Search results for digital dualism

On Techno, Dancing, and the Augmented Self

1997, 3 am. I’m sitting against the concrete wall of a dark, empty warehouse, off Hegenberger Road in Oakland. My body is vibrating—a strong, healthy kick drum beating hard against my chest. I squint and see the DJ behind a booth, flanked by black speakers that look like monoliths. Silhouettes are scattered about: strangers dancing alone, in open spaces or near the speakers, but also in tribes, moving within circles.

My pulse is racing, thumping at the same tempo as the techno blasting in this space. The beat is urgent, extending each moment—making now last longer. And it’s kinetic, frenetic—like a rubber ball bouncing round the room. My friend’s forearm grazes mine, warm and slick from perspiration. As we touch, I feel the reverberation of the sound on her skin. The music is so loud, as if we’re in the bowels of a manufacturing plant, listening to machines repeating the same tasks over and over. These sounds consume each second, not giving me much space to think about much else.

I watch a cluster of dancers on the far side of the room. From afar, I see a flutter of geometric parts, picture flipbook pages turning in front of me. The dancers move too swift for my eyes to follow, and I see tracers of their limbs in the air. I think of Duchamp: his nude, descending a staircase, flashes before me. It feels like I have several pairs of glasses stacked sloppily on my face, and I’m peeking through a kaleidoscope in the dark.

Glowing bits and streaks of neon green and yellow and pink are sprinkled throughout this darkness, creating a network of electric vertices floating in space. A series of lasers shoots out from the opposite wall, casting a more...

This is the full Augmented Activism essay. The two parts provide prescriptive tactics for how to incorporate technology in activist work. Part 1 was originally posted here and part 2 was here.

Part 1

Academics usually do not talk about “tactics.” There are theories, methods, critiques, but we -as professionals-rarely feel comfortable advocating for something as unstable or open to interpretation as a tactic. In the latest edition of the Science, Technology, and Human Values (The flagship journal for Society for Social Studies of Science) three authors threw caution to the wind and published the paper “Postcolonial Computing: A Tactical Survey” [over-priced subscription required]. While the content of the paper is excellent, what excited me the most was their decision to describe their new “bag of tools” as a set of tactics. Kavita Philip, Lilly Irani, and Paul Dourish take a moment in their conclusion to reflect on their decision:

We call our results tactics, rather than methodologies, strategies, or universal guarantors of truth. Tactics lead not to the true or final design solution but to the contingent and collaborative construction of other narratives. These other narratives remain partial and approximate, but they are irrevocably opened up to problematization. more...

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Last Friday, Rachel Maddow reported (video clip above, full transcript here) that hundreds of citizens had suddenly started posting questions on the Facebook pages of Virginia Governor Ryan McDougle and Kansas Governor Sam Brownback. Their pages were full of questions on women’s health issues and usually included some kind of statement about why they were going to the Facebook page for this information. Here’s an example from Brownback’s page:

The seemingly-coordinated effort draws attention to the recent flurry of forced ultrasound bills that are being passed in state legislatures. Media outlets have started calling it “sarcasm bombing” although the source of that term is difficult to find. ABC News simply says: “One website labelled the messages ‘Sarcasm Bombing’ for the tounge-in-cheek [sic] way the users ask the politicians for help.” A few hours of intensive googling only brings up more headlines parroting the words “sarcasm bomb” but no actual origin story. These events (which have now spread to Governor Rick Perry of Texas as well) raise several important questions but I am only going to focus on one: Can we call Facebook a “Feminist Technology”? more...

Below is a three part essay I presented at the 2012 Southwest Texas Popular Culture Association meetings in Albuquerque, New Mexico on February 9th. It was presented as part of a series of panels titled “The Apocalypse in Popular Culture.” A (much) earlier version of this paper can be found on the Sociological Images sister blog.


THE ZOMBIE IN FILM: FROM HAITIAN FOLKLORE TO APOCALYPTIC ANXIETIES

If you are alive these days, and not already part of the undead masses yourself, you probably have noticed a staggering increase of zombie references in film, television, pop culture, videogames and the internet.For instance, the big screen and small screen have both hosted a plethora of zombie films including the more popular blockbusters 28 Days Later (2002), Shaun of the Dead (2004), and I Am Legend (2007). In television, we have seen the recent success of AMC’s The Walking Dead, based on the comic book series of the same name. In pop culture, we have seen the viral video of penitentiary inmates dancing to Michael Jackson’s “Thriller” and even the popular television sitcom Glee host its own rendition of the dance. And if you are on a college campus like myself, you have probably seen undergraduates playing “Zombies Vs. Humans,” a game of tag in which “human” players must defend against the horde of “zombie” players by “stunning” them with Nerf weapons and tube socks. In videogames, we have seen the success of the Resident Evil franchise, eventually culminating in a series of films staring Mila Jovovich, as well as more recent games like Left 4 Dead and Dead Rising. Finally, the internet is awash with zombie culture. From post-apocalyptic zombie societies to zombie fansites and blogs.
The Annual "Zombie Walk" in Pittsburgh, PA, birthplace of the famed zombie director George Romero.
Is this an Oxymoron?

