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[…]trade or commercial presses but that in many cases they have been more selective. Every new path to freedom creates new, sometimes even more intractable, obstacles to freedom. The goal of democratizing the Web, understood as an end in itself, may sometimes conflict with the creation of sites that allow for the articulation of alternative perspectives. Populism is not the same as market share. Access is a method not a goal. The absence of physical or temporal bars to exchange in various interactive spaces does not necessarily allow for a greater range of exchange. The group dynamics that hamper exchange […]
[…]of my city: the nice part, the place to be, the future. An agent asking for a passport and a visa to come to this other nice part of the city was in its own way perfectly normal. Through the years there were many funny border crossing stories, and I couldn’t possibly fit them all here. Once, when I was 18 years old, I was taken to secondary inspection because of carrying a Timothy Leary book and also because I was travelling with an American citizen. This seemed amazing to me, so the next day I tried to cross again, […]
[…]Web culture that NPR All Things Considered commentator, Journal of the Hyperlinked Organization editor, and longtime new economy cheerleader Weinberger presents here don’t quite add up to a theory, they do represent a refreshing turn away from the I-told-you-so accounts of the burnt-out flim-flam-economy that came hot on the heels of the swaggering and hyperinflated reinventing-the-universe rhetoric of the bubble years. Although Weinberger is clearly an optimistic utopian whose claims that the Internet has changed our relationship to space, time, matter, and each other outreach their grasp, his boosterism is not focused exclusively on the Web as an engine of […]
[…]in to work (my only Internet connection at the time, imagine!) and hurriedly pointed my browser to www.links.net to see if Justin Hall had broken up with his girlfriend over the weekend. I didn’t know Justin personally. Still don’t. But I had been enjoying his groundbreaking Web diary for several months, had turned some coworkers on to it, and all of us had gotten swept up in Justin’s inner (and quite public) turmoil as The Big Conversation loomed. As it turned out, it was time for Justin and his girlfriend to part ways. But Justin has stuck with me over […]
[…]ecology. She explicitly wants to avoid adopting the concepts of hypertext and cybertext, as “[t]o use one term or the other is not only to invoke a particular approach but to position oneself in a highly contested field where allies and enemies sometimes count more than arguments.” Thus, she prefers the term technotext, meaning a literary work that interrogates the inscription technology (a device which initiates material changes that can be read as marks) that produces it, mobilizing reflexive loops between its imaginative world and the material apparatus embodying that creation as a physical presence. It is possible to read […]
[…]in the 1850’s, an interesting story, but one suppressed in favor of the fiction of origin for commercial touristic reasons. The USS Constitution in Boston is the oldest commissioned warship in the world. The oldest commissioned warship, except that through renovation none of the original ship survives. The 18th century ship you observe has been completely consumed by its own maintaining. It is timeful and timeless. It is hard to regard these ships as works of art, these floating fabrications of stories. We try to make sense of them as we eat our crab cake sandwiches. We consider their wood […]
[…]a distinct difference between seen and unseen. It is this transgressive possibility which leads me to to ask, what things do I look at which give me this experience? I think of a certain painting, of standing in the Tate Museum crying in the face of the painting Sea Changes. And then I think of texts – but not just any texts. Texts which move differently. But how to say texts are as visual as abstract painting? Reverb Anton Ehrenzweig: There is a kind of expanded vision beyond the ordinary… call it a depth vision, where the free play of […]
[…]art practices which have been unjustly abandoned. What is called for, then, is a Crisis art…. [C]risis art is able to locate the seams in the techno-system in which to plant its counter-ideological mines. These seams are the rents, or fault lines, in the web of interlocking ideology which prevent us from being ourselves. How does the “guerrilla” artist lay these counter-ideological mines? She looks for a juncture or seam that is relatively unguarded, or less rigorously policed, she plants the mine and scuttles away…. Judging from the above statement, one may then assume that the stories of False Positive […]
[…]mean a lot of genetic redesign, as well as the engineering of bacteria to keep us in good health, and to produce all sorts of useful substances; but it won’t involve cloning and interspecies hybridization on a grand scale. Even the currently much-touted idea of parents genetically engineering their own offspring, to make them into superhumans, is extremely unlikely. For as Sterling cleverly points out, any parents who give their offspring a fixed genetic upgrade at birth will quickly find the technology outdated. What could be worse than having Windows 95 children, in an XP world? Genetic enhancements, if they […]
[…]and complicates our relationship to what we see. It suggests habits of mind that do not sit comfortably with uncritical acceptance and passive consumption. All this is implicit in Felix’s claims about hypertext as a cognitively destabilizing meta-tool – claims with which I strongly agree. We disagree just as strongly, though, about the practical side of the matter. In my view, mass-market approaches like advertising make little sense on the Internet. It would seem more logical to develop micro-markets, of which subscriptions are one possible form. Admittedly, I ride this hobbyhorse pretty hard. Felix objects that I draw the picture […]