****Workshop*****
Follow this link (marked in blue ) to googlism.com and key in your name( a name of your choice). Let the google search engine construct an identity for you from the truthful statements ( for the most part) it finds about this name on the world wide web.
What do you think? Does this biography describe you? Quite well/ Not at all?
Is this description fact or fiction?
It is made of facts, but something about it makes it smack of fiction? Is this a New Media Autobiography? The combination of human agency and machine?
The literary theorist Silvio Gaggi argues that:
"Engagement with electronic networks involves an extension of the individual that is potentially empowering and enfeebling" ( Gaggi 1997: xiii)
Why does Gaggi argue this way?
In trying to answer some of the questions posed above, this lecture will begin by following the advice of cyberliterature theorist Katherine Hayles when she notes that "we have little hope of forging a robust and nuanced account of how literature is changing under the impact of information technologies without a theory that includes materiality of texts” (Hayles 2002: 19). In addressing the complex relationship between autobiography and the emerging condition of computer-mediated textuality this lecture will begin by first developing a description of material conditions of these autobiographical texts before discussing their literary strategies. It will do this by firstly looking at the cultural history of network computing in order to provide the cultural background to many of the forms of computer-mediated 'self' expression that we will discuss in this lecture. It will then take a media studies approach to this subject and look at the problematic concepts of 'new media' and 'digitization'. It will then move in a literary studies mode and use examples to discuss three key computer-mediated forms - the home page, the blog and the MUD- that feature autobiographical and pseudo-auobiographical writing. It will conclude in a creative writing mode, by providing a workshop on computer-mediated autobiography.
It is something of a talking point amongst historians of computing that the two most opposed parts of American society in the 1960s were both instrumental in the development of the Internet and contemporary cyberculture. As Tim Jordan notes:
There are two main forces that have driven the Internet to its present position. The first is the military-industrial complex, which has provided the main funding for some of the more grandiose projects that make up cyberspace and which provides an important cultural background to certain technological choices that have been made. The second influence is a grassroots and populist attempt to create networks … that place the power of computing in the hands of the individuals (Jordan pg45)
In the first couple of chapters of his book, Multimedia: A Critical Introduction, Richard Wise identifies the important role that US military played in the development of every aspect of the modern multimedia computer. The hostilities of World War Two (1939-1945) and the rivalries of the Cold War (1945- approximately 1990) stimulated the US military to fund all sorts of technological research. A lot of this research funding was spent through research agencies like the Advanced Research Projects Agency (ARPA) working with American Universities.
Computer networking was particularly interesting to the military planners responsible for maintaining communications during a missile attack on the US. They needed to develop a system that would carry on working over the huge distances of continental America, even when parts of it were damaged. This meant developing a system that was decentralized (unlike a telephone exchange), and which had no single, vulnerable command centre. Paul Baran of the Rand Corporation developed a system known as 'packet-switching' to deal with the needs of the military. The solution he devised was devised for the ARPANET but it is still the central principle behind the operation of the Internet.
Packet-switching is very important to the Internet because the breaking up of messages into fragments (that can find their own way to the receiver by what ever route available) allows the Internet to be capable of routing around blockages (such as damage or mechanical censorship). The Internet, as consequence, is often held to be very difficult to control and regulate.
1960s grassroots activists grew out of the rejection of the values of post-war America. They represented a broad range of activist from civil right, gay rights, women's rights, anti Vietnam war etc., to interests in 'other consciousness' and drugs culture. They were more like a continuum of alternative collectives than a single coherent movement. At first this 'counter-culture' was technophobic, but it came to regard the computer as being a tool for self-empowerment, for creating new kind of non-mass media and an instrument to bring about its community-based agenda. As early as 1974 Resource One, a counter-culture computer group set up the Community Memory Project (an early type of Bulletin Board program). The idea was to create electronic public space. The Community Memory Project was short lived, however the lessons learned help to stimulate the extremely influential WELL ( The Whole Earth 'Lectronic Link) the child of the Whole Earth Catalogue
The Whole Earth Catalogue was an extremely important icon of 60s counter-culture, which aimed to provide alternatives to the mass media and consumerist goods and services provided by main stream commerce. The WELL was conceived as a way of allowing the counter-culture movement to communicate and to support it's widely spread community. The WELL has gone on to be one of the most studied sites of the Internet and forms the backdrop to Howard Rheingold's book Virtual Community.
