Tuesday, October 25, 2016

How to Clean a Dusty Picasso at MoMA: Use Your Spit






Photo

The artist Nina Katchadourian at the Museum of Modern Art, where she has created an audio guide that delves into the omnipresence of dust in the museum. Credit An Rong Xu for The New York Times
Anny Aviram has spent more than 40 years as a conservator at the Museum of Modern Art, often swabbing away dust and grime on priceless Picassos and other masterpieces.
One of the most effective tools she uses is her own saliva. (Don’t worry: This practice, centuries old, has scientific backing.)
That revelation is one of several surprises in a new audio guide to the museum produced by the artist Nina Katchadourian that focuses on a tiny topic: dust. Wall texts encourage visitors to listen in at a dozen locations throughout the museum, including a tough-to-Swiffer ledge overhanging four stories of the museum’s atrium.


Photo

Ms. Katchadourian looking for dust on Picasso’s “Vase of Flowers” at MoMA. Credit An Rong Xu for The New York Times

“Yup, my first major project at MoMA is all about dust,” said Ms. Katchadourian, 48, while accompanying a visitor on the tour last week.
“I like coming at the big things by what‘s immediate and observable to me,” she said.
She created the audio tour, “Dust Gathering,” as part of the museum’s Artists Experiment program, which invites contemporary artists to work with MoMA educators on public programming.
Over two years, Ms. Katchadourian interviewed staff members across every department, ultimately realizing that they were united by their stance against this pervasive, invisible-until-it’s-not element.


Photo

Picasso’s “Vase of Flowers” (1908). Credit 2016 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

You might expect such a tour to be as dry as … well, you know. But the Brooklyn-based artist, who as a child dreamed of becoming a radio journalist, narrates with a knowing, wry warmth, weaving in interview snippets and documentary moments with MoMA staff members. It has the feel of a scavenger hunt.
The first stop is steps from the sculpture garden, just behind the desk where visitors pick up audio guides: a windy microclimate that is a magnet for more mites than anywhere else at MoMA. Ms. Katchadourian demonstrated how to use a cellphone flashlight to illuminate, through the white slats of an electrical closet, clusters of gray dust billowing like tumbleweeds.
Later in the tour she interviews an allergist on the digestive habits of dust mites, which will appall some listeners but may appeal strongly to certain 10-year-olds. But the soul of the audio tour is Harvey Tulcensky, an art handler at MoMA for 42 years and an artist himself. “It’s not about the dusting per se; it’s about the dusting of something that means so much to me that I feel I am helping that thing,” he says with audible wonder. “Handling the art, without wanting or trying to sound naïve, is kind of magical.”


Photo

Ellen Moody dusting Brancusi’s “Bird in Space.” Credit Nina Katchadourian

As entertaining as “Dust Gathering” and many of Ms. Katchadourian’s other projects may be, they are serious in intent.
“I hate the words ‘quirky’ and ‘whimsical’ applied to me and my work,” she said. “Joy, wonder, play, humor? All good. But I am not just making little jokes.”
That point comes up when she discusses the work for which she is best known, “Lavatory Self-Portraits in the Flemish Style,” a series of cellphone selfies taken in airplane bathrooms in which she poses with whatever materials are at hand: toilet seat covers, sanitary napkins and the like. When the series went viral a few years ago, she was upset “to see them reduced to a prank.”


Photo

Ms. Katchadourian looking at the MoMA’s air filtration system with Nelson Nieves, assistant director of building operations. Credit An Rong Xu for The New York Times

