Old Disks and Old Metaphors

Call it a passion project. The past few days in my spare time at work I’ve been recovering data from twenty-five and thirty-year old floppy disks. The files on these old disks—CAD drawings, meeting minutes, reports, and other construction-related documents structured in 1.44 MB or smaller bundles—are interminably boring, but there is something intellectually thrilling in the process of accessing and reviewing them. I’ve been thinking of this as an archival thrill, similar in the little raised neurons it tickles to the feeling I get when chasing leads in old newspapers or digging through a box of original documents in search of names, clues, faces. Entire careers have come and gone since these files were copied to the magnetic circles in their little plastic cases. Whole computing paradigms have risen and fallen in that time, and, with them, our own sense of technical superiority to the people who authored these files. Still, the same meticulous attention to detail is evident in the files, the same sense of their own sophistication on the part of the authors, the same workaday problems we are solving today.

Working the files, I noticed two more things:

  1. The sound of a physical device reading data is special, and it can be deeply satisfying. I had forgotten the audible experience of computing—the whining, clicking, tapping, and whirring which used to characterize the entire experience. All of this is gone now, replaced by the sterile sound of fans, maybe, like wind blowing over a dried lakebed. There are audible affordances in physical media. When the sound stops, for example, the transfer is finished. When the button clicks on a cassette tape, the experience is complete.
  2. The old files on these disks are authored with maximum efficiency in mind. With only a few hundred KBs to work with, designers had to get creative in ways we don’t today. There are a lot of pointillistic graphics, tiny GIFS, plaintext, line drawings; none of the giant, full-resolution graphics we include everywhere today.

One of the disks contains a full website, preserved like a museum piece from 1999. Clicking around those old pages got me thinking about the archival thrill of the old internet.

Consider the way that the most prominent metaphors of the web have shifted over time.

It used to be that people would surf information on the internet, riding a flow state wave across documents and domains in pursuit of greater knowledge, entertaining tidbits, or occult truths previously hidden in books, microfilm, periodicals, letters, and other texts. The oceanic internet held out the sort of thrill you feel when wandering among the stacks of a vast library or perusing the Sufi bookstalls of old Timbuktu. It was an archival thrill, tinged with participatory mystique, abounding with secrets.

In the heady days of the early web, to surf was to thrill in the freedom of information itself.

When Google arrived on the scene and began its ongoing project of organizing the information on the web, feeding took the place of surfing. This act, like every triumph of industrial capital, relied first upon the extraction of surplus value from the laborers who produced the commodity—i.e., the authors of the information. That is a subject for another day. More to my point in today’s rumination, however, Google’s revolutionary commodification of the web also took advantage of the customer’s innate narcissism. You have specific and important information needs, Google says with its design language, which this text bar can satisfy.

Google delivered on this promise by surfing the web on behalf of searchers. To deploy another (very stretched) oceanic metaphor, Google turned surfers into consumers of tuna fish. Each search serves up a little can of tuna. Enter a term in the box and out pops a little tin; pop the can and get what you need, increasingly on the first page; and then get on with Your Busy Life.

The Your Busy Life warrant is the play on narcissism. You don’t have time to surf, it says, because you are important. Have this can of tuna instead.

I love tuna. I search every day. Google was so successful, however, that the web wrapped itself around the tuna-dispensing search box. By the mid-2000s, users no longer used search primarily as an entry point to the waves but, rather, as a sort of information vending machine serving up content from Google’s trusted searches.

Beginning around 2008, feeding completely overtook surfing as the dominant user metaphor of the web. As Infinite-scroll apps on smartphones took the place of websites, the purveyors of these apps took it upon themselves to predict what users would like to know, see, or do. To this end, the most talented software engineers in the world have spent more than two decades now building algorithms designed to settle users in a stationary location and serve them little morsels of information on an infinite conveyor belt. Cans of tuna became Kibbles and Bytes, piece by piece, scrolling past.

The participatory mystique, or archival thrill, as I have called it, has been almost completely displaced by this dull feedlot experience. I know that the old experience of the web exists alongside the new, that I could go surfing right now if the urge carried me away, but I lament that so many of the people who could be building more and better websites are building cans of tuna for the Google vending machine on the web or Kibbles and Bytes for the apps.

Think of what we could have.

What is American Freight?

I am currently seated on a dark, gray-green “Cuddler Sectional” sofa in a quiet warehouse. A single fan is whirring somewhere in the corner over by the rollup door leading to a chaotically disarranged backroom full of giant boxes and stacked mattresses shrouded in opaque plastic wrap. A sign on the wall overhead shouts “FREE LAYAWAY” in blood-red block letters. Another proclaims, “SAME DAY DELIVERY.”

