People coming out of their homes and into the streets to particpate in #duranadam or #standingman. Photo by @myriamonde and h/t to @zeynep
In Taksim Square, at around 8PM local time, a man started standing near Gezi park facing the Atatürk Cultural Center. According to CNN –and more importantly Andy Carvin (@acarvin) and Zeynep Tufekci (@zeynep) — the man is believed to be Erdem Gündüz, a well known Turkish performance artist who has inspired a performative internet meme that has already made it around the globe. (There’s a nice Storify here. Thanks to @samar_ismail for putting it on my radar.) Gündüz and his supporters were removed by police after an 8 hour stand-off (in multiple senses of the term) but now that small act has gone viral and spread well beyond Taksim Square. The idea is simple: a photo, usually taken from behind demonstrates that person’s solidarity with those hurt or killed by Turkish police actions in the past month, and the increasingly repressive policies of that country’s government in the last few years. On twitter, the hashtag #duranadam (“duran adam” is “the standing man” in Turkish) quickly spilled over the borders of Turkey and has been translated to #standingman as more people in North America and Western Europe start to stand in solidarity with those in Taksim. #standingman is an overtly political meme because, unlike other performative memes like #planking, #owing, or even #eastwooding, it is meant to demonstrate a belonging to a cause. (more…)
Over the weekend, I noticed that Facebook hashtags are now linked. “What!? When did this happen??” I quickly asked my network.
This simple shift opens avenues for deeper discussions about the social media ecology of which I wrote a few weeks back. In particular, it shows the relational nature of the ecological system, and the back and forth multiply influential relationship between humans and technologies, all of which shape each other in a multiplicity of ways.
By social media ecology I refer to all of the media on and through which users are Social (in the capital “S,” linked and connected sense of the word introduced by Whitney Erin Boesel and Nathan Jurgenson). As social media increasingly integrates into the flow and logic of everyday life, users draw on a variety of digital tools to meet a diverse set of needs. The social media ecology refers to the set of tools users draw on, and the ways in which these tools, and their users, are connected and/or compartmentalized. (more…)
image via https://twitter.com/mattdpearce/status/331096177393160193
I’m fascinated by the cover of yesterday’s Sunday New York Times. Fixated on the image of Boston Marathon suspected bomber Dzhokhar Tsarnaev, I was momentarily unable to notice the words surrounding it. I was a little stunned, then angry, then captivated. The image, not just the Instagrammed selfie of Dzhokhar, but this photo within the culturally significant New York Times front page, is endlessly sociologically fascinating.
For some, this cover provokes anger (more…)
“I’m so thankful the internet was not in wide use when I was in high school”, this article begins, a common refrain among people who grew up without social media sites from Friendster to Facebook, Photobucket to Instagram. Even those using email, chatrooms, Livejournal, multiplayer games and the like did not have the full-on use-your-real-name-ultra-public Facebook-like experience.
Behind many of the “thank God I didn’t have Facebook back then!” statements is the worry that a less-refined past-self would be exposed to current, different, perhaps hipper or more professional networks. Silly music tastes, less-informed political statements, embarrassing photos of the 15-year-old you: digital dirt from long ago would threaten to debase today’s impeccably curated identity project. The discomfort of having past indiscretions in the full light of the present generates the knee-jerk thankfulness of not having high-school digital dirt to manage. The sentiment is almost common enough to be a truism within some groups, but I wonder if we should continue saying it so nonchalantly?
“Glad we didn’t have Facebook then!” isn’t always wrong, but the statement makes at least two very arguable suppositions and it also carries the implicit belief that identity-change is something that should be hidden, reinforcing the stigma that generates the phrase to begin with. (more…)
Sigur Rós at Iceland Airwaves 2012
Little known fact: I profoundly dislike going to events longer than four or five hours entirely by myself. Though I enjoy my own company, and have a visceral need for regular time alone, one thing I really do not enjoy (understatement) is awkwardly standing alone in a crowd of complete strangers who are having conversations. This doesn’t stop me from going to all sorts of things by myself, as I have an even stronger dislike of missing out on events that seem interesting, exciting, or useful to me. But as someone who falls somewhere between “awkward at” and “terrified of” approaching people she doesn’t yet know, there’s a certain level of OH GOD OH GOD OH GOD involved each time I have to contemplate keeping myself socially occupied for longer than an average night of rock shows.
How do I deal with this? Put simply: Twitter. (more…)
PJ Rey just posted a terrific reflection on hipsters and low-tech on this blog, and I just want to briefly respond, prod and disagree a little. This is a topic of great interest to me: I’ve written about low-tech “striving for authenticity” in my essay on The Faux-Vintage Photo, reflected on Instagrammed war photos, the presence of old-timey cameras at Occupy Wall Street, and the IRL Fetish that has people obsessing over “the real” in order to demonstrate just how special and unique they are.
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…)
Instagram is a smart phone application that acts as a social network and photo editing software. The application allows users to apply various filters and effects to their camera phone pictures, often in order to look like Polaroids from the 70s. The users can then upload the photos to the Instagram community where other members can view, “like”, and comment on them. A user’s Instagram feed can also be synced with other social networking platforms like Facebook, Twitter, and Flickr.
Launched in 2010, the app was initially only available to iPhone users and those with iOS software. Its popularity became instant, and within a year, it had over ten million users. In April 2012, Instagram debuted their Android version of the app on the Google Play store, thus opening up its user base to those with Android smartphones. With this launch came an unexpected backlash from the original iPhone users, and a new form of class warfare began to arise on the internet.
Different cell phone providers offer iPhone versus Android devices. iPhones can only be purchased with (more…)
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…)
The recent and popular Hipstamatic war photos depict contemporary soldiers, battlefields and civilian turmoil as reminiscent of wars long since passed. War photos move us by depicting human drama taken to its extreme, and these images, shot with a smartphone and “filtered” to look old, create a sense of simulated nostalgia, further tugging at our collective heart strings. And I think that these photos reveal much more.
Hipstamatic war photographs ran on the front page of the New York Times [the full set] last November, and, of course, fake-vintage photos of everyday life are filling our Facebook, Tumblr and Twitter streams. I recently analyzed this trend ina long essay called The Faux-Vintage Photo, which is generating a terrific response. I argue that we like faux-vintage photographs because they provide a “nostalgia for the present”; our lives in the present can be seen as like the past: more important and real in a grasp for authenticity.
If faux-vintage photography is rooted in authenticity, then what is more real than war? If the proliferation of Hipstamatic photographs has anything to do with a reaction to our increasingly plastic, simulated, Disneyfied and McDonaldized worlds, then what is more gritty than Afghanistan in conflict? In a moment where there is a shortage of and a demand for authenticity (the gentrification of inner-cities, “decay porn” and so on), war may serve as the last and perhaps ultimate bastion of authenticity. However, as I will argue below, war itself is in a crisis of authenticity, creating rich potential for its faux-vintage documentation. (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
a recent snowstorm in DC: taken with Instagram and reblogged by NPR on Tumblr
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…)