Presidential Debates: The Social Medium is the Message

This post originally appeared on Cyborgology – read and comment on the post here.

Presidential debates might be the single political event where Marshall McLuhan’s infamous phrase “the medium is the message” rings most true. Candidates know well that content takes the back seat, perhaps even stuffed in the trunk, during these hyper-performative news events. The video above of McLuhan on the Today show analyzing a Ford-Carter debate from 1976 is well worth a watch. The professor’s points still ring provocative this morning after the first Obama-Romney debate of 2012; a debate that treated the Twitter-prosumer as a television-consumer and thoroughly failed the social medium. 

Learning to Value Missing Out

This post originally appeared on Cyborgology – read and comment on the post here.

dont read all of the tweets

There is often the assumption that the information economy expects us to consume more and more, leading us to process more but concentrate less. Some have called this a “fear of missing out” (or FOMO), a “blend of anxiety, inadequacy and irritation that can flare up while skimming social media.” However, most of these arguments about FOMO make the false assumption that the information economy wants and expects us to always process more. This isn’t true; we need to accept the reality that the information economy as well as our own preferences actually value, even need, missing out.

Many do feel in over their heads when scrolling social media streams. Especially those of us who make a hobby or career in the attention/information economy, always reading, sharing, commenting and writing; tweeting, blogging, retweeting and reblogging. Many of us do feel positioned directly in the path of a growing avalanche of information, scared of missing out and afraid of losing our ability to slow down, concentrate, connect and daydream, too distracted by that growing list of unread tweets. While it seemed fun and harmless (Tribble-like?) at first, have we found ourselves drowning in the information streams we signed up for and participate in?

Living Pictures? Lytro’s Photos Are Barely Alive

This was originally posted at Cyborgology – click here to view the original post and to read/write comments.

screenshot of a living photo - click to view it come "alive"

I wanted the photo above to be an example of the new so-called “living pictures” that have garnered much recent attention. However, Lytro has not provided proper embedding code so I can only post this screenshot of a living photo. I highly recommend clicking on the photo or clicking here before reading along.

Okay, by now you have experienced a living photo. You see it, but you can also make it come alive; touch it, change the focus, reorient what is seen and focused on. Some might even argue that you get to decide the meaning of the story the image tells. This post asks: what would it mean if we start posting living pictures across social media? Might it change how we take photos? How might we differently interact with social media photography when we can manipulate the faces of our friends and engage with the images in a new way?

It has been my contention that photography can teach us quite a bit about social media. Not just because there are so many photos online but because photography serves as a familiar and grounding reference point to the newness of social media. Photography situates the novel and sometimes disorienting ways we are documenting ourselves online with a technology that did the same offline more than a century ago.

I have written about Susan Sontag’s description of photographers being always at once poets and scribes when taking photos to describe how we create our social media profiles in a similar way. I have used the concept of the “camera eye” photographers develop to discuss how social media has imbued us with a similar “documentary vision.” I also described how the explosion of faux-vintage photos taken with Hipstamatic and Instagram serve as a powerful example of how social media has trained us to be nostalgic for the present in a grasp at authenticity.

Here, I want to discuss what many are calling “revolutionary” and the next “big thing” in photography: the so-called living pictures linked to above developed by the Lytro company that have just entered the consumer market with cameras shipping early next year.

Lytro “Living Picture” Technology

This is not an essay so much about the technology but instead the implications of

Faux-Vintage Afghanistan and the Nostalgia for War

This was originally posted at my blog Cyborgology – click here to view the original post and to read/write comments.

The recent and popular Hipstamatic war photos depict contemporary soldiers, battlefields and civilian turmoil as reminiscent of wars long since passed. War photos move us by depicting human drama taken to its extreme, and these images, shot with a smartphone and “filtered” to look old, create a sense of simulated nostalgia, further tugging at our collective heart strings. And I think that these photos reveal much more.

Hipstamatic war photographs ran on the front page of the New York Times [the full set] last November, and, of course, fake-vintage photos of everyday life are filling our Facebook, Tumblr and Twitter streams. I recently analyzed this trend ina long essay called The Faux-Vintage Photo, which is generating a terrific response. I argue that we like faux-vintage photographs because they provide a “nostalgia for the present”; our lives in the present can be seen as like the past: more important and real in a grasp for authenticity.

If faux-vintage photography is rooted in authenticity, then what is more real than war? If the proliferation of Hipstamatic photographs has anything to do with a reaction to our increasingly plastic, simulated, Disneyfied and McDonaldized worlds, then what is more gritty than Afghanistan in conflict? In a moment where there is a shortage of and a demand for authenticity (the gentrification of inner-cities, “decay porn” and so on), war may serve as the last and perhaps ultimate bastion of authenticity. However, as I will argue below, war itself is in a crisis of authenticity, creating rich potential for its faux-vintage documentation.

Life Becomes Picturesque: Facebook and the Claude Glass

This was originally posted at my blog Cyborgology – click here to view the original post and to read/write comments.

I have been thinking through ideas on this blog for my dissertation project about how we document ourselves on social media. I recently posted some thoughts on rethinking privacy and publicity and I posted an earlier long essay on the rise of faux-vintage Hipstamatic and Instagram photos. There, I discussed the “camera eye” as a metaphor for how we are being trained to view our present as always its potential documentation in the form of a tweet, photo, status update, etc. (what I call “documentary vision”). The photographer knows well that after taking many pictures one’s eye becomes like the viewfinder: always viewing the world through the logic of the camera mechanism via framing, lighting, depth of field, focus, movement and so on. Even without the camera in hand the world becomes transformed into the status of the potential-photograph. And with social media we have become like the photographer: our brains always looking for moments where the ephemeral blur of lived experience might best be translated into its documented form.

I would like to expand on this point by going back a little further in the history of documentation technologies to the 17^th century Claude glass (pictured above) to provide insight into how we position ourselves to the world around us in the age of social media.