Are our online and

 real identities compatible?

Image 1, (Saif, 2014)

Are our online identities that individuals show on the internet, bound by restraints of being either real or ‘fake’? or are they much more complicated than that? From my experience on Pinterest I would argue that our online Identities are much more complex than being simply real or ‘fake’ and are arguably incompatible with our real identities.

Founder of Facebook Mark Zuckerberg and colleges, appear to believe that social networks such as Facebook are, and should only be, used as an extension of your real personality (McNeil, 2012). That your profile should match your identity as closely as possible. For this to be true however, at the very least it would mean that you, as the individual behind the computer screen, are the only force influencing your online identity. I do not believe that this is a freedom that we are exposed to on our online networks.

Sherry Turkle explains this in her 2012 Ted Talk, where she compares her first beliefs and feelings towards the internet in 1997 to her 2012 beliefs and feelings of it. Her feelings of our virtual Identity in 1997 were optimistic. She believed that “what we learned about ourselves in the virtual world, would add to our identity in the real world” (Turkle, 2012). However, her most recent feeling towards the internet are reflected in her statement, “we are letting it take us to places that we do not want to go” (Turkle, 2012). Online networks are taking us places we don’t want to go because our virtual self-narrative is influenced by a variety of factors where gate keepers, corporations and algorithms are, overtly or subliminally, influencers of our virtual Identity (Kuttainen, 2017). Take Pinterest for example.

The only posts that will come up on my home page are pictures/ pins, that are similar to those that I have saved in the past. I will not get pictures/pins of clothes that I do not normally wear or places I have never been interested in in the past. Pinterest appears to cater for my dominant interests. This is similar to how Eli Pariser (2011) describes Facebook, where Facebook, and other social networks like google, are networks that edit based on your interests (Ted Talks). The outside influencers here are the algorithms on Pinterest that only allow me to see pins that I have overtly expressed interest in. They do not allow for variation of choice. I am not exposed to anything that I have not liked in the past, and because of this I am a part of what Parisar (2011) describes as a ‘filter bubble’. How am I meant to develop and grow my Identity, be it virtual or real, if I am not exposed to anything new or different?

For me, I can neither add anything to my real identity from being a part of Pinterest, or portray an ‘authentic’ version of myself through this social network. I believe that all virtual profiles in all social networks are in some way ‘fake’, due to the creation of ‘filter bubbles’ and outside influencers.

References

Kuttainen, V. (2017).  BA1002: Our space: Networks, narratives and the making of place, lecture 6: Robots [PowerPoint slides]. Retrieved from http://learnjcu.edu.au

McNeil, L. (2012). There is no ‘I’ in Network: Social Networking Sites and Posthuman auto-biography. Biography. University of Hawai’i Press. Vol.35, no.1, pp 65-82

Pariser, E. (2011). ‘Beware Online “Filter Bubble”. Ted Talks. Retrieved from  https://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles

Saif. (2014). ‘Keep Calm My Profile Picture is Under Construction’. (image). Retrieved from https://www.keepcalm-o-matic.co.uk/p/keep-calm-my-profile-picture-is-under-construction/   

Turkle, S. (2012). ‘Connected but Alone’. Ted Talks. Retrieved from https://www.ted.com/talks/sherry_turkle_alone_together

Blurring the Lines: when the potential becomes actual

Figure 1. Blurred Blue (Kratochvil, n.d).

by Charmaine Chong

My blog is about Reality & Virtuality, a narrative delivered through social networks to promote the human and innate desire to communicate and to validate their existence. Patterns of human behavior no limitations which engages audience’s ability to communicate in tones which we necessarily would not use in verbal conversations. The reality of accessibility to one’s personal life can sometimes be harming and detrimental. In contemporary society the convenience to communicate, provide information, and manage our finances and professional roles is becoming how we operate within life. When I first joined Facebook it gave me the sense that I could connect with a wider world in particular friends and family and that it was a safe space and I that could be in the same place but yet those so far would appear so close. Since studying BA1002 this has increased my knowledge and understanding of Facebook and how we can use the network to our advantage and how information can be shared to make change about certain issues. My decision to deactivate my Facebook account was based on information which I considered to be superficial.

