Since then I have created a Twitter list of other Robert Sharps, which I tautologically consider to be a form of narcissistic worldliness. Astonishingly the list contains not one but two professional wrestlers.
I have actually met Rob Sharp and the world did not explode, and I have also chatted on social media with Robert Sharp.
However, a recent Google search threw up a few faces of which I had not been aware. Here they are, in alphabetical order—click on the photographs to read more about each of them. Continue reading “Name-alikeys, Revisited”
At the beginning of this month, the U.S. sports website SBnation.com surprised its readers with an unexpected meditation on the game of (American) football. A piece titled ‘17776: What Football Will Look Like In The Future’ was posted to the site, alongside the usual results and recaps of recent baseball and basketball games. But when curious readers clicked on the headline, they were transported fifteen thousand years into the future, and billions of miles into deep space. Over the following weeks, new chapters to the story drew readers into writer Jon Bois’s appreciation of our planet and what it means for humans to play in it.
The characters in the world are very old, possibly immortal. They use their new-found longevity to play and watch long and complex games, usually based around what we 21st century denizens recognise as gridiron football. Several far-future nationwide football games are described, all with a lineage that can be traced back to those we watch today. But all the games a far more extreme and heightened, having evolved over millennia. Just as, with biological evolution, the essential components of a given animal order, family or genus are revealed as they become more pronounced, so those aspects American football that are at the core of the sport are revealed when the future-humans iterate it to a ridiculous degree.
As well as the idea of play, Bois invites us to revel in the vastness and complexity of our planet, and the unique history of each patch of earth. In one particular sequence, I thought of the art of the Boyle Family, who pick random points on the globe and precisely reproduce the square metre of ground that they find there.
The format goes beyond what one might expect from a piece of online writing. It’s a collision of YouTube video animation, chat room text, and Google Earth renderings. One thought I had after reading a couple of chapters was that it should not be surprising that the format is surprising. Modern technology offers countless ways to render a narrative, and all Bois has done is to take a fairly well established format—a chat room script—and illustrate it with animations from a common online tool. It is not particularly radical, but the way we publish online (both the format of digital content, and it’s graphic design) has become so formulaic that even small and obvious departures from the norm suddenly feel innovative. In a Q&A, the author himself puts it very well:
I could go really, really long on this answer. I’ll keep it short: There are countless different ways to write, and things and ideas to write about. And the Internet offers a kaleidoscope of different formats, media, tools, sights, and sounds to tell your stories. And most of us are not even trying to scrape the surface of any of it. We’ve got to start thinking of the Internet as something more than a glow-in-the-dark newspaper.
On Facebook, a friend of mine writes:
it is such a brilliant piece of work, creative and touching and imaginative and smart, and it could only work here, in this medium. Is there anything else like that? I’m not sure.
There are precedents. First, in the Q&A, Bois cites Calvin and Hobbes as an influence on his writing. And there are moments in 17776 that feel exactly like Bill Watterson’s comic strip. In particular, the way in which the three narrators revel in the beauty of (in turn) the Earth, human endeavour and the game of American football, could easily be something Calvin comes out with on one of his meditative sledge rides.
I think a better comparison than Calvin and Hobbes is with the xkcd web comic. If Jon Bois is not a fan of Randall Munroe’s twice-weekly panels, I’d be astonished. xkcd characters often manifest the same geeky wonder at creation that Ten, Juice and finally Nine profess in 17776.
When ‘Click and Drag’ was first published, I wrote:
This is art that is native to the internet, and therefore still relatively rare. While most art we see online (photography, film, creative writing) can actually be viewed in other media (on a wall, in a book, on TV), this piece of art only works online. The clicking-and-dragging is inherent to experiencing of the art.
We can call 17776 ‘native’ internet art too, I think. The combination of text, GIFs and video only really work when read in a browser. I suppose it could be translated into a single YouTube video but that would be an act of adaptation, just as the ‘whole world’ images that xkcd fans have created of comic 1110 are an adaptation (and a spoiler) for the online version.
