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Dark web not dark alley: Why drug sellers see the internet as a lucrative safe haven

<p>More than six years after the demise of Silk Road, the world’s first major <a href="https://journals.sagepub.com/doi/pdf/10.1177/1748895813505234?casa_token=xjYBG0jb8Y8AAAAA:8NyrWITwd0jAIZxW-ZDyIoWGbdiTG34kkYpibnTX6blXkZOtApmx4Mmf-wCeBqIUGU9DbRFwKors8A">drug cryptomarket</a>, the <a href="https://theconversation.com/explainer-what-is-the-dark-web-46070">dark web</a> is still home to a thriving trade in illicit drugs.</p> <p>These markets host hundreds, or in some cases thousands, of people who sell drugs, commonly referred to as “vendors”. The dark web offers vital anonymity for vendors and buyers, who use cryptocurrencies such as Bitcoin to process transactions.</p> <p>Trade is booming despite <a href="https://www.sciencedirect.com/science/article/pii/S0376871617300741">disruptions</a> from law enforcement and particularly “exit scams”, in which market admins abruptly close down sites and take all available funds.</p> <p>Why are these markets still seen as enticing places to sell drugs, despite the risks? To find out, our <a href="https://academic.oup.com/bjc/advance-article-abstract/doi/10.1093/bjc/azz075/5645405">recent study</a> surveyed 13 darknet drug vendors, via online encrypted interviews.</p> <p>They gave us a range of reasons.</p> <p><strong>More profitable</strong></p> <p>First, selling drugs online is safer and more profitable than doing it offline:</p> <p><em>Interviewer: So you still sell on DNMs [darknet marketplaces], and prefer that to offline. Correct?</em></p> <p><em>Respondent: YES. Selling offline is borderline stupid. You can make so much more money online, the risks [in selling outside cryptomarkets] aren’t even remotely worth it.</em></p> <p>Both of these claims correspond with <a href="https://www.sciencedirect.com/science/article/abs/pii/S0955395913001722">previous research</a> showing that the dark web is perceived to be a safer place to buy and sell drugs.</p> <p>Regarding profits, darknet vendors do not have to limit their trading to face-to-face interactions, and can instead sell drugs to a potentially worldwide customer base.</p> <p><strong>Less violent</strong></p> <p>Encryption technologies allow vendors to communicate with customers and receive payments anonymously. The drugs are delivered in the post, so vendor and customer never have to meet in person.</p> <p>This protects vendors from many risks that are prevalent in other forms of drug supply, including undercover police, predatory standover tactics where suppliers may be robbed, assaulted or even killed by competitors, and customers who may inform on their supplier if caught.</p> <p>Other risks, such as frauds perpetrated by customers and exit scams, were considered inevitable on the dark web, but also manageable.</p> <p>Some respondents said that being protected from physical risk on the dark web is not only a benefit for existing drug suppliers, but may also make the activity attractive to people who would not otherwise be willing to sell drugs.</p> <p>While some of our respondents had previously sold drugs offline, others were uniquely attracted to the perceived safety and anonymity of the dark web:</p> <p><em>I hadn’t ever thought about selling drugs in any capacity because I dislike violence and it just seemed impossible to be involved in selling drugs in “real life” without running into some sort of confrontation pretty quickly… I was always too scared and slightly nerdy to do that and never really contemplated it seriously until the dark web.</em></p> <p><strong>More customer-focused</strong></p> <p>Some vendors told us the feeling of safety and control lets them focus on providing a more courteous service to their customers or “clients”:</p> <p><em>I try to provide the best products and service I can, when someone has a problem or claims [their order was] short on pills (as long as they have ordered from me before) I usually take them at their word.</em></p> <p>This is a stark contrast with perceptions of the street trade, which some of our respondents perceived not only as “small-time”, but also rife with danger and potential violence:</p> <p><em>The street trade is a mess. I wanna provide labelled products, good advice and service, like a real business. Not sit in a shitty car park selling $10 bags from a car window all day.</em></p> <p><strong>Not just about profit</strong></p> <p>Dark web vendors also pointed out the various non-material benefits of their work. These included feelings of autonomy and emancipation from boring work and onerous bosses, as well as excitement and the thrill of transgression. One respondent described it as:</p> <p><em>Exhilarating … and nerve-wracking. Seemed so alien. “Drugs? Online? In the post? Naaaah surely not.” Plus if I’m honest, my inner reprobate buzzes from it. The rush of chucking a grand’s worth of drugs into post boxes… unreal, man.</em></p> <p>Interviewees rationalised their participation in the dark web drugs trade in a variety of ways. These included pointing out the <a href="https://files.transtutors.com/cdn/uploadassignments/1509030_1_article-1-seminar.pdf">relative safety</a> and medicinal benefits of some illicit drugs, and the <a href="https://journals.sagepub.com/doi/pdf/10.1177/0004865814524424?casa_token=P1q12ppNwlIAAAAA:iRe-gQHWLKsD0fqCl45Bj7ms1eRqCHY6sa0zYtMjoyuORRQBfj_7A0JLub2FZCt65-u2UjxXCnQzBQ">dangers associated with drug prohibition</a>.</p> <p><em>Let’s face it, a LOT of people like getting high… It’s human nature, but to ban it and make it criminal so that it’s hard to get, then you get poison and people die… I can tell you that the use of darknet protects users from buying products that during traditional prohibition would likely kill much more people. It also takes drugs off the street, reducing some violent crime.</em></p> <p>These insights help us understand why the dark web is increasingly attractive, not only to consumers of illicit drugs but to the people who supply them.</p> <p>For those who are averse to confrontation, and who are sufficiently tech-savvy, the dark web offers an alternative to the risk and violence of dealing drugs offline.</p> <p><em>Written by James Martin and Monica Barratt. Republished with permission of </em><a href="https://theconversation.com/dark-web-not-dark-alley-why-drug-sellers-see-the-internet-as-a-lucrative-safe-haven-132579"><em>The Conversation</em></a><span><em>.</em></span></p>

