We interrupt this magazine
`for a special bulletin -
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`Remember the browser war r.:.~·· -r:
`•
`between Netscape and Miktoseft:? · ~:_
`Well, forget it. The Web browser
`itself is about to croak. And
`ood riddance. In its place ...
`
`I
`
`I
`
`i
`
`Snap's Exhibit No. 1010
`001
`
`

`

`
`
`n. broader and deeper new interfaces for
`electronic media are being born. BackWeb and PointCast,
`propelled by hot young Silicon Valley start-ups. Constella-
`tion and Active Desktop, Spawned in the engineering labs
`of the browser kings. And from the content companies,
`prototypes powered by underlying new technologies —
`Castanet. ActiveX, and Java.
`What they share are ways to move seamlessly
`between media you steer (interactive) and media that steer
`you (passive). They promote media that merrily slip across
`channels. guiding human attention as it skips from desktop
`screen to phonetop screen to a car windshield. These new
`interfaces work with existing media. such as TV, yet they
`also work on hyperlinked text. But most important. they
`work on the emerging universe of networked media that are
`spreading across the telecosm.
`As everything gets wired, media of all kinds are
`moving to the decentralized matrix known as the Net. While
`the traditional forms - broadcast, print - show few signs of
`
`
`
`vanishing. the Net is being invaded by new media species.
`The Web is one. Yet with each additional node. each new T1
`line. the media the Internet can support become richer.
`more complex. more nuanced. The Net has begun offering
`things you simply can't browse.
`'
`Networked communications need interfaces that hop
`across nodes, exploiting the unique character of distributed
`connections. Technology that, say. follows you into the next
`taxi you ride. gently prodding you to visit the local aquarium,
`all the while keeping you up-to-date on your favorite basket-
`ball team's game in progress. Another device might chime
`on your wrist. letting you know that the route home is con-
`gested with traffic, and flashing the address of a restaurant
`where you can eat cut-rate sushi while waiting it out. At
`home on your computer, the same system will run soothing
`screensavers underneath regular news flashes. all the while
`keeping track, in one corner. of press releases from com-
`panies whose stocks you own. With frequent commercial
`messages, Of course.
`Sure. we'll always have Web pages. We still have
`postcards and telegrams, don't we? But the center of inter-
`active media - increasingiy, the center of gravity of all
`media - is moving to a post-HTML environment, a world way
`
`Facebook's Exhibit No. 1010
`
`002
`
`Snap's Exhibit No. 1010
`002
`
`

`

`pasta Web dominated by the page, beyond streamed audio
`and video, and fast into a land of push-pull, active objects,
`virtual space, and ambient broadcasting. You might not want
`to believe us. but a place where you can kiss your Web
`.
`browser goodbye.
`No. the 150 million Web pages now in existence won't
`disappear. They'll only proliferate. and at an increasing rate
`worldwide. We can expect a billion Web pages by 2000.
`Some of them will even be worth reading. But superseding
`those billion pages will be a zillion nonpage items of infor-
`mation and entertainment. Think video. Think text flickering
`
`over your walls. Think games at work. Think anything where
`a staid, link-based browser is useless.
`But hang on. The good old page browser won't dis-
`appear. It will migrate. The little string of code that fetches
`and displays HTML documents will go forth and multiply.
`making what your browser does today second nature to all
`your other applications. The browser becomes invisible by
`becoming ubiquitous. It submerges inside other programs,
`removing itself from our consciousness. The browser
`becomes the intellectual eq'uivalent of a telephone switch-
`board. The operator who once connected your long distance
`call was a selection device to find the right person at the
`
`
`
`
`ask you to connect the dots. They encourage participation. E
`
`other end. Now, when your modem dials an ISP. phone com-
`pany switches are still selecting. but the switchboard - once
`the defining experience of telephony - is gone. it becomes
`a historical legacy. Just as in the new networked media,
`the browser — now the Net's defining metaphor - is dying as
`the main event. to be reborn as a subsumed function and
`occasional option.
`Of course some kind of interface is absolutely vital
`to life on the screen. The design of what is emerging - what
`
`glyph sits where or which icon does what - is now neither
`clear nor important. All kinds of designs are being tried. The
`labs of PointCast, ESPNET SportsZone. and CNET buzz as
`
`20-year-old hotshots conjure up specific manifestations.
`What is clear is that regardless of what they come up with.
`the outlines of a new type of media are visible. A practical
`interface for distributed, point-to-point media will blossom
`and thrive. What is about to disappear is the defining role of
`the old Web.
`
`dimensional hypertext page. It means users navigating via
`
`Push he.
`
`Right now the Web means information framed on a two-
`
`Facebook's Exhibit No. 1010
`
`003
`
`Snap's Exhibit No. 1010
`003
`
`

