digital

I should really post a review of this coffee shop. Maybe on Yelp. I could snap a photo of the cool little setup I have going here or tweet about the funny laptop rules at this place. Or I can get meta and type a Facebook update about how I am currently blogging about all of these possibilities to document my experience. While contemplating all of this, Spotify, a music-listening service, published the song I just listened to on Facebook.

Let’s reflect briefly on how we document experience. The first examples I just gave might be called “active sharing” whereas that last example, the Spotify one, highlights how self-documentation is also increasingly passive. And I think this furthers what I call “documentary vision”: the habit of experiencing more and more of life with the awareness of its document-potential.

Much has been made of so-called “frictionless sharing,” the new Facebook feature that automatically publishes updates from partnered sites and services. Sync Facebook with Spotify or the Wall Street Journal and what you listen to or read will be passively published on the new Facebook live-ticker.

This more passive sharing furthers an already established trend: we are increasingly living life under the logic of the Facebook mechanism. more...

I spoke at the wonderful “Digital Ethnography Weekend” conference last month in Italy. There, I furthered my argument about what I call “digital dualism,” the fallacy that views the on and offline as separate spheres as opposed to my support of an “augmented reality” paradigm that views these spheres as always enmeshed and dialectically co-determining.

Because this was a “digital ethnography” conference, I applied the augmented reality framework to this methodology and argued that, instead, we should be doing “augmented ethnography”, an ethnography that takes as its unit of analysis a reality comprised of atoms as well as bits, always dialectically co-determining. Colleague Alessandro Caliandro and I debated these ideas in the question-and-answer portion of my talk (with much-appreciated thoughts from Adam Arvidsson, as well). Caliandro has posted his summary of my talk as well as his criticism here. I welcome this criticism and want to respond to it below.

First, Caliandro’s development of my argument is charitable. I also very much appreciate the thoughtfulness of the critique. However, I do need to make a correction to the way he summarized augmented reality, and this correction will be important for my response to the criticism. I do not think that the differences between the physical and digital are “irrelevant”; indeed, they are quite important and I’ve written about them before (e.g., here and here). Atoms and bits have very different properties (for instance, atoms tend to be scarce and bits more abundant). It is my contention that these very different spheres come together to form our augmented reality. In fact, as I argue here, it is only under the assumption of augmented reality that we can fully explicate the relevant differences between the physical and digital. With this correction in mind, let’s move forward. more...

There has been some terrific debate on my theorizing of what I call “augmented reality.” In brief, I reject “digital dualism”, the tendency to view the on and off line as separate spheres, and instead argue that we should view them as enmeshed, creating what I call “augmented reality.” [I talk more about this here.]

Today, I am posting some of the debate that occurred over Twitter and another post responding to a critique of a talk I gave on the topic.

One criticism has been that the augmented reality perspective somehow obscures the important ways in which the on and offline are different. I agree that the spheres indeed have different properties. I write here and here about, for example, how atoms tend to be more scarce than bits. Further, I write here about how these important differences are best viewed through the augmented lens.

It is this last point which I feel is most important in responding to the specific criticisms given by Zeynep Tufekci over Twitter. It is my hope that future conversations on this topic take into account the points made in that short essay. I’ll post the debate, still ongoing, below.

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Mass collective action is in the air, on the ground, on the web; indeed, there exists today an atmosphere conducive for revolutions, flash mobs, protests, uprisings, riots, and any other way humans coalesce physically and digitally to change the normal operation of society. [Photos of protests around the globe from just the past 30 days].

Some gatherings have clear goals (e.g., ousting Mubarak), however. there is also the sense that massive gatherings are increasingly inevitable today even when a reason for them is not explicit (e.g., the ongoing debate over the reasons for the UK Riots or the current #occupy protests). For some this is terrifying and for others it is exhilarating. And still others might think I am greatly overstating the amount of protest actually happening. True, we do not yet know if this second decade of the 21^st Century will come to be known for massive uprisings. But if it is, I think it will have much to do with social media effectively allowing for the merging of atoms and bits, of the on and offline; linking the potential of occupying physical space with the ability of social media to provide the average person with information and an audience.

For example, the current #occupy protests across the United States more...

I shot this video at the University of Maryland’s 2011 Summer Social Webshop and am posting it here with Ezster’s permission.  This presentation is particularly interesting because she describes the arc of her research throughout her career thus far, noting specific topical and methodological shifts.

Chris Baraniuk, who writes one of my favorite blogs, the Machine Starts, is experiencing the current riots in London first hand (they’ve spread to other cites). His account of both the rioting mobs of destruction as well as those mobs trying to clean up the aftermath imply the ever complex pathways in which what I have called “augmented reality” takes form. [I lay out the idea here, and expand on it here]

We are witnessing both the destructive and the constructive “mobs” taking form as “augmented” entities. The rioters emerged in physical space and likely used digital communications to better organize. The “riot cleanup” response came at augmentation from the reverse path, organizing digitally to come together and clean up physical space. Both “mobs” flow quite naturally back and forth across atoms and bits creating an overall situation where, as what so often occurs, the on and offline merge together into an augmented experience.

