Sharing, oversharing and selfies: Notes from a lecture

What are we doing online? How did we become the sharing group that we are today? And what are the implications of this change? These were the questions that we addressed today in class.

Social Media Timline 2014To begin with we began the discussion of what online safety looked like in the early 2000. The basic idea was that you should never put your real name, address, image, age or gender online. Bad things happened if you shared this openly online and the media joyously reported on the horrors of online life.

By the time Facebook came along everything changed. Real names and huge amounts of real information became the norm. Then we got cameras on phones (not an inevitable progression) so when we added smartphones to the mix, sharing exploded.

Sherry Turkle was one of the most prominent researchers involved in the early days of Internet life. In 1995 her book Life on the Screen was optimistic about the potential impact of technology and the way we could live our lives online. Following the development of social media, Turkle published a less positive perspective on technology in 2011 called “Alone Together: Why We Expect More from Technology and Less from Each Other”. In this work she is more concerned about the negative impact of internet connected mobile digital devices on our lives.

In a discussion of her work I took some key quotes from her Ted Talk on her Alone Together book.

The illusion of companionship without the demands of friendship…

Being alone feels like a problem that needs to be solved…

I share therefore I am… Before it was; I have a feeling, I want to make a call. Now it’s; I want to have a feeling, I need to send a text…

If we don’t teach our children to be alone, they will only know how to be lonely

The discussions in class around these quotes were ambivalent. Yes, there was a level of recognition in the ways in which technology was being portrayed but there was also a skepticism about the very negative image of technology.

Then there was the fact, that she mentions in her talk, that she was no longer just a young researcher, she was now the mother of teenagers. She looked at their use of technology and despaired. What did this mean? Was there a growing technophobia coming with age? Was her fear and generalization a nostalgic memory of the past that never was?

The Douglas Adams quote from Salmon of Doubt felt appropriate:

Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works. Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it. Anything invented after you’re thirty-five is against the natural order of things.

So is that what’s happening here? Is it just that technology has moved and to a point where the researcher feels they are “against the natural order of things”? A fruitful discussion was had.

From this point we moved the discussion over to the process of sharing. The ways in which – no matter what you think – technology has changed our behavior. One example of this is the way in which we feel the need to document things that happen around us on a level which we were unable to do before.

The key question is whether we are changing, and if so, whether technology is driving this change. Of course all our behavior is not a direct result of our technology. For example the claims that we are stuck in our devices and anti-social can be countered with images such as these

kubrick-subway-newspapersCommuters on trains were rarely sociable and talkative with each other and therefore they needed a distraction. Newspapers were a practical medium at the time and now they are being replaced by other mediums.

However, the key feature about social media may not be what we consume but it’s the fact that we are participating and creating the content (hence the term User generated content).

What we share and how we share has become a huge area of study and parody. The video below is a great example of this. Part of what is interesting is the fact that most who watch it feel a sting of recognition. We are all guilty of sharing in this way.

This sharing has raised concerns about our new lifestyles and where we are headed. One example of this techno-concern (or techno-pessimism) can be seen in the spoken poem Look Up by Gary Turk

Of course this is one point of view and it wouldn’t be social media if this wasn’t met up with another point of view. There are several responses to Look Up, my favorite is “Look Down (Look Up Parody)” by JianHao Tan.

From this point I moved to a discussion on a more specific form of sharing: The Selfie. The first thing to remember is that the selfie is not a new phenomenon. We have been creating selfies since we first learned to paint. Check out the awesome self portrait by Gustave Courbet.

Gustave_Courbet_-_Le_DésespéréBut of course, without our camera phones we would not be able to follow the impulse to photograph ourselves. Without our internet connections we would not have the ability to impulsively share. These things are aided by technology.

The Telegraph has an excellent short video introduction to the selfie and includes some of the most famous/infamous examples

In preparation of this class I had asked the students to email me a selfie (this was voluntary) and at this stage I showed them their own pictures (and my own selfie of course). The purpose of this was to situate the discussion of the selfie in their own images and not in an abstract ideology.

We discussed the idea of a selfie aesthetic the way in which the way in which we take pictures is learned and then we learn what is and is not acceptable to share. All this is a process of socialization into the communication of selfies.

Questions we discussed were:
– Why did you take that image?
– Why did you take it that way?
– Why did you share it?
– What was being communicated?

