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This story covers the "human power movement." These ideas were created as a push back against the convenience of many technical advancements. Although convenience and efficiency are generally good things, some believe that it makes the body (the fleshy human one) become weak and soft. The story highlights different bizarre ways folks are approaching this design problem. Sharpe, Jennifer. "Rejecting Tech, Some Opting For Human Power." NPR.com, September 7, 2009. http://www.npr.org/templates/story/story.php?storyId=112622695

Looking back onto the history of Myspace, the design of the site 10 years ago, in 2004, does look very dated and old. Within today's digital world, simplicity seems to be the dominating characteristic of most online spaces. Myspace circa 2004, however, floods the viewer with link options for browsing, blogging, gaming, listening and other avenues. The color-scheme and grid implementation also seem very elementary. The overall appearance of the site almost has a corporate feeling to it. As though the user might be signing onto their company's server, or company discussion board. Myspace was very link-heavy, though blocks of text are absent from the homepage. The only images that are presented are links to member's profiles, and a few advertisements. Within the abundance of links, many of them do work, and take you onto another part of the website. There aren't any interesting features that require any sort of tinkering to get working on the homepage. A few clicks can take you to the music page, where one would assume that they could listen to some tunes, but they would be sadly disappointed. Many of the featured bands haven't updated their sites since 2005, and their music players don't load. One of the blocks within the homepage reads "cool new people", a headline that I immediately remembered, and made me feel embarrassed all at the same time. The use of the word "cool" seems forced when looked at in this context today, and is not current in the slightest. There also seems to be an abundance of exclamation points within small blocks of text near the bottom of the page, which again, feel forced. Nothing stayed the same between 2004 and 2014. The new Myspace is geared entirely towards music, and seems to almost completely abandon many of the social aspects that they once pushed so relentlessly. The Myspace logo stayed mostly the same, though small differences could be detected.

Thanks this is a fun site for consideration. Early presence in the social network genre, displacing Friendster, then displaced itself by Facebook, only to adapt, as you point out, to a predominantly musically centered audience. I find this interesting to think about in relation to many other user-generated content sites, which have, it seems, ramped up the 'social' aspects in recent years --- survival and resistance--- The excessive use of 'cool' and of exclamation points is perhaps irony long since faded in effect?

Like the old websites accessed through the Wayback machine, this is another great archival resource for research. Primary source documents offer direct reflection of the language and design from a specific point in time, without the inherent filtering of such content through secondary sources. Specifically, like Radical Software, Whole Earth Catalog was a critical tool within the networked countercultures of the 1960s / 70s. Here, you can skim through digitized collection of Whole Earth Catalogs, subsequent "CoEvolution Quarterly" , "Whole Earth Software Catalog" and other pursuits. Identify recurrent patterns along with curious or lesser known topics of these cybernetically inclined thinkers. The site itself is a remediation of the magazine as "evaluation and access device," using popular categories of the original for navigation. "Whole Earth Catalog: Access to Tools and Ideas" Accessed February 2, 2014. http://www.wholeearth.com

We can see that this website looks like it dates from the late 90s/early 2000s and targets a younger audience due to the style of text used in the header (the 3-D text and the star to dot the 'i') and the overall basic layout that makes use of a more generic type face. All of the information that can be found on the site is hyperlinked on the left side of the page, and when one hovers over each link a colored, square icon spells out the name of the link letter by letter. Compared to contemporary websites, this effect seems to be more of a glitch than a cool, new use of technology. Also to note are some of the terms used throughout the site, including "cool stuff" being listed as the first hyperlink in the left column of the site, as well as the small add for sweet16.com found in the center of the page. A less sophisticated typeface is used in this ad and we see a flower in place of a '.' between sweet16 and com. It is also described as 'The freshest place to party!'. There's only one picture on the right hand side of the text, of a younger Britney Spears in a lace up leather crop top (much different than the fashion style she wears today) and there's a tie dye like pattern in the background of the website that further emotes the style of the late 90s and early 2000s.

Thanks for the thoughtful analysis of the design elements --- as you describe, they seem aligned with visual trends of their recent historical context and also point towards a particular audience. The presence of ads is often a helpful hint when decoding the target audience of a website. It's interesting to me, as well, that this early website is identified as Britney's own "welcome to my official website," the use of language implies she is responsible directly for the content. ---more recently I suppose its implied that she's professional enough, or more of a brand than person, to rely on that sort of gimmick to connect with her audience (?)

While short, this article by Tim Worstall sheds light on the ever-present possibility of censorship in a closed corporate ecosystem of products and cites the example of Drones+, an app designed to provide up-to-date information on drone strikes, and the reasons for which it has repeatedly been banned from appearing on the App Store. This calls to mind several of the ideas present in the Half-Inch Revolution concering the dangers of a system predicated on the delivery of content overseen by a single source. Worstall, Tim. "The Problem With Apple's Closed Apps Universe." Forbes. http://www.forbes.com/sites/timworstall/2012/08/31/the-problem-with-apples-closed-apps-universe/ (accessed February 7, 2014).

A resonant example from everyday media life. There was a somewhat similar disruption a few years ago with an iPhone game app premised on revealing the external costs of iPhone production and disposal. A bit more bald in its critique, it too was rejected.

