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By Ann Demarais Ph.D., Valerie White Ph.D.

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These industrial interests, whether or not they function under their old names or their new ones, want the Internet to follow in the footprints of other media technologies, such as radio and television, and to become primarily a delivery system for commercialism, consumerism, and entertainment, not to mention a powerful medium to promote corporate ideology. In the 1990s, the reality of media conglomeration began to be widely recognized, with many people agreeing that mass media and communications are under the control of just a handful of corporations.

The success of the system required the ability for messages, the packets, to be sent and received, regardless of the underlying hardware or software of the individual machine. A standard form of packeting and addressing was required. In 1974, the original transmission format, known as Network Control Protocol (NCP), was superseded by the more sophisticated standard known as TCP/IP or Transmission Control Protocol/Internet Protocol. TCP is responsible for converting data into packets and then reconverting them at the receiving end.

The serendipitous concurrence of these two developments resonated with a new generation of artists and activists eager to experiment with the world’s most powerful medium. The Portapak delivered instant image reproduction; it was a technological holy grail that encouraged practitioners to enter the public realm through the medium of television. Previously, this had been the exclusive domain of the Big Three networks. The ability to work on an expanded public stage encouraged a loose movement of artists and activists to experiment with electronic media, and the traditional boundary between fine art and media began to blur, a distinction that continues to confound people today.

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