Most of us here at Cyborgology have written at least one post about augmented warfare and revolution. I suggested that the panopticon has moved to the clouds, and PJ warns that we may soon see it descend into a fog. In the wake of the Arab Spring, we have all commented on what it means to have an augmented revolution (also here, here, and here). The Department of Defense is well aware of this global trend, and is dumping lots of money into understanding how to maintain what I will call online superiority. Just as nations fight for ground, air, and sea superiority in a given conflict, they must now maintain a presence in online meeting spaces. Surveillance and intelligence efforts have always been a part of warfare, and monitoring and disrupting information flows has always been a tactical advantage. While previous engagements in informational warfare have been about information exchange, what we see now are efforts to gain online superiority in order to directly disrupt physical, financial, or tactical resources.
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 have been thinking through ideas on this blog for my dissertation project about how we document ourselves on social media. I recently posted some thoughts on rethinking privacy and publicity and I posted an earlier long essay on the rise of faux-vintage Hipstamatic and Instagram photos. There, I discussed the “camera eye” as a metaphor for how we are being trained to view our present as always its potential documentation in the form of a tweet, photo, status update, etc. (what I call “documentary vision”). The photographer knows well that after taking many pictures one’s eye becomes like the viewfinder: always viewing the world through the logic of the camera mechanism via framing, lighting, depth of field, focus, movement and so on. Even without the camera in hand the world becomes transformed into the status of the potential-photograph. And with social media we have become like the photographer: our brains always looking for moments where the ephemeral blur of lived experience might best be translated into its documented form.
I would like to expand on this point by going back a little further in the history of documentation technologies to the 17th century Claude glass (pictured above) to provide insight into how we position ourselves to the world around us in the age of social media. more...
PJ Rey and I have been following the 2012 presidential campaign on this blog with social media in mind. We watch as President Obama and the republican contenders try to look social-media-y to garner dollars and votes. However, the social media use has thus far been more astroturfing than grassroots. There have been more social media photo-opts to appear tech-savvy than using the web to fundamentally make politics something that grows from the bottom-up. Presidential politics remain far more like Britannica than Wikipedia.
But this might all change, at least according to Thomas Friedman yesterday in the New York Times. He describes Americans Elect, a non-profit attempting to build an entire presidential campaign from the ground up. This might be our first glimpse of an open and social presidential web-based campaign. From their website,
Americans Elect is the first-ever open nominating process. We’re using the Internet to give every single voter — Democrat, Republican or independent — the power to nominate a presidential ticket in 2012. The people will choose the issues. The people will choose the candidates. And in a secure, online convention next June, the people will make history by putting their choice on the ballot in every state.
The Anonymous Twitter Feed Announcing the NATO Breach
On July 21st, 2011, Anonymous—the 4chan-associated hacker collective with a cyber-libertarian bent—announced that they had breached NATO’s secure database and retrieved roughly a gigabyte of restricted data. To verify their claim, Anonymous posted a “NATO restricted” document to Twitter. Interestingly, Anonymous has been very cautious in leaking the documents it has obtained, publicly declaring that it would be “irresponsible” to publish most of it. Much of what has be published is “Redacted, for sanity.” more...
Recently I saw an episode of TLC’s “My Strange Addiction,” (lets not go into how exploitative this show is) and was first introduced to a man named Davecat. Davecat is a man with a synthetic partner, a growing trend where people marry anatomically correct, fully functional, mostly silicon, lifesize (sex) dolls. I call them sex dolls because they are clearly created in the image of a sexualized female ideal (small hips, large breasts, busty lips, flawless skin, long legs).
Nope. It’s not a reference to some long-forgotten 80s movie. On June 23, 2009, former Secretary of Defense Robert Gates signed a memorandum creating US Cyber Command, a separate sub-command unit of U.S. Strategic Command (STRATCOM) headed by a four-star general, (currently, Gen. Keith B. Alexander). And, despite all its digital dualist rhetoric (exemplified by the rampant use of terms like “cyberspace” and “cyber-attackers”), Cyber Command should viewed as a major step toward the augmentation of warfare. With the launch of Cyber Command, the US has quietly moved toward developing new first strike capacities that may, ultimately, prove more strategically important than even the nation’s nuclear arsenal.
