Flickr Android App: It’s all about getting there before Instagram!
Barely rating a mention since it’s not a new tablet (hello Amazon), Flickr relatively quietly launched their official app for Android today. The app itself isn’t bad, pretty seamlessly uploading photos, with a set of basic filters, tagging and some rudimentary tools to engage with your Flickr connections (or ‘friends’ if we were speaking Facebook). However, as the few commentaries have noted, it’s very close to too little, too late. There are a lot of photography-based apps, ranging from Instagram, which is iOS-only for now but clearly the major player there, through to Android equivalents like PicPlz or the ubiquitous photo uploading with Facebook.
Now, don’t get me wrong, I’ve been a huge fan of Flickr for a long time. I’ve been posting my photos to Flickr since September 2004 — there’s more than 3000 on there now — with over half a million views collectively. I’ve also been a paid member “Flickr Pro” for most of that time, and while a few years ago $25/year seemed reasonable for unlimited uploads and the ability to share 90-second HD video, I can only imagine it’s a much tougher sell today (indeed, I suspect most Flickr Pro accounts are maintained by folks like me not wanting to lose their archive rather than any new sign-ups). All of that said, Flickr has summarily failed to embrace mobile devices and tablets. To some extent this has been countered by great APIs which have meant the vast majority of photography apps at least have the option to upload a copy to Flickr. However, it has also meant that Flickr isn’t the destination, it’s the cupboard. Whatever app people have been using, a secondary copy on Flickr means it’s there for the long haul, but the activity has been in the new app ecology, of which Instagram is the exemplar. And I suspect the main reason for the app’s launch now is to try and carve out a space on Android devices before Instagram arrives.
For an application with, lets be fair, a rubbish presence on the web, Instagram has done incredibly well focusing on building their core business: a great photo-sharing app that makes everyone feel like an artful photographer and, more importantly, builds a curational community who love to look at each other’s photos. Instagram is a light-weight app in many ways, but every single feature is the right one; the LIKE button is central, commenting is central, and tagging was lifted wholesale from Twitter and reinforces the seamlessness with which Instagram photos appear in social media streams. And they’ve done so well that within 12 month Instagram have clocked up 10 million users. But Instagram hasn’t arrived on Android yet and none of the various Android-based clones have stood out enough to reign supreme.
For the Flickr Android app, then, the question is how well it compares to Instagram. Now, with the basic filters, tagging, geo-tagging and photo uploading, they are on an even level. Flickr, however, needs to learn very quickly that interacting with photos in a Like Economy means that if you need to open a new menu to Like or Favourite a photo (which you currently do – it’s not on the same initial screen as the photos) then the odds of people liking and sharing pictures is greatly reduced. Flickr also need to radically re-vitalise the community nature of photo-sharing via their app. At the moment, interactions feel cold and forced, compared to the socialability and vibrance of sharing and commenting on Instagram. If Flickr can learn and push out a new version within a few weeks, perhaps they can become the shining light in the Yahoo crown they once were (it’s not like much else in the Yahoo world is getting much attention at the moment).
That said, Flickr does have the advantage of a robust and rich interface on the web. Indeed, I still cherish many of the fine-grain controls offered by Flickr on the web, such as the ability to explicitly chose Creative Commons licenses, and a rich set of tools for grouping and sharing photos in various ways. These tools aren’t widely replicated in apps, and I suspect its the richness of Flickr on the web which might be harnessed to encourage the app users, and build a bridge between the app and the web versions of Flickr. Only time will tell, but I can guarantee if Flickr aren’t monitoring feedback closely and already building a new version of the app, their one shot at establishing themselves in the app ecology will be lost.
Oh, today Flickr also launched “Photo Session” which basically looks like the Hangouts from Google Plus, but based around images, not videos. I can’t imagine Photo Session will find much of a crowd, but we’ll have to see.
You can download the Flickr Android App from the Android Marketplace.
The Ends of Online Identity?
In just over a week I hop on the first of three planes and head to Seattle for Internet Research 12. I’m looking forward to seeing many colleagues I rarely get to see in the flesh, and indeed adding flesh to many folks who I only really know as Twitter or Facebook profile pictures.
