If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
Over the weekend, I did an interview about my forthcoming book The Reverse Centaur's Guide to Life After AI (a book about being a better AI critic), and the interviewer said she was surprised that I wasn't an AI booster, based on my demographics and work history:
I could see where she was coming from. I encountered computers in the mid-seventies, as a small child. My first computer was a CARDIAC, a working, Turing-complete, mechanical computer made entirely of cardboard, that I spent endless hours with:
Then I graduated to a teletype terminal and acoustic coupler connected to a minicomputer at the University of Toronto. My mom, a kindergarten teacher, used to smuggle home 1,000' rolls of paper towel from the kids' bathroom. I'd get 1,000' feet of computing up one side, then another 1,000' down the other side, then I'd carefully re-roll the paper towel so she could put it back in the bathroom for the kids to dry their hands on.
After that, I got an Apple ][+ in 1979, and shortly thereafter acquired a modem, and that was it: I was hooked for life. I became an amateur programmer, then a professional programmer. I hosted forums on dial-up BBSes where I distributed software and offered support to strangers who wanted to connect their computers to the internet. I got a job as a gopher developer, then a web developer, then a CIO-for-hire, helping wire up small businesses and connect them to the net. Eventually, I co-founded a free/open source software startup, before transitioning to 25 years as a digital rights activist with the Electronic Frontier Foundation. And for most of that time, I was energetically writing science fiction, eventually becoming associated with a school sometimes called "post-cyberpunk":
The force that energized all this work was a dialectical one, the contradiction that powered cyberpunk literature itself. For all that cyberpunk was undeniably enamored with the coolness and combustibility of new technology, it was also terrified of how technology could be a force for oppression, surveillance and control. As William Gibson says, "cyberpunk was a warning, not a suggestion."
Gibson's more famous quote, of course, is "the street finds its own use for things." In Gibson's novels (and in my own life in technology) all the most interesting things happen when users of technology (often without formal training or credentials) find ways to adapt the technology they use to suit their needs:
This is why I remain an ardent fan of Hypercard, Scratch and other meta-tools that are designed to allow non-programmers to write software that exactly conforms to their desires. Whatever the apps produced by these tools lack in sophistication and efficiency is more than offset by the fact that they give everyday people the power to directly control the tools they rely upon.
If "epistemic humility" means anything, it means acknowledging that no amount of "requirements gathering" can capture the needs of people totally unlike yourself as faithfully as those users can capture their own needs. Giving people the tools to produce their own software is always going to make tools – vernacular, idiosyncratic, homespun – that are more suited to their own hands and minds than anything a technologist working on their behalf could make.
The ancient dictum of "nothing about us without us" – born in 16th century Poland and taken up by the modern disability rights movement – asserts the right of people to control their own living conditions, and also the unique capacity of people to understand their own needs. You know what's even better than being consulted on the design of the technology you use? Having direct control over that technology!
This is why I was so suspicious of the iPad. The iPad's much-lauded "ease of use" was entirely about how easy it was to use an iPad to consume technology. But the iPad remains the single most user-innovation-hostile technology in modern history, a device designed to make it impossible to produce technology without permission from a remorseless multinational corporation. This is cyberpunk as a demand, not a warning:
The technology I've championed all my life is technology that gives more control to its users. One of my immutable precepts is that people who are different from me know things I can't know, and the only way I can get the benefit of their unique knowledge and perspective is if they are free to make and share things that matter to them. As Dan Gillmor said, back when he was inventing the study of citizen journalism, "My readers know more than I do":
And while I am broadly very skeptical of AI, and deeply alarmed by the proliferation of "vibe coded" software in production environments, vibe coding for personal projects is a useful and exciting addition to the lineage of tools that let computer users decide how their computers will work. For people making personal projects, vibe coding extends the power of shell scripting, cron jobs, Applescript, and other desktop automation tools to a wider audience.
One of the journalists I spoke to last week about my book described how he had vibe coded an app that showed him an alert every time a plane flew over his house, giving the tail number and other details of the flight. This is information that I have no need for, no interest in, and that I'm therefore excited to learn about, because its very existence affirms that the world is full of people who are delightfully, irreducibly, amazingly different from me, and moreover, that their unique needs can be directly met using their imaginations and their personal computers.
I recently sat down with my colleague Naomi Novik, a brilliant author who also co-founded Archive of Our Own. Naomi demoed her followup to AO3 for me: Wreccer, a system to help you find small groups of people with taste similar to your own, in order to facilitate media recommendations within that group – a kind of personal, relationship-driven alternative to massive, centralized, monolithic algorithmic recommendation systems:
https://github.com/wreccer
Naomi told me that Wreccer was being built using the same design ethos that the original Twitter embraced. When Twitter launched, it was an API first, and the official Twitter front end was built on that API – but anyone could build their own front end for Twitter that worked in the way they wanted it to. Now, the word "anyone" is doing a lot of work in that sentence, because most people don't even know what an API is, and of the people who do, most of them were not capable of writing their own software front end for Twitter.