It is important to note that one of the focal centres of the counter-culture movement were University campuses ( in particular on the US West Coast ). Researchers and students working on militarily funded computer projects often also had first hand experience of the revolutionary politics going on about them. Both of these key social forces contributed to the cultural development of network texts. Many of the libertarian and democratic hopes for the Internet (in the form of webpages, MOOs and blogs) are rooted in the cyber-utopian ideals of the early counter-culture.
It is also important to note that Berners-Lee is more than just a whizz-kid technician and many of his philosophical ideas have shaped the way the institutions that support the www have been formed. It is also significant that CERN's basic research background also gave the development of the www a culture that was not focused towards the aggressive exploitation of the knowledge. As a consequence the www has developed as a non-corporate entity that encourages open access to the network through open protocols. Have a look at the w3c website ( if any of this interests you!).
So who does control the Internet? Good Question!
Many advocates of the Internet argue that it is an important media because it represents a new type of mediation. However, what do they mean? How might this effect autobiographical writing on the Internet?
It is certainly not easy to walk around a home or office and to point at a technological device and say that it is Old or New Media. This is a useful insight.... because it is not possible or desirable to consider any technological artifacts in isolation (the boxes under the desk or sitting on the table) when making any judgments about the effects of these devices. The device always has to be seen in context, including the specific cultural conditions prevailing at the time. New Media is temporal and cultural as well as a technological notion.
There are about five types of 'yardstick' that can be used to make a meaningful distinction between old and new media.
New Media Sociologist ( and former University of Luton student) Marcus Leanings argues that:-"With the new media the user is no longer just a consumer." The old media needed enormous capital, cultural and technical resources. This is no longer true with new media.
It was very, very hard to set up a television station. It is much easier to set up a website. In fact individuals have been able to set-up their own pages using remote ISP servers with a simple FTP program. It is easy to become a new media author ( in fact a number of commentators have argued that it is too easy) and to express your views, complete with typing errors, spelling mistakes and editorial inaccuracies.
Cyber-utopian organizations like Common Dreams ( http://www.commondreams.org/) and Common Forum argue that the new media are an opportunity to create a new form of media culture based on peer-to-peer communication. Their dream is to create a new media forum. In this model the forum has been likened to a virtual town-pump where net-citizen meet and exchange news without vested power groups propagating their agenda. This has encourage a lot of speculation about the democratic potential of the new media.
The reality of the contemporary Internet is a bit less rosy. Rather than popular democracy we have e-commerce, technocracy ( with power vested in the hands of those who have the resources and access to technology) or the worst aspects of anarchy, with lots of people shouting out their opinions without any consideration of others point-of-view.
The other logical consideration of new media is the effects they have on time and space. The new media have put an end to the idea of an imposed schedule. The pattern of consumption is no longer in the 'mass produced' model. Users can download the products of the www when they like. Files can be consumed at any time. This explodes the idea of temporal zones for example the BBC put out Children's TV at certain times of the day. The new media also changes our perception of distance. It is now possible to communicate cheaply with people in any part of the world in real time. This has been described as 'making the world smaller'. I would argue that it simply changes our perception of distance as it brings the on-line nearer to us, but makes the off-line community seem even further away.
However all this freedom does come at a price. Love or hate them journalists and editors are part of an established profession. The key word here is established. Enough time has elapsed in the history of the print media that most countries have a body of laws that govern the behaviour of their journalists. Newspapers are subject to censorship, subject of free speech legislation, public interest rights and they can be sued and forced to substantial damages under defamation laws if they make mistakes. In contrast the laws governing the new media are much less well defined and there is very little case law to guide individual judgments. There is also the issue of jurisdiction. The site that is defaming you might well be outside of the jurisdiction of the laws governing the country in which you live.
Systemic attributes are the ways in which the media are dealt with by the market and by the state.In particular we have to consider
At this point in the lecture it is worth contexting cyberculture in two other contemporary cultural debates, namely those surrounding globalization and individualization. These processes have been described by Manuel Castells ( among many others) in his trilogy The Information Age. In this massive work he describes the economic and social changes that have already occurred as a result of a network society. In particular, the global capital markets, the inter-connectedness of markets for goods and labour and the dramatic effects on corporations of processes such as outsourcing. New media, the technology, its practitioners and the wider culture loosely referred to as cyberculture are the child of this network society and also one of its driving forces. However, this does not mean that new technology automatically guarantees a new world order (as witnessed by the bursting of the dot.com bubble in 2000). The future is never that simple!
