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‘How do I best inform people around the world of the things they should know.’
Spying by America’s National Security Agency does not have “anything to do with terrorism,” Glenn Greenwald, the activist journalist who broke the story, told CNN’s Christiane Amanpour on Monday.
“Is Angela Merkel a terrorist? Are sixty or seventy million Spanish or French citizens terrorists? Are there terrorists at Petrobras?” he asked rhetorically. “This is clearly about political power and economic espionage, and the claim that this is all about terrorism is seen around the world as what it is, which is pure deceit.”
The latest revelations of American spying involve the alleged taping of German Chancellor Angela Merkel’s personal mobile phone and that the U.S. gathered data about 60 million Spanish phone calls in a single month, which comes after similar reports from France.
Greenwald, formerly of The Guardian, has been systematically publishing reports of secret American intelligence gathering since he was given a treasure trove of leaks by former intelligence officer Edward Snowden.
“It is not true that every country intercepts the personal communications of their democratically elected allies,” Greenwald told Amanpour, referring to the oft-repeated criticism put forward by true believers that “everyone does it.”
“And it’s definitely not the case that every country mass, bulk collects the communications of millions of innocent people in virtually every country in the world.”
“It’s something that the world didn’t know, and now they do know, and that’s the reason why U.S. officials are so angry,” he said. “Not because it damaged national security but because it damages their reputation and credibility around the world.”
Greenwald also rebuffed the criticism that he is recklessly putting people’s lives in danger by revealing America’s spying tactics.
He said that Snowden had asked him to be “very scrutinizing and judicious,” and that he had only made public about 200 or 250 documents out of a total of “many, many, many thousands.”
“Ever since 9/11, British and American officials have screamed terrorism over and over and over every time they get caught doing bad things they shouldn’t do,” Greenwald said. “Every terrorist who’s capable of tying their own shoes has long known that the U.S. government and the U.K. government are trying to monitor their communications in every way that they can.”
“What we revealed is that the spying system is largely devoted not to terrorists but is directed at innocent people around the world.”
Greenwald announced earlier this month that he was leaving The Guardian newspaper to join a new online journalism venture founded by eBay founder Pierre Omidyar.
“As a journalist, my question is not ‘How can I best help the U.S. government,” he told Amanpour. “My question is, ‘How do I best inform people around the world of the things they should know.’”
Far too many journalists, he said, are willing to leave their reporting at “’American officials told me yesterday.’”
“There’s no effort to investigate those claims or to find alternative voices,” he said.
The new outfit’s goal, he said, would aim to find “truly independent journalists, who don’t want to be invited to Washington cocktail parties.”
Investigative journalism may have pride of place within the mythology of American news, but that’s not really what journalists have been up to, by and large. Instead, newspaper journalists have been producing ever more of a kind a work that is so little discussed it doesn’t really have a name. “Causes vs. events”… Fink and Schudson write:
…there is no standard terminology for this kind of journalism. It has been called interpretative reporting, depth reporting, long-form journalism, explanatory reporting, and analytically reporting. Stephen Hess called it ‘social science journalism’, a mode of reporting with ‘the accent on greater interpretation’ and a clear intention of focusing on causes, not on events as such. Although this category is, in quantitative terms, easily the most important change in reporting, it is a form of journalism with no settled name and no hallowed, or even standardized, place in journalism’s understanding of its own recent past….
I make every attempt to respect the rights of others. If you feel that something here has infringed your work please let me know and I will correct it immediately. It is not always easy to determine the status of material posted to the Internet with regard to fair use and public domain.
SHOWCASE
“Freedom Graffiti,” by Syrian artist Tammam Azzam, features Klimt’s “The Kiss” superimposed over a destroyed Syrian building.
Becoming a powerful symbol of the country’s devastation from civil war
- An image of Klimt’s “The Kiss” superimposed over a destroyed Syrian building has gone viral
- The image was created digitally by Syrian artist Tammam Azzam, who now lives in Dubai
- He hopes to return to his homeland and create a physical version of the artwork one day
How High Is the City, How Deep Is Our Love
The right to the city continues as an intense global-urban theme as we progress this decade. Artistic critique and its history of emphasizing the creative possibilities of everyone’s life has a lot to say about the transformation of cities today. The deployment of affect in urban governance is itself embedded within the new spirit of capitalism’s appropriation of artistic and social critique’s force. But artistic critique is both discursive and material as well as affective and public. Perhaps through it we can then ask the city to love us, and to love equity and justice….
Redrawing the Economic Way
Two types of jobs are growing in size and salary: creative class jobs and routine service jobs. The geographic sorting of people based on ability and educational attainment is the highest ever. Cities with cosmopolitan bases such as Austin, Boston, and San Francisco are seeing large increases in population, with a heavy concentration of creative people. Former industrial cities such as Buffalo or Akron are falling behind by both measures.
Government and college towns prosper because of their ability to attract and maintain members of the creative class.
OLD SCHOOL CRITICS argue the size and potential impact of the creative class, neglecting many economic and social realities. They also argue and ignore many factors that people consider when they are choosing a place to live.
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