`

`blind clickable links and search-engine requests. drilling
`down to try to find what they want. And it means content
`displayed within an application on a computer screen. These
`traits - the page. clicking. and the PC screen monopoly - are
`already retreating into the bowels of the Net.
`in its place, a new medium is arising, surging across
`the Web in the preferred, many-to-many way: anything flows
`from anyone to anyone - from anywhere to anywhere - any-
`time. ln other words. a true network like the telephone sys-
`tem, rather than a radiating system like radio or TV. This
`new medium doesn't wait for clicks. It doesn't need comput-
`ers. It means personalized experiences not bound by a page
`- think of a how-to origami video channel or a 3-D furry-
`muckers VR space. It means information that cascades. not
`just through a PC. but across all forms of communication
`devices - headlines sent to a pager, or a traffic map popping
`up on a cellular phone. And it means content that will not
`
`hesitate to find you — whether you've clicked on something
`recently or not.
`It means, in short, a more full-bodied experience
`that combines many of the traits of networks with those of
`broadcast. The buzz phrase for this convergence is “push
`media." Content is pushed to you, in contrast to the invita-
`
`a browser. The idea: to extend the Web interface beyond the
`
`Push media environments are generally low-intensity, but
`
`tional pull you make when you click on the Web. The push
`can be gentle, in-your-face, intermittent. in the background,
`or always on.
`The 1.7 million downloaded copies of PointCast
`demonstrate how a gentle push works. When your computer
`is idleI PointCast uses the Web to push news bits (of your
`choice) and advertising onto your screen in a slow parade.
`If your attention is grabbed. you can click to pull up an
`expanded version. Berkeley Systems, the outfit that has
`sold millions of the legendary After Dark screensaver, has
`a similar idea grafted onto flying toasters, so to speak. Three
`other start-ups - IFusion. BackWeb, and Excite - are crafting
`similar idle-time interfaces. Corporations, for instance, are
`
`using these push interfaces to deliver messages to employ-
`ees that might otherwise get shuffled aside.
`David and Goliath are at it. too. At the December
`1996 Internet World, Netscape CEO Jim Barksdale delivered
`a keynote address on the future of the Web. without using
`the word browser once. What upstart Netscape has in mind
`is a wholly new interface. codenamed Constellation. which
`serves both pull and push content straight from the com-
`puter desktop - in other words. without having to launch
`
`Facebook's Exhibit No. 1010
`
`004
`
`Snap's Exhibit No. 1010
`004
`
`

`

`borders of the browser window and onto the desktop. And
`
`since you don't have to launch an app to get info, it can be
`easily pushed to you.
`Up in Redmond. Washington. Goliath is aiming at the
`same bull's-eye. The busy folks at Microsoft plan to release,
`also in early 1997, their beta version of a new push interface,
`Active Desktop. The plan here is to turn every desktop win-
`dow into a channel. Instead of a window framing a static
`
`pager it frames an ongoing stream, a 3-D space. a game, or
`any media manifestation you like. Like Constellationr you
`don't have to iaunch anything to see it; the content launches
`itself from the level of the 05. The way they like to think
`about it is that Microsoft is expanding the desktop to take
`over the browser.
`
`Underlying the move from invoked to evoked content
`are distributed object-oriented technologies such as Java,
`Activex, and WebObject. Their central mission is to shoot
`every conceivable media flavor across. through. in between.
`and around a network that includes every conceivable hard-
`ware device. In effect, they unify the mediascape, making
`it possible to send a video to a phone, to push an email to
`a dashboard, or insert your preferred colors and body size
`into a clothes ad.
`
`The weather icon starts blinking. Droplets pepper your
`
`-\ have multipi mode .
`
`Most large media companies are already experiment-
`ing with networked push. Wired Ventures' online company.
`HotWired, and other internet content pioneers such as CNN
`Interactive and Starwave's ES PM ET SportsZone, all have
`
`push media of one kind or another running now. HotWired's
`versions use an array of the new toois, including PointCast,
`Castanet. Java. Active Desktop, FreeLoader, and Netscape
`In«Box Direct. {The latter two are interim technologies that
`
`push Web pages to your mailbox.)
`Consider the near future: In the middle of wandering
`
`through a Web site on Eskimos. you suddenly switch to push
`and watch Nanook of the North. 0r while doing a spread-
`sheet for next year's budget. you get interrupted with an on-
`the-spot packaged report of an oil spill in Chesapeake Bay.
`0r while zoning out with ER, you suddenly wonder if you too
`might have rickets. and so you click on the button in the
`corner of the screen to pull up an autodiagnostic question-
`naire on the disease. This is push-pull media.
`The essence of push media is that it will evolve liter-
`ally countless hybrids: You are standing on a street corner
`of an unfamiliar city where you are attending a convention.
`On your PDA. you stare at a map of a city. It looks like rain.
`
`Facebook's Exhibit No. 1010
`
`005
`
`Snap's Exhibit No. 1010
`005
`
`