It is worth asking the question - Do new media look, sound, taste, touch, smell and act any differently from old media? These questions have been addressed by the theorists J. David Bolter and Richard Gruisin who have argued for a process they call remediation.
Bolter and Gruisin, in their book Remediation, propose that the new media are currently 're mediating' existing media forms ie: they borrow ideas, convention and images from older, established forms such as newspapers, books and films. This is not idea uniquely associated with the new media though, as it is worth noting that the start of the TV news has a series of headlines ( a term and concept borrows from print newspapers). It does, however, mean that interface designers etc will be subject to conservative cultural forces that will demand that their productions conform 'old' print-based models. This idea is particular relevant to sites that claim to have autobiographical content whereby the conventions of print and hand-written documents are being remediated in on-line 'diaries', 'journals' and 'memoirs'.
However, it is important to note that these on-line non-fiction works are also remediating less literary nonfiction genres such as the advert, the corporate brochure and the back-cover book blurb.
The Scottish Philosopher Gordon Graham argues that:
"Web pages can be thought of as the catalogues or showcases or showcases of companies, institutions, organizations and individuals. They are more impressive and versatile than even the glossiest catalogue, however, since they can contain sound and moving pictures, as well as text and illustration, and can provide opportunities for response and interaction." ( Graham 1999:69)
Web pages became enormously popular in the mid- to late-1990s with the rapid adoption by businesses and individuals of the world wide web. As I mentioned above this was mainly due to the success of home PCs and the world wide web. Using relatively simple procedures individuals and small enterprises were able to make their texts available to a large section of the general public in a number of countries.
Back in 1996 the technology consultant Kevin Werbach discussed what he thought was the purpose of personal home pages was. He noted that
"Your home page is your window on the Internet. It should give people viewing it a sense of who you are. This can mean the obvious, like biographical information, or more subtle forms of content that demonstrate your interests and outlook on life. Don't feel that you have to do the same thing some other "cool" page did; make your home page YOURS" (Werbach 1996)
Initially early web page makers coded their documents by hand using hypertext mark-up language (html). They loaded them up to remote servers using file transfer protocol. However, more recently programs such as Macromedia's Dreamweaver and Microsoft's Front Page have become very popular with website designers as they provide graphical, desk-top publishing style design environment that allows them to see their site as they develop it.
It is clear from Werbach's notes that he regards the home page as a form of autobiographical text. The idea of this kind of text is to construct the image of a competent human being. As home pages emerged as a genre they drew from a number of non-fiction writings genres such as the personal resume ( or CV), the book blurb, the synopsis, the corporate brochure, the catalogue, the humble list etc. It is striking that many home pages tend use the impersonal tone of the third person. For example, my own page begins 'Gavin Stewart is...' and continues to use the pronoun 'he'. Home pages feature a number of other linguistic conventions that are not normally associated with autobiographical writing.
The The Number 10 Website, provides an interesting example of how this form combines factual and fictional styles. You will be interested to read, for example, that our current PM is "The son of a barrister and lecturer" etc. . You will also notice that the PMs website is rather selective and rarely mentions the various problems that have beset the PM in the last year.
A number of writers have made use of the website. For example, both Stephen King and William Gibson have embraced the technology.
Gordon Graham notes that:
"All the undeniable advantages of the internet make as powerful an instrument for deception and misinformation as for knowledge and learning." (Graham 1999:90)
Truthfulness is an issue with all autobiographical writing. However, as Graham explains:
"an important part of sifting the probable from the improbable was seen to lie in assessing the trustworthiness of the source. In turn this requires that such a source be identifiable and this means identifiable in contests other than its appearance on the Internet. This is not always possible, and is markedly not possible in the case of single individuals."(Graham 1999:91)
There is a long tradition of creating spoof, or bogus websites which appear to be factually accurate websites . For example, the now defunct SpoofThis.com and ScoopThis.com regualrly produced sites that resembled sites that are dedicated to famous people etc.. One of the most potent examples of the political use of this kind of spoofing can be seen by comparing http://www.wto.org/ and http://www.gatt.org/ produced by http://www.50years.org/.
