The Curated Self

 

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(Image found here)

The word ‘curator’ is now being applied to the very nature of one’s digital identity. With people constantly adding to and amending their identity in digital terms (from tweets to Instagram photos), they themselves are becoming curators of how their ‘virtual self’ appears to the world.

Facebook and other social media allow users to present a curated self. The curated self is made up of photos, videos, status updates, tweets, blogs, comments, likes, emails, texts and check-ins. Each little update, each individual bit of social information is insignificant on its own. But taken together, over time, the little snippets form together into a portrait of who you are.

The problems:

  • Other people can have a hand in influencing your curated self. It’s possible for your curated self to be controlled and manipulated.
  • It’s incredibly easy for people to project a version of what and who they want to be into their social channels. In some cases, the gap between reality and the digital version can be sticking and troubling, psychologists say. It is now harder to read the ‘signals’ from someone’s curated self to get an immediate, instrintive idea about who they really are.

No one is immune to ‘The Curated Self.’ If you have a digital presence, you have to curate it. It is your responsibility to take care of it.

This is mine:
I can already guarantee that the impression you’ll get of me will not be accurate.

If you’re interested in more:

 

Until next time,
Georgie.

“Good Artists Copy, Great Artists Steal.”

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“Good artists copy, great artists steal.” Being inspired by great things and then combining/transforming them into something new is what it is really all about. Banksy is a perfect example of this and will often take pre- existing graffiti and made a social or political statement by adding to it.

 

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Photo found here

One of his biggest examples being his largest ever project, a full-scare infiltration and ‘remix,’ of Bristol City Museum. The museum’s treasures remain, though they have been give a different context.

Bansky himself has had his own work further remixed in the form of spinning off tributes, animated GIFS, to real life reenactments of his characters. An example is photographer Jess Friesen’s tribute to the artists by remaking and remixing a large number of Banky’s work in miniature lego. His series is called “Bricksy.”

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(Images found here)

If you’re interested in more:

 

Until next time,
Georgie.

Transmedia Storytelling

Transmedia storytelling, as it is defined by Henry Jenkins, represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience ideally, each medium makes its own unique contribution to the unfolding of the story.

Pottermore –

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Photo found here

Pottermore works on this level. The producers of Pottermore created “a communal storytelling engine. They’ll be doing what most movie studios have yet failed to do, which is to officialise and galvanise a massive fan base into a single location, and then service their wildest dreams.”

In a email interview with Forbes, Starlight CEO Jell Gomez describes why he saw the launch of Pottermore as being so important. “It exists not just to sell ebooks, but to nurture and ultimately expand the canon of Harry Potter itself. That’s historic in many ways.” He also says:

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Within the site J.K Rowling has:
– Published her own encyclopaedia which expands everyones knowledge of her fictional universe.
– Hundreds of thousands of words of new material which is inserted into the interstices of the original novels.
– New characters.
– A more interactive version of the novel.
– Large chunks of additional information about the world of Harry Potter that she has been ‘hoarding’ during the writing process.

These materials are expanding our knowledge and deepening our experience of the story by allowing each medium to do what it can do best. J.K. Rowling is playing a vital role in the development of Transmedia Storytelling.

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If you’re interested in more:

Until next time,
Georgie.

Aestheticising Errors

Instead of glitches being met with impatience or annoyance, a growing number of artists are purposefully aestheticising errors from digital or analog sources, either by intentional manipulation or by malfunctions and corruptions. Entire communities have been born on the web to nurture the discipline, making it easier for others to do it.

A glitch artist Daniel Temkin explains:

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As we become more and more wrapped up in technology, glitch art has begun to be taken more seriously as a movement with a unique potential for timely cultural commentary. It has started conversations around the nature of how it’s created.
– How much do we control our technology, and how much does it control us?
– What does it mean if we can reclaim the “errors” in our computers, phones, and cameras and repurpose them as our tools?

The essence of glitch art is:
Humans subject themselves to technology and exert control over it to a greater or lesser extent to produce a piece of artwork that is a product of both the creator’s intention and the device’s whims.
One of the more important themes inherent in this medium revolves around the concept of technological chaos versus human balance.

If I can do it, anyone can:

 

If you’re interested in more:

Until next time,
Georgie.

From Participatory Culture to Public Participation

 

socialmedia_banner.jpg(Image found here)

Recent years have seen a transformation in the type of content available to us on the internet. From the early 2000s, user-generated content has become increasingly popular on the internet. More and more users are now participating in content creation, rather than just consumption.

These popular user-generated content (social media) domains include blogs, web forums, photo and video sharing communities, social networking platforms (Facebook and Twitter). These social Media facilitates new forms of content creation and individual expression. With the rise of participation and number of members online, so too has the participatory rate increased. This is because participation has become addictive.
Your message is broadcast directly > Has far reaching implications > Implications become more dramatic > Content production is spread wider > More power.

The problem is that a lot of content online is not accurate. Censorship is very limited in Western Countries (Australia and the USA). They censor inappropriate things as opposed to incorrect facts taken as newsworthy and as the truth. This mades it harder to determine source credibility.

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If you’re interested in more:

Until next time,
Georgie.