01/unimodernism/UnimodernUnimedia/Thereareanexponentiallygrowingnumberofpeoplewhocannotbutseetheworldasinformationitself/Thisisthekeytounderstandingtheaestheticeffectsoftheculturemachine/Thischapteroffersalargervisionofhowthecompu/terbecomesthecentralnodeofcultureitself/ArtistJohnSimonJrripsapartthegutsofaPowerBooktocreateadisplayspacefortheevolvingsoftwaresimulationofComplexCity/Designe
02/rsIODcrafttheirWebstalkersoftwaretogivevisualformtothesprawlofthenetworkandLisaJe/vbrattmapsouttheWebasaninteractivecolorfield/AaronKoblinmakesaliveactionvideoforRadioheadssongHouseofCardswithoutcamerasorlightsusing3Dtrackingtechnologiesthatcreatedatastreamsthatviewers/userscanthenremixwithnewanglesandvisualstoposttoYouT/ube/ThegreenonblackdatascapesinTheMatrixfilmssimultaneouslyvirtualizeandreali
03/zetheWachowskiBrotherspopmysticism/EvenFrankGehrysGuggenheimBilbaoandDisneyConcertHallthosemostsensuousoftwentyfirstcenturysignifierscanbeseenasmanifestationsofthe/CATIA3Dsoftwareusedtodesignthem/Ubiquitouscomputingandgeographicinformationsystemsarevirtualfiguringmachinesconstantlypoppingoutnewdatapointsfrompreviouslymutespacesandmaps/Howarewetodescribetheseproductsoftheculturemachine/Theculturema
04/chin/ewasoriginallytaggedastheultimateinpostmodernism/Thecollageaestheticdecenteringandobfuscationofbothauthorandauthoritythatthenetworkedcomputerofferedseemedlikeaperfectfitwiththosewhosawtheendofthehighmodernmomentasbeingsupersededbythepostmod/ern/ButIwouldarguethatratherthanearlyhighorpostweproduceandconsumeaunimodernism/Ourmomentisunimoderninthesensethatitmakesmodernisminallitsvariantsuniversa
05/lvianetworksandbroadcastsuniformintheireffectifnotaffectandunitaryintermsoftheirexisti/ngasstringsofcode/Intheunimoderneraasbitsonlineandindatabasesaphotoisapaintingisanoperaisapopsingle/SIDEBAR/AfterAllieMaeBurroughs/Arrangethreeportraitsonwhateverscreenishandy/Theyareatoncethesameandnotthesamebutitistheirsamenessindifferenc/ethatwillprovecrucialtounderstandingourmoment/Thereisasubjectoftheseimag
06/eswholooksoutatyouinstantlyrecognizablethoughstillanonymous/Herbrowisfurrowedherlipspursedherrawskincrisscrossedwithcrowsfeethereyesdarkandtired/Whenyoufindoutthatsheis/onlytwentysevenyearsoldyouareremindedofthetollthatpovertytakesonthebody/SheisAllieMaeBurroughsasharecropperswifefromDepressioneraHaleCountyAlabama/AndthroughvariousquirksoffateartandtechnologyAllieMaeBurroughsremainsrelevantwellint
07/othetwent/yfirstcenturyaposthumousheroineofunimodernunimedia/ThefirstimageonourscreenisaphotographtakenofBurroughsoutsideherclapboardhouse/In1936WalkerEvansoneofthetoweringfiguresofmodernistdocumentaryphotographyaccompaniedthewriterJamesAgeeonanassig/nmenttodocumentruralpovertyintheDeepSouth/FiveyearslatertheprojectbecameabookwiththeevocativeandbiblicaltitleLetUsNowPraiseFamousMen/Thebookopenedwit
08/hdozensofEvanssimagesincludingitsmosticonicthephotographofAllieMaeBurroughsthoughhereAgeega/veherthefirstofhernewidentitiesthepseudonymAnnieMaeGudger/AnidiosyncraticmixofreportagebellelettrismandwhatmightbecalledAmericanseculartheologyLetUsNowPraiseFamousMenwasacriticalsuccessbutacommercialfailuresellingjustoversixhundredcopiesin1/941andthenpromptlygoingoutofprint/Reissuedtwentyyearslaterandstilli
09/nprinthalfacenturyonLetUsNowPraiseFamousMenbecameasensationinspiringgenerationsofaspiringphotographersandjournaliststogooutandcapturethetruthoftheirworld/Thebookalsohelpedce/mentEvansasoneofphotographysgreatpatriarchs/ThesecondimageisaphotographofEvanssphotographofBurroughs/Onourscreenitlooksexactlythesameasitspredecessoryetwhenthisnewimagewasfirstshownin1981atMetroPicturesgalleryinNewYorkCityitwa
10/scalledUntitle/dAfterWalkerEvansandcreditednottoEvansbutinsteadtoayoungartistnamedSherrieLevine/LevinesrephotographingofEvanssiconicimagehasbeeninterpretedaseverythingfromablatantactofplagiarismtoadaringmoveofappropriation/IsidewiththelatterviewtakingUnti/tledAfterWalkerEvansasaquintessentialpostmodernworkusingmediatochallengemediaauthorshiptochallengeauthorshipanddareIsaygeniustoquestionwhatwemea
11/nbytheterminaculturethatalmostneverbestowsitonwomen/TheEvansestatehoweversawLevinesinterventiona/stheftitsuedwonandpreventedthepublicpresentationofLevinesseriesformorethantwodecades/ReturnonefinaltimetothescreenforthelastofourimagesofBurroughs/ThisoneisadigitalscanoftheLevinerephotographyputonlinebytheartistMichaelMandibergin2001aspart/ofaprojectcalledAfterSherrieLevine/com/Thescansareat850dotsper
12/inchthesameresolutionasLevinesworkthoughmuchlowerthanwhatcouldbedonewiththeEvansoriginals/EachcanbedownloadedfromMandibergssitewithacertificateofauthenticityproclaimingthattheyar/erealMandibergsanironicripostetothosewhotookLevinesworkmerelyastheproductionoffakeEvanses/EvenifAfterSherrieLevine/comislesscompellingthantheworkofLevineherselfitdoesprovideasuccinctreminderofexactlyhowunimodernunimediafu
13/nction/Becausewhent/hethreeimagesofBurroughsarelinedupinwhateverformatbeitdesktoplaptoponacellphoneorfloatingintheetherasaretinalprojectiontheirdifferencesarewhollysubsumedbytheirnewtechnologicallymediatedequivalences/Indeedquestionsofauthenticityprimacyandown/ershipdissolveastheimageissimultaneouslyautonomousandmediatedunitaryyetboundless/WalkerEvansisdead/SoisJamesAgee/ButAllieMaeBurroughsliveso
