Search results for hipster

Photo of the week comes from the current protests in Egypt. The picture captures the flow of imagery across mediums, especially in times of protest. Al Jazeera ran the photo of a police officer who reportedly is shooting protesters in the eye. Infuriated, Egyptians stenciled his image on walls. The graffiti was then photographed and disseminated on social media, where Zeynep Tufekci saw the image and sent it to us. The image of the police officer flows from cameras to TV broadcast to paint on walls back into photo-form into social media and onto this blog where you see it now. Reality is augmented.

Meanwhile, this week on Cyborgology…

Nathan Jurgenson and PJ Rey co-author an essay about how today we breath in an atmosphere increasingly able to capture what we do as a social media document

Jenny Davis writes about the mileage Facebook critics get out of misusing the word “friend”

We repost a comment Distinguished University of Maryland professor and past President of the American Sociological Association Patricia Hill-Collins made about PJ Rey’s post on journals being the “dinosaurs” of academia

PJ writes about the trust we place in modern technologies to become and enjoy the cyborgs we have become today

PJ also thinks about what is in store for the #occupy movement as winter bears down and concludes it is partially in memes

David Banks gets into the Thanksgiving spirit and discusses sexism and Internet food videos

Dave Strohecker looks into why Hipsters are into vintage and retro technology, circling around the ideas of authenticity and nostalgia

Next is a guest post from Jeremy Antley on the analogue roots of digital dualism, looking at a similar process of “textual dualism”

And we round up this week with the second part of Dan Greene’s “augmented syllabus” project

My attention was directed today (via Twitter, appropriately), to this post about the competing ASA Bingo Cards.  I don’t have a lot to say about the deeper meaning of “gentle ribbing” or negativity, whatever you want to call it, in the original card.  However, I do think that the “chronically hip grad student” square was not just, as Nathan Jurgenson asserted, a mainstream culture-embedded dig at hipsters, but also an indication of a general discomfort among less technologically savvy sociologists at the increasing use of technology to augment professional scholarly activities, often though not always by colleagues younger than themselves.

In particular, I suspect that the characterization of Twitter as “like passing notes during a talk, only if those notes were posted on a giant whiteboard behind the speaker so that everybody but her could read them” is quite accurate in terms of how the unfamiliar (and vaguely suspicious) think about Twitter.  Twitter users think they’re better than us, just like those iPad-using hipster grad students, and they’re trash talking about it where we can’t see them. While it makes sense, I think it’s a very misguided analogy.

The critical difference between notes, or for that matter late-night trash talk at the hotel bar, and Twitter is that Twitter creates more...

Yes, I know it is just a game and it is fun and it is not something to get all blog-ranty about. But, sorry, we’re (mostly) sociologists and we learned long ago the importance of the mundane (R.I.P. Garfinkel this year, by the way). The number of “retweets” this card receives makes it something worth discussing. We made our sociological bed, so let me sleep in it for a second.We’ll notice that the popular bingo card, created by Kieran Healy, is pretty negative. This does not mean that Healy or those who get a kick out of this dislike the conference. Instead, it provides a lighthearted way of expressing our frustrations with the event. Such as: more...

I am working on a dissertation about self-documentation and social media and have decided to take on theorizing the rise of faux-vintage photography (e.g., Hipstamatic, Instagram). From May 10-12, 2011, I posted a three part essay. This post combines all three together.
Part I: Instagram and Hipstamatic
Part II: Grasping for Authenticity
Part III: Nostalgia for the Present

Part I: Instagram and Hipstamatic

This past winter, during an especially large snowfall, my Facebook and Twitter streams became inundated with grainy photos that shared a similarity beyond depicting massive amounts of snow: many of them appeared to have been taken on cheap Polaroid or perhaps a film cameras 60 years prior. However, the photos were all taken recently using a popular set of new smartphone applications like Hipstamatic or Instagram. The photos (like the one above) immediately caused a feeling of nostalgia and a sense of authenticity that digital photos posted on social media often lack. Indeed, there has been a recent explosion of retro/vintage photos. Those smartphone apps have made it so one no longer needs the ravages of time or to learn Photoshop skills to post a nicely aged photograph.

In this essay, I hope to show how faux-vintage photography, while seemingly banal, helps illustrate larger trends about social media in general. The faux-vintage photo, while getting a lot of attention in this essay, is merely an illustrative example of a larger trend whereby social media increasingly force us to view our present as always a potential documented past. But we have a ways to go before I can elaborate on that point. Some technological background is in order. more...

I am working on a dissertation about self-documentation and social media and have decided to take on theorizing the rise of faux-vintage photography (e.g., Hipstamatic, Instagram). I want to start fleshing out ideas and will do so with a three-part series on this blog: I posted part one yesterday (“Hipstamatic and Instagram”) and tomorrow I will post the third and final part (“Nostalgia for the Present”). [Update: Read the full essay here.]

If you use social media then you probably have noticed the recent proliferation of faux-vintage photography, often the product of smartphone applications such as Hipstamatic and Instagram. I describe in part I of this essay posted yesterday what faux-vintage photography is and noted that it is a new trend, comes primarily from smartphones and has proliferated on social media sites like Facebook, Tumblr and others. However, the important question remains: why this massive popularity of faux-vintage photographs? I will tackle this question today, and in part III tomorrow, will conclude that the rise, and potential fall, of faux-vintage photography illustrates larger points about social media in general.

What I want to argue is that the rise of the faux-vintage photo is an attempt to create a sort of “nostalgia for the present,” an attempt to make our photos seem more important, substantial and real. We want to endow the powerful feelings associated with nostalgia to our lives in the present. And, ultimately, all of this goes well beyond the faux-vintage photo; the momentary popularity of the Hipstamatic-style photo serves to highlight the larger trend of our viewing the present as increasingly a potentially documented past. In fact, the phrase “nostalgia for the present” is borrowed from the great philosopher of postmodernism, Fredric Jameson, who states that “we draw back from our immersion in the here and now […] and grasp it as a kind of thing.”* more...

This is the fourth panel spotlight for the upcoming Theorizing the Web conference on April 9th. I’ll have the pleasure of presiding over a panel that focuses on how mobile web platforms are augmenting the world of bricks and flesh. Much more than an ethnography of Foursquare, this panel will explore our changing relationships to space and place, and the new ways public and private spaces are opening up as a result of this new augmented reality.

PJ and Nathan have done an excellent job on this blog of  articulating social media’s role in times of revolution, but this panel seeks to understand social media’s roll in a variety of instances. We will explore the cultural contexts that Social Networking Services (SNS) operate within, and what this does for old and new associations with (and within) place and society. From San Francisco hipsters to Chinese political activists, and from your local Starbucks, to the Second Life, social media is changing how we interact with our cities and our fellow citizens.

If anything unites these four panelists, it is their balanced perspective on the roll of digital media. Its easy to essentialize mobile computing platforms, or mistake computer mediated communication as anti-social. Without essentializing the technology, or romanticizing the past, these authors provide a balanced critique of what is happening in our cities and online. Read the four abstracts after the break  to learn more:

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