Thoughts about Robin Sloan’s Spring ’83 Experiment

I’ve been thinking about Robin Sloan‘s Spring ’83 Experiment on and off for a bit.

I too almost immediately thought of Fraidyc.at and its nudge at shifting the importance of content based on time and recency. I’d love to have a social reader with additional affordances for both this time shifting and Ton’s idea of reading based on social distance.

I’m struck by the seemingly related idea of Peter Hagen’s LindyLearn platform and annotations which focuses on taking some of the longer term interesting ideas as the basis for browsing and chewing on. Though even here, one needs some of the odd, the cutting edge, and the avant garde in their balanced internet diet. Would Spring ’83 provide some of this?

I’m also struck by some similarities this has with the idea of Derek Siver’s /now page movement. I see some updating regularly while others have let it slip by the wayside. Still the “board” of users exists, though one must click through a sea of mostly smiling and welcoming faces to get to it the individual pieces of content. (The smiling faces are more inviting and personal than the cacophony of yelling and chaos I see in models for Spring ’83.) This reminds me of Stanley Meyers’ frequent assertion that he attempted to design a certain “sense of quiet” into the early television show Dragnet to balance the seeming loudness of the everyday as well as the noise of other contemporaneous television programming.

The form reminds me a bit of the signature pages of one’s high school year book. But here, instead of the goal being timeless scribbles, one has the opportunity to change the message over time. Does the potential commercialization of the form (you know it will happen in a VC world crazed with surveillance capitalism) follow the same trajectory of the old college paper facebook? Next up, Yearbook.com!

Beyond the thing as a standard, I wondered what the actual form of Spring ’83 adds to a broader conversation? What does it add to the diversity of voices that we don’t already see in other spaces. How might it be abused? Would people come back to it regularly? What might be its emergent properties? This last is hard to know without experimenting at larger scales.

It definitely seems quirky and fun in and old school web sort of way, but it also stresses me out looking at the zany busyness of some of the examples of magazine stands. The general form reminds me of the bargain bins at book stores which have the promise of finding valuable hidden gems and at an excellent price, but often the ideas and quality of what I find usually isn’t worth the discounted price and the return on investment is rarely worth the effort. How might this get beyond these forms?

It also brings up the idea of what other online forms we may have had with this same sort of raw experimentation? How might the internet have looked if there had been a bigger rise of the wiki before that of the blog? What would the world be like if Webmention had existed before social media rose to prominence? Did we somehow miss some interesting digital animals because the web rose so quickly to prominence without more early experimentation before its “Cambrian explosion”?

I’ve been thinking about distilled note taking forms recently and what a network of atomic ideas on index cards look like and what emerges from them. What if the standard were digital index cards that linked and cross linked to each other, particularly in a world without adherence to time based orders and streams? What does a new story look like if I can pull out a card either at random or based on a single topic and only see it or perhaps some short linked chain of ideas (mine or others) which come along with it? Does the choice of a random “Markov monkey” change my thinking or perspective? What comes out of this jar of Pandora? Is it just a new form of cadavre exquis?

This standard has been out for a bit and presumably folks are experimenting with it. What do the early results look like? How are they using it? Do they like it? Does it need more scale? What do small changes make to the overall form?


For more on these related ideas and the experiment, see some of these threads of conversation I’m aware of:

Know of others? I’m happy to aggregate them here.

Featured image: Collection of 1990s 88×31 buttons by https://anlucas.neocities.org/88x31Buttons.html

45th Anniversary Re-release of The Pontoon Manifesto: The Electronic Edition

A DIGITAL PONTOON

B

ack in the late sixties, my friend Henry James Korn wrote an experimental and formally innovative work of fiction entitled The Pontoon Manifesto.

 It’s had various print incarnations, some better than others in terms of relaying the intended meaning of his experiment. Forty-five years on, we are truly proud to present a new and unlimited edition electronic Pontoon powered by a web-based randomizer which reorders the paragraphs at the click of a button. This gives The Pontoon Manifesto new life in a technological form unavailable at the time of its writing.

“Henry James Korn’s Pontoon Manifesto is a pioneering modular fiction.”

Richard Kostelanetz, critic, curator, editor, and visual poet

 

This late 1960’s literary experiment anticipated major themes, characters, and plot points in Korn’s forthcoming debut novel Amerikan Krazy (Boffo Socko Books, 2015).  The Pontoon Manifesto was initially floated in a pair of early 1970’s paperback offshoots of New American Review.

For the Print Purists

In 1975, his experiment was reprinted by the poet Larry Zirlin as a limited edition artist book in the form of a deck of cards to be shuffled and read in any order.  This may be one of the best ways to read the manifesto, and limited copies of this original collector’s edition are still available — drop us a note if you are interested in acquiring a numbered/lettered and signed copy. Physical copies should also be available on Amazon.com shortly as well.

Pontoon Manifesto

We would love to have your reviews and thoughts once you’ve had the chance to check out the new “manifesto.”  Feel free to post them on GoodReads.com at your leisure.  Additional information about The Pontoon Manifesto including selected exhibitions, selected collections, and its publication history can be found here: The Pontoon Manifesto.

REVIEWS & COMMENTS

‘Thirty-three fictional beginnings to be shuffled and read in any order?’  I did it and I’m hooked.
-Alexandra Garrett, NewLetters, Beyond Baroque Foundation Los Angeles, 1975

Korn’s persona is a latter-day Huck Finn on his raft riding out of yesterday into today, graduating from innocence to the no-sense world of Tanguy, Ernst, Dali and Kafka.  This post-McLuhan Shandyesque card-read, play-book  is elegant, whimsical, politically satirical and truly surreal.
-Arlene Zekowski, Small Press Review, Dustbooks, Paradise, California, 1975

A fictional house of cards designed to destroy the everlasting sanity of librarians everywhere.
-Bill Katz, “Best Small Press Titles of 1975” Library Journal, New York, 1975

The Pontoon Manifesto can be read as many ways as it can be shuffled, creating a new plot with every reading.  In trusting his reader to create the fiction, Korn appears to believe my mind contains as many interesting possibilities as his own.
-Tom Montag, Learning to Read Again: Some Notes on Eight Recent Books, Cat’s Pajama Press, Chicago, 1976

Free from an established view of art and literature, Henry James Korn challenges us to take up the gauntlet and write our own stories.
-Loris Essary, Assembling Assembling, Pratt Graphics Center exhibition catalogue edited by Richard Kostelanetz, Assembling Press, New York, 1978


The Pontoon Manifesto electronic web edition was designed by Chris Aldrich of  Boffo Socko Books who deployed a web-based randomizer which reorders the paragraphs endlessly at the click of a button.