In A Vernacular Web, Olia Liana explains the early internet where people created their own websites and incorporated their own elements. Liana argues that the vernacular web was unique phenomenon that has not been lost, but hidden by the income of professional tools and guidelines. She also reflects on how social media and web 2.0 has changed how we view the web. Although the way these early websites can be seen as outdated, there is a lot to learn especially with the freedom of expression. Olia also presents examples of personal webpages and the way they functioned which allowed me to appreciate the craft put into each site.
In Typography and the Screen: A Technical Chronology of Digital Typography, Loretta Staples explains how the introduction of design through technology changed the norms of typography. Staples describes the enhancements for typing made through the Macintosh Operating System as well as other software. The capabilities that such software were able to produce gives context to the development of the importance of typography from the earliest stages. With technology becoming more and more ingrained into everyday lives, the importance of typography increased and letterforms became more elaborate and detailed. It was compelling to read the problem-solving involved in forming the looks of individual characters because it didn't occur to me that the smallest improvement can create an impactful change. Overall, the reading’s explanation of typographic innovation in cyberspace was insightful and allowed me to learn technology’s influence on the formation of letters we see today.
In Frank Chimero’s site, The Web’s Grain”, Chimero discusses the topic of designing for screens. Chimero speaks in a way that interacts with the audience, establishing a sense of questioning oneself on the design choices they’ve seen or made. Reading Chimero call out basic design choices made in many websites was interesting and it was also enlightening to learn how such designs became an easy way for problem-solving. For instance, the blurred background was a recognizable feature as I have seen it in use for websites and even website building templates. Each pinpoint of basic design choices Chimero speaks of prompted me to think about how one could create a design that breaks free from standard forms of problem solving. The statement “the web is forcing our hands” also stood out to me because it is the cause of why websites take similar formats. Following such statement, Chimero partially answers the question I raised when he asks “what would happen if we stopped treating the web like a blank canvas to paint on, and instead like a material to build with?”. Reading the question he makes reframes the approach to creating websites, especially as designers, as it is easy to have the canvas mindset rather than the building mindset. Furthermore, Chimero introduces the edgeless concept as a powerful method in designing web pages where there is no clear edge to the screen. The concept was eye-opening because it made me realize how my default mode of planning a project would to start out by drawing a box. I was intrigued by the idea of edglessness as the idea of not knowing the size until it the content is fully known breaks the limits of a box and allows more flexibility. Overall, I enjoyed reading Chimero’s thoughts as it reframed my mindset on approaching projects and it inspired me to think outside the box.
Black Gooey Universe begins by describing the origins of Silicon Valley and how the success of Silicon Valley can be attributed to the creation of the Stanford Research Institute in 1946. SRI provided a space for engineers to work free of economic pressure and allowed them to embrace innovative ideas without fear of retribution. The reading continues to explain that the introduction of the Apple Lisa, which was the first commercial computer to include a graphical user interface, marked a significant change in computer technology. The negative space of the screen began to appear white, replacing the black command-line interface used on computers prior to that, and the computer's ability to point and click on folders and windows made it more accessible to a wider audience. However, although the use of computer technology has now become widespread, the tech industry is still predominantly white. Technology has become commercialized and developers became increasingly out of touch with the interests of users while the field continues to be dominated by white perspectives. The use of technology for maintaining and reinforcing systems of oppression is a common occurrence. In the case of racial slavery and its history, the impact on communities of color, particularly the Black community, is profound. The whiteness that is often associated with technology, both in terms of the people who design and develop it and the products themselves, perpetuates anti-blackness and reinforces white supremacy. It was eye-opening to learn about the presence of anti-blackness in even technology with the transition from a black screen to a white screen in computer interfaces. Not only does it erase the contributions of black individuals to technology, but it also standardizes the notion of whiteness. Furthermore, the significance of addressing such systemic biases and working towards creating more inclusive technology seems more crucial, but there needs to be a willingness to challenge own biases.
