http://www.cyborganthropology.com/wiki/api.php?action=feedcontributions&user=Kyledrake&feedformat=atomCyborg Anthropology - User contributions [en]2024-03-28T23:40:10ZUser contributionsMediaWiki 1.23.13http://www.cyborganthropology.com/Digital_Junk_FoodDigital Junk Food2012-08-08T05:33:59Z<p>Kyledrake: </p>
<hr />
<div>===Definition===<br />
Digital junk food describes information that is waste of time and is useful to one's everyday life. Not only is the intonation designed to make you want more of it, but it doesn't provide any informational value, so your brain is deprived of meaning and still wants to consume something of worth or mental value. <br />
<br />
The promise of fast food is that it requires minimal effort and time to order, receive and consume. What Reichelt noted was that humans were "expending almost no energy at all on getting to grips with this info, it's just there to take it all in if we want". <ref>Leisa Reichelt. Posted by Suw Charman-Anderson. Published Oct 2007. Accessed Oct 2011. http://strange.corante.com/2007/10/04/fowa07b-leisa-reichelt</ref> Humans have stomachs that tell them when they are full, but the human brain did not evolve with that feeling. One must be mindful of intake and the effect it has on one's mental processes.<br />
<br />
We evolved a limit in our stomach to tell us when we're full, but not our brains to tell us when our brains were full. Anyone who has seen someone compulsively check an activity stream of information on their phone has a right to feel that these streams can become addicting. And rightly so, ambient intimacy is not a replacement for real-life interaction. It is more of an atmospheric communication, a set of small moments that are not intended to receive full attention: moments in the periphery. It is only when these peripheral moments become excessive and primary that they become digital junk food. <br />
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===Related Reading===<br />
*[[Intermittent Reinforcement]]<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Illustrated V2]]<br />
[[Category:Marked for Editing]]</div>Kyledrakehttp://www.cyborganthropology.com/Stealth_SocializationStealth Socialization2011-10-30T02:26:32Z<p>Kyledrake: Add note about OkCupid's recent a-list functionality</p>
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<div>===Definition===<br />
The opposite of social networking - one seeks to view content without leaving a social trail or engaging in social interaction. <br />
<br />
Antisocial networking undermines the feedback loop of information by not leaving an information trail that other parties can view, and is in this sense a "shadow socialization". Sometimes this dynamic can be ideal, such as Facebook's system that does not allow users to see who has been visiting their site. This encourages a type of social voyeurism where users can anonymously view other profiles, in comparison with Okcupid's interface of allowing users to see who has been viewing their profile. Perhaps suggesting high demand for social voyeurism, Okcupid has recently provided an account upgrade where, for a small monthly fee, users are able to view other profiles anonymously, and can then selectively inform other users if they have viewed their profile).<ref>OkCupid A-List Extras. http://www.okcupid.com/help/a-list-extras</ref><br />
<br />
Shadow networking has its uses for encouraging social interaction, as Facebook has made abundantly clear, but should be used as a means to encourage active and overtly social networking. <br />
<br />
As David Dahl wrote, "I'd rather my correspondence with my friends and family not be sliced and diced and sold - and kept as a public (or private) record".<ref>Dahl, David. antisocial networking. Published April 10, 2009. Accessed 10 Apr 2011. http://daviddahl.blogspot.com/2009/04/antisocial-networking.html</ref> <b>The preference for social networking without</b><br />
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The Facebook Disconnect plugin for the Chrome browser by Brian Kennish<ref>Kennish, Brian. Disconnected plugin for Chrome. https://chrome.google.com/webstore/detail/ejpepffjfmamnambagiibghpglaidiec Accessed July 2011.</ref> is an example of a plugin that stops Facebook from tracking the webpages users go to.<br />
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==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Stealth_SocializationStealth Socialization2011-10-30T02:06:29Z<p>Kyledrake: Highlight dangling sentence</p>
<hr />
<div>===Definition===<br />
The opposite of social networking - one seeks to view content without leaving a social trail or engaging in social interaction. <br />
<br />
Antisocial networking undermines the feedback loop of information by not leaving an information trail that other parties can view, and is in this sense a "shadow socialization". Sometimes this dynamic can be ideal, such as Facebook's system that does not allow users to see who has been visiting their site. This encourages a type of social voyeurism where users can anonymously view other profiles, in comparison with Okcupid's interface of allowing users to see who has been viewing their profile. Shadow networking has its uses for encouraging social interaction, as Facebook has made abundantly clear, but should be used as a means to encourage active and overtly social networking. <br />
<br />
As David Dahl wrote, "I'd rather my correspondence with my friends and family not be sliced and diced and sold - and kept as a public (or private) record".<ref>Dahl, David. antisocial networking. Published April 10, 2009. Accessed 10 Apr 2011. http://daviddahl.blogspot.com/2009/04/antisocial-networking.html</ref> <b>The preference for social networking without</b><br />
<br />
The Facebook Disconnect plugin for the Chrome browser by Brian Kennish<ref>Kennish, Brian. Disconnected plugin for Chrome. https://chrome.google.com/webstore/detail/ejpepffjfmamnambagiibghpglaidiec Accessed July 2011.</ref> is an example of a plugin that stops Facebook from tracking the webpages users go to.<br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Superhuman_Interaction_DesignSuperhuman Interaction Design2011-10-30T01:49:58Z<p>Kyledrake: </p>
<hr />
<div>===Definition===<br />
Superhuman interaction design describes the process of designing interfaces to amplify human intellect, joy, and power to interact with information. Superhuman interfaces are successful because they provide not only a mentally joyful experience, but a physiologically joyful one as well. <br />
<br />
In order for an interface to be considered superhuman, it has to have the following characteristics:<br />
*Minimize visual skeuomorphic cues and reduce the interaction to action ratio.<br />
*Make the user feel physiologically empowered. Present information in a way that makes the user feel more powerful than the information, not overwhelmed.<br />
*Make the user feel exhilarated when using the interface, as if they had suddenly turned into a superhuman. Make them feel that they are able to do this because you’ve made them an excellent interface that empowers them.<br />
<br />
JumpCut is an example of a superhuman interface in that it extends one's short term memory into a digital data store. It allows one to store up to 50 clipboard objects and access them with a tiny set of keyboard shortcuts. The interface is invisible until one needs it. It makes me feel like my short term memory is suddenly 50 memories long, instead of just 4 or 5.<br />
<br />
