Computer power to the people! Die Versprechungen der Computer-Revolution, 1968-1973

'In den letzten Jahren haben Wissenschaftler, Politiker und Manager vorhergesagt, dass der breite Einsatz von Informations- und Kommunikationstechnik zu radikalen gesellschaftlichen Veränderungen und zur Herausbildung der 'Informationsgesellschaft' führen würde. Die teilweise utopisch anmutenden Versprechungen basieren auf einer Reihe von Annahmen, die bereits von den Pionieren des modernen Paradigmas der Computernutzung in den späten 1960er und frühen 1970er Jahren formuliert worden waren. Um den Zusammenhang zwischen dieser Rhetorik und der Realität bewerten zu können, begibt sich dieser Beitrag auf die Suche nach den Wurzeln des Konzepts der 'Informationsgesellschaft'. Dazu werden die Konzepte der (a) Benutzerfreundlichkeit, (b) des universellen Zugangs und (c) der Interaktivität als Abwandlungen der klassischen revolutionären Ideale (Freiheit, Gleichheit und Brüderlichkeit) untersucht. Dabei erweist sich die Idee der Informationsgesellschaft als eine Fortschreibung des Fortschrittsglaubens der Moderne.' (Autorenreferat) Untersuchungszeitraum: 1968-197

Virtual reality, education and the Macintosh

The purpose of my thesis is to present Virtual Reality as a tool in aiding Education. I used the Macintosh computer as the driving base of my project, and configured inexpensive commercially available computer peripherals as input devices. I investigated the effectiveness with which virtual worlds can present information, as well as studied the use of low cost software, input devices and drivers currently avail able on the Macintosh Computer. In addition, this thesis describes the strength, weaknesses and concerns involving the use of Virtual Reality in learning and the limitations of the current technology

The Politicization of Art on the Internet: From net.art to post-internet art

Este estudo tem como objetivo apresentar uma breve perspetiva sobre as manifestações socioculturais que se propagaram a partir do surgimento da Web; tendo como principal foco de análise o desenvolvimento da produção de Internet Arte na Europa e na América do Norte ao longo dos últimos 30 anos. Estruturado como um estudo de caso, três conceitos-chave fundamentam a base desta pesquisa: uma breve história da Internet, o desenvolvimento do termo hacker e a produção de arte web-based; da net.art até a Arte Pós-Internet. Em abordagem cronológica, estes campos serão descritos e posteriormente utilizados como guias para um final encadeamento comparativo que visa sustentar a hipótese da gradual dissolução de um ciberespaço utópico até o distópico cenário corporativo que constitui a Internet dos dias atuais.This study aims to present a brief perspective of the sociocultural manifestations that emerged after the Web birth, focusing on the development of Internet Art and the countercultural movements that emerged inside Europe and North America over the last 30 years. Under a case study structure, three fundamental subjects will be firstly explained: Internet history, the development of hacker concept and the web-based Art transformations: from net.art till Post-Internet Art. Chronologically described, these fields will lead to a final comparison of chained events that aim to sustain the hypothesis of the gradual dissolution of the early cyberspace utopias till the dystopic scene existent in nowadays Internet

The emergence and growth of dial-up internet service providers (ISPs) as a means of access to the internet in South Africa: a case study of M-Web and World Online

The desire amongst media scholars for the fulfilment of the ideal of a universally accessible public sphere by the media is such that virtually every new communications technology that has emerged over the past 1 ~O-odd years such as radio, television or the Internet has been welcomed with enthusiasm - by some - at the prospect of the newest communications innovation bringing about universal access to information. However, the history of communications media tells of the commercialisation of each new medium, from radio to television, and the imposition of barriers to access, based on cost. Access to communications media is open to those people who can afford to pay for them. 111e emergence of the Internet spawned renewed hoped that the public sphere ideal would be realised. 111is new technology seemed more powerful than anything that had come before it. The Internet offered the means whereby one could access a global repository of information, stored on a worldwide network of computer networks, and available 24 hours a day. With the Internet, it was also possible to communicate with people on the other side of the world within seconds, using electronic mail (e-mail). Here was a medium that permitted one to send text and pictures to colleagues and friends within a fraction of the time taken by traditional means such as fax, telephone or post. To enjoy the convenience of the Internet though, one had to have a means of access. In South Africa, access could be gained through a personal computer linked to the Internet either through a network in the workplace or an academic or research institution, or via a telephone link to an Internet Service Provider (ISP). What were the names of the first ISPs to emerge in South Africa? When did they emerge and how did they develop? Did the number of ISPs grow or decline? What do ISPs give access to, at what cost and to whom? Do they provide universal access to information? This study addresses these questions by examining South Africa's leading providers of home dial-up internet access, M-Web and World Online, and by exploring the histories of their emergence and development, within the context of current media trends of concentration, diversification and globalisation