Working between speculative fiction and documentary forms, duo Soda_Jerk explores Afrofuturism in a series of interrelated video installations. Excerpts from "Race for Space," "Destination Planet Rock," "Armageddon in Effect," and "We Are the Robots" are here on their site. The series seems a good supplement to the documentary by Akomfrah. Soda_Jerk digs further into histories of figures like Sun Ra and groups like Public Enemy, working as media archeologists or archivo-cyborgs, patching together new mythos using digital compositing and sound design. Soda_Jerk "Astroblack: Race for Space" 2010. Accessed February 21, 2014 http://www.sodajerk.com.au/video_work.php?v=20120921063755

Nick Foster (aka Fosta) explains his interest in exploring the banal everyday of future worlds, rather than the gee-whiz spaceship /laser gun tropes of sci-fi cinema. He elaborates on three characteristics: Background Talent (what do the paperclips, gardenhoses and tape dispensers look like in the future?), Accretive Space (technologies persist, new are mixed with old) and Partly Broken ( for every new gadget there is a constellation of spotty service, short battery life, and other 'broken realities'.) Foster also points to several science-fiction movies that make efforts to depict the mundane. Fosta. "The Future Mundane" Core77. Published October 7, 2013. Accessed March 7, 2014. http://www.core77.com/blog/columns/the_future_mundane_25678.asp

This article lays out a semi-realistic landscape of the closer future of the internet of things. The provided infographic is a barrage corporate logos separated into sections of lifestyle and platforms. The image itself is a little disturbing, putting into mind a close future surrounded by a cloud of companies, infiltrating our homes with even more information invading our privacy. That being said I liked this article in particular because it did not have a cynical view of the internet of things and did not suggest we judge the validity of the technology on the worst case scenario. I think it's important to be paranoid, but not so much as to stall progress. Turck, Matt. "Making Sense Of The Internet Of Things" Tech Crunch. May 35, 2013. Accessed March 19, 2014. http://techcrunch.com/2013/05/25/making-sense-of-the-internet-of-things/

A few thoughts --the infographic begs for better design, so too the implementation of IoT? Perhaps pronoiac view is happy medium to achieve here ---- Progressive paranoia, or "pronoia" was an outlook popularized amongst cybernetic countercultures of the 1990s. General concept was that "universe is conspiring on your behalf"

Here is another article dealing with the questions I posed in my last post. This one is by Bruce Schneier, who, if I am correct, is a friend and colleague of Bruce Sterling. Schneier seems to be an expert on digital security and he goes over a lot of interesting points regarding security with the internet of things. Schneier, Bruce. "The Internet of Things Is Wildly Insecure - And Often Unpatchable" Wired. January 6, 2014 http://www.wired.com/opinion/2014/01/theres-no-good-way-to-patch-the-internet-of-things-and-thats-a-huge-problem/

I wonder what opportunities for "electronic civil disobedience" might be uncovered in the IoT landscape?

Titanpad is one of several free online collaborative text editors. Great for real-time or asynchronous writing but particularly useful for editing a block of text within a group setting. This may be a useful tool for collaboratively editing design fictions. You can't save in a typical word-processing fashion, but there's a 'time slider', and you can export to various document types. These type of web-based applications are a bit unstable, so export often! Titanpad. http://titanpad.com/ Accessed March 14, 2014

An interesting TED talk by Neil Harbisson, a man who is completely color-blind. He built himself a device with a camera which reads color, and translates the colors into different frequencies. He considers the device to be an extension of his brain, part of his cyborg self. Eventually he was able to train his brain to hear more colors than normal human beings can even "see," and in essence is able to tell more about his surroundings than a normal person. http://www.ted.com/talks/neil_harbisson_i_listen_to_color Harbisson, Neil. "I Listen to Color." Ted.com, video. Filmed June 2012, accessed March 2014. http://www.ted.com/talks/neil_harbisson_i_listen_to_color

This beautifully animated four-minute mini-film provides a simple yet profound response to a poignant question: What is the connection between social networks and being lonely?

Nice! This is very powerful example of critical media practice. Augmenting traditional rhetorical appeals and persuasive gestures with the affordances of digital animation and sound design.

The Cantor Art Museum at Stanford is hosting a new exhibit that is the result of a body of work designed and implemented by a host of medical experts. James Chang MD is the chief of plastic and reconstructive surgery and has long had an affinity for observing the hand conditions he often treated in sculpture by Rodin. In this project, the bronze hands were scanned and the internal structures superimposed digitally, which are then viewed by a museum patron with a smart phone or pad via an augmented reality application. This is a lovely example of the collapse between disciplines - medicine and art - that advances in imaging technology allows.

This website catalogs the growing trend of utilizing animated infographics to convey information. Not only is it becoming necessary to continuously filter the great amounts of data we experience into slick new ways of perceiving, a database that houses these new tools of perception becomes useful. Of particular interest to me is the combination of database with social media on vizualizing.org - the site hosts contests and challenges to better suss out interesting new designs in organizing information.

Here's a collection of the NSA slides, revealed by Edward Snowden by way of the Guardian news. The slides detail the various pervasive and invasive methods of surveillance, tapping into phone and social media networks, as orchestrated by the National Security Agency. This is the internet-of-things-that-go-bump-in-the-night. Also, as discussed in class, the layout and design of these slides is often horrendous, complicating or obstructing clear communication of information. "NSA Prism program slides" The Guardian News. Published Friday 1 November 2013 http://www.theguardian.com/world/interactive/2013/nov/01/prism-slides-nsa-document. Accessed April 6, 2014

An echo of early net.art initiatives, the contemporary INC was established in Amsterdam in 2004, in effort to extend research "to design, activism, art, philosophy, political theory and urban studies and [it] is not confined to the Internet alone...the INC maintains that the Internet can only be understood at the conjuncture of these various fields and lines of inquiry." This site is an amazing resource for research and reflection on new and emergent network cultures. The politics of search engines, Wikipedia, social networks, bitcoin, Internet of Things, Gaming and more! The ongoing conferences are backed with anthologies of related essays, most made available for free download on their site. Institute of Network Cultures "Publications" n.d. accessed April 25, 2014. http://networkcultures.org/wpmu/portal/publications/