Search results for augmented revolution

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...

David Carr recently wrote a piece in the New York Times where he states,

Add one more achievement to the digital revolution: It has made it fashionable to be rude.

Has it?

The article is about how people are increasingly gazing into little glowing screens when in physical space. Carr views this as a “mass thumb-wrestling competition” where we are “desperately” staring at devices instead of making “actual” connections. And it is his usage of “actual” here that tips us off on why he has such a negative view of people looking at screens: he, like so many others, suffers from digital dualism. I’ve critiqued Amber Case, Jeff Jarvis and others on this blog for failing to make the conceptual leap that the digital sphere is not this separate space like The Matrix but instead that reality is augmented. I’ve been through the argument enough times on this blog that I’ll just refer you to the links and move ahead.

Carr’s digital dualism begins in his description of people looking at phones while at South By Southwest this past spring, something he then uses as evidence for the larger problem of increasing disconnectedness. He argues, more...

Panel members’ research and stories take us across and beyond assumptions or claims that social media have isolating effects or reduce intimacy, or that they train psyches to reside in virtual spaces removed from embodiment. Instead these particular “augmented encounters” add rather than subtract embodiments, multiply intensities of affect and its meanings, and complicate political intersectionalities across media, together with identity formations.

Multimodel communication and transmedia storytelling are forms of transdisciplinary research here, both objects of analysis and ways of sharing analysis. They include projects addressing

• transnational migration and connection across space and race,

• rape discourse standards across media platforms with implications for communication across worlds,

• queering the normativities of computer code embodiments for an augmented critical study of codes, and

• exploring how the techno-organic social worlds of college students are pressured into and by these very multimodel communications.

The abstracts for the panel includes: more...

Given the recent events in the Middle East (and elsewhere, as protests continue in Wisconsin and ominous rumblings begin to issue from the direction of China) a great deal has been written in the past few weeks on the topic of social media and social movements/revolutions. Some of it has been a bit frothy, while much of it—including this, this, and this commentary on the Cyborgology blog—has been very insightful. However, while commentators have come at this issue from various angles, there hasn’t yet been much in the way of writing that seeks to wed an analysis of these forms of social action with existing theories of social movements and contentious politics.

The speed at which events have moved is a point on which a number of people have remarked. The wave of political anger expressed as protest that spread from Tunisia to Egypt, Yemen, Libya, Bahrain, and points beyond has been likened to dominoes falling—or, and this is more appropriate to the point I want to make, to the spread of a contagious disease. Democracy, it has been said, has “gone viral”. more...

Yes, even a CGI-filled big-budget glowing Disney spectacle can provide opportunity for theorization. Of the recent Internet-themed blockbusters – namely, Avatar (2009); The Social Network (2010) – Tron: Legacy (2010) best captures the essence of this blog: that the digital and the physical are enmeshed together into an augmented reality.

This seems surprising given that the film is premised on the existence of a separate digital world. Indeed, the first Tron (1982) is all about a strict physical-digital dualism and the sequel plays on the same theme: physical person gets trapped in a digital world and attempts to escape. However, Tron: Legacy explores the overlapping of the physical and digital. The story goes that Flynn, the hero from the 1982 film, develops a digital world that does not have the imperfections of its physical counterpart. His grand vision was to gloriously move humanity online. Simultaneously, the beings in the digital world want to export their perfection out of the digital world and to colonize the offline world, removing all of its imperfections (i.e., us). Flynn comes to realize that enforced perfection (read: Nazism) is unwanted. Instead of a highly controlled and orderly universe, what has to be appreciated is what emerges out of chaos. And it is here that the film makes at least two theoretical statements that are well ahead of most movies and popular conceptions of the digital.

First is the tension between more...