`

`glasses. On the map. tiny umbrella icons appear showing
`stores within a two-block radius that sell rain gear. This
`carefully tailored mix of instruction and merchandising is
`environmental push media. Low-intensity networked media.
`Always-on media.
`
`You are in your study. answering email from the
`office when you notice something happening on the walls.
`Ordinarily, the large expanse in front of you features a mon-
`tage generated by SCI-VIZ - a global news feed of scientific
`
`discoveries, plus classic movie scenes and 30-second comedy
`routines. You picked this service because it doesn't show
`
`any of the usual disaster crap, yet the content is very lively,
`a sort of huge screensaver. Which you usually ignore. But
`just now you noticed a scene from your hometown, some-
`thing about an archaeological find. You ask for the full video.
`This is always-on, mildly in-your-face networked media.
`You are driving your car, using the heads-up map
`display on the windshield to find your way around a strange
`city. it works wonderfulty. helping you get to your appoint-
`ment on time. Real-time disptay is expensive, but you're not
`paying for it. It's ”free." You pay by renting a little piece of
`your brain to the Krakatoa HeadsUp Advertising Corpora-
`tion, which beams clever poetic messages twice an hour.
`
`I ONEill
`
`-
`.
`.-
`Push media are always on.
`
`.
`
`.
`
`.
`J’s-Lil
`‘
`:.
`’=
`i Push media are mobile.
`
`back! Just when a billion Web pages are blooming, the sub-
`
`They are little rhymes. and no matter how hard you try, you
`cannot get them out of your head. But they beat getting
`lost, and the maps are detailed beyond belief. Including
`weather reports. This is ambient, low-intensity push media.
`You are skipping through footnote links, researching
`the diaries of impressionistic painters, when you come
`across the letters of van Gogh’s brother, Theo. The next link
`
`holds the documentary film Vincent, a feature-length saga
`about the painter's last years based on his accounts. You
`
`click. An hour and half (and U533) later, you resume surfing.
`This is intense networked push media - for that 90 minutes,
`you did not steer at all.
`
`You sit down at your big screen and send your bot
`out to the DreamWorks server. Give me something 45 min-
`utes long. you tell it. Something funny. You know what I like.
`Something I can interrupt while I make some phone calls.
`0K, start. This is in-yourrface, immersive, experiential push
`media.
`
`At first glance all this looks a lot like the revenge of TV. It's
`
`Facebook's Exhibit No. 1010
`
`006
`
`Snap's Exhibit No. 1010
`006
`
`

