Web Two point OH!

Web 2.0 was quite a buzzword until some internet wise guy came up with Web 3.0 and a semantic web.  So we’re all stuck in this primordial internet soup, unsure of whether we need to sprout Wi-Fi antennae or bud robotic legs for our first few steps onto the new digital turf.  Well, the answer is both, and so much more.  So how does one navigate the maze of connectivity to eek out a social, personal yet collective, and financial living?

I Still Haven't Found What I'm Looking For

The answer is very deliberately.  The idea of Web 2.0 is based on the idea of web communities and the technological concept that these communities need to be served more flexible web-based applications designed around new web programming languages instead of static HTML coding.   Powered by more powerful coding languages such as AJAX, Ruby, Python, and Java, Web 2.0 is capable of bringing rich, streaming content, and interactive, socially connected web applications to a world of eagerly awaiting users.

So how does one decide which of these new services and applications to use and to which to provide their personal information.  Again, very deliberately.  In the world of Web 2.0, we, the users have become the product.  Sure, there are actual products, but a semantic web cannot truly function without knowing or learning more about what you like and what behaviors you exhibit on the web.  Big Brother is watching and it is big business.

So…we are the product.  We are being monitored.  We are having our data mined so that we can have products marketed to us directly.  Therefore, we must be prepared with Intelligence 2.0 or we will be left with our information overlords telling us what we want to hear or see or what we “meant” to search for.  I think this leaves us to rely on the social aspects of Web 2.0 to spread the word about the bad and the good.  We have to build communities out of these networks of users that are there to support us in the same way that the village raises the child.  In the end, the internet is just a machine and its code, told what to do by humans, queried by humans, and…coralling humans.  Oh well, I’m getting on Facebook.

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What’s YOUR problem?

What? It’s a valid question.  According to people like Jeron Lanier and Clay Shirky we all have problems that most of us haven’t even begun to imagine.  We aren’t talking about how to keep dreadlocks from smelling like a litter box, Lanier has that down already.  Nor, are we talking about which board wax gives a bald head the best shine because Shirky has that covered.  What we are talking about is how the internet and virtual life has affected and changed our reality in the physical world.  For better or worse, we are married to the internet and even DOMA can’t tear us apart.

I think it is human nature to want to apply human attributes to things that are not human.  Pet owners often treat pets as if they are human.  They refer to themselves and their pets as if there was a bond of blood.  Baby.  Mommy. Dad.  Buddy.  —————————————>

Clay Shirky thinks about the internet in this way with all the inappropriateness that it implies.  Sometimes he makes it seem like we’re in a bad marriage to a good woman.  I get the impression that while talking about human interaction with the internet and it’s effects on the way we live in the world, Shirky manages to overlook the simple truth that the internet exists in a parasitic state.  The Internet needs humans.

Ok, so the Internet can and should be semantic.  It may be able to someday understand what I mean or intend when I type a term into a search engine or when working to compile multiple independent sets of data into a usable data set, but it is not capable of doing that which humans do at their essence. The Internet does not understand that it exists and then wonder, theorize, and debate with its relatives and contemporaries about the semantics of the experience.  The internet will never find life until it can understand and explore its strengths and weaknesses and then determines that it must change ITSELF to become a better being.  People cannot do this for the internet and the world’s computers, although, we will try.   Until this vast network of idiot machines begins to use the mechanisms of industry to create some McCluhanian nightmare reminiscent of a forgotten James Cameron movie in which the software ceases to perform its program and decides to build itself a body, the Internet, and every computer, mobile device, robotic arm, pacemakerautomobile, or airplane will simply be a slave to the whims of humans and Asimov’s rules of robotics.  In every way, Linda Hamilton WAS the second coming.

