Hardwiring Consumer Desire: Publishing and Promoting the Online Technocultural Experience : a Critical Textual Analysis of Wired
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Leaving Reality Behind Etoy Vs Etoys Com Other Battles to Control Cyberspace By: Adam Wishart Regula Bochsler ISBN: 0066210763 See Detail of This Book on Amazon.Com
Leaving Reality Behind etoy vs eToys com other battles to control cyberspace By: Adam Wishart Regula Bochsler ISBN: 0066210763 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 discovering a new toy "The new artist protests, he no longer paints." -Dadaist artist Tristan Tzara, Zh, 1916 On the balmy evening of June 1, 1990, fleets of expensive cars pulled up outside the Zurich Opera House. Stepping out and passing through the pillared porticoes was a Who's Who of Swiss society-the head of state, national sports icons, former ministers and army generals-all of whom had come to celebrate the sixty-fifth birthday of Werner Spross, the owner of a huge horticultural business empire. As one of Zurich's wealthiest and best-connected men, it was perhaps fitting that 650 of his "close friends" had been invited to attend the event, a lavish banquet followed by a performance of Romeo and Juliet. Defiantly greeting the guests were 200 demonstrators standing in the square in front of the opera house. Mostly young, wearing scruffy clothes and sporting punky haircuts, they whistled and booed, angry that the opera house had been sold out, allowing itself for the first time to be taken over by a rich patron. They were also chanting slogans about the inequity of Swiss society and the wealth of Spross's guests. The glittering horde did its very best to ignore the disturbance. The protest had the added significance of being held on the tenth anniversary of the first spark of the city's most explosive youth revolt of recent years, The Movement. -
Paradise Lost , Book III, Line 18
_Paradise Lost_, book III, line 18 %%%%%%%%%%%%%%%%%%%%%%%% ++++++++++Hacker's Encyclopedia++++++++ ===========by Logik Bomb (FOA)======== <http://www.xmission.com/~ryder/hack.html> ---------------(1997- Revised Second Edition)-------- ##################V2.5################## %%%%%%%%%%%%%%%%%%%%%%%% "[W]atch where you go once you have entered here, and to whom you turn! Do not be misled by that wide and easy passage!" And my Guide [said] to him: "That is not your concern; it is his fate to enter every door. This has been willed where what is willed must be, and is not yours to question. Say no more." -Dante Alighieri _The Inferno_, 1321 Translated by John Ciardi Acknowledgments ---------------------------- Dedicated to all those who disseminate information, forbidden or otherwise. Also, I should note that a few of these entries are taken from "A Complete List of Hacker Slang and Other Things," Version 1C, by Casual, Bloodwing and Crusader; this doc started out as an unofficial update. However, I've updated, altered, expanded, re-written and otherwise torn apart the original document, so I'd be surprised if you could find any vestiges of the original file left. I think the list is very informative; it came out in 1990, though, which makes it somewhat outdated. I also got a lot of information from the works listed in my bibliography, (it's at the end, after all the quotes) as well as many miscellaneous back issues of such e-zines as _Cheap Truth _, _40Hex_, the _LOD/H Technical Journals_ and _Phrack Magazine_; and print magazines such as _Internet Underground_, _Macworld_, _Mondo 2000_, _Newsweek_, _2600: The Hacker Quarterly_, _U.S. News & World Report_, _Time_, and _Wired_; in addition to various people I've consulted. -
BC2019-Printproginccovers-High.Pdf
CONTENTS Welcome with Acknowledgements 1 Talk Abstracts (Alphabetically by Presenter) 3 Programme (Friday) 32–36 Programme (Saturday) 37–41 Programme (Sunday) 42–46 Installations 47–52 Film Festival 53–59 Entertainment 67–68 Workshops 69–77 Visionary Art 78 Invited Speaker & Committee Biographies 79–91 University Map 93 Area Map 94 King William Court – Ground Floor Map 95 King William Court – Third Floor Map 96 Dreadnought Building Map (Telesterion, Underworld, Etc.) 97 The Team 99 Safer Spaces Policy 101 General Information 107 BREAK TIMES - ALL DAYS 11:00 – 11:30 Break 13:00 – 14:30 Lunch 16:30 – 17:00 Break WELCOME & ACKNOWLEDGEMENTS WELCOME & ACKNOWLEDGEMENTS for curating the visionary art exhibition, you bring that extra special element to BC. Ashleigh Murphy-Beiner & Ali Beiner for your hard work, in your already busy lives, as our sponsorship team, which gives us more financial freedom to put on such a unique event. Paul Callahan for curating the Psychedelic Cinema, a fantastic line up this year, and thanks to Sam Oliver for stepping in last minute to help with this, great work! Andy Millns for stepping up in programming our installations, thank you! Darren Springer for your contribution to the academic programme, your perspective always brings new light. Andy Roberts for your help with merchandising, and your enlightening presence. Julian Vayne, another enlightening and uplifting presence, thank you for your contribution! To Rob Dickins for producing the 8 circuit booklet for the welcome packs, and organising the book stall, your expertise is always valuable. To Maria Papaspyrou for bringing the sacred feminine and TRIPPth. -
