“If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;”—If by Rudyard Kipling
Danah Boyd: Viewing American class divisions through Facebook and MySpace
Over the last six months, i’ve noticed an increasing number of press articles about how high school teens are leaving MySpace for Facebook. That’s only partially true. There is indeed a change taking place, but it’s not a shift so much as a fragmentation. Until recently, American teenagers were flocking to MySpace. The picture is now being blurred. Some teens are flocking to MySpace. And some teens are flocking to Facebook. Which go where gets kinda sticky, because it seems to primarily have to do with socio-economic class.
Good read, though I disagree at several points(the premise of clear stratification in any network itself to begin with). What interests me is similar stratification in Orkut(i.e in internet social networks with large Indian userbase), which she briefly refers to in the article.
The comments on her blog post and the Mefi discussion are worth perusing. A gem from the latter:
You are a professor at the University of MySpace and Facebook College. You teach college freshman creative writing seminars of 10 people each. You gave both classes the same assignment: choose one of the three questions and write your response. It’s due today.
At the University of MySpace, you get 8 papers returned on time, but the pages are stained with coffee grounds and glitter and cat pawprints, and while it may be some of the most amazing fucking writing you’ve ever seen, you’re distracted by the fact that it was printed on A3 paper instead of the requested A4 paper, written in Comic Sans, lacks endnotes, and has two stickers juxtaposed to create Spongebob and a Lisa Frank unicorn doing the nasty smack in the middle of page 12. No one seems to have answered the questions posed, exactly, and the writing often explodes out of the author’s mouth and lands on the page in piles, often with dozens of what seems to be HTML bits floating around the edges. One student enclosed both an mp3 of his band (he’s into Scandinavian post-punk harmonica/deep house) and a photo of someone’s eyes covered with dark eye shadow with his e-mailed submission but forgot to attach the file to the e-mail, and another tried to hand-deliver the assignment to your house printed on parchment and written in Celtic-style calligraphy that looked like his friend’s tattoo while riding a horse and wielding a vaguely-cartoonish fake sword - he claims his costume wasn’t finished until the day after the assignment was due. One of your students is an undercover police officer trying to catch child predators.
At Facebook College, [..]
If a diabetic, on his way to buy insulin, is killed by a runaway truck, he is the victim of an accident. If the truck was delivering sugar, he is the victim of an oddly poetic coincidence. But if the truck was delivering insulin, ah! Then he is the victim of an irony.
The concept is two interconnecting portals that can be freely placed by the player. When looking into one portal, the viewer sees out the other and vice versa. The added feature of moving through the portals allows for many unique gameplay possibilities. Combining portals with the basic physics simulation allows for a huge level of interactivity. Players can toss boxes, boulders, or even themselves around the dungeon. Players can come up with their own creative solutions to overcome the challenges in each level.
That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every “superstar,” every “supreme leader,” every saint and sinner in the history of our species lived there—on a mote of dust suspended in a sunbeam.
(~Repost). Excerpt from the Carl Sagan address, which was later used as sound track for the short “We are here: A Pale Blue Dot” (previously).
On his 94th birthday, he leapt out of an airplane strapped to a skydiving instructor and free-fell for a mile. For his 95th birthday, he screamed up a stretch of the Columbia River in a jetboat. “Pulled 2 1/2 Gs,” he told us.
In press photos of the iPhone, the device displays a New York Times Web front page on its screen. And that page contains a tiny ad for Beautiful Evidence, one that ran on the Times site for exactly one Sunday. Tufte thinks the cameo was a lucky break. I have no doubt that it’s an anonymous Apple designer’s thank-you note.
Pacific Catch, a restaurant in San Francisco whose phone number appeared momentarily in one of the iPhone ads, averaged 100 extra calls a day the next week, the general manager, Rob Schechtman, said. Apple’s ad agency got the restaurant’s permission beforehand.
Calls came from as far away as Africa and included a collect call from a county jail; the restaurant did not accept the charges.
“I assume he saw the commercial and maybe wanted to know if we delivered,” Mr. Schechtman said.
Everything you ever wanted to know about video codecs.
Apart from some epilepsy-inducing Japanese music clips, all video is continuous. From one frame to the next, most of the detail stays the same: Think of the background, the walls or, if he’s been cast, Keanu Reeves’ expression. Why waste precious storage space to store tens of thousands of images of Keanu Reeves if he looks exactly the same in 90 percent of them?
"Ocean’s Thirteen" proceeds with insouciant dialogue, studied casualness, and a lotta stuff happening, none of which I cared much about because the movie doesn’t pause to develop the characters, who are forced to make do with their movie-star personas. Take Don Cheadle, for example. After the magnificence of his performance in “Hotel Rwanda" and the subtle, funny, sad power of his leading role in Kasi Lemmons' upcoming “Talk to Me,” we get him hanging around in this film, looking like they needed him to get to 13. I guess he has to make movies like this to pay the mortgage. My advice? Rent. You have no idea about the headaches of homeownership.”