But Wreccer is being designed for the age of vibe coding, and the API will really allow anyone who uses the service to design their own interface to the system, one that elevates and centers the features they find useful and tucks away the ones they're not interested in. Your personal, custom front end could also bring in other data-sources – pulling in your Mastodon messages, for example, or even showing you an alert with the tail-number of any plane flying over your home.
This is the part of vibe coding that I'm quite excited about, but it's not the part the industry focuses on. Instead of hearing about how personal, homemade software utilities can be an end unto themselves, we hear about vibe coded projects as prototypes for commercial production code. We hear about clueless bosses vibe coding software products and services that run fine for one user on a siloed desktop computer, and then demanding to know why it takes 50 engineers a year to make the same thing work for millions of users on the public internet. We hear about people who vibe code and submit patches to free/open-source software projects with millions of users, overwhelming project maintainers with slop code that is riddled with security vulnerabilities.
Of course, there's an obvious reason why the industry wants to focus on the potential for vibe coded software to replace production code. The AI bubble has burned up $1.4t to date, while bringing in mere tens of billions of dollars per year, even as its unit economics grow steadily worse:
To keep the bubble inflated, AI hucksters must promise massive economic returns to the technology. They want investors to believe that vibe code is about to replace working programmers, who are skilled, high-waged, high-demand workers. Their pitch is that for every million dollars' worth of programmers that an AI salesman and a boss conspire to fire, half a million dollars will go to the AI company whose bots shit out that vibe code.
That's par for the course with the AI bubble, whose focus is entirely on how AI can centralize, control and homogenize our lives. Whereas early desktop publishing, web publishing and social media gave us a glorious higgledy-piggledy of chaotic, weird and transgressive hobbyist media and retina-searing designs, AI art and design are instantly recognizable at a thousand yards, and it all looks the same, boring, and washed:
AI companies have released open weight/open source models that can run on your own computer, but these are treated as side-shows and toys and demos. The real action, we're told, is in "frontier models," which is industry-speak for "a piece of software whose running costs exceed the GDP of most countries":
Perhaps this is why the dynamics of AI are so different from the early dynamics of the web. Early web users were workers, who demanded that their bosses allow them to use the web and so devolve more power to people doing their jobs. By contrast, today's most ardent AI boosters are bosses, who threaten workers who don't use AI enough in the course of their duties:
Where we do see idiosyncrasy emerging from AI usage, it's often terrible. AI can help you create a folie-a-un in which you and a chatbot team up to reinforce your delusions and drive you deeper into a world of dangerous mirage:
There's a (false) story that's told about people who championed the early internet: that we were blithely certain that technology could only be a force for good, and negligently disinterested in the possibility that technology could control, extract and harm. That's demonstrably untrue: recall cyberpunk's dualism of "the street finds its own use for things" and "cyberpunk is a warning, not a suggestion."
More true is to say that early internet champions were alive to the importance of the internet, and therefore both excited about the possibilities of the internet to deliver a world of connection, idiosyncrasy, love and solidarity; and about the danger of the internet as a dystopian system of surveillance and manipulation:
History isn't finished. Long after the AI bubble pops, there will be local models and people vibe coding homemade software that respond directly to their needs. The stuff we make on our own computers, for ourselves, is deplatformed from its inception. It's part of the life we can build in technology's "shadowy corners" that we used to just call "technology." The fact that this stuff is utterly unsuited to be production code makes it inherently unmonetizable. It's how the street finds its own use for things:
A buzzword in computing moved towards "IBM compatibles" (even ahead of Microsoft revising Windows) in the feature story for this issue. (There were comments in the article about how Kaypro's cheaper CP/M machines could at least contribute to the process.) The "Life at 300 Baud" column talked up a BBS claiming "to have over 3,000 registered users" as compared to the usual "500 to 100"; you'd face a lot of busy signals trying to log on to "Invention Factory" (unless you paid "$100 a year" for "a special phone number that will let you bypass the 'modem hordes'"), but the "over 2,000 public domain programs" on it seemed worth the effort and/or expense.
Hi, I am the Editor, Producer, and Main writer for Fashion Fag Magazine® I do not want to be the only contributor to this magazine. I want and love your input and support to make this magazine, that you can rely on for good articles, poetry, reviews, fashion tips etc. Use this magazine as an outlet for your feelings and emotions. I will try to have in depth interviews with prominent gay figures and the ordinary fag. Unlike other magazine this magazine will not be, Gay white male oriented.
