The protests in Egypt have been front and center in the American media over the previous two weeks.  We were greeted with daily updates about former President Mubarak’s grasp on power, and, ultimately, his resignation.  Buried in all the rapidly unfolding events were numerous stories about social media and its role in the revolution.  I think it may be useful to aggregate all these stories as we begin to analyze how important social media was (if at all) to the revolution – and, also, whether the revolution has significant implications for social media.

As a prelude to the unrest in Egypt (and Tunisia) several cables conveying communications between US diplomats and the State Department were leaked to Wikileaks.  The connection between these leaks and the protests in Tunisia was covered in the Guardian and the Village Voice.  Journalists, ever eager for a sexy headline, quickly labeled Tunisia “The First Wikileaks Revolution.”  The cables also brought global attention to “routine and pervasive” police brutality under the Mubarak regime, giving increased legitimacy to dissident groups.

After Tunisia’s President Ben Ali fell, unrest quickly spread to Egypt.  Largely unprepared to cover the event, the Western media was forced to rely on Twitter feeds (as well as Al Jazeera) as a primary source for reporting.  (For an excellent analysis of the most watched Twitter feeds see Zeynep Tufekci’s “Can ‘Leaderless Revolutions’ Stay Leaderless: Preferential Attachment, Iron Laws and Networks.”) more...

George Washington University students have taken action against sexual assault on their campus, and, interestingly, are using the social media site Formspring. Several student organizations have banded together to create the “3000 campaign” (which makes reference to the estimated number of GW students who will experience sexual asaault). The campaign adeptly uses Formspring to allow students to anonymously report sexual assaults. The Formspring page is here. See DC sex and gender columnist Amanda Hess’ excellent coverage of this story here and here.

Cyborgology editors PJ Rey and I have made the point before that social media is often painted as dangerous without looking to the new ways in which it provides support. Yes, bullying occurs on Facebook, but we can also think about how social media has been leveraged to provide social support, for instance, with Dan Savage’s YouTube-based It Gets Better Campaign. I also recently discussed Egypt’s Harassmap, which helps women organize over social media to fight harassment. The site that has been arguably most notorious in the recent fervor over cyber-bullying is Formspring.me (for those who do not know, users on this site answer questions often asked anonymously). The site is connected with a suicide and researcher danah boyd has stated that, more...

Infographic from New York Magazine’s amazing article on online porn. A must read.

Here, Marshall McLuhan argues to Norman Mailer that we see our present as a rear view image always placed in the context of the past. Only the artist can see the present as it really is.

Via Next Nature:

Our historical snippet of the moment is a Canadian television fragment from 1968 featuring a debate between Norman Mailer and Marshall McLuhan on the implications of media technology and whether nature still existed.

The two heroes of the ’60s are absolute opposites. Leaning forward in his chair, Mailer is assertive, animated, hot, engaged. McLuhan, abstracted and smiling wanly, leaning backward, cool. Mcluhan argues “The planet is no longer nature,” he declares, to Mailer’s uncomprehending stare; “it’s now the content of an art work.” Mailer: “Well, I think you are anticipating a century, perhaps”.

Here, Amber Case states something commonly repeated on this blog: we are all cyborgs. As such, she calls herself a cyborg anthropologist, similar to how we conceive of the study of technology and society as Cyborgology (perhaps without such strict disciplinary terms – but that is another discussion).

However, there is much disagreement between Case’s usage of the term and how I (and others) on this blog define a cyborg.

First, Case argues in the video above that the human cyborg is a recent invention. A product of new technologies that compress our mental capacities over time and space. On this blog, however, we tend to use the term much more broadly. For instance, one fundamental technology that structures other technologies built upon it is language. Post-structuralist thinking has long taught us about the power of language to drive what and how people think, how selves are formed, how power is enacted, and so on. Other technologies, such as spatial organization (think the architectural technologies of the amphitheater or panoptic prison) have profound impact on the mental processes of humans. The human mind has never been independent of technology, and, as such, we have always been cyborgs.

My second disagreement surrounds Case’s argument that more...

The abstract submission deadline for the Cyborgology “Theorizing the Web 2011” conference had been extended to February 20th.  Submit here.  Registration also now open.

In an earlier post, I discussed growing trends of body modification as illustrative of the new cyborg body. Although it is debatable whether these trends are in fact “new,” (after all, various indigenous cultures have been practicing body modification long before European colonists began taking note of it in their travel diaries), I would like to continue this conversation by looking at one subculture of body modification: tattooing.

As an avid “tattoo collector” myself, I have spent the past few years attending tattoo conventions, hanging out with tattooers, and getting heavily tattooed, all while working on my research regarding the popularization of tattooing. What I notice are changing norms regarding appropriate use of the body as canvas. I would like to draw your attention to one particular trend that is growing in the tattoo subculture: facial tattoos.

What was once the purview only of convicted felons has become an increasingly normative way of expressing one’s commitment to the subculture. (For a case in point, simply Google “facial tattoos” and see what pops up.) What I notice from my interviews and discussions with tattooers and clients alike is a sharp disparity between those who see the face as a legitimate space for artistic display and those who see the face as “off limits.” Traditionally, tattooers were wary of getting tattooed on “public skin” (e.g., face, hands, and neck), as employment in the industry was unpredictable and one never knew if she would need to find another job amongst the masses. Having tattoos on public skin was almost certain to prevent employment. But things may be changing. more...

I am a big fan of Marshall McLuhan and think he is due for a well-timed comeback in this the year of his centennial. I posted this great Playboy interview a while back and am now fixated with a new website called McLuhan Speaks. This site archives short video clips of our media prophet in action.

Click the images below to watch some of my favorite short clips from the site.

Here, and ever ahead of his time, McLuhan describes how we will become obsessed with surveilling each other, something that social media often exemplifies.

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While the tide is turning, comics are still an under-appreciated medium in 2011. This despite increased interest in superheroes given the Hollywood treatment and critical attention to thoughtful indie pieces like Fun Home and Love and Rockets. It’s a shame because comics’ juxtaposed panels, their special way of framing time in terms of space, are well equipped to address those intersections of identity, technology, and visual representation that get so much play in mainstream and academic press. Image Comics’ Infinite Vacation is one new ongoing title that tackles those ideas head on.

Writer Nick Spencer is a rising star whose big hit, Morning Glories, blends teenage drama with the surreal paranoia of 60s TV thriller The Prisoner. In Infinite Vacation, Spencer teams with artist Christian Ward to tell the story of Mark, daily user of a ubiquitous, near-future technology which allows anyone to buy or sell their existence in parallel universes through a smartphone app; for $25,000 Mark can become the hero cop version of  himself, and it’ll cost at least $3000 for him to become a Mark who did not just get walked out on by that mystery girl in the coffee shop.

Mark is a cyborg less like Robocop and more like the average Facebook user who presents their preferred self to the world via an array of edited images, clicked “likes”, and comments with friends (i.e., exactly how Cyborgology editors define the cyborg in their inaugural post).  Identity definition and presentation through web spaces and consumer devices is a major theme in Infinite Vacation, whether it’s the RSS feed of your alternate selves’ lives and deaths or that mystery girl saying, “That thing in your hand isn’t worth shit to me…” when Mark tries to prove his seriousness by showing how expensive his app-assisted reality purchase would have been. A gorgeous opening spread (below) has infinite Marks fitted into generic male outlines, reminiscent of your chosen profile picture replacing the pale blue Facebook default. more...