The Flipboard application for the iPad represents a very important turning point in skeuomorphic interaction design. It takes the best parts of the page turn, reduces them by half (the page pivots from the middle, not the side) and presents the reader with more information instantly. It is seamless. It is empowering. And because of that, it is relaxing.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Superhuman_Interaction_DesignSuperhuman Interaction Design2011-10-30T01:39:23Z<p>Kyledrake: </p>
<hr />
<div>===Definition===<br />
Superhuman interaction design describes the process of designing interfaces to amplify human intellect, joy, and power to interact with information. Superhuman interfaces are successful because they provide not only a mentally joyful experience, but a physiologically joyful one as well. <br />
<br />
In order for an interface to be considered superhuman, it has to have the following characteristics:<br />
*Minimize visual skeuomorphic cues and reduce the interaction to action ratio.<br />
*Make the user feel physiologically empowered. Present information in a way that makes the user feel more powerful than the information, not overwhelmed.<br />
*Make the user feel exhilarated when using the interface, as if they had suddently turned into a superhuman and they are able to do this because you’ve made them an excellent interface that empowers them instead of frightens them and makes them run away from data.<br />
<br />
JumpCut is an example of a superhuman interface in that it extends one's short term memory into a digital data store. It allows one to store up to 50 clipboard objects and access them with a tiny set of keyboard shortcuts. The interface is invisible until one needs it. It makes me feel like my short term memory is suddenly 50 memories long, instead of just 4 or 5.<br />
<br />
The Flipboard application for the iPad represents a very important turning point in skeuomorphic interaction design. It takes the best parts of the page turn, reduces them by half (the page pivots from the middle, not the side) and presents the reader with more information instantly. It is seamless. It is empowering. And because of that, it is relaxing.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Steve_MannSteve Mann2011-10-30T01:37:47Z<p>Kyledrake: </p>
<hr />
<div>===Biography===<br />
Steve Mann holds degrees from the Massachusetts Institute of Technology (PhD in Media Arts and Sciences '97) and McMaster University, where he was also inducted into the McMaster University Alumni Hall of Fame, Alumni Gallery, 2004, in recognition of his career as an inventor and teacher. While at MIT he was one of the founding members of the Wearable Computers group in the [[Media Lab at MIT|Media Lab]]. In 2004 he was named the recipient of the 2004 Leonardo Award for Excellence for his article "Existential Technology," published in Leonardo 36:1. <br />
<br />
[http://wearcam.org/ WearCam.org]<br />
<br />
See: [[Cyborg: Digital Destiny and Human Possibility in the Age of the Wearable Computer]] <br />
<br />
[[Category:People]]<br />
[[Category:Book Pages]]<br />
[[Category:Unfinished]]</div>Kyledrakehttp://www.cyborganthropology.com/Superhuman_Interaction_DesignSuperhuman Interaction Design2011-10-30T01:24:29Z<p>Kyledrake: </p>
<hr />
<div>===Definition===<br />
Superhuman interaction design describes the process of designing interfaces to amplify human intellect, joy, and power to interact with information. Superhuman interfaces are successful because they provide not only a mentally joyful experience, but a physiologically joyful one as well. <br />
<br />
In order for an interface to be considered superhuman, it has to have the following characteristics:<br />
*Minimize visual skeuomorphic cues and reduce the interaction to action ratio. For example, the software application Flipboard for the iPad reduces the page curl to a centralized pivot, and allows a page to be turned with the touch of a finger.<br />
*Make the user feel physiologically empowered. Present information in a way that makes the user feel more powerful than the information, not overwhelmed.<br />
*Make the user feel exhilarated when using the interface, as if they had suddently turned into a superhuman and they are able to do this because you’ve made them an excellent interface that empowers them instead of frightens them and makes them run away from data.<br />
<br />
JumpCut is an example of a superhuman interface in that it extends one's short term memory into a digital data store. allows one to store up to 50 clipboard objects and access them with a tiny set of keyboard shortcuts. The interface is invisible until one needs it. It makes me feel like my short term memory is suddenly 50 memories long, instead of just 4 or 5.<br />
<br />
The iPad app Flipboard represents a very important turning point in Skeuomorphic interaction design. It takes the best parts of the page turn, reduces them by half (the page pivots from the middle, not the side) and presents the reader with more information instantly. It is seamless. It is empowering. And because of that, it is relaxing.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Superhuman_Interaction_DesignSuperhuman Interaction Design2011-10-30T01:23:53Z<p>Kyledrake: Example clarification</p>
<hr />
<div>===Definition===<br />
Superhuman interaction design describes the process of designing interfaces to amplify human intellect, joy, and power to interact with information. Superhuman interfaces are successful because they provide not only a mentally joyful experience, but a physiologically joyful one as well. <br />
<br />
In order for an interface to be considered superhuman, it has to have the following characteristics:<br />
*Minimize visual skeuomorphic cues and reduce the interaction to action ratio. For example, Flipboard for the iPad reduces the page curl to a centralized pivot, and allows a page to be turned with the touch of a finger.<br />
*Make the user feel physiologically empowered. Present information in a way that makes the user feel more powerful than the information, not overwhelmed.<br />
*Make the user feel exhilarated when using the interface, as if they had suddently turned into a superhuman and they are able to do this because you’ve made them an excellent interface that empowers them instead of frightens them and makes them run away from data.<br />
<br />
JumpCut is an example of a superhuman interface in that it extends one's short term memory into a digital data store. allows one to store up to 50 clipboard objects and access them with a tiny set of keyboard shortcuts. The interface is invisible until one needs it. It makes me feel like my short term memory is suddenly 50 memories long, instead of just 4 or 5.<br />
<br />
The iPad app Flipboard represents a very important turning point in Skeuomorphic interaction design. It takes the best parts of the page turn, reduces them by half (the page pivots from the middle, not the side) and presents the reader with more information instantly. It is seamless. It is empowering. And because of that, it is relaxing.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/HypercultureHyperculture2011-10-30T01:15:37Z<p>Kyledrake: Girl Talk, not GirlTalk</p>
<hr />
<div>[[Image:supermodernity-maggie-nichols.jpg|600px|center]]<br />
===Definition===<br />
Supermodernity is a term used to describe an accelerated form of modernity that accelerates the transformation of time and space. Modernity is defined as that which integrates the new and the old such that both become familiar in the same space. Supermodernity, in contrast, is characterized by its excesses. There are three such excesses in supermodernity. In contrast to accounts of postmodernity in which there is a general collapse of an idea of progress, in supermodernity there is an acceleration of history that results, not in meaninglessness, but in the excess of meaningful events. This excess of historical significance, rather than leaving us complacent, makes us even more avid for meaning. <br />