14/ninthecollectionofNewYorksMuseumofModernArtwhichpurchasedboththeEvansandLevinephotographsnottomention/onaninfiniteandinfinitelyproliferatingnumberofunlicensedscreensnearandfarfromyou/Figure/ground/Theunimodernculturemachineproducesvastdatabasesoftextsimagessoundsandothermedia/Downloadingmindfullyfromthisenormitymuchlessuploadingtoitinanymea/ningfulwayrequiresaswehavebeendiscussinginearlierchapters
15/thedevelopmentofnewhabits/Onewaytodevelopthesehabitsofmindistothinkintermsoffigureandgroundrelationships/Gestaltpsychologysfigure/groundexperimentswereprovocativethedrawingthatcanbeei/theravaseortwofacesinprofiletherabbitthatsaduckthatsarabbittheoldwomanwhoisayoungwomanwhoisanoldwoman/WhenyoulookatanimagethefigureiswhatissupposedtohavethedefiniteshapetheprominentcontourandtousethepeculiarGermanicp
16/hrasingbelovedofGestalti/stsagreaterthingcharacterthantheground/Inthebestofthefigure/groundillustrationsthereisamomentwhenyourperceptionpopsandwhathadbeenthegroundflipsinstantaneouslyintothefigureitbecomesthingy/Thisisatransformationsimultaneouslymagicalandquotidia/nandafterthepopitseemsimpossiblethatyoueverdidnotseethefigureinpreciselythatway/Thiskindofpopcansignalamajortransformationinculturesom
17/ethingemergesfromthegroundwhileformerlyprominentfiguressinkbackintotheamorphousperiphery/Thedynamicbetween/figureandgroundisakintoaparadigmshiftbutitislessaboutthesingularfigureexplodingthesystemthroughinventionthanthecollectiverecognitionofthingsthatwerealreadypresentalthoughnotcentraltotheculturesperceptionofitself/Thepopbetweenfigureandground/isascontemporaryasMalcolmGladwellsnotionofthetipping
18/pointandasancientasthestoryoftheemperorsnewclothes/Acrucialdifferencebetweentherevolutionarymodelandthefigure/groundflipisthatintheformerthereisnogoingbackwhileinthelatterthefigureandthegr/oundcanoscillate/ThegreatdesignerPaulRandonceclaimedthathisprocesscouldbedescribedasanendlessseriesoffigure/groundproblems/Everythingis/Allartisrelationships/Theserelationshipsareevenmoreimportantinanerawhentogg
19/lingbetweenfigureandgroundcan/happenatthetouchofaswitchtheshiftofanelectron/AfterthePop/OneoftheloudestpopsofthelasthundredyearsoccurredasaresultofthepublicationofSigmundFreudsInterpretationofDreams/Withinagenerationwewerenolongerunconsciousoftheunconsciousthegroundofun/acknowledgedmotivationsbecamethecentralfigureforacultureinthralltopsychoanalysis/ItisnotthatartistsbeforeFreudwereoblivioustoinex
20/plicablemotivationsandhiddenmeaningsthinkofMacbethsdammedspotbutratherthatafterFreudthosefactorsthatformedthegr/oundforartistsfromAeschylustoShakespearetoHonorédeBalzacweretransformedintotheveryfigureofthework/UncoveringtheunconsciousinpostFreudartandculturewaseasierthanfishingwithdynamite/JustthinkofthewaythatAlfredHitchcocktreatedpoorJimmyStewartin/filmafterfilmcrippledcastratedandfrustrated/Ify
21/ougolookingfortheunconsciousinRearWindowRopeandVertigohowcouldyounotfindit/Psychologistscallthisselectiveperception/Onceyoubecomeawareoftheunconscioushowcanyoumissitoritsabsencewhereveryoulook/Afterthepopthenewrelationshiptakesonthemantleofcommonsenseofnaturalperceptionandtranscendenttruth/Wecouldwithequaleasequestionhowmiddleclassstriversinthe1920scouldhavedemandedsomuchVictorianbricabracintheirh
22/omeswhenthemachineaestheticwassoc/learlyascendant/Butthatignorestherealityofthesituationthatconfrontedthefirstgenerationsofmodernists/Thegeneralpopulationknewthatindustryandthemachinewerethegroundonwhichtheirculturewasbuilttheyjustdidnotwanttoseeitascentral/Theywantedartnou/veaucurlicuessymbolistsyphiliticfemmesanddeadearnestartsandcraftswallpaper/Itwaslefttothosesmallcommunitiesofthelikemindedand
23/loudlydebatingthecubistsfuturistspuristsconstructivistsandotheravantgardiststoflipaworldinwhichtheindustrialmachine/wasthegroundfromwhichthefiguresofcultureweredrawn/ThinkoftheincendiaryindustrialchicofMarcelDuchampsfountaintheantihumanismofLeCorbusiersmachinesforlivingthescopicmechanizationofVertovskinoeyeFilippoTommasoMarinettiswholesaleembraceofspeedi/ngplanesandmotorcarsandOttoNeurathsuniversa
24/lizeddesignisotypes/Overthecourseofmorethanaquartercenturytheseartistsforcedustoconfrontthemachineasthesalientelementoftwentiethcenturyvisualculturenotsimplythebackdrop/Thevisionariesoftheearlytwen/tiethcenturytransformedthelookandfeelofculturenotsupplantingtheoakandmarbleedificesofthepastsomuchasaddingthesheenofindustrialmaterialslikeconcreteglassandsteel/Bythe1920sand1930stheaudienceformodernism
25/wasequallyanaudienceforthemachineaesth/eticthehardunembellishedlinesofElLissitzkysgraphicdesigntheclanksandatonalityofAlbanBergsoperaWozzeckthesensuouscurvesofMarcelBreuerschromedsteeltubinginhisModelB32chairtheassemblagesoftubespistonsandleversthatcomposetheFernandLégerpainting/NudeonaRedBackgroundtheseverityofRudolphSchindlersuntreatedwoodenbeamsintersectingwithunadornedcanvascoveredslidingdoorf
26/ramesandthecomicyetsinisterfactorywhereCharlieChaplinworksinthefilmModernTimes/Regardlessoftheirmediaartistssensedthecha/ngeandfilledtheirworkwiththesightssoundsandevensmellsofindustryfiguringthemachineascentraltothecultureofthetwentiethcentury/Whileindustrialmachinespoppedahundredyearsagoinformationhasemergedasthekeyfigureforthisnewcentury/Therearehistorical/parallelsbetweentheemergenceofthemachi