This magazine will be inclusive of everyone, lesbians, bi-sexuals and supporters. People of all races, colors and socio-economical backgrounds will be represented within these pages. If you see us falling short on any of these promises let us know because we are here to serve your needs. With all of this said enjoy your first issue of Fashion Fag Magazine®
Peace, Love + Hair Grease
Miss Trevor
Nineteen Ninety-Three, thirty-one years ago, three decades, a quarter of a century, seriously a lifetime ago, but one thing is consistent I have used the written word to express my feelings, values, failures and loves for a long damned time. Mind you, this was the furthest thing from a magazine, the first issue basically being double-sided text on colored office paper, it was all about the aspiration!
I would love to say my starting this zine/newsletter was an original idea but that would a fine piece of creative retelling of history. My college friend Matthew Carlin had a newsletter called TMCM, The Matt Carlin Mirror where he talked about his life, love, school and anything else that came to mind. It was his post-college way of keeping in touch with the friends made back in Ithaca, and like him I thought I could do the same and grow the fan-base I thought I had, in my head.
Desktop publishing was a new idea in the early nineties, albeit Quark Xpress was started in 1981, it didn't become more widely used until the early nineties on Macintosh and Windows dominating the market share of the time. I wouldn't start using it myself until '95 somehow coping a bootleg version for my Mac SE. Previously I was using AppleWorks which later became ClarisWorks, this was basically just a word processing application, and I remember to create just one page I would have to create a text box in different positions and put them together when I printed it.
Below is one of the template pages from issue #2, there are three parts of this page, the find-a-word with its description below, Miss Moody Herself and the bits below it, and the three columns on the lower half. I didn't know how to make ClarisWork split up a page into different areas. I could easily make columns, but having something on the upper half of the page that was different than the content on the lower page had to be done by passing the document through the printer multiple times my Apple StyleWriter II.
So in my digital files for one page I would sometimes have three or four ClarisWord docs. It made for a slightly confusing organizing of an issue because one four page issue could easily have twelve to sixteen files. Quark Xpress which I taught myself, would get rid of the need for multiple documents and multiple passes through the printer. It had become the standard for desktop publishing and it was appropriate that I should utilize the industry standard for my own mass-read publication.
Sorry, I went off into a technical rabbit hole, but I think part of understanding who I am is to understand my technical proficiency throughout my adult life, and even now, its one of the things that I seriously think gave me the edge when I went to work in the corporate world, the fact that I had dabbled in so many applications and technology made me hit the ground running faster than a lot of my contemporaries.
I wish I still had that old SE, I gave it back to the friend who I purchased it from as a payment for his ripping out the old red carpet in my new apartment, the same one I am living in today. The reason I would love to have it, is I know there was a special app I used to create the type for Fashion Fag Magazine, my initial logo, which would change by my third issue.
Looking back at this production this was truly the first manifestation of my artistic voice as an adult. As I am learning of my childhood where I attempted to draw, sing, perform and write a little bit, but here I was now taking writing to the forefront as a means of expression. Albeit untrained I was designing a newsletter about my life and my experiences, I was seeking to give a voice to my identities and the struggles faced there within.
For all the wonderful things I learned at college, in this post-college queer world I was attempting to be seen for all the many aspects of my personhood, not just a body part, skin color or general aesthetic appeal. One of the backlashes of attending a primarily white educational institution, no matter had well-intentioned folks were, I was repeatedly othered. Sometimes by the people who looked like like me and had similar social-economic backgrounds, and others who loved the way I did with varying economic backgrounds but also failed to see the entire me.
Just a brief moment about the title, I have alway had a thing for fashion albeit my vision for myself and what was actually executed in the real-world wouldn't align until much later. I still felt I had the potential for a personal style that would surpass that of my peers.
Albeit the whyte queers weren't necessarily always the most fashion-forward of folks, particularly the ones I knew, I envisioned personal style being able to push the envelope and announce something more nuanced about my personality other than just being Black and queer. This voice would come to full fruition later, but Fashion Fag Magazine was precognition of what I knew would come in time.
Through my observations about my world I wanted folks to see the world in the way that I did. And through my nine issues published from nineteen ninety-three through nineteen ninety-six I attempted just that, sometimes successful other-times failing miserable, but still trying to make myself seen and heard in a world that wasn't really checking it for people like me, dark-skinned, femme, gender non-conforming, queer, well-spoken, nerdy, comic book reading, dance the house down folk.
I am going to try to translate this classic text for a new audience, who am I fooling with my twelve followers here, but I look at this mini-blog as a digital obituary for my life, and its important to include all the bits and pieces of a life, so you're are not just broken down to legal document or a one-hundred and fifty word summary. For as long as Tumblr is around which may be less than the span of my life, I at least want to make an attempt to record my thoughts and feelings about the breadth of the experiences of Trevor A. Brown.
Thought I'd take a stab at bookbinding some of my fic. Downloaded Scribus, a desktop publishing system, to take a run at laying out signatures. Sooooooo... it would seem there's a learning curve in place, yet again.
My logo assignment. I think I learned a lot from our Visual Communications lectures that I could bring into my Desktop Publishing assignment. Particularly for the logo assignment. It's simple and basic but I’m getting there I think.
