RGB: Internet Tales

RGB

INTERNET TALES Luis de Sousa Histories & Futures of Technology - Assignment I December 2017

Contents RGB – Internet Tales is an editorial project that maps and analyses the Internet. The project spreads over three visual books, entirely built on data mining available from the World Wide Web (WWW).

R—The Promise focuses on Internet’s birth and infancy.

G—The Collapse narrates Internet’s conflicted present moment of adolescence.

B—The return speculates on what the Internet will look like as it become an adult.

These books conceptualise the Internet as a living organism and tell a story of its past, present, and future and are divided in twelve thematic chapters.

Overview 2

Context 3 Opportunity to Develop

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Design 6 Reflection 10 Sources 11

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Context

Early in the course, I identified Space & Time as the theme for my project. I determined Memory as the context, and Visual as the medium to communicate the outcome. While looking for relations between three areas, I focused on Nostalgia, Culture, and Catalogue.

Memory

Nostalgia Palimpsest Feelings

Time & Space

Catalogue Frame Fashion

Space Texture Culture

Visual

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WHO WAS I?

WHO AM I?

WHO WILL I BE?

Nostalgia, in particular, made me thing of a side project I started over the summer, through which I film photographed places that have defined me as a person: my first house, or the tower block next to my kindergarten, which seemed as it was always about to fall down.

NOSTALGIA Visiting places that were once so important to me, and to a certain extent still are, can be a very introspective experience. They looked the same, but they were not the same for me anymore. I noticed small details—a car, a sound, the air that felt so constant and unchanged—, as if time had never passed. What in reality had changed was my perspective, I kept trying to experience those spaces from the lens of a past self. Somehow, I outgrew them and changed, whereas that place stayed the same.

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Opportunity to Develop The idea that spaces sometimes change slower that our own perspective of them made me think of technology, where the exact opposite happens.

Technology is constantly changing. Unlike the natural cycle of life and death, technology renders all things eventually obsolete. Although old devices may still fully function, they are as good as dead when there is no longer a surrounding supporting infrastructure. Technology’s past, present, and future is all the most evident.

Abha Desawar Life in the “Digital Now”.

In this TED talk, Abha explains what it was like to spend hours queueing during the hurricane Sandy so she could charge her devices.

She afirms that in the Digital now, the Internet is a need, like food or water.

“The Internet has shrunk space as well as well time.”

CULTURE

Internet, however, is a technological invention where the obsolete is more difficult to understand. It is constantly evolving, but it still retains its original essence and vision. All our devices are now connected to the Internet and they share a fundamental language. Over the last years, we grew accustomed to the idea that all products should have web connection: smart appliances, or smart homes in general became common place.

People no longer question such concepts, and the creative industries have learned to see data as a material. The Internet no longer takes a mere participatory role in our lives, but also a central one. It is such a fundamental part of us that it stopped being a wish to become a fundamental need . Scrolling has become as natural as breathing.

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Design

WHAT WAS THE INTERNET?

CATALOGUE

WHAT IS THE INTERNET?

WHAT WILL BE THE INTERNET?

Departing from the idea of the Internet as a living organism in constant evolution, how can we conceptualise its past, present and future?

Could I map and analyse what the Internet once was, what it is, and what it could become?

I decided to create a sort of Internet memoirs in the form of a visual catalogue, and draw a comparison between its different temporal relationships. In order to demonstrate such contrast, I developed the concept of three separate, yet interrelated books. Each of them reveals a different time, but with parallel moments. Each of the books’ chapters was explored in a related visual way.

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Being this a story of the Internet, I decided deliberately to resource to online media and data mine the WWW. At the beginning of each book, Pre-History was a reflection of past moments which built up to the moment of the book itself. This initial chapter not only revealed how the Internet started and evolved over time, but also attempted at uncovering other topics that I eventually explored throughout the three books.

Politics in the Pre-Histories of the Internet.

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The act of gathering images to simultaneously build a story was difficult.

It required a strong reflective exercise of thinking through making, or more specifically thinking through googling. B—The return was the most difficult; it was no longer a reflection but rather a speculation about the Internet’s possible futures. B’s many chapters were only possible once the parallel chapters in the other two books were also complete.

As in with any editorial process, after gathering a sufficient number of images, I printed thumbnails and arranged them manually. This allowed to move content between chapters and uncover missing topics.

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During that process, I studied other visual-heavy publications with strong messages. The most evident and inspiring was Koolhaas and Mau’s S,M,L,XL. It allowed me to understand, for example, the importance of relying on meaningful quotes. It also helped me coming up with the title RGB, a reference not only to the Internet’s three screen colours, but also to its three temporal moments.

Throughout the whole developmental process, I kept coming back to one same conclusion: in the past, the Internet was perceived with certain ingenuousness—a Promise; in the present is seen as an uncontrollable super-organism capable of swallowing the world—an imminent Collapse; yet, it keeps feeding our naïve hopes for the future—an eventual Return.

YOU DON’T HAVE TO SEE THE FUTURE TO KNOW WHAT WILL HAPPEN. 9

Reflection The openness of this project allowed me to explore different routes from the ones I would normally follow in a design project. Rather than going through a thorough design methodology, I pursued a more fluid process.

I was able to depart from a personal project that revolved around me, and apply a similar methodology to something as abstract as the Internet.

In one of the tutorials, I was advised to support the imagery and quotes with my own critical reflections. The resulting forewords to each new chapter were written as retrospective manifestos.

The project allowed me to expand upon the idea of the Internet’s own subject. Suddenly, I was addressing it as a “you”. The formulation of this subject allowed me to find new perspectives in each chapter. Most importantly, it made me understand that in the context of the Internet, past, present, and future are not linear, and thus not necessarily a consequent action of each other.

Overall, I enjoyed this project a lot. I enjoyed the freedom to develop it, which is something that doesn’t happen with every design brief.

I currently see these books as first prototype of what could become an interesting editorial venture. My next steps will build upon small conjectural theories that will further expand on my design critique.

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Sources Lewis, P. (2017). ‘Our minds can be hijacked’: the tech insiders who fear a smartphone dystopia. [online] the Guardian. Available at: https://www.theguardian.com/technology/2017/oct/05/smartphone-addiction-silicon-valley-dystopia YouTube. (2017). Powers of Ten™ (1977). [online] Available at: https://www.youtube.com/watch?v=0fKBhvDjuy0.

Dawesar, A. (2017). Life in the “digital now”. [online] Ted.com. Available at: https://www.ted.com/talks/abha_ dawesar_life_in_the_digital_now.

Koolhaas, R. and Mau, B. (1998). S, M, L, XL. New York: Monacelli Press.

Gore, A. (2013). The future. New York: Random House.

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YOU DON’T HAVE TO SEE THE FUTURE TO KNOW WHAT WILL HAPPEN.

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