Facing the Interface

Ausgangspunkt dieser Arbeit ist die Feststellung, dass sich heutige Ordnungen des Wissens, der Erfahrung und der Kommunikation zunehmend entlang der Performanz digitaler Technologien, besonders des PCs, aufspannen. Die Mensch-Computer-Interaktion ist ein omnipräsentes und soziokulturell höchst relevantes Phänomen. Untersuchungsgegenstand ist daher jene Instanz, welche den Computer erst zum Medium für die Masse avancieren ließ indem sie dessen technische Funktionen allgemein zugänglich machte - die grafische Benutzeroberfläche. Seit der Kommerzialisierung des PCs in den 80er Jahren und besonders durch die Verbreitung des World Wide Web ab den 90er Jahren bedingt und prägt sie wesentliche Praktiken der digitalen Alltagskultur. Neben der Betrachtung ihrer konstitutiven Elemente und den dadurch etablierten Konventionen der Mensch-Computer-Interaktion beschäftigt sich die Arbeit mit der historischen Entwicklung der grafischen Benutzeroberfläche. Der Fokus liegt dabei auf einer ideengeschichtlichen Darstellung des Verlaufs der Mensch-Computer-Interaktion seit ihren Anfängen, den Kontinuitäten und Brüchen sowie der Erörterung markanter hard- und softwaretechnischer Innovationen der Benutzerschnittstelle.This paper´s starting point is the observation that today´s orders of knowledge, experience and communication increasingly unfold around the performance of digital technologies, especially the PC. Human-Computer-Interaction is an omnipresent und sociocultural extremely relevant phenonemon. The object of investigation is therefore the very instance which caused the computer to become a massmedium through making its technical functions accessible to the public - the graphical User-Interface. Since the PC´s commercialisation in the eighties and especially since the rise of the World Wide Web in the nineties it determines and coins essential practices of everyday digital culture. Besides considering its constitutive features and the thereby established conventions of Human-Computer-Interaction, the paper deals with the historical development of the grafical User-Interface. It focuses on the progress of Human-Computer-Interaction´s history of ideas since its beginning, the continuities and discontinuities and considers distinctive hard- and softwaretechnological innovations of the User-Interface

Lost in the archive: vision, artefact and loss in the evolution of hypertext

How does one write the history of a technical machine? Can we say that technical machines have their own genealogies, their own evolutionary dynamic? The technical artefact constitutes a series of objects, a lineage or a line. At a cursory level, we can see this in the fact that technical machines come in generations - they adapt and adopt characteristics over time, one suppressing the other as it becomes obsolete. It is argued that technics has its own evolutionary dynamic, and that this dynamic stems neither from biology nor from human societies. Yet 'it is impossible to deny the role of human thought in the creation of technical artefacts' (Guattari 1995, p. 37). Stones do not automatically rise up into a wall - humans 'invent' technical objects. This, then, raises the question of technical memory. Is it humans that remember previous generations of machines and transfer their characteristics to new machines? If so, how and where do they remember them? It is suggested that humans learn techniques from technical artefacts, and transfer these between machines. This theory of technical evolution is then used to understand the genealogy of hypertext. The historical differentiations of hypertext in different technical systems is traced. Hypertext is defined as both a technical artefact and also a set of techniques: both are a part of this third milieu, technics. The difference between technical artefact and technical vision is highlighted, and it is suggested that technique and vision change when they are externalised as material artefact. The primary technique traced is association, the organisational principle behind the hypertext systems explored in the manuscript. In conclusion, invention is shown to be an act of exhumation, the transfer and retroactiviation of techniques from the past. This thesis presents an argument for a new model of technical evolution, a model which claims that technics constitutes its own dynamic, and that this dynamic exceeds human evolution. It traces the genealogy of hypertext as a set of techniques and as series of material artefacts. To create this geneaology I draw on interviews conducted with Douglas Engelbart, Ted Nelson and Andries van Dam, as well as a wide variety of primary and secondary resources

Dissuasão Visual: Arte, Cinema, Cronopolítica e Guerra em Directo

A percepção é essencial na cultura militar e as tecnologias da informação deram-lhe uma nova consistência. As funções perceptivas do ser humano estão agora plasmadas nas máquinas de guerra, replicando comportamentos e características fisiológicas próprias aos seres vivos. As máquinas de guerra são já sensíveis à luz, a variações térmicas ou acústicas. A essência humana, assim cristalizada sobre toda a aparelhagem de guerra, coloca em tensão os limites da diferenciação entre os campos da Arte, Cinema, Política e Guerra. Contudo, e antes ainda da era da máquina, o mundo estaria já repleto de motores naturais e poéticos. É Gilbert Simondon quem o diz, lembrando que por antecipação científica há muito que a mecanologia existe, antevendo a relação entre a indústria mais perfeita, a ciência mais bem equipada, e uma natureza no seu estado mais natural. Este será um ponto de partida verdadeiramente essencial – é que sempre tivemos a ilusão de que a técnica seria uma invenção humana quando, no fundo, foi a técnica militar e a guerra aquilo que permitiu a «fabricação do humano». Esta tese procura desvelar como o surgimento de novas tecnologias e de novos espaços para a guerra, forçaram a sua reproblematização em novas vias epistemológicas. Recuando até ao originário movimento geo-político, entroncamos numa interdefinição entre a ordem espacial e a individuação dos objectos técnicos, e procuraremos, a partir daí, saber como se concretizou a expansão da guerra moderna a todo os domínios e a todo o mundo