Profiting off another ‘lonely girl'

This week Monday’s MediaGuardian interviewed Joanna Shields the new commercial ‘driver’ of SNS Bebo – a woman now set to launch her own Social Networking-‘angst’ phenomenon. In the wake (quite literally in light of recent events) of lonelygirl15’s death on the SNS YouTube Shields, along with lonelygirls15 creators, is set to help to launch ‘Kate Modern’; the days, life and times of a fictional struggling arts student.

In The Guardian interview Shields outlines the marketability of such a ‘resource’ for SNS. As part of Bebo this is seen as a ‘natural’ and, moreover, profitable, extension of the ‘lifestyle media’ that Web 2.0 users are already a part of.

This is where there has been a shift in the algorithm of Web 2.0 content that has reflected user demands and behaviours. It seems ironic that precisely what has made SNS like Facebook so popular and a ‘premium’ when compared to other sites like MySpace is that they are ‘real’ people sustaining, managing and making connections to other ‘real’ people. In this context I am surprised that there is demand for such fictitious life-style and life-course accounts. Shields astutely points out that there has been a shift from Web 1.0’s more information-based searches, to a Web 2.0 connected life-style, which sees people (in particular young people) living out their lives online.

In part I agree with Shields. Lives are indeed being lived out through Sherry Turkle’s screen. These lives however are closely connected to their ‘offline’ counterparts, as individuals interact through the screen and then back out again.

So my question is this with lonelygirl15 and Modern Kate, what kind of ‘lives’ are these?

danah boyd the American doctorate student whose research is about social networking has (like myself) focussed on the ‘technosocial’ constructs that ‘real’ individuals are creating and the ways that they interact with one another on such sites.

Which returns me to my own question, not only ‘what kind of lives are these’, but what type of users are interested in them?

boyd's most recent publication ‘Viewing American class divisions through Facebook and MySpace’ has considered the possible class divides across the most popular SNS’s that reflect ‘real’ divides offline. Blog lives like Kate Modern represent a convergence of the ubiquitous social media that Web 2.0 has to offer, one that is mixed with a milieu of episodic and voyeuristic media representations.

For Shields’s Kate’s life merges the community engagement of social networking together with audience interaction that smacks of commercialability where the likes of Kate ‘can interact with you’. This returns us to the ‘real’ and ‘virtual’ lives that were the earliest domains of Web 1.0 – and where, to hark back to that classic cartoon, in cyberspace you were never sure if you really were interacting with a dog or not.

In the context of YouTube, MySpace and Bebo it seems there is demand for serialised and fictional ‘friends’. Perhaps boyd’s consideration of the American class divide on social networks should be reframed, or extended, in terms of a generational context that could shed some light on the kinds of users that Kate Modern appeals to.

In light of my own research, rather simplistically, a generational breakdown would look something like;
MySpace: the domain of school students and early teens – free to ‘hang out’ away from parental scrutiny.
Bebo: a forum for ‘cool’ college 6th form students, late teens and ‘young people’ keen to define themselves as more sophisticated than their MySpace younger brothers and sisters.
Facebook: the most savvy of them all. Originally the domain only of University students and post-grads with a ‘.ac.uk’ address. Since opening its digital doors to non-university users, their parents/extended family/friends and those in commercial organisations have clambered to join – (want proof, just see how many from the BBC you can spot!)

The generational context of SNS leaves a rather bad taste in my mouth, as the realisation strikes that it the pre-Facebook generations that are likely to be subjected to the most rigorous of marketing strategies and commercial manipulations. At its commencement Lonelygirl15 did not offer the caveat that its character was entirely fictional. In contrast, Kate Modern makes no pretence that her lives and loves promise to provide a fictional storyboard for her audience to enjoy.

Again there seems an irony here in the context of a SNS, where user lives are about their ‘real’ networks, or at least as real as the email address provided to connect such networks

Perhaps there is no issue here at all, the merger of lives, ‘real’, ‘fictitious’ or otherwise simply reflect the melting pot of digital content. This simply means that users need to be savvy about the ‘whom’ they are conversing with. But only if it matters that the ‘they’ are not a canine friend. Otherwise as Andrew Keen has speculated the ‘cult of the amateur’, or ‘fictional’ looks set to continue to form an integral part of our technosocial lives.