Reading Responses

The web of the mid-90s has a very rich culture that always seems to be overlooked. Some may think that this sort of old-fashioned behavior is no longer needed and that we should just focus on the current style and trends in web design. Though I agree that the amateur web is part of the past, it is still something that has a powerful past. It is important for people to remember the roots of the internet, so I agree with Lialina that there’s a need to preserve and archive these web expressions. People always see these signs and symbols of the early web as negative examples. Sometimes I do think that these elements make the website look very outdated and jarring, but it all depends on how you use them in your project and what’s the intention of using them. There should always be a purpose for using these elements; we shouldn’t use them simply to be trendy or because everyone else is using them.

Personally, I believe that the starry night background will still look great on the web today as long as it is paired with a good typeface and as long as it fits well with the content. I remember how they were frequently used as wallpapers or backgrounds in the past. I truly believe that using a starry night background is a great way to set the tone of the website, giving it a futuristic and magical feel. On the other hand, web graphics remind me of the early days of the internet. I love the vibrant colors and the animated gifs. They are very expressive and add a lot of character to the website. It’s a great way to make something dull look more interesting and unique. I believe the "Welcome to my home page" page has already been labeled as an amateur page. I don’t think it’s necessary to include it on your page because it might give the impression that the quality of your site is poor. However, it’s never inappropriate to include it. There are times when it works well; I believe that it depends on the audience and how you want them to react to or receive this information. It can sometimes be a pleasant surprise because it’s not something we would expect to see on a website nowadays because it’s considered outdated.

The world web is constantly evolving and changing; there will always be new elements, graphics, and designs, so I think it’s critical to find what works for you and your project. There’s a difference between using something correctly and just using it for no particular reason. It is never wrong to use these elements if they express your idea well. Rather than using these amateur elements in a traditional manner, perhaps, you can use them in an innovative way to create something more unique and creative. As Lialina mentioned, "There was a world of options, and one of the options was to be different." I think we should all try to be different, even though it’s risky. We shouldn’t be afraid to use elements and designs just because they are commonly perceived as "bad" or "old." Reading this brought back a lot of nostalgic memories of the web from the past. I don’t think any of these elements will be forgotten, as they had such a large impact on the internet.

Schwulst uses different metaphors to explain what a website can be and the possibilities that a website can have. I think a website is something hard to define because there are endless possibilities as to what a website could be. Websites are important, especially for artists, because they allow them to create their world. not only creating the objects inside the world but also the surroundings, for example, the language, style, rules, and architecture. The artist has all the control and can create anything they want, which I think is amazing and such a useful tool when you want to build something that forms your identity.

Among the metaphors that Schwulst used to describe a website, I think describing a website as a shelf stood out to me. It makes me think of what I tend to put on a shelf. It’s usually something that I want to present to others, something that I like and enjoy, and something that represents me. Besides, shelves shouldn’t be too cramped with too many things. I guess that’s the same when thinking about what to include on your website. As Schwulst said, a website should include small and light things, just like what we place on a shelf. Moreover, I also like the metaphor of a puddle, because I agree that "There is also no state of "completeness" to a website, like a puddle," as Schwulst said. There’s no such thing as a finished or unfinished website; it’s an endless space for you to create and build. Just like puddles, websites can be big or small. Sometimes the website is relevant, but sometimes it just disappears and people forget about it. It’s the same as puddles; they only appear after a rain or storm, and the water evaporates slowly over time. I think this is an honest representation of what a website is and how people may react to it; it won’t always be seen, and there are a lot of aspects that you can’t take control of as well.

Overall, I enjoyed the reading. It’s very poetic and imaginative. I’ve never seen people use metaphors to explain or describe websites at all. The addition of the sparrows and quotes is informative and entertaining at the same time; they gave me a break from the reading and taught me facts about websites. I think using metaphors makes this piece memorable; it helped me picture what a website is like easily, perhaps because I’m more of a visual learner. Furthermore, by employing metaphors, we can recall our collective responsibility for creating a better web. Websites should not be solely focused on social media and commercialization. We as artists and designers should think expansively about what a website can be. We should have greater ambitions for the web. After all, websites should "reflect our hopes and fulfill our dreams, rather than magnify our fears and deepen our divisions," as the creator of the World Wide Web, Berners Lee said.

