01/sticky/BestUse/Nooneuploadsmorethanatinypercentageoftheculturetheyconsume/Thisisincontrasttoconversationwhichassumesgiveandtakeandevenrelig/ionthinkofpersonalprayerversusthetimespentinsermons/Ofcoursepeoplewilldownload/Writersliketoreadmusicianslistenobsessivelyandgamedevelopersareaboveall/players/Butthegoalmustbetoestablishabalancebetweenconsumptionandproductionandusingthenetworkedcomputerasapati
02/opotatoenablerdownloadonlydeviceorevendow/nloadmainlydeviceisawastedopportunityofhistoricproportions/Shiftingfromconsumptiontoanothermodelisratherobviouslytochallengethewholeofourculturalinfra/structurenottomentionaneconomybasedonwantsratherthanneeds/Thegreatrecessionthatbeganin2008provokedquestionsabouttheconsumerdebtdriveneconomyofhypercon/sumptionbutthemomentthattheeconomicindicatorswentbackupt
03/hesekindsofdiscussionswerecompletelyabandoned/Toquestionconsumptionhasreturnedagaintothefringe/sofdiscourse/Inanycasewhatmakesmesocertainthattheculturewarrantsthisattack/Themarketoffersasolidrejoinder/Capitalisteconomiesproducearangeofmediaandwi/ththeirpurchasingpoweraudienceschoosewhattheywanttosupport/Toattackthestateofcultureistoattackthepeoplethemselves/Thisargumentcreatestheclassichorsesh/oee
04/ffectbringingpeoplefromthelibertarianfarRighttogetherwiththoseontheLeftwhochampionvoxpopulinomatterwhatitissaying/Thepositionofthelattergoessomethi/nglikethisnomatterhowdebasedthecontentifviewersthroughthealchemyoffanculturerepurposeitintoanewmass/popcultureitisapositive/Evenmoreperversearethosewh/oclaimthattelevisionisinfactapedagogicalboonpreparingusforaneverfastertwitchculturetocome/Thosemaking
05/theseargumentsclaimthemantleofMcLuhanwithoutacces/singthetransgressivenessthatmadehimexcitingalmostahalfcenturyago/Allassertionstothecontraryadoptingthepositionthatwhatpeoplealreadyconsumeisgoodforthe/mhasahugeaudienceinaworldwaitingandwillingtoembraceenablingwordsmiths/ThereisnoneedtocapitulatehoweverastheWeboffersaswehavealreadyseenawholerangeofde/epcontent/Itmaynotalwaysbeatthetopofthelistordom
06/inatewhateversearchmetricsorratingsapplybutitremainsthejobofthecriticalongwithcommittedaudiencesandmak/erstosearchforaswellassupportmindfuldownloadingandmeaningfuluploading/Ratherthancapitulatingwearebetteroffcollectingbestusestrategiesfortheuseofthesen/ewtechnologiesandaesthetics/AcenturyandahalfagotheEnglishVictorianpoetandcriticMatthewArnolddemandedthatcriticalinquiryoughttobeadisinterestedende
07/avor/tolearnandpropagatethebestthatisknownandthoughtintheworldandthustoestablishacurrentoffreshandtrueideals/EversinceArnoldspronouncementtherehavebeenfuri/ousbattlesaboutwhetherhislackofaconcretedefinitionofwhatconstitutedthebestdoomedthisdeclarationtobesimplyareflectionofhissocialprejudiceandclasspositi/on/Astohishopethatpoetrycouldsaveusandmakeusintobetterpeoplethattooiseithersubjecttodebateors
08/ofarfromthecontemporaryconsensusthatitisnolongerworththee/fforttoargue/RatherthanwadeintoanyofthesediscussionsonthemoralcharacterofcultureseffectonthesoulIprefertoaspiretothebestofArnoldsintentionsacceptingth/atinourmomentcategorizingthebestisasmuchcuratorialinterventionismasitisaskirmishinthesecretwarbetweendownloadinganduploading/SimulationandParticipatio/n/Anysearchforthebestuseoftheculturemach
09/inehastoengagewithtwobraidedphenomenasimulationandparticipation/Incomputersciencetheverbsimulateorthenounsimul/ationquitesimplyreferstothecapacitytoreproducetheactionsfunctionsandoftenlookandfeelofothercomputerssoftwaressystemsanddevices/Simulationwasimportanti/nthehistoryofcomputersciencebecausenotallsoftwareswereavailableonallplatformstheystillarenotinfactandbeingabletosimulatemeantthatasinglema
10/chinecouldbe/havelikeasetofothersallwithdifferentcapacitiesandsoftwares/Sincethencomputershavebeensimulatingnotjustothercomputersbutalsoahugerangeofothermedia/Inth/eprocessofsimulatingphotographiccamerasandtheirassociatedtoolslikedevelopersandprintersthecomputerliterallykilledoffitsfilmbasedmodelin2009Kodakdiscon/tinuedtheiconiccolorfilmKodachromeafterthreequartersofacenturyandoncedominantmanufact
11/urerslikeCanonnolongerevenmanufacturethirtyfivemillimetercamerast/hattakefilm/Videogamesmayhavebeguninarcadesbuttheyarenowexponentiallymorelikelytobeplayedinthehomethanoutsideit/Asforthecinemawhichwasitselfswallowedu/pbytelevisualprostheseslikevideocassetterecordersVCRsDVRsandDVDsthecomputersimulatesitmigratesitonlinechopsitintoYouTubesegmentshasitpiratedonpeertope/ernetworksandshootsstoresandproj
12/ectsitdigitally/WhencomputerssimulatetelephoneseverythingbecomesavailablefromthefreeInternetcallingonserviceslikeSkype/tomobiletele/computinghybridsliketheiPhone/Whenwearetalkingaboutcommunicationdevicessimulationengendersparticipation/Afterestablishingcommunicationbet/weenmachinesbetweenmachinesandpeopleandbetweenpeoplethemselvesthenextstepistoallowtheusertomakesomethingandthenputitoutintothenetw
