Warm
In this cold northern land, I’ve come to think of sub-zero temperatures in quite different terms than those stemming from my London roots. -5 ºC seems warm.
Warmth comes not just from the sun, and this is the best place I could possibly be.
Nifty
I spent some of the year working with mobile art, and one effect of this was regular exposure to countries and lands I have never seen, brought into focus and expressed through the eyes of real people living real lives. I’m now wondering if I should, having based myself in Norway, now travel and explore like I never yet did.
I always wanted to explore south America.
The future in a cup of coffee by Kika Nicolela
Prix Mobile
It has indeed been fascinating organising the Prix Mobile art contest. From over 4,000 tagged images, to thirty shortlisted contestants, we arrive today at twenty six serious contenders for the Prix Mobile trophy and the thousand euro prize. This last stage is by far going to be the toughest. I am very glad not to be a judge, and have the onus of deciding a winner and two runners up.
Fashion victim! - by Mylay
Another of the three was possibly not using mobile tech – a basic requirement – and though politely emailed, he didn’t send in an original file for us to examine as requested until the day after the shortlist challenge ended, and thus missed his opportunity.. the lesson being that if you want to take part, don’t use email addresses you rarely check.
This simple slide show includes images from phase one of the contest – some of the makers of these remarkable images didn’t even get to the shortlist, the standards were that high.
New Country, New Biography
I started a company called Prize Arts to run the new projects I started working on since leaving the UK.
Hang on, I thought, three websites later, I’m supposed not to be doing this any more.
I swung between self-aggrandisement and self-effacement wildly for a few days, before finally telling it enough as it was with enough fruit to make a cake but without over-egging it.
Still, it’s good to refresh the personal PR from time to time.
Instagrammar
Image making on social image networks, mainly but not exclusively Instagram, has become completely fascinating. I have been looking at the various scenes in depth for months, and I’ve come to some interesting and unexpected conclusions which I will develop further.
Instagram et al are every bit for me as exciting as Twitter was in 2007, or the web in 1994, except that because images are being shared rather than words, and because it’s mobile, it is rapidly developing a global, common visual language which reaches beyond the constraints of words contained by languages, and feeds into a shared experience of the world.
I am thinking about the implicatations of shaping this rapidly evolving communications network.
The possibilities are very exciting.
Instagram: deanw
Instagrammar: Facebook
Instagrammar: Twitter
Images
I have been making so many images recently that I decided to reboot my art career. It surprised me, which is a good sign.
Exhibitions in Brussels in October, and Paris in December to follow, which I am both curating and creating collaboratively.
Norway
In a classic reverse-invasion, I have come to Norway.
I am unashamed about this desire to live here, which was born in me deeply and slowly over years, but which crystallised one hot June day in 2008, in the quiet stone cool of the 12th century church of Saint Pierre, next to Basilique du Sacré Cœur, Paris.
Of course, I now want a chic flat in Oslo, a large boat, and all the Norwegian fish I can eat.
PNEK Seminar
On May 3rd 2011 I attended Structural challenges for media art in Europe and Norway, a symposium organised by PNEK, the production network for electronic art, in the National Museum of Art, Oslo.
The European continent as a whole feels continuing financial pain, with significant post-crash aftershocks in Greece, Ireland, Portugal, and the social consequences of sudden poverty and loss of essential resources playing out. Even in more fortunate countries within the EU, funding priority for experimental art has diminished from low to off the list, pretty much across the board. A central purpose of this gathering was to understand and discuss the huge changes that are happening across Europe as a result of financial stringencies being implemented nation by nation, and to look at strategies to work in this new landscape.
Attendees were in the main from 11 different groups within Norway who are under the umbrella of ‘electronic arts’, including individual media artists, curators, administrators and academics.
Inside Norway, PNEK is an initiative to both coordinate artistic development and share useful information between disparate, often geographically distant groups making different kinds of art from the mainstream. Not all PNEK members receive funding from Norwegian coffers. Per Platou more than doubled the size of the network when he took on the task of coordination two years ago.
The field of electronic/digital/media arts is now an established, popular sector where great work is often done.
From their different perspectives, all three keynote speakers described a previously thriving art sector facing the need to adapt.