The paper I’m presenting is called “The Ends of Online Identity” and is the first step in a larger research project which looks at online identities before or after they are really owned by the person to which they refer. Indeed, the many varied responses to Facebook’s upcoming shift to the new Timeline which replace profiles with a curated historical story fits in perfectly with the terrain I’m exploring, which focuses on what happens to identity online when other people are responsible for shaping it (such as parents, before someone is old enough to really manage their online self, or post-mortem when someone’s profiles and digital shadow become the memorialised self). The project itself is only in the initial stages and this paper is more about establishing the parameters and scoping out the field, but I think there’s enough in there to make it an interesting conversation.
For those of you who might be interested, here’s the abstract:
The Ends of Online Identity?
While the early years of online interaction were often framed by notions of identity play, anonymity, pseudonymity and multiplicity, the last five years have seen many of these playful boundaries collapsing with online and offline identity no longer presumed to be easily separable. The dominance of Facebook as the social networking service, and their firm insistence on ‘real’ names and identities has been one of the clearest causes and indicators of this shift. However, once online and offline identity are more firmly attached to real names, an individual’s web presence becomes harder and harder to escape. Moreover, while notions like ‘Identity 2.0’ (Helmond, 2010), ‘the networked self’ (Papacharissi, 2010) and others tend to emphasise at least some degree of agency, the persistence of digital information and the permanence of names suggests it is timely to revisit the ends of identity where the agency of the named individual is less, if at all, applicable.
At one end, identity fragments can be created even before an individual is born, from Facebook updates, blogs and photos detailing attempts to get pregnant, through to ultrasounds images and the like. Early childhood too, can often be documented online by parents who embrace every recording technology possible, both capturing and often sharing online every smile, every outfit and all those initial milestones of development. While most parents consider some degree of security when posting information about children, many of these digital traces persist and can often be easily (re-)attached to the children in question later in life. This initial digital contextualisation and the power of parents and others to ‘set up’ the initial web presence of individuals before they are active participants online deserves greater attention. Victor Mayer-Schonberger (2009), for example, has proposed that information online, including social information, should come with an expiry date, after which digital identity fragments are automatically erased. While an admirable strategy, implementation of such a proposal in a widespread enough manner to be useful would be very challenging.
At the other end of identity, the question of what happens to our digital selves when we die is also increasingly important. While our corporeal forms are subject to entropy and decay, the same is not necessarily true of online identities. From blog posts and social networking profiles to photographs and more personal files, the need to ‘do something’ with digital identity fragments is increasingly pressing. In some instances the keys to digital identities (our passwords) are being left in wills as part of individuals’ estates, but far more often this question is left unasked until an individual has died. Facebook, for example, had to institute the possibility to allow family members to memorialise or delete the Facebook profiles of deceased loved ones after many people reported Facebook suggesting they ‘reconnected’ with recently deceased relatives and friends.
This paper will outline some initial ways that our ‘ends of identity’ might be conceptualised, including a brief review of current approaches, with the intention of outlining an emerging research project which examines the impact of digital identity creation which is not readily controlled by the individual whose identity is being created or transformed.
References
Helmond, A. (2010). Identity 2.0: Constructing identity with cultural software. www.annehelmond.nl , PDF: http://www.annehelmond.nl/wordpress/wp-content/uploads//2010/01/helmond_identity20_dmiconference.pdf.
Mayer-Schonberger, V. (2009). Delete: The Virtue of Forgetting in the Digital Age . Princeton University Press.
Papacharissi, Z. (Ed.). (2010). A Networked Self: Identity, Community, and Culture on Social Network Sites . Routledge.
My presentation is part of a four-paper panel entitled “Coherency, Authenticity, Plurality and the Trace” which also features papers by Erika Pearson / @erikapearson (University of Otago), Stephanie Tuszynski (Bethany College) and Brady Robards / @bradyjay (Griffith University). Our panel is currently scheduled for Tuesday, 11/Oct/2011: 4:00pm – 5:30pm in “South” if you’ll be at IR12. I hope to post the slides before our panel session and, if I get the chance, I’ll try and capture the audio and post it some time shortly thereafter.
