as The Internet Comes of Age
Ryan M. Milner
References
About the Authors
Index
FIGURES
Figure 1.1: IRC chat client, basic interface in 1998. Source: Screenshot from Google image search. Attribution unavailable, original image has unknown provenance.
Figure 1.2: MUSH client for interacting in multiple multi user dimensions at once, circa 1998, actual date unknown. Source: Screenshot taken by Nick Gammon. Image CC BY 3.0 AU.
Figure 1.3: ASCII text map of PhoenixMUD, photographer unknown. Source: Image CC BY 3.0, Martin Dodge.
Figure 1.4: Cospace, a browser prototype emphasizing users as avatars and transportation to websites through portals. Source: Screenshot by Martin Dodge originally appeared in the Atlas of Cyberspace project. Attribution of source material for screenshot: Cospace.org., interface developed by Thomas Kirk and Peter Selfridge at AT&T Labs, circa 1998.
Figure 1.5: Geographic depiction of size of search engines in 2000, as visualized by the company antarti.ca in 2000 (later known as Map.Net). Source: Screenshot by Martin Dodge originally appeared in the Atlas of Cyberspace project. Attribution of source material for screenshot: Map.Net., circa 2000.
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Figure 1.6: CityOfNews, an experimental interface by Flavia Sparacino, MIT Media Lab, 1996–2000. Source: Screenshot by Martin Dodge originally appeared in the Atlas of Cyberspace project. Attribution of source material for screenshot: Flavia Sparacino, circa 2000.
Figure 1.7: Corning advertisement envisioning a future with embedded smart technologies. Source: Screenshot taken by Annette Markham on 9 September 2019. Attribution of source material for screenshot: Corning, Inc., online advertisement. YouTube.
Figure 1.8: Mark Deuze’s 2012 book cover, depicting digital media as water to a fish. Source: Courtesy of Mark Deuze
Figure 4.1: Screencaptures of author. Source: Nadia Hakim-Fernández
Figure 4.2: Broken cables. Source: Nadia Hakim-Fernández
Figure 4.3: The fragility of the internet in the mobile workplace. Source: Nadia Hakim-Fernández
Figure 4.4: Source: Nadia Hakim-Fernández
Figure 4.5: Source: Nadia Hakim-Fernández
Figure 4.6: Source: Nadia Hakim-Fernández
Figure 4.7: Brussels, 26 December 2016. Source: Nadia Hakim-Fernández
Figure 4.8: Photo of my setting and sessions with Yenny. Source: Nadia Hakim-Fernández
Figure 5.1: Sam.
Figure 5.2: Bellevue, USA.
Figure 5.3: Cheddar, USA.
Figure 5.4: Jessica, USA.
Figure 5.5: Tenna, USA.
Figure 5.6: Medford, New York.
Figure 5.7: Bobbatron, Hawaii.
Figure 5.8: Parkland, Florida.
Figure 5.9: Dylan, Kuala Lumpur.
Figure 5.10: Nana, Nettleton.
Figure 5.11: White Sands, New Mexico.
Figure 5.12: The Mouse, Portland, Oregon.
Figure 10.1: Mick Jagger and fans on screen. From London Stadium 2 concert, May 25, 2018. Source: Courtesy of Ben Cragg.
Figure 10.2: “Keith Richards, onstage.” Still photo from Periscope of Lucca, Italy concert, September 23, 2017. Source: Courtesy of Debbie “Tiger” Millsap.
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Figure 10.3: “Mick Jagger onstage.” Still photo from Periscope of Lucca, Italy concert, September 23, 2017. Source: Courtesy of Debbie “Tiger” Millsap.
Figure 10.4: “Crowd facing stage.” Still photo from Periscope of Zurich, Switzerland show, September 20, 2017. Source: Periscope and photo from it by Debbie “Tiger” Millsap.
Figure 10.5: “Pre-show crowd, facing stage.” Still photo from Periscope of London Twickingham show, June 19, 2018. Source: Courtesy Debbie “Tiger” Millsap
Figure 14.1: Incoherent/Coherent Self. Source: Son Vivienne
Figure 14.2: Stories Beyond Gender Zine. Source: Son Vivienne
Figure 14.3: Multiple profiles across platforms. Source: Son Vivienne
Figure 16.1: Meta-text-production. Source: Maria Schreiber and Patricia Prieto-Blanco
Figure 16.2: “patri and maria—editorial room.” Source: Maria Schreiber
Figure 16.3: Physical and mediated spaces entangled. Source: Patricia Prieto-Blanco
Figure 16.4: Video-mediated Intimacy. Source: Maria Schreiber
Figure 16.5: Screenshot of Skype conversation. Source: Maria Schreiber and Patricia Prieto-Blanco
Figure 16.6: Sketch of Visualization: Metaphors of how we relate to each other through tool, place, way of being together. Source: Maria Schreiber and Patricia Prieto-Blanco
Figure 17.1: Self-portrait in Mauthausen, 1995. Source: Cristina Nuñez
Figure 17.2: -5º C self-portrait, 2004. Source: Cristina Nuñez
Figure 17.3: Higher Self Portrait. Source: Cristina Nuñez
Figure 20.1: Workers are hired to remember someone they love in burrough’s Human Intelligent Task (HIT) on Mturk.com. Source: xtine burrough
Figure 20.2: burrough hires workers to share their memories.Source: xtine burrough
Figure 20.3: Modified LED candles, purchased on Amazon, to bring the workers’ memories to public spaces. Source: xtine burrough
Figure 20.4: To conduct a vigil, burrough brought candles to an Amazon Fulfillment Center (AFC) in Coppell, Texas. Source: xtine burrough
Figure 20.5: Candles sitting atop the Amazon Fulfillment Center (DFW6) sign, Coppell, Texas. Source: xtine burrough
Figure 20.6: Waiting for the Drug Test, 2015, Amazon Fulfillment Center (DFW6), Coppell, Texas. Source: xtine burrough
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