The Lonely Girl who really wasn’t

The development of Internet communication, specifically, social media has expanded the traditional notion of identity. Now, it is possible to craft online identities in addition to those in real life. These online personas can shape people’s interpersonal perceptions towards individuals in the real world.

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Original Meme

In 2006, ‘Lonelygirl15’ established a YouTube channel, on which, she posted regular vlogs. Bree, who featured in the videos, was a teenage girl who lived a seemingly normal life. It soon became evident that she was perhaps, lonely and bored, hence the creation of Lonleygirl15. The youtube channel and vlogs gained a massive international following and became extremely popular, in a seemingly short amount of time. Bree had become one of YouTube’s youngest and most popular stars. She reinforced this popularity, starting her own forum and myspace account.

However, after gaining a mass following, it was revealed that Bree and Lonelygirl15 were, in fact, fictional and the channel and videos were produced by a number of writers and actors. Fans, YouTubers and the media alike, had been duped by an artificial online persona, who, projected online, the parts of her life that the writers wanted viewers to see.

Is this so different to what we do each day when posting on Instagram, Facebook and Snapchat? We post, often times, edited images of the most exciting parts of our lives, leaving out the mundane occurrences, in order to create the perception we want surrounding our name, image and brand.

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To PC or not to PC: Locked vs Generative Platforms

I am, by no means, a gamer of any sort, but, looking into locked vs generative technological platforms, led me to the debate surrounding PC gaming, as compared to, console gaming.

There is fervent discussion about, both, open and closed technologies. Specifically, how closed technologies enforce ideologies that limit the generativity of audiences, by controlling the flow of content across channels. Simply put, this relates to the types of access provided by both open and closed source technology.

The intended result for locked appliance technology is that of pure consumption. This is evident, when considering console gaming. Sony’s Play Station and Microsoft’s Xbox are perfect examples of the iteration of products that lead to increased consumption, with the release of new models every few years. This ultimately creates technological obsolescence for old consoles, when a new model materialises. In contrast to console gaming, PCs give you the freedom to upgrade whenever YOU decide to, not when Sony or Microsoft decide to, rendering the PC, a generative technological platform.

PlayStation and Xbox both market games as ‘console exclusive’, yet, Steam provides these games, inclusive of; Dead Rising, Transitor, and Hotline Miami 2, online, for everyone, at a fraction of the price. Essentially, Steam is providing the same products as big brand names, like PlayStation and Xbox, in an open source environment, that is ultimately, cheaper and easier to access.

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Original Meme 

SoundScan to SoundCloud: Good artists copy; great artists steal

The production of Hip-hop has long been tied to the availability and progression of technology. Transpiring in the Bronx of New York City in the 1970’s, harnessing turntables and microphones, Hip-hop has continued to utilise technological advancements. Technology has allowed for the emergence of Hip-hop as a widely accessible commodity, allowing for user interaction and production of an insurmountable extent.

Remix culture is the encouragement of the combination or editing of existing materials to produce a new product. It is the process whereby content production has become democratised. In terms of Hiphop, the emergence of remix culture has allowed for the rise of break beat culture, EDM and Mashups. The creation of such genres brings about the idea of ‘Technology of self’. Despite being a collaborative process for the most part, Hip-hop production allows the individual to produce content without the interference of record companies or other stakeholders. This individualisation of production elicits a particular aesthetic within Hip-hop that has become extremely popularised.

Original Podcast

In 1991, Mike Fine and Mike Shalett introduced SoundScan. This system implemented a method of tracking record sales. Through this process, we were able to recognise that Hip-hop was on top of the sales charts. Now days, Youtube and Soundcloud allow for the recording of views on tracks uploaded by amateur Hip-hop artists who participate in the process of remixing music to create a completely new sound.