“The problem with net art is that it’s old hat. The problem with net art is that it’s too new” Dietz (1990)
Angela Plohman (Baltan Laboratories, Eindhoven, Netherlands) opening spoke vividly of differences of aims, expectations and methodology, as her lab begins working alongside the friendly local traditional institution in Holland. She was frank about the risk to the lab’s existence, including the possibility of it being subsumed.
A lot of electronic, lab-produced art is by its nature a hybrid form, the results of innovation and experimentation. It’s an uncomfortable moment when you realise your only hope of survival might be clambering onboard the traditional outfit up the road, whose funding is reduced but intact, in order to survive. But Angela’s measured positivity was more than keeping calm in a crisis, it was an optimistic choice and it was this attitude that set the scene for the day.
“A name doesn’t make the music. It’s just called that to differentiate it from other types of music.” – Art Blakey
Annette Schindler ( [plug.in], SHIFT, Switzerland) in the second morning session presented extracts and analysis from her ongoing research into funding, recounting not just the scale but the effect of the cuts, enforced mergers and reorganisations. As she carefully and forensically painted a bleak picture, the scale of the situation hit home. The losses already sustained of prized laboratories and small institutions sounded like a roll call of the fallen.
This blast of cold air woke up the room.
It was so bad that people began to fidget, but Annette was bravely confronting the beast. Her descriptions of the different kinds of funding chaos afflicting nations included her own country Switzerland, where there will be no electronic arts funding after 2011. The Dutch are facing different implementation of same financial policy as the UK, an effective immediate 40% cut. Most media labs are “heavily underfunded” already. For many small experimental groups still hanging on, the choice was obviously going to be jump soon, or be pushed. Along with funding reductions, new strings are being attached by the funders.
Annette Schindler: German government nearly closed their media lab down; now media arts must be more gov policy compliant, less critical. Harsh controls
This was actually priceless information for people who are making electronic art, as well as for those formulating strategies to allow such art to continue, and flourish.
Annette asked an important existential question: “Can we defend our Utopian world? Can, should we protect it from being distributed to theatre, dance, the visual arts?”
So began a thread which wove throughout: with options reduced, simplified, removed, exactly where do you put electronic and media arts in the larger scheme of things? Where do artists and curators wish the work to be put?
Since the invention of the ‘media lab’ 30 years ago, electronic art has moved a long way in popular estimation and many people choose to work in the field.
“Electronic Arts” is a term frequently filed under visual art, but the work may of course include music, text, performance, dance, film, as well as video, audio, computer graphics software and the whole gamut of physically interactive mechanisms, lasers, pressure pads, 3D headsets, cybernetics, the internet, etc. It is an art tree unto itself, albeit with many and various roots.
As I sat, listened and took notes, I began to ask myself whether Norway, itself relatively unscathed by the financial and political traumas which reduced a handful of European countries to pauper status and embarrassed the rest, was perhaps the only country represented in the room where ‘efficiency’ was not a euphemism for ‘cuts’.
But despite Norway’s self-confidence and progressive arts policies, on the basis of these discussions, this small country, well used to punching above its weight, does not believe it can continue in the same way as before, given the newly ravaged funding landscape, and this was evident via the level of engagement from the floor, and the serious faces throughout the day.
Angela Plohman: we need to stress the social connectedness which differentiates media labs
Art, like science and business, relies on exchange, and countries regularly send cultural ambassadors abroad. The situation outside Norway reduces options for Norwegian-based artists. Where do you send your nation’s bright, promising hopes to be cultural ambassadors if the labs and institutions that once hosted them no longer exist?
Sarah Cook: differences don’t matter too much, commonalities matter a lot more
After lunch, Sarah Cook (CRUMB, aka the Curatorial Resource for Upstart Media Bliss, Newcastle, UK) described the overnight decimation of the UK experimental art scene, and the arcane nature of the funding application protocols introduced by the UK’s austerity-led government.
Six hundred existing arts organisations in Britain were asked to re-apply in March 2011, no matter their previous history. Nothing can be taken for granted, and certainly not Arts Council funding, whoever you are. Gone are the days of loaf. From now on, funding is a much smaller piece of bread, broken up into thumb-sized pieces, to be distributed among the small.
