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Our guest today is Ingrid Berrington,
I try to find something out about her and
on her website, she really describes her
personality and what she does in a very
fluid way.
So you could say she's an artist, she's
also a writer.
Maybe she could also say
she's a programmer, she's an academic.
I feel like it very much depends on the
perspective that you have.
If you wanted to describe what it is she
does. And I think that also translates
very well to the talk she's going to give
today.
So it's going to be about Internet
infrastructure, which is a rather
abstract concept.
And our talk will be about how to think
about abstract concepts and how to
visualize them. And I ask you for a very
warm round of applause for Ingrid.
There's a lot of fun. Thank you.
Thank you so much for that introduction.
It's always funny hearing how people
think they know what it is they think you
do when you aren't
entirely sure yourself.
Thank you so much to all of the
staff and volunteers.
This has been fantastic.
And thank you all for coming.
I mean, picking me over interplanetary
colonization is like it's a pretty
bold move.
So my name is Ingrid.
I guess broadly I tend to tell people
that I'm an artist and a writer.
And I think the reason that
I was invited to give a talk here
is because of this book that I
wrote.
It's called Networks of New York.
This is the cover from an addition that
was released this past summer by
a real press that like has distribution
and things that I don't understand.
The first edition of it, which was self
published book that I made, looked
like this.
I wrote and conceived of a lot of it
while I was a resident at IBM, which is
an art and technology organization in New
York.
And I have a couple of copies of this
with me in case anyone I didn't know if
the trades were a thing at this
conference, but if you are into that
sort of thing, maybe not.
OK, so I
kind of think of the book is like fairly
self-explanatory.
It's a guide to finding the Internet on
the street. And what that means is it's
it's a catalog of illustrations
and short summaries of different kind of
quotidian indicators of
bits of network infrastructure that
you might see in New York City, stuff
that you would probably easily walk past
if you weren't kind of bothering to look
for it. So, you know, in theory, you
could have this book and
see something like this on a sidewalk
and pull out your book and say, I wonder
what that is. And oh, well, it appears to
be some fiber optic cables owned by
Level three communications, which is a
large telecommunications company.
Now, you know that and I
don't know if I necessarily need
to explain to people who won voluntarily
come to this conference and to
voluntarily came to this talk that
Internet infrastructure is cool as shit.
But I mean, how many people here, like,
have gone to see a submarine cable
landing site for fun?
How many people understand
the impulse to do that,
OK, all right, so I'm with my people.
This is great. So I'm not going to go too
deep into, like, why this stuff kind
of is like inherently kind of compelling.
The thing that I guess the book does,
maybe aside from maybe getting people who
wouldn't otherwise care to be into it,
is it is sort of this sideways way to
introduce them to a lot of aspects of
sort of the history and political context
of network infrastructure and how that
kind of comes back to the Internet that
we use on a day to day basis.
Right. Like, who are all these companies
that own all of these cables and
conduits? And what sort of is the
bureaucratic process of getting to lay
fiber in New York City
and also some of the network systems
that are part of making a city function
that aren't necessarily thought of as
Internet infrastructure, but are
networked. So surveillance systems kind
of come into play there.
Try and remember, with the next slide is
on this. Oh, I wasn't originally going to
talk about this, but I forgot that I
noted it in my abstract.
So I'm going to try and do it briefly and
then move on.
So I don't know how many how many people
here vaguely familiar with this
magazine cover.
All right. Like one or two.
Great. So 20 years ago, in
December of nineteen ninety six, Wired
magazine, back when they would do weird
shit, commissioned science
fiction writer Neal Stephenson to write
an essay about fiber optic link around
the globe, which was this kind of
major submarine cable project
that kind of represented a shift
in network infrastructure or
in the building and kind of financing of
network infrastructure kind of related to
the first bubble.
And he wrote a forty two thousand
word essay and they published
it in its entirety.
Weirdly, you can't find images of
the actual print spreads online anymore,
which kind of misses the point, like
there was some incredible photography in
it.
And the thing that happens when you
are a nice young lady working
on things related to network
infrastructure and you
tell someone and there may be a man
that you're doing that.
They say, oh, have you read that Neil
Stephenson essay?
And the thing is, like we all have anyone
who is working in this space in the last
five to seven years has hit this.
