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How to Stop Worrying and Learn to Love the Internet

How to Stop Worrying and Learn to Love the Internet | BACKBONE BLOE

This piece first appeared in the News Review section of The Sunday Times on August 29th 1999. We've temporarily removed the graphics today, as the page is being hammered!

A couple of years or so ago I was a guest on Start The Week, and I was authoritatively informed by a very distinguished journalist that the whole Internet thing was just a silly fad like ham radio in the fifties, and that if I thought any different I was really a bit naïve. It is a very British trait – natural, perhaps, for a country which has lost an empire and found Mr Blobby – to be so suspicious of change.

But the change is real. I don’t think anybody would argue now that the Internet isn’t becoming a major factor in our lives. However, it’s very new to us. Newsreaders still feel it is worth a special and rather worrying mention if, for instance, a crime was planned by people ‘over the Internet.’ They don’t bother to mention when criminals use the telephone or the M4, or discuss their dastardly plans ‘over a cup of tea,’ though each of these was new and controversial in their day.

Then there’s the peculiar way in which certain BBC presenters and journalists (yes, Humphrys Snr., I’m looking at you) pronounce internet addresses. It goes ‘www DOT … bbc DOT… co DOT… uk SLASH… today SLASH…’ etc., and carries the implication that they have no idea what any of this new-fangled stuff is about, but that you lot out there will probably know what it means.

I suppose earlier generations had to sit through all this huffing and puffing with the invention of television, the phone, cinema, radio, the car, the bicycle, printing, the wheel and so on, but you would think we would learn the way these things work, which is this:

1) everything that’s already in the world when you’re born is just normal;
2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;
3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.

Apply this list to movies, rock music, word processors and mobile phones to work out how old you are.

This subjective view plays odd tricks on us, of course. For instance, ‘interactivity’ is one of those neologisms that Mr Humphrys likes to dangle between a pair of verbal tweezers, but the reason we suddenly need such a word is that during this century we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television. Before they came along all entertainment was interactive: theatre, music, sport – the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. We didn’t need a special word for interactivity in the same way that we don’t (yet) need a special word for people with only one head.

I expect that history will show ‘normal’ mainstream twentieth century media to be the aberration in all this. ‘Please, miss, you mean they could only just sit there and watch? They couldn’t do anything? Didn’t everybody feel terribly isolated or alienated or ignored?’

‘Yes, child, that’s why they all went mad. Before the Restoration.’

‘What was the Restoration again, please, miss?’

‘The end of the twentieth century, child. When we started to get interactivity back.’

Because the Internet is so new we still don’t really understand what it is. We mistake it for a type of publishing or broadcasting, because that’s what we’re used to. So people complain that there’s a lot of rubbish online, or that it’s dominated by Americans, or that you can’t necessarily trust what you read on the web. Imagine trying to apply any of those criticisms to what you hear on the telephone. Of course you can’t ‘trust’ what people tell you on the web anymore than you can ‘trust’ what people tell you on megaphones, postcards or in restaurants. Working out the social politics of who you can trust and why is, quite literally, what a very large part of our brain has evolved to do. For some batty reason we turn off this natural scepticism when we see things in any medium which require a lot of work or resources to work in, or in which we can’t easily answer back – like newspapers, television or granite. Hence ‘carved in stone.’ What should concern us is not that we can’t take what we read on the internet on trust – of course you can’t, it’s just people talking – but that we ever got into the dangerous habit of believing what we read in the newspapers or saw on the TV – a mistake that no one who has met an actual journalist would ever make. One of the most important things you learn from the internet is that there is no ‘them’ out there. It’s just an awful lot of ‘us’.