But she’s no killjoy. A case in point is “Floater Theater,” a new exhibition she created at the Exploratorium in San Francisco, near where she grew up. The piece consists of a red-velvet enclosure with a screen that is optimally lighted to prompt people to notice eye floaters and watch them dance.
“Like dust, floaters are there all the time and we sort of find them annoying or boring,” she said.
“There is a false sense that art has to be about the big stuff, when actually every artwork is in some way a thinking exercise — mental, aesthetic, philosophical or whatever kind of gym the artist is putting you in to exercise your imagination.”
In some ways, her work is about questioning what merits attention. “You usually come to a museum and orient yourself towards the artworks,” she said, “and a lot of things in your literal and metaphorical peripheral vision are ruled out as things not worth looking at.”
But Ms. Katchadourian’s work will be at the center of attention next year, when the Blanton Museum of Art at the University of Texas in Austin surveys her career.
Taking her MoMA tour, you may feel silly elbowing through the crowd to examine the dust on a ledge, vitrine or picture frame. But just as she can make visitors to the Exploratorium consider eye floaters as art, she can make you treat MoMA’s masterpieces as mere motes. The grand and the tiny come together: I am the universe, and I am dust.


Continue reading the main story

Friday, October 21, 2016

daily bzz

The Best Photos of the Day

Best Photos of the Day
People gather to watch fireworks exploding from a replica of the Eiffel Tower after the opening of the Sands new mega resort The Parisian in Macau, on September 13, 2016. Billionaire casino tycoon Sheldon Adelson predicted a revival for beleaguered Macau as he launched his new Paris-themed mega resort, with the gambling enclave betting its fortunes on mass market tourists. ANTHONY WALLACE / AFP
 
 
Best Photos of the Day
A picture shows a part of the structure of the new Rome Convention center named "The cloud" ("La Nuvola" in Italian) designed by Italian architect Massimiliano Fuksas on October 19, 2016 in the Eur business district in Rome. The congress center will be inaugurated on October 29, 2016. ALBERTO PIZZOLI / AFP
 
 
 
Best Photos of the Day
An exterior view of the Solomon R. Guggenheim Museum during HUGO BOSS and GUGGENHEIM celebration of the 20th Anniversary of the HUGO BOSS Prize at Solomon R. Guggenheim Museum on October 20, 2016 in New York City. Neilson Barnard/Getty Images for HUGO BOSS/AFP
 
 

So You Want to Make a Deal With the Devil


 