13/orkwhereotherswillbe/ableandmorecruciallywillingtodownloadthatwhichhasbeenuploaded/Inotherwordsparticipationdemandsaffordancesfromthesystemtomoveusersbeyondpassivereceptio/n/Weinherittheconceptoftheaffordancefromindustrialandtheninterfacedesign/TheusabilityexpertandcognitivepsychologistDonNormandrewfrompsychologistJamesJ/eromeGibsonwhowasinfluentialinchangingthewayweconsidervisualperception/Accord
14/ingtoGibsonperceptionoftheenvironmentinevitablyleadstosomecourseofaction/Affordancesorcluesintheenvironmentthatindicatepossibilitiesforactionareperceivedinadirectimmediatewaywithnosensoryprocessing/Examplesincludebuttonsfor/pushingknobsforturninghandlesforpullingandleversforsliding/NormansimmenselypopularbookTheDesignofEverydayThingsmovedtheseideassquarelyintothemainstrea/mofindustrialandespeciall
15/yinterfacedesign/Hisexamplesofplatesforpushingandknobsforturningdescribethetypicalcourseofinteractionbetweenahumanuserandacom/puteroranykindofmachine/Duringinteractionauserperformsbothphysicalandcognitiveactionsandrequiresaffordancestohelpwitheach/Normancallstheserespectively/realandperceivedaffordances/Withmediasystemsliketelevisionordigitalmediawecanthinkofaffordancesaseverythingfromthedevelopme
16/ntofbetterwaystointeractwit/hsoftwareandhardwarethegraphicaluserinterfacecomestomindtotransformationsintheconceptualizationofhowthehardwaresystemsorsoftwareswillbeusedintheworld/Thesecanbeideologicallydrivenmarketdrivenorresearchdriven/Usuallyincreasesinparticipationaredrivenbycombinationsoftwoorthreeoftheseagendasratherthanha/vingonesingleforcebehindthem/Participationiswhatgetsthepowerofcomputing
17/andnetworksintolivingrooms/HereIamtalkingaboutsomethingmorethanconvergence/Conv/ergenceiswhenyourpersonaldigitalassistantmergeswithyourphoneandaddsinyourmusiclibrary/ThisSwissArmyKnifetheoryoftechnologicalimprovementcanbeexcitingb/utthesheerinventivenessofthecomputererawillslowdownifconvergenceistheultimateobjective/Inotherwordsanendgoalofsimulatingwhatalreadyexistsandthengettin/gitouttoasmanypeop
18/leaspossibleismorelimitingthanitmayatfirstseem/Thepointofparticipationistobeanactivememberofavibrantcreativewholeinsteadofsimplypack/ingmoreandmoremediaexperiencesintoonelittleboxorasetofthemstrewnabouttheden/Whensimulationevadesthetrapofmimickingtheworsttraitsofamediumandmakesthebe/stcharacteristicsandaffordancesofitavailabletoeverlargergroupsofpeoplethensimulationandparticipationbecomelinkedinwh
19/ateconomistsandsocialscientistsref/ertoasavirtuouscycle/Shouldthisvirtuouscycleproducemindfuldownloadingandmeaningfuluploadingthenthepromiseoftheculturemachineisfulfilled/SIDEBAR/FromTu/ringtoCultureMachine/ComputersciencesequivalenttotheNobelPrizeiscalledtheTuringAwardanindicationofhowcentralAlanTuringistothedreamoftheculturemachine/AtoweringfigureinagenerationoftrulygreatmathematiciansTuringwasa
20/nauthenticCambridgeeccentricashybutcommittedfreethinker/Hewasbynatureasolitarypersonbu/tprovedtobeagreatpatriotwhenhehelpedEnglandanditsalliescrackGermancodesduringWorldWarII/Turingwasinfactaperfectexampleofhowbothsidesintheconflictharne/ssedthegreatestmindsoftheirgenerationtodobothbasicandappliedresearchforthewareffort/ForhisbrilliantcodebreakingTuringwontheOrderoftheBritishEmpirein19/45/Writtenj
21/ustbeforethewarTuringsmastersthesisOnComputableNumberswashisgreatestcontributiontocomputerscience/Initheproposedthequestionsthatstillremain/centraltothedisciplinedecadeslater/TuringsuggestedthatitshouldbepossibletomakeaUniversalMachineacomputerthatcouldsimulatetheperformanceofanyotherdevic/e/Thefactthattheanalogmachinesofthelate1930sandearly1940swerefartooslowtofunctionasUniversalTuringMachinesdid
22/notaffecthisfaiththatsuchdeviceswouldcome/intoexistence/Andwiththestimulusofthewarefforttheydid/WithinadecadeTuringwasworkingontheManchesterMarkIcomputeroneofthefirstmachinesrecognizedasbeinga/directantecedenttothecomputersweusenow/Turingproposedauniversalmachinethatfunctionedasastoredprogramcomputerinthissetuptheprogramsorsoftwarecouldbeswa/ppedandmodifiedimprovedandabandonedjustasthehardwarecoul
23/dandwouldbe/Butincombinationhardwareandsoftwarehavebecomeevermoreadeptatsimulatingothermachine/s/InTuringsworkweseetheoriginofadreamaquestforuniversalityandcreativepotentialafoundingpaperonsimulation/YetTuringwasalsoinvolvedinspreadingtheuseofth/emachinebeyondthetechnicalfraternity/HeassistedChristopherStracheyinproducingwhatwasprobablythefirstartworkmadewithacomputerthelove/lettergeneratorof1952
24/StracheyworkingfromathousandlinepieceofsoftwarethelongestyetwrittenfortheMarkIcreatedaprogramthatrandomlyproducedsuchsentimentalandvaguelymeaningle/ssmissivesas/DarlingSweetheart/Youaremyavidfellowfeeling/Myaffectioncuriouslyclingstoyourpassionatewish/Mylikingyearnsforyourheart/Youaremywistfulsymp/athymytenderliking/Yoursbeautifully/MUCHeretheUniversalTuringMachinesimulatesmawkishVictoriansentimen