This article by Loretta Staples provides an interesting and insightful look into the history of digital typography from 1984-1997. It is a thorough and detailed exploration of the various technological advances and developments in this field over the 13-year period. I was particularly impressed with how Staples was able to provide a comprehensive overview of the major milestones in digital typography. She provided a very clear and concise explanation of each of the key developments, making it easy to understand the various innovations and their significance, especially with the illustrated diagrams and examples. Staples’ critical analysis of technology made me realize its huge impact on the wider world. Besides, learning about the positive and negative consequences of the developments in digital typography enabled me to gain a well-rounded understanding of the field. I think the part which I find the most interesting is ​the emergence of PostScript and TrueType, which revolutionized the way fonts were used. It’s fascinating to see how the development of font software and typographic standards allowed for greater control and flexibility.

Overall, I found "Typography and the Screen: a Technical Chronology of Digital Typography, 1984-1997" by Loretta Staples to be an informative and engaging article. It provides a comprehensive look into the evolution of digital typography over the years, giving me a better understanding of the technological advances and their implications. I think that this article serves as an important reminder of the importance of typography in the digital world, and how it has been shaped by technological advances.

There are always times when we need to search for a different perspective, especially in web design. Some designers tend to just follow the traditional way, while some sites try to be different. I think that’s when it’s time for us to all step back and think about the bigger picture. Chimero mentioned how we should stop treating the web like a blank canvas to paint on and instead treat it like a material to build with, and I definitely agree that we should think of the web as a creative tool. We should think in a larger and broader way, thinking about how we can actually work against the web’s natural character.

Chimero showed Hockney’s photography work as an example of working with space in an unconventional way, which really inspired me and opened my mind about how things don’t always have to be inside a fixed size or in a frame. Sometimes, we should just abandon these typical ways and rules of working, and we may be able to create something more unique in an endless and edgeless space. Seeing Hockney’s individual photos overlaid and assembled was fascinating; it’s like a freeform collage, creating these multiplied faces, repetitive images, and uneven edges, almost like a maze or mosaic.

I agree with Chimero that we should not be restricted by the limited spaces, instead, we should think that we are working on an edgeless surface, and there can be unknown proportions comprised of different elements. There are so many possibilities in web design, so we should challenge what we already know and can do. I think the assemblage of elements, layout, placements, and the appropriate use of space all play a huge role in web design. And they’re definitely something that we should explore more.

In "Black Gooey Universe", American Artist directly addresses the development of the graphical user interface (GUI), its implications on race relations, and how it is a reflection of the anti-Blackness in the tech field. They mention that the GUI was developed in Silicon Valley by white male engineers and that this ultimately reflects white ideology in the tech industry. This made me realize how the development of the GUI in Silicon Valley has obscured the complex technology and history behind it, making it difficult for people of color to gain a foothold in the tech industry. American Artist goes on to explain how the 1970s transition from black to white screens, such as the Apple Lisa, is a metaphor for the theft and erasure of blackness. American Artist was able to demonstrate how the industry remains predominantly white and how developers have lost touch with the interests of their users. Nowadays, many devices are still built on the basis of white space and continue to be seen as neutral. It is easy to overlook the fact that these market-driven products are still anti-black and echo the same white ideals, especially in the space of high technology.

In "Function as Narrative", Li explores the idea that function and narrative are closely connected in design. She argues that the narrative element of design, such as the message or story that a product conveys through its form and function, is just as important as its functionality in creating an effective and meaningful design.

Li illustrates her argument by creating several products and objects, such as a medicine container, a template for female body parts, and a container for a broken mirror. The container for the broken mirror, ‘To make up’ stood out to me from the first series as it made me realize how specific forms of man-made products can become symbols of the system and a language that we can read, allowing us to understand and respond to them intuitively. In this case, the finger hole serves as a form of language that allows people to know how to take out and put together the mirror fragments, fixing something that has been broken.