Rethinking the Participatory Web: a History of Hotwired's “New Publishing Paradigm,” 1994–1997
University of Groningen Rethinking the participatory web Stevenson, Michael Published in: New Media and Society DOI: 10.1177/1461444814555950 IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2016 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Stevenson, M. (2016). Rethinking the participatory web: A history of HotWired's 'new publishing paradigm,' 1994-1997. New Media and Society, 18(7), 1331-1346. https://doi.org/10.1177/1461444814555950 Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. -
2. Mondo 2000'S New Media Cool, 1989-1993
UvA-DARE (Digital Academic Repository) The web as exception: The rise of new media publishing cultures Stevenson, M.P. Publication date 2013 Link to publication Citation for published version (APA): Stevenson, M. P. (2013). The web as exception: The rise of new media publishing cultures. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 2. Mondo 2000’s new media cool, 1989-1993 To understand how it was possible for the web to be articulated as an exceptional medium when it surfaced in the 1990s - that is, as a medium that would displace its mass and mainstream predecessors while producing web-native culture - one must see the historical and conceptual ties between web exceptionalism and cyberculture. -
DEAD CHANNEL SURFING: Cyberpunk and Industrial Music
DEAD CHANNEL SURFING: Cyberpunk and industrial music In the early 1980s from out of Vancouver, home of cyberpunk writer William Gibson and science fiction film-maker David Cronenberg, came a series of pioneering bands with a similar style and outlook. The popular synth-pop band Images in Vogue, after touring with Duran Duran and Roxy Music, split into several influential factions. Don Gordon went on to found Numb, Kevin Crompton to found Skinny Puppy, and Ric Arboit to form Nettwerk Records, which would later release Skinny Puppy, Severed Heads, Moev, Delerium and more. Controversial band Numb ended up receiving less attention than the seminal Skinny Puppy. Kevin Crompton (now called Cevin Key) joined forces with Kevin Ogilvie (Nivek Ogre) and began their career by playing in art galleries. After their friend Bill Leeb quit citing ‘creative freedom’ disputes, they embarked on a new style along with the help of newly recruited Dwayne Goettel. Leeb would go on to found Front Line Assembly with Rhys Fulber in 1986. The style of music created by these bands, as well as many similar others, has since been dubbed ‘cyberpunk’ by some journalists. Cyberpunk represents an interesting coupling of concepts. It can be dissected, as Istvan Csiscery-Ronay has shown, into its two distinct parts, ‘cyber’ and ‘punk’. Cyber refers to cybernet- ics, the study of information and control in man and machine, which was created by U.S. American mathematician Norbert Wiener fifty years ago. Wiener fabricated the word from the Greek kyber- netes, meaning ‘governor’, ‘steersman’ or ‘pilot’ (Leary, 1994: 66). The second concept, punk, in the sense commonly used since 1976, is a style of music incorporating do-it-yourself (d.i.y) techniques, centred on independence and touting anarchist attitudes. -
Colonizing Virtual Reality
Colonizing Virtual Reality http://eserver.org/cultronix/chesher/ Colonizing Virtual Reality Construction of the Discourse of Virtual Reality, 1984-1992 Chris Chesher Introduction New technologies do not appear from nowhere as a mystical spark of inspiration from the mind of one individual. Nor are they inevitably accepted for their self-evident benefits. A technology emerges through a process involving broader cultural, linguistic, institutional and technological contexts. One clear illustration of this process can be drawn with the appearance of "virtual reality" in 1989, and the subsequent popularization of the idea through the media. On June 7, 1989 the computer-aided design software company Autodesk and the eclectic computer company VPL announced a new technology called "virtual reality."1 In marketing this new technology (which represented a major shift in