Then we moved to the limits of selfie sharing. What was permissible and not permissible. Naturally, this is all created and controlled in different social circles. We discussed the belfie as one possible outer limit for permissable communication.

But the belfie could be seen as tame compared to the funeral selfie a subgenre which has its own tumblr.

However, the selfie that sparked the most discussion was the Auschwitz Selfie which created a twitter storm when it was fist posted and continues to raise questions of what can and should be communicated and the manner in which it should be communicated.

The whole “selfie as communication” creates new ways of communication and innovation. One such example is the picture of a group of Brazilian politicians purported to be creating a selfie. brazilian politicians selfieThis is cool because the politicians want to be current and modern and therefore try to do what everyone is doing. They are following the selfie aesthetic which in itself has become a form of accepted communication online.

Here are the slides I used (I have taken out the student selfies)

Peering into private homes

The photographer Arne Svenson has an amazing series of photographs. What he has done is photographed his neighbors in the building opposite from where he lives in New York. Using a 500mm lens he peered through the glass-faced building and took some amazing shots.

The result is a series of images called The Neighbors. They are very personal images into peoples private lives but – from what I’ve seen online – none of the images clearly identify anyone. On the artist’s site this is how the photographs are explained:

The grid structure of the windows frame the quotidian activities of the neighbors, forming images which are puzzling, endearing, theatrical and often seem to mimic art history, from Delacroix to Vermeer. The Neighbors is social documentation in a very rarified environment. The large color prints have been cropped to various orientations and sizes to condense and focus the action.

The Guardian has a quote from Svenson about his work:

“I don’t photograph anything salacious or demeaning,” is Svenson’s stock retort when pressed on his work’s morality. “I am not photographing the residents as specific, identifiable individuals, but as representations of humankind.”

Despite this, two neighbors sued Svenson after having spotting their children among the subjects. Yet a court ruled this month that Svenson’s actions were defensible under the First Amendment’s guarantee of free speech, and that such art needs no consent to be made or sold.

The interesting thing is that Svenson seems to express a clear ethical boundary. He is taking photographs of people, without their consent, inside their homes and making them public. And yet he does draw the line at making individuals identifiable.

Runes and churches from the RAÄ

Another selection of photographs from the Swedish National Heritage Board have gone online at Flickr Commons. The latest batch (20 images to begin with) are photographs of churches and ancient monuments and the Heritage Board hopes that these images will both be appreciated by the public and that the public will contribute with information about the images as well as tagging and commenting them.

How about a nice rune?

Runic inscription (U 308) on a rock at Ekeby, north-west of Skånela Church.

The inscription says: “Gunne had these runes carved to his memory, while he was alive. Torgöt carved these runes.” – is this the twitter of the past?

Commenting on their selection the National Heritage Board write on their blog:

We on the Flickr Commons team at the National Heritage Board think that these plain and sometimes even a bit anonymous pictures have  something to tell us about the Swedish Cultural Heritage – not in a glamorous or fanciful, but in an honest way. Some of the photographs are taken by scientists or devoted scholars with the purpose to document. Some of the photographers are unknown to us.

We hope these photos will raise an interest in Old Time Sweden with its people, churches and ancient monuments. Welcome to share a part of our Heritage!

Who took that? Finding images online

Since browsing began I have been collecting images I have found online. Everything from humor to teaching material has ended up being stored and transferred between computers. Since hard disks keep getting bigger this has never been a problem. Unfortunately there is a problem when I want to use the images I have found – legally. In many situations the photographer is unknown. Sometimes, but very rarely, the image filename includes a clue to the photographers identity.

For photographers the problem is related but different. It is important for them to be able to find out where and who is using their photographs without permission.

One solution many of us have been waiting for is image search engines. The idea is that you upload an image that is then searched for on the whole web. It’s google images but using an image as a search term. The closest example of this today is the search engine Tineye but it needs to be developed. It now has a limited database of about 1.2 billion images (Facebook, Photobucket and Flickr alone combine for over 18 billion images).

But Plagiarism Today reports some good news in this area. Corrigon is a new version of this image search. You upload images to Corrigon these are added to their database while the service then crawls the Web, looking for matching images.