Li’s second series involves collecting objects that can be used for completely different functions and developing narratives relative to them. I think that this concept is a great way to challenge the original function of the objects and prompt the viewer to consider what other functions they could serve. The stamps and rings have unusual designs but still, adhere to the basic standards of a stamp with a flat surface and a handle and a ring with decoration and finger encasement. By collecting these objects that are not meant to be used as stamps and rings, Li is able to create a narrative and challenge the formal language typically associated with them. By trying to misunderstand their formal language and using them in new ways, Li creates a new narrative for these objects and gives them a new purpose.

Overall, I agree with Li that by prioritizing the narrative element alongside functionality, designers can create more compelling and memorable designs that resonate with their audience. However, while incorporating a narrative can be a powerful way to create more meaningful and impactful designs, it's not always necessary or appropriate for every design. Designers must carefully consider the context and intended use of the product, as well as the target audience and desired emotional response, in order to determine whether narrative elements are appropriate and effective for the design.

Questions:
1. What are some potential limitations of Li's argument in “Function as Narratives”? Are there any cases where you think the narrative of function might not be relevant or useful in understanding a design?

2. Do you think narrative should be incorporated into the design for it to be effective and meaningful?

3. What implications does Weiyi Li's concept of "function as narrative" have for the future of media?

In “Can the Internet be archived?”, Lepore explores the question of whether the internet can be effectively archived. She notes that there’s a widespread belief that the internet is a vast and permanent repository of knowledge, however, the reality is that much of the material published online is in danger of disappearing forever.

While the internet is undoubtedly an invaluable resource for information and knowledge, I think the fact that so much of it is ephemeral poses a real challenge for archivists and historians. The internet is constantly changing, with websites and content being added and removed all the time. This makes it difficult to create a comprehensive archive that can keep up with the rapid pace of change. It made me think about how social media platforms like Facebook and Twitter may not be around forever, which raises concerns about the long-term preservation of the content they contain.

One solution that Lepore suggests is to create a digital equivalent of the Library of Congress, where important digital content could be preserved for future generations. This is a promising idea, but it also raises questions about who would be responsible for curating and maintaining this repository and how it would be funded. Additionally, there are concerns about the potential for censorship and political interference in the selection of content. I think Lepore’s article serves as an important reminder of the need to think critically about the long-term preservation of digital content. As more and more of our lives are lived online, it is essential that we find ways to ensure that this information is accessible and usable for people in the future.

In "Data feminism 2. Collect, Analyze, Imagine, Teach," Catherine D'Ignazio and Lauren Klein present a powerful framework for understanding the role of data in perpetuating power structures, and offer practical strategies for creating a more equitable world. They highlight how data-driven solutions can reflect and perpetuate existing power structures, and use examples such as redlining maps and risk assessment algorithms to illustrate this point. Their ultimate goal is to challenge these power structures and give voice to marginalized communities by critically examining data.

I believe it is important to work towards more democratic and participatory approaches. I agree with the authors that data can be a tool for social change when used in ways that prioritize the needs and perspectives of marginalized communities. I think that anyone working with data should approach their work with a critical and intersectional lens, and use data to amplify the voices and needs of those who have historically been excluded from the conversation.

The article "Sharing as Survival: Mindy Seu on the Cyberfeminism Index" features a conversation between Marie Hoejlund and Mindy Seu about the Cyberfeminism Index, an online archive that aims to celebrate the contributions of women in technology and digital art. By bringing attention to the voices and perspectives of women who have been historically marginalized in the tech industry, Seu is playing a crucial role in creating a more inclusive and equitable digital landscape.

One of the standout features of the project is its collaborative and inclusive nature. By allowing for ongoing editing, the Index provides opportunities for dialogue and exchange, emphasizing the importance of collective knowledge production. Additionally, I like the attention to detail reflected in the choice to use Arial, a system font designed by a woman. It is a symbolic gesture of support for women in design and promotes greater diversity and representation in the visual language of the Index.