Lists

Pic: “The Devil and the Statue” (1901)/(PD)
In Simon R. Green’s From a Drood to a Kill, a deal with the devil draws supernatural fixer Eddie Drood into a deadly contest where the winner takes all, body and soul. Eddie wasn’t the one who made the deal with the devil: It was someone else, but he’s got to pick up all the pieces. It’s a great story, and a fun variant on a familiar theme. (How fun? Like, occult James Bond fun.)
You’d think that at this point just about everyone would know that a contract with Satan isn’t going to work out the way they want it to, but people keep doing it. Sure, there are exceptions to the rules (John Constantine, I’m looking at you), but chances are that anyone that enters into a bargain with the Great Beast is going to be ruined in the end.
But say you want to do it, anyway. Even if you think you’re lucky and smart enough to beat Beelzebub at his own game, selling your soul isn’t as easy as starting an auction on eBay. At least it isn’t anymore.
The first thing you’re going to have to decide is which devil you want to do business with. I know you might have heard that there’s just one devil, but medieval demonologists believed there were gazillions of demons and devils just waiting to get their hooks into tasty, tasty human souls.Don’t waste your time or their's: It’s busy in Hell, especially during the presidential election.
DIAL-A-DEMON
You could waste a bunch of time thumbing through ancient texts in some wizard’s library in a dungeon somewhere, but when it comes to finding a fiend in a hurry, I prefer Michelle Belanger’s The Dictionary of Demons. This compendium of cacodaemons is like Hell’s Yellow Pages, and if there’s a demon or devil, chances are it’s in there. You can flip through at random like that time you needed a bail bondsman in Vegas (What, you didn’t think I knew?), but your best bet is going to be searching by area of expertise. (Devils, like doctors, have specialties.) It’s not going to do you very much good to call up Bathin, the demon of herbs and precious stones, when you really just want a new ride. For that you want Saltim, who can gift wizards with flying thrones. Don’t waste your time or their’s: It’s busy in Hell, especially during the presidential election.
BLOOD RED TAPE
Presuming you’ve found the right devil, you’re still going to need to do all the paperwork. Yes, as you can imagine, Hell is big on paperwork and bureaucracy in general. It’s the national pastime in the Underworld, so you’d better do your homework (also invented by demons). As hard as it is to believe, it’s just about impossible to find an attorney who works with demonic contract law, so for proper advice, we’re going to have to turn to people who allegedly made a deal with the devil.
PARTNERS IN PERFIDY:
robert_johnson
Robert Johnson (1911 – 1938)
The undisputed master of the Delta Blues is rumored to have met the devil at the crossroads to bargain for his soul. Johnson got his wish and became a famous bluesman, but died at only 27 years of age. The exact location of Johnson’s crossroads is unknown, although some people suggest the intersection of US 61 and US 49 in Clarksdale, MS. That’s as good a place to begin your search as any. If you don’t find the devil, there’s still a good chance you’ll find God: Morgan Freeman is a Clarksdale native, and is not infrequently spotted hanging out at his Ground Zero Blues Club.
Expert Advice: Take a trip to the Delta and look for the devil at the crossroads. At worst you’ll have some incredible food and enjoy some great music.
a_book_of_new_england_legends_and_folk_lore_in_prose_and_poetry-_illustrated_by_f-_t-_merrill_1884_14742933106
Jonathan Moulton (1726 – 1787)
Revolutionary War hero Brigadier General Jonathan Moulton took trolling to an epic level when he sold his soul for an agreement that the devil would fill his boots with gold every day. Unafraid to try the father of lies at his own game, Moulton cut the soles out of his boots and placed them on the top of his chimney. After Old Scratch came along to fill up Moulton’s boots and found that he couldn’t, he burned Moulton’s house down.
Expert Advice: There’s no way you’re getting a square deal out of the devil, and you’re going to Hell anyway. You might as well try to pull one over on him.
paganini_by_kersting_detail
Nicolò Paganini (1782-1840)
This Italian violin virtuoso was gifted enough that people just assumed that he had made a deal with the devil. The rumors dogged him until the day he died — and after. Following his death in 1840, the Catholic church in Genoa refused to give him a Christian burial. Is there any truth to his association with Satan? Maybe, maybe not, and It’s unlikely the devil will give you a straight answer.
Expert Advice: Even if you don’t make a deal with the devil, you might as well let people think you did. It’s obviously good publicity if we’re still talking about it nearly 2 centuries later. Just clear everything up with your priest, first.
michael_pacher_004-2
Theophilus of Adana (? – 535 AD)
Unhappy with his lot in life as an archdeacon in the church, Theophilus decided to explore his options as a free agent. He hired a necromancer to summon the devil, who offered Theophilus a position as a bishop in the church in exchange for his soul. Theophilus signed a contract in blood and was promoted shortly thereafter. Apparently Theophilus looked at his chances as a mole in God’s operation and decided they weren’t so good. He took the contract to another bishop and asked for his help. The bishop ripped up the contract and Theophilus died on the spot … supposedly out of joy to have gotten out of the deal, but it’s not like he’s around to ask.
Expert Advice: Whether you’re getting in or getting out of a deal with the devil, it’s good to have a professional at your side. You might have a hard time finding a necromancer these days, but there’s always Craigslist.
NEXT STEPS:
Grab your guitar or violin, hang a pair of boots over your chimney, put your bishop’s phone number on speed dial, and grab the next flight out to Clarksdale. Chances are this won’t end the way you want it to, but you can’t say I didn’t warn you. Presuming you do make contact with the devil, then you’re probably going to want to start thinking of ways to get out of your contract. Here are a couple of maybe-tried and not-so-true methods.
Fiddle Contest:
Apparently, Satan can’t resist a good old fashioned fiddlin’. See this instructional video.
Sell Out Fido:
Famous English Folk Hero Jack O’Kent tricked the devil into building him a bridge by promising him the soul of the first person to cross the bridge. He tossed a bone across it and went running after it. Tough luck, Spot.
If All Else Fails, Become a Glutton for Punishment
In “The Simpsons: Treehouse of Horror IV”, Homer sells his soul to Satan Flanders for a donut. Once he gets to Hell, Satan attempts to punish him by stuffing him with donuts. Rather than being horrified, Homer is delighted. Clearly the devil underestimated Homer’s appetite. Chances are that the devil isn’t going to offer you any breakfast pastries, though. Maybe you should develop an appetite for sulfur and brimstone now.