25/talitybychoosingfromadatabaseofprewrittenphrasest/hatitthenarrangesintosyntacticallycorrectbutstiltedEnglish/ThistrifleinspiredatleastinpartbytherenownofChristophersuncleLyttonStracheys1918portraitofa/generationEminentVictoriansistheproductofastoredprogramcomputerandassuchmaywellbethefirstaestheticobjectproducedbytheancestorsoftheculturemachine/Thel/ovelettergeneratorsintentionalblurringofthebound
26/arybetweenhumanandnonhumanisdirectlyrelatedtooneofthefoundationalmemesofartificialintelligencethestill/provocativeTuringTest/InComputingMachineryandIntelligenceaseminalpaperfrom1950Turingcreatedathoughtexperiment/Hepositedapersonholdingatextualconversat/iononanytopicwithanunseencorrespondent/Ifthepersonbelievesheorsheiscommunicatingwithanotherpersonbutisinrealityconversingwithamachinethenthatmachi
27/neha/spassedtheTuringTest/InotherwordsthetestthatTuringproposesthatacomputermustpasstobeconsideredintelligentistosimulatetheconversationalskillsofanotherpe/rson/Turingwasnotabletopursuetheseideasmuchfurtherbecausethesamegovernmentthatwashappytotoleratehiseccentricitiesandusehistalentstodecipherenemycommun/icationsprosecutedhimafterthewarforhishomosexualitystillacrimeinEnglandatthetimeandputhimones
28/trogentreatmentsthenthoughttoreducetheeffectsofthepervers/ion/Hediedin1954hisdeathruledasuicidebutwithacomplicationsoheartbreakingthatitbearsrepeating/TuringsfavoritemoviewasDisneysSnowWhiteandhediedfromeatin/ganapplepoisonedwithcyanide/Heleftnonoteandtherearethosewhobelieveheriggedawayofdyingthatwouldleavehismotherwithwhomhelivedwithsomesuspicionthatitwasa/naccidentorevenmurderratherthanthesuicid
29/ethatitwasultimatelyruledtohavebeen/InfotriageDownloadingMindfully/Inanyconflicttherearebattlelinesandthewarbe/tweenuploadinganddownloadingisnodifferent/Theselinesorvectorsaredrawnbetweentwosetsofpolesmindlessnessandmindfulnessandmeaninglessnessandmeaningfulnes/s/Ourdailylivesandroutinesaresobusythatfocusisdifficulttoattain/Thatiswhywehaveautomaticresponsesandhabitsofattitude/ Buttherearetimeswhen
30/focusiscalle/dforandshouldbesummoneditisthisattitudethatwecallmindful/Mindfulnessisnotsomuchaninnatetraitasalearnedresponsetotheworld/Mindfulnessrequiresrigor/Itis/amusclethatmustbeexercisedlestitatrophy/Indownloadinghoweveritismindlessnessthatdominates/Thisistheinheritanceoftelevision/Aswezapfromchanneltochannel/sowesurftheWeb/Caughtinthetechnotranceourmalaisemasqueradesasactivity/Buttheclockisti
31/cking/Wecannotidlyjumpfromlinktolinkforeverpursuingeverythingeven/vaguelyofinterestbecausesadlywedonothaveeternity/Theinfoversemaybeinfinitebutourallotmentofdaysisnot/Acknowledgingthedisparitybetweenthatwhichdemandso/urattentionandthelimitedtimewindowwehaveonthisearthdemandsthatwedeploymindfulness/WhetherwelooktopsychologyorZenphilosophyforinspirationmindfulnessins/iststhatweactivelychooseaswellas
32/committothesituationsandexperienceswedownload/Onlythiscansaveusfromthatsenseofattenuateddistractionthatcharacterizesto/omuchofouressentiallypassiveinteractionwithdownloading/Whattoolsandstrategiesthoughwillweadoptinattemptingtopursuemindfulness/Thefirstisinfotriage/Tri/agecomestousfromtheFrenchverbtrierwhichmeanstosortororganizebyquality/Afteracullingthethirdtierofcoffeebeansforinstancewasknownasc
33/afétriage/DuringtheN/apoleonicWarshoweverthetermbecameassociatedprimarilywithmedicineastheFrenchbattlefieldsurgeonDominiqueJeanLarreyusedtriagetorefertheevaluationandcateg/orizationofthewounded/WorldWarIbroughtthephraseandstrategytoUStroops/Emergencymedicinehasusedthetermeversince/Asmuchasweareconditionedtotheuseofthewor/dbyourexposuretoHollywoodwarfilmsandtelevisionmedicaldramasthetermtriagealong
34/withitsattentiontomechanismsoforganizedandthoughtfulchoicepromptsmetoretu/rntoitsearlierincarnation/Whatweneedarenotonlytechnologicalsystemstoperforminfotriagebutalsonewhabitsofmindandpracticesofdailylife/Infotriageismoreart/thanscienceasapracticethatinvolvestheweighingofoptionsandmeasuringoftime/Wetendtothinkoftimeinrelationtoefficiencyyetinfotriageisaboutmorethanjobperfo/rmance/Itisnotsomuchaque
35/stforefficiencybutratherapracticedevotedtomindfulnessthecullingofdistractioninthesearchformeaning/Infotriagerequiresacertainvi/gilanceandtemporalawareness/Primarilyitisaboutweighingoptionsinrealtimeunderstandingthatourcapacitiesfordownloadingareactuallylimitedandthatthechoicen/ottoengageatallisasvalidasachoicebetweenoptions/Infotriageacceptsthepsychologicalinsightthatthoseconfrontedwithavastarrayo
36/foptionsareoftenlesssatisfie/dthanthosewhoselectbetweenasmallersetofalternatives/Optionparalysisshadesintoparalysisbyanalysisandbothareexacerbatedbytheneverendingdataflow/Technolo/gycomestotherescueatcertainpointsaswithaggregatorsoftwaresthathelppeoplemoreeasilymanagemultipleprofilesonproliferatingsocialnetworksbutinfotriageoffe/rsmoreafundamentalmetrictobalancetheopportunitiesaffordedbytheflowand