While most media coverage has tended to focus on Cyber Command’s defensive postures (e.g., protecting classified data, securing the power grid, etc.), Cyber Command is also developing offensive capabilities to target and cripple other nations’ communication, transportation, and utility grids. This demonstrates that, in the augmented warfare of the future, an effective assault on atoms will also require a simultaneous assault on bits.
Cyber Command’s capacities, however, are far from fully developed. A recent report by the Government Accountability Office concluded that the Cyber Command “has not fully defined long-term mission requirements and desired capabilities to guide the services’ efforts to recruit, train and provide forces with appropriate skill sets.”
Watch CBS sensationalize cyber-warfare and make the digital dualist fallacy of comparing cyberspace to land and sea.
This Toyota commercial is narrated by a young woman who gets her parents on Facebook because they supposedly are not social enough. While she scoffs at how relatively few “friends” her parents have, the parents are shown to be out living by mountain-biking some decidedly offline trails. The daughter remains confidently transfixed and anchored to the digital world of her laptop screen.
I spend lots of time on this blog pointing out what I call “digital dualism,” the fallacy of viewing the physical and digital as seperate worlds (think The Matrix). Instead, the position myself and others on this blog favor is what we call “augmented reality,” the realization that our world is one where atoms and bits come together. Read more about this idea if you want.
Enter Toyota. They are playing off the pesky social media misnomer that people are using Facebook instead of doing things offline. Research consistently disproves this zero-sum/one-or-the-other fallacy by demonstrating more...
I already wrote on augmented reality tattoos once before, so I will keep it brief. This video shows a client receiving a QR code tattoo, which then links to Youtube and plays a little cartoon of a singing man. Now, although the artist is off in proclaiming it as the “first ever” of its kind, it once again highlights a growing trend in the body modification community. Not only does the fusing of technology and the body create unique cyborg bodies, it also reveals the importance of such new technologies for the expression of our selves and identities. For instance, will people begin tattooing QR codes on themselves that link to their personal blogs and Facebook accounts? This would make a very interesting case of self-branding!
Another trend I have observed in my own research on tattooing is the role of the prosumer. This video shows the tattoo artist K.A.R.L. livestreaming his tattoo appointment online, communicating with observers in a chatroom format while tattooing his client. Now this is nothing new. In fact, some of my close friends have been doing this for years and I myself have been tattooed in front of an internet audience several times. But what makes this example interesting is the fact that the internet audience, as a body of prosumers, helped K.A.R.L. determine the tattoo design itself. This is unheard of. I have yet to see tattooers take such a “crowd-sourcing” approach to their work.
But this video does speak to the importance of Web 2.0 to contemporary tattoo fame. In a media-saturated environment, tattoo artists now must aggressively market themselves online through SNS like Facebook and Myspace, and through livestreaming tattoo events like this. At a time when tattoo collecting itself has become globalized (Irwin 2003), tattoo artists can no longer afford to become a “big fish in a small pond” as one tattoo artist told me. In order to survive in an increasingly media-saturated community, tattoo artists themselves must become hypervisible online, showcasing their work across several online avenues and building a client pool that spans several continents. Such is the nature of contemporary elite tattooing (Irwin 2003).
Chris Baraniuk wrote an interesting piece at the blog The Machine Starts a few hours ago and I wanted to offer a comment. I agree with much of the analysis about so-called “Facebook Narcissim,” but what I find particularly interesting is how one fundamental assumption –the existence of a true self– drastically alters the conclusions we might draw.
