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  After reading Alexander Galloway's Countergaming chapter from his book, I wanted to see some examples of artist-made game mods. I Youtubed video game mods and discovered a Youtube channel called 'Vsauce'. Vsauce is run by internet personality Michael Stevens who posts videos that discuss and answer questions about scientific topics, gaming, technology, culture, and more. The video I found about game mods was called Top 7 Video Game Mods: V-LIST #6. As a person that doesn't do a lot of gaming, I found it pretty interesting to see the mods in action. The coolest thing in the video was a guy who is building a working 16bit arithmetic computer. I don't know if it can technically be considered a mod at all, but it is pretty impressive regardless. The implications of stuff like this brings me back to the Galloway reading which ponders the future of video gaming and a as of now unrealized independent gaming movement. "Top 7 Video Game Mods: V-LIST #6 " Posted by Vsauce. Sep 30, 2010. Accessed March 19, 2014. https://www.youtube.com/watch?v=YaTsPvyTCLQ

This website is an example of what a social phenomena in text based virtual realities look like and how people interact through text. There is an introduction showing three major factors what qualifies as MUD from an adventure style game. One a MUD is not goal-oriented because a MUD isn't really a game at all. Two they are extensible from within and new objects can be added and three there are more than one user connected at a time. Every object has a textual description that players can view with a look command. Players spend their time connecting with others and socializing with each other. MUD players create their own world and as the reading describe can become evil at times. Curtis, Pavel. " Social Phenomena in Text-Based Virtual Realities."

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?

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.

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/