Any comments, thoughts or questions are most welcome! 🙂
Digital Culture Links: September 21st 2011
Links for September 7th 2011 through September 21st 2011:
- Game over for Japanese teens as grey gamblers take prime slot at arcades [News.com.au] – “The country which gave the world classic arcade games such as “Space Invaders” and “PacMan” is facing a demographic crisis, with a dwindling birth rate and ever-swelling numbers of elderly people. So Japan’s amusement arcades, once an exclusive resort of youth, are increasingly becoming the abode of the old, The (London) Times said today. According to the Hello Taito game centre in the Tokyo suburb of Kameari, as many as 90 per cent of its weekday visitors are over 60 years old. In an effort to encourage elderly customers, the company is making concerted efforts to appeal to this unfamiliar demographic. Metal stools have been replaced by benches covered with old-fashioned tatami mats. Seaweed tea, popular among retired people, is provided free, as well as blankets and reading glasses. Even the deafening noises emitted by the arcade machines have been turned down to a minimum out of consideration for geriatric sensibilities.”
- Ctrl-Z new media philosophy – New broadly-themed and inclusive academic journal looking for submissions under the broad umbrella of “New Media Philosophy”.
- Harried, underpaid staff plan to flee the sector [The Australian] – *sigh* “Two in five academics under the age of 30 plan to leave Australian higher education within the next five to 10 years because of high levels of dissatisfaction caused by lack of job security, poor pay and mountains of paperwork and red tape. And for those aged between 30 and 40, the figure is one in three. Dissatisfaction and insecurity are so rife among casual and sessional staff that a new report for the Department of Education, Employment and Workplace Relations estimates that close to half the academic workforce will retire, move to an overseas university or leave higher education altogether within the next decade.”
- Online gamers crack AIDS enzyme puzzle [The Age] – Collaborative online gamers manage to crack a crucial enzyme which is key to combating HIV. This is tangible evidence of collective intelligence of game players when usefully directed and harnessed.
- danah boyd | apophenia » Guilt Through Algorithmic Association – How algorithms can make someone look guilty or attached to something, even if it’s only other searchers making that connection: “You’re a 16-year-old Muslim kid in America. Say your name is Mohammad Abdullah. Your schoolmates are convinced that you’re a terrorist. They keep typing in Google queries likes “is Mohammad Abdullah a terrorist?” and “Mohammad Abdullah al Qaeda.” Google’s search engine learns. All of a sudden, auto-complete starts suggesting terms like “Al Qaeda” as the next term in relation to your name. You know that colleges are looking up your name and you’re afraid of the impression that they might get based on that auto-complete. You are already getting hostile comments in your hometown, a decidedly anti-Muslim environment. You know that you have nothing to do with Al Qaeda, but Google gives the impression that you do. And people are drawing that conclusion. You write to Google but nothing comes of it. What do you do? This is guilt through algorithmic association.”
- Marilyn Monroe, Grace Kelly and Marlene Dietrich join Charlize Theron in new Dior J’Adore advert [Mail Online] – Marilyn Monroe, Grace Kelly and Marlene Dietrich all posthumously join Charlize Theron in a new perfume advertisement thanks to the plasticity of computer generated imagery.
Digital Culture Links: September 7th 2011
Links for September 2nd 2011 through September 7th 2011:
- 28% of American adults use mobile and social location-based services [Pew Research Center’s Internet & American Life Project] – Pew research, September 2011: “More than a quarter (28%) of all American adults use mobile or social location-based services of some kind. This includes anyone who takes part in one or more of the following activities:
* 28% of cell owners use phones to get directions or recommendations based on their current location—that works out to 23% of all adults.
* A much smaller number (5% of cell owners, equaling 4% of all adults) use their phones to check in to locations using geosocial services such as Foursquare or Gowalla. Smartphone owners are especially likely to use these services on their phones.
* 9% of internet users set up social media services such as Facebook, Twitter, or LinkedIn so that their location is automatically included in their posts on those services. That works out to 7% of all adults.” [Full PDF Report] - Random thoughts about piracy [Social Media Collective] – boyd on the culturally-specific takes on media piracy: “I was absolutely enthralled with how the discourse around piracy in India was radically different than anything I had seen elsewhere. In India, piracy is either 1) a point of pride; or 2) a practical response to an illogical system. There is no guilt, no shame. I loved hearing people talk about mastering different techniques for pirating media, software, and even infrastructural needs (like water, electricity, even sewage…) There was a machismo involved in showing off the ability to pirate. To pay was to be cheated, which was decidedly un-masculine. Of course, getting caught is also part of the whole system, but the next move is not to feel guilty; it is to bribe the person who catches you. Ironically, people will often pay more to bribe inspectors than it would’ve cost them to pay for the service/item in the first place. Again, we’re back to pride/masculinity. Pirating was an honorable thing to do; not pirating is to be cheated.”
