Twitter

The best way I can describe the experience of summer 2019-2020 in Australia is with a single word: exhausting. We have been on fire for months. There are immediate threats in progress and new ones at the ready. Our air quality levels dip in and out of hazardous, more often in the former category than the latter. This has been challenging for everyone. For many, mere exhaustion may feel like a luxury.

In the trenches of the ongoing fires are the Australian emergency service workers, especially the “fireys,” who have been tireless in their efforts to save homes, people, and wildlife. While the primary and most visible part of their  work is the relentless job of managing fires, there is also a secondary–though critical–task of public communication, keeping people informed and providing material for anxious-refreshers looking for information about “fires near me.”  In the last few days, as fires have approached the Canberra suburbs where I live, an interesting variant of public safety communication has emerged: Instagramable photography. more...

An analysis of how human beings engage with a given artefact likely draws from a fundamental premise: human creations demonstrate social-material consequences. This observation does not purport to indicate a probable condition, but rather an ineluctable one—and it holds relevance, always and everywhere, for all types of artefacts. This is true of artefacts demonstrating utilitarian salience—like a spear, scythe, wrench, pencil, microwave, motor vehicle, computer, etc.—and those ostensibly centring on more aesthetic functions—like a painting, sonnet, concert, novel, play or even a television programme.

For the following argument, I discuss how a particular television series, Doctor Who, demonstrates social-material consequences for a community of fans, the Whovians. Following the recent premier of Season Eleven, many excited Whovians took to Twitter in collective celebration of Jodie Whittaker, the first woman to play the show’s leading character, The Doctor.  After 55 years of men in the role, Whittaker’ casting had clear symbolic importance. But it had social-material significance, too. One Twitter comment comes to my mind as an exemplary indication of such significance.

A father tweets, “My daughter (6) told me they were playing  #DoctorWho… in the playground today and she was the Doctor – that’s why last night was brilliant.” Recognizing that the child’s pretending to be the Doctor is to envision herself as the hero, we may acknowledge that she not only enacted a role of social importance, but also felt it was appropriate and desirable to do so. In other words, we confront the affective (and thereby material) implications of her having a woman role model to serve as fodder for her imagined (and real life) ambitions. Pretending to be the Doctor, this child may envision herself as not only competent, but exceptional. While playing, she perhaps recited that now iconic line from The Woman Who Fell to Earth, “When people need help, I never refuse!”   more...

Humor is central to internet culture. Through imagery, text, snark and stickers, funny content holds strong cultural currency.  In a competitive attention economy, LOLs are a hot commodity. But just because internet culture values a laugh it doesn’t preclude serious forms of digitally mediated communication nor consideration of consequential subject matter. In contrast, the silly and serious can—and do—imbricate in a single utterance.

The merging of serious and silly becomes abundantly evident in recent big data analyses of political communication on social media. Studies show that parody accounts, memes, gifs and other funny content garner disproportionate attention during political news events. John Hartley refers to this phenomenon as ‘silly citizenship’ while Tim Highfield evokes an ‘irreverent internet’. This silliness and irreverence in digitally mediated politics means that contemporary political discourse employs humor as a participatory norm. What remains unclear, however, is what people are doing with their political humor.  Is humor a vehicle for meaningful political communication, or are politics just raw material for funny content?  My co-authors and I (Tony Love (@tonyplove) and Gemma Killen (@gemkillen)) addressed this question in a paper published last week in New Media & Society. 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...

The presence of white nationalism has been well explored in the run-up to this election, with the alt-right breaking onto the global stage of mainstream media publications. Yet there has been little consideration of the theory of ‘white genocide’ – a recent George Washington study on the Twitter lives of white nationalism and ISIS found that in the case of both Nazis and other white nationalists, white genocide was the 10th most popular hashtag. Whilst it seems unusual for white nationalists and neo-Nazis to place themselves in the position of weakness, the concept of white genocide is not new. Its dissemination, however, reveals the disturbing dangers of the narrative conventions of the hashtag. more...

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On the second day of Rosh Hashanah, the rabbi at my synagogue gave a sermon about four themes, all of which he felt needed addressing when there was a larger crowd than usual (though, it should be noted, the sanctuary was sparsely filled, especially compared to the SRO crowd the day before): racism, sexism, anti-semitism, and “the war on science.” As he recited off his list, the first three items made perfect sense to me; I was even proud to hear him cover current events like the Black Lives Matter movement and Donald Trump’s misogyny and how they are understood within Jewish tradition (hint: the first one’s good, the second one’s bad). That fourth item, though, piqued my curiosity a bit.

Since when did a war on science begin? Is it like the ill-fated War on Drugs? Or the ill-fated War on Terror? Or the ill-fated War on Poverty?

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It feels good / To know that you really care
It feels good / To know that I can relax when I’m with you
It feels good / To know that I can be by your side
– “Feels Good” – TONY! TONI! TONE! 

Some time ago, absentmindedly tweeting about the woeful state of higher education, I received a notification that one of my tweets was liked. This being somewhat rare, I excitedly went to check out who it was from, only to find that it was one of the institutions I was directly critiquing. If they had actually read the tweets I’m sure they wouldn’t have actually ‘liked’ them, so what gives?

This isn’t the first time something like this has happened to me. Periodically, as I’m sure many of us do, I get likes, follows, and retweets that seem incongruous with the content of my posts. Some are a result of Twitter users actively seeking to aggregate info, gain followers, and increase their social media presence. Others are fully automated Twitter bots.

Twitter bots, for the uninitiated, are pieces of software that use automated scripts to crawl the Twitterverse in search of particular words or phrases, to follow, like, or retweet others. In 2014 Twitter revealed that as many as 8.5% of its active accounts were likely bots. Beyond mere annoyance at the lack of a human interlocutor behind a ‘like’ or ‘follow,’ however, why care about the presence of Twitter bots or the use of algorithms to harness the power of social media?

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The case of sociologist Zandria Robinson, formerly of the University of Memphis and now teaching at Rhodes College, has a lot to say about the affordances of Twitter. But more than this, it says a lot about the intersection of communication technologies and relations of power.

Following the Charleston shooting, Robinson tapped out several 140 character snippets rooted in critical race theory. Critical race theory recognizes racism as interwoven into the very fabric of social life, locates racism within culture and institutions, and insists upon naming the oppressor (white people). more...

Twitter and Dove have teamed up in a new campaign to combat criticisms of women’s bodies on social media. The #SpeakBeautiful campaign, which kicked off with a short video (shown above) during the pre-show of this year’s Academy Awards, cites the staggering statistic that women produced over 5 million negative body image Tweets last year. The campaign implores women to stop this, to focus on what is beautiful about each of us, and bring our collective beauty to the fore. Set to musical crescendo and the image of falling dominos, this message is both powerful and persuasive. more...

Paul Budnitz describes himself as a “serial entrepreneur” having created other companies that make artisanal toys and luxury bicycles. This is not the typical road bike most people have. He’s also the creator/founder/president/charismatic leader of Ello. And when a social network launches with a manifesto that proudly proclaims “You are not a product”, there’s more on the line than embedded video support. Despite the radical overtures of the initial launch, we shouldn’t expect any more from Ello than we would from a luxury bicycle. more...