Netzkultur   574

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Die Theorie der Filterblasen ist nicht länger haltbar – Wir leiden bereits unter dem Filter-Clash | NZZ
Die Gesellschaft zerfällt in Filterblasen, so heisst es. Die Theorie ist heute in aller Munde, aber kaum belegbar. Tatsächlich leiden vernetzte Gesellschaften unter der Sofortkonfrontation mit immer anderen Ansichten.
poerksen  seemann  Filterbubble  netzkultur 
july 2018 by leitmedium
Der #Troll im Netz. Eine Besichtigung | Geschichte der Gegenwart
Trolls stören gezielt und in bösartiger Absicht. Ausgehend von den Chatrooms der 90er Jahre haben sie ihren Siegeszug durch die Sozialen Medien und Kommentarspalten angetreten. Seither besetzen sie die Öffentlichkeit. Die Frage ist: Was tun?
Geschichte_der_Gegenwart  Troll  Netzkultur 
october 2016 by Medienwoche
The Graffiti at Pompeii - The Atlantic
“Especially Twitter,” Donath said. “If you’re not saying something, it’s like you’re not there at all; you don’t exist. You have to maintain your presence there. It’s more of a temporal issue, whereas in a city it’s more spatial.”

The ancient graffiti of Pompeii brings together these two domains, the spatial and the temporal, anchoring the ideas of a group of people in time to the physical space they occupy. Few artifacts are able to do this. Books and stone tablets, for example, aren’t typically preserved in situ. Which means the preservation of the convergence in Pompeii is remarkably rare, and made all the more astonishing for the fact that much of the graffiti there dates to sometime in the twilight decades of the city’s existence.

“You can walk through the entire town. You can peek into each house. You can get a sense that, wow, this is a space where people lived surrounded by color and imagery and decoration,” Benefiel said. “But I think what all of those elements give you is the space of the town. Then we have many inscriptions that are people’s names. We have hundreds and hundreds and hundreds of inscriptions that are friends writing greetings to each other. The graffiti immediately brings you to the people of the town.The graffiti really evoke the people who lived there.”
history  streetart  netzkultur 
april 2016 by goldkettchen
The Propaganda of Pantone: Colour and Subcultural Sublimation — LOKI
that evolved out of the Dutch “default design” approach of the early 2000s. Default design advocated against the smooth surfaces of graphic professionalism, employing low-res imagery, system fonts, crude layouts, and the standard web link hex-colour #0000FF.
“Rose Quartz” and “Serenity” (hereafter abbreviated as RQ+S) present a far more nefarious situation. There’s no doubt that Pantone’s trend forecasters/cool hunters are once again on point (much more so than last year’s Marsala), yet anyone who has spent a little too much time on Tumblr over the last few years probably could have seen this coming. The tonal pink and blue palette has been growing exponentially in popularity online since the emergence (circa 2010-11), purported death (circa 2012), and expanding influence of the micro-cultures of Seapunk, and its successor, Vaporwave, as part of a more broadly defined subculture of internet-fuelled art employing what can be described as a Tumblr aesthetic.
The Seapunk story is as much about its co-optation and commodification as it is about the music or visual style. It was arguably one of the first internet-based subcultures to be thrust so quickly into the mainstream.
Tumblr has proven to be a nurturing (though certainly not safe) space for the circulation of subcultural and counter-cultural interests, and the ideas and imagery of these feminist currents run in parallel, overlap and intersect with the aforementioned micro-cultures on the platform. Of course, the diversity of content posted on Tumblr is inherently limitless, yet nonetheless cohesive aesthetic tendencies emerge, reflecting the interests and aspirations of its most avid users. The term "aesthetic" itself has come to represent a specific genre of imagery on Tumblr that can be easily identified as the subcultural inspiration for RQ+S
We can choose to contribute to a dynamic and chaotic culture that challenges the naturalization of neoliberal capitalism or we can reinforce the narrative of its calming consumer comforts. We have a critical responsibility to decide which side we are on. At the very least until next year.
Vaporwave  Seapunk  Micro-genres  Netzkultur  color 
march 2016 by goldkettchen
Das „Whole Earth Catalogue-Projekt“ hatte eindeutig auch diesen Bezugs- rahmen, aber konkret entstand es durch einen LSD-Trip, als ich mit etwa 200 Mikrogramm LSD intus auf einem Hausdach rumhing, weil ich nichts besseres
zu tun hatte, und über eine Vorlesung von Buckminster Fuller nachdachte, die ich kurz vorher gehört hatte. Und Fuller war, genauso wie McLuhan, einer,
dem wir damals zuhörten...
Die Hacker gewannen und die Hippies verlo-
ren. Sie gehörten zur gleichen Gruppe von Leuten. Dieselbe Haarlänge.
Nur daß die Hacker anstelle von Drogen Computer hatten. Ich denke, der Hauptunterschied ist, daß die Drogen niemals besser wurden und Computer einfach immer besser und besser und besser. Die Art von Geld, die man mit Drogen machen konnte, war problematisch, und die Art von Geld, die man mit Computern machen konnte, war phantastisch
Wichtig sollte sein: schneller „acess“(Zugriff): wo kriegt man etwas her.
Und ich dachte auch an die Ermahnung Buckminster Fullers: man hat 10 Minuten Zeit, um auf einen Einfall zu reagieren.“
„Es ging in den 60ern darum, die Zivilisation nach unseren Vorstellungen
zu verändern, und IBM-Großrechner in Personalcomputer zu verwandeln...
wir hatten Geld es zu tun, wir hatten Zeit es zu tun, und wir nahmen LSD
was uns die abgedrehten Ideen eingab, das alles auszuprobieren. Sich was reinpfeifen und es selber machen, nicht erst um Erlaubnis zu fragen.“
(Stewart Brand)
70s  Netzkultur  Hacker 
february 2016 by goldkettchen
TIME article
Newcomers to the Internet are often startled to discover themselves not so much in some soulless colony of technocrats as in a kind of cultural Brigadoon - a flowering remnant of the '60s, when hippie communalism and libertarian politics formed the roots of the modern cyberrevolution. At the time, it all seemed dangerously anarchic (and still does to many), but the counterculture's scorn for centralized authority provided the philosophical foundations of not only the leaderless Internet but also the entire personal-computer revolution.