One unexpected result of the reorganisation in the UK was an increase in previously excluded bodies appearing on the funding list, albeit competing for a fraction of the previous grants. Like Annette Schindler’s account of the wholesale removal of funds for electronic arts in Switzerland, a situation only slightly relieved by the appointment of a single advocate for the sector on the national funding board, this appearance of a few new groups in the UK funding basket felt like very poor compensation, at best slender straws for drowning media labs to try and grasp. The public sector is really paying for that bank collapse.
Sarah refocused the seminar on the art, confidently reminding us of inspiration, the reasons we were there. She showed Alfred Barr’s torpedo diagrams for MOMA, and asked what kind of torpedo would be created today. She described how MOMA’s original mandate had been to give the collection away to the Met as it ceased to be modern.
Conservation, a subject which spontaneously emerged in the seminar seemed to signify the gulf in the concept of art that exists to this day between the electronic/digital/media art world and the international art world.
The art world demands ownership, and puts financial value on objects. With electronic art, that can be tricky. But electronic arts do not exist in a vacuum; they stem from and are sometimes allied with the full panoply of cultural disciplines and traditions.
When a gallery or museum takes ownership, conservation of the work becomes an issue. The room chuckled at the story of traditional conservationists, who faced with a key component about to become obsolete, started buying dozens of CRT monitors from flea markets in order to future-proof a valuable video installation.
This object-fixated approach need not be applied, if digital artists worked more like musicians. Rather than leave instructions of how the objects currently fit together, it would be better, it was suggested, to write a script, or software which re-created or described the experience of the work using different objects, so long as analogous output mechanisms were employed. Just as a 17th century music score still has power to move our souls when converted from dots on the page using modern instruments of similar tone, pitch and function, its value not tied to the original period instruments, electronic art can be reproduced using future technology. Yesterday’s harpsichord is today’s soft synth.
Thomson and Craighead, recounted Sarah Cook, build their art to incorporate instructions for future versions in order to preserve and allow collection.
Still, the conservationists have a point. Electronic art without the electricity plugged in and doing what it should do is junk, or at least, less of a piece. Few are interested in coming to see/hear a non-functional piece of electronic art. Galleries don’t want to own a dead chipset when it’s supposed to be appreciating in value and bringing in the punters. As an artist, what do I choose to use? If you rely on art funding, this becomes important when options are vanishing.
So it’s difficult (but not impossible) to sell digital art, but there are other routes to funding, and these were hesitantly mentioned early on, resurfacing more vigorously during the panel session, an earnest and fairly energetic round up.
Annette Schindler: Media arts now are normalised and ubiquitous but still not recognised by the mainstream
Electronic arts can be as engaging as music or a game, as sublime as poetry. But the main reason it brings people together is because it’s such brilliant fun.
Electronic art does things; you can play with it, it can be generative, interactive, useful, weather-dependent, waterproof, sun-powered… it changes before your eyes and ears, it can exist in time scales and at dimensions and at heights and depth beyond the human. It can cool or warm you. It can move you both emotionally and physically. Sometimes, it challenges the very functioning of your perception.
Experimental artists are often met with bafflement by the non-art aware, non-geek population, and a similar misunderstanding barrier exists between them and the über-wealthy art markets. However challenging, unique and appreciated a digital work may be, it’s difficult to sell electronic art in traditional ways via traditional routes. It’s difficult to scale, too. Would you like an art installation in your garage this weekend? No, I thought not.
You can sell innovation, however, and you can market skills, you can generate specific work for sponsorship, and here lies the kind of deeper level engagement with the commercial world which media labs have yet to exploit. It requires thinking about though. With digital, it’s usually greatness of vision, success of realisation, not potential sales price, that wins plaudits and commissions.
Angela Plohman: “One person with a big Rolodex can be the lab”
Spinning off bright ideas for profit might seem like a good idea, but the glass and concrete of the commercial world is quite different territory from these electronic nurseries, these greenhouses for ideas. The road to cash can be treacherous, and people from art institutions are not all well versed in commercial ways. Overheads go up, legal bills increase because of licensing and contractual demands. The balance between keeping true to your central mission, and meeting the needs of the source of your funding can be difficult to establish. Some artists would rather leave than be in that unreflective media environment.
The economic reality is that both institutional and private galleries need people to show up at exhibitions to justify their own existence, and in uncertain times, they are less likely to invest in art which they don’t understand and which is difficult to maintain, and more likely to stick to the predictable, tried and tested, big audience-drawing stuff. Yet, it’s very important that innovation is maintained and supported, or as history shows, art will stultify, and cease to be relevant, and everyone knows this. Art audiences melt away confronted with a menu of yesterday’s recipes, however expensive the meal.
