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Bodies and screens, voices and tweets, hallways and backchannels, experiencing the American Sociological Association meetings this weekend in Denver means stepping into an atmosphere oversaturated with information. The bombardment can sometimes be overwhelming, with more sessions than you can attend and more tweets than you can read. This isn’t going to be a post on why we should use Twitter at conferences, Whitney Erin Boesel already did that more diplomaticly than I could pull off. Anyways, framing it as ‘why do we continue to meet face-to-face?’ would be more interesting for me. Instead, I simply want to argue that there will not be separate online and offline conferences happening, that Twitter isn’t a backchannel and the session room isn’t the front. The reality of the conference is always both digital and physical for everyone whether their noses are buried in a screen, sheets of paper, or staring unblinkingly at the podium. more...

A recent marketing campaign from outdoor tool manufacturer Stihl is a classic – and pretty obvious, for regular readers of this blog – example of digital dualism. It’s right there in the tagline: the campaign presents “outside” as more essentially real by contrasting it with elements of online life. It not only draws a distinction between online and offline, it clearly privileges the physical over the digital. And through the presentation of what “outside” is and means, it makes reference to one of the most common tropes of digital dualist discourse: the idea that use of digital technology is inherently solitary, disconnected, and interior, rather than something communal that people carry around with them wherever they go, augmenting their daily lived experience.

But there’s more going on here, and it’s worth paying attention to.

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Academic conferences: the model needs to change.

As the 2012 meeting of the American Sociological Association (#ASA2012) kicks into gear, I want to use this post to start a conversation about a somewhat-contentious topic: academics’ use of Twitter, particularly at conferences. I begin by extending some of what’s already been written on Cyborgology about the use of Twitter at conferences, and then consider reasons why some people may find Twitter use off-putting or intimidating at conferences. I close by considering what Twitter users in particular can do to ease the “Twitter tensions” at ASA by being more inclusive. The stakes here include far more than just “niceness”; they include as well an opportunity to shape the shifting landscape of scholarly knowledge production.

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It feels like every time I’m at a gathering of social researchers, within 15 minutes of being there I’ll hear the words “digital world” and “real world” being used to discuss interactions that take place in a technologically-mediated context versus actions that take place in non-technologically-mediated context. more...

 

The Sheriff says “Likeing” isn’t speech, but he’ll fire you if you “Like” the wrong thing.

 

Ann Swidler argues that we operate using complex cultural repertoires. These are the propensities, scripts, frameworks, and logics—the tools with which to navigate everyday life. Our repertoires are vast, and often contradictory—and yet we deftly pull what we need, when we need it, easily ignoring contradictions. She illustrates these practices through narratives of romantic love, in which participants, within the same interview, draw seamlessly on logics of independence (e.g. we are separate people and we need our separate space), intertwinement (e.g. we have grown together over the years, our marriage is a true union of two souls), fate (e.g. we were meant to be) and rationality (e.g. marriage is a product of hard work and sacrifice).

With Swidler’s cultural tool kit as a framework, we can begin to make sense of  the logical gymnastics that enabled a Virginia Sheriff to fire his subordinates for hitting a Facebook “Like” button in support of an opposing candidate and then argue successfully in court that this firing was not a violation of free speech. more...

This piece is cross-posted on Microsoft Research New England’s Social Media Collective Research Blog.

In her recent post here on the Cyborgology blog, Jenny Davis brought the pervasive use of Facebook as a study site back into conversation. In brief, she argued that “studying Facebook—or any fleeting technological object—is not problematic as long as we theorize said object.” The take away from this statement is important: We can hope to make lasting contributions to research literature through our conceptual work – much more so than through the necessarily ephemeral empirical details that are tied to a time, a place, and particular technologies.

In this post, I want to give a different yet complementary answer to why it may be a problem if our research efforts are focused on a single study site. This is regardless of whether it is the currently most popular social network site or an already obsolete technological object. more...

This is the complete version of a three-part essay that I posted in May, June, and July of this year:
Part I: Distributed Agency and the Myth of Autonomy
Part II: Disclosure (Damned If You Do, Damned If You Don’t)
Part III: Documentary Consciousness

Privacy is not dead, but it does need to change.