<br />
Supermodernity is the essence of a totally syncretic universe, where everything blends together. All religions, arts, cultures, scientific techniques, all business commerce and trade. The ultimate melting pot of thought, image, and existence. This is the natural outcome of living in a society that is becoming more commodified, with less friction dividing it. Now all one does is pick up the pieces and put them together in new ways. Everything has new value now. Everything may be used to make something. Evidence of this is the remix culture of YouTube videos, the musician Girl Talk, and the re-commodification of history and historical objects by hipster culture. In a supermodern era, all of history is in the cultural domain. All of culture is capable of being processed, wound down, and remixed.<br />
<br />
[[Category:Finished]]<br />
[[Category:Book Pages]]<br />
[[Category:Illustrated]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/HypercultureHyperculture2011-10-30T01:14:29Z<p>Kyledrake: Copy fixes</p>
<hr />
<div>[[Image:supermodernity-maggie-nichols.jpg|600px|center]]<br />
===Definition===<br />
Supermodernity is a term used to describe an accelerated form of modernity that accelerates the transformation of time and space. Modernity is defined as that which integrates the new and the old such that both become familiar in the same space. Supermodernity, in contrast, is characterized by its excesses. There are three such excesses in supermodernity. In contrast to accounts of postmodernity in which there is a general collapse of an idea of progress, in supermodernity there is an acceleration of history that results, not in meaninglessness, but in the excess of meaningful events. This excess of historical significance, rather than leaving us complacent, makes us even more avid for meaning. <br />
<br />
Supermodernity is the essence of a totally syncretic universe, where everything blends together. All religions, arts, cultures, scientific techniques, all business commerce and trade. The ultimate melting pot of thought, image, and existence. This is the natural outcome of living in a society that is becoming more commodified, with less friction dividing it. Now all one does is pick up the pieces and put them together in new ways. Everything has new value now. Everything may be used to make something. Evidence of this is the remix culture of YouTube videos, the musician GirlTalk, and the re-commodification of history and historical objects by hipster culture. In a supermodern era, all of history is in the cultural domain. All of culture is capable of being processed, wound down, and remixed.<br />
<br />
[[Category:Finished]]<br />
[[Category:Book Pages]]<br />
[[Category:Illustrated]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/SynesthesiaSynesthesia2011-10-29T23:40:40Z<p>Kyledrake: Copy fixes</p>
<hr />
<div>[[Image:synesthesia-maggie-nichols.jpg|right|300px]]<br />
===Definition===<br />
Synesthesia is the property of one sensory input causing a reaction in another sensory input. Classic cases of synesthesia are people who smell colors, see smells, hear colors, feel images, etc.<br />
<br />
The term is especially relavent to advances in digital technologies. Most things in "reality" engage us on multiple sensory levels: the experience of an orange includes the brilliant color, the feel of the soft skin, the smell of the sharp citrus, and the taste of the tangy sweetness. Indeed, the very fact that a smell can be "sharp" shows how pervasive the mixing of sensory metaphors can be. In the digital world, sight often reigns supreme, with the occasional auditory supplement. Yet digital art often combines different senses to create art that engages us on many levels. An interactive installation piece can produce sound, stunning visuals, tactile feedback, and even smells and taste. A common example of the possibilities of computers in producing synesthesic art is the visualizer that comes standard with most audio players. The program takes the music and visually represents the music in real-time. Add a powerful subwoofer and one can literally feel the bass on one's skin, adding another sensory dimension. If the art of the past tended toward uni-sensual experience (a painting, a song, etc.), the art of the future seems to be moving in the direction of immersive multi-sensual experience.<br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Marked For Editing]]<br />
[[Category:Book Pages]]<br />
[[Category:Illustrated]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/TamagotchiTamagotchi2011-10-29T23:19:01Z<p>Kyledrake: Copy changes and fixes</p>
<hr />
<div>===Definition===<br />
The word Tamagotchi is the name of a Japanese pocket pet that simulated social and material needs. The Tamagotchi became a household name shortly after Japanese toy producer Bandai released the small egg-shaped computer into the hands of millions of adoring youth. The technology, developed in 1996, by Aki Maita, would see sales of over 70 million by 2008.<ref>Dean Takahashi “Here kitty kitty! FooMojo launches virtual pets game FooPets”. Venture Beat. Retrieved on 2008-12-31.</ref><br />
<br />
Pocket pets had characteristic cries that would interrupt class if not turned off. Caring for the pet was fairly simple. A tiny creature would appear on screen after the egg was turned on. By pressing the three buttons, the owner could feed, bathe, discipline, or amuse the pet. If these four actions were done in moderation and at a fairly regular pace, the creature would eventually evolve into a better animal. If the creature was poorly cared for, it would either die or evolve into a sickly weak animal.<ref>http://www.japan-101.com/culture/tamagotchi.htm</ref><br />
<br />
The structure of the cell phone is very similar to that of a pocket pet. The Tamagotchi could be considered to be a technosocial training wheel for the later adoption of the mobile device, a harbinger of technosocially mediated days to come, when cell phones and Facebook would become a normal part of the everyday class experience. Text messages, phone calls to friends, and E-mail now live on many students’ mobile devices, making cell phone use in school almost completely necessary to stay in touch with friends. This makes cell phones a real-life Tamagotchi, where multiple creatures exist inside each device, and relationship maintenance becomes a push-button system. <br />
<br />
A cell phone contains multiple contacts to care for. Each text message represents the need of a contact, which must be maintained by feeding (talking or texting with the contact). Like the Tamogotchi, a cell phone constantly calls the user to it, and has penalties for ignoring it. Missed parties or business deals reinforce responsive behaviors and maintenance strategies. <br />
<br />
{{citation needed}}<br />
*[http://books.google.ca/books?id=JvF0wB_PBUYC&lpg=PA225&ots=4mKneRZMSZ&dq=tamagotchi%20cemeteries&pg=PA225#v=onepage&q=tamagotchi%20cemeteries&f=false Zizek and the Tamagotchi] <br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/TamagotchiTamagotchi2011-10-29T22:37:59Z<p>Kyledrake: Copy fixes</p>
<hr />
<div>===Definition===<br />
The word Tamagotchi is the name of a Japanese pocket pet that simulated social and material needs. The Tamagotchi became a household name shortly after Japanese toy producer Bandai released the small egg-shaped computer into the hands of millions of adoring youth. The technology, developed in 1996, by Aki Maita, would see sales of over 70 million by 2008.<ref>Dean Takahashi “Here kitty kitty! FooMojo launches virtual pets game FooPets”. Venture Beat. Retrieved on 2008-12-31.</ref><br />