Of course, there’s a great deal wrong with the Internet. For one thing, only a minute proportion of the world’s population is so far connected. I recently heard some pundit on the radio arguing that the internet would always be just another unbridgeable gulf between the rich and the poor for the following reasons – that computers would always be expensive in themselves, that you had to buy lots of extras like modems, and you had to keep upgrading your software. The list sounds impressive but doesn’t stand up to a moment’s scrutiny. The cost of powerful computers, which used to be around the level of jet aircraft, is now down amongst the colour television sets and still dropping like a stone. Modems these days are mostly built-in, and standalone models have become such cheap commodities that companies, like Hayes, whose sole business was manufacturing them are beginning to go bust.. Internet software from Microsoft or Netscape is famously free. Phone charges in the UK are still high but dropping. In the US local calls are free. In other words the cost of connection is rapidly approaching zero, and for a very simple reason: the value of the web increases with every single additional person who joins it. It’s in everybody’s interest for costs to keep dropping closer and closer to nothing until every last person on the planet is connected.

Another problem with the net is that it’s still ‘technology’, and ‘technology’, as the computer scientist Bran Ferren memorably defined it, is ‘stuff that doesn’t work yet.’ We no longer think of chairs as technology, we just think of them as chairs. But there was a time when we hadn’t worked out how many legs chairs should have, how tall they should be, and they would often ‘crash’ when we tried to use them. Before long, computers will be as trivial and plentiful as chairs (and a couple of decades or so after that, as sheets of paper or grains of sand) and we will cease to be aware of the things. In fact I’m sure we will look back on this last decade and wonder how we could ever have mistaken what we were doing with them for ‘productivity.’

But the biggest problem is that we are still the first generation of users, and for all that we may have invented the net, we still don’t really get it. In ‘The Language Instinct’, Stephen Pinker explains the generational difference between pidgin and creole languages. A pidgin language is what you get when you put together a bunch of people – typically slaves – who have already grown up with their own language but don’t know each others’. They manage to cobble together a rough and ready lingo made up of bits of each. It lets them get on with things, but has almost no grammatical structure at all.

However, the first generation of children born to the community takes these fractured lumps of language and transforms them into something new, with a rich and organic grammar and vocabulary, which is what we call a Creole. Grammar is just a natural function of children’s brains, and they apply it to whatever they find.

The same thing is happening in communication technology. Most of us are stumbling along in a kind of pidgin version of it, squinting myopically at things the size of fridges on our desks, not quite understanding where email goes, and cursing at the beeps of mobile phones. Our children, however, are doing something completely different. Risto Linturi, research fellow of the Helsinki Telephone Corporation, quoted in Wired magazine, describes the extraordinary behaviour kids in the streets of Helsinki, all carrying cellphones with messaging capabilities. They are not exchanging important business information, they’re just chattering, staying in touch. "We are herd animals," he says. "These kids are connected to their herd – they always know where it’s moving." Pervasive wireless communication, he believes will "bring us back to behaviour patterns that were natural to us and destroy behaviour patterns that were brought about by the limitations of technology."

We are natural villagers. For most of mankind’s history we have lived in very small communities in which we knew everybody and everybody knew us. But gradually there grew to be far too many of us, and our communities became too large and disparate for us to be able to feel a part of them, and our technologies were unequal to the task of drawing us together. But that is changing.

Interactivity. Many-to-many communications. Pervasive networking. These are cumbersome new terms for elements in our lives so fundamental that, before we lost them, we didn’t even know to have names for them.


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"Websites Are The Art Of Our Times"