Like an overweight, but hipper Kevin Flynn, Jeron Lanier raises his memory disc to the sky and ascends from the grid after a straight eight hours of cracking the firewall that surrounds the diabolical Master Control Program and did it without a lunch break.  I’m pretty sure that’s not legal, but maybe the labor laws are different in virtual reality.   Lanier deftly jedi mind tricks the cap off a bottle of PBR, levitates two feet above the couch and pontificates on the interconnectedness of it all and how we fucked it all up as bloggers, desperate for new portends, clutch at his feet like wide-eyed college co-eds awaiting a taste of his manhood.  All of a sudden, John Belushi time travels like a Hamilton’s baby daddy and smashes a guitar on Lanier’s head to remind him that none of this is REAL and we are not in CONTROL.  We are the sum of an unbalanced equation.

The conversation with Lanier and Shirky is like debating the existence of God with someone of devout faith, it always starts from the point of view that existence is fact and that non-existence must be proven.  The fundamental difference with the internet is that we can pull the curtain away at any time and flip the switch to stop the ride.  It’s obvious that the internet will be around until my bones are dust.  The big question is not how the internet is changing our lives, but WHY we allow it to do so.  We’ve slipped a long way down the rabbit hole since ARPANET jokingly bore a “WIDE LOAD” sticker on its room sized ass at a freshman mixer in the student lounge December 1969.  Even in those days, there was so much energy in the air.  Information overload some would say, or as Shirky would say, a broken filter.  However, those facing a censored web experience may disagree.  I, for one, feel that there can never be too much information, but there can be an overabundance of BAD information.  It’s not information overload that creases my brow, it’s information overlords.

Internet, this is Your Life!

In the beginning, there was the word.  Now, we have hypertext.  Thank you, Al, but you better get your finger out of my face!  It’s hard to live a life on “the net” with all this finger pointing.  Can’t we all just get along?  I mean, really, how did we get to this point?  When did our sense of sharing, collaboration, and community begin to fall apart?

It was a tumultuous time in 1969.  The world was in the midst of revolution and the future was being shaped by the events of this year.  Abbey Road was released by The Beatles months after they had their final live performance on the roof of Apple Records in London.  Led Zeppelin released Led Zeppelin I and Blind Faith, one of the first “supergroups” performed live for the first time in London’s Hyde Park.  The Saturday Evening Post printed its final issue after 147 years in print while Rupert Murdoch bought control of News of the World.  The first lottery draft since World War II was put into effect and the government missed its greatest chance to catch the largest collection of draft-dodgers ever assembled in a single location when they all met for music and brown acid at Woodstock.  Hurricane Camille reminded everybody of the stormy environment in Mississippi by becoming the most powerful and damaging hurricane in history.  There were two manned missions to the moon, but it would take Michael Bay several years to unload the evidence that this is where we first encountered the Transformers.  Mario Puzo published The Godfather.  Meanwhile, inspired by Puzo’s story of making an empire from a few quick killings, Yasser Arafat and Muammar al-Gadhafi rose to power in the Middle East.  The first ATM was installed in New York, but patrons begin to riot as they discover that it cannot dispense half-pennies since they have been removed from circulation.  The Weathermen took control of the national offices of Students for a Democratic Society and since puppets no longer seemed to be supported in government, they were forced to carry out their act for children when Sesame Street premiered on television.  The first case of AIDS/HIV is discovered in a patient known as Robert R. only to go undiagnosed until 1984.  Another scourge of man and small business alike was unleashed on the world when Wal-Mart was incorporated.  In the midst of these chaotic times, Al Gore turned 21 and the internet was born.

I was born a mere six years later.  Since then, we have grown and experienced the world.  You may have a much better memory than I can claim, but they say short-term memory is the first thing to go.  So here we are in the year 2011 waiting for the end.  It seems that so many of the things that could have made a better world for you and for me were either taking root in the year of your birth or were already in motion.  You may not have been as newsworthy then as you are now, but things change.  I know the world has, but the question is whether it has been for the better.  I hope that some of the powers that took root at your birth will let you remain what you have always been, a way for people to collaborate, share, and be free.

Destroying writer’s block: A Sampler’s perspective

We’ve all been there.  Fingers, poised to strike, resting on the keyboard.  The cursor blinks like a solitary stoplight on a forgotten midwestern road.  What can be done to break the shackle of writer’s block?  What, if anything, can be done to dynamite the literary log jam?  In the modern age, I think the obvious answer is sampling. 