`

`terranean instincts of couch potatoes rise again! After 45
`years of addiction to passive media, only a handful of us
`turn out to be up for the vigorous activity of reaching out
`to engage the world. Bummer.
`True, there's a little couch potato in all of us. The
`human desire to sit back in the EZ-Lounge and be told a
`completely ridiculous story is as dependable as the plot of
`a nighttime soap from Mr. Speiling. But when The Wall Street
`Journaltrumpeted the arrival of push media by declaring
`that the Internet "has been a medium in search of a viable
`
`business model. Now it has found one: teievision,” it got the
`story almost entirely wrong. The new networked media do
`borrow ideas from television. but the new media landscape
`will look nothing iike TV as we know it. And indeed, it will
`transform TV in the process.
`Start with HTML, the lingua franca of the traditional
`Web. HTML is an instantiation of SGML, a metalanguage
`originally developed by IBM to handle in-house documen-
`tation for mainframe computers. In other words, it's the
`language of an archive medium. Archive as in stacks of old
`books in a library. The Web is a wonderfullibrary. but a
`library nonetheless.
`On the other hand the new networked media - part
`
`become absorbed in a multiplayer game that has been in
`
`instructional and part entertainment - are not archival, but
`immersive. The image to hold in mind is an amusement park,
`fuil of experiences and information coming at you in many
`forms, some scripted, some serendipitous. It may be
`intense, it may be ambient, but it always assumes you are
`available. Push media arrive automatically ~ on your desk-
`top. in your email, via your pager. You won’t choose whether
`to turn them on, oniy whether to turn them off. And there
`will be many incentives not to.
`Foremost is relief from boredom. Push media will
`
`penetrate environments that have, in the past, been media-
`free - work, school, church. the soiitude of a country walk.
`Through cheap wireless technologies, push media are
`already colonizing the world's last quiet nooks and crannies.
`At the same time, networked push media can - and
`will - bombard you with an intensity that invitational media
`never muster. After a hard day at Work, who wants to come
`home and craft an experience by prospecting for a granule
`of intelligence or amusement that's buried in 100 billion Web
`sites? There are times you want the content to steer you.
`it's worth paying for selections, edits. digests, synthesis.
`and branded creations. Or you can sit in your chair and
`
`Facebook's Exhibit No. 1010
`
`007
`
`Snap's Exhibit No. 1010
`007
`
`

`

`
`
`II
`"to
`
`-
`
`progress all day. that knows your skill level, can locate your
`friends. and is just waiting (if not begging) for your atten-
`tion. Push media are ”always on." And there are human
`agents behind the scenes. working overtime to keep the
`content always on target. always on top of things. always
`seeking you out.
`The promise of push-pull media is to marry the pro-
`grammed experience of television with two key yearnings:
`navigating information and experience, and connecting to
`other people. With networked media you get TV's high pro-
`duction values along with the intense communal experience
`of watching something together - virtual communities. You
`also get the ability to address small self-organizing audi-
`ences that broadcast could never afiord to find. And you get
`well-crafted stories seamlessly integrated into other media.
`such as online conversations. This heightened ability to
`extract meaning, experience, or community — rare with con-
`tent pushed by broadcast - is almost the rule with content
`pushed on a network.
`There is another way to think of this. In the old digi-
`tal landscape there were two extremes: pull media (the Web)
`and push media (TV. radio. movies). Some pros (see “Beyond
`Star Wars," Wired 5.02, page 160) adamantly believe the
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`two poles will never cross. They suggest that while informa-
`tion may converge into the home, once there, the data will
`inevitably diverge again according to its use. Pull media -
`interactive media - are something dealt with sitting alone.
`on a chair. in a den or study, 18 inches from the screen.
`Push media. on the other hand, are better experienced on a
`couch, 6 feet from the screen. in a room often shared with
`others. The idea is that these two positions represent inher-
`ently different modes of being. that the two don't - can't -
`happen at once. You either have stories (no interaction) or
`interaction (no stories), and never the twain shall meet.
`
`All kinds of evidence suggest this notion is bunk. Not
`the least is this magazine. Is it push or pull? When you start
`to read. yOu invite information on your schedule. but once
`you dive into a story (if it is good). the author pushes you
`along, and the magazine steers. There are ads that push
`into your face. but you can effortlessly turn them off by flip-
`ping the page. Few media are purely invitational or wholly
`passive. Movies initially seem the paragon of push (once
`you're seated). That's part of their charm. You surrender to
`the director's manipulation of your emotion and mind. Yet
`when movies are played on television. in the competitive
`jungle of 500.000 channels. they are subject to the relent-
`
`Facebook's Exhibit No. 1010
`
`008
`
`Snap's Exhibit No. 1010
`008
`
`

