Why successful black guy is successful: The socio-cognitive side of humor
Having read Jenny Davis, David Banks and PJ Rey on internet memes, I felt compelled to share my creative grain of sand on this peculiar ‘web-based’ construct. I often wonder why memes are funny. The simplicity of memes is deceiving: e.g., a Spartan image, often featuring only the face or upper body of a person or animal, and a kitsch colored background that would make Warhol think you’re on acid. Add two rows of parallel text above and below and presto! – You have created funny. Is it really that easy? I would generally think (and hope) that humor is a complex phenomenon, that answering “why is this picture of a cat funny to me?” requires invoking some esoteric philosophical or psychological terminology. I decided to do some research.
One of my favorite memes of all times is “successful black guy”. This is successful black guy explained by know your meme: “an image macro series featuring a Black man dressed in business attire and a witty one-liner satirizing the stereotype of young African American male as street hustlers or gangsters who only care about cars, money and ho’s. The humor is mostly derived from the intentional line break in mid-sentence, with the top line impersonating a black male stereotype (EX: I Got the Best Ho’s) and the bottom line suddenly falling flat in character (EX: Out in My Tool Shed). more...
On this blog we often talk about the role of the prosumer, or actors that are both producers and consumers and that serve to muddy the longstanding distinction between production and consumption. For example, Jenny Davis and Nathan Jurgenson wrote on prosuming identity online, and how Web 2.0 technologies (especially social media) have allowed for the creation of new identities like transability and asexuality. Similarly, Nathan Jurgenson has written extensively on how social media has contributed to the “participatory, prosumer, dissent” of the Occupy Movement, playing into the much larger atmosphere of augmented dissent that has gripped the Middle East and other parts of the globe for some time now. And finally, Jenny Davis and I have written on the “Jailbreak the Patriarchy” Chrome Application, which allows users to genderswap the content they read on the internet.
Occupy DC encapsulates our "atmosphere of augmented dissent." Photo by Nathan Jurgenson.
Each of these examples reveals the tight association between social media and prosumption. That is, social media has greatly expanded the role of the prosumer in contemporary (augmented) society. This is because the individual voice is amplified through the digital networks of Web 2.0 technologies like Facebook, Reddit, and Twitter. Just as the Arab Spring and Occupy have changed the conversation regarding participatory democracy, prosumers are continually reworking culture through the creation of memes, identities, and new online content, blurring the distinction between the production and consumption of cultural forms. A great example of the prosumption of culture is fanfiction.
And this brings me to Star Wars. Finally.
This feature-length fanfilm titled “Star Wars Uncut” is a shot-for-shot remake of Star Wars Episode IV: A New Hope, produced entirely from 15 second film clips sent in by fans. Casey Pugh, a 26-year-old web developer from Brooklyn created the film after posting on his blog asking for submissions. These fans each prosume Star Wars as both a brand and a cultural artefact (Bruns 2007) when they rework iconic scenes with a “twist,” allowing for the expression of new cultural forms and greater participatory expression from the larger Star Wars fan community.
The film, which won the 2010 Emmy for Interactive Media, is also an example of what Nathan Jurgenson has called “curatorial media”, where old media forms (eg: print newspapers) are augmented by new crowdsourcing capabilities of social media. The film above is an example of curatorial media because centralized gatekeepers (ie: Casey Pugh himself) selected which film clips to include. He then edited the film shot for shot, splicing together disparate scenes produced by widely different fans around the globe. I myself watched the first 45 minutes of it, mostly because I was curious and also because I was a huge Star Wars nerd as a kid.
Darth Vader and her stormtroopers.
Although the film clips can be a little jarring at times (especially when jumping from live action to crudely animated MS Paint images and back in a matter of a few seconds), it does serve as a humorous reworking of an extant cultural forms. That is, many film clips reveal anachronistic revisions to the actual film.For example, the entrance of Darth Vader onto the rebel starship (arguably one of the most iconic scenes in the original film), has been replaced by an all female squad or storm troopers, Vader himself briefly appears as a female.
Throughout the film we get several more examples of this sort of literary prosumption (Olin-Scheller and Wikstrom 2010), bolstering my claims that social media and Web 2.0 have allowed for an effervescence of collective cultural production and consumption. Fanfiction has long used extant cultural forms for the creation of new cultural forms, the homoerotic revision of Spock and Kirk’s relationship on Star Trek as but one iconic example.
Homoerotic tension between Kirk and Spock has been a treasure trove for fan fiction revisionism.
Although this film is not the first of its kind, it is a great example of participatory filmmaking. As new technologies continue to incorporate more and more social media capabilities (cell phones, tablets, etc), it is likely that we will see increasingly utility of the term “prosumer.”
[SPOILER ALERT: details about the first episode of Sherlock“A Study In Pink” are discussed below. The ending is not totally given away, but major story details are revealed.]
