There’s a song from the musical Avenue Q that famously proclaims, “The Internet is For Porn”—but really, anyone who’s been paying attention to the post-“Web 2.0” era knows that isn’t true.
These days, the Internet is for cats.
Furthermore, I propose this corollary: Smartphones are for documenting cats. Whether through T. gondii or through their unrivaled documentability, cats actually rule the world. Cat people know this, and anyone who’s ever spent time with cats knows that cats know this. Rewrite the song: The Internet is For Cats.
My cat, however, is not a fan of the Internet. (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…)
Go read “Dead And Going To Die”, a beautiful essay by Michael Sacasas posted today at The New Inquiry on the subjectivity expressed by people in old photographs. Part of why subjects look different in these images is they are expressing a different subjectivity to the camera lens. As the photographic gaze went from novelty to ubiquity, we’ve collectively oriented our selves to the camera differently. (more…)
Like many Burners (and non-Burners), I was outraged when, yesterday, an image with variations of the title “Grabbing 100+ Boobs at Burning Man 2013″ went viral. In light of the public distribution of these photos, I think it’s imperative for the public in general, and Burners in particular, to have a focused conversation about a range of important social issues including the meaning of consent, rape culture, and slut shaming.
I do not know what each woman in the photos consented to and what problems may arise if they are recognized by people they know from contexts other than Burning Man, so I am reluctant to link to or share the image. However, because it is difficult to discuss the issues in question here without making specific references to the content of the photographs and because most of the harm from distributing the image has probably already been done, I have cropped and anonymized a small portion of the long gridded image here.
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.
Last week, Hailey Morris-Cafiero, a photographer and college professor, wrote an article for Salon.com about an ongoing project, five years in the making. Morris-Cafiero’s project is to document those who mock her because of her body size. She selects a public venue, sets up a camera in full view, and has her assistant snap photos as Morris-Cafiero engages in the world under the derisional gaze of fatphobic publics. One image shows a teenage girl slapping her own belly while intently staring at Morris-Cafiero eating gelato on a sidewalk in Barcelona; another shows two police officers laughing, as one stands behind her holding his hat above her head; a third shows her sitting on bleachers in Times Square, a man a few rows back openly laughing at her as his picture is taken. The project is called “Wait Watchers.” (more…)
Leading up to Theorizing the Web 2013, we’ll be posting a series of previews of some of the papers we’ll be showcasing at the conference. This is one of those. Stay tuned for more!
In this year’s Theorizing the Web, I will present a research that originated from my preoccupation with volatile encounters between photography and moments of social strife, as these are seen and mediated by traditional and social media. Homeless people in Libya, demonstrators’ confrontations with armed forces in Syria and Egypt, Kurd refugees in Northern Iraq, check points in Gaza, or Sudanese refugees in Sinai are just a few examples of current photographic undertakings, which are continuously mediated in independent and corporate media outlets. In this work in progress, I venture into documented ruptures while aiming to destabilize their initial appearance: to go beyond the immediate danger and visual narratives of an emergency in order to negotiate the apparatuses and discourses in which the photograph circulates, in which this practice is shaped and received. (more…)
Is there a Dunbar’s Number for our documentary consciousness?
Dunbar argued that we can only keep up with about 150 people at a time, at which point we reach a cognitive saturation. Can this similar sort of saturation occur with the proliferation of ways we can document ourselves and others on social media? The ways someone holding a working smartphone can document experience grows not just with the number of sites one can post to, but also the number of available mediums of documentation: audio, video, photo, and their recombinations into things like GIFs and Vines whatever else I’m forgetting or will come next. Each new app carries with it a different audience with different expectations, adding to the documentary chaos.
Or: Given the proliferation of options, how should I document this cat? (more…)
A week or two ago, Jo Hedwig Teeuwisse’s ‘Ghosts of History’ project made the rounds online. Using Photoshop, Teeuwisse has blended photographs from World War II with modern day photographs taken of the same location. The images have been reproduced at the Atlantic, the Huffington Post, The Daily Mail, and The Sun, to name a few, and similar projects have been popping at regular intervals for awhile now – herearesomedifferentexamples – so there’s evidently something compelling about this kind of series.
In an email interview, Teeuwisse tells the Atlantic’s Rebecca J. Rosen that she hopes her particular project will encourage people to “stop and think about history, about the hidden and sometimes forgotten stories of where they live.” About one image (in which World War II soldiers dash across the modern-day Avenue de Paris in Cherbourg; one of the soldiers hangs back, semi-transparent, and he appears to be fading, like a shadow growing dull as clouds pass across the sun, or a mirage) she says: “it to me sort of suggests the idea of someone being left behind, history hanging around and staying.”
The reason these kinds of images are compelling is because they present us with an opportunity to see what’s always there but has been made – by time, by forgetfulness – invisible. Here are (some of) the layers of history made visible again; here’s a kind of manifestation of place-memory; a new way of bridging whatever gap exists between then and now. (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.