The Web We Want and the Stories We Tell

We’ve been thinking through the “Awakening” of the Digital Imagination all semester, and today the New Media Seminar concludes with Scott McCloud’s “Time Frames” and Sir Tim Berners-Lee’s proposal for the HTTP protocol that created the World Wide Web.  Now that the Web is in it’s twenty-fifth year I wonder how we might think about what’s behind us (there’s a cool timeline to help with that here) as well as the road ahead.

Berners Lee intended the World Wide Web to be “a pool of human knowledge, which would allow collaborators in remote sites to share their ideas.” (NMR p. 792) Initially geared toward the needs of physicists and engineers, the suitability of hypertext to scaling allowed the the Web to quickly transcend the Particle Physics Laboratory where it was born and move across the internet over the entire world.  Indeed the web has become so ubiquitous that we often take it for granted.  As John Naughton pointed out in 2010: “A funny thing happened to us on the way to the future. The internet went from being something exotic to being a boring utility, like mains electricity or running water – and we never really noticed.”  Now, the web and the internet are not the same thing (internet = infrastructure, web = particular kind of freight or traffic on that highway), but Naughton’s  suggestions for how we might reflect on the great changes that the internet — and the web — have brought and will continue to bring are still salient.  There are nine of them, and of course I find those that invoke historical contingency (a popular topic this week) and frame the current transformation in terms of past revolutions (Gutenburg 1450, Russia 1917) especially resonant.

Earlier this year, the web’s inventor looked back on “the Web at 25” and proposed that we write a Magna Carta for the web.  Like Naughton and many others, Berners-Lee acknowledges the powerfully positive as well as the scarily negative possibilities for the web’s future. You can check out his short  TED talk and view the transcript here, but the nugget that seems most relevant to the kind of learning the web facilitates is this one:

What sort of web do you want? I want one which is not fragmented into lots of pieces, as some countries have been suggesting they should do in reaction to recent surveillance. I want a web which has got, for example, is a really good basis for democracy. I want a web where I can use healthcare with privacy and where there’s a lot of health data, clinical data is available to scientists to do research. I want a web where the other 60 percent get on board as fast as possible. I want a web which is such a powerful basis for innovation that when something nasty happens, some disaster strikes, that we can respond by building stuff to respond to it very quickly.

For me, a web that would serve as a really good basis for democracy would be a web of innovation, collaboration and creative exchange — a highly social, highly interactive web, where transparency was the norm, but where one would remain firmly in control of one’s digital identity and could opt out of (or into) the communities, aggregators, surveillance regimes, etc. of one’s choosing.  This web would also be the best foundation for the kinds of active co-learning and peer-to-peer collaboration we’ve been exploring all fall in the Connected Courses Cmooc.  And it would implicitly further the project of “de-Schooling” our educational institutions by networking information, artifacts, expertise, resources, and people in ways that would erode the silos or at least make them more porous.

Check out the World Wide Web Foundation’s report for 2014-15 to see how far we’ve come — but more importantly, how far we have to go in this regard.

The connection between comics and the Web We Want might not be obvious, but it’s important. In Understanding Comics, The Invisible Art (1993), Scott McCloud showed how comics use visual space to represent time and shape narrative, thus suggesting how users of the graphical user interfaces that were becoming more widespread at the time would engage the web and each other in ways that facilitate the construction of meaning and the creation of networks. Where Brenda Laurel invoked the principles of Attic drama to understand human-computer interaction, McCloud, also known as the “Aristotle of Comics” adapted the ancient conventions of analog comics to the digital medium by making the frame optional and offering the vision an “infinite canvas” which treats the screen as a window rather than page.