And it's partly because it's incredibly
important and very valuable.
But I wanted to kind of, I guess, mention
it because I think that it's it
has shaped the ways that people
the ways that I think visual culture
thinks about and relates to this stuff in
a way that I always feel a little itchy
about. I think it's a really valuable
and amazing text,
but there's something about it that I
never really kind of grokked.
And I think it's partly this idea that
Stevenson evokes a lot called the hacker
tourist.
Right. And his exact definition of what
a hacker tourist is, is
someone who will travel to exotic
locations in search of sites
and sensations that would only be of
interest to a geek.
So there's a lot to unpack there
because exotic to whom?
Like under what context are we talking
about exoticism or anything and sort
of sights and sounds of interest to a
geek? Sort of. And just to be fair, in
nineteen ninety six, there's kind of a
very particular narrative that he's
looking at in a very particular
subculture. But at this point, I don't
know when I when I read a lot
of that text, there's an element of like
the reason that this Neal Stephenson
thinks that you should find this
interesting is because it's stuff that
white people in developed countries don't
have to do the heavy lifting over and
generally can afford to take for granted.
And like, I don't know, there's sort of
like a conquerer braggadocio to the whole
thing, which is kind of, I guess
like cyberpunk in essence.
But it's something that I guess I've been
trying to figure out where to position
myself in relation to that, which is the
main reason I guess I bring it up.
I guess I take a very anti heroic
approach to this stuff, giving people the
means to go have adventures of themselves
rather than the sort of bold.
I went on an adventure and then I wrote
forty two thousand words about it.
And I, the cleverest boy in the world,
just isn't that compelling to me.
I guess rather than a hacker tourist,
I guess I'd rather be a hacker pilgrim.
But I think there's something interesting
about the fact that there has been this
sort of uptick in the last few years
in interest both kind of in the art
world. And I think kind of just in visual
culture, in finding better kind
of images to represent
the networked world we live in beyond
sort of like stock photos of ones and
zeros.
And I think some of the appeal
of going to and kind of fetishizing
the data center and fetishizing the
submarine cable landing and these sort of
like big heavy industry projects has to
do partly with the fact it is really
cool, but also because it's part
of there's been sort of this shift in
like.
Power and control over those things and
also the kinds of decisions about who
gets to make those visuals also has to do
with kind of how certain institutions
want to position themselves in history.
I did a project earlier this year
at a gallery in Berlin where I
made large scale lenticular prints
of satellite imagery.
For people who aren't familiar with what
a lenticular print is, it's basically
like a really low fi hologram, like
there's sort of a trick of the light that
you create with slits, scanned images,
and when you flip them, they change.
I brought a couple of tiny ones, but this
room is too big to pass them around.
So if you want to see them up close, you
can later.
So the images were satellite imagery
of places that were kind of related to
or affected by sort of the satellite
perspective writ large, because the fact
that we can look at the world from space
is really weird, especially
considering that how much of the ability
to do that was classified until really
not that long ago.
One set of prints in this
in this series were of
Google data centers.
And this is to give you an idea of how
the lenticular print effect works.
Do you get it? I assume you get it.
Now, one of
the reasons that Google Data Center
seemed relevant to include in this sort
of representation of some of the kind
of landscapes related to this God's
eye view from nowhere is that more than
any other company, Google has sort of
shaped and normalized that perspective.
I said that to a friend who used to work
at NASA and he got really mad at me.
And I was like, sorry, dude, they made
the interface. But
I think, you know, the fact that this
stuff is kind of something that you can
just pull up in a browser is largely
their responsibility.
The other reason that I included
Google data centers in this project is
because of a rumor that I have heard
for years from multiple people and that
I don't really know if it's true.
I almost feel like the fact that it could
be true is mostly what I find interesting
about it. And the rumor was basically
that Google removes their
own data centers from their satellite
imagery, and it's totally conceivable
that they could because they remove and
censor and blur out other things all the
time at the request of governments.
Right. This is the only example
I've seen where it seemed like that could
be what was going on. This particular
image is from a series
of screenshots that I kind of tiled
together in twenty sixteen.
And this is from USGS
ortho imagery that it's like free and
publicly available from twenty fourteen.
So they had like two years to update
their data from the construction of this
particular data center and maybe they
just didn't because like the earth is big
and they're really busy because they're
Google.