What makes Corrigon unusual is that it doesn’t store the images, but rather, fingerprints them and compares the fingerprint against other matches it finds on the Web. This is very similar to what C-registry.us is doing with its matching technology. However, where C-Registry is more geared toward preventing works from becoming orphans, Corrigon is more about image search (though C-Registry has added image search)

So there is some slow progress in this area. Maybe someone at google will come along and develop a simple, elegant and easily available service as a complement to the basic search.

A variation to this problem is the mass of images I take myself. Here the problem is not that I am unable to use my own pictures but rather that I cannot find the one image I know I am looking for. It’s there somewhere but with so many thousands of images it may as well be lost forever. Don’t know how this could be resolved without a massive identifying and tagging effort on my part.

Should photography lectures be censored?

Photography lecturer Simon Burgess teaches photography at East Surrey College. During the course in Higher National Diploma in Digital Photography he displayed photographs by the controversial photographer Del LaGrace Volcano. Apparently one or more of the second year students were less than impressed and have complained to the college. (British Journal of Photography)

Burgess has been called to a hearing to defend his actions and in the worst case he may be fired. The college told the British Journal of Photography: “Until the facts are raised in a hearing, we cannot comment about staff-related actions.”

It is good that the college wants to know the facts before discussing the problem with the media. BUT. The ability of students to complain about content is becoming strange. Should the lecturer teach what is important for students to learn or should the lecturer limit him/her self to teaching that which does not offend? This would, or should, our ability to teach to a very narrow set of subjects.

Del LaGrace Volcano may be controversial (see quote below) but this cannot in itself be a reason for complaint. It is a dangerous precedent when lecturers are asked to limit themselves to that which is acceptable – for the question is: acceptable to whom? The students are there to be educated, so in theory they should be less knowledgeable. Maybe they need their minds expanded?

As a gender variant visual artist I access ‘technologies of gender’ in order to amplify rather than erase the hermaphroditic traces of my body. I name myself. A gender abolitionist. A part time gender terrorist. An intentional mutation and intersex by design, (as opposed to diagnosis), in order to distinguish my journey from the thousands of intersex individuals who have had their ‘ambiguous’ bodies mutilated and disfigured in a misguided attempt at ‘normalization’. I believe in crossing the line as many times as it takes to build a bridge we can all walk across.

September 2005

Support for Burgess is growing, Dr Eugenie Shinkle, a senior lecturer in photographic theory and criticism at the University of Westminster’s school of media, arts and design writes (The Sauce):

Management are claiming it is pornography, salacious, grotesque, worthless and not relevant to, or appropriate for 2nd year level three photography students preparing for higher study. Apart from being censorious, backward, and homophobic, management’s stance displays a remarkable ignorance of contemporary debates and image-making strategies. This is a serious matter that has implications for all academics, teachers, and students.

I really hope that the college has the backbone to realize what it it there for and to support their lecturer.

No twittering in court

A post on Slashdot this morning dealt with a juror who posted twitter comments about a trial (while it was in progress) and the effects of this may be to declare the trial a mistrial.

“Russell Wright and his construction company, Stoam Holdings, recently lost a $12 million dollar lawsuit brought by investors. But lawyers for the firm have complained that juror Johnathan Powell’s Twitter comments broke rules when discussing the civil case with the public. The arguments in this dispute center on two points. Powell insists (and the evidence appears to back him up) that he did not make any pertinent updates until after the verdict was given; if that’s the case, the objection would presumably be thrown out. If Powell did post updates during the trial, the judge must decide whether he was actively discussing the case. Powell says he only posted messages and did not read any replies. Intriguingly, the lawyers for Stoam Holding are not arguing so much that other people directly influenced Powell’s judgment, rather that he might have felt a need to agree to a spectacular verdict to impress the people reading his posts.”

This is an interesting example of the way in which new technology practice is clashing with established rules and ideas. During the recent Pirate Bay trial in Stockholm there was a vertible information orgy with live audio feed, spectators twittering from within (and outside) the courtroom and live bloggers en masse – in addition to traditional media channels. Yet the interesting thing was that the audio tape picked up the judge telling individuals in the courtroom that no pictures could be taken. On a least two occaissions the judge asked whether a laptop and a phone was being used to film the proceedings.

Everybody was filmed, photographed and interviewed entering and leaving the courtroom. All the participants were activly seen courting and presenting their cases to the media on the courtroom steps – but no photographs in the courtroom.

When a witness who was to be heard at a later date was discovered in the audience he was asked to leave. Before leaving he asked whether he was allowed to listen to the radio. The judge understood the futility of the rules when he replied – well you cannot stay in here.

