Wired Douche Bag

Ok, so I am a little late in the day with this post in terms of timing, but last months (how retro2.0 of me) Wired Magazine had an article (and cover) led by Julia Allison.

I'm sorry, Who?

Oh you too. Well there could (finally) be a leading lady in technology and with enough kudos to be on the cover of Wired. Prestige indeed. In short, no is the answer that you are looking for. And lets stay with ‘looking’, because essentially that is all we should equate with Ms Allison. She is a brand, to be looked at. And a very clever one too. Let me explain, she has friends in all the right technology places including, Randi Zuckerberg (sister to Mark, of Facebook fame and fortune), Choire Sicha (former managing editor of Gawker), the ‘Virgin’ Richard Branson and of course leader of the pack Chris Anderson (Wired editor). As well as her own MySpace, Twitter feed, numerous websites, YouTube exposure etc.

So do Ms Allison do? Well she is highly skilled, and can ‘bounce’ and ‘giggle’ in all the right places, with just the right amount of accompanying spandex and glittery eye makeup to hold interest and, according to Anderson, ‘captivate’ her audience.

‘What a woman’. ‘What a role model for Girl Geeks, and technology equality’, I hear you cry!

Oh sorry wrong sort of crying there, *sob*. Pass me the Kleenex.

It’s not that I don’t rate Ms Allison, there is clearly much to admire (aside from the spandex) from a woman that has so brilliantly (and dedicatedly) branded herself as a technology superstar. From her beginnings as a lustful med-student-pursuer, ‘I realised I had a thing for doctors’ she simpers, to official I.T. Gal, and self-nominated (with pride), ‘douche bag’ across her Twitter stream, MySpace page (and no doubt Facebook), as well as her personal website, xojulia.com. As with her previous sites, juliaallison.com, itsmejulia.com, and juliajuliajulia.com together these provide the commentary to every moment of her spandex-ualised life.

Well snap my knicker elastic.

So it seems that my own affiliations with Girl Geekdom, can now be laid to rest, as we have resolution. Nay, a new Girl Geek figure-head in the form of Ms MeatSpace.

Could this be the solution to the promotion of Girl Geeks? Answers in lipstick and with a pout only please.

Another version of this blog is posted at Girl Geekdom

Having the last word on the latest cool thing.

Today's Observer Magazine from the Dear Mariella column has a 'modern day' dilemma about being reaquainted with an ex, an 'incredibly sexy man', now that both parties are married. Mariella's approach is one of quiet scoffing 'call me anti-social (...) but Facebook and its fellow sites offer teenagers a virtual social circle, and disassatisfied adults the chance to sit alone in a cloud of nostaglia'. Hmm, written like a true non-Facebook user. I was pleased that some are still disconnected in terms of digitial social networks. Even Granny Ivy Bean at 102 as the worlds oldest Facebook user has got to gripes with the Poke.

This is not to pooh-poo anyone who does not use Facebook, or any other SNS. Each to their own. This is a mere commentary as to the lag and revine between the perception of SNS users, and the reality. Recently SNSs have been responsible for spiraling society out of control, the source of, knife crime, identity theft, coronies as people spend time surfing, rather than real surfing. Such are the Facebook forays. But what is the reality?

the American SNS commentator/sociologist danah boyd has long described SNSs as a place for 'yoof to hang out', and 'why youth heart MySpace'. This is only part of their story. As you read this, Facebook and its affiliated sites are being increasingly occupied by the highest proportaion of new users, who are older demographic and most likely to be women. Not only a hang out for yoof, but essential networks for career development (in the UK Facebook is more popular than Linkedin), and is used by professionals for friend and work based contacts.

Mariella's article does show one important observation to note, and that is that we are still coming to terms with the who is using, let alone how to use such forms of technology.

The easiest (laziest) and media led take is that these sites are detrimental to everyday social life. Instead there are a range of complex social processes invovled that are only just beginning to be emergent. Who would have foresaw 102 years young granny Ivy Facing off on SNSs.

Despite Mariella's title of the column, the Last Word', this is not the last that we will be hearing, thinking and writing about SNSs. There's a loooooooong way to go yet as they continue to stand as the 'latest cool thing'.

Make sure you're connected

Much of my research, and now my daily life is centred around forms of contact across of social media. Social media, is that Web 2.0? Well, Web 2.0 was a nice generic, commercialised label, but I think that its more appropriate to refer to the action of social software, rather than a ‘version change’ of the web.