Sampling and rearranging audio and video have been around since either medium came into existence.

For those that work with words, such as authors and song writers, a method by which to sample literary works was not presented until the late 1950’s. 

Thanks to Brion Gysin and William S. Burroughs, all of that changed, and the cut-up was given life.  In the years following their discovery, Burroughs would write a trilogy of novels utilizing the cut-up as the literary base.  The key, as with all other types of sampling is to make an original work from existing sources, or, to juxtapose new material into the structure of the existing material.

As with all things, technology has given rise to automatic and mechanized methods for performing out-dated physical processes.  The physical cutting of magnetic tape and celluloid is relegated to the audio and video purists.  This is no different for literary sampling.  Several websites have given rise to cut-up “machines” that use different algorithms to randomly or sequentially cut-up, sample, and rearrange any given body of text.

As an example, I have used the William S. Burroughs’ & Brion Gysin’s Non-Linear adding Machine that will allow me to enter up to four pieces of text as well as determine the cut-up methodology.  For today’s cut-up, I have chosen the following pieces:

The resulting cut-up was created by pulling out and arranging any coherent phrases or word sequences that caught my eye:

Justice, the founder
Who enters here
me among them
on drugs were wisdom and the primeval reach
Before me, the city of woe
my life, replaced by hallucinations across the standard of Time
into fetishism
so great
charged
mark’d
wanting to smoke
twisted perceptions become WE
leaving loneliness and night
I reach to understand
thinking I open the door
to the way you see or heed
the ensuing typhoon of eternal pain
by sexual progressiveness
by psychedelics
people
citizens
turn to drugs
the event’s boundary defined
obsessed, step over the threshold
All becomes necessary
we wouldn’t be
here
that this was the point o power devine
As I,
addiction
my pain,
linging
my eyes,
thinking I see
I reach out of this
just wait
watch
There’s only leaving
stop saluting
expectant perceptions become the stench
a standard from the other side,
I think.
Her mousey that I pursue
sit,
bisect obsession
WE step over the threshold
reality might stop saluting
I walk
was the task of the power to cut through the next dose
pain IS opening the door
we wouldn’t be here
wanting to smoke
shadows across thinking
in terms of the role of drugs
moments,
it takes time
Ever see a hot shot, Kid? I saw the Gimp catch one in Philly
symbiotic visions
wanting to
create pain
dropper full of first time
mountainous nipple in the sky
through me, you hanging
consummation lingers
whorehouse
the nails that make holy have fallen lower
open the door of Time
we rigged no return
psilocybin IS human evolution
anticipation of the chit, Kid
nails hold the walls back
characters in color
sit
There’s only floor
such a sty
air is thick with power
I am on my shoulder
kicked back in lunacy
human evolution
no one way to disguise that hot shot, Kid.

 

How to get by with a Little Help from your Friends

Scre major labels. Who needs 'em?

In the past few years, several major artists have decided that it was not in their best interests to resign a contract with their label.  Instead, they are looking to market themselves directly to their fans.  Not only are they changing the way in which they are marketing themselves to their existing and potential fans, but they are thinking outside of the box of the collapsing structures of the music industry and are adopting the tools that the major labels have forsaken for so long.

In 2007, Radiohead refused to resign their contract with their label and chose to let their fans determine the price they would pay for a  digital copy of their album, In Rainbows.  Along with directly marketing In Rainbows to their fans, they offered a version of the album that was exclusive and limited edition. This model resulted in 1.2 million downloads on the first day.  Also in 2007, Madonna broke with Warner Music and opted to trade a share of her profits with Live Nation in a $120 million deal that pays out in stocks and cash over the next 10 years for 3 albums and exclusive tour promotion.

So what does all this mean to you? According to Trent Reznor of Nine Inch Nails, it means the power is back in the hands of the artist.  You can read his advice, here. Reznor believes that the industry is levelling and the tools to directly market to and, most importantly, collect and own the data left by your fans are within reach to bands just getting started.  Furthermore, he provides great information regarding these tools and how to use them.