essay

Several weeks ago, David Strohecker wrote a post about Tattoos and the Augmented body.  In a response to this post, Ned Drummond wrote a thought provoking comment, in which she differentiates between “active” and “passive” cyborgs. I think this is an interesting distinction that deserves fleshing out.  A deeper exploration of this distinction will be fruitful in pushing the theoretical boundaries of of what it means to be a cyborg—or an inhabitant of augmented reality.

The first thing to acknowledge is that “active” and “passive” are necessarily fluid states, rather than hard dichotomies. This is something Ned and I fleshed out in the comments section of the above mentioned post. Specifically, I said:

I would venture to say that active and passive use of technology probably ranges on a continuum, and individual cyborgs are more or less active/passive in different moments.

I would add to this that individual cyborgs can be simultaneously active and passive—actively using one technology while passively using another, or even actively using one part of a technology while passively using another part.

Before I can offer examples of the activity/inactivity continuum, I must offer a definition of active and passive interaction with technology. When Ned wrote about it, the distinction hinged on rule following. Those who use a technology for its intended purpose(s) are more passive, while those who use a technology in unintended ways are more active.

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“The future is there,” Cayce hears herself say, “looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.”
–William Gibson, Pattern Recognition

“This is a kind of writing which simply makes you feel very strange; the way that living in the late twentieth century makes you feel, if you are a person of a certain sensibility.”
–Bruce Sterling, “Slipstream”, SF Eye #5, July 1989

I first read William Gibson’s Pattern Recognition almost a year ago, after a long hiatus from his work. I’ve long loved his books, but went through the kind of distance that time and life just sometimes put between a reader and an author. Pattern Recognition was the return, and I went into it cold, knowing nothing about it except for the author–an experience that I always find somewhat refreshingly like exploring a dark, richly appointed room with a small flashlight.

And then something rather interesting happened. The book contains a description of the memories that the protagonist retains of the events of September 11, 2001, and as I read, I experienced a curious kind of vertigo–something that I have since come to understand as the mirror-hallway perception of reading a fictionalized account of a real event in my own memory, remembered as past in a near-future context. In that moment, what I experienced as vertigo was the collapsing of a number of categories–past, present, and future, fiction and non-fiction, myself and other.

Vertigo, a really common illness seen in many of us may be a sort of dizziness that makes balance disorder. Vertigo gives one a sense of swaying while the body is stationary with reference to the world or its surroundings. Vertigo is commonest when an individual goes up some height. it’s going to produce to a false sensation of movement. Vertigo often results in nausea and vomiting.

Vertigo is said to the internal ear balance mechanism that relates to the brain or the nerves connecting the ear and therefore the brain. The disease creates a loss in equilibrium and wooziness. However, vertigo and dizziness aren’t synonymous. While dizziness is one symptom of Vertigo, not all dizziness are often termed as Vertigo. Vertigo is commonest in elderly people, but can affect both sexes at any age.

Vertigo is a treatable disease and handled through medicines, but only if treated from well qualified doctors like vertigo la. As vertigo is more a symbol of other diseases, it are often treated by treating the particular disease that causes this. If Vertigo has been caused by a tympanic cavity infection, then it requires antibiotic treatment. Home remedy is additionally an option for vertigo.

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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...