Part I: Distributed Agency and the Myth of Autonomy

Last spring at TtW2012, a panel titled “Logging off and Disconnection” considered how and why some people choose to restrict (or even terminate) their participation in digital social life—and in doing so raised the question, is it truly possible to log off? Taken together, the four talks by Jenny Davis (@Jup83), Jessica Roberts (@jessyrob), Laura Portwood-Stacer (@lportwoodstacer), and Jessica Vitak (@jvitak) suggested that, while most people express some degree of ambivalence about social media and other digital social technologies, the majority of digital social technology users find the burdens and anxieties of participating in digital social life to be vastly preferable to the burdens and anxieties that accompany not participating. The implied answer is therefore NO: though whether to use social media and digital social technologies remains a choice (in theory), the choice not to use these technologies is no longer a practicable option for number of people.

In this essay, I first extend the “logging off” argument by considering that it may be technically impossible for anyone, even social media rejecters and abstainers, to disconnect completely from social media and other digital social technologies (to which I will refer throughout simply as ‘digital social technologies’). Consequently, decisions about our presence and participation in digital social life are made not only by us, but also by an expanding network of others. I then examine two prevailing privacy discourses—one championed by journalists and bloggers, the other championed by digital technology companies—to show that, although our connections to digital social technology are out of our hands, we still conceptualize privacy as a matter of individual choice and control. Clinging to the myth of individual autonomy, however, leads us to think about privacy in ways that mask both structural inequality and larger issues of power. Finally, I argue that the reality of inescapable connection and the impossible demands of prevailing privacy discourses have together resulted in what I term documentary consciousness, or the abstracted and internalized reproduction of others’ documentary vision. Documentary consciousness demands impossible disciplinary projects, and as such brings with it a gnawing disquietude; it is not uniformly distributed, but rests most heavily on those for whom (in the words of Foucault) “visibility is a trap.” I close by calling for new ways of thinking about both privacy and autonomy that more accurately reflect the ways power and identity intersect in augmented societies. more...

Two RepRap Machines running during a demonstration at the Technoscience as Activism Conference. Photo Credit under CC Licence: David Banks

The price of 3D printers is plummeting. Like all complicated pieces of technology it is quickly moving from large, confusing, and expensive to small, simple and cheap. This year has been full of consumer-level 3D printers that are cheaper than some professional grade photo printers. Right now, these little things are capable of making plastic do-dads that are, admittedly, of lesser quality than some dollar store toys. But just like a magic trick, you’re not paying for the physical thing, you’re paying for the ability to do the trick. Design an object in a modeling software suite like SketchUp, convert it into some kind of printer-friendly format, and -so long as it is smaller than a bread box and made out of plastic- you can build whatever you want. 3D printers give an individual the ability to transform bits into atoms. In some ways it is a radical democratization of the means of production. For a fraction of the price of a car, someone can gain the ability to fabricate a relatively wide range of material objects. What are the implications for this new ability? What does it say about the relationship of atoms and bits? more...

It doesn’t matter if anyone actually sees your status update; it’s indeterminacy that drives our anxieties about the unknown and unknowable futures of our digital artifacts.

In the last part of my recent essay “A New Privacy,” I described documentary consciousness as the perpetual (and frequently anxiety-provoking) awareness that, at each moment, we are potentially the documented objects of others. In this post, I use a friend’s recent ‘Facebook debacle’ as a starting point to elaborate on what documentary consciousness is, how it works, and whether it can be diminished or assuaged by the fact that “nobody… wants to see your status update from 2007.” I draw on Brian Massumi’s distinction between the possible and the potential to help explain why documentary consciousness entails “the ever-present sense of a looming future failure,” whether anyone reads that old status update or not.

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Oh, the irony…to find myself preparing to write about adaptations just months after the release of a motion picture based on a board game. A graduate student never had it so good: Battleship may not be a critical reflection of the delicate process of creating an adapted work, nor does it allow for the discussion of nuance and variation in the product of the adaptation process. But it is a rather wonderful example of the kind of derisive talk that swirls around them. Adaptations are spin-offs. Remakes.

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Rehashed and retold, adaptations carry a stigma: the unoriginal story, not so much created as concocted. They are cobbled together from the source text – the original work, the one that was inspired by some spark of creative genius – and they can never be ‘as good as’ the story that came first.

To me, the adapted text is one that emerges out of an older, more established work. In the case of writing, it’s often a book that’s been made into a film, but it’s also novels that are based on older, more classic works. There is the original story – the source text. And there is the adaptation. Adaptations open up the original in a new way. A really good adaptation makes me read or watch the story with an awareness of the original source – it hangs in the back of my mind, and I compare what I know to be familiar or the same, and I am fascinated by what is different. Battleship aside, adaptations are original works of art – the same way a song that samples another is still music. But not everybody sees it this way…and so the debates go on, about what is art and what is not art, what is original and what is second-hand, and whether adaptations can stand on their own merits. more...