thinking about the nature of computers), the developers and promoters drew on a range of tropes: VR is shared and objectively present like the physical world, composable like a work of art, and as unlimited and harmless as a dream. When VR becomes widely available, around the turn of the century, it will not be seen as a medium used within physical reality, but rather as an additional reality. VR opens up a new continent of ideas and possibilities. At Texpo 89 we set foot on the shore of this continent for the first time. --VPL Research at Texpo 89, in Rheingold, p.154. The above quote draws several analogies to introduce Virtual Reality. The statements do not describe the nature or features of an actual product--they introduce the new idea by comparison to familiar, comfortable cultural icons. -
The Politics of Timothy Leary
THINK FOR YOURSELF; QUESTION AUTHORITY CONTENTS INTRODUCTION 2 1. BIOGRAPHY 11 2. THE POLITICS OF ECSTASY/THE SEVEN LEVELS OF CONSCIOUSNESS (THE 60S) 18 2.1. Ancient models are good but not enough 18 2.2. “The Seven Tongues of God” 19 2.3. Leary’s model of the Seven Levels of Consciousness 23 2.4. The importance of “set” and “setting” 27 2.5. The political and ethical aspects of Leary’s “Politics of Ecstasy” 29 2.6. Leary’s impact on the young generation of the 60s 31 2.6.1. “ACID IS NOT FOR EVERYBODY” 34 3. EXO-PSYCHOLOGY (THE 70S) 37 3.1. S.M.I.²L.E. to fuse with the Higher Intelligence 39 3.2. Imprinting and conditioning 42 3.3. The Eight Circuits of Consciousness 43 3.4. Neuropolitics: Representative government replaced by an “electronic nervous system” 52 3.5. Better living through technology/ The impact of Leary’s Exo-Psychology theory 55 4. CHAOS & CYBERCULTURE (THE 80S AND 90S) 61 4.1. Quantum Psychology 64 4.1.1. The Philosophy of Chaos 65 4.1.2. Quantum physics and the “user-friendly” Quantum universe 66 4.1.3. The info-starved “tri-brain amphibian” 69 4.2. Countercultures (the Beat Generation, the hippies, the cyberpunks/ the New Breed) 72 4.2.1. The cyberpunk 76 4.2.2. The organizational principles of the “cyber-society” 80 4.3. The observer-created universe 84 4.4. The Sociology of LSD 88 4.5. Designer Dying/The postbiological options of the Information Species 91 4.6. -
Rethinking the Participatory Web Final
Preprint version of Stevenson, Michael. 2014. “Rethinking the Participatory Web: A History of HotWired’s ‘New Publishing Paradigm,’ 1994–1997.” New Media & Society, October. doi: 10.1177/1461444814555950. Title Rethinking the participatory web: A history of HotWired’s ‘new publishing paradigm,’ 1994-1997. Author Michael Stevenson University of Amsterdam [email protected] Abstract This article critically interrogates key assumptions in popular web discourse by revisiting an early example of web ‘participation.’ Against the claim that Web 2.0 technologies ushered in a new paradigm of participatory media, I turn to the history of HotWired, Wired magazine’s ambitious web-only publication launched in 1994. The case shows how debates about the value of amateur participation vis-à-vis editorial control have long been fundamental to the imagination of the web’s difference from existing media. It also demonstrates how participation may be conceptualized and designed in ways that extend (rather than oppose) 'old media' values like branding and a distinctive editorial voice. In this way, HotWired's history challenges the technology-centric change narrative underlying Web 2.0 in two ways: first, by revealing historical continuity in place of rupture, and, second, showing that 'participation' is not a uniform effect of technology, but rather something constructed within specific social, cultural and economic contexts. Keywords web history, participation, Web 2.0, cyberculture, digital utopianism, Wired !1 Introduction In the mid-2000s, a series of popular accounts celebrating the web’s newfound potential for participatory media appeared, from Kevin Kelly’s (2005) proclamation that active audiences were performing a ‘bottom-up takeover’ of traditional media and Tim O’Reilly’s (2005) definition of ‘Web 2.0’ to Time’s infamous 2006 decision to name ‘You’ as the person of the year (Grossman, 2006). -
Psychedelic Resource List (PRL) Was Born in 1994 As a Subscription-Based Newsletter