Baraniuk discusses how social media sites, like Facebook, are designed to promote more sharing through creating a generally positive vibe. Indeed, Facebook has stated explicitly that they do not have a “dislike” button because they want the site to be a fun place to hangout. In addition to the positively-biased valence, Facebook makes calculable social interaction which also serves to create an atmosphere that values and encourages more sharing. For the site more sharing means more profits. And for the user more sharing about our lives creates an inward-gaze that could be described as narcissism.
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.
Most of us here at Cyborgology have written at least one post about augmented warfare and revolution. I suggested that the panopticon has moved to the clouds, and PJ warns that we may soon see it descend into a fog. In the wake of the Arab Spring, we have all commented on what it means to have an augmented revolution (also here, here, and here). The Department of Defense is well aware of this global trend, and is dumping lots of money into understanding how to maintain what I will call online superiority. Just as nations fight for ground, air, and sea superiority in a given conflict, they must now maintain a presence in online meeting spaces. Surveillance and intelligence efforts have always been a part of warfare, and monitoring and disrupting information flows has always been a tactical advantage. While previous engagements in informational warfare have been about information exchange, what we see now are efforts to gain online superiority in order to directly disrupt physical, financial, or tactical resources.
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.
I have been thinking through ideas on this blog for my dissertation project about how we document ourselves on social media. I recently posted some thoughts on rethinking privacy and publicity and I posted an earlier long essay on the rise of faux-vintage Hipstamatic and Instagram photos. There, I discussed the “camera eye” as a metaphor for how we are being trained to view our present as always its potential documentation in the form of a tweet, photo, status update, etc. (what I call “documentary vision”). The photographer knows well that after taking many pictures one’s eye becomes like the viewfinder: always viewing the world through the logic of the camera mechanism via framing, lighting, depth of field, focus, movement and so on. Even without the camera in hand the world becomes transformed into the status of the potential-photograph. And with social media we have become like the photographer: our brains always looking for moments where the ephemeral blur of lived experience might best be translated into its documented form.
PJ Rey and I have been following the 2012 presidential campaign on this blog with social media in mind. We watch as President Obama and the republican contenders try to look social-media-y to garner dollars and votes. However, the social media use has thus far been more astroturfing than grassroots. There have been more social media photo-opts to appear tech-savvy than using the web to fundamentally make politics something that grows from the bottom-up. Presidential politics remain far more like Britannica than Wikipedia.
Nope. It’s not a reference to some long-forgotten 80s movie. On June 23, 2009, former Secretary of Defense Robert Gates signed a memorandum creating US Cyber Command, a separate sub-command unit of U.S. Strategic Command (STRATCOM) headed by a four-star general, (currently, Gen. Keith B. Alexander). And, despite all its digital dualist rhetoric (exemplified by the rampant use of terms like “cyberspace” and “cyber-attackers”), Cyber Command should viewed as a major step toward the augmentation of warfare. With the launch of Cyber Command, the US has quietly moved toward developing new first strike capacities that may, ultimately, prove more strategically important than even the nation’s nuclear arsenal.
Chris Baraniuk wrote an interesting piece at the blog The Machine Starts a few hours ago and I wanted to offer a comment. I agree with much of the analysis about so-called “Facebook Narcissim,” but what I find particularly interesting is how one fundamental assumption –the existence of a true self– drastically alters the conclusions we might draw.
I have been thinking through ideas on this blog for my dissertation project about how we document ourselves on social media. I recently posted some thoughts on rethinking privacy and publicity and I posted an earlier long essay on the rise of faux-vintage Hipstamatic and Instagram photos. There, I discussed the “camera eye” as a metaphor for how we are being trained to view our present as always its potential documentation in the form of a tweet, photo, status update, etc. (what I call “documentary vision”). The photographer knows well that after taking many pictures one’s eye becomes like the viewfinder: always viewing the world through the logic of the camera mechanism via framing, lighting, depth of field, focus, movement and so on. Even without the camera in hand the world becomes transformed into the status of the potential-photograph. And with social media we have become like the photographer: our brains always looking for moments where the ephemeral blur of lived experience might best be translated into its documented form.