- Practise the web safety you teach [SMH] – Important little piece reminder K-12 schools that they need to practice what they are starting to preach. It’s great to give students and parents tips on protecting their identity online, but when schools post photographs of students with full names online – often without getting parental or student consent – that’s hardly reinforcing the privacy-aware message.
- The Fall of WikiLeaks: Cablegate2, Assange and Icarus [techPresident] – One (of many) takes on how Julian Assange and Wikileaks went too far in releasing entirely unedited records unedited. They’ve not only lost the moral highground, but tarnished past partners and ensured anyone in a position to leak something in the future would be even less likely to do so: “WikiLeaks has now indiscriminately dumped the whole cable set into the public arena, and in doing so it has tossed away whatever claim it might have had to the moral high ground. The argument that others were doing it already, or that bad actors were already getting access to the leaked master file and thus this was a mitigating step to reduce coming harms, or that it’s somehow The Guardian’s fault for publishing what it thought was a defunct password, doesn’t absolve WikiLeaks of its large share of responsibility for this dump. People are human; to err is human. But refusing to admit error, that is hubris. Assange, like Icarus, thought he could fly to the sun.”
- AFACT Uncle Sam’s puppet in iiNet trial [SMH] – “US copyright police are pulling AFACT’s strings as it drags iiNet through Australian courts, but is anyone really surprised? The Motion Picture Association of America is driving AFACT’s legal attack on Australian ISP iiNet, bringing in Village Roadshow and the Seven Network to avoid the impression of US bullying, according to US diplomatic cables released by Wikileaks. It seems the MPAA deliberately avoided picking a fight with the more powerful Telstra, instead hoping for a quick victory against the smaller iiNet which could set a national and perhaps even international legal precedent to aid the Americans in their global fight against piracy. The undertones of American imperialism and Australian subservience are disturbing …”
Performing Animals: Synthespians, Primates and Cinematic Sympathy
Having let this blog become more link digests than anything else, I promised myself I’d write a bit more about my research activities, so with that in mind, I’m looking down a new research path and thought I’d share my very first thoughts. As usual, it has taken a deadline to galvanise any writing, but the Call for Papers for the Green Planets: Ecology and Science Fiction sounded enticing so, below is the chapter abstract I submitted today. (There’s no guarentee it’ll be accepted, of course, but this chapter will get written one way or another as it has definitely fired my imagination). Feedback or thoughts are welcome, of course!
Performing Animals: Synthespians, Primates and Cinematic Sympathy
Chapter abstract.
Virtual actors, or synthespians (‘synthetic thespians’), simultaneously expand what ‘acting’ actually entails whilst also asking film viewers to sympathise with often non-human entities in contexts which strive for verisimilitude. Initial industry responses to synthespians centred on fears that unpaid virtual actors could replace human beings but Dan North argues that rather than making actors superfluous, synthespians actually illustrate ‘an interdependence between the human and the machine, the digital and the analogue, the real and the simulated’ (2008, p. 183). The performance capture technologies behind synthespians facilitate a complex symbiosis between the visceral, physical performance of actors and the informatic and computational artistry of cutting edge digital media. While scholarly attention has been paid to virtual actors portraying fictional creatures or aliens – such as Jar Jar Binks in Star Wars: Episode I – The Phantom Menace (1999), Gollum in The Lord of the Rings trilogy (2001, 2002, 2003) or the Na’vi in Avatar (2009) – this chapter instead examines synthespians who are performing (as) animals.
Focusing on Kong from Peter Jackson’s King Kong (2005) and Caesar from Rupert Wyatt’s Rise of the Planet of the Apes (2011), both of whom are performed by actor Andy Serkis and the special effects team at WETA Digital, this chapter will argue that primate synthespians complicate and challenge the boundaries between people and animals, between natural and technological, and between the computational and ecological (amongst others). To provide historical and cultural context, I will draw on antecedents from the Kong and Planet of the Apes franchises as well as contemporary texts, such as the documentary Project Nim (2011) which details a 1970s experiment scrutinising the nature/nurture divide in which a chimpanzee was raised as a human child. The strong critical and commercial success of Rise of the Planet of the Apes suggests audiences can readily sympathise with a primate protagonist, while Barbara Creed has similarly argued that Jackson’s Kong is ‘a screen animal who holds our sympathies throughout the film’ (2009, p. 191). Indeed, recognising its role in promoting animal rights, People for the Ethical Treatment of Animals (PETA) has actually given Rise of the Planet of the Apes their official approval. Ultimately, this chapter will explore the way these films generate sympathetic digital primates, the inherent contradictions in provoking sympathy by replacing animals with actors performing animals, and how these films and audience reactions may serve as a focal point for broader consideration of the relationships between people, primates, nature and technology.