Sarah Cook: I want more than one world to jump into.. I want lots of different kinds of art
Artists of all kinds, some of the greatest artists have used technology, been interested in machines. Electronic art shares with every other artform the same ancient instinct, the urge to find form for thought and expression, to communicate, to explain and to enquire, but with a luminous history, it is also sufficiently unique in itself, and deserves its hard-won status as a separate, distinct arts category.
With a typically experimental ethos and deep engagement with all kinds of interactivity, media labs estimate their value in ways other than hard cash. They justifiably count social connections built through workshops, the impact of art on a specific community space, the extent to which they are contributing to what is a genuine media revolution.
Recognising how little in common their work has with mainstream commercial fine art, its dealers and auctions, stocks and shares, it’s clear that electronic artists, media labs have as tough a time ahead of them as they have behind them; but the future holds opportunity.
If they do survive, they will ensure not only the survival of their genre, but must be able to thrive as a viable, different group of art practices and processes, because that art trading world, where the price paid for a single object would keep fifty labs running for ten years, is surely going to go the way of all bubbles, and burst, eventually.
At which point, kudos to those with working alternatives.
See: http://www.pnek.org/archives/1326?lang=en
Dean Whitbread, May 2011.
Techwology
I love to invent words. It is a beautiful way of being useful, whether or not people can see that being their own concern.
Techwology means wonky technology, obviously.
This is where I keep my secret jazz ensemble.
My Own Personal Revolution
It’s been some decades since I lived anywhere but London. My time as a British citizen has made me into a man I never envisaged becoming. It has been marvellous, and it’s delivered me.
My next aim is to relocate to the mainland, probably on its northern fringes which is a place I have come to love. I love water, hills, the sea and clean air, and I’m going to make sure I get more of that as I work on my writing and publishing.
What do you think of the new place?
Quora, You’re Getting Warmer
Growing up in the Golden Age of Melody as I did, and having a musical bent, it doesn’t take much of a mnemonic stimulus to provoke memories of a tune which corresponds to a current meme.
After a few months bubbling under, ask-me-a-question website Quora seems to have broken cover. I had an invitation back in May 2010, when to join the then-in-beta site would have been extremely hip, but I held back. Never shy of being second, now, at last, with the sheep, I’ve joined up to see what the fuss is about.
First, I refused to allow Quora to rob my Twitter account, then I switched off all notification emails (I can see perfectly well what activity I want to check when I choose to login). Then I asked a question, then I answered a question about consciousness: Is it plausible that consciousness preceded the physical?
I have made sure to follow mostly metaphysical questions because most of the content is around business / technology, and of course, it’s much more fun being a medium-sized frog in a small pond.
My first question is: What makes a treacle pud a tasty treacle treat? The answer: beef suet. I’m pleased to see someone is already following this important challenge to our collective intelligence. But I have in fact no special interest in treacle puddings, it’s much deeper than that..
The “Atora, you’re getting warmer…” tune was burned into this child’s psyche, and it is still there at the touch of a button decades later. I only have to hear the two-syllable “__ora” word and it becomes Atora. Those advertising jingle chaps knew what they were doing alright. Mad men, indeed.
Frederick
I’ve been talking with my mother about Fred, my grandfather, after whom I’m named, and she produced this lovely image of the family.
The more I learn about Fred, the more I identify with him. I was called Fred before I was called Dean – it’s my second name. Apparently this was much to Fred’s approval. Nice to think that I got the name alone, from all his many grandchildren.
I don’t do Hallowe’en
I avoid commercialised ‘celebrations’ – Hallowe’en, Christmas, Easter. I stick to the midsummer and midwinter solstices. Twice a year is holy enough for me.
Guy Fawkes night on 5th November, now, that’s a different story. I like to remember that we’re celebrating insurrection, rather than the torture and execution of Catholics, as I watch the sky explode with fire flowers from the safety of my armchair.
Happier than a bean in long thyme
Anniversaries are peculiar things. It’s been over a year now since the death of my father Brian. I was pretty low for the whole of August.
One morning last month, Dad woke me up with a cup of tea. He turned up in a dream, walking into the room where I was trying to sleep, showing me concern. I haven’t dreamt about him since he died. In the dream, it was a shock to see his living face.
