Installing the software takes barely a couple of minutes and requires minimal computer skills. You find the Freenet website, read a few terse instructions, and answer a few questions (“How much security do you need?” … “NORMAL: I live in a relatively free country” or “MAXIMUM: I intend to access information that could get me arrested, imprisoned, or worse”). Then you enter a previously hidden online world. In utilitarian type and bald capsule descriptions, an official Freenet index lists the hundreds of “freesites” available: “Iran News”, “Horny Kate”, “The Terrorist’s Handbook: A practical guide to explosives and other things of interests to terrorists”, “How To Spot A Pedophile [sic]“, “Freenet Warez Portal: The source for pirate copies of books, games, movies, music, software, TV series and more”, “Arson Around With Auntie: A how-to guide on arson attacks for animal rights activists”. There is material written in Russian, Spanish, Dutch, Polish and Italian. There is English-language material from America and Thailand, from Argentina and Japan. There are disconcerting blogs (“Welcome to my first Freenet site. I’m not here because of kiddie porn … [but] I might post some images of naked women”) and legally dubious political revelations. There is all the teeming life of the everyday internet, but rendered a little stranger and more intense. One of the Freenet bloggers sums up the difference: “If you’re reading this now, then you’re on the darkweb.”

Guardian: The dark side of the internet

(via Atom Jack)

I haven’t looked at Freenet in years, but it’s certain relevant to the discussion here about darknets.

Last night I linked to an interview with Rupert Murdoch in which he says that News Corp will probably de-index their sites from Google.

I figured it was all bluster. Search engine traffic is more valuable that Murdoch suggests, and there are probably plenty of people in high places at News Corp who know it.

But Cory Doctorow suggests:

So here’s what I think it going on. Murdoch has no intention of shutting down search-engine traffic to his sites, but he’s still having lurid fantasies inspired by the momentary insanity that caused Google to pay him for the exclusive right to index MySpace (thus momentarily rendering MySpace a visionary business-move instead of a ten-minutes-behind-the-curve cash-dump).

So what he’s hoping is that a second-tier search engine like Bing or Ask (or, better yet, some search tool you’ve never heard of that just got $50MM in venture capital) will give him half a year’s operating budget in exchange for a competitive advantage over Google.

Jason Calacanis has suggested this approach as a means to “kill Google.”

But it may actually be neither the death of Google, nor the death of News Corp if they are so foolish as to carry out this plan. It could be the death of the robots exclusion standard. I would guess News Corp would use robots.txt to de-index their sites. But it’s a “purely advisory” protocol that Google is under no obligation to honor. They could continue indexing News Corps if they so choose. So could every other search engine, big or small. And I’d guess they would if big content providers started going exclusive with search engines.

If News Corps puts all its contend behind a pay wall, this point is moot – Google and other search engines won’t be able to index it, and robots.txt will be fine. But it’s something to think about.

(Hat tips to Jay Rosen for the TimesSelect link and Chris Arkenberg for the Jason Calacanis video)

Rupert Murdoch has suggested that News Corporation is likely to make its content unfindable to users on Google when it launches its paid content starategy .

When Murdoch and other senior News Corp lieutenants have criticised aggregators such as Google for taking a free ride on its content, commentators have questioned why the company doesn’t simply make its content invisible to search engines.

Using the robots.txt protocol on a site indicates to automated web spiders such as Google’s not to index that particular page or to serve up lionks to it in users’ search results.

Murodch claimed that readers who randomly reach a page via search have little value to advertisers. Asked by Sky News political editor David Speers why News hasn’t therefore made its sites invisible to Google, Murdoch replied: “I think we will.”

Mumbrella: Murdoch: We’ll probably remove our sites from Google’s index

(via Jay Rosen)

I’d be quite happy to see News Corps shoot themselves in the foot, but I have the feeling people who actually know what they are talking about will stop this from happening.

Type in a query for a statistic, a profile of a country or company, the average airspeed of a sparrow ? and instead of a series of results that may or may not provide the answer you’re looking for, you get a mini dossier on the subject compiled in real time that, ideally, nails the exact thing you want to know. It’s like having a squad of Cambridge mathematicians and CIA analysts inside your browser. [...]

Consider a question like “How many Nobel Prize winners were born under a full moon?” Google would find the answer only if someone had previously gone through the whole list, matched the birthplace of each laureate with a table of lunar phases, and posted the results. Wolfram says his engine would have no problem doing this on the fly. “Alpha makes it easy for the typical person to answer anything quantitatively,” he asserts.

