The What-Would-I-Say App, (#wwis) created by HackPrinceton, has garnered widespread popularity. The app basically amalgamates your Facebook posts, rearranges them, and computes a best guess at what you, the Facebook user, would say. According the app’s creators, here’s how it works: (more…)
Over the last couple of weeks, a YouTube video (above) of New York artist Richard Renaldi has continued to populate my Facebook News Feed. Renaldi’s project Touching Strangers is such that he positions strangers together in an intimate poses and photographs them. Despite lack of prior contact, these photographs depict what look to be quite sincere expressions of emotion. Moreover, the subjects interviewed in the video say that they feel some sort of connection towards those with whom they posed. This is certainly moving, admittedly interesting, but as a trained social psychologist, not very surprising. It does, however, offer interesting implications for people’s oft-spouted rants against in-authenticity and identity work on social media.
Let me begin by discussing the sociology of the work. I will them move on the implications for authenticity in light of new technologies. (more…)
Don’t tell the Israel Defense Force (IDF) that sharing videos from your Twitter account is ineffectual. They will point to their two-hundred thousand twitter followers that have generated 35 million views on their official Youtube account. They will extoll the virtues of a ruthlessly efficient and effective ad campaign that invites participation without the young Israeli even knowing they are engaged in two wars: a war of flesh as well as a war of mind. Granted, the IDF is no Justin Beiber, but it is hard to deny the impact of the IDF’s 30-person social networking team. The IDF’s social media savvy has not gone unnoticed. Technology and business publications have been more than happy to publish uncritical, lengthy interviews of top officials. This meta-propaganda usually begins by noting that Pillar of Defense was first announced through Twitter. The conversation will then turn to their complete arsenal: (Tumblr, Flickr, Facebook, Pintrest, and even Google+) before commenting on their brief tweet confrontations with Hamas. All of this happens almost apolitically. Every news pieces calls it propaganda, and yet it still has a powerful aesthetic and rhetorical effect. Social media is the Abrams tank of propaganda. Messages must navigate the harsh terrains of corporate and government-owned mass media and arrive safely in the minds of citizens. Unedited, unfiltered, pure. Social media can trample news cycles, navigate the minefields of editorial desks, and maintain total media superiority in the vacuum of Western under-reporting. (more…)
While I appreciate PJ bringing in terrific new theorists to this discussion, linking authenticity and agency with hipsters and technology, I think he focuses too much on the technologies themselves and not enough on the processes of identity; too much on the signified and not where the real action is in our post-modern, consumer society: the signs and signifiers. (more…)
All of these pieces are, to a greater or lesser extent, oriented around a singular idea: atemporality – that the intermeshing and interweaving of the physical and digital causes us not only to experience both of those categories differently, but to perceive time itself differently; that for most of us, time is no longer a linear experience (assuming it ever was). Technology changes our remembrance of the past, our experience of the present, and our imagination of the future by blurring the lines between the three categories, and introducing different forms of understanding and meaning-making to all three – We remember the future, imagine the present, and experience the past. The phenomenon of “ruin porn” is uniquely suited to call attention to our increasingly atemporal existence, and to outline some of the specific ways in which it manifests itself.
I have mentioned previously on this blog that I am engaged in an ongoing, qualitative, Facebook-based project looking at the experiences of social media users. None of the work from this most recent project is yet published, though I did use the data for my TtW2012 presentation. As I move into manuscript preparation, there are several theoretical and empirical trends that I need to flesh out. I hope that readers will indulge me today as I work through one such trend. I especially hope that readers will offer critiques and literature suggestions, as the end product will inevitably be strengthened through collaborative input from this academic community.
Specifically, I hope to flesh out the notion of reality curation. Much of the work on social network sites focuses on self-presentation, or the ways in which people curate images of themselves. These strategies of image-curation include friending practices, selective photographic and textual displays, and careful utilization of privacy settings—among other practices. Users are careful about their self-images, diligent in their upkeep, and protective against identity threats. Undeniably, I see these laborious practices of protection, maintenance, and care in the participants of my study. I also, however, see a second kind of labor; I see a diligent upkeep not only of outgoing data, but also incoming data. In particular, participants report careful curation of their Facebook News Feeds and (when applicable) Twitter networks.
This second type of curation—the curation of data coming in—is empirically and theoretically interesting. Work that focus on self-presentation (data going out) understands social network sites as both window and mirror—spaces for both voyeurism and self-reflection. This implicitly neglects, however, the idea that windows work two ways: they offer a view from outside in, but also a view from inside out. Social network sites, as opposed to non-social websites, are spaces of simultaneous projection, reflection, and, as I argue here, observation by the prosumer of the Profile.
Irony? A porn addiction helpsite (via ABCnews.com)
“The internet is for porn.” Given that, pornography addiction and internet addiction frequently show up together in the same discussion. The two have some important features in common being medicalized descriptions of certain sets of behaviors: the problematization of pornography addiction rests in part on the idea that unhealthy levels of consumptions of porn precludes healthy, fulfilling relationships with “real people”. Jenny Davis’s post earlier this week on the “problem with internet addiction” highlights the same issue: the idea that digital interaction is somehow a zero-sum game, wherein more of the “virtual” means less of the “real”, instead of merely a part of the whole of augmented social interaction:
If we understand the internet as a means of sociality, a venue for business communications, an outlet for creativity, a source of news gathering and a space of recreation, then indeed, an addiction to internet technologies would be an addiction everyday life.
You may not be a fan of the wub-wub-wubbing musical genre known as dubstep, but it is increasingly taking center stage in American popular culture. For example, a recent NorthFace advertisement uses it while a snowboarder glides down a snowy mountainscape, Britney Spears and Rihanna have both incorporated some dubstep into their recent work, teen heartthrob Justin Bieber is rumored to be working on his own dubstep album, and the teaser trailer for the new Mission Impossible film features a distinct wub-wubbing in the background. So what is dubstep anyway? And where did it come from?
Dubstep Goes to College Dubstep was conceived in the London dance music scene in the late 90s and early 00s. It takes mainly from drum and bass and grime genres, but is influenced by many different styles of music, including dancehall and hip-hop. The heavy influence of grime, the dark elements of drum and bass and the guttural bass lines give it an almost dirty sound. This along with the layer of synthesizers are what people in the scene refer to when they describe the music (or party) as “grimey.”
Dubstep entered the mainstream club scene in 2006 in great part with the release of producer Oliver Jones’ (aka Skream) debut album “Skream,” which took club culture by storm in Europe (Woolliams 2008). The album also became widely popular in the United States EDM (electronic dance music) scene.
Internet memes like this serve to articulate anxiety about perceived subcultural changes.
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.