37/costsofchoosingoneoveranotherandmostimportantencouragingtheoptionofdiversion/Tech/nologistsseekingtomanagetheirowninfooverloadscametorefertolifehackingalthoughtheirtacticsandstrategiestendmoretowardrenderingtheworldtheydealwithmoree/fficientasopposedtochallengingwhattheyendupmanaging/TheonlinecommunityLifehacker/comseeksoutandevaluatestechniquesandtechnologiesforstreamlininglifepo/sitioningitselfa
38/sselfhelpforpowerusers/ThosepostingonLifehackerareawareoftheinherentironyofseekingtechnologicalsolutionstoanoverdoseoftechnologybutthe/yfeelthatsomeactionisbetterthannone/ChallengingorperhapsextendingthisactionistheFreedomsoftwarethatwasinspiredbythetrapofubiquityWhenthereswirelesseve/rywherehowdowereallyescapetheInternet/ForFredStutzmanagraduatestudentininformationsciencetheideawastocreateanappli
39/cationthattheusercouldturnontoenforc/eturningoffconnectivityforuptoeighthoursatatime/TheonlywaytodisabletheFreedomsoftwareistorebootthecomputerastepthatthedeveloperofthisfreesoftwarehopes/willbeonerousenoughtodissuadeallbutthemostdesperate/Thegoalistousethattimefreedupfromconnectinganddownloadingtowriteprogramandcreate/WithFreedominfotr/iagefunctionsasaworkaroundintheengineeringorhackingsense/Awor
40/karounddoesnotsolveaproblemsomuchascircumventitgoingarounditinordertoachieveamoreoptimalp/erformance/Spamdatastormsandtheevergrowingtechnologiessystemsandcontentthatflowpastuswillnotbesolvedsomuchasmanagedandinfotriageisjustthesortofworkaro/undthatthemomentdemands/DisruptingFlow/Toachievemindfulnessindownloadingandmeaningfulnessinuploadingrequiresdisruptingtheflowofmediathatsurroundsus/As/themedia
41/mutatedsodidthewaythatitscontentsflowedtothroughandaroundus/TheDVRenabledpeopletotimeshifttheirprogrammingfarmoreeasilythandidtheVCR/ButasDVRu/serstimeshiftedtheirwaythroughcommercialsbusinessesbegantoembedadvertisementswithinthecontent/Asconsumersturnedtovideogamesoronlineentertainmentebillb/oardsweresoldinsportsgamesandpopupadsmovedintobrowsers/Nowasthecellphonemakespeoplemoremobileandubiquitous
42/computingfillstheworldwithinformationspacesc/ommercialspeechintheformofadvertisementssignageandsubtlecuestoconsumeareevermorestealthilyembeddedaroundusintheinvisibleinfospherethroughwhichwemove/I/notherwordswhenbroadcastchannelslosttheircentralitytelevisualcultureseepedoutsidetheboxandinfiltratedotherenvironments/Shortofcompleterenunciationitis/impossiblenottogowiththeflowatleastsomeofthetimelosin
43/gourselvesinitasifwewereleavesinastream/Buttherearewaystostepoutsidetheplentitudeandatleastoccasi/onallycarveoutperiodsofmindfulengagement/Thisisvitalbecausewhiletheflowmaybelimitlessourtimeandattentionisnot/Untilandunlesstheprophetsofposthumanismc/anmakegoodontheirpromisesofeternallifewewillbeboundbyourlimitsaswellasouraspirations/Thisistostresstheimportanceofuploadingasahabitratherthanasamerete
44/chnologicalaffordance/Creatingculturalhierarchiescanmakecitizensofademocracynervous/Whoisthecritictojudgethemeaningfulnessofexperiencestootherpeoplesl/ives/Leavethatsortofassessmenttotheindividualorthemarket/Yetthenetworkedcomputerhasusheredinaneraofexponentiallyincreasingculturalproductionwhichdemoc/ratizestheabilitytocreateatthesametimethatitimpelsustocreatenewwaysofhierarchizingwhatweencounter
45/Whenanewmediumexplodesonthescenewehavetofindwaysofre/spondingtothedemandsonourtimeandattention/StrategieslikerenouncinganindividualmediumsuchascomicbookstheWeboreventelevisionasinherentlyevilareretrograd/ethougheachmediumhashadcriticscompletelycondemningthem/Suchastrategyignorestherichnessandpleasureofcontemporaryworkinfavorofafustyantiquarianism/Theop/positestrategyacapitulationtowhateverthemarke
46/tandthenetworkthrowatusisnothinglessthanamindlessimmersion/Thetechnocraticsearchforanefficientuseofcontem/porarymediabyusingconfigurableandinteractivetoolstorestrictwhatyouseetowhatyoudefineasyourneedscanresultintailorednewsreportsaswellasanumbingreinforce/mentofsameness/Thepossibilityforserendipitousencounterswiththenewandchallengingcannotbeabandonedinthequestfortimemanagement/Intheendtheissueisl
47/essofcr/iticismthanitisofcurationthemarshalingofculturethemindfuljuxtapositionofideasimagessoundsandinteractionstocreatemorethanthesumoftheirparts/SIDEBAR/ABr/illiantSuccess/WediscussedthebrilliantfiascooftheLivredeprieresbutIwouldliketoshifttothebrilliantsuccessofKitchsBebopCalypso/Ifthewovenbookwasastartin/gpointforcontemporaryscreenculturethisobscurecalypsorecordingfrom1951canbeseenasamodelfort
48/wentyfirstcenturycreativity/Aproductofreversecontinentaldrif/tKitchsBebopCalypsocollapsestheAtlanticdividemashingtogetherTrinidadCuraçaoArubaJamaicatheBritishIslesandfarawayManhattantoformasonicGondwanaland/Kitc/hwasbornAlwynRobertsinTrinidadandrenamedLordKitchenerinJamaicaafterhecametodominatethelocalmusicscene/Calypsowasthemusicofcarnivalandboastingawaytocel/ebratecricketvictoriesandbemoaninfide