27/neaestheticinthefirstdecadesofthetwentiethcenturyandthenascentaestheticsofadigitizedunimoderncultureinthetwentyfirst/Thesecondhalfofthenineteenthcenturydevelopedamarketeconomythatproducedandconsumedmach/ines/Theearlydecadesofthetwentiethcenturysawartistsarchitectsanddesignersrespondingtothisfeverofmaterialproductionbyfiguringthemachineintheirartarchitectureanddesign/Thesecondhalfofthetwentiethcent
28/uryinturnbecameaneveracceleratingfeedbacklo/opofinformation/Thusweshouldnotbesurprisedthatthepastfewyearshaveseentheculturemachineproducinginformationbasedartarchitecturedesignandmediaadigitizedinterconnectedsocietyproducesobjectsandsystemsthatdealwithsoftwaredatabasesandtheinvisible/flowsofcommunicationstechnologyandcomputingalgorithms/ThegreatgrandchildrenofthoseobsessedwithVictorianainthe1920sm
29/aylookbackwithbemusementontheirforebearsarchaictastesbuttheyaretheonesflockingtomodernistemporiumsliketheConranShopandDesignW/ithinReachtopurchasethehighestexpressionsofthemachineageattheverymomentthattheinfoaestheticisonus/Ifweacceptthatintheeraoftheculturemachineinformationhaspoppedtotheforefrontofourconsciousnessthenusingfigure/groundrelationshipscanhelpusunder/standhowunimodernismselectronicda
30/tabaseshavetransformedourexpectationofstylisticprogressandwarpedourculturalmemory/Whenimagetextphotographicandallmannerofaudiovisualrecordsareavailableatthetouchofabuttonanywhereintheunimodernwiredworldtheor/deredprogressionthroughtimeisreplacedbyablendedpresentnesswhatliterarytheoristswouldrefertoasthereplacementofthediachronicbythesynchronic/Soitisthattherehavebeenthreeorfourdistinctiterationsof
31/thepunkaestheticsinceitfirstappearedinthe1970s/T/hischurnisnotsomuchanaccelerationofnostalgiaasareworkingofmemoryitself/Inthecenturyandahalfsincetheadventofthewidespreadreproductionofimageswehavebeenthroughthreedistinctmediaregimesandareenteringthefourth/Thefirstwasthatofphotographydomina/tingthesecondhalfofthenineteenthcentury/Thephotographiceffectwasutterlytransformativeamechanicaltechnologythat
32/cametodominatetherealmofimagesutterly/Photographyaffectedthehumanunderstandingofeverythingfromtruthvaluetothefluidityoftimetotheve/ryconceptofwhatitistobecreative/Pictureperfectamomentintimeandanimageattheclickofabuttonmovedfrombeingmarvelstoclichés/Thefirsthalfofthetwentiethcenturywascinematicwiththemoviescreatingthedreamworldsofthetheirviewerstheireconomiescreatingan/ewbreedofhumanthatwecametoca
33/llstarsthelogicofmontageandthesynergisticeditingofmovingimagesequencesreframingtheverywaywelookedatlife/AsIhavearguedextensivelyherethepost–WorldWarIIeraacceptstheallatoncenessoftelevisionandadaptstoitsfragmentin/gzappingdramaturgyofthesupermarket/Wearethefirstgenerationhowevertohavethecomputerasourculturemachineandmuchwilldependonwhatwemakeofitsnetworkedcapacities/TheRomansenatorCicerowasfamedfor
34/hismnemnotechnicsorthepracticeofmemory/Twentyyearsafterthefacthecouldrecitewordforwordspeechesthathehadheardonthesenatefloor/Inaperiodbeforethewideavailabilityofpaperfortakingnotesatrainedmemorywasofinestimab/levalueingovernanceandcommerce/PrinttransformedthissituationandbytheEnlightenmenttheartsofmemorywerealreadyobsolete/Ifanythingtheculturemachineallowsforeventheoutsourcingofourmemorieswithaudi
35/ofilesimagebanksandvideostorageaddedtothearchive/Theeffectsofallofthisstoragegowellbeyondthememoryofpersonalexperiencetoencompassourmemoriesofmediatedexperienceaswell/Theuniversaldatabasetransformsthedirectlinkagebetweentheobjectintimeandtheactualmemoryofthattime/Televisionledthewaywithch/ildrenwhogrewupinthe1980snownostalgicfortheirfirstviewingsofILoveLucyashowthatmaywellhavepredatedtheirownparen
36/tschildhood/Inotherwordsbythestartofthetwentyfirstcenturyauniformtemporallymeldedpopularculturenowexiststhatnolongerneedsstratific/ationbydecades/UnimodernculturalproductionfollowsanarcfirsttracedbyDuchampandhisreadymades/WithFountain1917Duchamppresentedassculptureamassproducedurinalturnedupsidedownandmountedinagallery/AfterDuchampitisthepresentationoftheobjectthatdefi/nesthatobjectsfunctionwithin
37/culturewiththeshapingandmoldingofcontextcometothefore/Thisisnotnewsandinfactthosedefiningthedifferencesbetweenthehighmodernmomentandwhatfollowedithingedtheirdefinitionpreciselyonthiselevationofcontexttoparitywith/thetextitself/Ithasonlybeenwithinthepastdecadethatthecombinationofcomputersandcommunicationnetworkshasbeenrobustenoughtocontributetothecreationofcontext/Thiscontexttakesmanyformsespeciall
38/yinrelationtopopularmediafromthepreplannedmarketingof/tieinsfrommusicCDstelevisionspinoffsandlunchboxestotheefflorescenceofdiscursivecommunitiesgeneratedbyfans/Incertaincasestheseallcombinetocreatesomethingfarmoreinterestingthanthebackstoryandmorecomplicatedthansynergisticmarketing/Thisisthehy/percontextadynamicinterlinkedcommunicativecommunityusingnetworkstocurateaseriesofshiftingframesandcontent
39//Theadditionofgreaterlevelsofinformationtoanobjectorsystemisnotsimplyanadditiveprocessitisatransformativeone/Ittransformsobjectsbyaugme/ntingthemandsituatingtheminvastlylargerhypercontextsandwhendoneintheproperspiritmakesthemstickier/Beingabletotellfigurefromgroundinthisenvironmentofhypertrophiedtranstemporalbricolagebecomesavitalpartofnegotiatingtheuseoftheculturemachine/W/henthewholeofpopularcul
