Reading: 1
Q1: Mez Breeze Carpenter's piece delves into how the "handmade web"
stands as a kind of rebellion against the internet's commercial
takeover and sameness. It pays tribute to the early web's
uniqueness, creativity, and individuality, urging people to actively
engage in shaping the development and policies of online spaces.
Back in the late '90s, the web was this playground where amateurs,
artists, and creators experimented with expressing themselves. Those
vibrant, "under construction" web pages were like handmade prints
that let users time-travel. Plus, they tossed in the source code,
giving users a chance to dive into the tech stuff and blurring the
lines between being users and writers. But then came the big
corporate giants with their proprietary platforms, and they kind of
messed up the original vibe. Mez Breeze Carpenter sees the "handmade
web" as a little act of resistance in the face of this commercial
takeover. It's a nod to the early web's spirit, reminding us that
the internet used to be this vast universe of possibilities. Yet, it
also pushes us to rethink our digital connections, asking for more
personal and unique experiences beyond the usual commercial grind.
Q2: The author of this article points out various aspects or changes
in the digital realm that face resistance or opposition. For
instance, there's a pushback against the Commercialization and
Standardization of the Web. The article stands against the shift
towards a super commercial and standardized online world ruled by
big corporations, exclusive apps, and content management systems.
Another point is the resistance to Homogenization, stressing the
importance of diverse and experimental web art and writing projects.
There's also a fight against the Loss of Personal Identity,
challenging the notion that individuals have lost control over their
online identities because of the overwhelming influence of major
social media platforms and commercial websites. Additionally,
there's resistance to Proprietary Technologies, opposing the
prevalence of tech that restricts users from understanding and
tinkering with the web. In a nutshell, the resistance discussed in
this article mainly targets the commercialization, standardization,
loss of personal identity, and the proprietary nature of the modern
web.
Q3: Recalling my childhood experiences and exploring the
"physicality" of the web, another standout example for me would be
the "Mario Paint Composer "(https://danielx.net/composer/Links to an
external site.). Back in the day, this online tool allowed me to
create music by placing animated characters on a grid, each
representing different musical notes. It was like painting with
sound. The interactive and visual nature of the interface made the
process feel more tangible, turning music creation into a hands-on
experience. Additionally, "Virtual Piano" caught my attention. It's
an online platform that transforms your computer keyboard into a
piano. I loved the simplicity of being able to press keys and
produce musical notes, creating a virtual piano-playing experience.
The blend of the visual representation of the keys and the auditory
feedback added a physical dimension to my interaction with the
digital platform. These examples not only entertained me but also
highlighted how the web could engage multiple senses, bridging the
gap between the digital and physical worlds in a playful and
creative way.