49/lity/ItwasthepubliclanguageofthefirstwaveofblackimmigrantstoLondonandManchesterafterWorldWarII/LordKitchenerwason/oneofthefirstboatsandhecanbecountedasthefirstimportantmusicianofcolortocontributetoEnglandsmusicalheritage/Bebopwasthenewjazzthathadcometosupplantswin/gwhichhadbeenthesoundtracktotheGreatWar/BebopwasCharlieBirdParkerandhissaxophoneMilesDavissportingsunglassesatnightandDizzyGillespieben
50/dinghistrumpeti/ntoanewshapeforanewsound/Bebopthenicknameoftheflattedfifththatswingbandsvirtuallybannedwastheconfrontationalsoundtrackof52ndStreetasoundfromManhattana/ftermidnightarrivingjustatthemomentthatNewYorkCitybecamethedefactocapitaloftheworldafterthelongandterriblewar/WhatyouhearinKitchsBebopCalypsoistheexci/tementofdiscoverytransformedintoablazeofcreativity/LordKitchenerwasbuildingthecaly
51/psosceneinLondonperformancebyperformanceclubbyclubrecordbyrecordbuth/ewasalsolisteningtowhatwasgoingoninothergenresandaroundtheworld/Thecalypsonianknownforhislyricismandsmoothdeliveryhashisbandstartupwithalivelyhornarra/ngementandhethenbeginssinging/WellInearlywentcrazy/whenIheardtherecordofGillespie/Itreallyenchantedme/justtohearhimplayAnthropology/TheWestIndianinfle/ctionthatmanagestorhymecrazya
52/ndGillespiethengiveswaytowhatanytwentyfirstcenturyhiphopfanwouldrecognizeasthedropofasampleKitchenerliterallyplaysashorts/electionfromGillespiesfarmorefranticAnthropologytomakehispoint/HeshareshisenthusiasmforthemusicandevengivespointerstoothersforhowtoappreciatebebopIfyo/ulistencarefully/youwillsurely/enjoythemelodyadirectresponsetotheoldguardthatclaimedbeboplackedanidentifiablebeatthatithadaband
53/onedthesyncopationofswi/ngtoindulgesoloists/ButKitcheneruseshisowncommandoverthecalypsonianformstoassesstheseNewYorkers/Illgiveyoutheratings/ofdifferentcomposers/Tworecognize/dartists/CharlieParkerandtheMilesDavis/MrParkeralsoplays/hesratinghighlyinthesteeplechase/andMilesDavisagainimproved/whenhemadethisnumberhecalleditMov/e/AndhereagainKitchenerdropsthesamplecreatingajuxtapositionbetweenthecalyp
54/sobeatandDavisshorntotheadvantageofboth/ThelistenergetsthefeelingthatKitchen/erwaswaitingatthedocksfortheboatstoarriveandunloadtheirnewrecordsfromtheUnitedStatesreadytoopenhimselfuptothenewthingandshareitwithhisownaudience/Righ/tthereonthedefunctMelodiumlabelLordKitchenerwasshowingthewaytouseaswellasrecombineelementsandfragmentsofcultureinnewandinventiveways/Thathehadawholeba/ndbehindhimisimmateri
55/altotheimmaterialsamplingthatfollowedinhiswakewiththeadventofdigitaltechnologies/IfyoulistentoKitchsBebopCalypsotheabsolutistargu/mentsagainstremixculturedissolve/Hereisanartistdelvingintothesonicarchiveembeddingthefragmentsinadifferentthoughcomplementarycontextandweavingthewhole/togetherasajoyouscelebrationofcreativityandmusic/IhavenoideaifKitchpaidmuchattentiontocomputersbutanyonewholistenstohis
56/musicwillunderstandthathecaredd/eeplyaboutculture/IfirstheardKitchsBebobCalypsoonInternetradioaclearcaseofthecomputersimulatinganothermedium/AsaparticipatoryactIsentanMP3fileoftheson/gtoadiscjockeywithwhomIwasworkingonbookaboutremixculture/Thisisamicrohistoryoftheuseoftheculturemachinesimulationandparticipationmeldtocreatethewaywel/ivenow/Stickyvs/Teflon/Meaningislikepornography/Werecognizeitwhenw
57/esee/read/listen/interactwithit/Thisevasionbringsustothenextstageofvaluejudgments/If/wecandistinguishbetweenmindlessandmindfuldownloadingthenweneedtotalkaboutuploadingintermsofitsmeaningfulness/Awaytoexpandontheearlierdefinitionofmeani/ngfulnessistoemployyetanothertermstickiness/Stickinessreferstosurfacesassemblagesandexperiencestowhichotherthingsadhere/Atrulystickyexperienceshouldof/ferthepossibi
58/lityofaccumulation/Thiscanbeanewwayofthinkingabouttheconceptweusedtocalldepthbutthatnowneedstoexpandoutinvariousways/Stickinessisaboutcre/atinganduploadingmediathatcanoverlaplayersofmeaningsuchthatdownloadingthematerialcreatesexperiencesdeeperthandistraction/Astickyobjectorsystemhasaffor/dancesthatallowothermeaningfulobjectsorsystemstolatchontoitexpanditorburrowdeepwithinit/SacredtextsliketheBible
59/andtheKoranclassicsliketheIliadandtheOd/ysseytheSanskritepicsMahabharataandRamayanaandtheplaysofWilliamShakespearehaveavastamountofstickinessduetotheirlongdurationalongwiththevastbodyoftextu/alanalysesthateachhasgenerated/Stickinessisaqualitythatcanaccruetoalmostanyhumanactivity/Bysheerobsessivenessanddurationitispossibletoaddstickinesstoe/venthemostmeaninglessactivitiesandtrivialpursuits/BythisIm
60/eanthewaysinwhichtheobsessivecollectionof1930sTinPanAlleysongscreatesawindowintoaworldorthem/inuteobservationsofschedulesanddeviationsthatthewonderfullycompulsiveEnglishtrainspottersproduce/RatherthanstickyIwouldsaythatthereissomethingaboutfan/sappropriationofmassculturethatproduceswhatIwouldcharacterizeasTeflonobjects/Whenfansappropriatethematerialsandaestheticsofcommercialcultureandthenmak/enewt