 The reality of Facebook being a social network where users are thought to be authentic is not the case but more so a choice (Kirkpatrick, 2010). The lines of reality and virtuality within Facebook is blurred and deliberate by most active users. Our interaction with social network has become increasingly influential which in turn has reduced face to face interaction. We are immersed in the virtual reality of Facebook which enables us to exist with little control of what is posted and how this can influence other people’s perceptions of who we are. What is seen in virtual sense does not reflect who you really are offline. Our identity is reconceptualised in ways we do not give permission for and did not envisage when signing onto a social network.

Facebook is the medium and the message Stanner (as cited in Kuttainen, 2017) and can be empowering for communities to raise awareness, dissemination of information and mobilize groups into action. I have observed a variety of issues such as safety and domestic violence campaigns and participated in online petitions. The use of virtual social network to make change in the real world can influence people in power and reach the broader community and can be more inclusive but then can marginalize those without access. Real changes occurred such as funding domestic violence resources and decision making by the relevant authorities.











References

Kratochvil, P. (n.d). Blurred blue [Image]. Retrieved from http://all-free-download.com/free photos/download/flower-and-blurred-background_206798.html

Kuttainen, V. (2017). BA1002: Our space: Networks, narratives and the making of place, lecture 6 [PowerPoint slides]. Retrieved from http://learnjcu.edu.au

McNeill,L. (2012). There is no “I” in network:Social networking sites and posthuman auto/biography. Biography, 35(1), 65-82. Doi: 10.1353/bio.2012.0009

Wired. (2010). Is Facebook ruining human friendships? Retrieved from https://www.wired.com/2010/11/is-facebook-ruining-human-friendships/

FLÂNEURS PUBLISHED ‘THE CYBER-LOUVRE’

Holly Richards

Brouhaha, induced by small spectacles of interaction accelerates as the perpetrator evaporates into the cyberspace, swiftly unnoticed. Though, this concept of the ‘flâneur’ has been lurking throughout history even before the age of internet.  The flâneur finds themselves leisurely wandering through the paths of society, and loitering around city lanes and busy streets. Prouty explains further in ‘Turtle on a leash’, “…The flâneur walked a fine line between the teaming masses of the great industrial city and the bourgeoisie protected by its private interests… he is as much at home among the facades of the houses as a citizen within his four walls…”

The internet challenges the old concept of the flâneur with a new grasp of culture. As being a flâneur would once have been a lifestyle choice, lurking unnoticed within the realms of cyberspace seems almost impossible to avoid. Even more impossible within an online gallery, a flâneurs paradise.

Behance, the online ‘cyber-louvre’, creates space for art and graphic design to be swindled through the passages of the virtual reality. The network has a strong base of connections and existences of power formalities and floating within are their ‘own form’ flâneur’s. Walking through pages of interpretations and observations, as one would down a city lane, a Behance flâneur interacts swiftly between the comments and publications, going unnoticed.

A Flâneur through the Pages of Behance
(Zuber, 2004)

Though as we can all be found guilty of lurking through the pages of the internet, using the ‘flâneur’ approach online can be used to advantage more effortlessly than in the ‘real world’. One can simply act as a flâneur for some time through the pages of Behance; observing strong and weak links they can then publish to their advantage. Going unnoticed, an individual creates a space of comfort within the guidelines for themselves to then enhance within the virtual reality. Lecturer, Victoria Kuttainen noted “[the individual] primarily seeks to fulfill his or her individual needs behind a facade of conformity.” Though, these spectacles of display are not the only way flâneur’s are relevant within the social network.

Behance gives publication freedom and though once going unnoticed the flâneur is now the conversation of many online creatives. The artworks of self-proclaimed flâneurs, artwork inspired by flâneurs and even guides and prints on to be a flâneur are accessible.  Behance fashions a space for flâneurs to link and share discourse; taking way the essence of being a flâneur within this realm and giving to everyone surrounding them. Marcin Jaroszewski, a growing artist whom has taken interest in the concept has created multiple publications surrounding the ideas of Benjamin Walter. Not being the only ‘flâneur induced’ artist, Behance has become a hub for non-flâneur Flâneurs.

