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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.

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.

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.

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.”

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:

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This is the second part of a two-part essay; the full version of the essay — both parts — can be found here.

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.

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EDIT [2:49PM EST]- Saw this on my wall:

This is the full size of the picture:

EDIT [1:24PM EST]- Buzzfeed has compiled “25 Angry Kids Who Can’t Do Their Homework Because of the Wikipedia Blackout.” While this is pretty funny, it also underscores the need for educators to not just say “don’t use wikipedia” but to help students use networked resources in an appropriate and effective manner.

EDIT [11:25AM EST]- Google has put a black sensor bar over their logo on the search page. Facebook has not done anything officially, but my newsfeed is full of my friends talking about it. Maybe that’s the appropriate response? Public spaces are meant to be forums for discussion, the space itself is somewhat ambivalent.

Original Post- If you’re reading this on January 18th, 2012, then you are probably happy to find something that is not completely blacked out. While many of us, personally, are very much against SOPA and PIPA, all of us at Cyborgology thought it would be better to provide information about participating sites, rather than blackout the blog entirely.

Usually a strike is the beginning of a political battle, but it seems as though the fight to kill SOPA (Stop Online Privacy Act) has already been won by the activists and businesses that feel threatened by some of its provisions. As of last night, Cory Doctorow reported on BoingBoing:

House Majority Leader Eric Cantor has killed SOPA, stopping all action on it. He didn’t say why he killed it, but the overwhelming, widespread unpopularity of the bill and the threat of a presidential veto probably had something to do with it

The companion senate bill, the “Protect IP Act” or PIPA is still alive and well though. If you are unfamiliar with SOPA or PIPA, here is a great video from americancensorship.org that describes why the two bills are so concerning:

It is easy to accuse SOPA and PIPA supporters as money-grubbing intellectual property hounds; greedy millionaires who care about their bottom lines over the freedoms on democratic citizens. But I think greed  is only a necessary -not a sufficient- condition for supporting bills like these. The truth is, Congress does not understand the Internet.

For me, the late Senator Ted Stevens (R-AK) is synonymous with “Congress doesn’t understand the internet.” If you’re of college age or older, you probably remember the 2006 senate hearing in which Stevens emphatically declared that the internet was not “a dump truck” but was in fact, a “series of tubes.” Technologically mediated communities immediately jumped on the gaff and produced  shirts, songs, and even powerpoint presentations to share in a common joke. Once the novelty had subsided though, some started to worry about the fate of the internet. The blog for 463 Communications, a consulting firm in DC, was one of the first to raise the concern:

Regardless of what side one takes on net neutrality, it must be recognized that when the industry gets involved in a pitched, focused battle, not a lot of broad-based education unattached to a specific agenda is going to happen.  Quite the opposite.

Now, six years later, we are facing the same problem and it is a lot less funny. Even if you choose to ignore the humanitarian and civil libertarian arguments for why SOPA/PIPA is a bad bill, it is still incredibly destructive to business. It threatens to undermine the very basis of the so-called “information economy.” By making web site owners liable for something as mundane as a link to a soundcloud page, Congress would effectively halt some of the most innovative work being done in the fields of social media and web design. Even though the MPAA and RIAA are supporters of SOPA/PIPA, they also stand to lose from it as well. The culture industry relies on the ability to remix and appropriate existing material and turn it into something new and unique. But even something as mainstream and pop as Justin Beiber was originally discovered covering Justin Timberlake songs on Youtube.

At the end of the day, I don’t want my congress to pass a bill that would give Girl Talk more years in jail than a serial killer. More importantly, I certainly do not want to see a bill pass that could give governments the ability to shut down entire web sites. If SOPA/PIPA passes, there will be no more augmented revolutions on these shores.

Eksobionics, a company dedicated to the augmentation of the human body, recently developed Ekso—a “bionic exoskeleton that allows wheelchair users to stand and walk.” In this post, I pose a question to which I honestly do not have a definitive answer: Does this development represent human progress or does it further perpetuate the subordination of physically impaired bodies?

I begin with a brief background on the company and a description of the product. I then present arguments for both progress and ableism. Finally, I question —but ultimately defend—the validity of this dichotomy. more...

I have already written about QR code tattoos before on this blog, so again, I will keep this brief. The video above shows the latest QR code tattoo to gain public attention, this time for generating random .gifs, tweets, and videos.  I find these tattoos fascinating because of the way the flesh is made to transmit digital information (“LONG LIVE THE NEW FLESH?!”), in essence augmenting the human body with digitally-encoded information (or are we augmenting the digital with the corporeal?). But many have found these trends disheartening (D’Costa 2012), in part because of the permanence of such body markings.

In a culture that is fast approaching lightspeed (both technologically and culturally), many see the permanence afforded by tattoos and other body modifications as attractive. For many enthusiasts, tattoos have become a source of stability in the postmodern era, a way for individuals to “ground” their identities in an era of whirlwind change (Oksanen and Turtiainen 2005; Sweetman 1999). more...

My post today comes from a class on ableism and disabled bodies that I taught earlier this past semester in my Social Problems course. Its inception came from the point at which I wanted to introduce my students to Donna Haraway’s concept of cyborgs, because I saw some useful connections between one and the other.

My angle was to begin with the idea of able-bodied society’s instinctive, gut-level sense of discomfort and fear regarding disabled bodies, which is outlined in disability studies scholar Fiona Kumari Campbell’s book Contours of Ableism. Briefly, Campbell distinguishes between disableism, which are the set of discriminatory ideas and practices that construct the world in such a way that it favors the able-bodied and marginalizes the disabled, and ableism, which is the set of constructed meanings that set disabled bodies themselves apart as objects of distaste and discomfort. In this sense, disabled bodies are imbued with a kind of queerness – they are Other in the most physical sense, outside and beyond accepted norms, unknown and unknowable, uncontrollable, disturbing in how difficult they are to pin down. Campbell identifies this quality of unknowability and uncontainability as especially, viscerally horrifying.

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Facebook is now rolling out the new Timeline format. Reviews, as usual, are mixed. Some applaud the now historically situated self presentation while ohers express discomfort at the increasing reach of this platform as it now invades a past in which it was previously absent. I am not going to engage these debatesin the present post. Instead, I will talk about what Timeline does in in terms of self and identity.

Timeline, I argue, integrates self narratives fragmented by their simultaneous temporal location prior to, and at the heigt of, augmented society.

Narratives are linear stories. They have a beginning middle and end and usually a coherent theme. Self narratives are the stories that we tell about ourselves. They are necessarily selective, highlihting some things while ignoring or mimizing others. Self narratives take that which is messy, fragmented and disjointed, and wraps it into a clean, cohesive, and consumable package. The self narrative has very real consequences. We not only make sense of ourselves through these narratives but are then guided in our actions by this sense making. It is through self narrative that we learn who we are make decisions about what we should do.

Facebook is an important tool in the construction of self narratives in an augmented society. Our profiles act as tangible reflections of where we have been, what we have done, who we are, what we are therefore likely to do. These narratives are co-constructed and, as pointed out in a previous post by Nathan and I, prosusumed. This project of linearity, however, is complicated by a past that took place entirely outside of social media technologies. The self, as told through facebook, privileges the present, and only with effort, pays homage to the past.  Enter Facebook Timeline. more...