61/hingsoutofthemtheyareindeedproducingbutIworrythattherearehugedisjunctionsbetweenthelevelofpersonalinvestmentandthesubstanceoftheoutput/Iamnotconv/incedthatfanproducedmediaisallthatstickyexceptperhapstoothercommittedfans/Meaningisaloadedword/Inconsciousnesseverythinghasameaningorcanbeassignedonei/ncludingthestatementthatmeaninghasnomeaning/InthiscontextIamnotinterestedindiscussingwhatphilosophersli
62/keMartinHeideggerhavecalledthefundamentalquesti/onofmeaningWhyistheresomethinginsteadofnothing/butinsteadwanttothinkaboutthemeaningfulnessofworksofculture/Thisimpelsustocreateahierarchyofmeaningjudg/ingsomethingstobemoremeaningfulthanothersandsometimesgoingsofarastolabelthemmeaninglessthoughweknowfullwelltheimpossibilityofanythinginculturelackingm/eaning/Meaningfuluploadingisbothacounterpointtoand
63/anallyofmindfuldownloading/Asnotedanydefinitionofwhatismeaningfulrunstheriskoftumblingdownarabbithol/eofphilosophicaldebate/YetIamwillingtostakeaclaimontheideaofthecumulativeasoneplacetostart/Workuploadedintotheworldoughttohaveenoughofanaffordancetoco/nnectwithotherelementsofthenetworktoaddtolargerquestionsofmeaningratherthansimplyshimmeringthereasnodesinthedistractionmachines/Ashasbeendiscussedth
64/ei/ssueistocreatestickyratherthanTeflonmediauploadingworkthataccretesintomeaningasopposedtobouncingaroundatomizedanddistractingatbest/Justasnoonewilldown/loadmindfullyatalltimesitisanimpossiblerequesttoaskpeopletoonlyuploadmeaningfully/Butsettingthebartoohighispreferabletonotsettingthebaratall/Fiftyyear/sagothecategorizingofmeaningwasconsideredtobeoneofifnotthechiefcallingofthecritic/Theadventofcr
65/iticaltheorieslikepoststructuralismdeconstructionandpos/tmodernismputmanyoftheclassiccategoriesinjeopardybuildingacanonaroundthegoodandthebeautifulwasproblematizedhighandlowceasedtofunctionasviablecategorie/sforcultureandprogressandtruthwerediscussedascreationsofpowerstrugglesratherthanimmutablesinthehumancondition/TheorywithacapitalTpracticedabrilliantne/gativedialecticsbutdidnotalwaysreplacetheo
66/verthrownconceptswithnewmorecongenialones/Intheendthisdismantlingofpreexistingculturalnormshelpedtocreateavo/idthatallowedcommercialculturetoreignunchallenged/Althoughwearetalkingaboutbillionoreventrilliondollarmarketswhenweinvokecommercialculturemanyofthenew/affordancesbeingbuiltintomasscultureforfanparticipationareequivalenttocafésatthemallpleasantenoughrespiteyetstillinthemall/Muchadowasmadeoft
67/hefancommu/nityscontributionstothepreandpostproductionphasesoftheBmovieSnakesonaPlane2006/AsagenrefilmandstarvehicleforveterantoughguyactorSamuelL/JacksonSnakeso/naPlanewasboundtogeneratedialogueonmessageboardsespeciallyafterthetrailerforthemoviebecameaviralvideosuccessontheInternet/Thesheervolumeofexcitementab/outthefilmandthevociferousnessofthefansinchatroomsblogsandWebcommentroomshowevercaughtt
68/hedirectorandproducersbysurprise/ThesecreativesasHollywoodcalls/themrespondedbyopeningadialoguewiththefansmodifyingthescriptandshootingnewscenesbasedonthelattersinput/Allthistookplacepriortothefilmsreleaseandwasher/aldedbythecapituationistsasanewerainfanculture/Butthenthefilmopenedandallofthatfanactivityaspleasurableasitmighthavebeenwasseentohavecontributedtoafil/mjustasbadorevenworsethanothergenr
69/eworkwithnofaninput/Insteadoflivinguptotheidealofapulpmasterpiecethecollaborationbetweentheprofessionalsandtheamateu/rsproducednothingmorethanasubparTefloncoatedpellet/Thephraseparticipatoryculturehasbeenaddedtothelexicontodescribethiskindoffandrivenworkdistinguishin/gitfrompopularormassculture/Butwhatisthepointofdevelopingthesemachinesnetworksandaffordancesforthedeliveryandpublishingofmediaifwedo
70/ntalsodevelopsomec/orrespondingsophisticationintheircontentaswellastheiruse/Therearelimitstowhatmassculturecantalkaboutandthelevelsofsubtletylanguageandthoughtandthought/fulness/Thequestionoftechniqueishardertopindownasmassculturehassucheconomicmightthatthenewestandmostpowerfuloftoolsandtechniquesarealwaysopentoitbutof/coursemassculturetendstoturnthesetechniquesintoclichéswithinjustafewbusinessqua
71/rters/Ithascometothepointthatwecannotimagineanyoneotherthanagiftedartis/tmakinguseofmorphingtechnologieswithoutreducingtheaudiencetotearsoflaughterorpain/Thecommercialappropriationoftwentiethcenturypoliticalavantgardetechn/iquesservesasawarningthatthereisnoinherentlyrevolutionaryqualitytonewtechnologiesandtheiraesthetics/The1920smontagesofSovietfilmmakerslikeSergeiEisens/teinandDzigaVertovendedupt
72/hestandardtoolforportrayingboybandsonMTVinthe1990s/Surrealistartshockedthebourgeoisieinthe1930sandsoldeverythingfromsoaptota/mponshalfacenturylater/Deconstructedgraphicdesignsparkedthelegibilitywarsofthe1990sandby2000jaggedtypesellseventhemostinnocuousbrandconceptsliketheGot/Milkcampaign/Streetartist/designerShepardFaireyfreshfromcreatingtheiconicHopeposterimageforBarackObamaspresidentialcampaignw
