Based on his views mentioned in the passage, one could best characterise Dr. Watrall as being:
dismissive of laypeople’s access to specialist images of archaeological and cultural sites.
critical about the links between a non-profit and a commercial tech platform for distributing archaeological images.
Dr. Watrall's characterization can best be deduced by examining his viewpoint in the context of the provided passage. The passage discusses Google's efforts to preserve archaeological sites by making them accessible through 3D images. However, there is criticism about the commercial relationships and motivations behind these actions.
Dr. Watrall, an archaeologist, expresses discomfort with the collaboration between CyArk, a nonprofit, and Google, which is a commercial entity. He suggests that Google's true motive is to drive traffic and promote its brand under the guise of cultural preservation, rather than purely for educational or scholarly purposes. He argues that these images would be more appropriately housed on a museum or educational institution's site, reflecting a mission focused on scholarship. This highlights his critical view of how commercial interests intersect with non-profit endeavors in distributing archaeological images.
Therefore, based on the passage, Dr. Watrall is best characterized as being:
the scanning process can damage delicate frescos and statues at the sites.
The correct answer to the question about the "digital colonialism" critique of the CyArk–Google project is: "countries where the scanned sites are located do not own the scan copyrights." The comprehension passage outlines several crucial aspects of this critique:
1. Background Context: Google, in collaboration with CyArk, is using 3D scanning technology to digitally preserve archaeological sites, making them available on Google's Arts & Culture site. This is positioned as a preservation effort amidst threats like war, natural disasters, and climate change.
2. Access and Control: Critics raise concerns about who controls the digital copyrights of these scanned cultural sites. Despite being located in other countries, the 3D scan copyrights are owned by CyArk, not the host countries.
3. Criticism Details: As highlighted by critics like Erin Thompson, this arrangement is seen as a form of Western appropriation of foreign cultural heritage—a centuries-old issue. The concern is that ownership of digital representations is not with the local authorities, which implies the need for permission from CyArk for commercial use by the host countries.
4. Commercial Interests: Ethan Watrall argues that even though Google claims not to profit from this venture directly, the underlying motivation may still be commercial, intending to increase site traffic and visibility for Google's broader business interests.
5. Recommendations: Critics suggest that digital copyrights should belong to the host countries, ensuring cultural heritage control remains with the originating culture and community.
To identify which statement would most strongly invalidate Dr. Watrall’s objections, we need to understand the core of his argument. Dr. Watrall's primary concern is that the partnership between CyArk and Google serves Google's interests by driving advertisement traffic rather than benefiting educational or scholarly purposes. He suggests that the digital images belong on museum or educational institution platforms that prioritize scholarship. Thus, any evidence that counters this idea could invalidate his objection. Analyzing the provided options:
Therefore, the strongest counter to Dr. Watrall’s objections is: CyArk uploads its scanned images of archaeological sites onto museum websites only.
Dr. Thompson’s comparison of CyArk owning the copyright of its digital scans to "the seizing of ancient Egyptian artefacts by a Western museum" is rooted in the concept of cultural appropriation. The argument is that similar to how Western museums have often seized and exhibited foreign cultural artefacts, the ownership of digital scans by a non-local entity is seen as a continuation of this practice.
Here's the explanation:
1. Contextual Background: The passage highlights how the digitization of archaeological sites raises questions about digital ownership and cultural representation. Critics express concerns that these digital endeavours, while preserving culture, might also represent a form of "digital colonialism."
2. Critical Perspective: Critics believe that these digital scans should belong to the cultural nations rather than external organizations like CyArk, as this echoes historical patterns where foreign cultures were controlled by Western powers.
3. Dr. Thompson’s Stance: Dr. Thompson sees this as an extension of a "centuries-long battle" of Western appropriation of foreign cultures. She supports the perspective that these cultural digitizations should be owned by the originating countries.
4. Comparative Analysis: The seizing of ancient Egyptian artefacts; similar to CyArk's digital copyrights, reflects the perceived imbalance of cultural authority and ownership, reinforcing Dr. Thompson's view.
Thus, the correct analogy, as per Dr. Thompson's view, equates CyArk's digital retention of cultural scans to the historic practice of Western museums acquiring cultural artefacts.
It provides images free of cost to all users.
It enables people who cannot physically visit these sites to experience them.
In light of the provided comprehension passage, several arguments are put forward both in favor of and against the digital scanning of cultural sites. The passage discusses Google's efforts to make the world's heritage available online, alongside criticism against the corporation's motives and actions.
Firstly, let's analyze the arguments that are commonly used to justify the scanning of cultural sites:
However, among the options provided, the argument that a company uses scanning to project itself as a protector of culture is not a genuine benefit that aligns with the aims of preserving and democratizing access to cultural sites. This argument refers to corporate interests more than the preservation or educational goals.
Therefore, the argument: "It allows a large corporation to project itself as a protector of culture." is the one least likely to be promoted as a legitimate reason for digital scanning by the companies involved, as it primarily benefits their image rather than contributing to cultural preservation or education.