Websites are today’s most radical and important art objects.
Because the Internet is not just another “media”, as the Old Media insists, but mostly a “space”, similar to the American Continent immediately after it was discovered – anything that can be found on the Web has a physical presence. It occupies real estate. To encounter a logo, a picture or an animation in the Internet is a totally different experience than to find the same stuff in a magazine or on the television. “Things” in the Internet exist in a specific location, while in magazines and on TV contents are mostly bullets of information. Online they constitute a body: they are parts of a new genre. They are Web Entities.
These “creatures” are sometimes a mix of humans and software -such as Google- but sometimes are made by information only such as in the case of Googlism.com, a website that is able to make a portrait of anything by collecting descriptions about that subject from Google itself (1) .
Most Web Entities are social entities. They get in touch and advertise their existence to each other. Similar to human beings, they will evaluate, criticize, “link” to each other, and ultimately, they develop a “taste”. Bob Dobbs (a friend of McLuhan) said: “advertising is communication between machines”. He also suggested that machines came alive in 1967 and that “now they are in an angelic state”. According to him, “advertising is communication between Angels”.
Well, some of these Web Entities – or shall we simply call them “Angels”? already communicate in a “pretty” way. As a result, a new type of “Art”, or better yet, what- may–later-become-Artcan be found in certain websites. But where exactly?
The Telic spirit.
The Web is nothing more and nothing less than what the World has always been: unvisited and unfriendly
territories that are gradually transformed into a domestic landscape. From the Alps to the Japanese garden, this is the scenario: the illusory promise of order and system. But still, the simple rocks and sand in the well-arranged composition of a Japanese garden, for a better-trained intellect, are black holes and chaos.
The Web came from this chaos; in a certain way it came directly out of the Trojan Horse described in Homer’s Iliad and now we are all Ulysses, lost in the ocean all over again. But we are not traveling alone: there is a special spirit that helps us navigate and that is the spirit of Telic.
Telic is our relationship with the tools that help us to design the World and to see things in a perspective. It is in mobile phones and computers, but it’s even in the way our houses and clothes are made. Our times are Telic.
Telic means “something directed or tending towards a goal or purpose; purposeful”. For example “I am driving my car to Los Angeles” is a Telic statement. “I am driving my car” is not. Telos, in Greek, means “the end” or “the purpose”. Telic firmly believes that it is Telic. (You may never arrive to Los Angeles; you may crash into a tree or something). Telic is super creative, often in a paranoid way. It is serious. It wants to explain every little detail. It will submit footnotes and references. It is “open source” and it accepts updates from anyone. Telic doesn’t have a taste; it can be as ugly as an IBM computer. Telic authors and artists usually have jobs in the tech industry or are teachers in Universities.
They survive thanks to the grants that other Telic people are managing and they avoid the Art World, which in return ignores them.
But Telic shapes the World. As J.G. Ballard wrote, “Science and technology multiply around us. To an increasing extend they dictate the languages in which we speak and think. Either we use those languages or we remain mute”.
Telic is making sense from these languages. But then again, do we really want to make sense? Why shall we be so domesticated and so productive? You wish for there to be a secret society; some people who know how to give you the feelings directly and who will keep you thinking, even after you quit browsing. You wish there were some websites to offer you the metaphysical suspense of a painting. You wish for Neen.
Neen is a frame of Mind.
“I actually know for sure that there are scenes on the Internet that nobody knows about and nobody cares about, and within those milieus, very specialized sensibilities are evolving”. (William Gibson, 2003) (1)
Neen is the crazy little brother of Telic. It owes its existence to the realization that certain ideas or animations, certain sounds, words or behaviors are indeed Neen. In 2001, a group of people
from all around the planet started talking about Neen. These people eventually met, some online and some in the real world, and started exchanging their experience. A new art movement was born, the first of the 21 Century. But still, Neen is mostly a concept and as such it has its own life, one that is independent from the activity of people who practice it.
A person who thinks about Neen is a Neenster, while one who actually does Neen is a Neenstar. What a Neenstar does may sometimes seem silly, but only because it is easy and amazing.