Art

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How music is used to frame our daily routines

<p>The concept of “home” refers to more than bricks and mortar. Just as cities are more than buildings and infrastructure, our homes carry all manner of emotional, aesthetic and socio-cultural significance.</p> <p>Our research investigates music and sound across five settings: home, <a href="https://books.google.com.au/books?hl=en&amp;lr=&amp;id=zcMuMglzyzkC&amp;oi=fnd&amp;pg=PA190&amp;ots=atQw4trFNS&amp;sig=35Ok_TO3mJYXgm3mGRt_8bFfZ0Q#v=onepage&amp;q&amp;f=false">work</a>, <a href="https://onlinelibrary.wiley.com/doi/full/10.1111/soin.12232">retail spaces</a>, private <a href="https://www.emerald.com/insight/content/doi/10.1108/S0163-2396(2010)0000035015/full/html">vehicle travel</a> and <a href="https://search.informit.com.au/documentSummary;dn=200907280;res=IELAPA;type=pdf">public transport</a>.</p> <p>We found our interview subjects often idealised home along the lines of what <a href="http://www.losquaderno.professionaldreamers.net/?p=1106">Rowland Atkinson terms an “aural haven”</a>. He suggests, although “homes are … rarely places of complete silence”, we tend to imagine them as “refuge[s] from unwanted sound” that offer psychic and perceptual “nourishment to us as social beings”.</p> <p>We explored the ways in which people shape and respond to the home as a set of “<a href="http://www.professionaldreamers.net/images/losquaderno/losquaderno10.pdf">modifiable micro-soundscapes</a>”. Through 29 in-depth interviews, we examine how people use music and sound to frame the home as a type of “<a href="https://www.jstor.org/stable/2095141?seq=1#page_scan_tab_contents">interaction order</a>”. Erving Goffman coined this term to capture how people respond to the felt “presence” of an other.</p> <p>That presence can be linguistic or non-linguistic, visual or acoustic. It can cross material thresholds such as walls and fences. Goffman <a href="https://books.google.com.au/books?id=EM1NNzcR-V0C&amp;printsec=frontcover&amp;dq=behaviour+in+public+places&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwic9JaW6-XlAhV-73MBHRilB4oQ6AEIKDAA#v=onepage&amp;q=work%20walls%20do&amp;f=false">wrote</a>:</p> <blockquote> <p><em>The work walls do, they do in part because they are honoured or socially recognised as communication barriers.</em></p> </blockquote> <p><strong>Cultivating sonic havens through music</strong></p> <p>As we detail in our recent <a href="https://tandfonline.com/doi/abs/10.1080/14036096.2019.1686060">essay in Housing, Theory and Society</a>, the type of listening that most closely matches the idea of the home as an aural haven is bedroom listening – by young people in particular. We found that, as well as offering “control” and “seclusion”, the bedroom gave listeners a sense of “transcendence” and immersed them in “deep” listening. One interview subject said:</p> <blockquote> <p><em>When I get a new album … I like to experience [it] by … lying down on the floor… I’ll turn the lights off and I’ll just be engaging with the music, my eyes won’t be open.</em></p> </blockquote> <p>Another reported putting on headphones to listen to special selections of music, despite not needing to. “Headphones… [is] a more intimate … kind of thing”, even in a bedroom setting.</p> <p>When it came to music in shared spaces and in relation to neighbours, our interview subjects seemed both aware of music’s visceral powers and keen to respect the territorial or acoustic “preserves” of others. One young female sharing a house with her mother carefully curated the type of music played, and what part of the house it was played in. Her choices depended on whether her mother was home and whether she had shown interest in particular genres.