Projects like 17776 remind us that while the game of football may be old, the Internet is still a very new medium. It’s a delight to live in this moment of innovation, and to watch artists experiment within it.
There’s a new social nework on the block: Mastodon.
Or rather, it’s a social media technology. When we funnel all our conversations through the servers of a big company like Facebook or Twitter, we grant them enormous power. They control the extent of our privacy and of our free speech, and that power can be abused in ways that are both legal and not. The companies can sell our data to third parties (a process made much easier by the US Congress last week); they can reveal our data to the security agencies of nefarious regimes; and they can throttle or shut down our free speech if they so desire, without going via a court.
Decentralising the way in which we converse online means we can reclaim some of that power. A few years ago I posted a link to a blog post on Dave Winter’s Scripting News which sets out the practical and political importance of this idea: by spreading out, we’re harder to stop.
Mastodon is an open source project, so anyone can install it on a server and run a Mastodon ‘instance’. The software uses a principle called ‘federation’ to allow users to see messages posted on other instances of the software. So people who signed up on (say) mastodon.social can view and respond to messages posted to octagon.social (which is the version I signed up to with the username @robertsharp).
Dear People Who Write Open Letters to People Who Write Open Letters —
As is customary with this form, I must begin by stating whether or not we have met. We have not. But in many ways, I feel like you. In fact, following my Open Tweet to People Who Write Open Letters this morning, it could be said that I am you. I share your concern that the Open Letter form has become a cliché, and your worry that we are reaching Peak Open Letter, bringing an ennui that can only be described as Open Letter Fatigue.
Time for a moratorium on "An Open Letter To…" think pieces? What does that style of writing achieve that a straight essay/op-ed does not?
A while ago I posted on The Darker Side of Selfies, and the way in which the mainstream media illustrate the news of tragic young deaths with images from the victims’ social media accounts.
Whether it is a car accident, a drug overdose, a gang murder, or a bullying related suicide, the photo editors turn to the victim’s Facebook page or Twitter stream to harvest images. … Used in this new, unintended context, these images strike a discordant note. The carefree narcissism inherent in any selfie jars with the fact of the artist/subject’s untimely death.
When I posted this to Facebook just now, I was going to add the abbreviation ‘NSFW’, Not Safe For Work. But that prompts two thoughts. The first is that my work actually involves looking at links and images like those displayed here! I often wonder if I have inadvertently shocked my colleagues who have accidentally wandered past my screen while I was reading some link about porn or violence or racism or something.
Second, its surely a problem that our culture, as reflected in the Facebook image usage policies, deems images such as masectomies, nude drawings, and breastfeeding as “NSFW” regardless of context. Why shouldn’t these images, undeniably in the public interest, be viewed at work?
I reckon we should start labelling images and GIFs from sporting events as ‘NSFW’ because surely that’s the number one content that should not be viewed at work, damging as it is to productivity.
On Monday, Labour Party members received an e-mail from Liz Kendall in their inboxes: an open letter.
You probably think I’m writing to ask you for your vote in the upcoming election for party leader.
And I am.
But what really matters for our country and our party is another election – the one we’ll fight together in 2020.
By then, our country will have suffered under five more years of the Tories.
&cetera. I was a little underwhelmed by the text, to be honest. The values she lays out do not seem to delineate Kendall from other candidates, or even the other parties. “End inequalities” and “eliminate low pay” are policies that Labour surely shares with the Greens, the Liberal Democrats, Plaid Cymru and the SNP. Conservative Party Leadership Candidates probably would not put these issues at the top of an appeal to their members, but it would be difficult to find a Tory MP that disagrees with either. However, “we need a more caring society”, “We must share power with people” and “We need a future of hope for all our young people” are phrases that would make their way onto a Conservative membership e-mail. Only once in the e-mail does Kendall explain a policy difference between her and anyone else (on inheritance tax). So the aspirations and goals, worthy though they are, seem rote when stated by themselves. Continue reading “Liz Kendall as a Quick Case Study on Political Persuasion in the Digital Age”