Over on Vice Motherboard, Michael Byrne recently wrote about his desire for “an Instagram of sound.” He says

What I want is a place to hear things that people record in the spaces around them. This seems reasonable to me: An app with just one button to record and another to share. I’d have fewer “friends” than on Instagram, in the realm of sound, but there would surely be some. And some who use the app would be pushed to find better and more interesting sounds, and to appreciate those sounds in new and different ways.

There are already such apps–Audioboo is the one I use (there are plenty of others, as summarized here). Audioboo is a social network for sound-sharing; people follow me on Audioboo, but I’ve also linked my account to Twitter so I can also tweet sound clips and share with my twitter followers, just like I would with Instagram (if, that is, I used Instagram with any regularity). I wish it was as popular as Instagram, Snapchat, and Vine…but it’s not.

I don’t think this relative lack of popularity is primarily due to the fact that, as Byrne argues, we’re trained to use vision as our dominant sense. Certainly that’s part of it, but that’s not the only (and perhaps not even the primary) reason. I think sound recording is a different medium than both photography and even Vine’s short-attention-span videography, and that maybe this medium isn’t as well-suited as photography and videography are to the kinds of tasks we generally want to accomplish on social media. So, the controlling factor here is social media, not auditory or visual content–they’re just means to the end of social mediation.

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Part 1 of this series can be found here.

A quick recap: in these posts I’m attempting to establish some kind of loose theoretical framework for approaching the sexual aspects of “drones” as a concept rather than a specific technology, an enmeshing of surveillance, power, intimacy, and blurred boundaries. It’s that last that I want to close with, because when you combine technology and sex, something interesting always happens. And it’s no accident that the combination of technology and sexuality isn’t a rarity in contemporary society, or even in history.

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The year is 1959 and a very powerful modern art aficionado is sharing a limousine with Princess  Beatrix of the Netherlands. The man is supposed to be showing off the splendor of the capital of what was once —so optimistically— called New Amsterdam. His orchestrated car trip is not going quite as he had hoped and instead of zipping past “The Gut” and dwelling on the stately early 19th century mansions on Central and Clinton Avenues, Beatrix is devastated by the utter poverty that has come to define the very center of this capitol city now called Albany, New York. The art aficionado, unfortunately for him, cannot blame some far away disconnected bureaucrat or corrupt politician for what they are seeing because he is the governor of this powerful Empire State and he has done little to elevate the suffering of his subjects. He resolves, after that fateful car trip, to devote the same kind of passion he has for modern art to this seat of government. Governor Rockefeller will make this city into a piece of art worthy of his own collection. more...

Over on Sounding Out, Primus Luta has finished the third installment (which I’ll refer to as LEP) in a superb series of posts on live electronic music performance. The aim of the series is to develop a “usable aesthetic language” to describe live electronic performance. In this post I want to summarize some of Luta’s argument–which is fascinating–and then push his project past his stated philosophical limitations. Even though Luta’s aesthetic language is still strongly indebted to modernist values and ideas (like “agency” and “virtuosity”), can we push his analysis beyond the frame of modernist aesthetics? Can live electronic music performance help us think about what an object-oriented aesthetics or a compositionist aesthetics might entail? From these perspectives, which aren’t very interested in subject-centered values like agency and virtuosity, what values and ideals would we use to evaluate electronic music?

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One of the things about writing with as little possible between your head and your fingers is that things come out that you don’t consciously intend and that you don’t understand until much later. I believe it’s one of the parts of the process that causes some writers to say those (in my opinion kind of ridiculous) things about how they don’t so much create their writing as discover it. But everything we write means something, and it does come from some part of us that puts it all together and spits it out.

An email exchange recently brought up a concept I used in one of my short stories about drones, the concept of being dronesexual.

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So, Elsevier pulled kind of a jerk move. And probably a move that’s not great for PR.

As it turns out, publishing giant Elsevier is taking down copyrighted papers from Academia.edu. Here’s a bit of background. For-profit publishing companies (like Elsevier, Sage, Taylor & Francis etc.) make authors sign a copyright agreement when they publish in the journals run by these companies. This gives distribution rights to the publisher, and takes them away from the author. However, many authors (like myself) sign said agreement, and then immediately post content on Academia.edu, ResearchGate, or other academic-based social networking sites.

Technically, posting our work on these sites is illegal. However, the publishers’ policies, which create false scarcity, exploit intellectual labor, and restrict knowledge sharing, are in a word, preposterous. Here’s why: more...

This is the first in a series of autobiographical accounts by Cyborgology writers of our early personal interactions with technology. Half autoethnography, half unrepentant nostalgia trip this series looks at what technologies had an impression on us, which ones were remarkably unremarkable, and what this might say about our present outlook on digitality.

 I wish I could say it was love at first sight when my Dad brought home what I just now leaned was called an IBM 5150. According to IBM, “ it was dramatically clear to most observers that IBM had done something very new and different.” I guess I wasn’t most observers. My parents say I liked it but my memories of it little to do with it being a computer per se. It was inculcated in major events in the household. It could make grayscale banners and quarter-page invitations, letters to pen pals and family. Nothing about that computer, for me, had to do with programming. In fact, what I remember most about it was how mechanical it was: All the different, almost musical sounds it made when it was reading a floppy or printing something on its included dot-matrix printer. The spring-loaded keys on its impossibly heavy keyboard made the most intriguing sound; when all ten fingers were on that keyboard it sounded like a mechanical horse clacking and clinking. My favorite part of the computer was when you’d turn it off and it would make a beautiful tornado of green phosphorus accompanied by a sad whirling sound. It sounded like this almost-living thing was dying a small death every time you were finished with it. I loved killing that computer.

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One of the most interesting things to watch in the usage trajectory of any form of technology are the ways in which it’s used that no one really anticipated, but that seem perfectly sensible and obvious after the fact. One of those that I actually found out about only this week – really, I should have known about it before – is Ingress, a game played on mobile phones that sorta kinda comes from Google, and whose players are intense enough about it that one of them flew to a remote location in Alaska in arguably dangerous conditions in order to complete a game task.

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A longer, more academic version of this post appears at Its Her Factory.

This post follows up on my earlier post about a culture of moderation. Here I want to consider one aspect of this contemporary focus on moderation: the idea of “balance.” We talk about work/life balance, the “balance” between individual freedom and national security, and, as Jenny notes, the “balance” between tech use and abstention.

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As most of Cyborgology readers know, the blog puts on a conference called Theorizing the Web (now in it’s fourth year). We have some exciting new ideas for 2014. By popular demand, #TtW14 will now–for the first time–feature two full days of programming. We’ve also moved out of an academic-institutional space and into a gorgeous warehouse in Brooklyn, NYC. All of this means that, in addition to the competitively-selected papers and invited speakers, we can experiment with more ways to push the norms of academic conferences. The goal of Theorizing the Web has always been to create the event we’d want to attend.

If you are interested in presenting at Theorizing the Web, here’s the call for papers.

Anyone can attend, you just have to sign up. Traditional conferences get expensive and often leave people who don’t have some sort of institutional backing out in the cold. We want to include as many as possible, so TtW works on a pay-what-you-can model (minimum $1). This means that those with limited funds can still attend, relying on the generosity of those who can afford a little more. Register and pay what you can here.

All the information you’ll need should be on the conference website, and, if not, feel free to comment below or write to theorizingtheweb@gmail.com.

If you think others would be interested in this event, please share. The Twitter hashtag is: #TtW14

Thanks for all the support these first three years, and we’re excited for the fourth Theorizing the Web!