instagram

A few years ago, being immersed in my doctoral research about Instagram images and the Manchester Arena attack, I was perhaps too aware of the kinds of images users shared on social media in the aftermath of a crisis. The national flags, the cityscapes and of course the ever-present stylised hearts with the relevant city superimposed, usually accompanied by a #PrayForX. Dutifully, I waded through my dataset each day, assigning categories and themes to these images, identifying patterns.

Enter Friday, 15 March, 2019. I hear the news that 51 people have been killed in my home country, New Zealand. It’s the first act of terrorism the country has ever witnessed. 18,000 kilometres away in Sweden, I’m struggling to piece together this distant and yet extremely close picture. The fragmented scene emerges: two mosques in Christchurch, one of our biggest cities, a white supremacist opens fire on worshippers while claiming to rid the country of “intruders”.

Halfway around the world in another time zone, I cling to scraps of information. All I can think to do is reach for my phone. My cousin sends me a message on Instagram with one word: “awful”. Looking at my feed, I’m instantly confused. It’s flooded with stylised images of New Zealand flags, and what seems like an endless stream of pink hearts, all proclaiming #PrayForNZ and ‘Christchurch’. The images are so familiar to me, eerily identical to those shared after the Manchester attack, almost two years earlier. more...

Miquela Sousa is one of the hottest influencers on Instagram. The triple-threat model, actress and singer, better known as “Lil Miquela” to her million-plus followers, has captured the attention of elite fashion labels, lifestyle brands, magazine profiles, and YouTube celebrities. Last year, she sported Prada at New York Fashion Week, and in 2016 she appeared in Vogue as the face of a Louis Vuitton advertising campaign. Her debut single, “Not Mine,” has been streamed over one million times on Spotify and was even treated to an Anamanaguchi remix.

Miquela isn’t human. As The Cut wrote in their Miquela profile this past May, the 19-year-old Brazilian-American influencer is a CGI character created by Brud, “a mysterious L.A.-based start-up of ‘engineers, storytellers, and dreamers’ who claim to specialize in artificial intelligence and robotics,” which has received at least $6 million in funding. Brud call themselves storytellers as well as developers, but their work seems mostly to be marketing. Lil Miquela’s artificiality has made her interesting to elite fashion labels, lifestyle brands, and magazine profiles — she’s appeared on the runway for Prada, and in Vogue as part of a Louis Vuitton advertising campaign; recently, the writer Naomi Fry profiled her for the magazine’s September issue.

Miquela inhabits a Marvel-like universe of other Brud-made avatars orbit, including her Trump-loving frenemy, Bermuda, and Blawko, her brother (whether that’s a term of endearment or a genetic relation, it’s not clear). The three are constantly embroiled in juicy internet drama, and scarcely does one post to their account without tagging, promoting, shouting out or calling out another. In April, when Bermuda allegedly hacked Miquela’s account, deleted all her photos, and demanded Miquela reveal her “true self.” Miquela eventually released a statement: “I am not a human being. . . I’m a robot. It just doesn’t sound right. I feel so human. I cry and I laugh and I dream. I fall in love.” But the character wasn’t revealing anything true: Miquela is a character scripted by humans. The robot ruse only upped her intrigue: not only has it added a new layer to the character’s fiction, it has added a new layer of fictional possibilities. more...

I recently started a podcast called The Peepshow Podcast with Jessie Sage, and we recorded an interview with Kashmir Hill that may be of interest to Cyborgology readers.

Hill (@kashhill) is an investigative reporter with Gizmodo Media Group. She recently wrote an article on how Facebook’s “People You May Know” feature outs sex workers. We discuss the ways Facebook/Instagram algorithms may put marginalized people (sex workers, queer youth, domestic abuse survivors, etc.) at risk as well as possible ways of safeguarding users’ identities.

(You can find the uploaded contacts feature mentioned in this segment here.)

The Instagram interface is changing so quickly and subtly all at once. For one, the app store on my iPhone constantly invites me to manually update my Instagram app in order to make those unsightly red notification bubbles go away. But the design tweaks and new features that are introduced each time come in small, user-friendly batches that I also learn to keep up and adapt.

In fact, although I was among the earliest adopters of Instagram in Singapore, where I have been conducting research on Influencers and internet celebrities since 2010, I don’t even recall what the original Instagram interface looked like. Do you? But perhaps the most logical explanation for the seamless uptake of each Instagram update is that the platform is merely institutionalizing into officialdom practices that have been creatively innovated and adapted by its users. The latest of these is Instagram’s multiple account prompt. more...

The lies told to artists mirror the lies told to women: Be good enough, be pretty enough, and that guy or gallery will sweep you off your feet… But make the first move, seize your destiny, and you’re a whore.

– Molly Crabapple, Drawing Blood

The question of how to handle adult content is difficult and unavoidable for any social media platform. Sites that host adult content usually find it very hard to get adult backlinks since not many sites are interested and some are even indifferent towards the adult industry.  The complexity of the issue is such that companies’ responses are all over the map. Before talking about what companies lose out on when they ban adult content, it’s probably helpful to look at where the largest social media platforms stand on the issue. more...

Last month, Instagram decided to introduce “Stories“. Admittedly a copy of Snapchat’s Stories, Instagram writes:

With Instagram Stories, you don’t have to worry about overposting. Instead, you can share as much as you want throughout the day — with as much creativity as you want. […]

Instagram has always been a place to share the moments you want to remember. Now you can share your highlights and everything in between, too.

