Digitale!selvrepresentasjoner

Parmigianino: Self-Portrait in a Convex Mirror (1524)

Jill Walker Rettberg!Professor i digital kultur, Universitetet i Bergen!

(og litt om metoder for stordata og visualisering i tekstforskning)

Tre selvrepresenterende modaliteter:Skriftlig

Diary: (CC) Ellen Thompson http://www.flickr.com/photos/eethompson/2142754337 Selfie: (CC) TempusVolut http://www.flickr.com/photos/mrmorodo/11230014075 Nicholas Fultron: The Fultron Annual Report, 2007. http://feltron.com/ar07_01.html

Billedlig Kvantitativt

Personal media are the opposite of mass media.

Lüders, Marika (2008) ‘Conceptualizing Personal Media’. New Media and Society 10 (6): 683-702.

Photo: Jeff Hitchcock (“Arbron”) (CC) http://www.flickr.com/photos/arbron/65785552/

Benjamin Franklin’s virtues:Temperance, Silence, Order, Resolution, Frugality, Industry, Sincerity, Justice, Moderation, Cleanliness, Chastity, Tranquility, Humility

Hvem kan skape selv-representasjoner?

Hvilke ferdigheter og utstyr trenges?

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge—and, therefore, like power.

Susan Sontag: On Photography (1977)Image (c) Chris Felver http://www.chrisfelver.com/portraits/writers2.html

Germaine Krull: Self-Portrait with Cigarette and Camera (1925)

Look at the intimacy of the selfie; the outstretched arm embracing the viewer.

(http://www.makingselfiesmakingself.com)

Katie Warfield

The photobooth - the first mass market selfie technology

The mirror on my phone

Filters can be technological. Filters can be cultural.

From Damon Winter: Life as a Grunt http://www.poyi.org/68/17/third_04.php

Alper, Meryl. "War on Instagram: Framing conflict photojournalism with mobile photography apps." New Media & Society (2013):

1461444813504265.

It’s not the photographer who has communicated the emotion into the images. It’s not the pain, the suffering or the horror that is showing through. It’s the work of an app designer in Palo Alto who decided that a nice shallow focus and dark faded border would bring out the best in the image. !

– news photographer Nick Stern, qtd by Meryl Alper

Filtered Realities

Miles Hochstein: A Documented Life

http://www.documentedlife.com

Eleanor Antin: Carving, 1972.

Noah Kalina, 2006:

http://www.everyday.noahkalina.com/

People love it – and make their own versions

Dailybooth.com

Tehching Hsieh, 1980-1981

Thanks to Mark Jeffery for telling me about this.( )

We follow cultural

templates both in living and

documenting our lives.

(CC) Carlos Mendoza http://www.flickr.com/photos/fotodisenocm/385028368/

Preformatted baby journals are examples of normative discursive strategies that either implicitly or explicitly structure our agencies.

Van Dijck, José (2007) Mediated Memories in the Digital Age. Stanford, CA: Stanford UP.

http://corriehaffly.wordpress.com/2007/10/09/do-it-yourself-pregnancy-and-baby-journal/

What happens when these narrative patterns aren’t hand-crafted but are automatically generated?

Image: (CC) Terren in Virginia http://www.flickr.com/photos/8136496@N05/2196367188/

Manovich, Lev (2009) ‘The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production.’ Critical Inquiry 35 (2): 319-31.

Mass cultural production follows templates set up by the professional entertainment industry. Are we even more firmly colonized by commercial media today than in the 20th century?

Image:http://www.bijt.org/wordpress/2005/11/

trixietracker.com

Sunday at home with the kids.

Monday at work.

Tuesday - walked to work, used standing desk, more aware of not just sitting still.

Fitbit as diary

The Shine Misfit uses badges to represent your activity through the day.

(the moment the Shine first detected

movement - i.e. was picked up -

becomes read as my wakeup time)

Chronos: Find your time. See how you are spending your time without lifting a finger. chronos runs in the background on your phone and automatically captures every moment.

“Numerical narratives”— Roberto Simanowski in his

keynote to Remediating the Social, Edinburgh 2012.

Vi bruker også litterære former for å organisere

våre egne historier

709. Hard winter. Duke Gottfried died. 710. Hard winter and deficient in crops. 711. 712. Flood everywhere. 713. 714. Pippin, mayor of the palace, died. 715. 716. 717. 718. Charles devestated the Saxons with great destruction. 719. 720. Charles fought against the Saxons. 721. Theudo drove the Saracens out of Aquitaine. 722. Great crops. 723. 724. 725. Saracens came for the first time.

The Annals of St Gall

Social media marketing strategist for Findus Fish at Bergen Chamber of Commerce, Nov 28, 2013

The wonderful thing about digital media is you can

measure it.

She meant Facebook results. But measuring is also increasingly a way we see ourselves - and others.

How academic positions are decided at the Humanities Faculty at the University of Bergen

(Excerpt from faculty board meeting papers Nov 2013)

We bring up our children to expect detailed tracking

http://youtub.blogg.no/1253879937_anmerkninger_ordfrern.html

Sproutling ankle band Nestlé formula tracker Withings baby growth tracker

In the early twentieth century, the technology of public schooling was designed to regulate children to work in factories: children were trained to respond to bells, walk in lines, and perform repetitive tasks. (..) Web 2.0 technologies function similarly, teaching their users to be good corporate citizens in the postindustrial, post-union world by harnessing marketing techniques to boost attention and visibility.

Marwick, Status Update, page 12.