We - the generation of the '60s - were inspired by the "bards and hot-gospellers of technology," as business historian Peter Drucker described media maven Marshall McLuhan and technophile Buckminster Fuller. And we bought enthusiastically into the exotic technologies of the day, such as Fuller's geodesic domes and psychoactive drugs like LSD. We learned from them, but ultimately they turned out to be blind alleys. Most of our generation scorned computers as the embodiment of centralized control. But a tiny contingent - later called "hackers" - embraced computers and set about transforming them into tools of liberation. That turned out to be the true royal road to the future.
70s  Netzkultur 
february 2016 by goldkettchen
‘Hippies from Hell’: The Dutch hacker collective who helped bring us the Internet | Dangerous Minds
To an unusual extent, the Hippies from Hell were and are interested in analog solutions to some extent. One fellow boasts about the strip of green plastic that restores the authentic look to an old arcade version of Space Invaders. Mathilde Mupe once contrived a kind of nature computer; her idea was to “take a terminal and rebuild a keyboard from pebbles” and “built a little altar with plants and grass ... by hitting the stones you could get on the Net.” Viewers will also be treated to riveting lockpicking competitions and “Powerpong,” an attempt to create a semi-analog version of Pong in which the power is generated through pedaling and the handlebars control the Pong paddles.
Documentary  Hacker  Netzkultur 
february 2016 by goldkettchen
Ecco the Dolphin glitch art is all your vaporwave dreams come true | Kill Screen
In Sega’s absence, the 1992 undersea videogame Ecco the Dolphin has developed a perplexing life of its own. Back in 2010, musician Daniel Lopatin released a cassette tape limited to 100 copies that contained an album called “Chuck Person’s Eccojams Vol. 1.” Not only was Ecco‘s name in the title, but the tape’s artwork was a chopped-up image of the original game’s cover art (created by fantasy scene painter Boris Vallejo) as a tribute to it.