A Note from the Author… The Psychedelic Resource List (PRL) was born in 1994 as a subscription-based newsletter. In 1996, everything that had previously been published, along with a bounty of new material, was updated and compiled into a book. From 1996 until 2004, several new editions of the book were produced. With each new version, a decrease in font size correlated to an increase in information. The task of revising the book grew continually larger. Two attempts to create an updated fifth edition both fizzled out. I finally accepted that keeping on top of all of the new books, businesses, and organizations, had become a more formidable challenge than I wished to take on. In any case, these days folks can find much of what they are looking for by simply using an Internet search engine. Even though much of the PRL is now extremely dated, it occurred to me that there are two reasons why making it available on the web might be of value. First, despite the fact that a good deal of the book’s content describes things that are no longer extant, certainly some of the content relates to writings that are still available and businesses or organizations that are still in operation. The opinions expressed regarding such literature and groups may remain helpful for those who are attempting to navigate the field for solid resources, or who need some guidance regarding what’s best to avoid. Second, the book acts as a snapshot of underground culture at a particular point in history. As such, it may be found to be an enjoyable glimpse of the psychedelic scene during the late 1990s and early 2000s. -
Rethinking the Participatory Web Final
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Preprint version of Stevenson, Michael. 2014. “Rethinking the Participatory Web: A History of HotWired’s ‘New Publishing Paradigm,’ 1994–1997.” New Media & Society, October. doi: 10.1177/1461444814555950. Title Rethinking the participatory web: A history of HotWired’s ‘new publishing paradigm,’ 1994-1997. Author Michael Stevenson University of Amsterdam [email protected] Abstract This article critically interrogates key assumptions in popular web discourse by revisiting an early example of web ‘participation.’ Against the claim that Web 2.0 technologies ushered in a new paradigm of participatory media, I turn to the history of HotWired, Wired magazine’s ambitious web-only publication launched in 1994. The case shows how debates about the value of amateur participation vis-à-vis editorial control have long been fundamental to the imagination of the web’s difference from existing media. It also demonstrates how participation may be conceptualized and designed in ways that extend (rather than oppose) 'old media' values like branding and a distinctive editorial voice. In this way, HotWired's history challenges the technology-centric change narrative underlying Web 2.0 in two ways: first, by revealing historical continuity in place of rupture, and, second, showing that 'participation' is not a uniform effect of technology, but rather something constructed within specific social, cultural and economic contexts. Keywords web history, participation, Web 2.0, cyberculture, digital utopianism, Wired !1 Introduction In the mid-2000s, a series of popular accounts celebrating the web’s newfound potential for participatory media appeared, from Kevin Kelly’s (2005) proclamation that active audiences were performing a ‘bottom-up takeover’ of traditional media and Tim O’Reilly’s (2005) definition of ‘Web 2.0’ to Time’s infamous 2006 decision to name ‘You’ as the person of the year (Grossman, 2006). -
Rave Reviews of Psychedelics Encyclopedia
00 - Third Edition Update.htm Key to Cover Photos: 1. cross-section of yage vine; 2. psilocybin mushrooms; 3. morning glory; 4. sinsemilla marijuana flower tops; 5. peyote cactus blossom; 6. Tabernanth iboga roots; 7, Amanita muscaria mushroom. Rave Reviews of Psychedelics Encyclopedia "Peter Stafford has an elephant's memory for what happened to Public Consciousness." - Allen Ginsberg "A delightful Rabelaisian social history of psychedelics in America." - Whole Earth Review "A look at the history, pharmacology, and effects of these drugs, based upon ... literature, folklore, and the author's personal experiences." -Library Journal "Fascinating .. , consumer-oriented exposition details history, botany, synthesis, and use of LSD, pot, cactus, mushrooms, street, and ceremonial drugs popular in the '60s." file:///C|/My%20Shared%20Folder/Stafford,%20Peter%2...-%20Introduction%20&%20Third%20Edition%20Update.htm (1 of 102)3/24/2004 7:33:35 PM 00 - Third Edition Update.htm - American Library Association, Booklist "A wealth of information on each of these mind-altering substances. Even those who disagree will find it an important resource." - Drug Survival News 'There's no end to the great new things you'll learn about dope in Psychedelics Encyclopedia ,.. authoritative." - High Times Magazine "A fine reference book, always engaging and easy to read .. .1 have no hesitation in recommending it as a source of interesting and reliable information." - Andrew Weil, M.D., co-author of From Chocolate to Morphine "Stafford's Psychedelics Encyclopedia,