Seu mentioned that preserving and accessing historical resources in the digital age can be challenging, and many early cyberfeminist websites have been lost or are difficult to find. Therefore, I think that the Cyberfeminism Index plays a crucial role in documenting and archiving this important history, ensuring that it is not lost to time. By using tools such as the Wayback Machine, the Index takes important steps to preserve digital content and highlights the importance of maintaining and updating collections over time.

Overall, I think that the Cyberfeminism Index is a great example of how digital archives can be used as a powerful tool for collecting and organizing information and data. It serves as a platform for highlighting the important contributions of women to the history of technology while amplifying their voices. The Index also reminds us of the continued relevance of cyberfeminist practice, and the importance of building inclusive digital communities.

I think Skawennati’s work is very innovative as she combines Indigenous storytelling and futurism with digital media, including virtual reality, video games, and machinima. By doing so, she encourages Indigenous peoples to take control of their own narratives and see themselves as active participants in shaping their own futures.

A notable aspect of Skawennati's work is her close relationship with her avatar, xox. Through xox, Skawennati explores and reflects upon her Indigenous identity, along with the complexities surrounding cultural authenticity. xox is not only a representation of herself but also a means to envision a better world in which Indigenous peoples have greater agency to determine their own futures. I think xox represents a powerful symbol of resistance and agency, standing in contrast to the dominant narratives that have often controlled Indigenous peoples. Through the avatar, I can see how Skawennati is able to explore and express her own identity while also offering a hopeful vision of a more equitable and inclusive future for indigenous people.

Skawennati's work encourages me to think deeply about how we represent ourselves and our cultures. It also makes me consider the importance of envisioning a more positive and empowering future in the digital world. I hope that more artists and designers can bring their backgrounds and cultures into the digital world, exploring the experiences and perspectives of their culture in both historical and contemporary contexts, especially for the communities that are often underrepresented.

Legacy Russell and Momtaza Mehri have a conversation about Russell's book "Glitch Feminism: A Manifesto," where they discuss the significance of recognizing the contributions of queer people and people of color to digital culture. Russell introduces the concept of glitch feminism, which aims to empower people who are not intended to survive in current systems and encourage them to push boundaries. One of the interesting points in the discussion is the nature of glitch art, which intentionally creates errors and disruptions in digital media. Russell sees it as a form of feminist resistance that embraces imperfection and subverts patriarchal ideals of perfection and control. Mehri also highlights that glitches can be a powerful tool for exposing how technology perpetuates systems of oppression.  

The conversation highlights the underrepresentation of queer people and people of color in digital culture and the arts, where their contributions are often ignored. Russell draws on a wide range of examples to prove her point. She discusses the history of blackness in viral content and memes and highlights the importance of poetry as a tool for collecting voices. Russell also reflects on her own experiences as a queer woman of color working in the art world. I think Russell's work is a step toward creating a space that recognizes and celebrates the work of Black, queer, and femme-identified artists who have been historically excluded from the mainstream art canon.

Through the conversation about "Glitch Feminism: A Manifesto," I was able to see the importance of creating spaces where marginalized artists can experiment and push the boundaries of the medium. There is definitely a need for a more inclusive and equitable approach in cyberspace, and Russell's work serves as an example of how to move forward.

I agree that alt text is often overlooked and not given the attention it deserves. I had always assumed that alt text was just a simple caption for an image, but after exploring the website, I realized that it is a crucial aspect of web accessibility, especially for individuals who are visually impaired or blind. I appreciate the efforts of the website in bringing attention to alt text and encouraging a more creative approach to writing it. Reframing alt text as a type of poetry is an innovative way to encourage more thoughtful and creative writing. Rather than being a description that translates an image into text, alt text can be an opportunity for expression and inclusivity.

It is great to see the website's efforts to create a space that's inclusive and explore the relationship between accessibility and authorship through its design. The website's use of bright colors, floral motifs, and a personal tone is inviting, making accessibility practices more approachable and engaging. The attention to detail in the website's visual design, such as color contrast, is crucial in ensuring that the website is accessible to everyone. Overall, I think that the Alt Text as Poetry website is a valuable resource for increasing awareness of alt text's importance and promoting inclusive web design practices. I understood the importance to consider the needs and wants of the blind and low-vision community when designing accessible websites and content.