There's lots of reasons.
The only other person I know
who has like specifically mentioned
this or seen and has screenshots that
kind of reflect this point was Andrew
Blum, who's the author of Toobs,
which is another really great book on
Internet infrastructure that everyone is
going to tell you to read.
The difference is that Andrew Blum is
actually a really nice guy.
Got someone here probably knows stance
and Christ
getting in trouble.
But this other thing that's sort of funny
that's happened is basically
Google has kind of gotten ahead of this
in a way like in twenty sixteen, it is
remarkably trivially easy to find
a Google data center on Google Earth,
which as someone who spent a lot of time
a few years ago trying to find this stuff
like I'm a little bit angry.
I'm like, you don't know how hard it was.
Back in my day, we walked uphill
in the snow both ways just to find a data
center.
And Google's kind of effort to get
ahead of this narrative, I think has to
do with a few things right.
One of them is that around twenty twelve
Greenpeace got really into this campaign
where they were calling out large
cloud companies for using
coal energy, for powering their giant
energy consuming data centers.
And they were kind of challenging them on
sort of their, like, environmental
impacts. And it was a fairly effective
campaign. And since then, a lot of
at least a very large like
platform. So Amazon, Facebook,
Google, Microsoft have really
made an effort to invest in green energy,
which doesn't really account for, like
all of the like mom and pop normal data
centers or places like Equinix who like
aren't household names to most people.
They might be the people here, which is
nice.
So I think that one thing was sort of a
PR effort, like you're going to talk
about our data centers, we're going to
get ahead of you and present them on our
terms, and they're going to be great and
they're going to look great and you can't
get mad at us.
Another thing, I think that kind of shape
that was like one did even kind of
get ahead of
the hacker tourists.
Right. Like not wanting to make these
things, like making sure that they were
kind of like approachable and like
interesting, like in and of themselves
and not something sort of like exotic and
like hidden. Right.
And the thing that I don't know, the
thing that hasn't I feel like I haven't
seen this super well articulated in many
places, but it's been kind of like
gnawing at my brain a lot.
Is that a weird thing?
That is kind of a weird byproduct of
these companies trying to go green.
Is also that they're kind of further
inculcating themselves as parallel
sovereigns, right, like they run their
own power grids.
They don't have to answer to anybody.
Right. If Amazon's building their own
wind farms, like there's something really
literal about building a fiefdom when
you have your own fucking wind farm that
I find really fascinating.
And, you know, the software industry has
become a heavy industry.
Right? Like, I don't think 20 years
ago, like 20 years ago, it was like a
surprise when a small upstart telco
wanted to get into the cable business.
I don't think 20 years ago the idea of a
software company getting in on the game
ever would have really been conceivable.
So and I think that this matter is in
part because I think there's a kind of
historical narrative that is being
constructed or that it was
always being constructed.
But in this effort by companies
to kind of dove in and help contribute
to defining that system, something
new is happening and it matters.
Right. Who tells these histories is
the patron saint of cyborg feminism.
Donna Harrower has once put it.
It matters which stories tell stories,
which systems systematize systems.
And I like looking at
the sort of grimy, low
level head like physical parts
of like kind of history and of built
systems, because they're sort of we're
like the loose threads of history and you
kind of tug on them and find something
that you weren't expecting.
And it takes you down a path that you
didn't really expect to go on.
And I think that for me, an architectural
and kind of geography based approach
is kind of important because technology
itself tends to want to amoore itself
from geography and from history
and as a consequence, kind of also from
politics and accountability.
This is a story that I always have
fun telling a few.
Last year, I went on a tour of
a Facebook data center for a story I
wrote for The Atlantic.
And before they take you into
the room with all the blinky
lights and the servers, they have this
hallway with a timeline of the
history of human communications.
And it has these stock photos and these.
And so you can see it starts, you know,
there's a tour guide and it starts with
these like handprints on cave
walls.
And it ends you can see behind
are very kind tourguide.
It ends with a Facebook like
and this sort of timeline progress bar
that is suddenly going up very
sharply.
And I remember we were leaving
Sam Chronixx, the my friend who was
my photographer for this project.
And I was like, well, you know, I guess
I guess caves were kind of like the first
Facebook walls.
And like, you could think
that if you wanted to.
