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1. The digital divide is so over that it’s passé

This is a common trope I hear at conferences, whether academic or otherwise.  Before presenting at the American Sociological Association annual meeting last year, I got feedback from colleagues that I should explain what in the heck the digital divide is before launching into its connection to online activism. Huh? We are sociologists – we have all read Marx. Inequality is one of the pillars that holds up our discipline. We wouldn’t know what to do without gender, class and race gaps.  Why should the Internet be any different from the rest of society?

But I’ve been told to always listen to my audience, who need a gentle reminder that digital inequality is alive and kickin.’ But what is it, exactly? more...

Facebook and Twitter, like any other form of communication, can be used to forge solidarity. As philosopher Richard Rorty reminds us in Method, Social Science, and Social Hope, one of the boundless powers of the humanities and of storytelling—novels, journalism, ethnographies, photography, documentaries—is to grow our imaginations so that the norms which would exclude foreigners, or the poor, or minorities, are replaced with a solidarity against suffering. In stories like Native Son, The Diary of Anne Frank and Brokeback Mountain, the cruelties of those who are not familiar to us are described in astonishing, bright detail. The humans who populate Dirty Pretty Things, Sin Nombre and How to Survive A Plague become less distant, more familiar. Through imagination, their suffering becomes ours. In many instances, networked media facilitate this kind of sensitivity building, this form of democratic attunement. But under the ceaseless pressure of shareability and virality, tragedy on social media often resembles disaster porn: a ghastly vine, a sappy post, attention seeking hashtags, confusing the spread of symbolic images for enduring political achievement.

That grief is best endured in groups was not lost on those involved in the Boston Marathon or to those who experienced it through networked media. more...

In a recent post titled “Digital Dualism of the Real,” Nathan Jurgenson (@nathanjurgenson) wonders if there are several kinds of digital dualisms and, if so, how we should label them. I am a bit surprised by such a concern as I don’t consider digital dualism theory to be divisible or “splitable,” given that I started to develop it in my own way in France. I have found Nathan’s theory of digital dualism very useful; however, because this new idea of different kinds of digital dualisms appears to me as an unwanted consequence of the recent debate with Nicholas Carr, I would like in this post to help him further develop his theory and make it even stronger. That’s why I will start my reflection here by coming back to Carr’s arguments, in order to deconstruct them in greater detail. Because, unfortunately, I think they all are false.

In a post published on his blog only two days before the Theorizing the Web conference, Nicholas Carr is trying to invalidate the digital dualism critiques coming from the Cyborgology’s blog authors. We can wonder why a Pulitzer Prize nominee author of influential books translated into more than 20 languages is so interested in the digital dualism theory. It is easy to answer that: Carr is clever enough to detect that a new generation of digital scholars is developing very strong ideas. And, because he is targeted by them as a digital dualist, he is compelled to attempt to demonstrate the contrary. But he is wasting his time. What are the main objections of Carr? more...

Following Evgeny Morozov’s interesting article on Silicon Valley’s “pervasive and dangerous ideology” of fixing our reality with a simple click in order to perfect it (based on his upcoming book To Save Everything, Click Here: The Folly of Technological Solutionism), I could not help but wonder if this is a ‘new’ phenomenon after all? more...

This guest-post and #TtW13 review is cross-posted with permission from Technophilosophy, a French digital theory blog. 

On Saturday, March 2nd, 2013, I made a presentation in New York as part of the International Conference Theorizing the Web. Organized by Nathan Jurgenson (@nathanjurgenson) and PJ Rey (@pjrey) [Yes, I also wonder what his real name is], both doctoral students in sociology at the University of Maryland (Washington, DC), the event was held in the Graduate Center of the City University of New York (CUNY), on Fifth Avenue in Manhattan. A prestigious and perfectly equipped venue (no Wi-Fi issues), which promoted the sharing of high quality insights. more...

I was thinking this morning about two subjects that don’t usually go together, skeuomorphs and morality.

A skeuomorph is a design element applied to a product that looks as if it’s functional but really isn’t. Its real purpose is to evoke a sense of familiarity and comfort. The literary critic N. Katherine Hayles cites as an example the dashboard of her Toyota Camry, which is made of synthetic plastic molded to look as if it’s stitched fabric.

Software designers use lots of skeuomorphs for their user interfaces; examples include the “pages” that seem to “turn” in e-readers and word processing programs. Hayles calls skeuomorphs “threshold devices.” They “stitch together past and future,” she says, “reassuring us that even as some things change, others persist.” 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...

The past U.S. elections season was exciting for social scientists for many reasons, but none so much for the web theorist crowd as the amazing proliferation of election memes. In his essay “Speaking in Memes”, Nathan Jurgenson aptly dissects the phenomenon and its various facets: why and how election memes become viral, whether this virality is subject to campaign control, and how audiences and media conjure meaning by rebroadcasting and reporting these memes. There are many things I would love to further discuss in Jurgenson’s essay, but I will latch on to the issue of meme longevity and the possible reasons for some memes surviving far longer than most. I will also attempt to speculate about factors that afford memes the power to shift shape and adapt to new contexts, and about how and why their meaning might be transformed by the public in the process. more...

The New Aesthetic and critiques of digital dualism have much in common: they emerged in the same year; the nature of their conclusions are (partly) formed by the method of their construction – that is to say, they originated in the digital and as such are collaborative, speculative, and ongoing; and they both seem to spring from the close attention paid to the enticing bangs, whoops, and crashes issuing from the overlap of our digital and physical worlds. But more than this, I would argue that the two concepts are expressions of one another: it sometimes seems that New Aesthetic artwork is an illustration of digital dualist critiques; and likewise it is possible to read digital dualist critiques as descriptions of New Aesthetic artefacts.

This may appear an undeservedly grand claim, and it is certainly extremely speculative (the concepts involved are too varied and inchoate to ever be proper ‘expressions’ of one another). Nevertheless, as a comparison it does produce some interesting conclusions. Especially when we begin to consider what exactly it is that the New Aesthetic and ‘augmented reality’ theory have in common (I’m using the term  ‘augmented reality’ here as a broad label for thought that runs counter to strict digital dualism). In my own personal analysis the mechanism that links the pair is undoubtedly that of metaphor; that cognitive tool that provides us with mental purchase on abstract, complex concepts and systems. In this case the abstract system is none other than the digital world of the 21 st century. more...