The nugget that best explains why this vision for an expansive, recursive, multi-media and interactive comic art is vital to my imagining of the web and connected learning I want comes from McCloud’s 2005 Ted Talk (The Visual Magic of Comics):

I think this is important because media, all media, provide us a window back into our world. Now, it could be that motion pictures — and eventually, virtual reality, or something equivalent to it — some sort of immersive display, is going to provide us with our most efficient escape from the world that we’re in. That’s why most people turn to storytelling, is to escape. But media provides us with a window back into the world that we live in. And when media evolve so that the identity of the media becomes increasingly unique. Because what you’re looking at is, you’re looking at comics cubed: you’re looking at comics that are more comics-like than they’ve ever been before. When that happens, you provide people with multiple ways of re-entering the world through different windows, and when you do that, it allows them to triangulate the world that they live in and see its shape. And that’s why I think this is important.”

I think that’s right.  We do use windows and stories to escape, but cubing adds perspective, dimension, meaning and connection. Windows and stories also offer openings and insight. The web we want, the one so many of us engage every day, offers all of us the opportunity to make meaning, discover something new about ourselves, to work with and learn from others, and to narrate a meaningful canvas of our human experience.  It also needs the attentions of the humanists — the Scott McClouds, the Brenda Laurels, The easy, tigers, the musicians, and the librarians, (all the librarians ;-)) as well as the mathematicians and the historians of science and technology.

Double Creative Disruption Nugget


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The internet’s disruptiveness is a consequence of its technical DNA. In programmers’ parlance, it’s a feature, not a bug – i.e. an intentional facility, not a mistake. And it’s difficult to see how we could disable the network’s facility for generating unpleasant surprises without also disabling the other forms of creativity it engenders.     — John Naughton (2010)

My connected courses this semester have been full of unpleasant surprises of the technical kind. Many people of good will have tried to help coax overloaded servers back to the front lines. But without a warp drive we are all left peddling along.

Faster Captian Picard, faster!


Taking control would make things easier: We should lock down that platform, kick out those unruly widgets, limit the size, shape, and format of the content — for the sake of stability, for the sake of control, for the sake of the greater good.  Right?  Resistance is futile, right?

Not so slow!!!! Let’s not take away the flexibility that enables the creativity as well as the unpleasant surprises. Instead, let’s fix the warp drive so the Enterprise-internet can do what we made it to do, and what we do with it every time we engage it.

This nugget from John Naughton’s piece “Everything you need to know about the internet” highlights the yin and yang of creative disruption. In the seventies Vint Cerf and Robert Kahn sought to design a future-proof system that would link networks simply and seamlessly.  They did that by setting up a decentralized net where no one person or entity has ownership or control and by embedding “neutrality” in the core architecture of the system. The network is simple in that it moves data packets from point to point. But it is neutral as to the content of those packets. So the same features that facilitate so many unpleasant surprises (malware, cyber stalking, incompatibilities) support the amazing, invigorating good stuff that brings us together and makes us smarter (communication, creation, augmentation, innovation).

Fencing off a little corner of the net as a kind of sandbox for students is a natural impulse.  Locking things down will keep us safe, make things more efficient, and short circuit the frustration. But natural as it is, the impulse to exercise this kind of control thwarts the simple, empowering, free-range qualities that make the net the net and make the web a wonderfully flexible communication medium. The safe, impulse-drive installation would limit the unpleasant surprises, but it would also hamstring the creative potential that brings us here in the first place.

The disruption can be negative or positive, but it is embedded in the net’s DNA. Fiddling with that disruptive capability undercuts the whole enterprise. Disruption is a feature, not a bug.

I need to understand that feature better in order to deal with the unpleasant surprises and cultivate more pleasant surprises. I need to take Ted Nelson’s injunction to heart:


Computer Lib cover by Ted Nelson 1974” by Ted Nelson – The New Media Reader (2003), page 302. Licensed under Fair use via Wikipedia.

Because creativity requires facility, disruption enables innovation, and bugs in a web can be beautiful.

Oh, Had I A Golden Thread
Oh Had I A Golden Thread – Loco Steve (2010)

Oh, had I a golden thread
And a needle so fine
I’d weave a magic strand
Of rainbow design…..