Actually, it was a good dream, I woke up happy. It was great to see him.
In fact, it was so nice to see him alive once more, and be reminded of his kind if sometimes inscrutable soul, that my gloom dispelled, and things have been easier since.
July Sun
Just back from visiting friends in Europe. This picture was taken in Belgium in my friend Christophe‘s kitchen.
Here’s One from 2007
Found this: I am talking podcasting, radio and pictures in 2007 on the BBC website. Can’t remember the interview but it sounds like the kind of stuff I was concerned with at the time.
It seems more like a decade ago that this was pubished, but in fact, it’s only three years. Technology develops so fast, and with it the culture it has spawned.
I still prize the internet for what I first saw it as – the world’s first truly global cultural exchange.
New Old Blog
It’s June, nearly solstice. My brother’s getting married at the weekend. Updated the blog to WordPress.
What more can I tell you? Life is at a hinge point.
The Digital Economy Bill – Letter to Emily Thornberry, MP
Dear Emily Thornberry,
As you know, as Chairman of the UK Podcasters Association, I worked in 2006/7 to prevent badly formed WIPO television regulations from impacting negatively upon UK internet culture and business.
The Digital Economy Bill now passing through parliament is every bit as bad. I am currently deeply concerned that as parliament dissolves, this bill will not be debated and will end its days in the “wash up” period, being hastened into law.
There are many reasons why this bill needs proper consideration. Of particular concern to me are the negative impact of closing down of open WiFi networks, which allow many people who cannot afford expensive mobile data to work and access leisure information on the go, the disconnection of internet on suspicion of illegal activity, and the blocking of sites such as YouTube because of supposed copyright infringement.
The disconnection proposals are the worst kind of legislation. With progressive countries such as Finland now making internet access a human right, internet cut off is appallingly draconian. What is proposed does not require anything like the level of proof which a court would demand, merely the sending of letters based upon suspicion – a very slippery slope indeed.
Regarding the blocking of websites: aside from the many cultural benefits which sites such as YouTube offer, the negative economic impact in particular will be felt in the UK should this go ahead.
I am a member of PRS for Music, the UK organisation which collects royalties for songwriters and composers. PRS were in dispute with Google, and worked very hard to strike an agreement with YouTube/Google to collect royalties from YouTube, which they now do.
If such website blocking happens, I will not be able to inform PRS which content they should be collecting on my behalf. Given that 24 hours of video is uploaded to YouTube every minute (as of March 2010) PRS relies on the inspection and reporting of its members to know what to collect. YouTube would not be able to deliver my music to UK audiences. In this way, my own income will unfairly and directly be affected.
Finally, many of this bill’s proposals are influenced by advice given by the BPI, for whom I have consulted on podcasting.
I find it impossible to countenance that a Labour government even in its last days would allow suggestions from the BPI to become law. From my personal experience, the BPI promote aggressive and backwards-looking protectionism. They do not speak for a very large proportion of the music industry.
I ask you to read the opinion of the Featured Artists Coalition http://www.featuredartistscoalition.com/ – who state:
“… rights owners are wasting their money by trying to control file-sharing. They are neither succeeding in their efforts nor acting with fiduciary responsibility to the content originators whom they are failing to recompense properly. Their vain efforts at control are merely Canute like attempts to maintain an anachronism of a business model.
The problem is that they are spending a lot of money defending the old model and it’s hard to find evidence of a single major record company investing in new ways of nurturing talent or developing artists careers online or offline.
Independent labels (like Beggars Banquet and other smaller labels) are increasingly seeing the economic arguments in favour of the new model. The Zelnick report just published in France has recommended it. The UK Music Manager Forum has been calling for it for nearly a year. The UK music industry group called the Value Recognition Strategy group has been planning to trial a version of this on the Isle of Man for about eighteen months, but the major labels and the music publishers have prevented it. Universal music themselves proposed a form of collective license for unlimited downloads to the Virgin Media group for their music service and this has not launched due to the objections of the other major labels.