And I think if you kind
of need to believe that if you're going
to be building Facebook, like if you want
to be able to sleep at night, maybe you
just kind of have to convince yourself
that you're literally building the
apotheosis of human communication.
And I don't think to be fair, like I
don't know, it's not entirely Facebook's
fault that this is sort of how they're
approaching history. Another funny thing
that I noticed during this walk through
and timeline was that all of these major
technical innovations were treated sort
of without any historical context, like
it was kind of just like the printing
press, great books, like no mention
of the Reformation or like kind of
transformations and social upheaval in
Europe. It was just like sharing his
cool books.
Right.
And that that desire to kind of pretend
that technology kind
of emerges from cool guys
having neat ideas ensconced
away from, like the political realities
of the world is like a very Silicon
Valley approach to technology history.
It's kind of, you know, if we think
of like armchair historians, these are
maybe more the beanbag chair.
Historians of the Xerox PARC
say extremely specific joke.
I appreciate that.
There isn't a lot I mean, Silicon Valley
tends to be remembered more as kind of an
ideological condition from which there is
no escape then as a geography with
like actual suburbs and borders
and boundaries.
And there's not a lot in that landscape.
As someone who's spent a fair amount of
time there, that really reminds you that
it actually got its name for being a
manufacturing region, that it was
actually making silicon chips.
That got it that name.
This is one of the few reminders
of that legacy.
It's a commemorative plaque on Charleston
Road in Palo Alto, California.
And it's where in 1959, Fairchild
Semiconductor created the first
commercially practicable integrated
circuit.
This is the parking lot that those
plaques look out onto to.
This is this is what a lot of
the valley looks like.
This is a document called a restrictive
covenant. It's issued by the state
of California is Water Quality Control
Board. And it basically lists all of
the things that you can't do
at the site where the first commercially
practicable integrated circuit was
created. You can't build a school
or a daycare center or a hospital.
You can't do a lot of things.
And the main reason that you can't do
that is because the groundwater
underneath the property has been really
deeply contaminated with solvents
used in semiconductor manufacture.
And it's unclear whether it was Fairchild
or a later tenant who's largely
responsible for this.
But they've both kind of had to
contribute to the cleanup.
And the idea that sort of this, like
landmark of technology innovation
sits atop a bedrock of toxic waste
in insert joke about Silicon Valley's
toxic culture here.
This isn't actually very unusual, right?
There are twenty three
federal Superfund cleanup sites in Santa
Clara County, which largely makes up what
constitutes Silicon Valley.
It's the largest concentration of
like massive federal
level environmental cleanup sites in the
United States.
19 of them, I think, are actually
specifically tied to the
manufacture and production of hardware.
And there's dozens of other sites like
this one on Charleston Road that only
Merritt sort of state level concern and
cleanup. They haven't gotten there.
Not so bad that you need to send in the
federal government to deal with it.
And this is not
you know, there's no plan for this.
Right. And this is not necessarily
considered computer history.
And like when you go to a computer
history museum is at least one in the
United States. In my experience, if
there's a better one, please tell me
the way that Silicon Valley writes its
own computer history is about industrial
design and software and kind of,
you know, individual kind of unique
objects. It's not really about
manufacturer. It's it's weirdly not
about scaling in the ways that everything
you actually need to scale.
And going into like some of
the archives that San Jose State
University has for the organizations
that were largely involved in organizing
the mostly low income immigrant workers
who were being exposed to all the
chemicals in these manufacturing
facilities is a really
kind of eye-opening different lens
through which to think about what we
think the history of technology is.
But it's not. Consider again, it's not
considered computer history, like the way
that librarians have cataloged this at
San Jose State is labor history,
California history, environmental
history. It's not history of computing.
And I think that this chasm
between sort of the actual experience
of what it is to make
a device and sort of the things
that happen with it is an important
one to challenge, because,
frankly, in a world where things are just
kind of getting messier and dirtier, we
can't really afford not to.
I've been looking at this stuff for about
a year and kind of not really known what
to do with it.
It's really only the last resort, really.
Like, I actually just need to go make my
own commemorative plaques.
So that's my summer spring
project. Also putting some of the stuff
that I've been documenting into basically
like 1970s style
science textbook manuals.