73/ashiredtocraftSaksFifthAve/nuesspring2009marketingpushanddidsowithSovieterapropagandagraphicsproclaimingWantIt/Historicalprecedentisastrongindicationthatnomatterhowrevolutionary/thepossibilityofmassparticipatoryfanculturemighthaveseemedatonepointthatpotentialisnotsufficienttosupportmyaspirationsfortheculturemachine/JustasKings/leyAmissoruthlesslysummeduphisworldviewwithLuckyJimsobservationthatther
74/ewasnoendtothewaysinwhichnicethingsarenicerthannastyonesthereisnoendtothewaysin/whichstickycultureisstickierthanTeflonproductionnomatterhowparticipatory/PowerandPlay/Inthemorethanhalfcenturysincethecomputeremergedfromtheconflictso/fWorldWarIItherehasbeenatransformationofourrelationshiptodataandinturntothewaysthatwegeneratemeaningandcontent/Asalreadynotedcomputersaremachinesuniqu/eintheircapacityto
75/simulateothermedia/Whentheyareconnectedintoanetworksimulationjoinswithparticipationtodefinetheculturemachine/Thesesimulationnetworks/notonlyincreaseusersabilitytomanipulatearangeofsymbolsandsituationsbutalsovastlybroadenthepoolofpeoplewhodosoonadailybasis/Fromthescientistshiftingthe/unknownsinanequationtothedesignercyclingthroughbackgroundcolorsinadigitalcollagetotheschoolchildshiftingaparagraphar
76/oundinadraftofapapereachofushasent/eredaneradefinedbypowerontheonehandandplayontheother/Wehavethepowertoeffortlesslyshiftvariablesandthisencouragesustoplaywithourdatasets/Letusconsiderm/orecloselythedesignerwhochangesthebackgroundcolorsoverandoveragaininhopesofpleasingaclient/Eachtimeshechangesthecolorsheisengagedintweakingthesystemus/ingitspowertoplaywiththevariablesinrealtime/Theactivetweakingof
77/processesdefinesourengagementwithinformationtechnologiesintherealmofthecomputer/Tweakin/gisbotharesultofandcontributingfactortotheinformationexpansionorexplosionwhichhasbeendiscussedwidelyenoughtojustifythecommonphraseageofinformation/Iam/referringtotweakinginsearchofadditivelevelsofmeaningasopposedtothemoreformalorsimplyobsessivecompulsivetweakingdescribedabove/Thereisnodenyingthewaysi/nwhichcomp
78/utersexistinacontinuouslyshiftingandfluidblendoftextandcontext/Theissueishowtousethisfluiditytobuildmeaningratherthanincreasedistraction/Tog/glingisarelatedphenomenon/Itreferstotheeffortlessshiftingbetweenviewsofadataspace/ThequintessentialtoggleisbetweenafirstpersonpointofviewandaGodseyeov/erheadmapping/Togglingbetweenthetwopointsofviewhasbeencentraltoeverythingfromthreedimensionalarchitecturalpr
79/ogramstofirstpersonvideogames/Inthefirstca/sethedesignershiftsbackandforthtovisualizethespaceasitisbeingcreated/Inthesecondinstanceplayerstogglebetweentheirownvisionoftheactionandanoverheadabov/egroundviewthathelpsthemmapoutstrategiesandmovementsthroughthegamespace/Togglingcontinuestoutilizeperspectivaltechniquesdatingbackhalfamillenniumbutth/eeaseofmovingbetweenmultipleviewscreatesathoroughlycont
80/emporaryaffordancefortheuser/Togglingandtweakingarebothexamplesofhowthecomputereffectsquantitat/iveshiftswithqualitativeresults/Playingwithperspectiveandpointofviewisasoldaspeekaboogamesbutdigitalsystemsdonotallowsomuchasdemandthatmakersandusersh/ideshowandswitchbetweenelementsviewsandscreens/WhatbeginsasnoveltytheearliestcomputergamestoofferthecapacitytotogglebetweenaplayerspointofviewandaGods/ey
81/eviewhadadistinctmarketingadvantagebecomesanexpectedaffordanceofthenextgenerationofnotonlygamesbutalsoahugearrayofelectronicinterfaces/Asfortweaking/simpactitisimportanttounderstandthatiterationdefinedasaseriesofrepetitiveactionswithsuccessivechangesleadingtonewresultshaslongbeenapartofthecreativep/rocess/Thecomputerspeedsupiterationsofuriouslythatthecreativeprocessisitselfremadeintowhatwewillnext
82/discussasaneverunfoldingaestheticofunfinish/Tweaki/ngandtogglingarebuiltintoanysystemwithenoughpowertoallowforplayandthetrickistobalancethetemptationtotweakandtoggleendlesslywiththeopportunitiesthatthe/seaffordancesofferforcreativework/UnfinishContinuousPartialProduction/Twitterthemicrobloggingsoftwarethatlimitsusersto140charactersorlessdistributesit/smessagesviaarangeofdeliverymechanismstodesktop
83/applicationsmobilephonesandinstantmessagingsystems/Twitterpromotesitselfasawayforfriendsfamilyandcowork/erstocommunicateandstayconnectedthroughtheexchangeofquickfrequentanswerstoonesimplequestionWhatareyoudoing/Twitterissomethingofalimitcaseforparticipat/ionandinvertsaclassicanalysisofWeb10interactions/Inresponsetotheexplosionofnewmediaformsinthe1990sfromcellularcommunicationtovideogamestoemailtot
84/heWor/ldWideWebsocialcomputingexpertLindaStonecoinedaphrasethatbecamefamouscontinuouspartialattention/Continuouspartialattentiondiffersfrommultitaskingintha/ttheindividualwantstobeaLIVEnodeinthenetwork/tobebusytobeconnectedtobealivetoberecognizedandtomatter/RecentdevelopmentsintheWebcoupledwiththebroadenin/gofsocialnetworkingencourageustoinvertStonescoinageandmovefromattentiontoproduction/Thegrowt