It is surprising to learn that our everyday activities, such as browsing e-commerce websites, have a significant environmental impact. Moll's project sheds light on the exploitative practices of companies like Amazon. While their personalized user experiences and fast delivery are convenient for users, they come at a cost to the environment. The hidden codes that enable these features consume a massive amount of energy, contributing to the carbon footprint of the platform.  

It may seem that individual actions by users do not make a significant impact, but I think it is essential to remember that every action counts. As consumers, we have the responsibility to demand more sustainable practices from companies like Amazon. By choosing to purchase from companies that prioritize sustainability, we can incentivize other companies. However, I think systemic change is necessary to address the issue at scale. Sustainable practices and regulating the energy consumption of data centers should be promoted. Moreover, companies like Amazon should also take steps toward sustainability. They can invest in renewable energy sources and implement energy-efficient technologies to reduce their carbon footprint.

The case study explores the emergence of the back-to-the-land movement in the 1970s, which was motivated by concerns about the environment and sustainability. People who joined this movement were looking for a way to live in a more sustainable and communal way and to disconnect from mainstream society.

The case study also highlights the transition from the back-to-the-land movement to digital utopianism, as exemplified by the launch of the WELL ("Whole Earth 'Lectronic Link") in the 1980s. It’s interesting how both the back-to-the-land movement and digital utopianism reflect a desire for a different kind of society and a critique of the dominant culture. They share a belief in the power of community, self-sufficiency, and alternative technologies to create social change.

In today's world, as more people become concerned about the environmental impact of modern industrial society, there may be renewed interest in the back-to-the-land movement and its ideals. As Abbe mentioned in the article, the World Wide Web consumes 10% of all global electricity production, indicating the need for increased awareness of our virtual environment. Therefore, I think the ideas of community, self-sufficiency, and alternative technologies can still be relevant today in addressing contemporary concerns about the environment and sustainability.

"Run Your Own Social" is a guide that provides practical tips and insights for building a successful social network while emphasizing the importance of ethical considerations and user privacy. Reading the guide was an interesting experience for me, as I never realized the amount of work and dedication that go into creating and maintaining a social network.

What stood out to me the most was the emphasis on creating a customized online environment that caters to the needs of a specific community. As Kazemi discusses, running your own social network allows you to make your own rules and set hyper-specific norms, which can help create a safe and welcoming space for users. I think this is especially important in a social media environment where online abuse and harassment are prevalent. However, I also recognized the challenges of running a small social networking site, including the need for social intelligence and technical skills. It was interesting to learn about the role of a server administrator, including the responsibility of socializing everyone on the server with everyone else.

I believe that creating and running your own social network can be a rewarding experience, but it requires a significant amount of work and dedication. The guide provides valuable insights and resources for those who are interested in building their own social network while emphasizing the importance of ethical considerations and user privacy.

“The Coup We Are Not Talking About” raises concerns about social media platforms like Facebook and their impact on personal privacy and freedom. It is worrying that these platforms are designed to collect and analyze vast amounts of personal data that can be used to monitor and influence our behavior. It is not just Facebook; many other platforms are also contributing to creating a surveillance society.

Although users have the option to choose what cookies to accept on websites nowadays, many people wouldn’t bother to filter the options or select the privacy settings and would just choose "accept all" out of convenience. This data is then sent to the website owner, and how they use it is all up to them. It is also concerning to know from the article that governments and other organizations can access Facebook's data to monitor and track individuals, compromising privacy and freedom.

It is essential for tech companies to prioritize transparency and accountability, and users should have more control over their personal data. The article suggests that greater regulation and oversight are needed to ensure technology is used for society's benefit. I think there is a need for greater public awareness about the risks of sharing personal data online. Users should be educated about the potential consequences of sharing personal information on social media platforms and encouraged to take steps to protect their privacy and security online.