De belangrijkste factor voor de kwaliteit van het Internet

Douglas Coupland schrijft in Bit Rot:

… it’s porn that drives up the quality of the internet…

Dit deed me denken aan een bezoek dat ik een tijd geleden bracht aan een van de grootste Internet en data center leveranciers ter wereld.

We maakten een tour door een van hun onwaarschijnlijk grote data centers, een flinke wandeling van bijna een uur door de vele zalen van het gebouw. De oppervlakte van het data center besloeg een tiental aantal voetbalvelden. Het personeel, een handvol technici, reed met elektrische wagentjes door de zalen.

Tijdens de nazit vertelde de directeur over de grote getallen. Servers bestelden ze in batches van 50000 of meer afnamen van hun leveranciers. (Vijftigduizend, geen typfout in de nullen.) Hij noemde ook de bandbreedte die ze verbruikten. Ik weet het getal niet meer maar ze waren verantwoordelijk voor het gebruikt van meer dan de helft van de capaciteit van het Nederlandse Internet.

Ik vroeg hem wat de belangrijkste soort applicaties dat dan waren die ze hier hosten en zo veel Internet capaciteit verbruikten.

“Porno. Als we alle servers zouden uitzetten waarop porno draait zou het hier stil worden.”

Analoog

Ik lees het boekje Shopping in Jail van Douglas Coupland. Coupland doet onder andere verslag van zijn bezoek aan China ten behoeve van onderzoek voor zijn andere boek Kitten Clone: Inside Alcatel-Lucent. In zekere zin zie ik deze werken van Coupland ook weer als een tijdbeeld over een tijdbeeld. Het lijkt alsof broadband zaligmakend is. Als we allemaal online zijn, en ongelimiteerd data kunnen streamen, is de wereld af, zijn we allemaal gelukkig.

Daarom zijn de Unmute Us betogingen van het afgelopen weekend in Nederland erg bemoedigend. De acties laten zien dat de online, digitale beleving duidelijke grenzen kent en dat mensen behoefte hebben aan fysieke ervaringen.
Zelfs als de bandbreedte oneindig is, dan nog hebben we behoefte aan fysieke ervaringen en analoge contacten.

About Polaroids by Douglas Coupland

In a Douglas Coupland burp, I reread Shampoo Planet and now Polaroids.

What strikes me now: Coupland’s style and subject matter could never be European.

The description of “stuff”

Bret Easton Ellis exaggerated it in American Psycho with the overly exuberant description of the brands of Bateman’s stuff. But even in Coupland you notice that strange for us Europeans yet somewhat exotic way of describing consumer goods.

Polaroids, Douglas Coupland

His world is so unimaginably young to us

A legacy of a few hundred years is already immeasurably deep. After the freedom struggle, suddenly the most important event in the history of the United States (yes I know Coupland is a Canadian) is 9/11. And 9/11 is described as an attack on the United States. European history is teeming with 9/11 events. In the US, a president is assassinated every now and then, but Delaware, Arizona or even Texas did not secede from the US. In a documentary on illegals, I hear Americans talk about “our country” as something based on centuries of history. But most Americans have immigrated to the country in the last hundred years.

Rehab

Coupland (paraphrasing – I lost the exact quote):

When there is an electricity outage, we sing songs, but as soon as electricity is back, we disappear in a haze again.

So it is during this vacation. For example, there is no television. You find that you read a book more easily and chat more, and feel much freer than when that blue eye demands its attention. It’s like quitting drinking or smoking: a TV addiction is in your daily pattern, and it takes a paradigm shift to get rid of it.

About legacy: a little further on, I read that Palo Alto is 100 years old. I rest my case.

Rereading, and Derek Sivers’ Hell Yeah or No

Halfway through December, I received my signed copy of Hell Yeah Or No. A good motive to re-read the book.

Derek Sivers - Hell Yeah or No - book cover

I had already read the ebook. I purchased the same offer: an ebook and a signed paper copy. Given the work Derek has put into producing and distributing the signed hardcover version, I cannot imagine he made much money on it.

I seldomly re-read books. But this one is definitely in the re-reading category. As a sidenote, my re-reading category includes: Gerrit Krol (Dutch writer (probably one of the first people writing on Artificial Intelligence in De Man Achter Het Raam (1982!), definitely in the Netherlands, but probably also internationally), Douglas Coupland, Haruki Murakami, Tom Peters (not everything, but definitely The Little Big Things).

Purity vs Dark Brown suppression – The Noise of Time

I somewhat randomly bought The Noise of Time by Julian Barnes. Barnes is one of the writers on my ‘read anything they write’ list (another one is Haruki Murakami, yet another Douglas Coupland).

So, I did buy the book for its main topic—a fictionalized biography of Dmitri Shostakovich. Actually, as I had not read any review of the book or its cover, it took me a couple of pages to realize this was about Shostakovich—or, probably more precisely, about his moral struggle with the Soviet government.

The beginning breathes the dark brown stifling atmosphere of Kafka’s The Trial. Desperate, helpless, surrendering to the untouchable power of bureaucratics.

Barnes writes how Shostakovich became famous as a composer but could not enjoy his success. He gets to visit the United States as a puppet of the USSR politics. He holds speeches drenched with political statements but includes nothing of his own vision. The composer seems to half realize what he is doing and seems to justify it for his family. So the story turns to Shostakovich’s courage, or lack thereof, his cowardness, betrayal, and moral shame.

Barnes describes wonderfully how the oppression permeates every hole in Shostakovich’s life. It makes me wonder how he could still write such wonderful music.

Who does art belong to? The people? The state? The ‘big goal’?

Music in the USSR is played ‘as meant by the artist’ or ‘ strategic’—that is, in accordance with the norms of socialist art.

But in music, there is a purity. Something that can not be washed away by norms, politics, ethics, or violence. A purity that stands The Noise of Time. Eternal. Context-free. An undebatable truth.

And this purity in music probably explains how Shostakovich was able to continue to make his wonderful music, while being oppressed by this totalitarian regime.