As to the cassette tape itself, it contained 14 unnamed tracks of slowed down, fragmented, and looped pop tracks. These are said to be “echo jams.” While the screwy micro-loops are jarring, beyond that the music’s glacially slow tempo in parts is somewhat narcotically profound in effect; hazy, meditative, perhaps even transcendental. It’s this that has become the foundations of an art movement known as “vaporwave.” The distorted audio remix and Ecco the Dolphin were a big part of the movement’s aesthetic inspirations.
vaporwave  seapunk  culture  Netzkultur 
february 2016 by goldkettchen
Museum of Endangered Sounds
Es gibt Geräusche die sind vom Aussterben bedroht. Nicht weil sie von einem Tier stammen, das vom Aussterben bedroht ist, sondern weil sie von Technik stammen die keiner mehr nutzt. Das Zurückspulen von VHS-Kassetten, ein Floppy-Disc-Laufwerk oder die Signaltöne veralteter Software.
Das Museum of Endangered Sounds widmet sich genau diesen Geräuschen. Brendan Chilcutt sammelt dort was es bald wohlmöglich nicht mehr zu hören gibt:
february 2016 by goldkettchen
Knowing when, and how, to pivot (or, why didn’t news apps work?) |
People want to get their news filtered through their social network. It’s just easier and more fun to click on news links your friends are sharing than to open a separate app.

Intellectually, you would think that people would have a unique app for each ex
Netzkultur  Start-up  news 
february 2016 by goldkettchen
Formula for Love: How Long Should You Wait to Text Back?
If a text back from someone is considered a “reward,” consider the fact that lab animals who get rewarded for pushing a lever every time will eventually slow down because they know that the next time they want a reward, it will be waiting for them. So basically, if you are the guy or girl who texts back immediately, you are taken for granted and ultimately lower your value as a reward. As a result, the person doesn’t feel as much of an urge to text you or, in the case of the lab animal, push the lever.
psychology  Netzkultur 
february 2016 by goldkettchen
Facebook the Colonial Empire - The Atlantic
“I’m loath to toss around words like colonialism but it’s hard to ignore the family resemblances and recognizable DNA, to wit,” said Deepika Bahri, an English professor at Emory University who focuses on postcolonial studies. In an email, Bahri summed up those similarities in list form:

1. ride in like the savior

2. bandy about words like equality, democracy, basic rights

3. mask the long-term profit motive (see 2 above)

4. justify the logic of partial dissemination as better than nothing

5. partner with local elites and vested interests

6. accuse the critics of ingratitude


“It is an uncomfortable truth that, in emerging economies, Facebook had already won the Internet well before and the FreeBasics campaign began,” Steve Song, a telecommunications policy activist, wrote in a blog post this week. “Facebook became the de facto Internet for many people because it did the most profoundly useful thing the Internet can do: Connect people.”
politics  Netzkultur 
february 2016 by goldkettchen
Peekasso's Strangely Delightful Collaged Pop Culture GIF Animations (NSFW) - Beautiful/Decay
I’ve been following Peekasso‘s (real name: Peter Stemmler) work on his Tumblr page for awhile now, and he is easily one of my favorite internet artists. I’m never bored with any of his creations, but his gif work is especially impressive. Using a combination of clips from film, video games, pornography, commercials, pop culture, and other internet ephemera, Stemmler assembles a curious juxtaposition of images. Some of his gifs have a brainwashing quality to them – a quick succession of disparate images and the loop of the gif medium force the brain to make connections between starkly contrasted imagery. The result is dizzying, and for me, satisfying in its absurdity. Underneath this absurdity and within the juxtapositions there is a critique of some of the imagery that seems to emerge, a perspective that seems to mock much of media in general.
Gif  Art  Popculture  Netzkultur 
february 2016 by goldkettchen
Das ABC der unseriösen Quellen — eine Übersicht — Medium
Aus diesem Grund haben wir uns entschlossen eine Liste mit solchen Seiten zusammenstellen. Ebenfalls haben wir zu den Quellen eine kurze Einschätzung hinzugefügt und (falls verfügbar) weiterführende Literatur verlinkt.
Verschwörung  Netzkultur  politics 
february 2016 by goldkettchen
Harvard University’s Berkman Center Releases Amber, a “Mutual Aid” Tool for Bloggers & Website Owners to Help Keep the Web Available | Berkman Center
The Web’s decentralization is one of its strongest features,” said Jonathan Zittrain, Faculty Chair of the Berkman Center and George Bemis Professor of International Law at Harvard Law School. “But it also means that attempting to follow a link might not work for any number of reasons. Amber harnesses the distributed resources of the Web to safeguard it. By allowing a form of mutual assistance among Web sites, we can together ensure that information placed online can remain there, even amidst denial of service attacks or broad-based attempts at censorship.”
Netzkultur  Archive 
january 2016 by goldkettchen

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