FIAC Sales Report






Search The ClarionList for Art Market Services

Tuesday, October 18, 2016

102 Latin American Artworks, and a New Institute, Will Go to MoMA


Patricia Phelps de Cisneros, who is donating more than 100 major works of Latin American art to the Museum of Modern Art, and Glenn D. Lowry, the museum’s director. Behind them is Alejandro Otero’s “Pampatar Board” (1954). Credit Benjamin Norman for The New York Times
Before Lygia Clark was getting major museum retrospectives; before Adriana Varejão was represented by leading galleries; before Beatriz Milhazes was achieving high prices at auction, Patricia Phelps de Cisneros was collecting Latin American art, filling the walls of her home with Modernist abstraction and contemporary works by artists from Brazil, Venezuela, Argentina and Uruguay.
Over the last 16 years, Ms. Cisneros and her husband, Gustavo A. Cisneros, have donated 40 of these pieces to the Museum of Modern Art, where she has served on the board since 1992. Now, they are giving 102 more and establishing a research institute at the museum for the study of Latin American art.
“This is a transformative gift,” Glenn D. Lowry, the museum’s director, said in a joint interview with Ms. Cisneros at his office on Friday. “It comes fully developed.”
The donation includes artists who were working on abstraction during the middle and second half of the 20th century, such as Hélio Oiticica, Lygia Pape, Jesús Rafael Soto and Tomás Maldonado. Of the 37 artists whose works are included in the most recent gift, 21 are entering MoMA’s collection for the first time.
Ms. Cisneros offered MoMA its pick out of her home collection, as long as the museum, in addition to displaying the pieces, would regularly loan the works to other institutions, Mr. Lowry said.
Ms. Cisneros did not part easily with the selections she and her husband — a member of the Cisneros family that made its multibillion-dollar fortune in Latin American media — have been living with for 40 years.
“She said, ‘You’re taking everything in my living room,’” Mr. Lowry recalled.
A piece by Willys de Castro, for example, enjoys pride of place in Ms. Cisneros’s study. “Did we dare to ask for that picture?” Mr. Lowry said. “It’s like taking the centerpiece from a room.”
Photo
Waldemar Cordeiro’s “Visible Idea” (1956), one of the pieces from the collection of Patricia Phelps de Cisneros. Credit via Museum of Modern Art
Essential to the mission of the Colección Patricia Phelps de Cisneros is bringing public and scholarly attention to Latin American work and ensuring its place in the pantheon of modern art.
“My big frustration in Latin America is, we’ve always been on the back burner in many areas, certainly in art,” Ms. Cisneros added. “It was one of the great centers of Modernism in the ’50s, yet hasn’t been taken into account.”
The Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America — to be located on MoMA’s Midtown Manhattan campus — will offer colloquia, fellowships, publications and scholarly conferences.
The Cisneros study center is not alone in its efforts. The International Center for the Arts of the Americas at the Museum of Fine Arts in Houston has devoted 15 years and more than $50 million to initiatives in 20th-century Latin American and Latino art. A principal focus of the International Center is a digital archive for some 10,000 documents in the field. There will also eventually be digital archives at the Modern’s institute.
MoMA’s history of collecting, exhibiting and studying the art and artists of the region dates back to 1931, and Ms. Cisneros said the original vision of Alfred H. Barr Jr., the first director of the Modern, included Latin American art. The Cisneros gift joins more than 5,000 works by artists from Latin America.
But 142 works do more than just add to the museum’s holdings, those involved said; they affirm how much more integral to MoMA’s overall program Latin American art has become. Works by artists now show up in all sorts of exhibitions at the museum, and are lent to other museums around the country.
“There are many more works hanging seamlessly,” Ms. Cisneros said. “Curators are traveling to Latin America.”
“I think that part of the battle has been won,” Ms. Cisneros added. “It’s taken 30 years, but now museums all over the world are taking Latin America into consideration.”
Continue reading the main story

Monday, October 17, 2016

The Soviet InterNyet






The Soviet InterNyet

Soviet scientists tried for decades to network their nation. What stalemated them is now fracturing the global internet

Connecting the USSR; at the Cybernetics Institute of the Ukrainian Academy of Sciences in Kiev in 1968.
is assistant professor of communication at the University of Tulsa, and affiliated faculty at the Information Society Project at Yale Law School. His latest book is How Not to Network a Nation: The Uneasy History of the Soviet Internet (2016).