85/hofWeblogsorblogsconsideredintandemwithFlickrDiggandothers/ocialsoftwaresthatenablepostingandtaggingaccountscreatesanenvironmentthatIcategorizeascontinuouspartialproduction/As99percentofeverythingevermadeiseit/herpurelyforpersonalconsumptionlargelyforgettableorjustplainjunkcontinuouspartialproductionisnotahugeproblem/Whatdoesbecomeproblematiciswhenthenewaffo/rdancesmaketheoldcontentuntenableinthee
86/mergingenvironments/Acknowledgingthattherearelossesthatfolloweverygainintechnologicalcapacityisnotthesameasblin/dlyfollowingthereportingcycle/Thecrucialissueisthatthesetwentyfirstcenturyculturalmachinesleadtoapreviouslyunimaginablelevelofobjectdifferentiationand/informationrichness/Thenetworkedculturemachinescombinationofembeddedtechnologyandjustintimeproductionmakepossibleanovelhybridintellectual
87/ity/Textcanbe/linkedtographicsphotosandmovingimagesinfluidwaysimpossibleagenerationago/Thecombinatorypotentialitiesofalphanumerictextsstillandmovingimagesauralcompo/nentsfrommusictospokenwordandevencontextualenvironmentalembeddingallofthesesimulationsofothermediaofferahugesetofaffordancesforboththecreationandrecep/tionofmeaning/Thesheerdensityofinformationandmaterialityofthecontemporarymomentisunr
88/ivaledinhistory/Thekeytomakingmeaningwiththeculturemachineistoharn/essthetwodefiningmodesofnetworkedcomputingsimulationandparticipationinordertoaddstickinesstotheculture/Onewaytoincreasestickinessistousetheculturemach/inetoaddaqualityofunfinishtoitsproduction/Whatanauthorproducesisopentorevisionandthosewhousedtobereaderslistenersorviewerscanbecomeusersthroughappropr/iationsremixesandcreativereuse
89/Theideathateverythingisessentiallyaniterationcanbeterrifyingbecauseitencouragesanendlesstweakingratherthanacommitmentto/thediscreteprojectwithabeginningandanending/Softwaredevelopersoccasionallyrefertothisasbeinginastateofperpetualbetameaningthatthecodewillneverbereleas/edinfinalformandissubjecttoacontinuousprocessofreviewandreform/Buttheneweraofunfinishcanbeusedtoacknowledgethateveryculturalprodu
90/cteventuallyrelatesto/andistransformedbyitscontactwithusersandotherproducts/AswewillseelateracknowledgingunfinishiscriticaltothedevelopmentofopensourceandCreativeCommonsapp/roachestoproducinglicensinganddistributingmedia/Unfinishchallengesauthorialintentononesideandimmutablemeaningontheother/Digitalunfinishbuildsontwentie/thcenturyculturalexplorationsoftheseissuesbutthecomputerandthenetworktransfo
91/rmthebaselineassumptions/Objectscanbeproducedthatareopentolatermodificatio/nwhichisakeyattributeofopensourcecreativityandforanydamagethatcanbedonethechanceistheretoundoittheControlZthatwewishwehadinthematerialword/Therearestr/ongconnectionsbetweenunfinishandchapter4sdiscussionofCreativeCommonsandtheopensourceculturemovementthatnetworkshavemadepossible/Thinkingaboutunfinishl/eadstoquestionsaboutope
92/nnessaswell/Onemetricforthesuccessofatechnologyespeciallyadigitaloneistolookathowopenitistounanticipateduses/Howunfinishedisit/Oneofthevalidcritiquesofmodernismwasthatinitsutopianfervoritregularlydiscounteduserscontributionstothedesignschema/ThereisastoryaboutWalterGropiusbein/gquestionedbyareporterfromtheHarvardCrimsonabouttheCambridgedormitorythathehadjustdesigned/Allthefurniturewasbolteddownand
93/thestudentaskedwhatwouldhapp/enifsomeonewantedtorearrangeittosuittheirowntaste/Thegreatmodernistrepliedthatanyonewhowouldwanttomoveanythingwouldhavetobeneurotic/Networkedsocietyha/soverreactedsomewhattothismodernistarrogancethoughembracingmarketingsobsessionwithsurveyingthepublictoseeexactlywhatitwantsandthensupplyingitanticipat/ingtheuserseveryneed/Thiscravennessisunnecessaryandformsanexpectation
94/ofperfectresponsivenessthatfitstoocloselyintoestablishedcommercialrelationships/S/trategiesopentoproductiveunfinishinsteadanticipateuserswhoacknowledgethattheyliveinaHeisenbergianuniverse/InquantummechanicsphysicistWernerHeisenbergp/ostulatedtheuncertaintyprincipleclaimingthatthepresenceoftheobserverchangestheconditionsofthatwhichisbeingobservedandthatitisthusimpossibletohaveanobj/ectiveviewofanyp
95/henomenon/Acceptingunfinishsimilarlyimpliesthattheintroductionofanynewtechnologychangestheusersenvironmentinwaysthatmaygenerateentirel/ynewmodelsofuse/Thisisunfinishasadynamicautocatalyticsystem/Aneconomyofunfinishshiftsusfromapureconsumptionorientedmodeltoonethatmixesproductionandcon/sumption/Itbecomesaneconomyinwhichweproducetoolsforthecreationofnewobjectsexperiencesandcommunication/Itisthisemph
96/asisonproductionthatdistinguishesitf/romconsumptionforconsumptionssake/Thisstressonproductionalsoshiftsourideaofwhataudiencesshouldbe/Wehavecometodependonadichotomyofaudienceandartist/Wit/heightplushoursadayoftelevisionviewingtheimbibingofprofessionallygeneratedentertainmenthasreachedunprecedentedlevels/Aneraofunfinishandamovetowardprod/uction/consumptionwillsteerusawayfromthenotionsofaestheticfor
97/mthatweinheritedfromthetraditionalartsandtakeustoothermodesandmodelsofengagementwithexper/ience