`

`less interactive tick of the zapper.
`That almost neurotic urge to zap has falsely led peo-
`ple to think that what viewers want is more zapping, more
`control, more steering. What they want instead are more
`ways to zap. More ways of interrupting flow. more varieties
`of story and no-story, text and game, of things done together
`with other people and things done alone. More states that
`flit between steering the media and being steered by it. More
`ability to tweak the dial, between twirling and being twirledI
`so that finally you can dance with the media. Networked
`media offer nothing more and nothing less than this: an
`expanding set of possible in-between states, combinations
`of push and pull and the means to slide between them.
`The emerging postbrowser interfaces create differ-
`ent ways to "play" human attention: as ambient publishing,
`as intensely spatial 3-D experiences, as TV you can read, as
`a sustained tango with an editor or director.
`
`if the Web were working perfectly for everyone. we might
`not need to contemplate subtle new variations. But strong
`
`know what we're talking about. There is value in common Partlclpatlon is automatic.
`
`forces are dislodging the browser from its throne:
`First is the litt|e~uttered secret that many Web users
`suffer a sense of being lost and overwhelmed. That's why
`50 percent of regular users in one recent survey report that
`they simply don’t surf anymore - they hit the same sites
`every time they log on. The best part of the Web is its worst:
`it's a web. You don't knew where the good stuff is, and when
`
`you land there, the signal is camouflaged by all the noise.
`Clicking becomes Russian roulette. Yeah, rolling your own is
`very rewarding, but often we'd like someone else to slip us
`a ready-made. Even though it may not be as nifty as the one
`we made. Or maybe because it is niftier and better made.
`As it is now, there is an audience of millions with high expec-
`tations, and they aren't being satisfied.
`Second. push media can build community through
`the expectation of reliability. There is a huge difference
`between having your newspaper delivered to your door
`every morning and going out occasionally to a box down the
`street. Home delivery of newspapers is as reassuring as it is
`convenient. You are participating in a ritual that links you to
`thousands of other citizens. The millions of Seinfeld viewers
`
`Facebook's Exhibit No. 1010
`
`009
`
`Snap's Exhibit No. 1010
`009
`
`

`

`and simultaneous knowledge.
`Which is why television will keep on keeping on: TV
`becomes just another channel on the Web. You dial it for a
`mainline fix of unadulterated push. It's great for that univer-
`sal plunge into the Thing Larger Than Myself. Broadcast TV
`(over the Net) will work - for some people. anyway - forever.
`What network media do is liberate TV, releasing it from the
`chore of science shows and miniseries. and letting it do
`what it does best - sports and breaking news - even better
`than before.
`
`Third. push has advertisers transfixed - perhaps for
`the wrong reasons. Many on Madison Avenue believe that
`Web banner ads are too iilliputian. too inert. too scattered to
`warrant deep spending. But those same veteran pushers will
`lunge at the chance to foist stiffiy animated 3D-second
`spots upon semiattentive viewers. it's worked before! They‘ll
`happily back push media in hopes that the spells that work
`on TV will work there. too. Zonk! Wrong! Every notch on the
`push-pull dial will be different. with its own distinctive ad
`
`dynamics. But in the short run. advertisers can be counted
`on to pile in.
`Confusing that stampede is a subtle distinction: the
`
`
`
`figurations. and versions. This might seem to favor giants.
`
`The condition of themedia networkwlli always be a form of media - mediajs analogous to weather.
`
`steering that push media do can be intense. or it can be
`ambient. Many advertisers see push media extending TV's
`absorbing intensity. In some cases. it will. But television's
`real power isn't high-impact "realism” - it's the way TV
`insinuates itself into viewers’ daily lives. The same with
`ambient push media - what will hold Madison Avenue's inter
`est in the long run will not be intensity. but ubiquitous pres-
`ence in consumers' lives.
`
`Billions of dollars are at stake. The Yankee Group.
`a Boston-based market-research firm, predicts that within
`three years. nearly a third of the projected $19.1 billion in
`annual Internet revenue - from advertising.transactions.
`and subscriber fees - will derive from push media. So the
`
`$6 billion question is. Who will control it? The pervasive and
`distributed nature of networks works against central control.
`On the other hand. it works in favor of common standards. In
`
`a networked world. ubiquity conquers superiority - a widely
`accepted technology will overwhelm even a technologically
`superior rival. So the advantage goes to any company that
`can insure applications. content. and interfaces (the simpler
`the better) that work in a wide variety of environments. con-
`
`Facebook's Exhibit No. 1010
`
`010
`
`Snap's Exhibit No. 1010
`010
`
`