In Function as Narrative, Weiyi Li explains her work and how it explores man-made products that can indicate potential changes and tell stories through their function. In one of her works, Li created a container for medicine called "Help yourself," which is designed to hold cold remedy capsules and make the process of taking pills more ritualistic. The container has sections for different colored pills and a tiny steel spoon for encapsulating the drugs. However, after the Li finished the piece, the Chinese government banned the sale of the flu remedy "ContacNT" because it was being used to produce methamphetamine, adding a new layer to the narrative of the piece. Li’s work with containers explores how objects can narrate by quoting other objects and how the context of the world can impact the meaning of an object. Li continues by arguing that while "form follows function" may not be as relevant in modern times, the relationship between form and function is still important. They give examples of how specific forms of man-made products have become a learned symbol system, and how certain forms can communicate specific functions. She also points out that "form follows function" is a one-sided concept from the designer's perspective, and that users can accept, reject, or develop the function. Overall, Li’s perspective is that the value and meaning of these objects lie in their use and context, rather than their status as art.
In Jill Lepore’s article “Can the Internet Be Archived?” Lepore argues that the vastness of the internet makes it complicated to preserve for the future. With the internet constantly evolving with new information and websites replacing old ones as well as copyright laws not keeping up with technological change, it makes it challenging to create an archive that reflects the internet as a whole at any period of time. Additionally, Lepore highlights that the internet has changed the way people interact and digital archiving should reflect such changes. Preserving digital archives is essential for preserving culture and understanding history. The Internet Archive and the Library of Congress’s Web archives are examples of attempts to consolidate digital archives for future accessibility. The task of preserving digital archives may seem inefficient due to the appeal of new information and ideas, but doing so is essential due to the immeasurable amount of information that can be provided in every website. Having access to such information allows more detailed information and perspectives of history to be present, especially since in the past, those in power would have control over narratives. It also can be a source of inspiration as the scale and complexity of the archive provides for diversity in ideas.
In “Collect, Analyze, Imagine, Teach", Catherine D'Ignazio and Lauren F. Klein applies feminist principles to data science and technology. The framework is organized around four key principles that are essential for creating more inclusive and equitable data practices. It was interesting to read how gender inequality and racism can be rooted in simple data collection questions, producing biased data. In contrast, data analysis should be utilized to challenge power and promote justice. It was compelling to read about how “proof” can assist harmful narratives of certain groups, reducing these groups to their problems. Especially since I have seen examples of people stereotyping certain races, insisting the accuracy of their point as there is data to back it up. It seems as if data to prove such harmful narratives are deliberately collected to further back up problematic points. To combat, it is necessary to collect counterdata to prove oppression and spread awareness of of how subjects of oppression is displayed. With people in power being able to control narratives, data that may seem objective is, in reality, wrong as it is in control of elite white men. To create more just and equitable data practices, we must learn from and design with the communities we seek to support, acknowledging the reality of ongoing oppression and committing to dismantling it. This commitment must be taught to the next generation of data practitioners if we want to move towards a more just future.
In “Sharing as Survival: Mindy Seu on the Cyberfeminism Index”, Seu reflects on the importance of diversity and inclusivity in the field of technology, noting that the legacy of cyberfeminism can help us understand and address issues of power and privilege in our digital world. She emphasizes the need to center marginalized voices and perspectives, and to recognize the ways in which technology can both perpetuate and challenge systems of oppression. Seu notes that the creators of the internet have control over the narratives put out, limiting perspectives and making it challenging for original cyberfeminist sites to be found. Through Seu’s Index, the legacy of cyberfeminism is highlighted and continued with the continuous call to add submissions.