<br />
Pocket pets had characteristic cries that would interrupt class if not turned off. Caring for the pet was fairly simple. A tiny creature would appear on screen after the egg was turned on. By pressing the three buttons, the owner could feed, bathe, discipline, or amuse the pet. If these four actions were done in moderation and at a fairly regular pace, the creature would eventually evolve into a better animal. If the creature was poorly cared for, it would either die or evolve into a sickly weak animal.<ref>http://www.japan-101.com/culture/tamagotchi.htm</ref><br />
<br />
The structure of the cell phone is very similar to that of a pocket pet. The Tamagotchi could be considered to be a technosocial training wheel for the later adoption of the mobile device, a harbinger of technosocially mediated days to come, when cell phones and Facebook would become a normal part of the everyday class experience. Text messages, phone calls to friends, and E-mail now live on many students’ mobile devices, making cell phone use in school almost completely necessary to stay in touch with friends. This makes cell phones a real-life Tamagotchi, where multiple creatures exist inside each device, and relationship maintenance becomes a push-button system. <br />
<br />
A cell phone contains multiple contacts to care for. Each text message represents the need of a contact, which must be maintained by feeding (talking or texting with the contact). Like the Tamogotchi, a cell phone constantly calls the user to it with penalties or ignoring its signal. Missed parties or business deals reinforce responsive behaviors and maintenance strategies. <br />
<br />
{{citation needed}}<br />
*[http://books.google.ca/books?id=JvF0wB_PBUYC&lpg=PA225&ots=4mKneRZMSZ&dq=tamagotchi%20cemeteries&pg=PA225#v=onepage&q=tamagotchi%20cemeteries&f=false Zizek and the Tamagotchi] <br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Technosocial_WombTechnosocial Womb2011-10-29T22:32:42Z<p>Kyledrake: Changes to description</p>
<hr />
<div>===Definition===<br />
The technosocial womb describes a state of technological connectivity where everything is the same distance away. Where all resources, all socialization and power are available at the touch of a button. Michel de Certeau writes, that to “visit the gleeful and silent experience of infancy: to be another, and go over to the other, in a place”.<ref>Augé, Marc. Non-Places. An Introduction to a Theory of Supermodernity. 1995. Pg. 83.</ref>. The reconnection of the individual to something greater, to real social interaction, is the womb state, the Garden of Eden, the utopia. In the same way, the technosocially connected individual can travel with a womb through which social sustenance may be delivered, because no social sustenance can be delivered by individuals in the modern public sphere.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Technosocial_Worm_HoleTechnosocial Worm Hole2011-10-29T21:40:47Z<p>Kyledrake: Copy fixes</p>
<hr />
<div>===Definition===<br />
The compression of time and space that the cell phone can handle is akin to a worm hole. The caller goes into a partial black hole of perception as a phone call is taken. When the caller connects to the call‐ee, a wormhole forms in time/space, allowing communication to happen between the two individuals.<br />
<br />
===Related Reading===<br />
*[[Time and Space Compression]]<br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Tele-CocooningTele-Cocooning2011-10-29T21:29:16Z<p>Kyledrake: Pull period</p>
<hr />
<div>===Definition===<br />
Tele-Cocooning is a term developed by Ichiyo Habuchi to describe intimate human computer interaction, specifically in reference to "the communication of one person to the next without having physical interaction with that person".<ref> Ichiyo Habuchi, “Accelerating Reflexivity,” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life, ed. Mizuko Ito, Daisuke Okabe, and Misa Matsuda (Cambridge, MA: MIT Press, 2005).</ref><ref>[http://en.wikipedia.org/wiki/Tele-cocooning Wikipedia - Tele-cocooning]</ref><br />
<br />
"The concept of tele-cocooning is what most people choose to use today especially with the more effective forms of technology. These forms allow for quicker and more efficient ways of communicating back and forth".<ref>[http://en.wikipedia.org/wiki/Tele-cocooning]</ref><br />
<br />
===Benefits===<br />
"Benefits of tele-cocooning are the fact that nations can interact rather quickly with each other when it comes to things like natural disasters or unexpected attacks. With tele-cocooning group tactics get done quicker because the group members do not have to be with each other to get the job done. The use of tele-cocooning makes it easier for shared knowledge to come about. The term also makes for just better communication with the use of the Internet a thoughts can be shared in seconds. Using the phone or Internet is also quicker because you don’t have to wait".<ref>http://en.wikipedia.org/wiki/Tele-cocooning</ref><br />
<br />
===Ethnography===<br />
"In our ethnographic studies, we found that most mobile phone communication was done with a small circle of close friends and family, generally 2-5 others, rarely more than 10. While mobile phone address books might contain over a hundred entries, the actual communication logs of our research demonstrated that by far the bulk of exchanges was with the intimate circle. This kind of social formation is what Ichiyo Habuchi has called a “tele-cocoon”.<ref>Habuchi 2005, and Misa Matsuda 2005b, following Ichiro Nakajima, Keiichi Himeno, and Hiroaki Yoshii (1999)</ref>, calls the “full-time intimate community,” For heavy mobile phone users, particularly those who rely on the lightweight modality of text messaging, their social relations are “always on.” In fact, we are finding an emergent social norm around frequent text messagers that they will signal their unavailability from the shared online space by sending good night messages, or messages such as “I’m taking a bath now.” In other words, the connected state is the default and the disconnected state is noted".<ref>http://japanfocus.org/articles/print_article/1896</ref><br />
<br />
===Sharing through Cocooning===<br />
..."the sharing of photos is tied to a sense of “distributed co-presence” that we have found people constructing through the exchange of texts messaging".<ref>Ito, Mizuko and Daisuke Okabe. 2005. “Technosocial Situations: Emergent Structurings of Mobile Email Use.” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.</ref>. In the case of text messaging, people will often email intimates with information about their current status, such as “I’m walking up the hill now,” or “just watched a great TV show.” The visual information shared between intimates also represents a similar social practice, of sharing ambient awareness with close friends, family and loved ones who are not physically co-present. As in the case of the prior mediums of text and voice, these communications are part of the construction of “full-time intimate communities”.<ref>Nakajima, Himeno, and Yoshii, 1999; Matsuda 2005</ref>, or what Ichiyo Habuchi has called a “tele-cocoon”. These perspectives are based on a growing body of work on mobile phone use in Japan is showing that people generally exchange the bulk of their mobile communication with a relatively small and intimate social group of 2-5 others. The exchange of communication with this group, in turn, becomes a relexive process of self-authoring and viewpoint construction.<br />