Running out ahead of the crowd, a group of thinkers with a great deal of experience and insight into digital media has been proposing this for some time. Myself, Pete Jenner, Gerd Leonhard, Paul Sanders, Paul Hitchman, Matthew Brown and occasionally our cousin Jim Griffin in the US have been meeting for about five years to develop the thinking around this. But we have often felt ourselves to be in the wilderness. Jim has been trying to work through the issues with his Choruss group courtesy of Warner Music in the US but his proposed trials on US university campuses have yet to launch – hopefully we will see some action this year. Meanwhile, the UK Government’s Digital Britain programme has spawned Digital Test Beds which are being managed by the Technology Strategy Board and which may become precisely the kind of platform that could help try out some of these new models in a relatively risk free fashion – and with some public subsidy – how enlightened is that?”
The DE Bill bill deserves a full and proper debate. It is clear that the bill is deeply flawed and in its current form will probably damage the UK’s culture and economy, will adversely affect innocent people, and will make a mockery of enforcement.
Therefore, please make your voice heard on this issue, and give the Digital Economy Bill the full and proper debate it sorely needs.
Yours Sincerely,
Dean Whitbread.
One Way Journey
I wrote a story in December which I published in January – such is the wonder of modern ePublishing.
It’s called One Way Journey and it’s available here as a paperback and a PDF and also on Amazon Kindle.
I’m going to write a lot more books, and probably a lot less blogs from now on.
Looks like Blogger is discontinuing FTP support, so I will also have to change this blog, which I’ve been writing since June 2004. No idea what I’ll replace it with yet, but whatever it is, it will be equally boring.
I’m very happy that all my interesting stuff is elsewhere.
It Wouldn’t Be Christmas Without S&M
Why do people torment themselves so at this time of year? In the north, days are short, nights are cold and long. In the south, the globe heats to unbearable levels; and capitalists everywhere capitalise on our misery by relentlessly prodding us to spend our way into new year debt in an insane, herd-instinct sado-masochist orgy of panic.
My family and friends know well that I tend to remember birthdays but send no Christmas cards.
Instead, I buy presents at random throughout the year, absent myself from stress and observe the soltice. I urge you to do the same.
Remember: no shopping, no presents, no guilt.
House Warming
I’m considering multi-fuel options – it’s the green way to go, so long as I look after the particulates.
I’ve been to-ing and fro-ing but finally, the Clean Air Act smokeless zone DEFRA-certificated Aga Little Wenlock Classic SE looks like it could be the one.
Never thought I’d get an AGA.
The History of the Internet
Here’s a rather neat timeline of the internet published on the Guardian website, which has been put together by Simon Jeffery.
After who encouraging user input, Simon responded to my addition of the birth of podcasting, called up and interviewed me.
Click 2004 to listen to my nostalgic recollection of those pioneering glory days.
Let’s Not Miss September
I love the Autumn, it’s my favourite time of year.
I’ve written a monthly post since Jun 2004 but last month I didn’t feel much like doing anything, so I didn’t. This is one of the great benefits of being one’s own editor.
Nothing like pausing to allow new things to come along.
UK Podcasters Find New Home
This very nice welcome page from the Open Rights Group ushers in an interesting next phase for the UK podcasting fraternity.
Activities around the making and consuming of media have evolved hugely in three and a half years, and the digital media scene is set for more growth, with forces such as governments and media empires vieing for control. Never more important a time to stand up for citizens’ basic rights, and to ensure a level playing field for businesses sandwiched between the BBC and Rupert Murdoch. The UKPA was frankly too small to be effective, and so has found a new home with its close ally.
So, big thanks to Michael and Jim from ORG. This is a good move. It is my hope that we we will be able to add to ORG, and that in the time to come, the alliance will be a good one.
Podcasting as a word may be less prominent than it was, but the culture of download is incredibly strong. Anyone who is interested in online media’s future prospects should get involved in the Media Makers Group which is set to have its first meeting on September 26th in London.
Friend Feed
I have come to really like FriendFeed. It’s a great way to follow someone and keep in touch with their activities and interests. It’s a good surface level browser, with an easy to navigate interface. It also does what it says on the tin – it’s an RSS Feed reader. But like Facebook and Twitter, it enables conversations and comment threads.
I read my own feed to catch up with my own thoughts and think twice about things. Using it can be like keeping a kind of public notebook.
Postscript: After a I wrote this, I noticed that FriendFeed was coming far too high up in search results and drinking far too much of my Google juice, so I stopped using it. How fickle we are, us internet folk, and yet how wise.
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