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Bulletin of Science, Technology & Society Bulletin of Science, Technology & Society http://bst.sagepub.com/ Documentary With Ephemeral Media: Curation Practices in Online Social Spaces Ingrid Erickson Bulletin of Science Technology & Society 2010 30: 387 DOI: 10.1177/0270467610380007 The online version of this article can be found at: http://bst.sagepub.com/content/30/6/387 Published by: http://www.sagepublications.com On behalf of: National Association for Science, Technology & Society Additional services and information for Bulletin of Science, Technology & Society can be found at: Email Alerts: http://bst.sagepub.com/cgi/alerts Subscriptions: http://bst.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://bst.sagepub.com/content/30/6/387.refs.html >> Version of Record - Dec 4, 2010 What is This? Downloaded from bst.sagepub.com by guest on February 20, 2012 Bulletin of Science, Technology & Society 30(6) 387 –397 Documentary With © 2010 SAGE Publications Reprints and permission: http://www. sagepub.com/journalsPermissions.nav Ephemeral Media: Curation DOI: 10.1177/0270467610380007 Practices in Online Social Spaces http://bsts.sagepub.com Ingrid Erickson1 Abstract New hardware such as mobile handheld devices and digital cameras; new online social venues such as social networking, microblogging, and online photo sharing sites; and new infrastructures such as the global positioning system are beginning to establish new practices—what the author refers to as “sociolocative”—that combine data about a physical location, such as a geotag, with a virtual social act. This research investigates the phenomenon of documentary broadcasting, whereby individuals curate lasting descriptions and commentaries about a location for a public audience, often using the photo sharing site, Flickr. Unlike many photographs shared online, the subject of a documentary post is always a place and not the activities nor identity of the broadcaster himself or herself. When presented together as curated narratives, posted images transform Flickr into a virtual public “gallery space” that captures, presents, and preserves aspects of a place that may last longer than the physical location itself. Keywords locative technologies, location, global positioning system, GPS, public, documentary, Web 2.0, social media Introduction social venue such as Facebook or Flickr—as a new vehicle for documentation. By definition, broadcasting is the act of The practice of documenting the world around us is highly sharing information beyond yourself to a perceived or actual personal. We are drawn to particular aspects of our environ- audience, both local and distributed. As has been well docu- ment that we find worthy of calling out for attention or con- mented (Benkler, 2006; Jenkins, 2006), the Internet has sideration. We might want to preserve a moment in time as a shifted broadcasting and related media production capabili- personal memento, or to produce an artifact that commem- ties away from the small cadre of elite media organizations orates a place in time (Ames & Naaman, 2007; Chalfen, that once controlled them into the hands of everyday citizens 1987). Yet we are also equally compelled by the possibility with access to networked devices and editing tools. With the of reaching a public audience for our work. By making a popularization of locative technologies such as global posi- record of something that can be shared, the documentarian tioning system (GPS)-enabled mobile devices and Google becomes an information conduit that connects that which Maps (Castells, Fernandez-Ardevol, Qiu, & Sey, 2007; Ito, might have existed unseen, unnoticed, or unrecorded to an Okabe, & Matsuda, 2005; Ling, 2004), social media can audience capable of reacting, drawing meaning, and some- extend beyond being a vehicle for general communication times acting on this shared record. In the United States, we and connection into a spatial database reflective of our nascent readily hold up the reporters Bernstein and Woodward as hybrid reality—at once anchored in the physical world by documentarians of the public record—though we sometimes way of precise longitudinal and latitudinal spatial coordi- forget that the photographer Ansel Adams imbued us with nates, but also simultaneously virtual in its instantiation the same, crisp level of truth telling. Documentaries, whether within the online world (Rudström, Höök, & Svensson, 2005; people, visual, or textual, have power in their reception by an Sheller, 2004). audience. This article will detail the phenomenon of documentary 1Social Science Research Council, Brooklyn, NY, USA when it is integrated with two key developments on the sociotechnical (Trist & Bamforth, 1951) front: social media Corresponding