So social media, is like web 2.0 and refers to our use of media that means we are always on and always connected. Which brings me to an interesting issue, raised by the popular press this week. What happens when our Profiles remain in place after death?

I’m reminded of the case of Sophie Lancaster, a young woman (just) who was beaten to death for ‘being a goth’, and her boyfriend that was left for dead during the attack. Such was the brutality of the circumstances of Sophie’s death that her MySpace page is now a home for messages of support, condolence and now heads a campaign for, Stamp Out Prejudice, Hatred and Intolerance Everywhere (S.O.P.H.I.E).

For the Profile’s of those who have not died in such dramatic and heartrending circumstances, these stay in place. As David Lee reports in today’s The Guardian newspaper at a family’s request a Profile can be removed. Interesting to note is the language that Lee uses, he queries ‘what will become of our online lives’. One of the main appeals of social media is that these transgress the online and offline. We are not living in a ‘cyberspace’ anymore. The social acts that take place across social media bear as much weight as those that occur in-person.

So what do we make of social acts that occur on a Profile when a user is not there anymore? Culturally, in the United Kingdom we tend to pussy-foot around death. So it is easy to see how such Profiles quickly become shrines and hold a certain revere in the eyes of friends. Perhaps this is a new form of public mourning, and a way to be able to visualise an out-pouring of grief.

At this moment, we all appear confident with our new found penache and love of social networking in daily life. Another SNS, Respectance breaks this mold, and is a 'memorial community for the dead'. The site allows users to create an online tribute for a lost loved one. Included is a written description, and invitation for others to share their memories. You can also submit photos and videos to remember your lost friend or relative by. So it seems social networking will live on. Even the loss of a user will stay alive and can be cultivated by family and friends.

Perhaps in the future there will be a way to prepare a Profile for when your time is up. An automatic update that you can put in place, much like a last will and testament. Or is that too creepy?


In the long-term we may be ‘absent’, or ‘gone’, but we will always be connected. And we will remain connected. Even after the ultimate disconnection, death.

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.

The Keen-ness of Keen

Amateur HumDrum

Adam Webb writing in The Guardian 'The Vinyl Frontier' has found that the future of the record shop may not be as gloomy as we have been led to believe. Does this mean that the reign of the 'amateur' and user generated information is not as bleak as Andrew Keen has made out?...

Andrew Keen notes in his recent book 'The Cult of the Amateur' that we are entering a 'uesr generated' era, where tracts of 'reliable', trustworthy' and 'quality' information have been poorly substituted by online downloads (more often than not illegal), piracy, internet shopping and an array of user platforms that create a plethera of digital download options, searches and even creative 'masterpieces'.

In terms of music Keen laments the closure of his favourite record stores, and attacks the current cultural 'choice' provided by Web 2.0 that is dependent upon those anonymous reviews from itunes or Amazon.com - a 'death rattle' in the face of the co-bodily encounter and superior knowledge of the music clerk.

However, and contrary to Keen's bewail-ment, the popularity of music is stronger than it has ever been before. In part this is to do with Web 2.0; audiences can now access the 'creator' of their favourite music, find out much more detailed add-on information, subscribe to authored blogs etc. On MySpace if you are accepted as a 'friend' you can even become your favourite bands NBF (New Best Friend). But there is still demand for preserving the physicality of music appreciation. From buying cd's and enjoying the atmosphere of a music store to standing up to your neck in mud and getting into the music.

As Webb points out in his article, current trends are centred on the role of the independent retailor to 'pass the baton on' where they encourage new music and break new acts. Alongside this the back catalogue offers a new generation of music lovers a way to get excited about music that cannot be replicated on itunes. Here the embodied interaction between music dealer and audience enjoyment retain their place despite Keen's concerns to the contrary.

What Keen really overlooks, is how the audience still appreciates and seeks to get excited about music. His view is rather generalised toward a (lack of) culture audience, limited in their tastes and passive in their ability to feel inspired, act upon or recognise quality acts. Whilst Web 2.0 has given rise to file-sharing, illegal downloads, and so forth to the detriment of music retailors such as HMV and Tower Records, this audience want to get excited about new bands, share, remix etc with one another. Perhaps it is not the 'cult of the amateur' that is failing Web 2.0, but Web 2.0 that is failing the rise of a more confident audience.

Sources
Keen, A. (2007) The Cult of The Amateur
Webb, A. The Guardian 'The Vinyl Frontier' Friday July 6 2007