My graduate student friends can attest to the fact that I ask this question of almost everyone at some point. Sometimes more than once, like when you’re excited about something and can’t help but tell the story over and over again to the same audience. Annoying, I know, and I’m sorry to all my friends.
But it’s just because I find Yik Yak absolutely fascinating. I’m drawn to it because, for at least some users, it serves as a sort of technologically cultivated hive-mind therapy session. For the uninitiated, Yik Yak is an anonymous social media app available on Android or iOS mobile devices. Users can post, vote on, and publicly reply to “yaks.” Users collect “Yakarma” based on how many votes their yaks receive and how often they vote on other yaks. Once a post receives more than five down votes it is removed. Rather than following other users or adding friends, Yik Yak shows posts from others within a ten-mile radius of your location, so when you visit the Yik Yak stream you are seeing the anonymous posts of other users in your area. As such, it is particularly popular among college students—a place to gripe about classes you hate, snoring roommates, bad cafeteria food, and attractive people that won’t give you the time of day. Of course, it’s also a place for inside jokes and celebrating particularly rowdy parties, but to be frank, there’s a lot of complaining. (more…)
That Facebook is a semi-public space with most, if not all, social norms for public spaces carrying over from face-to-face interaction is now a commonly accepted definition of the platform. In fact, Seligson touches on this a number of times, comparing Facebook, for instance, to cocktail parties for which the married couple hosting must put aside private squabbles and present a united front. That the space is now theoretically visible to hundreds or even thousands of Facebook “friends” certainly reflects a change of scale. (more…)
This past December, most major American news outlets ran a story about police shooting statistics and race. No matter where they were situated on the political spectrum, journalists, pundits, and researchers tried to answer the question: Are American police disproportionately targeting and killing black people? The answers were universally supported by data, statistics, claims of objectivity, and a rhetoric of uncomfortable truths. Their conclusions, however, were all over the map. (more…)
The humanities are in retreat. For years science and technology have been running roughshod over the arts in the nation’s colleges and universities, a thrashing turning now into rout.
This is hardly news. For years a consistent string of news articles and commentaries have documented the humanities’ decline. An especially robust burst of coverage greeted the release last summer of “The Heart of the Matter,” an earnest series of recommendations and equally earnest short film produced under the auspices of the American Academy of Arts and Sciences. (more…)
Alert to fanpeople: The film version of Ender’s Game is not the sprawling political epic Orson Scott Card created in the Ender series. Alert to those unfamiliar with the story: The film is, however, a lean and contemporary plunge into questions of morality mediated by technology, and in order to tease out various issues, I’m gonna spoil the heck out of both book and film.
If you’re watching hoping to have your heart yanked out and shaken, you’ll probably be disappointed. Asa Butterfield’s guileless face makes a plausible approximation of the story’s world-weary protagonist, Ender, but he struggles to bring emotion to an over-trimmed, manically paced story. Minor conflicts are presented in expository dialogue and resolved before we have a chance to parse Harrison Ford’s (aka Colonel Graff’s) cranky barks. Minor characters are sketched in a single phrase, and the world appears divided into cute children who drift inevitably into Ender’s circle, and less typically-bodied children whose essential malice leaves them beyond redemption. Hood does a decent job of not Hollywood-izing the story beyond recognition: Here is Ender, cerebral, tormented, pubescent strategic genius in a world where children’s minds are employed as the best military defense against an alien enemy. Ender is taken from his home to Battle School in space, subjected to increasingly grueling battle simulations, and, in his final moment of victory is devastated to learn that the simulations were actually the real war. Without realizing, he has annihilated the aliens’ home planet. (more…)
The film Gravity is having an especially strong run at the box office, and it seems to be having an especially powerful impact on those who have seen it. It’s certainly a beautiful movie, visually, and an unusual one, as far as big-budget Hollywood attractions go. For anyone who thinks a lot about technology, as I do, the film has some interesting, though somewhat ambiguous, messages.
Be forewarned: What follows is all spoiler.
Technology gone wrong plays a central role in Gravity. The film also resonates with a theme that’s central to the technological project: the drive to open new frontiers. This is not to say that either of those subjects is the principal concern of Gravity’s director and co-writer, Alfonso Cuarón. His interests lie elsewhere, as I’ll explain. Still, when you make a saga about human beings in space, questions of technology and frontiers are hard to avoid. (more…)
In a previous post for Cyborgology, I attempted to take what has been called “digital dualism” and repackage it into a slightly new shape—one that would bring into focus what I considered to be the concept’s most significant features. Specifically, I posited that digital dualism should be understood to include—and be limited to—any instance where a speaker establishes a normatively-charged hierarchy of ontological categories, at least one of which is technological. Thus, were a speaker to carve up the world into the “digital” and the “physical” while suggesting the former is somehow ontologically inferior to the latter (or vice versa), she would be instantiating digital dualism, as I defined it.
I next sought to situate digital dualism within a broader set of views that I characterized as “conservative.” Conservatism, I argued, is a cluster of ideologies unified by an effort to justify and further social hierarchy. I argued that ontological hierarchy of the sort that characterizes digital dualism often plays an instrumental role in the conservative project, as it serves to legitimate perceived differences in status. (For more exposition of this point, see my previous Cyborgology post). Indeed, I contend that digital dualism is very often deployed for conservative ends by those who seek to elevate themselves above technophillic masses.
If one accepts these premises, it becomes possible to formulate generalized strategies for critique, beginning with contestations of (conservative) digital dualism and then abstracting to arguments that might be directed against other conservative ideologies that rest upon hierarchical ontologies.
Becoming a parent has inflected how I see everything in the world, including the practice of “being online.” I apologize for using scare quotes so soon into this essay, but it feels necessary. “Online” contains several types of possible connection, as Jenny Davis and others at Cyborgology have argued. And the “being” part is what needs to be at stake: how does the way in which we exist change when that existence is networked and distributed? The anthropology of “being online” therefore includes a consideration of the ontological effects on people as much as empirically measurable effects of using iPads and Facebook.
A common narrative, and one Cyborgology has consistently disputed, is that “technology” or “social media” or “the digital” have impinged on an authentic mode of life that previously existed and which we retroactively call “offline.” This narrative relies on constructing images that can quickly code as “authentic,” as in this video that Nathan Jurgenson has dissected. The graphic above, from a New York Times essay, crystallizes this narrative as it makes us of family and child-rearing as an icon of authentic offline living. Devices and the information they present come between a parent and the child. They blot out the child’s pleading face. Tellingly, the phone is represented as blank–the viewer is not asked to make a judgment about the value of what the person is doing with the phone (checking Twitter? responding to an email? calling 911?), they are asked to condemn its vacuity. (more…)
Russian Internet giant Yandex posted a press statement on July 25th about the death of their co-founder Ilya Segalovich. Segalovich, 48 years old and a father of four, was a billionaire and a philanthropist, loved by many for his kindness and hard work to better the Russian Internet and software development field. He reportedly had stomach cancer and had been ill for some time.
I remember hearing somewhere that one of the most important things you can teach a child is to delay gratification.
Give a five-year-old a choice between a cookie on the table in front of him right now and two cookies 15 minutes from now, and chances are he’ll take the one cookie right now. Maturity is about learning to live within your means. You want something nice, you save up for it. You resist blowing your entire paycheck on bling so that when the first of the month comes you have enough money to cover the rent.
It’s obvious that the consumer economy wants us to ignore these basic principles. (more…)
We live in a cyborg society. Technology has infiltrated the most fundamental aspects of our lives: social organization, the body, even our self-concepts. This blog chronicles our new, augmented reality.