40/turefromthelasthundredyearsisfinallybroughtunderthedisciplinarityoftheuniversaldatabaseitallbecomesgroundandtherefigurationofitspartsbecomesaveritableeconomicnecessity/Thosewhoarecapableofrefiguringinawaytoattractanau/diencebecomefantasticallypowerfulwealthgeneratorsfromhyperstylizeddirectorQuentinTarantinotohyperintellectualizedarchitectRemKoolhaasfromJapaneseSuperflatartistTakashiMurakamitoUSlif
41/estyleguruMarthaStewart/Howthisfigurationoccursandhowthisp/rocessaffectsitsmeaningsdefinesthescalefromTeflontosticky/Ihavementionedartistsdesignersanddirectorsherebutbeingabletoflipbetweengroundandfigureiscentraltoeveryonesuseoftheculturemachine/Whatweallfromworldfamousdesignertoweeklybloggertoocca/sionaltakerofdigitalsnapshotsneedisacatalogofstrategiestohelpusunderstandwhatwedownloadandcontribute
42/towhatweupload/Thewaysthatwefigurewordssoundsimagesandobjectsfromthegroundofinformationwilldefinehowandwhatweareabletoproducewiththeculturem/achine/Thekeyistounderstandunimediaastheresultandunimodernismastheaspiration/Unimodernunimediarenderscertaininheritedcategorieslessusefulaswemoveintothefuturebutnotwithoutvalueasweanalyzethepresent/Howmeaningmanifestsitselfviatheculturemach/ineoftenlinksdirec
43/tlybackintothespecifichistoriesoftheindividualmediabeingsimulatedandtheirtraditionsofauthorshipandreception/Whatfollowsherecatalogssomeofthestrategiesthatthesemediahavefollowedinthisnewera/SIDEBAR/TheSovietManWhoFelltoEart/h/OfallthedelightfulthoughtexperimentsthattheoreticalphysicshasgivenbirthtofromErwinSchrödingerscattoRichardFeynmansBrownianratchetmyfavoriteisAlbertEinsteinstwinsparadox/Thisst
44/oryoftwobrothersexplainstherelativityofspaceandtime/Thefirstbro/thertravelsintospacewhiletheotherstaysonEarth/Thespacefarerisonafastrocketandgoesonatenyearjourney/Whenhereturnshomethoughhefindsoutthathisbrotherhasagedtwentyyearsduringhistrip/Thisseemingparadoxcanbeexplainedbecauseofthewaythattravelingcl/osetolightspeedshiftsthevantagepointfortime/Sciencefictionsqueezedthisstoryforallitwasworthwith
45/thetravelerlosingdecadesifnotcenturiessothatonhisreturnallthatthespacemanknewhadbeenconsignedtoadustypast/IlovedthisstorywhenIwasyoungerinthatway/thatcertainchildrendreamofthefreedomsandpowersofbeingorphaned/Ifiledthisspace/timeparadoxawayforyearsbecauseIneverexpectedtohavetodealwithitatleastuntilthatunlikelymomentthatweachievedclosetolightspeedtravel/Whatphysicsproposedhoweverhistor/ydeliveredint
46/hesingularformofcosmonautSergeiK/Krikalev/Krikalevhasspentmoretimeinspacethananyotherhuman803days2yearscombinedandcounting/In1991duringhislongeststintinorbitthisheroofthespaceagealsocameasclosetoexperiencingtheEinsteiniantimepa/radoxasonecanwithoutaclosetolightspeedengine/WhentheLeningradbornKrikalevleftinMay1991hewastheUSSRsbestknowncosmonautlaunchingsafelyfromaSovietbase/WhenhereturnedtoEarthten
47/monthslatertheUSSRwasnomoreLeningradhadbeenrenamedorbetterrerenamedS/aintPetersburgandwhilehelandedinthesamespotfromwhichhehadlaunchedthebasewasnolongerintheSovietUnionbutratherinthenewlyindependentstateofKazakhstan/InotherwordsKrikalevwentupaSovietandcamebackaRussian/Krikalevissomethingofamascotorperhapsbet/teryetaniconforthisbook/Heisapoweruseroftechnologywhatspacefarerisnot/andcompletelyencapsu
48/latedbythatsametechnologyforagainahumaninthefrigidvacuumofspacecannothelpbutbeso/Heactsandisseenonboththelocalandglobalscalehewasselectedtobethefirstc/osmonauttojointhecrewofaNASAspaceshuttlemission/Hehasbeenbothaparticipantinhistoryandanobserverwithaparticularlystunningvistaofit/Oneofthecentralideasofthisbookisthatinordertounderstandtheimpactoftechnologyoncultureweneedtoregularlyshiftour/percepti
49/onoffigureandground/Thatistosaythatwemustlookatthethingsthatenvelopussocompletelythattheybecomethebackgroundobjectsofourlivesandthenforceourselvestoconcentrateonthemassubjectstofigurethemoutoftheground/Accustomedtoswitchingtheground/ofEarthforthefigureoftheskyKrikalevsuniqueandtrueperceptionofourplanetcanserveasinspiration/WordsTheUnendingWonderofHypertextuality/Wearenowsodeeplyentrenchedintheerao
50/fwordprocessingthatwehaveforgottenhowrevolutionarythedevelopmentofdynamic/textwasfortheproductionofliterature/Thattheculturemachinecanreformatyourworkwhileyouaretypingitthatyoucangrabchunksofitandrearrangethemthatyoucansearchfortermsandreplacethemandthattheprocessofaddingandeditingisessentiallyoneofunfinishthesea/reallthemodesunderwhichweworksoinstantlyingrainedthatwehaveforgottenjusthownewtheyare
51//Whenyouaddinhypertextualitytheabilitytolinkandjumpfromonesectionofatexttoanotherorfromonetexttoanentirelydifferentoneyouhaveoneofthedefiningqualitiesofthe/unimodernculturemachine/Hypertextshowedthewaybymakingthelinkintegraltotheconstructionofthemeaning/Thecreationofmeaningviajuxtapositionisancientofcoursebutthemodernerasrefinementofcollageinstillimagesandthenmontageinthecinemaelevatedthestatu/sof
52/themeaningsproducedthroughtheseprocesses/Thetelevisualeraintroducedarandomnesstothejuxtapositions/IfSovietfilmmakerEisensteinsdialecticalmontagewasaboutthedeliberateproductionofeffectthroughcinematiceditingchannelzappingontelevisionwascl/osertotheexperimentalcutupfictionofBrionGysinandWilliamBurroughsinthelate1950s/GysinapainterandBurroughsanovelistcreatedtextsandthenliterallycutthemupintopiecesre