Meta is recalibrating content on its social media platforms as the political tide has turned in Washington, with Mark Zuckerberg announcing last week that his company plans to fire its US fact-checkers. Fact-checking evolved in response to allegations of misinformation and is being watered down in response to accusations of censorship. Social media does not have solutions to either. Community review — introduced by Elon Musk at X and planned by Zuckerberg for Facebook and Instagram — is not a significant improvement over fact-checking. Having Washington lean on foreign governments over content moderation does not benefit free speech. Yet, that is the nature of the social media beast, designed to amplify bias.
Information and misinformation continue to jostle on social media at the mercy of user discretion. Social media now has enough control over all other forms of media to broaden its reach. It is the connective tissue for mass consumption of entertainment, and alternative platforms are reworking their engagement with social media. Technologies are shaping up to drive this advantage further through synthetic content targeted precisely at its intended audience. Meta’s algorithm will now play up politics because it is the flavour of the season.
The Achilles’ Heel of social media is informed choice which could turn against misinformation. Its move away from content moderation is driven by the need to be more inclusive, yet unfiltered content can push users away from social media towards legacy forms that have better moderation systems in place. Lawmakers across the world are unlikely to give social media a free run, even if Donald Trump is working on their case. Protections have already been put in place across jurisdictions over misinformation. These may be difficult to dismantle, even if the Republicans pull US-owned social media companies further to the right.
Media consumption is, in essence, evidence-based judgement that mediums must adapt to. Content moderation, not free speech, is the adaptation mechanism. Musk and Zuckerberg are not exempt
According to the French philosopher Jean Baudrillard, commodities available for consumption are not inherently negative things. Baudrillard tried to interpret consumption in modern societies by engaging with the ’cargo myth’ prevalent among the indigenous Melanesian people living in the South Pacific. The Melanesians did not know what aeroplanes were. However,they saw that these winged entities descended from the air for white people and appeared to make them happy. They also noted that aeroplanes never descended for the Melanesian people. The Melanesian natives noted that the white people had placed objects similar to the aeroplane on the ground. They concluded that these objects were attracting the aeroplanes in the air and bringing them to the ground. Through a magical process, the aeroplanes were bringing plenty to the white people and making them happy. The Melanesian people concluded that they would need to place objects that simulated the aeroplane on the ground and attract them from the air. Baudrillard believes that the cargo myth holds an important analogy for the ways in which consumers engage with objects of consumption.
According to Baudrillard, the modern consumer ”sets in place a whole array of sham objects, of characteristic signs of happiness, and then waits for happiness to alight”. For instance, modern consumers believe that they will get happiness if they buy the latest available version of a mobile phone or automobile. However, consumption does not usually lead to happiness. While consumers should ideally be blaming their heightened expectations for their lack of happiness, they blame the commodity instead.
They feel that they should have waited for the next version of a mobile phone or automobile before buying the one they did. The version they bought is somehow inferior and therefore cannot make them happy. Baudrillard argues that consumers have replaced ’real’ happiness with ’signs’ of happiness. This results in the endless deferment of the arrival of total happiness. In Baudrillard’s words, ”in everyday practice, the blessings of consumption are not experienced as resulting from work or from a production process; they are experienced as a miracle”. Modern consumers view consumption in the same magical way as the Melanesian people viewed the aeroplanes in the cargo myth. Television commercials also present objects of consumption as miracles. As a result, commodities appear to be distanced from the social processes which lead to their production. In effect, objects of consumption are divorced from the reality which produces them.
CONVERSATION ANALYSIS: Read the following transcript and choose the answer that is closest to each of the questions that are based on the transcript.
Lucia Rahilly (Global Editorial Director, The McKinsey Podcast): Today we’re talking about the next big arenas of competition, about the industries that will matter most in the global business landscape, which you describe as arenas of competition. What do we mean when we use this term?
Chris Bradley (Director, McKinsey Global Institute): If I go back and look at the top ten companies in 2005, they were in traditional industries such as oil and gas, retail, industrials, and pharmaceuticals. The average company was worth about $250 billion. If I advance the clock forward to 2020, nine in ten of those companies have been replaced, and by companies that are eight times bigger than the old guards.
And this new batch of companies comes from these new arenas or competitive sectors. In fact, they’re so different that we have a nickname for them. If you’re a fan of Harry Potter, it’s wizards versus muggles.
Arena industries are wizardish; we found that there’s a set of industries that play by very different set of economic rules and get very different results, while the rest, the muggles (even though they run the world, finance the world, and energize the world), play by a more traditional set of economic rules.
Lucia Rahilly: Could we put a finer point on what is novel or different about the lens that you applied to determine what’s a wizard and what’s a muggle?
Chris Bradley: Wizards are defined by growth and dynamism. We looked at where value is flowing and the places where value is moving. And where is the value flowing? What we see is that this set of wizards, which represent about ten percent of industries, hog 45 percent of the growth in market cap. But there’s another dimension or axis too, which is dynamism. That is measured by a new metric we’ve come up with called the ”shuffle rate.” How much does the bottom move to the top? It turns out that in this set of wizardish industries, or arenas, the shuffle rate is much higher than it is in the traditional industry.
Lucia Rahilly: So, where are we seeing the most profit?
Chris Bradley: The economic profit, which is the profit you make minus the cost for the capital you employ is in the wizard industries. It’s where R&D happens; they’re two times more R&D intensive. They’re big stars, the nebulae, where new business is born.