urbit could have been promising, pity it is altrighty
directing revenue towards co2 reduction? guess no one thought of a more simple solution to thisGetting beyond topic, anyway ...
Today Ethereum's hd Lubin announces Palm ...
NFT breakthrough: Ethereum co-founder Joe Lubin creates 99% energy efficient blockchain—and Damien Hirst is its first artistHirst launches the Palm platform with a drop of 10,000 works on paper linked to NFTs that “explore the boundaries of art and currency”www.theartnewspaper.com
Hirst launches the Palm platform with a drop of 10,000 works on paper linked to NFTs that “explore the boundaries of art and currency”
even if it's stuff you already knew, you feel the immediacy of it. by contrast, if it's stuff you know nothing about, you want badly to engage with itThat cyberzine is great. It has a human feel in it. Meaning that you can really feel that it is personal work of a human.
One of the more noticeable features of internet history is how the metaphorics of the online world have changed from the spatial realm to the temporal.
Early internet browsers used nostalgic, maritime visual thematics to represent web navigation as a kind of journey. Think of Netscape Navigator, with its ship's wheel set against a backdrop of stars and the upstart Internet Explorer with its own copycat metaphorics.
Website hosting in the late 1990s mimicked this sense that the digital realm was something akin to the physical world; a kind of spatial territory that the newcomer could acquire or settle in. Think of Homestead, with its suggestion that the web was a kind of endless frontier of new land, perpetually parcellable for new ventures, or Geocities, with its unabashed gestures towards the new urbanism and the smart city.
This spatial metaphorics obviously relied on an older pop-cultural understanding of digital materiality, one accessible via films like Tron or Lawnmower Man. Here, cyberspace was a physical dimension that could be entered and visualised, just like the physical world.
As the old web has faded away and the new platforms have risen instead, these spatial metaphors have come to seem gauche. What we see instead are metaphors of direct transfer of voice or presence (Twitter) or those of "real time" (the dromology of the instant): Instagram; TikTok.
This disappearance of online space seems to signal the end of the possibility of the online realm as a transcendent space. As Paul Virilio suggests, the journey is abolished in favour of endless forms of instantaneous arrival.
The idea of crossing a threshold or entering a genuinely new space is meaningless when all spaces are generated in real time by the dominant simulacra.
I think in that matter ER can become more relevant than completely Virtual Reality, perhaps with more and more virtual elements/extensions coming in.also, another thing she said was that it changes the role of the artist a bit. it's not like the artist now makes something and you watch it. it's more like the artist creates a space, or defines a set of parameters and the user is more like a participant and co-creates the art.
this is ehat those games like red dead redemption and vice city are like right? it's that, but you are more immersed in it. it's definitely gonna be like smartphones were, i'm sure of it now.