53/assemblingthefragmentsatrandomgivingupalargemeasurethoughnotbyanymeansallautho/rialcontrol/Theearliestattemptsathypertexttriedtomarrytherandomnessofthecutuptechniquetoarestricteduniverseofpotentialconnectionstherebyestablishingthetechnoliteraryequivalentofaforcedcardinmagic/Youhadchoiceasauser/readerbutyourchoicesandp/athswereoftenpredeterminedbytheauthor/TheadventoftheWorldWideWebbrokeopenthesecl
54/osedtextworldscreatingthefreedomtojumparoundwithrealrandomness/Oneoftheearliestnet/arttextpiecesunderstoodthenewenvironmentperfectlylinkingeverywordonaWebpageto/adomainthatcontainedthatwordafarmoreinventiveconceptin1996whentherewerethousandsratherthanbillionsofpagesinetherspace/Whatisnewintheworldisthattextmoreandmorebecomessomethingthatislinkedtoanythingwordsbecomethebuildingblocksofaugmentations
55/t/hewholeworlddevelopslabelslikethoseatmuseumexhibitionsandeachlabellinkstoanotheronedescribingadvertisingorcommentingonanothertextanotherimageanotherobject/Thehyperlinkingthatstartswithtextasfarbackasthe1940sexperimentsofBushandTuringbecomes/thedefaultmodeoffiguringmeaningintheworld/Whathappenswithtextmovesontosoundsthentoimagesandfinallytophysicalobjects/SoundsMixandMash/Fortheculturemachineitis
56/asthougheverythingthathappensintherealmofthevisualhappensyearsbeforefirstwithtextan/dthenwithsound/Soundischeaperandeasiertostoremanipulateanduploadthanimagesandsoithasbeenthatdigitaltechnologieshavetransformednotonlythemediathatthemusicarrivesonbutalsotheveryaestheticsandcontentofthatmusic/Theshiftfromanalogtodigitalisabo/utmuchmorethantheshiftfromvinylalbumstoCDsandthentofreefloatingfilesharing
57/Theproliferationofcheapsynthesizersandeditingsuitesenabledbydigitaltechnologiesspreadthismemetomusiciansandproducersworldwideandthemusicitselfbegantochange/Bythetime/theculturemachineeventuallysimulatedandsubsumedthesesoundgeneratingandsoundorganizingmodalitiesanentiregenerationoflistenerswerecreatingsampledremixeddigitallyprocesseddigitallyaccessedmusic/FromthenowquaintYouveGotMailAOLvoicecodergr
58/eeting/totheadventofaudibleinterfacesandgamesoundscapestothepopularityofpopsnippetsaspersonalaudioidentificationsincellphoneringtonestherehasbeenaproliferationofaudiocueswithinworkplayandmobileenvironments/Theunimodernsoundscapeowesahugedebttohiph/opculture/Theoriginsofhiphoparetobefoundintheanalogarena/Inthe1970sdiscjockeysintheBronxcutbackandforthbetweenturntableswithvinylrecordsonthemmasteringt
59/heirabilitytodropsamplesandusetheturntablesthemselvestogeneratenewsoundstheubiquitousscr/atchingofthatera/Butwithinadecadetheculturemachinestartedtoabsorbandsimulatetheseanalogtechniquesandthedigitalsamplebecamethemusicsbuildingblockandremixingbecametheaestheticstrategyofchoice/Hiphopandhightechareinextricablyboundtogetheroffer/ingasterlingexampleofthestreetfindingitsownusesfortechnology/Thenowdef
60/unctmusicfilesharingserviceNapstermakesforagoodcasestudyofsoundspioneeringmediastatus/Peoplehadbeenusingelectronicnetworkstotradeandcollectsongsandevenwholealbumslongbefo/retheadventoftheWebbutitwasonlyafteraNortheasternUniversitystudentinBostonnamedShawnFanningcreatedadecentralizedeasytousesystemfororganizingmakingavailableanddownloadingmusicthatthepeertopeerphenomenonreallytookoff/Napstermadeitm
61/uchsimplerf/ornetworkuserstolookthroughotherpeoplesdigitizedmusiclibrariesdownloadwhatinterestedthemandopentheirownlibrariessothatothersmightdothesame/Theeffectonthemusicindustrytheintellectualpropertyissuesthelegalprosecutionofdownloadersandtheimpassi/onedpositionstakenbyartistsmusicexecutivesandfanshavegeneratedmegabytesofcommentaryandthebusinesshistoryofNapsterhasbeencoveredinlegaljournalsandbe
62/enthesubjectofashelfsworthofbooks/IntheendthoughwhatNapstermanagedtodowaseffectaqualitativedi/fferenceinthewaysinwhichpeoplethoughtaboutthenetworkandtheWeb/Thenetworkwasnowopenforsharingtothewiredmassesratherthanbeinganexclusivepreserveofdedicatedhackers/Thememeofsharingregardlessoftheissuesofcopyrightbecameembeddeddeeperanddeeperin/tothehabitsofuserspreparingthewayforYouTubeandotherparticipatorys
63/ites/OneplacetoseethehiphopcollageaestheticcollidewithpostNapsterfilesharingisthephenomenonofthemashup/MashupsmeldtwoormorerecordingsintoanewentitymostfamouslydonebyDangerMous/ewhenhemashedtheBeatlesWhiteAlbumadefiningworkofthe1960srockerawithJayZsrapepicTheBlackAlbum2003tocreateTheGreyAlbum2005/TheresultwaswidelydistributedbecauseoftheWebfilesharingandtheproliferationofsoundandimageeditingtools/T
64/heabilitytodownl/oadvastarchivesofmusicwhetheraccessedlegallyormorelikelyillegallyallowedforanexplosionofmashups/ThefadforitwasafadeventuallydieddownasWebdrivenphenomenafrequentlydobutthemashupswereproofthathugeaudienceswereplayingwiththeirculturemachinesmi/xingmatchingpastingandthengettingthatunimodernmaterialoutintotheunimodernworld/ImagesWYSIWYGorWhatYouSeeIsWhatYouGet/Whathappenedintextandsoun
65/dinevitablyspreadtotherealmoftheimage/Theexplosionofculturalproductionthatmashupsreflecthasinturnt/ransformedourunderstandingofthemeaningsofwordslikeprintandpublish/Weprintmuchmorethantextthesedays/Thefirstmajorshiftcameintheeraofdesktoppublishing/Inthedigitalrealmtextandimagearejuststringsofonesandzerosindistinguishableasinformationandm/ademanifestonlybythemediuminwhichtheyareeventuallyreleased/S
