What happens when you select two random teen girls living in the UK from the Last.fm community and compare their playlist for a week with their Tweets during the same timeframe? Well, you get hints at how music affects their mood as well as how they identify themselves through song and lyric.
Read more of the story on Identeenity.com – a website looking at the different ways teen girls construct their identity using digital media.
While social media has its undeniable affordances, we don’t need a conference to tell us we’re reinventing our expressions of emotion online. We’ve steadily relegated our handshakes, glances, winks or smiles to below those of digital “pokes” and “likes”. In a parody turned technical, Dutch artists Jasper van Loenen and Bartholomäus Traubeck developed the Poking Machine, showcased at the alt-conference Unlike Us held in Amsterdam on 8-10 March. It’s a wearable device that physically pokes a person whenever a friend virtually pokes them on Facebook. The Poking Machine consists of a custom-built circuit (ATtiny, servo, battery, and bluetooth module) that connects to an Android phone that tracks incoming pokes. The circuit is housed in a coloured laser-cut box that users wear on the arm. While people happily poke away on Facebook, Van Loenen and Traubeck are poking fun at us. Even without the benefits of hindsight they can see the future. There’s little disputing that in years to come, digital poking will not go down as one of mankind’s finest moments.
I Want You to Want Me by Jonathan Harris and Sep Kamvar made me think: it’s a huge, goddamn lonely digital universe out there. It feels like, as researchers (and people) we’ve just launched an exploration into a new cosmos and the results are sometimes more unnerving than fascinating.
I Want You To Want Me is a haunting, beautiful, interactive installation that Harris and Kamvar built for the Elastic Mind exhibition at MOMA in 2008. The duo harvested data from online dating sites and then visualized it in a series of floating pink (female) and blue (male) interactive balloons. Viewers can touch a balloon which then reveals bits of the data – like people’s opening or closing lines on their dating profiles or what they’re looking for in a partner.
Like their other (also beautiful) project, We Feel Fine,it’s divided into movements.
Closers reveals closing lines from users’ profiles:
Hurt me and you die (19-year-old woman looking for a woman in Orange County, California)
Did i mention that i’m nice? (36-year-old man looking for a woman in Omaha, Nebraska)
Also I would like to get married before my 30th birthday. (27-year-old woman looking for a man in Waupaca, Wisconsin)
Another movement is sillouettes depicting shadowy representations of online daters trapped in balloons.
Maybe it was the background music of the Youtube video, or some of the lines, but it really punched a hole in my chest. The floating balloon graphics weren’t people anymore but more like lonely digital ghosts. Ghosts of our previous analogue selfs?
It’s unchartered space. It’s filled with expression. We can better understand ourselves with the help of social data and design. I get this. This explains away the new charge of data visualizations, apps and tools that help us quantify and analyse our emotions.
But maybe it’s also the start of something else. That the web is now laying bare the complexities of human relationships. That is has always been a goddamn lonely universe out there, but for the first time we can see it. As we start to uncover our digital selves through data and design, we see the traces of our digital adventures and our new digital existence. We see what we’ve become or what we’ve always been. Either way, this self, seeking love, looks lonely.
- Natalie Dixon
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