Brought to you by curio.io, an Aeon partner
3,000 words
Edited by Sam Dresser


How will our social values influence the future structure of the internet?
0Responses
On the morning of 1 October 1970, the computer scientist Viktor Glushkov walked into the Kremlin to meet with the Politburo. He was an alert man with piercing eyes rimmed in black glasses, with the kind of mind that, given one problem, would derive a method for solving all similar problems. And at that moment the Soviet Union had a serious problem. A year earlier, the United States launched ARPANET, the first packet-switching distributed computer network that would in time seed the internet as we know it. The distributed network was originally designed to nudge the US ahead of the Soviets, allowing scientists’ and government leaders’ computers to communicate even in the event of a nuclear attack. It was the height of the tech race, and the Soviets needed to respond.
Glushkov’s idea was to inaugurate an era of electronic socialism. He named the colossally ambitious project the All-State Automated System. It sought to streamline and technologically upgrade the entire planned economy. This system would still make economic decisions by state plans, not market prices, but sped up by computer modelling to predict equilibria before they happen. Glushkov wanted smarter and faster decision-making, and maybe even electronic currency. All he needed was the Politburo’s purse.
But when Glushkov entered the cavernous room that morning, he noticed two empty chairs at the long table: his two strongest allies were missing. Instead, he faced down a table of ambitious, steely-eyed ministers – many of whom wanted the Politburo’s purse and support for themselves.
Between 1959 and 1989, leading Soviet men of science and state repeatedly ventured to construct a national computer network for broadly prosocial purposes. With the deep wounds of the Second World War far from healed (80 per cent of Russian men born in 1923 died in the war), the Soviet Union continued to specialise in massive modernisation projects that had transformed a dispersed tsarist nation of illiterate peasants into a global nuclear power in the course of a couple of generations.
After the Soviet Union’s leader Nikita Khrushchev denounced Stalin’s personality cult in 1956, a sense of possibility swept the country. Onto this scene entered a host of socialist projects to wire the national economy with networks, among them the first proposal anywhere in the world to create a national computer network for civilians. The idea was the brainchild of the military researcher Anatoly Ivanovich Kitov.
A young man with a small build and a keen mind for mathematics, Kitov had risen through the ranks of the Red Army in the Second World War. Then, in 1952, he encountered Norbert Wiener’s masterwork Cybernetics (1948) in a secret military library, the book’s title a neologism coined from the Greek for steersman and a postwar science of self-governing information systems. With the support of two senior scientists, Kitov translated cybernetics into a robust Russian-language approach to developing self-governing control and communication systems with computers. The supple systems vocabulary of cybernetics was intended to equip the Soviet state with a hi-tech toolkit for rational Marxist governance, an antidote to the violence and cult of personality characterising Stalin’s strongman state. Indeed, perhaps cybernetics could even help ensure that there would never again be another strongman dictator, or so went the technocratic dream.
In 1959, as the director of a secret military computer research centre, Kitov turned his attention to devoting ‘unlimited quantities of reliable calculating processing power’ to better planning the national economy, which was the most persistent information-coordination problem besetting the Soviet socialist project. (It was discovered in 1962, for example, that a handmade calculation error in the 1959 census goofed the population prediction by 4 million people.) Kitov wrote his thoughts down in the ‘Red Book letter’, which he sent to Khrushchev. He proposed allowing ‘civilian organisations’ to use functioning military computer ‘complexes’ for economic planning in the nighttime hours, when most military men were sleeping. Here, he thought, economic planners could harness the military’s computational surplus to adjust for census problems in real-time, tweaking the economic plan nightly if needed. He named his military-civilian national computer network the Economic Automated Management System.
As it happened, Kitov’s military supervisors intercepted the Red Book letter before it reached Khrushchev. They were incensed by his proposal that the Red Army share resources with civilian economic planners – resources that Kitov also dared to describe as falling behind the times. A secret military tribunal was arranged to review his transgressions, for which Kitov was promptly stripped of his Communist Party membership for a year and dismissed from the military permanently. So ended the first national public computer network ever proposed.
The idea, however, survived. In the early 1960s, another scientist took up Kitov’s proposal, a man whom Kitov would grow close enough to that, decades later, their children would marry: Viktor Mikhailovich Glushkov.