Author: Ingrid Erickson, Social Science Research Council, Digital Media and locative technologies. I refer here to the phenomenon and Learning Initiative, 1 Pierrepont Plaza, 15th Floor, Brooklyn, of “sociolocative broadcasting”—the act of sharing geo- NY 11201, USA referenced digital media with others by way of an online Email: [email protected] Downloaded from bst.sagepub.com by guest on February 20, 2012 388 Bulletin of Science, Technology & Society 30(6) Sociolocative broadcasting practices are particularly San Diego in 2007 (Sutton, Palen, & Shklovski, 2008), the complex for the way they interweave the broadcaster with Mumbai attacks in 2008 (Stelter & Cohen, 2008), and the place, time, and audience; they situate computer-mediated election protests in Iran (Boguta, 2009; CBS/AP, 2009; communication within both social and spatial contexts. Broad- Cohen, 2009; Gapper, 2009; Greenberg, 2009; Quirk, 2009; casts, while individually authored, are always witnessed and Rhoads, 2009; “Twitter 1,” 2009; Web Ecology Project, often commented on by audience members who are both 2009) showcase exactly this usage model of sociolocative known and unknown: They are simultaneously personal as broadcasting, especially viable through mobile, microblog- well as social communicative acts (Donath & boyd, 2004). ging applications such as Twitter. In this article, however, Moreover, sociolocative broadcasts are situated simultane- I focus on a third motivation for sociolocative broadcasting, ously within virtual and physical-material contexts. Whereas namely, the desire to create a lasting documentary of a place. the content of sociolocative broadcasts includes some form What is noteworthy about Web 2.0 documentarians is their of geographical representation, the practice of sociolocative use of geographical and semantic tags to intelligently archive broadcasting is also geographical—it both shapes and is these images within the online information environment of shaped by perceptions of the type of social territory in which the Internet. it is occurring (Brown & Laurier, 2005). This tripartite I uncovered these three motivations by qualitatively inter- emphasis of communication, community, and context viewing2 50 subjects and analyzing the artifact data (i.e., requires that we assess sociolocative broadcasting relative to individual broadcast posts) they produced online. I made a broad set of ideas—communicative, sociological, and every effort to connect with a diverse set of individuals for geographical. this study, though I did not purposively randomize on all I will anchor a discussion of these broad ideas in a close possible demographic elements. The final subject pool was examination of how individuals are using the online photo 34% female and 66% male; the group was with a few excep- sharing site, Flickr, to broadcast locative messages to a pri- tions primarily American and averaged 37 years old in age— marily public community. This conversation can be situated somewhat older than characteristic media portrayals of social within recent discourse in critical and cultural geography in media users. which we can begin to understand how mediated locative In my overall study, I compared the conditions of micro- documentaries might be reshaping our notions of place and blogging3 and online photo sharing as a way of interrogat- space (Bell & Dourish, 2007; Chayko, 2007; Dourish, 2006; ing two types of perceived sociolocative behavior: one that Mitchell, 2005). It can also be aligned with conversations emphasized the location of the author (microblogging) and about mediated communication: Sociolocative broadcasting the other that emphasized the location of the artifact being can be seen as a new genre, one in which individuals move shared (online photo sharing). Here, however I will focus away from the notion of themselves as abstracted, placeless primarily on the comparison of locative and nonlocative authors in a dimensionless, online space to authors wishing practices of sharing photographs in a social online venue. to share and comment about their specific realities (Arminen, I chose the website Flickr4 for both conditions: In the loca- 2006; Barkhuus et al., 2008; Fortunati, 2005; Gotved, 2006; tive condition (GeoFlickr), users attached geotags5 to their Humphreys, 2005). By leveraging automated tools such as shared photographs (see Figure 1 as an example), whereas in location-stamping,1 or even intentionally adding formal place the nonlocative condition (Flickr) they did not. At the time of names or spatial attributes to a communication, an author is my data collection (mid-late 2007) the affixation of geotags making a new kind of statement within his or her community to uploaded digital images
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