This ability of websites to confuse has been used by a number of writers, to great effect. Rob Bevan and Tim Wright's On-line Caroline for example is based around a fictional website that purports to be the personal webspace of a character called Caroline. On-line Caroline develops a character who talks about herself on her site, a character that sends you e-mails and interacts with you. On-line Caroline also encourages its users to develop there own 'factional' autobiography in response to the question posed by the fictional character. In creating this illusion, Bevan and Wright have used many of the features of the Internet to create a new type of narrative fiction. In their other work, such as XPT.com, Bevan and Wright take this mixture of fact and fiction to the extreme. The autobiographical/ pseudo-autobiographical details that you provide on the site during the course of reading play an important part in the development and denouement of the text.
A web log (or 'blog' ) is a personal diary or journal that is available to the general public over the world wide web. The activity of updating a 'blog' is known as "blogging", and someone who keeps a blog is a "blogger." It has been estimated that something like 5 million people have begun blogs in the last five years. Blogs have become a very high profile form of computer-mediated text as a result of the success of the Baghdad Blogger during the recent Iraq War. A number of political commentators are expecting that blogs will play a significant role in the news coverage 2004 presidential election in the US. For example, Alexis Rice of CampaignsOnline.org at the John Hopkins University argues that "blogs are a useful communication tool" ( see http://www.campaignsonline.org/reports/blog.pdf ). In making these comments, Rice is following in the footsteps of many internet commentators by arguing that the medium is beneficial to democracy.
Blogging software can be maintained on a variety of web servers. It is possible to maintain a blog on your server, on a hosted website or use a blogging service such as blogger.com . Blogs are typically updated using tem plating software that allows people with little or no technical background to update and maintain their text using a conventional web browser such as Internet Explorer 6. (If you are interested in setting up your own blog you might like to look at Setting up a web log: Simple as falling off a blog on the Guardian Unlimted Website.
The aims and style of particular blogs vary from site to site. However, blog
style has come to be defined by site such as the Daily
Brad or Rebecca's
Pocket which are characterized by what Neil McIntosh calls "vaguely
confessional musings".
In some respects blogs are rather similar to the published diaries of retired
politicos (such as Alan Clarke). For example;
However, blogs are different from 'traditional' published diaries in a number of ways. For example:-
Blogging technology has also given rise to a number of successful parodies of confessional blogging style. For example, The dullest blog in the world and Web twining; bringing people together whether they like it or not. There also a number of sites that claim to be the confessional musings of pets ( Small White and Fluffy , Professor B's Respository of Curious Musings , Dog Blog etc.).
MUD is an acronym for multi-user dungeon ( though it sometimes also describe as a multi-user domain or multi-undergraduate destroyer). In Life on the Screen, Sherry Turkle describes the multi-user experience as 'a new kind of virtual parlor game and a new form of communication' based on a computer program that enables many people to simultaneously ''navigate, converse and build.. a new form of collaborative literature' together.
The history of Multi-User programs stretch back nearly quarter of a century to the early days of the ARPANET ( the military precursor of today's INTERNET). Espen J.Aarseth, notes a number of important milestones in this murky history. Firstly there was the 'Adventure' program developed by William Crowther and Don Woods in 1976. This was a loosely based on the Dungeons and Dragons role-playing game by Gary Gygax. It allowed a group of 'explorers' to wander a textual description of a virtual cave system and to pick up treasure. Versions of this program ran on many computers around the world and Aarseth recognizes it as the ''Homer' program, the ancestor of all the thousands of games, adventure and multi-user programs that have come along since (see Rick Adam's site for further details of Adventure).
The next important program was MUD1 developed by Roy Trubshaw and Richard Bartle in 1980. This program was key because it allowed multiple players to play together from different locations ( hence the multi-user designation). As Aarseth notes " soon participants from many parts of the world phoned in from their modems to the........computer to participate in the new social reality." (Aarseth 1997:13).
A further key development was added in 1989 with the Tiny MUD program developed by James Aspnes. This allowed users to enter their own descriptions of textual objects and landscapes. Multi-user programs had now become Multi-author programs. The name TinyMUD proved to be a rather ironic one however, as its database rapidly expanded to occupy vast amounts of memory.