66/oanimagecouldbefluidinananimationprintedonpaperasascreenencompassedinaresizablewindowwithsurroundingtextorblendedinagraphicwiththosesametypographicelementswhichcouldthemselvesbeani/matedasamotiongraphic/ThedesignerBruceMaureferstoPostScriptWorldwhenhediscussestheradicaltransformationthattheculturemachinebringstoourvisualenvironment/WiththedevelopmentofpagedescriptionlanguageslikePostScriptfromAdob
67/eSystemsthereisnolong/eranydistinctionbetweentextandnontextimageandnonimage/Surfacesarenowdescribedinonelanguage/Everythingisnowimage/PostScriptWorldannounceditselfwiththedesktoppublishingphenomenoninwhichtheimageonthemonitorlookslikethepagethattheprinterwillpro/duceandviceversa/Thiswasthesoftware/hardwarecombinationthatbroughtustheacronymWYSIWYGforWhatYouSeeIsWhatYouGet/Thepreviouslyindependentre
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100/edtotwodimensionsisextrudedinthree/WYSIWYGWhatYouSeeIsWhatYouGetisbeingfollo/wedbyaneraofwhatIcallWYMIWYMforWhatYouModelIsWhatYouManufacture/JustasWYSIWYGallowednewfreedomstographicdesignersandtwodimensionalimagemakerstheWYMIWYMeraofcomputingallowsarchitectureandindustrialdesigntoplaywithformanditerationandmakecompl/exextantformseasiertomanufactureprofitably/Inotherwordswhatthecomputerdidtotheflat
101/twodimensionalfieldsofpaintingphotographyandgraphicsisnowhappeninginthethreedimensionalrealmsofsculptureindustrialdesignandarchitectureasartistsdesignersandar/chitectsdevelopformsonthecomputerandthenfabricatethemwiththreedimensionalprinters/AnarchitectlikeGregLynncanusethreedimensionalprintingtodoeverythingfromcreatingmaquettesorsmallscalemodelsofbuildingstomakingprototypesfordesignsforalineoffla
102/twarecommissionedbytheItaliandesignmanufacturerAlessi/WhenthefabbingspecialistsatthedesigncollaborativeMachineHistoriesworkedwithartistPaeWhitetocreateacomplexbedframeforanexhibitiontheyworkedwithsolidCorianusuallyasurfacingmaterialinkitche/nsandbathrooms/Theobjecttitledwidowofakingbedframe2006wassointricatelyworkedbyMachineHistoriessuniquetoolpathsthatitfeltairierthanonewouldeverexpectaheadboardt
103/obe/Thedeftcarvingandintricatedetailingwentbeyondwhathandworkcouldhaveaccomplishe/dandservesasareminderthatexpertiseinthreedimensionalfabricationwillindeedbringonanewmaterialcultureforthetwentyfirstcentury/Thisisallthemoretruebecauseartdesignandarchitecturestudentsaregettingexposureto3Dmodelingtoolsalongwithlargescale3Dp/rintersextrudersandothercomputeraidedmanufacturinginschoolnowandyoucanbetthat
104/theywillfilltheirownstudiosandateliersinthefuturewiththesmallercheaper3Dprintersthatarealreadyindevelopmentbythemanufacturers/TheseWYMIWYMobjectsobviouslyfigureinf/ormationalismintheirproductionprocessbutastheythemselvesbecomelinkedintolargernetworksthroughtheincorporationofsensorstransmittersandaugmentationtheybegintoattainautonomy/Frommuteobjectsandclosedspacestheybecomenodesinthenetworkawareoft
105/heir/placeandtimeandcapableofcommunicationfromtheminimaltothemaximal/TheincorporationofradiofrequencyidentificationdevicesRFIDsandmicrocontrollersintoformerlyquotidianobjectsenlivenstheminanalmostmagicalway/LiketheanimatedbroomsinWaltDisneysFant/asiathatcomealivewhenMickeyMouseaccidentallyenchantsthemastheSorcerersApprenticethereisaglamourinitsmagicalratherthanfashionablesenseinherentinthesenewaug
106/mentedobjectsandspaces/TheexplosionofWYMIWYMobjectsandspaceswillbringaboutaneffloresce/nceofstylejustasWYSIWYGpublishingdid/Muchofitwillbeexcruciatinglybadworseeventhanbaddesktoppublishingbecauseitwillhavemoredimensionstofillwithitsawfulnessbutthisistobeexpectedandembraced/Muchthatiswonderfulwillalsobediscoveredandperhapssome/ofwhatmakesuswincewilleventuallyearnatleastgrudgingrespectforitsexuberan
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108/ingcluste/rsofentertainmentdesignandexperiencedesignweseetheresurgenceofthetotalizingimpulse/TheDisneyWorldmodelofcompletedesignintegrationfromfoodtosignagetopeoplemovertothrillridetocollectiblesouvenirmovescentrifugallyoutwardfromitsOrlandohomebecom/ingthedefactomodelfornewexperienceswithinentertainmentcapitalism/Onefactorcontributingtotheriseofentertainmentandexperiencedesignisthecomputeritselfw
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110/anyotherhyperdesignedspacesaroundtheworldinterfaceandobjectbuildingandWebpresenceaswellascommodityandbrandidentityallswirltogetherinunimoderndigitallyenabledPostscriptdocume/ntsandWYMIWYMenvironments/Thefiguringofinformationalismintoformhasbeenourpreoccupationinthissectionandtheseformsaswordssoundsimagesobjectsandevenspacesserveassemanticbuildingblocksforthesyntacticwayswithwhichwewillspeakwiththe
111/semedia/Thesec/retwarbetweendownloadinganduploadingispredicatedontheideathatthemessageanditsmeaningfulnessneedourfullattentionaswell/PlayModdersandOtherDoityourselfPleasures/Peopleswillingnesstoembraceunfinishdiffersbyageandclassthatistosaybywhocanaffordi/tinthefirstplace/Sometimestheadultswhodesignsystemscanforgethowmuchyoungerusersareinvestedinfindingwaystofilltheirdowntime/Televisionmusicandvid
