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There is an important space between old and new media. This is the grey area between (1) the top-down gatekeeping of old media that separates producers and consumers of content and (2) the bottom-up nature of new, social media where producers and consumers come from the same pool (i.e., they are prosumers).

And in the middle are projects like Global Voices, what might be called curatorial media: where content is produced by the many in a social way from the bottom-up and is then mediated, filtered or curated by some old-media-like gatekeeper.

The current protests in Syria can serve as an important example of how curatorial media works. Especially because foreign journalists have been banned from the country, creating a dearth of information for old media. Alternatively, more...

A lot more.

Thought to be the domain of the political left by some, social media has come to be nearly ubiquitous for both parties. One may even argue that the political right in the U.S. has passed the left. While not a perfect measure, one can look at the number of tweets sent by members of congress. From May 8th to June 8th, 2011, members of congress sent 15,383 tweets. The 232 Republicans sent 10,846 tweets (that’s about 47 tweets per member for this month). The 168 Democrats sent just 4,537 tweets (27 tweets per member). Republicans are tweeting almost twice as much.

What other measures can we look at to compare/contrast the right and left’s usage of social media? Does social media inherently tend to the left or right?

via Mashable.

As the 2012 presidential race ever so slowly gains momentum it remains clear that social media will be influencing elections for a long time to come. In the long run, does the shift towards social media campaigning change who is perceived to be a legitimate candidate? If so, social media might change who wins elections and therefore changes how we are governed. Avoiding [for now] the issue of whether social media has inherent tendencies towards the left or right, what I want to ask is: opposed to old media, does new media benefit political underdogs and outsiders?

As Republicans announce presidential bids on Twitter and Obama gets friendly with Zuckerberg and Facebook, it seems that the presidential campaign has found itself augmented by and reliant upon social media tools; some of the very same tools many of us use, like Facebook, Twitter, YouTube and so on. Part of their popularity is that one can view and be viewed by people from all over the world in an instant and for no cost. It does not cost money to publish this post or to tweet about it later on. Social media campaigning is also relatively cheap; indeed, often times free. Alternatively, print advertising is expensive because space is scarce and the scarcity of broadcast time makes television and radio too costly for underdogs and outsiders to fairly compete. However, when we exchange atoms for bits we enter into a world of abundance, a world where broadcasting a message quickly and globally becomes cheap and easy.

This cheaper social-media campaign style may remove or at least lesson more...

Costas K is a graphic designer who used Cyborgology Editor Nathan Jurgenson‘s post on digital dualism as part of a design project. The physical book explores the intersection of atoms and bits. The creator was invited to write a short essay about the project.

As kids, we were told to stop ‘wasting’ our time with electronic devices and that we should be outside, engaging with the ‘real’ world. Early on, the idea was planted into us that what we do using a computer is an alternative false state that bears no value. To still believe this is naive. Personally, I have met some of my best friends online. I make transactions, articulate opinions, receive feedback and get commissioned professional projects. How is this not real?

Still, when approaching the topic the first expressions that came to mind were ‘physical world’ and ‘digital world’ – the cornerstones of digital dualism. Nathan Jurgenson’s text ‘Digital dualism versus augmented reality’ helped me put things into perspective, before exploring them visually.

It is my belief that online activity is a continuation of what we do physically, more...

A company called Quiring Monuments has recently begun marketing augmented tombstones that are designed to assist smartphone-carrying visitors in accessing digital information about the deceased.  On these tombstones, qr codes are given the kind of prominence once exclusively reserved for a person’s name, dates, and epitaph.  The qr codes link users to individualized sites that contain information about the person being memorialized.  This means that part of the memorializing process now includes constructing an enduring Web presence for the deceased.

This raises a few questions.  How important to the memorializing process is being in the physical presence of a the body?  Will crystallized bits of memory in cyberspace deepen, or even eclipse, the memorial experience found in physical graveyards?  Facebook has already adopted a policy for memorializing accounts (also discussed in the official blog).  Are graveyards becoming redundant?

For more, see Bellamy Pailthorp’s NPR story, “Technology Brings Digital Memories To Grave Sites.”

This post originally appeared on OWNI, 7 March, 2011.

“Robert, I am leaving you.” In the initial moments after, all Robert could do was replay those words in his head until all the tears he could muster had spilled from his broken heart. Once the shock settled, he could throw himself into the comfort of a bottle of beer – or harder alcohol depending on the situation – to drown out his sorrows. Yet the inevitable form of cleansing was obvious, as we’ve all been Robert –  he needed to burn (or at least return to the original owner) the knick-knacks, photos, love letters, and the memories that were attached to those objects. He needed to reject the one who no longer wanted him. This is not an easy step to make, but once this purging has been accomplished then the relationship is truly over.

That was before…and like everything else, yes, it was better before. Now, Robert must also mange his failed love-life in the digital world.  It is nothing groundbreaking that our lives are not just physical, but also virtual. So if we raise the question whether our digital accounts will affect the grieving process of friends and family after out death, the same inquiry can be applied to breakups. Social networks have permanently changed the situation, making breakups more painful. A US marketing agency tried to create “break up with your ex day” on the same day as Valentine’s Day: time to turn the page, unfollow, untag, block, and move on! Wise decision, but breaking digital connections are not the same as breaking ties in real life. The digital world constantly reminds the most desperate and nostalgic of their misfortunes.

Facebook: the heroine for breakups

Lucy* had been dumped, and was too quick to take the decision to cut off her torturer from her Facebook profile. “I blocked him to avoid being tempted to contact him on his status updates. I knew I would post something or send him a message. It’s childish, I know!” Skip to the hater category, a well-known classic in the breakup realm. 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). To start fleshing out ideas, I am doing a three-part series on this blog: part one was posted Tuesday (“Hipstamatic and Instagram”) and part two yesterday (“Grasping for Authenticity”). This is the last installment.

With more than two million users each, Hipstamatic and Instagram have ushered a wave of simulated retro photographs that have populated our social media streams. Even a faux-vintage video application is gaining popularity. The first two posts in this series described what faux-vintage photography is, its technical facilitators and attempted to explain at least one main reason behind its explosive popularity. When we create an instant “nostalgia for the present” by sharing digital photos that look old and often physical, we are trying to capture for our present the authenticity and importance vintage items possess. In this final post, I want to argue that faux-vintage photography, a seemingly mundane and perhaps passing trend, makes clear a larger point: social media, in its proliferation of self-documentation possibilities, increasingly positions our present as always a potential documented past.

Nostalgia for the Present
The rise of faux-vintage photography demonstrates a point that can be extrapolated to documentation on social media writ large: social media users have become always aware of the present as a potential document to be consumed by others. Facebook fixates the present as always a future past. Be it through status updates on Twitter, geographical check-ins on Foursquare, reviews on Yelp, those Instagram photos or all of the other self-documentation possibilities afforded to us by Facebook, we view our world more than ever before through what I like to call “documentary vision.” 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...

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 will post part two (“Grasping for Authenticity”) tomorrow and part three (“Nostalgia for the Present”) Thursday.

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 (see parts II and especially III of this essay). Some technological background is in order. more...