A Neenstar is not trying to make sense; he/she doesn’t suffer from any stress of production and doesn’t respect a pattern. The dream of a Neenstar is to become an Icon but a special one, not the type of Icon you usually find in the glossies and in the Art Magazines. A Neenstar starts his career by becoming the Icon of his own imagination. Then he projects that Icon to the outside as if it were fact.
Identity is not a priority for a Neenstar, but one will fetishise oneself anyway and use that as a style: it’s a fast way to produce content. But in contrast with contemporary artists, a Neenstar will change identities often, according to the situations: Neen is ultimately a state of mind. People such as Lucio Fontana, who
were doing painting by simply slashing a canvas, were Neen before Neen.
Because the Internet is the best place to exercise your inertia, Neenstars spend a lot of time online. They are Friends of the information and not Users, as the Telic people. They are also obsessed with names. They will run a search on the Internet to see if the domain with a new name they’ve envisioned is available. If it is, they will register it. Immediately after, they’ll do something fresh and put it online: it will be something minimal, strange, and romantic. Neenstars will make webpages that are what we are looking for when we surf on the Internet: a new Art Object.
“It’s really interesting... (Is it Jeffrey?) (2)”
“Contemporary Art”, the Art of the Past Century, was based mostly on the following principle: “if you put something in an empty room, it seems strange and significant”. A variation of that was: “if you take something out of its context, it seems strange and significant”. Another was: “if you change the scale of something, it will seem strange and significant,” and a last one: “if you multiply something, it also becomes strange and significant”.
But after 80 years of different combinations for any kinds of objects inside the hopelessly empty spaces of our art institutions, nothing seems really interesting. We see clearly now, that the supposed “art” is simply a bunch of trash, just some products bought in a mall.
Outside of the Internet there’s no glory. Non-Internet artists are freelance employees of other employees (the curators of the exhibitions). Institutions bestow curators with confidence and power. They are not supposed to look for any unseen objects but for some evidence of human expression which they will bring back to their commissioners, the way a well-trained dog would do with its ball. Exhibitions are identity-control tests. They are not creating anything new, they are just sampling stories.
No wonder then that any top-level art exhibitions, such as the Whitney Biennial, the Documenta in Kassel, the Manifesta, and the Venice Biennial, look like Graduation Day for students of Anthropology. In these “shows”, any realistic representation could as well be used as an illustration for the National Geographic, while any abstract piece becomes mere decoration.
The Art World is relaxed and open to anything just because it knows that nothing peculiar will ever happen. Even if the gallery is left empty, the public will search for the label with the name of the artist who did the “work” and they will find satisfaction in one way or another. Beds, balloons and chickens: real Space has lost its emptiness. But on the Internet, where space is created by software and random imagination, an empty webpage is really empty. People and Web Entities (“Angels”) can still invent unpredictable objects to put there.
(1) William Gibson interview by Eric S. Elkins.
(2) Jeffrey Deitch, “Everything That’s Interesting is New”, 1996
Miltos Manetas, 2002-2004
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Edupunk Manifesto

Edupunk Manifesto | BACKBONE BLOE
  • Las clases son conversaciones.
  • La relación es dinámica y la dinámica es relacional
  • Sea hipertextual y multilineal, heterogéneo y heterodoxo
  • Edupunk no es lo que pasa en el aula, es el mundo en el aula
  • Sea como el caminante…haga camino al andar
  • Sea mediador y no medidor del conocimiento
  • Rómpase la cabeza para crear roles en su comisión, cuando los cree, rómpales la cabeza
  • Sus roles deben ser emergentes, polivalentes, invisibles
  • Asuma el cambio, es solo una cuestión de actitud
  • Siéntase parte de un trabajo colectivo
  • No sea una TV, interpele realmente a los que lo rodean
  • Expanda su mensaje, haga estallar las cuatro paredes que lo rodean
  • Mezcle, copiese, apropiese, curiosee, juegue, transfórmese, haga, derrape
  • Al carajo con la oposición real/virtual
  • Sin colaboración, la educación es una ficción
  • Sea un actor en su entorno, investigue a través de la acción
  • Hágalo usted mismo…pero también y esencialmente, hágalo con otros
  • Sea Edupunk, destruya estas reglas, cree las suyas y luego, destrúyalas.
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