</p> <p>All respondents who lived in shared households expressed some kind of sensitivity to not playing music at night.</p> <p>Another lived by herself in an apartment complex of five. She took deference towards neighbours seriously enough to “tinker away” on her piano only when she was sure her immediate neighbour wasn’t home. She “didn’t play the piano much” inside her flat and was only prepared to “go nuts” playing the piano in halls and other non-domestic settings.</p> <p><strong>Music as a bridging ritual</strong></p> <p>Another of our findings accorded with the microsociological focus on how people organise <a href="https://www.amazon.com/gp/product/0226981606/ref=dbs_a_def_rwt_hsch_vapi_taft_p1_i10">time</a> and <a href="https://www.amazon.com/gp/product/0029344204/ref=dbs_a_def_rwt_hsch_vapi_taft_p1_i6">space</a> in everyday life. We found evidence, for example, of how music was used to wake up, or to transition to the weekend, or as a “bridging ritual” between work and home.</p> <p>One interview subject remarked that he is “dressed casually anyway” when he returns from work, so his mechanism for shifting to home mode is to listen “to music … pretty much as soon as I get home … unless I’m just turning around and going straight somewhere else”. In other words, he associated the boundary between home and non-home with music and the listening rituals of returning home.</p> <p>One of the themes in academic literature about media and the home is that electronic and digital media <a href="https://global.oup.com/academic/product/no-sense-of-place-9780195042313?cc=au&amp;lang=en&amp;">blur the boundary between the inside and outside of the home</a>. There is no doubt radio, television and now various digital platforms bring the world “out there” into the immediacy and intimacy of our own domestic worlds. But, as <a href="https://www.taylorfrancis.com/books/e/9780203033142/chapters/10.4324/9780203033142-8">Jo Tacchi noted of radio sound</a>, those sounds can also be used to weave a sonic <a href="https://journals.sagepub.com/doi/abs/10.1177/0038026118825233">texture</a> of domestic comfort, security and routine.</p> <p>We also found interesting sonic continuities between our homes and how we make ourselves at home in non-domestic settings. As <a href="https://books.google.com.au/books?id=KEHjTYnT-MUC&amp;q=Locked+in+our+cars#v=snippet&amp;q=Locked%20in%20our%20cars&amp;f=false">Christina Nippert-Eng writes</a>:</p> <blockquote> <p><em>Locked in our cars, commutes offer the working woman or man the legitimate equivalent of a teenager’s bedroom, often complete with stereo system and favourite music.</em></p> </blockquote> <p>In short, sonic havens are simply “places where we can retreat into privacy”, inside or outside our literal homes.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/126188/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/michael-james-walsh-147733">Michael James Walsh</a>, Assistant Professor Social Science, <a href="http://theconversation.com/institutions/university-of-canberra-865">University of Canberra</a> and <a href="https://theconversation.com/profiles/eduardo-de-la-fuente-161803">Eduardo de la Fuente</a>, Honorary Fellow, School of Humanities and Social Inquiry, University of Wollongong, <a href="http://theconversation.com/institutions/university-of-wollongong-711">University of Wollongong</a></em></p> <p><em>This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/sonic-havens-how-we-use-music-to-make-ourselves-feel-at-home-126188">original article</a>.</em></p>

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