The ability for users to create objects gave rise to the next great leap forward in the Multi-User story with the birth of the MOO (Multi-User Object-Oriented). The key aspect of MOO is that"everything is an object. Rooms are objects, exits are objects, possessions are objects, even your MOO alter-ego/avatar is an object." This allowed the relatively non-technical user to create a vast array of imaginative and somewhat bizarre textual objects for others to explore. (If you are interested in reading further about MOOs you might like to have a look at The Lost Library of MOO - which contains more information than most people ever want to know about MUDs and MOOs).
One of the striking features of the MOO environment is that it has made excellent use of chatterbot programs. A chatterbot is a small, mobile programmable agent that can move and speak like the character of a game player.In Life on the Screen Sherry Turkle describes a number of fascinating interactions between human users and chatterbot programs such as ELIZA ( Turkle 1995:105-124).
Over the course of the 1990s multi-users programs have developed into a number of separate genre. Some MU programs have retained the original 'hack and slash' adventure aesthetic of Dungeons and Dragons. Others have developed along the 'community-building' lines described by Howard Rheingold in The Virtual Community: Homesteading on the Electronic Frontier . Still others have built fantasy worlds in which the mention of Real Life (RL) is banned ( these are sometimes called MUSHes - Multi-User Shared Hallucinations..just to add another acronym to the soup). There are even some rather serious academic MOOs used for research purposes e.g.the Computer Assisted Language Learning MOO and the MediaMOO.
Even in the late 1990s most MUDs and MOOs relied on alphabetic text to convey their meaning. Despite the rising popularity of graphics, many players argue that this is not a draw back. For example, Richard Bartle argues that: -
"Though they relied on text, MUDs proved to be incredibly immersive, much more so than the virtual reality goggles and gloves also being hyped at the time. Players were sucked into the worlds they helped to write." (Bartle 1999)
Multi-user programs ( along with chat rooms and Internet Relay Chat) are one of the most studied phenomenon of the Internet. Literary Theorists, Sociologists, Ethnographers and Philosophers have all recognized them as being worthy of serious academic attention. One of the loci of this research effort has been to understand how users create and maintain their identities on-line.
One of the most interesting aspects of multi-user systems is that they often allow their users to remain anonymous or pseudo-anonymous. The player's real name, ethnicity, location, e-mail address etc. are all hidden from the other users of the program. All they see is the name and the descriptions of the fictional characters. The player is hidden behind this 'textual mask' (see Danet 2001). This masking means that males can play female characters, and humans can play inanimate characters ( such as lampshades or a back copy of the New York Times). If you can describe it, then you can pretend to be it. Multi-user systems, therefore, sometimes facilitate a carnivalesque, role-playing behaviour that has been likened to improvisational drama. However, being masked also means that some players are free to be antisocial, offensive, or just plain weird. This has serious implications for the real world. For example, there has been a great deal of concern expressed recently by policy-makers and parents about the ability of paedophiles to hide behind the 'textual' mask and to pretend to be young people while on-line.
Sherry Turkle notes that Multi-user programs also allow participants to play many roles simultaneously. The MUD participants she interviewed often talk about themselves having multi-identities. As one participant notes:
"I'm not one thing. I'm many things"(Turkle 1995:185)
These statement raise number of key questions: What exactly do we mean by identity? Who are we in a MUD? Who are we talking to?
***** Chatterbot Workshop******
Follow this link to ELIZA
Multi-user environments were widely heralded in the early 1990s as an opportunity to create democratic, open and egalitarian communities. MOOs (multi-user dungeon, object-orientated) in particular attracted a lot of interest. However, a number of observers have subsequently raised issues that challenge this cyber-utopian model of MOOs. These researcher note a long catalogue of transgressive behaviours and punishments that have occurred in multi-user environments. Dibbel (2001) for example, gives an insiders’ account of a cyber-rape incident in LinguaMOO. Dibbels' descriptions of the original transgressions and the subsequent punishment of the perpetrator highlight the importance of having access and control of the database within these programs. Far from being egalitarian, MOOs have been shown to be technocracies with the programmers and database administrator being referred to as ‘gods’ and ‘wizards’( see Reid 1994 and Reid 1999). This highlights what Tim Jordan (1999) has called the importance of ‘'cyberpower'’ in the formation of the social rules and norms that govern participant interactions on-line.