<br />
===Related Reading===<br />
*[[The Technosocial Womb]]<br />
<br />
===External Links===<br />
*Grinter, R. E., & Eldridge, M. A. (2001). y do tngrs luv 2 txt msg? Paper presented at the Seventh European Conference on Computer- Supported Cooperative Work, Bonn, Germany.<br />
*Habuchi, Ichiyo. 2005. “Accelerating Reflexivity.” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.<br />
*Ito, Mizuko and Daisuke Okabe. 2003. “Mobile Phones, Japanese Youth, and the Re-placement of Social Contact.” Front stage-Back-stage, the fourth Conference of the social consequences of mobile telephony.<br />
*Ito, Mizuko, Daisuke Okabe, and, Misa Matsuda. 2005. "Personal, Portable, Pedestrian: Mobile Phones in Japanese Life." Cambridge: MIT Press.<br />
*Japan.internet.com http://japan.internet.com/. Kato, F., D. Okabe, M. Ito, and R. Uemoto. 2005. “Uses and Possibilities of the Keitai Camera” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.<br />
*Matsuda, Misa. 2005a. “Introduction: Discourse of Keitai in Japan” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.<br />
*Matsuda, Misa. 2005b. “Mobile Communications and Selective Sociality” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.<br />
*Nakajima, I., K. Himeno. and H. Yoshii. 1999. "Ido-denwa Riyou no Fukyuu to sono Shakaiteki Imi (Diffusion of Cellular Phones and PHS and their Social Meaning)." Tsuushin Gakkai-shi (Journal of Information and Communication Research), 16(3).<br />
*Okabe, Daisuke and Mizuko Ito. 2003. “Camera phones changing the definition of picture-worthy. Japan Media Review. http://www.ojr.org/japan/wireless/1062208524.php.<br />
*Okabe, Daisuke and Mizuko Ito. 2005. “Keitai and Public Transportation.” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.<br />
*TCA (Telecommunication Carriers Association), http://www.tca.or.jp/index- e.html.<br />
*Tomoyuki, Okada. 2005. “The Social Reception and Construction of Mobile Media in Japan.” in Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. edited by M. Ito, D, Okabe, and Matsuda, M. Matsuda. Cambridge: MIT Press.<br />
<br />
== References ==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Unfinished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/TeleoperatorTeleoperator2011-10-29T21:27:54Z<p>Kyledrake: Copy fixes</p>
<hr />
<div>===Definition===<br />
Teleoperation is a method of operating an external object at a distance. Teleoperation is used in the medical industry to allow doctors to remotely operate on patients. <br />
<br />
Users of social networks teleoperate each other's walls and social presences while they are far away. The user profiles of Facebook are available to friends worldwide, without the need for friends to travel beyond their local neighborhood, household, or college. This makes Facebook a form of virtual telepresence. Friends teleoperate each other’s walls through text and the addition of images and social tagging. These technosocial operations create digital identities. <br />
<br />
The more signals we pass through our computers, the more integrated we become. A computer monitor connected to a network becomes a window through which we can be present in a place thousands of miles away”<ref>Manovich, Lev. Kunstforum International. Germany, 1995; NewMediaTopia. Moscow, Soros Center for the Contemporary Art, 1995.</ref> The more signals we pass through, the more teleoperated our friends become, and the further away and far-spread our communities can actually be. We can have them in the palm of our hand, whether in Germany, Japan or Russia.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Templated_SelfTemplated Self2011-10-29T21:14:36Z<p>Kyledrake: Revise MySpace sentence</p>
<hr />
<div>===Definition===<br />
A self or identity that is produced through various participation architectures, the act of producing a virtual or digital representation of self by filling out a user interface with personal information. <br />
<br />
====Types of Templated Selves====<br />
Facebook and Twitter are examples of the templated self. The shape of a space affects how one can move, what one does and how one interacts with someone else. It also defines how influential and what constraints there are to that identity. A more flexible, but still templated space is WordPress. A hand-built site is much less templated, as one is free to fully create their digital self in any way possible. Those in Second Life play with and modify templated selves into increasingly unique online identities. MySpace pages are templates, but the lack of constraints can lead to spaces that are considered obnoxious by others.<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]</div>Kyledrakehttp://www.cyborganthropology.com/Ubiquitous_ComputingUbiquitous Computing2011-10-29T21:04:03Z<p>Kyledrake: Don't hyphenate Technosocial as per convention</p>
<hr />
<div>[[File:irc-hub-home-automation-ubiqitious-computing.jpg|600px|center]]<br />
===Definition===<br />
Ubiquitous computing is a term used to describe the growing ability for devices and objects to be able to communicate with each other over protocols embedded in everyday objects. Ubiquitous technologies compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to an omnipresent net of data, from which we can call up any piece of data we desire. This system is both decentralized and centralized, in that we can get data from the centralized location of our handheld device, but we ourselves are decentralized in relation to the actual location of the data. This leads us to a unique moment in human history – that many of us now have the ability to be omniscient and omnipresent at the touch of a button. The omnipresent information net can send data to us from almost anywhere.<br />
<br />
===History===<br />
In the 1980’s, researchers at Xerox Parc talked about “the inevitable withdrawal of the computer from the desktop and into a host of old and new devices, including coffeepots, watches, microwave ovens, and copying machines. These researchers saw the computer as growing in power while withdrawing as a presence”.<ref>Mosco, Vincent. The Digital Sublime: Myth, Power, and Cyberspace. The MIT Press Cambridge, Massachusetts London, England. Pg 21.</ref> <br />
<br />
Information has become an extension of our brains into this connected, dynamic 4th dimensional field that we can only see when we ask for a part of it. The entirety of it cannot be felt or accessed at one time, and our interfaces are still limited in the fact that we can only access this data via flat, two-dimensional screens. Belinda Barnet writes about this experience in Infomobility and Technics. "As my feet slide upon thousand-year old stone," she writes, "I am at once traveling through networks and central servers back in Australia, my details handed on via invisible network handshakes across the globe, my trajectory recorded. I am not lost, I am identifiable; I am a string of information events...I have become a roaming subscription number".<ref>Barnet, Belinda. Infomobility and Technics: some travel notes. 1000 Days of Theory. Published Oct. 27, 2005. Accessed April 2011. http://www.ctheory.net/articles.aspx?id=492</ref> <br />
<br />
Wireless, Internet-enabled devices allow ubiquitous connectivity to an omnipresent net of data, from which we can call up any piece of data we desire. No longer do we need to seek out the nearest phone booth or wait for a specific feature to play in a movie theater – we can use mobile devices to play a clip, or use communication features to connect anywhere, at any time, in a variety of ways (both textual and auditory). Technosocial devices compress the space and time needed to connect to information sources. Our ears can reach to the next neighborhood or Japan at the mere touch of a button.<br />
