Ellen Dunham-Jones fires the starting shot for the next 50 years’ big sustainable design project: retrofitting suburbia. To come: Dying malls rehabilitated, dead “big box” stores re-inhabited, parking lots transformed into thriving wetlands.
Clay Shirky looks at “cognitive surplus” — the shared, online work we do with our spare brain cycles. While we’re busy editing Wikipedia, posting to Ushahidi (and yes, making LOLcats), we’re building a better, more cooperative world.
Iraq for Sale: The War Profiteers is a 2006 documentary film about the ongoing Iraq War and the behavior of companies with no-bid contracts working in Iraq. The movie was made by Robert Greenwald and Brave New Films. “Iraq for Sale: The War Profiteers” depicts the story of what happens to everyday Americans when corporations go to war.
Specifically, the film claims four major contractors — Blackwater, K.B.R.-Halliburton, CACI and Titan — are over-billing the U.S. government and doing substandard work while endangering the lives of American soldiers and private citizens. The documentary contends these companies are composed of ex-military and ex-government workers who unethically help their companies get and keep enormous contracts and milk the American taxpayer.
The film crew interviews military servicemen, watchdog group affiliates, and former employees of Halliburton. Acclaimed director Robert Greenwald (Wal-Mart: The High Cost of Low Price, Outfoxed and Uncovered) uncovers the inside lives of soldiers, truck drivers, widows and children, whose lives have been changed forever because of companies profiting in the rebuilding of Iraq. “Iraq for Sale” uncovers the connections between private corporations and the decision makers, contends that the wars are completely commercialized by politically powered but indifferent people, and focuses also on the direct and heavy profits earned by some highly-connected corporations.
Halliburton contends the film is “yet another rehash of inaccurate, recycled information.” During filming, Greenwald had requested interviews with the contractors, but they turned him down.
This was the first film to raise substantial production funds from small donations online: $267,892 from 3,000 people in 10 days.
Richard Prins' collection of pseudorandom perceptions