The “no images” rule in Sweden or the no communicating in the US are rules which need to be explained logically to the participants. Naturally the principles of justice and equality must be upheld and should not need to be questioned at every turn…

On the joy of reuse

Mike Linksvayer has written a post on the Creative Commons blog on the joy of having other people find and reuse material. And I agree. So ok I am a hobby photographer and like so many of us I take good and bad pictures and post them online. Well to be fair a large group of hobby photographers take brilliant photographs and post them online.

The fun part is that lots of my photographs have been used to illustrate stuff online on blogs (sweet things to say & your monkey called), discussion forums, encyclopedia (construmatica) and even as a title photo for a group on library thing. Some don’t get the whole attribution thing but most do and it is really a kick looking up photo’s that I have taken and finding them somewhere unexpected – sometimes on sites in languages I don’t understand.

For me it’s not about the mass recognition (well ok I admit it would be fun) but it’s about the everyday use all over the place that gives my work with the camera an extra kick.

Pointing a camera at the police

The United Kingdom is going totally bananas in it’s misguided battle against terror. For a long time they have been hounding photographers with very bad results for the countries image but hardly preventing any crime or terror. But this next step is absolutely misguided.

Basically it’s an amendment to the the Counter-Terrorism Act 2008 that will have the result of criminalizing, amongst other things, the photographing of a police officer. Here is a quote from the British Journal of Photography:

Set to become law on 16 February, the Counter-Terrorism Act 2008 amends the Terrorism Act 2000 regarding offences relating to information about members of armed forces, a member of the intelligence services, or a police officer.

The new set of rules, under section 76 of the 2008 Act and section 58A of the 2000 Act, will target anyone who ‘elicits or attempts to elicit information about (members of armed forces) … which is of a kind likely to be useful to a person committing or preparing an act of terrorism’.

A person found guilty of this offence could be liable to imprisonment for up to 10 years, and to a fine.

Now we have all seen silly laws before but can you even begin to imagine who could sit down and think this is a good idea? I think almost any tourist to London could look through their snaps and find a picture of a bobby with the distinctive helmet. Also this law will be used to prevent civilians taking photographs of police abuse. Imagine the effect if the reporters who took the Rodney King video faced ten years in jail?

This is a serious blow against civil rights and individual freedom – not a step towards ending terrorism.

Photographic film and social change

While in Vienna I saw the surprising and nostalgic sight of two tourists helping each other to change a role of film in their camera. The development of film has been superseeded by digital cameras which themselves are losing to mobile phone cameras. Mobile phone cameras are digital cameras but the camera as an artefact is slowly disappearing. Another thing that happened in Vienna was that I browsed a collegues photographs of the art she had seen over the last year all stored in her mobile phone – no need for a camera here.

The demise of photographic film is a fascinating story beginning way back in 1876 when Hurter and Driffield experimetnted with light sensitivity of film. Naturally early photography did not use rolls of film which I have pangs of nostalgia for but the early daguerreotypes used tricky glass plates consisting of polished silver surfaces coated silver halide particles deposited by iodine vapor (wikipedia).

Eastman Kodak changed all this in 1885 with the first flexible photographic film. This breakthrough made cameras cheaper, easier to use, lighter to carry and the era of snapshot photography was launched. Now the photographer could easily carry a camera and use it on people who did not have to be standing still. The privacy implications launched a major discussion into the nature of privacy in relation to technology. The seminal article in the privacy field is The Right to Privacy by Warren and Brandeis (1890), is still widely quoted.

The move from the heavy and complex equipment to the small, cheap and portable devices show how changes in base technology affect social change. The ubiquitous holiday snaps are a product of these developments. Now that this phase is going to its grave, being overtaken by digital photography, we see new developments. More photographs are being taken and (maybe) saved but there also seems to be an issue of accessibility and use.

If the pictures are not online do we ever look at them?

The ethics of stealth photography

Taking pictures of unkonwn people is always tricky. Even if the law in Sweden allows public photography it always feels like an invasion of privacy to point a lens at someone. So first when I saw this strange periscope lens it made perfect sense.

Super Secret Spy Camera

So a periscope lens would prevent the photographer from being spotted. But using a periscope to take photographs actually seems even worse than pointing an ordinary lens on people. Ah, what an ethical dilemma…