<br />
=== Further Reading ===<br />
* [[Interoperability]]<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/The_Community_CyborgThe Community Cyborg2011-10-29T20:53:56Z<p>Kyledrake: Full Robert A. Heinlein reference</p>
<hr />
<div>====Definition====<br />
Artificial intelligence, plugged into a smart community design is the ultimate cyborg. If one were smart in the first place, one could run easily through societies, easily doing everything like a character in a Robert Heinlein novel.<br />
<br />
"The ultimate cyborg; an entity whose boundaries are fluid; that is the world and whom the world is. this of course asks the question what does it mean to be intelligent. and to some degree it means to internalize an external state; the ultimate cyborg is itself part of that externalized state. cells transport chemicals across a porous boundary; can these be called cyborgs in that they internalize the external? In a sense the cyborg is the new homunculus ; it is the object within which we place our hopes, aspirations and fears about the larger world beyond our current measure. People perceive shifts in cultural values as incremental but in many ways they are seismic: self induced criticalities that suddenly juxtapose the old against the new; carving off herds of huddled obsolescence - like sudden tectonic plate movements that uplift new formations into the cognitive zeitgeist" - Anselm Hook<br />
<br />
<br />
[[Category:Book Pages]]<br />
[[Category:Marked for Editing]]</div>Kyledrakehttp://www.cyborganthropology.com/The_Community_CyborgThe Community Cyborg2011-10-29T20:51:24Z<p>Kyledrake: Copy changes</p>
<hr />
<div>====Definition====<br />
Artificial intelligence, plugged into a smart community design is the ultimate cyborg. If one were smart in the first place, one could run easily through societies, easily doing everything like a character in a Heinlien novel. <br />
<br />
"The ultimate cyborg; an entity whose boundaries are fluid; that is the world and whom the world is. this of course asks the question what does it mean to be intelligent. and to some degree it means to internalize an external state; the ultimate cyborg is itself part of that externalized state. cells transport chemicals across a porous boundary; can these be called cyborgs in that they internalize the external? In a sense the cyborg is the new homunculus ; it is the object within which we place our hopes, aspirations and fears about the larger world beyond our current measure. People perceive shifts in cultural values as incremental but in many ways they are seismic: self induced criticalities that suddenly juxtapose the old against the new; carving off herds of huddled obsolescence - like sudden tectonic plate movements that uplift new formations into the cognitive zeitgeist" - Anselm Hook<br />
<br />
<br />
[[Category:Book Pages]]<br />
[[Category:Marked for Editing]]</div>Kyledrakehttp://www.cyborganthropology.com/TribeTribe2011-10-29T20:46:58Z<p>Kyledrake: Copy fix</p>
<hr />
<div>[[Image:totem-group-maggie-nichols.jpg|center|600px]]<br />
===Definition===<br />
A group unified by a commonality in thoughts, actions, vocabulary or belief system according to the totem they subscribe to. For instance, iPhone users are a totem group whose actions, words and community is united by their use and subscription to the iPhone ecosystem. Those who subscribe to a given religion, fan club, geography, or brand are united by a totem group with those characteristics. A person living in Portland, Oregon may have an upper totem of Portland, Oregon, followed by a tribe of those in the same neighborhood, and their network of friends in similar socioeconomic groups who consume similar objects and have similar lifestyles. <br />
<br />
[[Category:Traditional Anthropology]]<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
[[Category:Illustrated]]</div>Kyledrakehttp://www.cyborganthropology.com/Ubiquitous_ComputingUbiquitous Computing2011-10-29T20:37:26Z<p>Kyledrake: copy changes</p>
<hr />
<div>[[File:irc-hub-home-automation-ubiqitious-computing.jpg|600px|center]]<br />
===Definition===<br />
Ubiquitous computing is a term used to describe the growing ability for devices and objects to be able to communicate with each other over protocols embedded in everyday objects. <br />
<br />
In the 1980’s, researchers at Xerox Parc talked about “the inevitable withdrawal of the computer from the desktop and into a host of old and new devices, including coffeepots, watches, microwave ovens, and copying machines. These researchers saw the computer as growing in power while withdrawing as a presence”.<ref>Mosco, Vincent. The Digital Sublime: Myth, Power, and Cyberspace. The MIT Press Cambridge, Massachusetts London, England. Pg 21.</ref> <br />
<br />
Ubiquitous technologies compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to an omnipresent net of data, from which we can call up any piece of data we desire. This system is both decentralized and centralized, in that we can get data from the centralized location of our handheld device, but we ourselves are decentralized in relation to the actual location of the data. This leads us to a unique moment in human history – that many of us now have the ability to be omniscient and omnipresent at the touch of a button. The omnipresent information net can send data to us from almost anywhere.<br />
<br />
Techno-social devices compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to an omnipresent net of data, from which we can call up any piece of data we desire. No longer do we need to seek out the nearest phone booth or wait for a specific feature to play in a movie theater – we can use mobile devices to play a clip, or use communication features to connect anywhere, at any time, in a variety of ways (both textual and auditory). Our ears can reach to the next neighborhood or Japan at the mere touch of a button.<br />
<br />
Information has become an extension of our brains into this connected, dynamic 4th dimensional field that we can only see when we ask for a part of it. The entirety of it cannot be felt or accessed at one time, and our interfaces are still limited in the fact that we can only access this data via flat, two-dimensional screens. “I have become a roaming subscription number. As my feet slide upon thousand-year old stone, I am at once travelling through networks and central servers back in Australia, my details handed on via invisible network handshakes across the globe, my trajectory recorded. I am not lost, I am identifiable; I am a string of information events".{{citation needed}}<ref>Infomobility and Technics</ref><br />
<br />
=== Further Reading ===<br />
* [[Interoperability]]<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Ubiquitous_ComputingUbiquitous Computing2011-10-29T20:28:19Z<p>Kyledrake: </p>
<hr />
<div>[[File:irc-hub-home-automation-ubiqitious-computing.jpg|600px|center]]<br />
===Definition===<br />
Ubiquitous computing is a term used to describe the growing ability for devices and objects to be able to communicate with each other over protocols embedded in everyday objects. <br />
<br />
In the 1980’s, researchers at Xerox Parc talked about “the inevitable withdrawal of the computer from the desktop and into a host of old and new devices, including coffeepots, watches, microwave ovens, and copying machines. These researchers saw the computer as growing in power while withdrawing as a presence”.<ref>Mosco, Vincent. The Digital Sublime: Myth, Power, and Cyberspace. The MIT Press Cambridge, Massachusetts London, England. Pg 21.</ref> <br />
<br />
