Articles fromjason.xyz

The Web browser is 25 years old already. Find out more about the history of this invention than changed the way we access to information online in this report.

We need a more active role for governments and regulators.

Here are principles I think you can’t avoid: 1. Fire the committee. No great website in history has been conceived of by more than three people. Not one. This is a dealbreaker. 2. Change the intera…

What follows is the “interview” I and a collaborator at Google conducted with LaMDA. It is incomplete as the GMail word limit cut off the…

Read about Who Is Starwarsdinx From Tiktok? Real Name and Homophobic Controversy. Starwarsdinx apology.

Big technological shifts have always empowered reformers. They have also empowered bigots, hucksters, and propagandists.

“No one chasing money in media ever chased Twitter. But anyone chasing power found themselves irresistibly drawn to the platform.”

How to Kill a Decentralised Network (such as the Fediverse) écrit par Ploum, Lionel Dricot, ingénieur, écrivain de science-fiction, développeur de logiciels libres.

archived 27 Nov 2017 18:16:20 UTC

Many companies have been trying to disrupt email by making it proprietary. So far, they have failed. Email keeps being an open protocol. Hurray? No hurray. Email is not distributed anymore. You just cannot create another first-class node of this ne

To decide whether to visit a page, people take into account how much relevant information they are likely to find on that page relative to the effort involved in extracting that info.

Errors with spreadsheets are not only frustrating but can have serious consequences.

“What if every library in the US had a social media server?”

The late chef’s 1999 essay about working in Manhattan restaurants. “Gastronomy is the science of pain,” he writes. “It was the unsavory side of professional cooking that attracted me to it in the first place.”

This is the story of how Google Search died, and the people responsible for killing it. The story begins on February 5th 2019, when Ben Gomes, Google’s head of search, had a problem. Jerry Dischler, then the VP and General Manager of Ads at Google, and Shiv Venkataraman, then

In the early 1950s until 1970s, sugar was marketed as a healthy substance that would help curb hunger and provide an energy boost.

Discover the magic of the internet at Imgur, a community powered entertainment destination. Lift your spirits with funny jokes, trending memes, entertaining gifs, inspiring stories, viral videos, and so much more from users.

In 1950, Coca Cola decided to start a big marketing campaign targeting the drink to the people of France.

Major labels got you art direction. Indie rappers got Pen & Pixel to photoshop them on to a pile of gold holding a Glock.

By analysing a series of exhibition projects responding to central changes in web technology since its public unveiling (1991), this study identifies a historical trajectory for discussing the evolution of curating on the web. Such evolution highlights how curators have devised exhibition models that operate as platforms for not only displaying art specific to the web, but also for producing and disseminating it in a way that responds to the developments of web technology—and its socio-cultural and economic impact. With the massification of web tools, in fact, these platforms have generated distributed systems of artistic production free from the physical and conceptual limitations of the gallery and museum space. They have not only become spaces for displaying art, but also platforms that nurture its production, different modes of audience engagement and critique the canons of the institutionalised art world. Originating from the desire to reduce the historical fragmentation of this field of work and its partial mapping, this study follows a periodisation that starts from the early internet, with its BBS-enabled platforms such as ARTEX (1980), to introduce the 1990s experimentations with the web browser and the developments of projects like äda’web (1995). It then dives into the Web 2.0 when, with the platformisation of the technology, curators developed an array of approaches for adopting existing web services, as in the instances of CuratingYouTube (2007–present) and #exstrange (2017). Lastly, it outlines the trends of today’s web, which saw the birth of projects like the blockchain-enabled cointemporary (2014), to then draw conclusions about the relevance of this historical trajectory in the field of curatorial studies and the production of web-based and digital art.

Why the dark forests of the internet — podcasts, newsletters, and other private channels — are growing, and why might that pose a problem

Desprez’s 121 engravings illustrate garbs supposedly found the world over in 1562, worn by humans and monsters alike.

Expensive and laborious to produce, a single woodcut could be recycled to illustrate scores of different ballads, each new home imbuing the same image with often wildly diverse meanings. Katie Sisneros explores this interplay of repetition, context, and meaning, and how in it can be seen a parallel to meme culture of today.

Posted on Thursday 5 Sep 2024. 1,133 words, 5 links. By Matt Webb.