112/eogamescanallbeseenaspreemploymenttimefillersforadolescentsandeventhoseselfstyledrejuvenileswhoa/rechoosingnottoabandonthegamesandpastimesoftheiryouth/ButthosewiththedesireandaccesstotheculturemachinecankickstarttheirowndoityourselfDIYmovements/Therearedeepdesirestocategorizeandannotateonesownlifeaswellasthelivesofonesfriendsandcommuni/ty/Thismomentisnotaboutprofessionalnarrativessomuchasthedevelo
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126/yorevenaccessbutrathertemporally/Tomast/ertheskillsrequiredtoplayproficientlyenoughtoenjoygamingitselfismerelythefirstinvestmentoftime/Thenextandperhapsmostseriousintermsofthisdiscussionisthetimeneededtosimplyexplorethegamespacesufficientlytoseeitasmorethanafragment/Thiscanbetent/wentyfortyoreveneightyhoursofcommitment/Thatstrikescommittedgamersasafinevalueforthemoneyinvestedinthepurchaseofthegame
127/butthesheertimedemandedtendstodetertheuncommittedorcasualgamermuchlessthebystanderwhomightbeinterestedintheexperienceyetc/annotjustifysuchanexpenditureoftime/Inthisgamingisquitedifferentfromthecinemawherea90to150minutecommitmentisallittakestobepartoftheexperience/Onewaytounderstandthisdivergenceistorealizethatforalltheirnarrativeconventionsgamesarenotbestunder/stoodasinteractivestories/Togetafeelf
128/orwhatmattersingamingitisworthrevisitingtheirearliesthistorybeforegamingsvisualscametorivaltherealismofcinemaandtelevision/Althoughtherewasatictactoegameandatennissimulatorinthe1950sitwasreallySpacewarde/velopedbystudentsatMITin1962fortheirownamusementthatstandsastheurtextofgaming/WithtwoarmedshipsshootingateachotherwhilespiralingdownagravitywellSpacewarestablishedafewconventionsofgamingthatremain
129/powerfultoday/Theseincludeconflicttimelimits/andgraphicinteraction/ThegameitselfwasausefulwaytogaugethespeedandaccuracyoftheDigitalEquipmentCorporationsPDPminicomputersandthecompanybegantoshiplaterunitswiththegameinthecorememory/Thisensuredanevergrowinggroupofuserswhowouldgoontocreate/laterpioneeringgamesforarcadesandthegrowinghomemarketincludingPongSpaceInvadersandPacMan/Arcadesconsolescomputersa
130/ndhandheldstheseandmorewerethematerialsubstrateofgaming/Overtheyearsdesignershaveconfiguredtheirgamesforsingleplayersforafewpl/ayersarrangedaroundatelevisionorformillionsspreadoutworldwideontheNetinmassivemultiplayerconfigurations/Whathasnotchangednomatterwhattheeraorconfigurationistheimportanceandspecificsofgameplay/Thereisnoquestionthatgameshavebecomeafantastical/lysuccessfulpartoftheculturemach
131/inesimpact/Fortheirplayersthereisnodenyingthatgamingbringsalevelofenjoymentequalingsportandalevelofimmersionthatcomestorivalarchitectureitself/Thepowerofgamingtoinvolvethecommittedthenishardlyworthdiscussing/Thelongertermissueiswhetherthosegamerswillinturneffectthecultureasawholeorwhethertheludicexperiencewillberestrictedtoitsownhermeticallysealedworld/Ashapticandotherinterfacesbecomemorewidesprea
132/dinthewakeofNintendossuccesswiththeWiisystemwhet/herornotthosecasualplayersbecomemoreinvolvedwithotherformsofgameplayremainstobeseen/Twootherargumentstangentialtoplayitselfhavedominateddiscussionsaboutgaming/Thefirstistheeffectofviolenceinthegamespaceonviolenceintherealworldandthesecondis/abouttheinfluenceofgamingstwitchcultureoncognition/Thefirstisanargumentaboutcontentforthemostpartandwhileithas
133/agreatappealforparentsconcernedaboutexteriorinfluencesaswellasthepoliticianswhocatertothesevotersconcernsthisisacontentionthathold/slessandlessinterestasshootersbecomemoreandmoreaspecificgenreofgameratherthananoverarchingcategory/Theneuroscienceandcognitivesciencestudiesongamingarestillcominginandcriticsdependingontheirpreconceptionsdivideintotwocampseitherbemoaningthe/splinteringofattentionthatvi
134/deogamesbringintheirwakeorlaudingtheresponsetimeandmultitaskingskillsthatgamesengenderintheirmostavidplayers/Theseareallseriousissuesspanningtherangefromthesociologicalimpactofrepetitiveactionstotheneuralconditio/ningthatdistinguishesgamingfromothermedia/InthecontextoftheassertionsofferedintherestofthisbookhoweverIwouldsaythatthepressingissueiswhetherindividualgamesorgamesassystemscanaccreteinsuch
135/awayastocreatewhatonecouldcallludicstickiness/Onegame/thatwasindeedstickyinvolvedplayersrunningaroundahugeandunconventionalmapoftheworldworkingtogethertodeployresourcesandinnovativetechnologytomakenotjusttheirteambutratherthewholeglobeabetterplace/Morethanagenerationagothepolymathfuturistandde/signerR/BuckminsterFullerofgeodesicdomefameproposedthismultiplayerdesignscienceprocessforarrivingateconom
136/ictechnologicalandsocialinsightspertinenttohumanitysfutureenvolvement[sicasignatureFullerneologism]aboardourplanetEarth/Originallycalle/dthegreatlogisticsgameandthentheworldpeacegameitwasbestknownsimplyastheWorldGame/InspiredinpartbythewargamingthatplannersengagedintoprepareforthehotbattlefieldsofWorldWarIIandthecolderyetprotractedconflictswiththeSovietUnionthatfollowedtheW/orldGamewasarevampingof
137/thesestrategiestothinkabouthowbesttouseresourcestoensureplanetaryhappiness/OftenlaidoutontheunfoldedpolyhedronofFullersownDymaxionmapthegameusedasynergisticratherthancompetitiveplaystrategytodeterminewaystobestharness/thenaturalresourcesoftheplanet/FullersmapgivesabettersenseoftherelativesizesofthecontinentsthantheusualMercatorprojectionsandevenmoresubversivelydoesnothaveanaturalupordownthatdepriv