Ubiquitous technologies compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to an omnipresent net of data, from which we can call up any piece of data we desire. This system is both decentralized and centralized, in that we can get data from the centralized location of our handheld device, but we ourselves are decentralized in relation to the actual location of the data. This leads us to a unique moment in human history – that many of us now have the ability to be omniscient and omnipresent at the touch of a button. The omnipresent information net can send data to us from almost anywhere.<br />
<br />
Techno-social devices compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to a omnipresent net of data, from which we can call up any piece of data we desire. No longer do we need to seek out the nearest phone booth or wait for a specific feature to play in a movie theatre – we can use mobile devices to play a clip, or use communication features to connect anywhere, at any time, in a variety of ways (both textual and auditory). Our ears can reach to the next neighborhood or Japan at the mere touch of a button.<br />
<br />
Information has become an extension of our brains into this connected, dynamic 4th dimensional field that we can only see when we ask for a part of it. The entirety of it cannot be felt or accessed at one time, and our interfaces are still limited in the fact that we can only access this data via flat, two-dimensional screens. “I have become a roaming subscription number. As my feet slide upon thousand-year old stone, I am at once travelling through networks and central servers back in Australia, my details handed on via invisible network handshakes across the globe, my trajectory recorded. I am not lost, I am identifiable; I am a string of information events".{{citation needed}}<ref>Infomobility and Technics</ref><br />
<br />
=== Further Reading ===<br />
* [[Interoperability]]<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Ubiquitous_ComputingUbiquitous Computing2011-10-29T20:27:43Z<p>Kyledrake: snap -> send</p>
<hr />
<div>[[File:irc-hub-home-automation-ubiqitious-computing.jpg|600px|center]]<br />
===Definition===<br />
Ubiquitous computing is a term used to describe the growing ability for devices and objects to be able to communicate with each other over protocols embedded in everyday objects. <br />
<br />
In the 1980’s, researchers at Xerox Parc talked about “the inevitable withdrawal of the computer from the desktop and into a host of old and new devices, including coffeepots, watches, microwave ovens, and copying machines. These researchers saw the computer as growing in power while withdrawing as a presence”.<ref>Mosco, Vincent. The Digital Sublime: Myth, Power, and Cyberspace. The MIT Press Cambridge, Massachusetts London, England. Pg 21.</ref> <br />
<br />
Ubiquitous technologies compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to an omnipresent net of data, from which we can call up any piece of data we desire. This system is both decentralized and centralized, in that we can get data from the centralized location of our handheld device, but we ourselves are decentralized in relation to the actual location of the data. This leads us to a unique moment in human history – that many of us now have the ability to be omniscient and omnipresent at the touch of a button. The omnipresent information net can send data to us from almost anywhere.<br />
<br />
Technosocial devices compress the space and time needed to connect to information sources. Wireless, Internet-enabled devices allow ubiquitous connectivity to a omnipresent net of data, from which we can call up any piece of data we desire. No longer do we need to seek out the nearest phone booth or wait for a specific feature to play in a movie theatre – we can use mobile devices to play a clip, or use communication features to connect anywhere, at any time, in a variety of ways (both textual and auditory). Our ears can reach to the next neighborhood or Japan at the mere touch of a button.<br />
<br />
Information has become an extension of our brains into this connected, dynamic 4th dimensional field that we can only see when we ask for a part of it. The entirety of it cannot be felt or accessed at one time, and our interfaces are still limited in the fact that we can only access this data via flat, two-dimensional screens. “I have become a roaming subscription number. As my feet slide upon thousand-year old stone, I am at once travelling through networks and central servers back in Australia, my details handed on via invisible network handshakes across the globe, my trajectory recorded. I am not lost, I am identifiable; I am a string of information events".{{citation needed}}<ref>Infomobility and Technics</ref><br />
<br />
=== Further Reading ===<br />
* [[Interoperability]]<br />
<br />
==References==<br />
<references /> <br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Uncanny_ValleyUncanny Valley2011-10-29T20:12:45Z<p>Kyledrake: Minro copy changes</p>
<hr />
<div>====Definition====<br />
<br />
The uncanny valley was a term originally coined by Masahiro Mori in 1970<ref>Mori, Masahiro (1970). Bukimi no tani the uncanny valley. Energy, 7, 33–35. (Japanese). http://www.androidscience.com/theuncannyvalley/proceedings2005/uncannyvalley.html</ref> to describe the eerie and unsettling response of people when confronted with an android that is not quite human. Despite very little quantitative data on the term, it is one of the most valiant terms in the field of robotics and has enjoyed great popularity and debate since its inception.<br />
<br />
Although the "uncanny valley" was formulated within the context of robotics research, the term uncanny has a long critical tradition and should be considered a paradigmatic example for how Cyborg Anthropology can contribute to the discourse on technological interfaces. The uncanny arises when one is confronted with something that transgresses the boundaries of our conceptions of normal, and thus seems to be one of the key responses invoked in confrontations with the border between humans and machines.<br />
<br />
====Breaking Down the Term====<br />
'''Valley''': The "valley" refers to the graph of human-likeness. On the X-axis, zero is an entity with no human likeness, while infinity represents the perfectly-human human. As one progresses from zero, the Y-value (likability, comfort) steadily rises, until it drastically falls when it is about to approach perfect human. This dip in the line is the "valley". <br />
<br />
'''Uncanny''': The uncanny (German: ''Das Unheimliche'') is a term that goes back to the turn of the century, and literally translates to "un-home-ly". Freud wrote an article on the term<ref>Freud, Sigmund. Trans: David McLintock. Uncanny. Penguin Classics, 2003. Originally published in 1919.</ref> and it has been revisited over the years by many critical theorists. The feeling of the uncanny arises when one is confronted with an entity that is familiar yet strange, causing a cognitive dissonance of repulsion and attraction that usually leads to a rejection of the object. <br />
<br />
The uncanny is a familiar concept to anthropologists. Viewing another culture that has radically different conceptions of humor, social protocol, aesthetic beauty, and moral judgement can cause the uncanny response. Rather than viewing the uncanny as a specific dynamic within robotics, cyborg anthropologists have the perspective to look at this term in its larger context of operating at the border of hegemonic comfort and identity formation. By recognizing the uncanny in these larger (and older) phenomenon, cyborg anthropologists can re-contextualize the term through a more general theory of humanity and cognitive function. <br />