Most of our interactions with technology are rather mundane. We flip a light switch, buckle our seat belts, or place a phone call. We have a tacit knowledge of how these devices work. In other words, we have relatively standard, institutionalized, ways of interacting with familiar technologies. For example: if I were to drive someone else’s car, even if it is an unfamiliar model, I do not immediately consult the user manual. I look around for the familiar controls, maybe flick the blinkers on while the car is still in the drive way, and off I go. Removal of these technologies (or even significant alterations) can cause confusion. This is immediately evident if you are trying to meet a friend who does not own a cell phone. Typical conventions for finding the person in a crowded public space (“Yeah, I’m here. Near the stage? Yeah I see you waving.”) are not available to you. In years prior to widespread cell phone adoption, you might have made more detailed plans before heading out (“We’ll meet by the stage at 11PM.”) but now we work out the details on the fly. Operating cars and using cell phones are just a few mundane examples of how technologies shape social behavior beyond the actions needed to operate and maintain them. The widespread adoption of technologies, and the decisions by individual groups to utilize technologies can have a profound impact on the social order of communities. This second part of the Tactical Survey will help academics, activists, and activist academics assess the roll of information technology in a movement and make better decisions on when and how to use tools like social media, live video, and other forms of computer-mediated communication. more...

Below is Part 3 of a three part essay (Part 1 is available here; Part 2 is available here) I will be presenting at the 2012 Southwest Texas Popular Culture Association meetings in Albuquerque, New Mexico on February 9th. I will be presenting alongside several other scholars for a series of panels titled “The Apocalypse in Popular Culture.” A (much) earlier version of this paper can be found on the Sociological Images sister blog. Part 3 discusses the “Zombie Renaissance” after 9/11 and concludes briefly on the importance of the zombie as a cultural artefact.
Jim being pursued by a feral "rage"-infected zombie in Boyle's now classic film 28 Days Later (2002).
Scholars have called the post-9/11 era the “Zombie Renaissance” due to the torrent of zombie films produced at this time and the paradigmatic changes introduced to the zombie as movie monster (Bishop 2010). The first blockbuster film of this era, Danny Boyle’s 28 Days Later (2002) is often credited to raising the stakes in zombie films. This film became a powerful drama oriented around the zombie apocalypse, something that has since been mimicked in recent films and especially in AMC’s recent television series The Walking Dead. more...

What Facebook knows about you, via the Spectacular Optical tumblr (click for more images)

Rob Horning has been working on the topic of the “Data Self.” His project has a close parallel to my own work and after reading his latest post, I’d like to jump in and offer a conceptual distinction for thinking about the intersection of the online/data/Profile and the offline/Person.

The problem is that our online presence is too often seen as only the byproduct of our offline selves. Sometimes we talk about the way online profiles are passive reflections of who we are and what we do and other times we acknowledge our profiles are also partly performative adjustments to the “reality” of the person. However, in all the discussion of individuals creating this content what is often neglected is how the individual, in all of their offline experience, behavior and existence, is simultaneously being created by this very online data. We cannot describe how a person creates their Profile without always acknowledging how the Profile creates the person.

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.

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Part 2
From Screamo to Brostep: The Case of Skrillex

The popularization of dubstep is further epitomized in the wildly popular, albeit polarizing example of Sonny Moore, former lead singer/frontman of the 2000s screamo band From First to Last. He left the band in 2004 to pursue his solo career only to return in 2008 as the dubstep DJ Skrillex, when dubstep was beginning to “blow up” in American popular music.  He quickly became an internet phenomena, an early harbinger of the recent “brostep” wave of popularization which would later be bolstered by user-generated dubstep videos using footage from the Transformers movies. And at the 2011 MTV Music Awards, he walked away with the award for Best New EDM Artist as a result of his popularity under the stage name Skrillex.

Upon hearing of this award, many in the EDM community were outraged. Why? Because many members of this subculture viewed him as an outsider who solidified dubstep as pop music played on radio and television stations, making the subculture open and accessible to most everyone. Most in the EDM community have never seen him as an organic member of the underground dubstep or EDM subculture. Skrillex is simply the product of mainstream capitalism taking notice of dubstep as a viable market commodity. His popularity and success coincides directly with the most recent wave of popularization occurring in the late 2000s, his five recent Grammy nominations notwithstanding. more...

Picture of the week comes from David Banks. FourSquare and Occupy at that critical intersection of the digital and physical.

This week at Cyborgology…

Nathan Jurgenson’s photo-theory essay on the new Lytro so-called “living picture” technology and what it means for potentially more interactive social media objects

Guest author Gene Morrow disagrees with PJ Rey a bit and argues that Occupy cannot hibernate indoors this winter but instead needs a home in physical space

Sarah Wanenchak is welcomed on board as the newest member of the Cyborgology blog and writes a short essay linking the Occupy movement to the 1848 revolutions in Europe

Jenny Davis looks at social ties and Facebook, from the weak to close connections, from the global to the local

PJ Rey provides an essay on Cyberpunk with a critical eye towards the role of the Ayn Randian rugged individualism but embracing the Cyberpunk ethos of being at once deeply interested in as well as highly critical of technology and society

David Banks begins his project of applying “augmented reality” theory to other theories of technology by writing about and critiquing Actor Network Theory

David Strohecker round the week out with a look at Britain’s “safe text street” as it deals with our increasingly augmented reality