The rioting mob first realized itself in physical meat-space more...

Costas K is a graphic designer who used Cyborgology Editor Nathan Jurgenson‘s post on digital dualism as part of a design project. The physical book explores the intersection of atoms and bits. The creator was invited to write a short essay about the project.

As kids, we were told to stop ‘wasting’ our time with electronic devices and that we should be outside, engaging with the ‘real’ world. Early on, the idea was planted into us that what we do using a computer is an alternative false state that bears no value. To still believe this is naive. Personally, I have met some of my best friends online. I make transactions, articulate opinions, receive feedback and get commissioned professional projects. How is this not real?

Still, when approaching the topic the first expressions that came to mind were ‘physical world’ and ‘digital world’ – the cornerstones of digital dualism. Nathan Jurgenson’s text ‘Digital dualism versus augmented reality’ helped me put things into perspective, before exploring them visually.

It is my belief that online activity is a continuation of what we do physically, more...

The Kiss Transmission Device was recently created in a lab in Japan. This is essentially an internet connected French kissing machine. Yes, you read that correctly. It is a machine that allows you to share actual French kisses via the internet. Okay, they are not actual French kisses…but kind of.

A user of the device caresses an internet connected straw-like mechanism with their tongue, causing the device to transfer the motion to a second straw-like mechanism, ostensibly located in the mouth of a romantic partner. Developers hope eventually to make the device more “tongue like” by adding personalized flavor, moisture and breathing patterns.

The developers view this as a device that will aid in the maintenance of long-distance romantic relationships, allowing geographically separate partners to connect on a physical level. They also talk about marketing celebrity kisses—allowing users to swap spit (er, swap straw movements) with the likes of Justin Bieber or any other celebrity willing to sell a physical piece of hir sexuality. more...

I am working on a dissertation about self-documentation and social media and have decided to take on theorizing the rise of faux-vintage photography (e.g., Hipstamatic, Instagram). From May 10-12, 2011, I posted a three part essay. This post combines all three together.
Part I: Instagram and Hipstamatic
Part II: Grasping for Authenticity
Part III: Nostalgia for the Present

Part I: Instagram and Hipstamatic

This past winter, during an especially large snowfall, my Facebook and Twitter streams became inundated with grainy photos that shared a similarity beyond depicting massive amounts of snow: many of them appeared to have been taken on cheap Polaroid or perhaps a film cameras 60 years prior. However, the photos were all taken recently using a popular set of new smartphone applications like Hipstamatic or Instagram. The photos (like the one above) immediately caused a feeling of nostalgia and a sense of authenticity that digital photos posted on social media often lack. Indeed, there has been a recent explosion of retro/vintage photos. Those smartphone apps have made it so one no longer needs the ravages of time or to learn Photoshop skills to post a nicely aged photograph.

In this essay, I hope to show how faux-vintage photography, while seemingly banal, helps illustrate larger trends about social media in general. The faux-vintage photo, while getting a lot of attention in this essay, is merely an illustrative example of a larger trend whereby social media increasingly force us to view our present as always a potential documented past. But we have a ways to go before I can elaborate on that point. Some technological background is in order. more...

I am working on a dissertation about self-documentation and social media and have decided to take on theorizing the rise of faux-vintage photography (e.g., Hipstamatic, Instagram). To start fleshing out ideas, I am doing a three-part series on this blog: part one was posted Tuesday (“Hipstamatic and Instagram”) and part two yesterday (“Grasping for Authenticity”). This is the last installment.

With more than two million users each, Hipstamatic and Instagram have ushered a wave of simulated retro photographs that have populated our social media streams. Even a faux-vintage video application is gaining popularity. The first two posts in this series described what faux-vintage photography is, its technical facilitators and attempted to explain at least one main reason behind its explosive popularity. When we create an instant “nostalgia for the present” by sharing digital photos that look old and often physical, we are trying to capture for our present the authenticity and importance vintage items possess. In this final post, I want to argue that faux-vintage photography, a seemingly mundane and perhaps passing trend, makes clear a larger point: social media, in its proliferation of self-documentation possibilities, increasingly positions our present as always a potential documented past.

Nostalgia for the Present
The rise of faux-vintage photography demonstrates a point that can be extrapolated to documentation on social media writ large: social media users have become always aware of the present as a potential document to be consumed by others. Facebook fixates the present as always a future past. Be it through status updates on Twitter, geographical check-ins on Foursquare, reviews on Yelp, those Instagram photos or all of the other self-documentation possibilities afforded to us by Facebook, we view our world more than ever before through what I like to call “documentary vision.” more...