`

`media, toward one seamless media continuum, viewable in
`
`
`
`and shape, especially the intermediate size between TV and,
`say, personal mailing lists. You can push-pull broadcast to
`llama keepers or home schoolers. reconfiguring the shape of
`the network on the fly. Until now, the Net has been a place
`of pull-laden networks: now it will also be a Net of push-laden
`networks, a world of nichecasting - thousands of mini-net-
`works, ranging from micro-TV stations to totally customized
`personal programming. Imagine a company that “mailed"
`live multiplayer interactive games to your desktop.
`
`Already push media such as PointCast pop up in places
`where push TV would not be welcome - say. on corporate
`desktops. Soon we’ll get media in odd mixtures of our
`choice: on minicell phones. on watches. on slivers of paper,
`and especially on computer screens. We'll have media play-
`ing off digital ink painted on walls, media coursing through
`telephone displays. media flickering as we drive our cars,
`media on our smart digital TVs. Networked push media take
`us one more step toward closing the gaps between existing
`
`but just look where the Web sprang from. HTML and HTTP
`were inferior technology to, say, Ted Nelson's Xanadu. but
`
`they were also a simple, adequate hack that encouraged
`universality. And one that sprang from Geneva, of all places.
`There are likely to be giants involved in the new push media.
`but they won’t have control.
`Giants - including the original pushers, the great
`media giants - will hatch a lot of push. But initially the bulk
`of it will be dispensed on corporate LANs, because they
`have the fat pipes that let push work best. General Motors,
`for instance, is already using push to minicast training
`videos to its dealers. Those corporate LANS will eventually
`become the model for more neighborhood-sized networks.
`such as the networks being built by @Home, which will be
`stuffed with both push and pull media.
`But push media's most revolutionary advance may
`be the creation of a whole universe of small-scale (and not-
`so-small-scale) broadcast networks. Until now, broadcast
`networks had to be huge to be ubiquitous. Smaller ones
`were proprietary and fixed. Really small ones were called
`mailing lists or videoconfetences. Networked media, on the
`other hand, can create broadcasting networks of any size
`
`
`
`Facebook's Exhibit No. 1010
`
`011
`
`Snap's Exhibit No. 1010
`011
`
`

`

`Written by Kevin Kelly and Gary Wolf,
`
`with contributions from other Wired staff
`
`Snap's Exhibit No. 1010
`012
`
`

`

`There are other less lethal uncertainties. Like all
`
`TTTdTTTTT .TTJ
`us‘tejitiif they‘dLdh i uremia:. 1
`
`creates sexy new stuff. which is great but also complicated,
`creating opportunities for unification, to resupply warm,
`familiar fuzzy convenience. Extend, unify, extend further.
`Each cycle of extend/unify notches up the ratchet
`of media complexity. Ontogeny recapitulates phylogeny, in
`interactive media as in biological life. All new media - includ-
`ing networked media - recapitulate the evolution of former
`
`new power, network media can cut both ways. The distin-
`guishing characteristic of the new push media is that it finds
`you, rather than you finding it. That means the content
`knows where you are and what you are seeing. When you
`connect to a Castanet channel and receive a Java applet,
`you also have a bot that knows your address. When ActiveX
`lands on your hard drive, you have an active stranger in
`your box. This is good news and bad news. The good news is
`that push technology increases relationships, which by defi-
`nition are two-way. Information flows back up and across.
`But the threat to your privacy and your tranquility is hard to
`miss: the more media smartifacts know about you, the bet-
`ter they work. What is not clear is how each new variation of
`push-pull, ambient, ultimate media will extract their costs.
`If these new media follow the pattern of other new
`technologies before them {and nothing we know about them
`indicates otherwise), the near future will see a cycle of
`extension and unification. Some will extend the capabilities
`of the old; we have PointCast extending the Web into push.
`Some will unify these new capabilities; we have the new
`lntercast chip from Intel unifying the Web with TV. Extension
`
`
`
`It Adiqard, Andrew Anker, Ed hnufi. John Batteile, Chip Bayers, John Browning, Jim Daly, Pete Leyden, Hunter Madsen, Giiver Morton, Spencer Heiss. louis Rossetto, and Earl Steam
`
`media, until the new media eventually achieve their own lim-
`its. So online media have evolved from smoke signals (email)
`to books and magazines (the Web). We are now about to
`arrive at television (push media), before we finally emerge
`into what interactivity is really about. This next stage is
`at once immersive, engaging, responsive, pervasive, and
`always on. Smooch your cranky old browser one last time.
`because it's going bye-bye.
`We think we "surf“ the Web now, but what we really
`do is hopscotch across fragile stepping-stones of texts, or
`worse, spelunk in a vast unmapped cave of documents. Only
`when waves of media begin to cascade behind our screens w
`huge swells of unbrowsable stuff ~ will we truly surf.
`
`, ,
`, ,
`
`Facebook's Exhibit No. 1010
`
`013
`
`Snap's Exhibit No. 1010
`013
`
`