This signals two things to me:

1) The curation rhetoric of Instagram as a regulated repository with optimum posting times and frequencies to maximize viewer perception is being acknowledged. Instagram wants us to break out of this normative practice popularized by its top Influencer Instagrammers so that more content will be shared more frequently.

2) The curation rhetoric of Instagram as a highlight reel for only one’s “best images” is being acknowledged. Instagram wants us to contentdump on its platform instead of cross-platforming (over to Snapchat!) to post our mass of “non-Insta worthy” frivolous content.

I have some thoughts.

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A terror attack takes place.
A large protest breaks out.
A natural disaster occurs.
A prominent public figure dies.

In the earliest minutes, while news networks are scrambling to give the event a name, vernacular users on Instagram offer a flurry of hashtagged tributes with text post prayers, stock photography, and artful homages.

Soon, a primary hashtag and emblem for the event emerges: The yellow umbrella for #OccupyCentral, the Monumen Nasional for #KamiTidakTakut, the Eiffel Tower for #PorteOuverte, silhouettes of the late Mr Lee Kuan Yew for #PrayForLKY.

Yet, alongside these consolations are Instagram users who attempt to appropriate the attention current of these trending channels for self-publicity, flooding dedicated hashtags with scarcely relevant selfies, outfit of the day shots, wares for sale, and redirected links.

How do we make sense of this?

It’s been an agonising series of weeks after a string of grievous events in various parts of the world. I have been tracing vernacular responses to global grieving events on Instagram since 2014, and some of the case studies are archived here.

However, of late, global tributes on trending hashtags have been featuring a more prominent disdain for, rejection of, and critique on public grieving in memes and “thoughts & prayers” en masse.

In this post, I trace the various global grieving hashtags on Instagram and mull over the presentation of grief in public digital spaces.

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Towards the beginning of Italo Calvino’s novel Invisible Cities, Marco Polo sits with Kublai Khan and tries to describe the city of Zaira. To do this, Marco Polo could trace the city as it exists in that moment, noting its geometries and materials. But, such a description “would be the same as telling (Kublai) nothing.” Marco Polo explains, “The city does not consist of this, but of relationships between the measurements of its space and the events of its past: the height of a lamppost and the distance from the ground of a hanged usurper’s swaying feet.” This same city exists by a different name in Teju Cole’s novel, Open City. It’s protagonist, Julius, wanders through New York City, mapping his world in terms reminiscent of Marco Polo’s. One day, Julius happens upon the African Burial Ground National Monument. Here, in the heart of downtown Manhattan, Julius measures the distance between his place and the events of its past: “It was here, on the outskirts of the city at the time, north of Wall Street and so outside civilization as it was then defined, that blacks were allowed to bury their dead. Then the dead returned when, in 1991, construction of a building on Broadway and Duane brought human remains to the surface.” The lamppost and the hanged usurper, the federal buildings and the buried enslaved: these are the relationships, obscured and rarely recoverable though they are, on which our cities stand. more...

Two weeks ago Zel McCarthy published a story in Thump about a mysterious infographic that’s been making the rounds lately. The infographic purports to show which drugs are popular at various music festivals by scraping Instagram for references to different drugs and certified cbd. The consumers of the Maeng Da variant have reviewed it repeatedly that the consumption of this medicine has improved their ability to concentrate on their work and their tasks hence increasing their efficiency, redirected here if you want to read this post. Scientific research elaborates that it has a direct effect on the cerebral system of the body making it a brain drug or a mental enhancement medicine that can be used as a supplement in small amounts to improve the ability to work and to concentrate more on the work. Anyone that knows a thing or two about research design would already raise an eyebrow but it gets worse.If you need Telescoping flagpole for festival  you can visit here. According to McCarthy:
This intentionally-opaque study was conducted and assembled by a Florida-based content marketing agency Fractl, which works regularly with DrugAbuse.com. While at first glance the site appears to be a credible resource for those struggling with addiction and abuse issues, it’s actually a redirect for for-profit rehab and addiction centers, mainly ones that bankrolls the site. Here are 11 things to look in an addiction treatment program. To help dig deep into the issues of research design, online performativity, and substance use I sat down over Skype with Ingmar Gorman, a clinical psychologist at the New School for Social Research who was quoted in the Thump article saying that this “study” was not only poorly constructed, it was also indicative of an archaic, “moralistic approach” to substance abuse research. What follows is edited to make us both sound more articulate. You can listen to the whole interview (warts and all), using the SoundCloud embed at the end of the interview. The recording, along with the sound of a computer fan and me saying “uhh” a lot, also includes something I’ll call “bonus content” about a study that used the Watson supercomputer to tell if someone was on psychedelics. Enjoy. more...

There’s a song from the musical Avenue Q that famously proclaims, “The Internet is For Porn”—but really, anyone who’s been paying attention to the post-“Web 2.0” era knows that isn’t true.

These days, the Internet is for cats.

Furthermore, I propose this corollary: Smartphones are for documenting cats. Whether through T. gondii or through their unrivaled documentability, cats actually rule the world. Cat people know this, and anyone who’s ever spent time with cats knows that cats know this. Rewrite the song: The Internet is For Cats.

My cat, however, is not a fan of the Internet. more...