<br />
====Some examples of the Uncanny====<br />
* A robot with incredibly realistic skin and facial expressions, but very jerky movements.<br />
* An animal that acts exactly like a human, such as a primate performing an action or making an expression that we immediately recognize as startlingly human<br />
* A human who has a neurological disorder that disrupts our preconceived notions of normal behavior (Turrets, Neuro-muscular Disorders)<br />
* An uncanny resemblance, which puts into question our visual basis for determining identity<br />
* Uncannily precise: A phenomena that is eerily coincidental, possibly causing us to question our preconceived notions of the structure of reality.<br />
<br />
====Moral Status====<br />
Insofar as the uncanny is used as an excuse to reject anything that does not conform to our hegemonic notions of humanity, it should be viewed with extreme suspicion. But the uncanny is a culturally conditioned concept and will naturally become more elastic as time goes on. The uncanny is a primary defense that something's not quite right. It may be our "uncanny radar" that allows us to differentiate in the Turing Test, and thus allow us to recognize "authentic thought" as opposed to mere symbol manipulation.<br />
<br />
====Relationship with the Grotesque====<br />
The term bears strong relationships with the concept of the grotesque. Insofar as the grotesque is used as a derogatory term to refer to a play upon the human form, the grotesque is not useful and potentially regressive. This usage is sometimes referred to by transhumanists as the "yuk-factor". But there is another use of the grotesque that celebrates the grotesque, a use that goes back to the Russian Philosopher Michal Bhaktin. Bhaktin uses the grotesque as a term to celebrate the carnivalesque beauty of the lower-bodily stratum.<ref>Bakhtin, Mikhail. Trans: Helene Iswolsky. Rabelais and His World. Indiana University Press, 2009. </ref> In this context, the grotesque is used to describe the wonderful confluence of the bodily movements (pissing, fecal matter, sex) and their emphasis on embodiment. During the Medieval Carnival, the social and metaphysical hierarchy was reversed and effectively dismantled during the period of the festival. Part of these festivities included the reversal of the medieval theology of bodily transcendence, and a corresponding emphasis on bodily expulsions. An emphasis on the positive qualities of the grotesque may curtail the quickly emerging (and philosophically questionable) theology of disembodied transcendence endemic to the transhumanist movement. The grotesque is a response deriving from play upon bodily form, while the uncanny is a response deriving from a play upon conceptual form, but both will inevitably play a key role in how cyborgs are received, judged, and integrated into mainstream culture.<br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Virtual_TombstoneVirtual Tombstone2011-10-29T20:05:23Z<p>Kyledrake: </p>
<hr />
<div>===Definition===<br />
A virtual tombstone is a non-physical memorial site or placeholder for the identity or social presence of a loved one who has passed away. Virtual tombstones can take the shape of a memorial website, social network page or other digital entity. The page can include space for comments, condolences, pictures and other memories.<br />
<br />
Given that tombstones can be difficult to reach and expensive in real life, a virtual tombstone seems to fill a natural void by allowing friends and family to browse pictures, look at their accomplishments/friends, write a homage to the person, and generally reminisce without leaving their seat. It is becoming increasingly common for people to store their passwords with someone they trust so that they can effectively manage that virtual self in case they pass away.<ref>Cheng, Jacqui. Death and social media: what happens to your life online? Ars Technica. Published March 2010, Accessed June 2011. http://arstechnica.com/tech-policy/news/2010/03/death-and-social-media-what-happens-to-your-life-online.ars</ref><br />
<br />
Those who have passed away may leave profiles on social networks. Those who do not realize the person is no longer alive may leave messages for the deceased person in present tense. Sometimes visitors will write present-tense addresses to the deceased person in this public space, knowing full well that they have passed away and will not be looking at these messages.<ref>Lee, David. There's life after death if you're online. Social networking sites are having to devise policies to deal with the death of a user - and some are getting it more right than others. The Guardian. Published 7 August 2008, Accessed 30 June 2011. http://www.guardian.co.uk/technology/2008/aug/07/socialnetworking.myspace</ref> Even though a virtual memorial site may invite and encourage a great deal of interaction, some forms of interaction are not encouraged. For example, "poking" dead people is considered bad form.<br />
<br />
==References==<br />
<references /><br />
<br />
[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
<br />
__NOTOC__</div>Kyledrakehttp://www.cyborganthropology.com/Virtual_TombstoneVirtual Tombstone2011-10-29T20:05:06Z<p>Kyledrake: Move citation to end of sentence</p>
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<div>===Definition===<br />
A virtual tombstone is a non-physical memorial site or placeholder for the identity or social presence of a loved one who has passed away. Virtual tombstones can take the shape of a memorial website, social network page or other digital entity. The page can include space for comments, condolences, pictures and other memories.<br />
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Given that tombstones can be difficult to reach and expensive in real life, a virtual tombstone seems to fill a natural void by allowing friends and family to browse pictures, look at their accomplishments/friends, write a homage to the person, and generally reminisce without leaving their seat. It is becoming increasingly common for people to store their passwords with someone they trust so that they can effectively manage that virtual self in case they pass away. <ref>Cheng, Jacqui. Death and social media: what happens to your life online? Ars Technica. Published March 2010, Accessed June 2011. http://arstechnica.com/tech-policy/news/2010/03/death-and-social-media-what-happens-to-your-life-online.ars</ref><br />
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Those who have passed away may leave profiles on social networks. Those who do not realize the person is no longer alive may leave messages for the deceased person in present tense. Sometimes visitors will write present-tense addresses to the deceased person in this public space, knowing full well that they have passed away and will not be looking at these messages.<ref>Lee, David. There's life after death if you're online. Social networking sites are having to devise policies to deal with the death of a user - and some are getting it more right than others. The Guardian. Published 7 August 2008, Accessed 30 June 2011. http://www.guardian.co.uk/technology/2008/aug/07/socialnetworking.myspace</ref> Even though a virtual memorial site may invite and encourage a great deal of interaction, some forms of interaction are not encouraged. For example, "poking" dead people is considered bad form.<br />
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[[Category:Book Pages]]<br />
[[Category:Finished]]<br />
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__NOTOC__</div>Kyledrake