I enjoyed Florian Cramer's "What Is 'Post-digital'" essay and share his disdain 
for our overuse of the word digital. Calling Cornelia Sollfrank's or John 
Hopkin's work "digital art" seems to me like calling a tiger a large 
housecat--a convenient identification for zookeepers and curators. 

So much of this work has already bent the "digital" category. If Enzensberger 
wants us to send our secrets via postcards, he need look no further than 
"digital artist" Aram Bartholl's practice of printing postcards with pictures 
of WiFi passwords (http://datenform.de/greetings-from-the-internet-eng.html).

Enzensberger's essay and the typewriter-in-the-park meme are deceptively 
quaint. Both seem to be throwbacks until you examine them a bit more closely, 
at which point  references to the contemporary culture of Facebook and PRISM 
emerge. I grew up writing on a typewriter and certainly never saw one in the 
park before the age of netbooks and iPads.

On the other hand, neither the manifesto nor the meme is nuanced enough to 
apply to my life. When I hear an octogenarian say, "Whoever offers something 
for free is suspicious," I'm glad he's paying some attention to today's social 
media critics but I wish he'd thought more carefully before parroting this 
cliche. Most of the software I use today is "free" and I make most of my 
software available to others for the same price. I worry that the 
"free-as-in-Facebook" meme plays easily into the old Microsoft "open source 
isn't trustworthy" campaign of Fear, Uncertainty, and Doubt. 

So for me, whoever claims whoever offers something for free is suspicious is 
suspicious.

What happened to the Enzensberger who advocated being "as free as dancers, as 
aware as football players, as surprising as guerillas?" I'm not surprised (if I 
understand Andreas Broeckmann correctly) that Enzensberger's essay was 
published in a conservative newspaper. As much as I despise Facebook, I think 
we can summon a better response than a curmudgeonly "get off my lawn."

Cheers,

jon
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