[-empyre-] Creativity as a social ontology

[Eugenio Tisselli]

Simon,

I have seen people in Facebook toy around with the idea of having a "dislike" button, but it hasn't been implemented. I wonder what would happen with such a button. My guess is that few people would use it. It's so easy to "shut down" anyone in Facebook (or other large-scale digital networks, for that matter)... you can simply ignore dislikers and, as an extreme case, delete them from your list. People would not use the button because of fear of being excluded or deleted. 

Can networks like Facebook be regarded as disciplining technologies for individuals, as training grounds for adapting to the disengaged, "everybody happy", positive thinking stance favored (and needed) by contemporary capitalism? 







Eugenio Tisselli Vélez
cubo23 at yahoo.com
http://www.motorhueso.net


--- El jue, 7/8/10, Simon Biggs <s.biggs at eca.ac.uk> escribió:

> De: Simon Biggs <s.biggs at eca.ac.uk>
> Asunto: Re: [-empyre-] Creativity as a social ontology
> A: "soft_skinned_space" <empyre at lists.cofa.unsw.edu.au>
> Fecha: jueves, 8 de julio de 2010, 02:01 pm
> This begs the question why nobody has
> setup a Facebook-like system based on
> actual human characteristics and behaviour, reflecting how
> we socially
> interact in practice? Such a model would require an open
> and generative
> approach to what characteristics and modes of engagement
> are possible, with
> constantly emerging dynamics and modes. Hate, love,
> tolerance, boredom and
> distaste would be only a few of the states that connections
> between people
> could be set to. People might choose to determine these
> states themselves or
> the system could heuristically do this on their behalf.
> That could be
> fun...and revealing.
> 
> Best
> 
> Simon
> 
> 
> Simon Biggs
> s.biggs at eca.ac.uk 
> simon at littlepig.org.uk
> Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> 
> Research Professor  edinburgh college of art
> http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative
> Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and
> Innovation in Practice
> http://www.elmcip.net/
> Centre for Film, Performance and Media Arts
> http://www.ed.ac.uk/schools-departments/film-performance-media-arts
> 
> 
> > From: Eugenio Tisselli <cubo23 at yahoo.com>
> > Reply-To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> > Date: Thu, 8 Jul 2010 02:36:47 -0700 (PDT)
> > To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
> > Subject: Re: [-empyre-] Creativity as a social
> ontology
> > 
> > Davin,
> > 
> > When I read your phrase
> > 
> >> And, if we live in a true community, our
> >> ideas and actions
> >> are bound to modify, be modified, contradict,
> and/or
> >> complement the
> >> negotiation of being.
> > 
> > the rose-colored environment of Facebook immediately
> came to mind. You know,
> > you can "like" but not "dislike", and people rarely
> disagree or contradict
> > each other. You say that we are bound to be
> contradicted when we live in a
> > true community, and I would say that we actually need
> to be contradicted in
> > order to set arguments, discussions and debates in
> motion. The fact that we
> > are here at empyre, not necessarily contradicting each
> other, but offering
> > continuous counterpoints and different viewpoints,
> makes us all richer.
> > Knowledge can emerge from disagreement. So, in the
> almost complete absence of
> > a minimal quota of agonistic exchanges between people,
> how can a community
> > emerge from Facebook? Are there so many contradictions
> and conflicts in the
> > "real world" that we turn to Facebook simply to escape
> from them? Could we
> > then see Facebook as an "anti-community", where we all
> just whiz by other
> > poeple's walls, stopping only to acknowledge what we
> like and
> >  ignoring what we don't?
> > 
> > Eugenio.
> > 
> > 
> > 
> > 
> > 
> >       
> > _______________________________________________
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> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> 
> 
> 
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