“You need to measure everything, make

adjustments, measure again.”

Social media marketing strategist for Findus at Bergen Chamber of Commerce, Nov 28, 2013

But what about the things you can’t measure?

Measurements don’t give the whole picture? Then measure more. Put up more weather

stations. Get more data to create a more complete picture.

Anders Brenna (@abrenna) to Bergen Chamber of Commerce, 28 Nov 2013.

So what should we add?

http://bits.blogs.nytimes.com/2012/06/07/former-card-counters-new-start-up-helps-count-productivity/?_r=0

The more automated the better.

Our technologies track us in many ways we don’t even consider.

There are no digital natives but the devices themselves; no digital immigrants but the devices too. They are a diaspora, tentatively reaching out into the world to understand it and themselves, and across the network to find and touch one another. This mapping is a byproduct, part of the process by which any of us, separate and indistinct so long, find a place in the world.

http://booktwo.org/notebook/where-the-f-k-was-i/James Bridle

Machine vision - new aesthetics

And of course, often we can’t see the data about us. But others can.

Action Figures

Animated Films

Arts & Entertainment

Autos & Vehicles

Babies & Toddlers

Banking

Bicycles & Accessories

Billiards

Building Toys

Business & Industrial

Cats

Celebrities & Entertainment News

Computer & Video Games

Computers & Electronics

Consumer Electronics

Consumer Resources

Custom & Performance Vehicles

Die-cast & Toy Vehicles

Dodge

Interest

Apartments & Residential Rentals

Baby Care & Hygiene

Baby Food & Formula

Chicago

Clip Art & Animated GIFs

Computers & Electronics

Dictionaries & Encyclopedias

Education

Fitness

Games

Mobile Phones

Movies

Music & Audio

News

Office Supplies

Online Video

Parenting

Photo & Image Sharing

Photographic & Digital Arts

based on my searchesMy interests according to Google,

based on websites I visit

Hva er et kunstverk, om ikke blikket til et annet menneske? Ikke over oss, og heller ikke under oss, men akkurat i høyde med vårt eget blikk.

Karl Ove Knausgård, Min Kamp 1, 332

Disse tekstene diskuterer dette verket

Verket er del av denne forskningssamlingen

Kort beskrivelse av verket på engelsk og originalspråket (norsk)

Nøkkelord (tags)

Bibliografiske data

“distant reading”

Tags som beskriver elektronisk litteratur utstilt på 2002 ELO State of the Arts-utstillingen.

2008 ELO Media Arts show

ELO 2010 Creative Works

it seems evident that various web/net/code artists are more likely to be accepted into an academic reification circuit/traditional art market if they produce works that reflect a traditional craft-worker positioning. This "craft" orientation [producing skilled/practically inclined output, rather than placing adequate emphasis on the conceptual or ephemeral aspects of a networked, or code/software-based, medium] is embraced and replicated by artists who create finished, marketable, tangible objects; read: work that slots nicely into a capitalistic framework where products/objects are commodified and hence equated with substantiated worth. (Breeze 2003)

Abstract in English and original language.

Metadata

References to creative works

Tags

1976-2001 2003-2007 2008-2013

Tags and keywords

Export nodes......and edges

Diversity: 341 creative works cited.

6%

17%

78%

Cited by only one dissertationCited by two dissertationsCited by three or more dissertations

Key people in the American Revolution - an edge indicates shared membership in a group (Kieran Healy)http://kieranhealy.org/blog/archives/2013/06/09/using-metadata-to-find-paul-revere/)

One-mode network of the same cluster

Electronic literature seen through Amazon’s API (related books) Berry, Borra, Helmond, Plantin & Rettberg, forthcoming. “The Data Sprint Approach: Exploring the Field of Digital Humanities through Amazon’s Application Programming Interface”

Creative works

Game studies

Digital humanities

Conceptual writing

New media studies

a tension between custodianship and authority, as Kirschenbaum glosses Derrida

Archive - from arkhe

Kirschenbaum,  Matthew.  2013.  “The  .txtual  Condition:  Digital  Humanities,  Born-­‐Digital  Archives,  and  the  Future  Literary”  Digital  Humanities  Quarterly  7(1).  http://www.digitalhumanities.org/dhq/vol/7/1/000151/000151.html

“If a document or a database doesn't seem to have a point of view, that's like meeting a person who doesn't seem to have an accent.  The person, or the document, has the same accent or point of view that you do, so it's invisible.” (Ted Nelson 1999)

Jacques Derrida. 1998. Archive Fever: A Freudian Impression. University of Chicago Press. Page 5.

“What comes under theory or under private correspondence, for example? What comes under system? under biography or autobiography? under personal or intellectual anamnesis? In works said to be theoretical,what is worthy of this name and what is not? Should one rely on what Freud says about this to classify his works? Should one for example take him at his word when he presents his Moses as a"historical novel"? In each of these cases, the limits, the borders, and the distinctions have been shaken by an earthquake from which no classificational concept and no implementation of the archive can be sheltered. Order is no longer assured.”

These questions are not new to the digital:

... but they can be particularly insidious in the digital

Doing and making vs scholarly reflection...

1976-2001 2003-2007 2008-2013

Our ideas of electronic literature change

Text

jilltxt on Twitter

jilltxt.net Blogging (Polity Press, 2013)

Read more:

Rettberg, Jill Walker. Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves. Forthcoming, Palgrave, October 2014.

AND CHECK OUT MY BOOK! (IT’S OPEN ACCESS)