"Labour is fundamentally divided in two categories: self–programmable labour, and generic labour. Self–programmable labour is equipped with the ability to retrain itself, and adapt to new tasks, new processes and new sources of information, as technology, demand, and management speed up their rate of change. Generic labour, by contrast, is exchangeable and disposable, and co–exists in the same circuits with machines and with unskilled labour from around the world."
(Manuel Castells, 2000, p.16)
Castells, M. (2000). "Materials for an exploratory theory of the network society". British Journal of Sociology Vol. No. 51 Issue No. 1 (January/March 2000) pp. 5–24 [http://www.tandf.co.uk/journals].
Fig.1 Photograph: Keystone/Getty Images.
"It would seem, then, that all mediation is remediation. We are not claiming this as an a priori truth, but rather arguing that at this extended historical moment, all current media function as remediators and that remediation offer us a means of interpreting the work of earlier media as well. Our culture conceives of each medium or constellation of media as it responds to, redeploys, competes with, and reforms other media. In the first instance, we may think of something like a historical progression, of newer media remediating older ones and in particular of digital media remediating their predecessors. But ours is a genealogy of affiliations, not a linear history, and in this genealogy, older media can also remediate newer ones. Television can and does refashion itself to resemble the World Wide Web [p.189], and film can and does incorporate and attempt to contain computer graphics within its own linear form. [p.153] No medium, it seems, can now function independently and establish its own separate and purified space of cultural meaning."
(David Bolter and Richard Grusin, 55.p, 2000)
David Bolter and Richard Grusin (2000). Mediation and Remediation. "Remediation: Understanding New Media", The MIT Press.
"But many internet programs suggest that a story is enriched by successive contributions. … This has sometimes happened in the past without disturbing authorship. With the Commedia dell'arte, every performance was different. We cannot identify a single work due to a single author. Another example is a jazz jam session. We may believe there is a privileged performance of 'Basin Street Blues' because a recording survives. But there were as many Basin Street Blues as there were performances. ... There are books that we cannot rewrite because their function is to teach us about Necessity, and only if they are respected as they are can they provide us with such wisdom. Their repressive lesson is indispensable to reach a higher state of intellectual and moral freedom."
(Umberto Eco, 7 November 2000)
"Home to one of the largest 'collections of collections' on the Internet, ibiblio.org is an online public library with freely available software and information, for topics such as music, literature, art, history, science, politics, and cultural studies. ...
ibiblio.org was formed as a collaboration between the University of North Carolina–Chapel Hill's MetaLab, formerly known as SunSITE, and the Center for the Public Domain in September of 2000. At UNC–Chapel Hill, ibiblio is supported by the School of Journalism and Mass Communication and the School of Information and Library Science."
"Futuristic fashions 1939 style include a dress that can be adapted for day or evening wear, complete with sun–visor (and African–American maid), and a dress made of transparent net with a towering 60s–style hairdo (wouldn't look out of place on a millennium catwalk). The next two outfits are pretty transparent too; then a bridal gown with a cellophane veil and another adaptable dress.
The suit for the man of 2000 looks like a boiler suit with wide chain mail over the top. A circular aerial is worn on the head, to pick up signals for his mobile phone and radio. He also has two natty silver boxes attached to his belt 'for coins, keys and candy for cuties'. The beard is marcel–waved and he has buns of hair at the side of his head. Not a particularly manly look!"