I kind of like the idea of trying to
situate this history
in the time that it was taking place,
kind of as though if you were, I don't
know, like it's next year for training
manual.
You pull out like the the little pamphlet
that explains everything that Fairchild
Semiconductor did to fuck over poor
people in South San Jose.
I can't believe I.
It's great, I'm sorry if I talked really
fast, so
I wanted to kind of leave, I guess I was
trying to think of, like, what did I
actually kind of get through to here?
What were some of the main things I'm
hoping are useful takeaways from this?
And the main ones, I guess, would just be
kind of that it's useful to kind of
look at low level things and pull on sort
of loose threads in narratives in
history to kind
of avoid the rather than
kind of taking the approach of looking
at network systems and their built
environments as like I have to find the
most majestic, powerful thing and I have
to go on a go
on this epic journey to find
it. Think about what's kind of already
there in front of you. That is probably
already very interesting.
Right. Rather than kind of looking trying
to convince yourself that something is
like I mean, what's one person's kind of
invisible like system is another person's
day to day life or another person's
oppressive work environment.
And yet staying kind of willing
to be kind of small in the face of
really large systems doesn't mean that
you can't challenge them.
Thank you for your time.
Well, thank you so much, Ingrid, for your
insights and your talk.
Now, we still have some time for Q&A.
So if you have any questions, please move
to the microphones that we have set up
here in the room.
I see we have no questions from the
Internet. So you could ask
right away if you have anything,
questions, comments, anything you always
wanted to ask. Ingrid, this would be the
time.
Oh, yes, someone starts moving to
someone, start moving, you move forward,
so please, I.
So, uh,
uh, do you know if any effort to try
to cut your small
bits of history,
just like we have Internet archive of
them or software and digital?
Oh, sorry.
Uh, shall I repeat myself,
I kind of.
So you were asking about different ways
to kind of preserve this history?
No, I was I wanted to know if
you are aware of any effort to
preserve bits of history.
Well, in terms of like that,
like the particular like so the question
was about different efforts to kind of
preserve these histories that I think
these may be referring to.
A particular thing that I talked about
are small
stuff.
But I mean, aside
from like me and other specific
artists or niche academics,
it's not there aren't a lot of like this
is not stuff that necessarily lends
itself to, like massive institutions
deciding to dove in.
It tends to be sort of one
person who really, really cares about it
or a handful of people who really, really
care about it.
There's Nicole Stars.
I never pronounce your name right at NYU
is probably the person doing the most
interesting, complicated work about
the colonial legacies
and interesting labor histories and
submarine cables.
Right now, I'm trying to think of other
good people who kind of reflect some of
this stuff and some of I mean, in
terms of material archives, there is
stuff like the stuff I've been looking
over at San Jose, but yeah,
it's not necessarily like there's a
institute to save weird histories.
There should be, but.
Thank you.
Next question, please, and thank you
for your talk, a question there, did
you map as well the sites
that you described about New York because
you were discussing your book at the
beginning?
Yeah, I you know, I
initially kind of started out doing that.
And partly because
I think one of the things that kind of
got me doing it was realizing no one
would just give me a map.
Like turns out, most
people would rather not tell you where
all the fiber optic conduits are buried.
But the reason that
I didn't end up kind of releasing or
producing some magnificent map is one,
because it would always be a little
underwhelming if it's like just me
walking around, like finding
markers and then just like saying like,
look, here's the thing I found.
The other was that the alternative to
that was like making some sort of
crowdsourced platform where everyone's
going to, like, put in their markers.
And that's like a community management
endeavor that I just personally don't
want to take responsibility for.
Like I find those like abandoned
crowdsourced maps that only have like
a handful of pins from like maybe less
than a month of activity to be one of the
most heartbreaking bits of Internet
litter. And I just didn't really want to
make more than you can make a game of
that kind of stuff.
I mean, there's there's a guy like an
awesome guy who's been working on a
project that he's been calling Cloud.
And I think it's just called like the new
Cloud Atlas. And it's you know, I think
he's doing OK with it.
But I was like, great, I don't have to
manage this.
Great.
That's the spirit of the real artist,
of course, to work
for the others.
Thank you. Next question, please.
Oh, not
too long ago, in a city not far
from here, there were
a kind of
there was this cover, this secret
infrastructure of hidden cables
that at the time
now nobody knew
what it was about.
