This paper examines the history of the learning theory "constructionism" and its most well-known implementation, Logo, to examine beliefs involving both "C's" in CSCW: computers and cooperation. Tracing the tumultuous history of one of the first examples of computer-supported cooperative learning (CSCL) allows us to question some present-day assumptions regarding the universal appeal of learning to program computers that undergirds popular CSCL initiatives today, including the Scratch programming environment and the "FabLab" makerspace movement. Furthermore, teasing out the individualistic and anti-authority threads in this project and its links to present day narratives of technology development exposes the deeply atomized and even oppositional notions of collaboration in these projects and others under the auspices of CSCW today that draw on early notions of 'hacker culture.' These notions tend to favor a limited view of work, learning, and practice-an invisible constraint that continues to inform how we build and evaluate CSCW technologies.
hacker culture
A double is haunting the world--the double of abstraction, the virtual reality of information, programming or poetry, math or music, curves or colorings upon which the fortunes of states and armies, companies and communities now depend. The bold aim of this book is to make manifest the origins, purpose, and interests of the emerging class responsible for making this new world--for producing the new concepts, new perceptions, and new sensations out of the stuff of raw data.
A Hacker Manifesto deftly defines the fraught territory between the ever more strident demands by drug and media companies for protection of their patents and copyrights and the pervasive popular culture of file sharing and pirating. This vexed ground, the realm of so-called "intellectual property," gives rise to a whole new kind of class conflict, one that pits the creators of information--the hacker class of researchers and authors, artists and biologists, chemists and musicians, philosophers and programmers--against a possessing class who would monopolize what the hacker produces.
Drawing in equal measure on Guy Debord and Gilles Deleuze, A Hacker Manifesto offers a systematic restatement of Marxist thought for the age of cyberspace and globalization. In the widespread revolt against commodified information, McKenzie Wark sees a utopian promise, beyond the property form, and a new progressive class, the hacker class, who voice a shared interest in a new information commons.
Source: amazon.com
There is a double spooking the world, the double of abstraction. The fortunes of states and armies, companies and communities depend on it. All contending classes - the landlords and farmers, the workers and capitalists - revere yet fear the relentless abstraction of the world on which their fortunes yet depend. All the classes but one. The hacker class.
L0ve0ne (Eastgate Web Workshop) was first told as an additive social networked story, on the Interactive Conference on Arts Wire, beginning in the fall of 1994. Each lexia was posted as a separate entry on the conferencing system. Portions of L0ve0ne were ported in different forms in servers all over the country, including the Arts Conference on The WELL. The story integrates hacker culture, early Internet technologies, a German "road trip"; and a love story that continues in Malloy's The Roar of Destiny. The first person is used, as it is in many of Malloy's other works, as a narrative device that not only effects the telling, in that it allows the writer to disclose the details of the main character's life in an intimate way, but also effects the reading, in that it situates the reader directly in the main character's life and environment.
Using HTML on the fledgling World Wide Web, Malloy designed an interface that allows access to the narrative in several different ways, including hypertext linking, a visual array of "lines" from of each of the 129 lexias; and a "frames" interface that uses the "lines" as linked glosses.
L0ve0ne was the first work published in the Eastgate Web Workshop.
Using HTML on the fledgling World Wide Web, Malloy designed an interface that allowed access to the narrative in several different ways, including hypertext linking, a visual array of "lines" from of each of the 129 lexias; and a "frames" interface that used the "lines" as linked glosses.