Skawennati is an Indigenous artist who uses time travel and science fiction to challenge negative stereotypes and promote the importance of Indigenous people envisioning themselves in the future. Her work interweaves historical and futuristic narratives, featuring strong characters such as her avatar xox. Skawennati's art highlights the potential of combining traditional storytelling with digital media to pre-record a future history, and she believes that sci-fi tropes provide a means to imagine a better future for Indigenous people and society at large. Her use of technology draws on ancient traditions to create a futuristic vision.
The article introduces a research conducted on Earth’s finite resources against the exponential growth of human activity to predict the world’s sustainability. The findings concluded that without immediate action, global resources would run out by the first few decades of the 21st century. The solutions that were presented in combat to such were to reduce birth rates and shift attention to agriculture. The article continues to explain that the web, conceived as a utopia that can limitlessly file data, is responsible for consuming 10% of global electricity production and the rate is continuing to increase. The article introduces a solution called Low Tech which demonstrates through its own existence how a website can forego unnecessary data. It supports the idea that a website can serve a small community connected through common interests. involves opting out of mainstream internet providers and using independent mesh networks or hosting content on local computers distributed across a peer-to-peer web. By demystifying the inner workings of the web, individuals can regain control of the tools that build it and redirect its growth. Should individuals be responsible for reducing their digital carbon footprint, or is this a problem that requires collective action from governments and tech companies? How might the concept of off-grid digital networks affect the future of technology and the internet as a whole?
In “Run Your Own Social”, Darius Kazemi talks about the benefits of running a small social network site using their own site called "Friend Camp" as an example. They emphasize the ability to tailor the online environment to the needs and values of the community, as well as the ability to create specific moderation rules. Kazemi also discusses the potential drawbacks of larger corporate-run social network sites and emphasizes the importance of keeping the site small to maintain informal decision-making processes. Running a small social network site requires more work, but is ultimately worth it for the benefits it provides. Kazemi compares running a small social network to hosting a party, requiring social intelligence, empathy, and technical skills. He suggests that there should be many small servers talking to each other in order to create a larger network. He questions how people can join these networks without existing connections, what to do about individuals who oppose community cohesion, and how to ensure equity in access to running and operating servers. Kazemi also discusses the balance between technical administration and social organization, and suggests that both skill sets can be taught to each other. Additionally, he hopes that with more paid hosting services supporting a wider variety of software and features, community organizers can take charge instead of relying on technical experts. Overall, I found the article to give great insight on creating your own social media platform within your own community, but a thought I had was if it would be possible to relay such idea to a big enough community to create such a platform. One enticing aspect of social media is that people from anywhere can be found, however, it seems like creating one’s own social media platform takes away that benefit. Hence, I wonder if is realistic to convince a big enough audience to start creating their own social media platform.
In “Run Your Own Social”, Darius Kazemi talks about the benefits of running a small social network site using their own site called "Friend Camp" as an example. They emphasize the ability to tailor the online environment to the needs and values of the community, as well as the ability to create specific moderation rules. Kazemi also discusses the potential drawbacks of larger corporate-run social network sites and emphasizes the importance of keeping the site small to maintain informal decision-making processes. Running a small social network site requires more work, but is ultimately worth it for the benefits it provides. Kazemi compares running a small social network to hosting a party, requiring social intelligence, empathy, and technical skills. He suggests that there should be many small servers talking to each other in order to create a larger network. He questions how people can join these networks without existing connections, what to do about individuals who oppose community cohesion, and how to ensure equity in access to running and operating servers. Kazemi also discusses the balance between technical administration and social organization, and suggests that both skill sets can be taught to each other. Additionally, he hopes that with more paid hosting services supporting a wider variety of software and features, community organizers can take charge instead of relying on technical experts. Overall, I found the article to give great insight on creating your own social media platform within your own community, but a thought I had was if it would be possible to relay such idea to a big enough community to create such a platform. One enticing aspect of social media is that people from anywhere can be found, however, it seems like creating one’s own social media platform takes away that benefit. Hence, I wonder if is realistic to convince a big enough audience to start creating their own social media platform.