A few weeks ago, I challenged Kurt Anderson’s claim that cultural progress and innovation had stagnated in the last twenty years. Anderson, I contend, has ignored new mediums (the Internet), re-invented genres (hip-hop, electronic music), and new cultural stereotypes (geek chic, hipsters). But what ties all of these things together is the central thesis that consumer technologies are just as much cultural artifact as clothes or music. No where is this more obvious and brilliantly executed than in BBC One’s updated interpretation of the Sherlock Holmes mysteries. Set in present day London, “Sherlock” is a reinterpretation of the most famous Holmes mysteries and does an excellent job of translating the Victorian source material into a modern drama. That translation includes dress, idiomatic expressions, and vehicles- but it also includes cell phones, restrictions on smoking, and the War on Terror. Sherlock is a uniquely 21st century show that could not have taken place in the early 2000s or the 90s. more...
A recent study published in Cyberpsychology, Behavior and Social Networking looks at the relationship between Facebook use and perceptions of other’s lives. The authors, sociologists Hui-Tzu Grace Chou and Nicholas Edge from Utah Valley University, find that those with greater involvement in Facebook feel that others have better and happier lives than they do. This is amplified for those who have many Facebook Friends with whom they do not interact outside of the online platform. These findings have been picked up by several mainstream media outlets, and unsurprisingly, are used as evidence of the deleterious impacts of an over-digitized world. An ABC news story, for example, retrieved through Yahoo! News, concludes with the following advice:
“So if you are looking for a way to cheer yourself up…you may do well to log off Facebook. Call your best friend instead.”
The comment sections are full of vindicated technological dystopianists extoling the benefits of face-to-face (read: real) over digitally mediated interaction. To keep things consistent, I will share some of the comments from the news story linked above:
Or: Intellectual Accessibility by Availability and Design
As a sociology graduate student, I sometimes feel like Simmel’s “stranger,” close enough to academia to observe, but distant enough to retain an outside perspective. Like many graduate students staring down a possible academic career-path, I’m a bit terrified at the elephant in the room: is what academics do really important? are they relevant? does it matter?
Who reads a sociology journal? As my former theory teacher Chet Meeks once posed to my first social theory course, how many people look to sociology journals to learn anything about anything? While the occasional sociologist is quoted in the New York Times or appears on CNN, the influence these experts have is vanishingly small. I do not know as much about other disciplines, but the point for most of the social sciences and humanities is that, in my opinion, expert knowledge is largely going to waste.
And to echo folks like Steven Sideman or danah boyd, we have an obligation to change this; academics have a responsibility to make their work relevant for the society they exist within.
The good news is that the tools to counter this deficiency in academic relevance are here for the taking. Now we need the culture of academia to catch up. Simply, to become more relevant academics need to make their ideas more accessible.
There are two different, yet equally important, ways in which academics need to make their ideas accessible:
(1) accessible by availability: ideas should not be locked behind paywalls
(2) accessible by design: ideas should be expressed in ways that are interesting, readable and engaging
To become publicly relevant, academics must make their ideas available to and articulated for the public. more...
You may not be a fan of the wub-wub-wubbing musical genre known as dubstep, but it is increasingly taking center stage in American popular culture. For example, a recent NorthFace advertisement uses it while a snowboarder glides down a snowy mountainscape, Britney Spears and Rihanna have both incorporated some dubstep into their recent work, teen heartthrob Justin Bieber is rumored to be working on his own dubstep album, and the teaser trailer for the new Mission Impossible film features a distinct wub-wubbing in the background. So what is dubstep anyway? And where did it come from?
Dubstep Goes to College Dubstep was conceived in the London dance music scene in the late 90s and early 00s. It takes mainly from drum and bass and grime genres, but is influenced by many different styles of music, including dancehall and hip-hop. The heavy influence of grime, the dark elements of drum and bass and the guttural bass lines give it an almost dirty sound. This along with the layer of synthesizers are what people in the scene refer to when they describe the music (or party) as “grimey.”
Dubstep entered the mainstream club scene in 2006 in great part with the release of producer Oliver Jones’ (aka Skream) debut album “Skream,” which took club culture by storm in Europe (Woolliams 2008). The album also became widely popular in the United States EDM (electronic dance music) scene.
Internet memes like this serve to articulate anxiety about perceived subcultural changes.
This is the second part of a two-part essay; the full version of the essay — both parts — can be found here.
Photo by Jim Potter/Blind Owl Underground
In part one of this essay, I focused on the atemporality of the physical spaces from which “ruin porn” images are made. This may have seemed like a bit of an aside from a take that purports to be technology-focused, but I want to emphasize the importance of physicality here–one of the crucial – if not the most crucial – ideas behind atemporality in the sense in which I use the word is the profound connection between our perception and understanding of time and our relationship with the enmeshed physical/digital world that our technology is increasingly helping to create. In short, we cannot discuss the digital in this case without first establishing why and how the physical matters.
But now I want to focus on that move from physical to digital, the point of entanglement where one shades into another and the relationship between the two becomes truly complex. I want to talk about the image itself, both in terms of its production and its consumption.
Several months ago, a British police chairman called for lifting the ban against tattoos on police officers. His argument was that tattoos serve as an “icebreaker” for dealing with the public. Now this is not a new argument, but it is the first time a public official has argued for the social benefits of tattooing. The change in perspective comes as a surprise, especially given the longstanding associations between tattoos and deviance.
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.