Get Aeon straight to your inbox
The full title of Glushkov’s plan – The All-State Automated System for the Gathering and Processing of Information for the Accounting, Planning and Governance of the National Economy, USSR – speaks for itself and its epic ambitions. First proposed in 1962, the All-State Automated System, or OGAS, was intended to become a real-time, remote-access national computer network built on preexisting and new telephony wires. In its most ambitious version, it would span most of the Eurasian continent, mapping itself like a nervous system onto every factory and enterprise in the planned economy. Its network was modelled hierarchically after the three-level pyramid structure of the state and economy: one central computer centre in Moscow would connect to as many as 200 mid-level computer centres in prominent cities, which would in turn link to as many as 20,000 computer terminals distributed across key production sites in the national economy.

Viktor Mikhailovich Glushkov in 1979. Photo courtesy Sputnik Images.
Consonant with Glushkov’s greater life-work commitments, the network plans reflected a deliberately decentralised design. This meant that, while Moscow could specify who received which authorisations, any authorised user could contact any other user across the pyramid network – without direct permission from the mother node. Glushkov intimately understood the advantages of leveraging local knowledge in network designs, having spent so much of his career working on related mathematical problems while ferrying between his home and the central capital (he jokingly called the Kiev-Moscow train his ‘second home’).
The OGAS project appeared to many state officials and economic planners, especially in the late 1960s, to be the next best response to an old conundrum: the Soviets were agreed that communism was the way of the future, but no one since Marx and Engels knew how best to get there. For Glushkov, networked computing might just inch the country toward an age of what the author Francis Spufford later called ‘red plenty’. It was the means by which the sluggish pulp-based lifeblood of the command economy – quotas, plans and wrist-bending compendiums of industry standards – would transform into the nation’s neural firings, moving at the sublime speed of electricity. The project signified no less than the ushering in of ‘electronic socialism’.
Such ambitions require brilliant, committed people willing to throw off the old ways of thinking. In the 1960s, those people could be found in Kiev – a couple of blocks from where the Strugatsky brothers wrote their science fiction by night and worked as physicists by day. There, on the outskirts of Kiev, Glushkov ran the Institute of Cybernetics for 20 years, beginning in 1962. He filled his institute with ambitious young men and women; the average age of researchers was about 25. Glushkov and his youthful staff dedicated themselves to developing the OGAS and other cybernetic projects in the service of the Soviet state, such as a system of electronic receipts for virtualising hard currency into an online ledger of accounts – this in the early 1960s. Glushkov, who was known to talk down Communist Party ideologues by quoting paragraphs of Marx from memory, described his innovation as a faithful fulfilment of Marxist prophecy of a moneyless socialist future. Unfortunately for Glushkov, the idea of Soviet e-currency stirred up unhelpful anxieties and did not receive committee approval in 1962. Fortunately, his grand economic network project did live to see another day.
These Soviet cyberneticists published tongue-in-cheek papers such as ‘On Wanting to Remain Invisible – At Least to the Authorities’
These cyberneticists imagined a kind of smart neural network, a nervous system for the Soviet economy. This choice cybernetic analogy between computer network and brain bore its imprint on other computing theory innovations in Kiev. For example, instead of the so-called von Neumann bottleneck (which limits the amount of transferable data in a computer), Glushkov’s teams proposed ‘macro-piping processing’ modelled after the simultaneous firings of many synapses in the human brain. In addition to countless mainframe computer projects, other theoretical schemes included automata theory, the paperless office, and natural language programming that would let humans communicate with computers semantically, not just syntactically as programmers do today. Most ambitiously, Glushkov and his students theorised ‘information immortality’, a concept we might call ‘mind uploading’ with Isaac Asimov or Arthur C Clarke in hand. On his deathbed decades later, Glushkov comforted his grieving wife with a resonant reflection: ‘Be at ease,’ he soothed her. ‘One day the light from our Earth will pass by constellations, and on each constellation we will appear young again. Thus we will be together forever in the eternities!’
After their workday, the cyberneticists indulged in a comedy club full of frivolity and merry pranksterism that bordered on the outright defiant. No more than a place to vent off steam, their after-hours work club also saw itself as a virtual country independent of Moscow’s rule. They christened their group ‘Cybertonia’ at a New Year’s party in 1960, and organised regular social events such as holiday dances, symposia and conferences in Kiev and Lviv, even publishing tongue-in-cheek papers such as ‘On Wanting to Remain Invisible – At Least to the Authorities’. Instead of event invitations, the group issued pun-filled faux passports, wedding certificates, newsletters, punchcard currency and even a Cybertonia constitution. In a parody of Soviet (council) governance structure, Cybertonia was governed by a council of robots, and at the head of that council sat their mascot and supreme leader, a saxophone-playing robot – a nod to the US cultural import of jazz:

Glushkov got in on the fun, too: he called his memoirs Despite the Authorities, even though his official title was vice president of the Ukrainian Academy of Sciences. Counterculture, understood in the scholarship of Fred Turner as the power to count and counter other powers, has long been kin of cyberculture.
All of this, though, required money – lots of money, especially for Glushkov’s OGAS project. That meant convincing the Politburo to give it to them. And so it was that Glushkov found himself in the Kremlin on 1 October 1970, hoping to continue the work of Cybertonia and bring the internet to the bedraggled Soviet state.
One man stood in Glushkov’s way: the minister of finance, Vasily Garbuzov. Garbuzov did not want any shiny, real-time optimised computer networks governing or informing the state economy. He called instead for simple computers that would flash lights and play music in hen houses to stimulate egg production, as he had seen during a recent visit to Minsk. His motivations were not born out of common-sense pragmatism, of course. He wanted the funding for his own ministry. In fact, rumour holds that he had approached the economic-reform-minded prime minister Alexei Kosygin in private before the 1 October gathering, threatening that if his competitor ministry, the Central Statistical Administration, retained control over the OGAS project, then Garbuzov and his Ministry of Finance would internally submarine any reform efforts it might bring about, just as he had done to Kosygin’s piecemeal liberalisation reforms five years earlier.
Glushkov needed allies to face down Garbuzov and keep the Soviet internet alive. But there were none at the meeting. The two seats left empty that day were the prime minister’s and the technocratic general secretary Leonid Brezhnev’s. These were the two most powerful men in the Soviet state – and likely supporters of OGAS. But, apparently, they chose to be absent rather than face down a ministry mutiny.
The first global computer network emerged thanks to capitalists behaving like cooperative socialists, not socialists behaving like competitive capitalists
Garbuzov successfully convinced the Politburo that the OGAS project, with its ambitious plans to optimally model and manage information flows in the planned economy, was too much too soon. The committee, after nearly going the other way, felt it was safer to support Garbuzov – and the still top-secret OGAS project was left to languish in review limbo for another decade.
The forces that brought down OGAS resemble those that eventually undid the Soviet Union: the surprisingly informal forms of institutional misbehaviour. Subversive ministers, status quo-inclined bureaucrats, nervous factory managers, confused workers and even other economic reformers opposed the OGAS project because it was in their institutional self-interest to do so. Without state funding and oversight, the national network project for ushering in electronic socialism splintered in the 1970s and ’80s into a patchwork of dozens and then hundreds of isolated, non-interoperable factory local-area control systems. The Soviet state failed to network their nation not because it was too rigid or top-down in design but because it was too fickle and pernicious in practice.
There is an irony to this. The first global computer networks took root in the US thanks to well-regulated state funding and collaborative research environments, while the contemporary (and notably independent) national network efforts in the USSR floundered due to unregulated competition and institutional infighting among Soviet administrators. The first global computer network emerged thanks to capitalists behaving like cooperative socialists, not socialists behaving like competitive capitalists.
In the fate of the Soviet internet we can glimpse a clear and present warning to the future of the internet. Today the ‘internet’ – understood as a single global network of networks for advancing informational liberty, democracy and commerce – is in serious decline. If Prince and the AP Style Board don’t convince, consider how often companies and states are seeking to silo their online experiences: the ubiquitous app is more of a walled garden for rent-seekers than a public commons for browsers. Inward-looking gravity wells (such as Facebook and the Chinese firewall) increasingly gobble up sites that link outwards (such as Aeon). So too are the heads of France, India, Russia and other nations eager to internationalise the Internet Corporation for Assigned Names and Numbers and enforce local regulations for their citizens. In fact, hundreds of non-internet networks have been functioning across corporations and countries for decades. The future of computing networks undoubtedly holds not one internet but many distinct online ecosystems.