As the internet does, and will continue to do, it has created new essence within a historic actuality. Flâneurs, always existing have now become a new artistic realm online, through real intention or simply inspiration. Behance has expression of flâneurs through the screen of artistic individuals within the cyber-streets and online arcades; wandering around the minds of countless creatives within the realms, or even part of the artwork themselves. 

REFERENCES

Jaroszewsku, Marcin (Artist). (2012). Flâneur [Image Portfolio]. Retrieved from

https://www.behance.net/gallery/5292255/Flaneur

Kuttainen, V. (2017). Our Space: Networks, Narratives and the Making of Place: Lecture 4 Maps [PowerPoint Slides]. Retrieved from https://learnjcu.jcu.edu.au/webapps/blackboard/execute/content/file?cmd=view&content_id=_2850929_1&course_id=_84764_1&framesetWrapped=true

Prouty, R. (2009, October 28). A Turtle on a Leash: One Way Street [Web Blog]. Retrieved from http://www.onewaystreet.typepad.com/one_way_street/2009/10/a-turtle-on-a-leash.html

Zuber, Marlena (Artist). (2004). The Toronto Flâneur [Illustration]. Retrieved from http://spacing.ca/archive/flaneur01.htm

42

I am guessing that unless you are a fan of the wonderfully absurd Douglas Adams, you are at least curious about the significance of 42? For those that are unaware, 42 is, of course, the “answer to the ultimate question of life, the universe and everything” (Adams 1979). However, if you wish to know what the question is, I suggest you find yourself a copy of Hitchhikers Guide to the Galaxy. I feel I should warn you though, that the question may not make much more sense to you than 42 does, then again, it may make perfect sense.

Filter Bubble

Though the term “filter bubble” is often met with criticism, it does have the advantage of making a generic ‘space’ more welcoming and the ability to turn space into place. Of course the term “filter bubble” is not exclusive to describing the algorithms that decide our ‘newsfeed’ on Facebook, it can easily transfer to alternate scenarios. For example, if a person were to attend a party at a stranger’s house where they did not know anyone, the experience would be completely different to attending a party at a friend’s house where they know all the guests. Tuan (1991) states, “It may need only a few kind words among friends to change an ordinary kitchen into a bright and happy place” (pg. 686). Though Tuan utilises the word “kitchen”, it could easily be substituted for the word party or even group.

Many Facebook groups are generally fairly localized, like local buy, swap sell sites for instance. The group I am examining however, though based in the USA, spans the globe; with many of the community’s regular contributors have English as a second language. Despite what could be an obvious barrier to communication, the language used in this group will make you either feel right at home or completely out of place. Despite a world of difference between some of our languages, the common language (or ontology if you prefer) is science fiction mixed with absurdity.

Kuttainen (2017) states “narrative and communication organises reality” and for this page it rings very true. While most would agree that discussing religion or politics is a bad idea, I have seen discussions between the left and right wing and atheists debating religion with believers, without offence being taken on either side. In fact, the only time I have seen people get really angry or offended, is if the discussion turns to the merits of pineapple on pizza. Joining a group of like-minded individuals is like having a filter bubble. This Facebook group has created a filter bubble out of Douglas Adams’ book and almost every interaction on the page is consequently almost as absurd as his books are.

For more information on Filter Bubbles follow this link to “The Conversation”

https://theconversation.com/the-filter-bubble-isnt-just-facebooks-fault-its-yours-69664

Image 1 courtesy of

https://www.found.co.uk/wp-content/uploads/2017/04/filter-bubble-v2.png

Kuttainen, V. (2017) BA1002 Our Space: Networks, Narratives and the Making of Place, lecture 4: space and place

Link to full PDF version of Hitchhikers Guide to the Galaxy. Douglas Adams (1979)

https://boodow.blogspot.com/2017/02/ultimate-hitchhikers-guide.html 

Tuan, Y. (1991).  Language and the making of place: A narrative-descriptive approach. Annals of the 

Association of American Geographers, 81(4), 684-96.