of the old newsprint industry.  Factual journalism is less lyrical.  Shock of the News includes a photomontage published in a marginal magazine in Germany in 1930.  The photomontage shows a man with his head wrapped in a mass-market tabloid and a newspaper serving as an organ of a political party.  The photomontage is captioned (in German) “Whoever reads bourgeois newspapers goes blind and deaf.  Away with bandages that make you dimwitted!”[3]  Shock of the News displays the Guerrilla Girls canonized in the National Gallery.  The Guerrilla Girls protest the exclusion of women artists from solo shows in prestigious downtown Manhattan galleries (and not just shows during the summer!).  The Guerrilla Girls are the “conscience of the artworld.”  Welcome to the future in Europe in 1909, and the future in the U.S. in 1910.

Leave your newspaper bunker.  Drop your iPhone.  Withdraw from Facebook and Twitter.  Enjoy the creative power of male sexuality.  The blue sky is beautiful.

*  *  *  *  *

Read more:

Notes:

[1] From the Futurism Manifesto.  Using the insight of the commenter “Aware Translation” on the English translation of the Futurism Manifesto (see bottom of linked page), I’ve adapted above the R. W. Flint translation.  The neologism “recarnate” is intentional.

[2] From “Read all about it: Newspapers as art in exhibit,” Los Angeles Times, Oct. 16, 2012.

[3] John Heartfield, Wer Bürgerblätter liest wird blind und taub. Weg mit den verdummungsbandagen!, published in Arbeiter-Illustrierte-Zeitung, vol. 9, no. 6, February 9, 1930.