In other words, the future undoubtedly resembles the past. The 20th-century features multiple national computer networks clamouring for global status. The Cold War drama of what we might dub, with a wink, the ‘Soviet nyetworking’ or even, in the delightful title of historian Slava Gerovitch, the ‘Soviet InterNyet’ helps to fill out the comparative study of computer networks with a sort of internet -1.0 case study. Weighed in the balance of many past and likely future networks, the perception that there is only a single global network of networks is the exception to the rule. Given that the Cold War irony at the heart of this story – that cooperative capitalists outmaneuvered competitive socialists – did not play out well for the Soviets of yesteryear, perhaps we should not be too sure the internet of tomorrow will fare much better.
The anthropologist and philosopher Bruno Latour once quipped that technology is society made durable, by which he meant that social values are embedded in technologies: for example, Google’s PageRank algorithm is deemed ‘democratic’ because, among many other factors, it counts links (and links to sites making links) as votes. Like politicians with votes, the pages with the most links rank the highest. The internet appears a vehicle of liberty, democracy and commerce today in part because it cemented itself in our popular imagination just as Western values appeared to triumph in the wake of the Cold War. The Soviet internet story also reverses Latour’s aphorism: so too is society technology made temporary.
In other words, as our social values shift, so will what appears obvious about technology. The Soviets once embedded values into networks – cybernetic collectivism, statist hierarchy and planned economies – that seem foreign to us; so too will the values modern readers attach to the internet strike future observers as strange. Network technologies will endure and evolve, even as our fondest social assumptions about them pass into the dustbin of history.
Glushkov’s story is also a stirring reminder to the investor classes and other agents of technological change that astonishing genius, far-seeing foresight and political acumen are not enough to change the world. Supporting institutions often make all the difference. This is an express lesson of the Soviet experience and a media environment continuously mined for digital data and other forms of privacy exploitation: the institutional networks that undergird the making of computer networks and their cultures are both vital and far from singular.
While computer-networked projects and their promoters will continue to pedestal brighter network futures publicly, private institutional forces will, unless checked, continue to capitalise on surveillance networks committed to making themselves privy to our lives. (Perhaps that is what privacy is really about: the sweeping power of information-omnivorous institutions to pry into our lives, not just individual rights to protect against that privation.) The Soviet case study reminds us that the US National Security Agency’s domestic spying program and Microsoft’s Cloud partake in a longer 20th-century tradition of general secretariats committed to privatising personal and public information for their institutional gain.
In other words, we should not take too much comfort from the fact that the global internet first evolved thanks to cooperative capitalists, not competitive socialists: the story of the Soviet internet is a reminder that we internet users enjoy no guarantees that the private interests propping up the internet will behave any better than those greater forces whose unwillingness to cooperate not only spelled the end of Soviet electronic socialism but threatens to end the current chapter in our network age.