References
Creed, B. (2009). Darwin’s Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema. Melbourne: Melbourne University Press.
North, D. (2008). Performing Illusions: Cinema, Special Effects and the Virtual Actor. London & New York: Wallflower Press.
[Image Source: The Hollywood Reporter]
Digital Culture Links: August 30th 2011
Links for August 25th 2011 through August 30th 2011:
- Academic publishers make Murdoch look like a socialist [The Guardian] – George Monbiot looks at the monopolistic world of academic publishing and finds a world where profits are soaring while the broader media landscape around them is crumbling. On the ethical side, the important question: should publicly funded reseach end up in journals that cost $20+ an article to read if you’re not attached to a university? Open access might be one answer to the problem!
- Teen hacks ex-mate’s Facebook [Toowoomba Chronicle] – “Bad blood between former teenage mates had driven one to hack into the other’s Facebook page and leave a posting that he was gay and wanted to come out of the closet, Toowoomba Magistrates Court heard yesterday. […] Woodside then hacked into the victim’s Facebook page and posted that the victim was gay and wanted to “come out of the closet”, a posting which anyone accessing the page could have read, the court heard.”
- “Does This Technology Serve Human Purposes?”: A “Necessary Conversation” with Sherry Turkle (Part Three) [Confessions of an Aca/Fan: Archives] – Sherry Turkle interviewed by Henry Jenkins, clarifying many important points from Alone Together: “My earlier enthusiasm for identity play on the Internet, […] relied heavily on the work of psychologist and psychoanalyst Erik Erikson. Erikson wrote about the developmental need for a moratorium or “time out” during adolescence, a kind of play space in which one had a chance to experiment with identity. In the mid-1990s, I wrote about the Internet as a space where anonymity was possible and where one could experiment with aspects of self in a safe environment. Today, adolescents grow up with a sense of wearing their online selves on their backs “like a turtle” for the rest of their lives. The internet is forever. And anonymity on the Internet seems a dream of another century, another technology.” [Part 1] [Part 2]
- Apple cancels iTunes TV rentals [GigaOM] – “Despite its role as a major selling point of the revamped Apple TV last fall, Apple has done away with TV show rentals. Several bloggers noticed the option to rent individual episodes missing from iTunes and Apple TV Friday, and Apple later confirmed the decision was based on lack of interest. “iTunes customers have shown they overwhelmingly prefer buying TV shows,” Apple spokesman Tom Neumayr told AllThingsD Friday. “iTunes in the Cloud lets customers download and watch their past TV purchases from their iOS devices, Apple TV, Mac or PC allowing them to enjoy their programming whenever and however they choose.” Very few TV studios were on board with the idea in the first place–only Fox and ABC–so this isn’t a huge change. But now the only option in iTunes when it comes to TV shows is to buy. You can buy a full season or “Season Pass,” or if you want to cherry pick a season, you can still buy individual episodes.”
- Case History Of A Wikipedia Page: Nabokov’s ‘Lolita’ [The Awl] – Fascinating: “Entries such as the one on Lolita demonstrate why perfection on Wikipedia remains an “unattainable” goal—when the topic is contentious, perfection will always butt heads against “is completely neutral and unbiased.” One man’s undeniable literary masterpiece is another man’s abominable pedophilic trash, and they’re both editors on Wikipedia. The edits to the Lolita page (and any Wikipedia page) can seem tedious and petty, and many of them are. But the users’ vigilance in keeping some words and changing others, and debating over content and style, does have a purpose: it keeps critical thinking alive and well. The writing, editing, rewriting and re-editing process of a Wikipedia page creates a new entity—the Lolita Wikipedia page, which is not Nabokov’s Lolita, but a work in its own right. In the collaborative editing process, any reader can use the Lolita page to challenge its meaning. In fact, he can reach right in and edit it himself, until someone else edits it again.”
Tama Leaver dot Net by Tama Leaver is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.