It was speculated that
it was something related
to spy agencies trying to
use secret communication channels.
Do you?
Had you interest in something like that
or something you it you know.
So the question I have to repeat,
the question is very particular.
I think the people on the screen should
have understood.
I just remember reading the things you
should do, but so
that stuff like so that generally
I do think that stuff is interesting.
But the like scene of people who work
on that stuff is overrun with
personalities that I just don't really
want to interact with.
That's like all I really have to say
about it.
Oh, thank you.
Next, we have a question from the
Internet.
The Internet wants to know, did
you meet the actual capabilities
or geographers?
What's the question?
Did you meet the actual cable bidders or
geographers?
I have so a lot of my interactions
were more with the people actually laying
the cable like a lot of my work was, more
with talking to people whose
job is actually getting that stuff kind
of installed in the streets.
Fiber optic cable manufacturer is super
interesting, and I would love to go
convince someone to let me go on a tour
of a facility.
It hasn't been as high on the to do list
just yet.
Thank you. Next question, the guy here on
the first mike in the blue sweater.
Well, thank you, Mike.
My question is actually about the
background picture without any special
significance, right? Yeah.
So I should have explained it.
So this is HSW one
or what's left of it?
It's the coaxial remnants
of a classical submarine cable sticking
out of a sea wall in rural Northern
California in a town called Manchester,
California.
It's when we talk about who who goes
to see the submarine cable landing sites
for fun. This is one that I went to go
see for fun.
It's actually a really interesting area
and kind of an interesting illustration
of stories about submarine cables that
kind of get left out of kind of heroic
infrastructure stories because
this town has like this massive glut
of fiber running through it.
And since
as long as anyone can remember, they've
all had shit Internet access and no
one can get decent bandwidth.
And it's because AT&T doesn't really want
to share.
And there's sort of this really blatant
disparity there.
That's a really I don't know.
It's a great place.
Thank you. I like to make a comment on
your discussion on the infrastructure,
the Open Street. My project is always
interested in recording
information, as you've described.
I personally have been using it, but I
would suspect that fiber
optic cables are something that they're
interested in.
The person who is working on that
crowdsourcing platform is like a longtime
open street map contributor.
And I think that that's kind of his
mental model behind it.
Next question, please.
This is something between a comment and a
question, I guess, please be a little
closer to the mic.
You love those.
You were referring to the Silicon
Valley engineering mindset.
And I guess we we all find
this somewhat questionable.
But I actually found it
somewhat more interesting looking
into the history of engineering.
And this is then going back to
a very Suess story about
engineering when
these crazy guys
went on building all these
all different kinds of infrastructure
in the Swiss mountains when they built
railways up on mountains
that we today actually find quite
beautiful. So this crazy mindset
of the engineer may be
you seeing something of a renaissance.
How do you feel about this way of
looking at the engineer?
Hmm.
I'm trying to think about how to answer
this in a context of, like, the
particular thing I was talking about,
because I think you're right.
This history doesn't like this.
Like it doesn't start with the value
persay. It just sort of got most
associated with the value for a few
reasons.
So finally, just just describing it is
the.
So in terms of like the resurgence
of engineer, as just to clarify,
do you mean kind of like the value
or like the importance of an engineering
mindset or was
I was thinking about the engineering
mindset, such as
a science journalist.
I'm especially interested in the
difference between a scientist and
engineer. Right.
So to me, it feels like there is
something like a way
the engineer sees the world
in deference to the science.
Yeah, I think that's that's true.
I think what's kind of interesting
about the ways in which
software engineering has kind of
become a very dominant field
as opposed to other kinds of engineering
is like software engineering has a lot of
catchup to do in terms of ethics,
education.
Right. Like
ethics and engineering generally has kind
of historically and civil engineering
kind of means like don't build a bridge
that collapses and a lot
of what exists for kind of talking about
ethical concerns in building
computational systems.
Does it have this kind of massive, like
networked affects language?
So I think that there is
a value to like what engineers
do and can contribute to society.
But how it
how it manifests can be, I think is
partly shaped by by
the ability to kind of have an ethical,
like kind of our moral compass while
you're doing it.
Thank you so much.
So we have run out of questions, which is
convenient because we have also run out
of time. So please, another round of
applause for Ingrid.
Thank you so much.