Somewhere I have learned that red is an action color, meant to provoke; but what happens here, mostly, is that people wait. I am waiting on this gray couch, for example. The printout taped to the couch in a plastic sleeve neat my head tells me the color is “Aspen Gray,” but no such color exists in nature. Across from me, an elderly woman is waiting in a black leather recliner. On a sofa several rows behind me another woman waits, staring forlornly at her phone. People wander around,

We are waiting in American Freight, a furniture store inside of a warehouse located in one of Tallahassee’s few light industrial areas. This is an area–always quiet on the weekend save for this furniture store–characterized by long, low buildings broken into sections of anonymous rollup doors, swimming pool and solar panel companies, fenced parking lots, box trucks.

Even if you aren’t located near one of the company’s 370 give-or-take warehouses, I am willing to bet something else like this exists in your town. Here are some characteristics.

  • Business is done in a warehouse setting. There is no showroom, no fake televisions or coffee table books. There is no front door, in fact, just a large roll-up door at the top of a loading ramp.
  • Customers back trucks and trailers up the ramp to the big door.
  • You never see the same people working there. You may visit two or three days in a row and see different–but invariably young and business-casual–salespeople each day.
  • After the first wait is over, customers back their trucks and trailers up the ramp to the big roll-up door and wait a bit longer there for someone to come load up their couches, dressers, armchairs, mattresses, tables, and dishwashers.
  • FM radio plays loudly from speakers at the sales desk but is mysteriously turned off at peak wait time: two hours prior to closing.
  • SHOUTING ON TV

I can describe its characteristics, but I am still left wondering: what exactly is American Freight? Buying markdown scratch-and-dents in a warehouse feels like both the purest expression of capitalism and, somehow, its negation. Does this warehouse take us backstage of the commodity showcase, peeling away the curtains to reveal the artifice? Or does it elevate commodities to an even more rarified sublime?

No matter the theory, this seems like the kind of place where the story behind the story is fascinating, where the truth is stranger than fiction. How do these random recliners and major appliances arrive here? Are these storage beds made for American Freight, or have they been rejected by some other, more discerning retailer? What’s going on here?

Flyer: Mathrock Alligator Choir

Here’s another flyer I designed for a show coming up soon here in Tallahassee. Inspired by vintage postcards and classic Florida tourism, this flyer is also in square format for Instagram. Everything in our music scene runs on Instagram, like it or not, so it’s best to just design for the square format that works best on the platform and get on with life.

Easter egg: the bricks in the background up top are on the sidewalk of St. Roch Avenue in New Orleans, where we stayed at an AirBnB in 2021. I try to photograph interesting textures whenever I can and file them away for later.

Flyer: Vintalectric Psychedelic Mesmerism

I’ve been building a small but (spiritually) rewarding practice designing flyers for local shows here in Tallahassee and just realized that I haven’t shared any of them! Here is a recent example, inspired (obviously) by some of the old Haight-Ashbury and Monterey Pop posters from the late ’60s.

More to come. I am so busy with everything lately that it’s hard to keep up.

After the Storm

When Álvar Núñez Cabeza de Vaca passed through this part of Florida in late summer 1528, his names and nicknames trailing behind him like soldiers in the van, the haggard band of Spanish soldiers and clerks of which he was a part encountered a country ravaged by storms. He described a “country difficult to traverse and strange to look at,” covered with “great forests” full of “wonderfully tall” trees. So many of these giant trees had fallen, he wrote, “that we had to make long detours and with great trouble” to pass through the country. The trees still standing, he continued in his memoir, were “rent from top to bottom by thunderbolts.” For a man reared on Spain’s rocky, sandstone-colored Mediterranean coast, it must have been strange country, indeed.

Walking in our little corner of the Red Hills in the days since Hurricane Idalia passed by, I’ve been reminded of the old Spanish invader’s experience here. There was a venerable old pine tree that came down up the hill from our place, leaves and sticks and clumps of sodden leaves and moss everywhere, puddles and piles. The most motivated neighbors in our little community set to work right away sawing, raking, grouping, piling, anxious to restore order. Mere hours after the storm, when most of us were only just beginning to open the door and peek outside, these intrepid workers had already mostly finished the cleanup.

People love to set things right like this, but nature prefers chaos. Left to themselves, all these sticks, leaves, and branches will fertilize the earth where they fell, literally becoming soil as the years go by. In the meantime, they swarm with life. Pick up a fallen branch after a few days in the sticky summer heat and you are likely to find a circus of living things—millipedes, roaches, slugs, worms, ants—in the cool, dark depression below. Life thrives in these overturned places.

Over on the other side of the hill, away from the tree felled by Idalia, they cleared a little patch of land earlier this year when a winter storm knocked over a different tree. One day there was a large maple tree standing there, surrounded by shrubs and bushes growing in the shade. A few days after the storm took it down, everything was gone. In its place was simply a patch of bare earth, brown and forlorn, covered with sawdust and drying leaves. Our instinct in a place like this is to stay away. My dog, Penny, snuffled around the patch for a moment and then moved on to the abundantly living places nearby.

Chaos is creative. It gives us new ideas, encourages us to play.