The need to control access to the database has radically altered the design of multi-user programs. Contemporary MOOs have a series of 'permission' levels built in to their functionality; these in turn are governed by encrypted passwords that are held by the privileged wizards. A new participant in a MOO is often only allowed to be an observer, being granted ‘guest’ status that does not allow that participant to create objects. MOOs also have list of rules and demand a certain type of ‘netiquette’ from ‘newbies‘ (new participants). These rules are backed up by the explicit or implicit threat of being punished by the authorizing‘wizards’. As Tim Jordan notes:
"Cyberspace at the end of the twentieth century has at its heart a constant battle between the individuals and the propagation of an ever more powerful virtual elite. By providing ever more powerful tools to the individual, cyberspace seems to offer power in various virtual possessions. Yet, the reliance on these tools ensures individuals become ever more dependent on a expertise-base elite who create and maintain these tools." ( Jordan 1999:7)
The recent history of Internet has brought the two divergent forms of cybertext together. Massively Multiplayer Online Role-Playing Games such as Everquest ( see Everquest website) or Ultima On line( see Ultima website) are both multi-user and graphic video games.
Miroslaw Filiciak defines a MMORPG as 'a computer network-mediated game in which at least one thousand players are role-playing simultaneously in a graphical environment'.( Filiciak 2003: 87).
Filiciak, like Turkle before him, describes situations where by users of MMORPG are able to adopt new "selves" by selecting attributes and appearance of their avatars. He argues that this is important because "other people see us in the way we want to be seen." (Filiciak 2003: 90) suggesting that identity will continue to be a subject of considerable interest for academic studying 21st century multi-user programs.
Here is an example of one that was made earlier!!
The Discworld MUD - http://discworld.atuin.net/lpc/
Gaggi concludes his book on the subject and the network by noting that the :
"classical subject can be fractured and fragmented by a polyphony of voices, multiple addressers that speak to it confusingly and in their multiplicity de center the subject they address. The you who is hailed is no longer a unity but a plurality....The subject of hypertext de centers itself even more radically, flows into an expending network that disperses outward toward an indeterminate horizon. In its playful multiplicity, its assumption of diverse provisional masks, none of which can quite contain it, the subject continues to play the risky interactive game of agency and construction, of constituting and being constituted." (Gaggi 1997:151)
Autobiography, the act of authoring a textual self, should prove rather interesting (to say the least) in such a medium!
Aarseth, Espen J (1997) Cybertext: Perspectives on Ergodic
Literature, Baltimore and London,
The John Hopkins University Press
Bartle, Richard (1999) Mind game in the MUD is available on http://www.mud.co.uk/richard/tg280199.htm ( last viewed 8th December 2003)
Danet, Brenda (2001) Cyberplay: communicating online, Oxford and New York, Berg
Dibbell, Julian (2001) ‘A Rape in Cyberspace; or How an Evil Clown, a Haitian Trickster Spirit, Two Wizards, and a Cast of Dozens Turned a Database into a Society’ in Reading Digital Culture editor David Trend Oxford Blackwell
Gaggi, Silvio (1997) From Text to Hypertext; Decentrering the Subject in Fiction, Film, the Visual Arts, and Electronic Media , Philadelphia, University of Pennsylvannia Press
Graham, Gordon (1999) The Internet: a Philosophical Inquiry London and New York Routledge
Hayles, N. Katherine(2002) Writing Machines, Cambridge, Mass, MIT Press
Filiciak, Miroslaw (2003) 'Hyperidentities: Postmodern Identity Patterns in Massively Multiplayer Online Role Playing Games' in The Video Game Theory Reader ( edited by Wolf and Perron),new York and London, Routledge
Jordan, Tim (1999) Cyberpower: The Culture and Politics of Cyberspace and the Internet, London, Routledge
Reid, Elizabeth M (1994) Cultural Formations in Text-Based Virtual Realities A thesis submitted for the degree of Master of Arts www.aluluei.com (last viewed 21st September 2002)
Reid, Elizabeth (1999) 'Hierarchy and Power: Social Control in Cyberspace' in Communities in Cyberspace ( edited by Marc A. Smith and Peter Kollock) London and New York, Routledge
Rheingold, Howard (2001) The Virtual Community in Trend, David Reading Digital Culture Oxford Blackwell
Turkle, Sherry (1995) Life on the Screen :Identity in the Age of the Internet New York Simon and Schuster