`

`The Netizen:
`
`Confah Clips
`Copyright Cartel
`How agrab for copyright
`powers Was foiIEd in Geneva.
`
`Big Media Beaten Back
`By Pamela Samuelson
`
`Africa 1
`
`Hollywood 0
`By John Browning
`
`The Father
`of the Web
`Tim Berners-Lee thinks
`
`the Web can bridge
`local interests and
`universal valuesThen
`
`again, he invented it.
`By Evan l. Schwartz
`
`The World
`
`According to Eco
`ltalian novelist and
`semiotician Umberto Eco
`
`expounds upon the Net;
`writing, the osterio, libraries,
`the continental divide,
`Marshall McLuhan, and,
`well, God.
`The Wired interview,
`by Lee Marshall
`
`
`
`Kill Your
`Browser
`And while you're at itr
`kiss your Web pages
`goodbye, too. Because
`here comes the next
`
`stage of online inter~
`activity, and is it ever
`pushy
`
`:-)
`Those shiny, happy people at
`Cisco Systems have created the
`third most valuable company
`on the Nasdaq after Microsoft
`and Intel.
`
`By Joe Flower
`
`The baddest arachnoid
`ever to guard a CPU,
`“T—Meg"— a ka T-l 000,000 —
`stakes out its digital
`domain on the big screen
`By Bill Brazell
`
`Buying the Future
`Small companies invent the
`future, big companies buy it.
`Case in pointrAndy Bechtolsheim‘s
`year—old Gigabit Ethernet company,
`which Cisco bought for $220 million.
`By Kathleen Wiegner
`
`Facebook's Exhibit No. 1010
`
`014
`
`Snap's Exhibit No. 1010
`014
`
`

`

`
`
`Street Cred
`
`Just Outta Beta
`
`Net Surf
`
`_N
`
`icholas Negroponte
`
`online.
`
`www‘wiredxomr'
`
`introduction: Erik Adigard
`
`Cover-Indonesian translation
`courtesy of Di reci Language
`Communications Inc.
`£152
`
`Facebook's Exhibit No. 1010
`
`015
`
`Bedside Manna
`.
`Dr.Torn Ferguson believes
`.
`_
`that onhne health support
`networks have begun to
`transform the way we heal.
`By Joe Flower
`
`Nat COO!
`The soft eray telescope
`aboard the Yohkoh
`F‘J‘ T
`Space Qbse
`a Dry
`takes pictures that are
`hotter than the eye
`can see.
`B
`n
`y Spe ce
`
`.
`r Reiss
`
`Before Toy Story
`there was
`By Rogier van Bakel
`
`Building the
`VW of PCs
`Before you can build the
`$300 network computer
`for the masses, you have
`to recruit the engineers
`to design it.Too bad the
`engineers hate the idea.
`By Po Bronson
`
`Rants & Raves Reader feedback
`
`Electric Word Bulletins. from the from line
`of the Digital Revolution
`
`Fetish Tecl‘ir‘itflufit
`
`Scans People, cornpanh-rs, and ideas that matter
`
`Reality Check The future of photography
`
`Raw Data Stais‘R'Us
`
`5“" Page “331
`Follow the Money Making a WAD
`_
`Deduttible Junkets Must be the money
`
`Updata Court curlarls crypto controls,
`Tel Aviv's nelephone buckitigh..‘_
`
`Cyber Rights Now Cough it up!
`
`March
`
`Hanging with the Fat Man
`By Gary Andrew Puuie
`
`Banner Year By Catl'iarine P. Taylor
`
`Bridging the Trust Gap By Joseph M. Rengle
`
`Put on the Red Light My Jdron Lanim'
`
`Pushing Passive Eyeball:
`By Donna L Hoflmrin ill-id TilOti'I-El‘i it Novak
`
`Snap's Exhibit No. 1010
`015
`
`

`

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