This lonesome state did not last, however. A week after the clearing, there were weeds shooting up all over the bare spot, little clumps of green rapidly colonizing the exposed soil. Vines crept among the clumps of weeds, tentatively, like explorers working across the frontier. A few weeks later, there were little bushes there, a thickening verge of nightshades, kudzu, and wildflowers swarming with bees, wasps, and butterflies. Now, six months later, the little bare spot is wild with greenery, vividly alive with flowers, vines, insects, snakes, mice, birds, lizards, even—oddly enough—a thriving tomato plant.

The formerly bare spot.

There are some, I’m sure, who would like nothing more than to rip that little wild spot out, replace it with St. Augustine grass, and turn the sprinkler on it. I pray to every goddess, god, and lesser celestial entity who comes to mind that these people never get their way. Let them have the rest of the world and leave this two-hundred square feet of jungle to itself.

Chaos is creative. It gives us new ideas, encourages us to play. When I was a child, running around the suburban streets of southern Maryland, there was a nice patch of ignored woodlands next to the house. About five acres, hemmed in by roads, apartments, and fenceless back yards, it was densely treed, networked with narrow paths over dry, deciduous hills and down into boggy depressions. There was even a little pond back there, fifty yards across, murky and filmed with white bubbles in the summer but beautifully iced over for a few blessed days in the winter. I spent hours in that little patch of woods, my magic place, roaming the paths by myself or, more often, trooping down the leafy trails with the peripatetic gaggle of neighborhoods kids.

One day a group of us were ducking and snapping through a trackless portion of the woods about two hundred yards back of a kid named Josh’s house when we made a remarkable discovery. We found a place where some trees had fallen together, interlocked like dominoes that tumbled in different directions. One had fallen over completely, roots and all, a giant clump of red earth at the base looming over a deep hole. One kid, an intrepid girl named Katie, shimmied down in to the hole and found a bunch of tightly packed clods of marbled red and brown dirt. We marveled at these for a moment, these little artifacts of a world long-buried beneath our feet, longer than some clumps of dirt probably deserved. Meanwhile the fallen tree leaned at about a thirty degree angle, many feet up, supported by the strong limbs of a neighboring tree that had managed to survive the storm. A kid named Mark balance-walked right up the leaning trunk of this fallen grandfather. Another tree in the middle of these two had not survived, however. Struck by Mark’s fallen pine, it broke off about ten feet up the trunk and fell into the arms of another tree nearby. Together, along with dangling branches, shrubs, and decaying logs, these fallen trees formed a sort of enclosed clearing, like a cathedral in the dense woods. We saw the potential for this place immediately: this was a fort. We gathered the clods from beneath the tree and piled them at strategic locations along the stockade—dirt bombs. We stationed a sentry at the top of the root-ball tree to keep an eye out for anyone coming.

Sure enough, after a couple days, a group of older kids came by and heard us playing back in the fort. They saw the potential too and undertook a siege on our position. We took up our battle stations and pelted them with dirt bombs until one of them told his little brother (Josh, who had learned of the fort when we came out of the woods into his backyard the day before) that he would tell their mom what we were up to back there. This was a compelling argument to Josh, for some reason, and in his sputtering confusion the older kids broke through our defenses. They chased us for awhile before returning to claim the fort for themselves.

In these days after the storm, I remember the fort vividly. I think about the way this place has always been characterized by fallen trees, draining lakes, flooding rivers, raging forest fires. Living things—plants and millipedes and children, too—thrive in the aftermath of these events. Everything is born of chaos and disorder, and everything will one day return there. We may as well climb the trees and make some dirt bombs in the meantime.

The Future Is Local and Physical

I think there is another post here somewhere (found it -CBC) which makes the same point in greater detail, but I cannot stress enough how strongly I believe this. Two more articles I read today continue to beat the drum punctuating the internet’s rapid fall from the mountaintop of human experience.

The Future is Local. This does not mean that people will turn away from global culture. There will still be K-Pop fans, Russian goths, and other Very Online™ people; but they will use these global identity traits to find meaning among their friends and neighbors in person, rather than an anonymous clique of forum users on the disenchanted, sterilizing network of computers that have dominated our lives since around 2008. Networked computers aren’t going anywhere; they’re just moving to the backseat.

The Future is Physical. Digital artifacts are dismally fucking boring. It’s as simple as that. People aren’t reading magazines on the internet because reading text on the internet is an awful experience. Building a collection of streaming music is about as exciting as sorting paperclips. We do it, but we don’t enjoy it. Watching videos on the internet is what it was like to watch TV in the decades before. You can have a good time, but it doesn’t stick like going to a movie or buying a disc (or a tape, for that matter). Looking at art on Instagram or the web is like watching free porn; do it long enough and you’ll make yourself crazy for the real thing. For all these reasons, the internet cannot take the place of physical things in our lives.

Print, burn, press, paint, draw, record. It’s the way of the future.