Wired: Stephen Wolfram Reveals Radical New Formula for Web Search

When I Am King, the online comic by Swiss artist Demian5, follows a sexually deviant camel and the recently de-pantsed king of Egypt on a quest to find love and trousers. The story is told entirely through pictures and symbols — without a word of text. It’s a wild ride through a desert that includes weird sex, hallucinogenic drugs and dangerous bees.

“About ninety-five percent of [When I am King] I made up as I went along,” Demian5 says. “Some scenes, like the one where the ‘camel’ smokes the cigarette, were in my head before I even started drawing WIAK.”

WIAK reads like a textbook example from Scott McCloud’s Reinventing Comics. The whole comic was created and published electronically — Demian didn’t take any notes or do any sketches on paper. He used mostly Adobe programs Photoshop, Illustrator and ImageReady to draw the comic and create animation. He freed himself of the restrictions imposed by printed page dimensions and used the web’s “infinite canvas” to convey a sense of space. The reader mostly scrolls left to right, following the characters activity along the landscape, but in a few scenes the reader scrolls down, following falling characters. Animation is used to highlight emotions and convey a sense of motion rather than as a storytelling tool. In fact, WIAK deals more with emotions and experimentation than plot. The story in WIAK is only background — what’s really important is what the characters are feeling and how it’s expressed to the audience.

Demian’s new project, Square Stories, is published weekly in the print version of Zurich Express and will also be published online in America. Demian says he finds Square Stories confining “mostly because of its small, weekly-one-gag form. I’m still trying to find the perfect way to do them. Contrary to WIAK it will also contain words sooner or later, and as it is published in a very widespread official newspaper it is aimed at a larger, more average audience. It is also forbidden for me to offend real people and to offend religious feelings.” He adds, “I wonder if I will ever have trouble with that.”

Although the strips look much like Demian’s other work, hiring Demian to work for a mainstream newspaper is like hiring David Lynch to take over Peanuts. WIAK features a camel performing sexual favors for humans. But Demian, a self-described “poorly disciplined vegetarian” defends his work saying “I don’t want anyone to do anything with animals, just be friends with them. There is also a symbolic aspect to the sodomy parts of WIAK. It is not sodomy because the creatures in WIAK are neither really human nor are they real animals — they all have about the same amount of intelligence, and they don’t really exist. They’re just symbols. Glyphs.” (“I wasn’t planning to do so much symbolism when I started WIAK,” he admits.) He adds, “It’s not about animal rights, though I think we should care about them.”

When Demian5 began serializing the comic on his site in 2000 it was an immediate hit, even without much advertising. “I submitted my link to some search engines and I contacted a few other comic creators like Scott McCloud to find out what they think about my work,” he says. By the time the series reached its conclusion Demian was being mentioned alongside comics legends like Jim Woodring and Chris Ware, and has since been favorably reviewed in Wired and Spin. According to Demian’s “complicated system of counters” nearly 50,000 people have read his comic so far.

Despite the popularity and critical success of his comic, Demian is still not able to live off it. PayPal donations and merchandise sales help him out, but they’re not paying his rent yet. Demian admits he would be content working a day job and continuing to post his comics online if he had a job he enjoyed. “Somehow I like the spirit of free online comics, because money is always a threat for artistic freedom and for diversity. But then, I want to earn a living with something I like to do. Like everyone. So I wouldn’t say no to a virtual dollar. Or to a virtual euro.”

In the meantime Demian continues to freelance in the advertising business and receives part of his income from Square Stories. He describes himself as a normal and boring person who spends his time thinking deep thoughts. Amongst other things he has been enjoying the online comics Pay Your Reality Tax and Nichtlustig. Demian’s influences for his surreal comics range from artists Woodring and Ware to the Great Gianna Sisters and Wipe Out 2097 videogames to the music of Radiohead (WIAK is named after a line in the Radiohead song “Paranoid Android”) to anime to his training as a graphic designer.

Demian is currently working on a new online comic, as time permits, which contains “no dialogue, nice creatures, big emotions.” He says “The style will be a bit more organic and the perspective a bit deeper than in WIAK, but it will be less colorful than Square Stories. It will also contain another form of storytelling, still without words, but… You’ll see.”

(Originally published at http://www.shift.com/content/web/405/1.html September, 2002)