138/ilegespeoplesusualexpectationsofmapsandthesenseofspacethat/theyproject/Fullermaintainedthatthegoalwastomaketheworldworkfor100ofhumanityintheshortestpossibletimethroughspontaneouscooperationwithoutecologicaloffenseorthedisadvantageofanyone/TheWorldGamewasaproductofpostscarcitythinkingand1960sutopian/ismplayedwithoutbenefitofnetworksandcomputersimulationsbutitsessentialmessagethathumansworkingtogeth
139/erhavethepotentialtocraftabetterworldresonatesandmorethaneverlookslikeaprototypeforthenetworkedeffectsofsimulationandparticipation/RunningRo/omorPlaySpace/SimulationandparticipationdriveeverythingfromfiguringinformationtothefabbingofWYMIWYMobjectstheymakepossiblethemixingandmashingofopensourcesoundandimagescapesandtheyshapethewaysthatweworkaswellasthewaysthatweplay/Itismyhopetha/tthedetailedlistin
140/gofallthesemanifestationsofthecomputerasculturemachineinaggregateprovestheexistenceoftheunimodernunimediapositedatthestartofthischapter/InkeepingwiththespiritofthisprojectIhopetonotsimplyidentifyunimodernismbuttopointtowar/dwaysinwhichitsunimodernunimediamightdeepenmeaningandengagementwiththeworldartandeachother/Whatweneedtoconfrontistheexplosionofinformationthatcomputernetworksengender/Understand
141/ingthechangeswroughtbycomputerinflectedtechnologiespointtothehu/gedifferencebetweenprocessingdataanddesigningitsoutput/Thisconceptualclaritywillalsohelpustocategorizewhatkindofcultureweareactuallyconstructinginthetwentyfirstcentury/Ifwedividethelastcenturyintoearlymodernhighmodernandpostmodernstrandsrou/ghly1900–19191919–1973and1973–2001respectivelytheculturemachinesubiquityhasbraidedallthreeandmo
142/reintounimodernism/Thetwentyfirstcenturyculturemachinesmodernismsexistsimultaneouslyinaneverpresentdatabasereadytobedeployedorredeployedinthecult/uralequivalentofjustintimeproduction/Thesinglemostimportantissueistoensurethattheuniformityofsubstratethatthecomputerbringstoculturedoesnotproduceastultifyingsamenessofcontent/TodosoitisworthrevisitingKarlKraussconceptofrunningroom/Intheori/ginalGermanth
143/ewordisSpielraumtherootsbeingSpielorplayandRaumorspace/Sowhetherrunningroomorplayspacetheconceptbringswithitasenseofexplorationimaginationandengagementwiththeunexpected/Thesheerproductivecapacityofunimodernunimediacanandshouldb/eabletocarveoutthisSpielraum/Runningroomisdifferentfromthetoutedbenefitsofdiversityhoweverbecausediversityisoftenanotherwaytodescribetheofferingsinabazaar/Ifthediversitytha
144/tisbeingofferedissimplyintherealmofconsumptionitremainsjustthatconsu/mption/TheplayspaceIamdiscussingwillbelocatedwithintwentyfirstcenturycapitalismbutithastoofferthechoicenottobuyandespeciallytheoptiontomake/Thatisonereasonthattheopensourcecommunityissocrucialtothefutureofrunningroom/Freecultureasagiftexcha/ngeoffersarealchallengetotheinheritedaffordancesofmarketeconomies/Thegenerosityofonlinecom
145/munitiesservesasawaytoaccessthepowersofthealwaysalreadyavailablearchiveoftheunimodernculturemachinewithoutfallingpreytothenotionthatthemarketdefinesev/erythingandthattheimaginationmustbetiedtoitsprecepts/Wehavealreadyseenhowunimodernunimediahasexplodedaccessandcontentinourculturalarchives/Thisexpansionhasinturnleadtomoreopportunitiesforcollaborativemultiauthorship/Thiskindofunsignedmultip/lecreato
146/rshipisreminiscentoftheGreekmythsandtheGreatWallofChina/Boththemythsandthewalltookcenturiestobuildandthousandsofpeoplecontributedtotheireffort/WebuildmultipleauthorworksaswellbutnowwecallthemLinuxWikipediaFlickrdeliciousandcommunalb/ogs/Thesearetheculturalformsthatshowusafutureinwhichwecouldallpotentiallycontributetothecreationofthingsandsystemsvastlylargerthanourselves/Thishasfrequentlybeentheeff
147/ectofreligiousdevotionofcourseandthosewhohavebeentoabarnraisinghaveexperi/encedsimilarkindsofemotions/Earlierwesawhowthememesofsimulationandparticipationcompetedaswellasbuiltoneachothersimulationenabledfunctionalityandparticipationbroughtthatfunctionalitytoevermorepeople/Thiswasthepromiseofcomputingandthecultures/ithasengendereddifferradicallyfromthoseweinheritedfromahalfcenturyoftelevisionviewing
148//Thepreviousregimeofferedandcontinuestobeguileuswithaneverincreasingplentitudeofnarrativeentertainmentagainitdoesnotmatterwhetherthatentertainmentwascalled/asituationcomedythenightlynewsashoppingchannelorarealityshowitwasandisallentertainmentitcreateshabitsofmindandmodesofconsumptionthatleadtoculturaldiabetes/Thedevelopmentofevermorecomplicatedandintertwinedsystemsofdeliverythedownloadingsyndr/ome
149/canleadtoaproliferationofmeaningliteifnotoutrightmeaninglesscontent/Thatiswhyinabookthatsetouttocelebratethebestoftheculturemachineanditsproductsthereisanunderlyingfearofunexploredavenuesthatwillshutdowninthefaceofaninexorableyetbarelype/rceptiblepressuretodolessratherthanmore/Thisbookshuttlesbetweenthepastpresentandfutureandoneofthefearsitdealswithistheconcernthatnomatterwhattheywantpeoplemayendu
150/pgettingamachinethatemulatestheirtelevisionsbutwithacellphoneandcreditcardshop/pinggraftedontoit/Combinestickinessandunfinishhoweverandwhatyoucreateareeverenfoldingandexpandinginterconnectionsofhypercontexts/Thosewhowanttodonewworkwiththeculturemachinemustensurerunningroomfortheimaginationaswellasplayfulspaceformindfu/ldownloadingandmeaningfuluploading/Thisistheunimoderndreamlessgrandthanitspredec
151/essorsperhapsbutnolessworthy