Rana Sweis

Digital Digest

Social media: from fact to fiction

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Hours after the Las Vegas massacre, Travis McKinney’s Facebook feed was hit with a scattershot of conspiracy theories. The police were lying. There were multiple shooters in the hotel, not just one. The sheriff was covering for casino owners to preserve their business.

The political rumors sprouted soon after, like digital weeds. The killer was anti-Trump, an “antifa” activist, said some; others made the opposite claim, that he was an alt-right terrorist. The two unsupported narratives ran into the usual stream of chatter, news and selfies.

“This stuff was coming in from all over my network of 300 to 400” friends and followers, said Mr. McKinney, 52, of Suffolk, Va., and some posts were from his inner circle.

But he knew there was only one shooter; a handgun instructor and defense contractor, he had been listening to the police scanner in Las Vegas with an app. “I jumped online and tried to counter some of this nonsense,” he said.

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Rana Sweis Articles

Digital Digest

Fighting to Death for a Free Internet

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IN 2003, WHEN Jon Phillips was 24, he met someone who changed everything about how he perceived the world. At the time, Phillips was a graduate student in computer science and visual art at the University of California, San Diego. Rather than work for a big tech company, as most of his friends were doing, he wanted to use his computing skills to “build society and community.” So he turned to open software, collaborating with strangers every day on Internet Relay Chat, a platform that software developers use to chat in real time while working on projects together. One day, while he was on an IRC channel developing an open source clip art site, someone with the username Bassel popped up.

Bassel wrote a patch for the site, then went on to develop a software framework for a blog platform that he and Phillips called “Aiki,” which was also the name of Bassel’s pet turtle. Phillips had no idea who Bassel was, where he lived, or what he looked like, but they spent hours hacking together, and eventually Phillips picked up more details: Besides the pet turtle, he learned that his collaborator lived in Damascus and was of Palestinian and Syrian descent; he taught Phillips that the Arabic term inshallah, “God willing,” could also mean “no.” He would joke with Phillips while hacking, “Don’t say inshallah, dude, don’t hex it, inshallah means it’ll never happen!” Eventually, Phillips learned his full name: Bassel Khartabil, though he went by Bassel Safadi online, a reference to his Palestinian origins in the town of Safad.

Phillips and Khartabil met at a time of great optimism for “open culture” advocates like them. Both men became active in the Creative Commons, a movement dedicated to open source programming and a culture of sharing knowledge across the world. Khartabil saw the internet and connectedness in grand, almost utopian terms, and in November 2009, he and Phillips organized an event at the University of Damascus called Open Art and Technology. It was the first significant “free culture” event in Syria—and the first time Phillips and Khartabil met in person. They invited a variety of artists, including the Syrian sculptor Mustafa Ali. After a speech given by the CEO of Creative Commons, who had traveled from the United States to Damascus, the artists stood up one by one and pledged to put their art in the commons, licensed for sharing, open to all.

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