I want to find a way to infuse facebook with folklore, fairytale, legend, mythology, and fable. Sometimes life feels more significant and entertaining when it is reframed by little tropes and symbols from our collective history of story-telling. I see facebook as a good platform for beginning this process of reframing, because it is easy to share links and images with people. More thoughts on this later..
Buajitti Makeovers is a Facebook spa and consulting service geared at helping you actualize your personal brand.
Buajitti Makeoevers is meant to be a place where people can come to reflect upon themselves.
The first reflection is meant to come when you ask yourself, “Do I have a personal brand?” The concept of personal brand has a different meaning to everyone: some take it ironically, some are actively involved in its manifestation, some never have it cross their minds. As Buajitti Makeovers is intrinsically tied to the Facebook platform, visitors must also consider the notion of personal brand in the context of their Facebook self.
The second reflection is meant to come when you consider how you wish to be branded by your Buajitti Makeover. In which way do you wish to represent yourself and for what reasons? You must also consider how genuintely “invested” in the branding process you become: do you treat it as a joke? do you put careful thought into your themes? do you anticipate the Buajitti Makeover Photo?
The third reflection is mean to come when you receive your Buajiti Makeover Photo and compare this photo to your sense of self. Is the imagery as you had expected it to be? What elements do and do not speak to your perception of self? Does a greater theme emerge that you had not anticipated? How do you plan to use this photo?
Remember: as we are ever changing creatures, our personal brands will forever continue to transform. There’s no such thing as too many Buajitti Makeovers.
Today I had a cool conspiracy-theory-esque idea about Android’s subversive emoticon branding. It was spurred by my friend Lee saying how the nosed Android emoticons made her feel as though she was “born before 1980.”
I think The sentiment of Android seeming “behind-the-times” due to this particular configuration of emoticon is valid, despite how trivial it may seem to compare the aesthetic of nose-vs.-non-nose emoticons. Why, though? Is it dated because it strays from the norm? Is it dated because it calls for more characters than average amidst our present spirit of brevity? If you think about it, the nose does nothing to convey emotion in this particular formula of emoticon – it is consistently a hyphen (whereas, for example the mouth can be either side of the bracket, an S, a D, a P, or an O). If any set of Android emoticons are to derive a lowest common denominator, the nose is to be eliminated, invariably.
So why the nose, then? The thought that crossed my mind is that in text-based conversation, the nose immediately distinguishes Android users. This form of distinction is novel to me because I’ve never encountered or considered textual formation as an extension of a company’s brand. For anyone who wants to counter me with “typography,” I say no, it’s not the same. Typography is different because of its mutability – very often typography becomes skewed, replaced, transformed, if not entirely encrypted, as it is passed between cites and programs. The emoticon, being a series of universal symbols, is a much more resilient form of textual aesthetic.
So, my original reaction was to think that Android had coded its system of emoticons to intentionally “mark” its users and perpetuate a sense of Android-presence. Now I’m feeling like this notion may be slightly far-fetched. But regardless of intent, the potential for brand dissemination is totally here. I like the idea of code as brand. I like the idea of a brand manifesting itself through an unspoken, non-physical undercurrent. I like the idea of a quietly powerful emoticon nose bringing the medium by which it has been shared instantly to our minds.
For those interested in reading more about emoticons:
Tom McCormack’s Emoticon, Emoji, Text: Pt. 1, I Second that Emoticon
Jussi Parikka’s Emoticon, 1881
Here’s me putting my foot in my mouth less than a week after having chastised people for “holding back” in the twitosphere. In applying for a grant last weekend, I was asked to supply my Twitter handle. I did, didn’t think much of it, progressed to tweet away carelessly, remembered the application, read through my tweet history, and decided upon the need to take action a la My Fair Lady.
I deleted a tweet something along the lines of ”systems mapping is making me feel autistic” and I made some tweets over the next few days mentioning a play that I saw, a Wikipedia page that I read, a book that I had bought, an article I wrote, etc. Who am I? I feel so ridiculous to have condemned people for basically just wanting to be hired. At the same – why do jobs and grants and all these other random things that have nothing to do with our social lives keep asking for our Twitter handles?!
Anyway, the shame I felt during my Twitter makeover enhanced a feeling/worry I’ve been having lately – am I trying to assimilate with some Twitter counterculture? Talking about things I’m interested in academically or things I’ve done in the city isn’t “not me,” but I feel like I’ve built some kind of taboo around it. The Twitter etiquette going on in my head needs some serious deconstruction! – help me! Am I just ascribing to the rule set of a different public sphere? Do I even *get* the rules?
It’s so awkward and sometimes really annoying to witness a person trying to “find their voice” on social media. On the one hand, I hate all this hashtag-@mention-excess, aspiring-yuppie, community-engagement garbage. On the other hand, anything to do with absurdism, irony, or spelling mistakes so easily comes off as totally contrived. So I subtweet-insult these kinds of tweeters, but simultaneously haven’t found my voice yet either.
Well, I guess this post was mostly an apology/confession. And I’m going to try to stop being bossy and talking like I know everything … this is the internet after all.
Described as “A global experiment to create music from alarm sounds,” EEP EEP EEP EP is a concept album in which London-native, Colorado-based artist, Rajeev Basu, has created a series of songs using only the sounds of alarms.
I can’t stop listening to this song:
These days, most alarms are just false alarms.
They’re everywhere. They go off all the time. And they’re often left unattended.
(We’ve all had that car alarm outside, that just won’t stop.)
Alarms are a nuisance.
This is an experiment to see if we can turn that on its head.
Can we turn alarm sounds into music that people will actually like listening to?
EEP EEP EEP EP by Rajeev Basu (2011)
Four tracks. Digital release. Created across London, Berlin & New York.
Fire Engine alarm
Another house alarm
Wireless car lock beep
School fire alarm
80′s digital alarm clock
I heard of this project today when I was looking through Fach & Asendorf Gallery‘s Archive.
Using twitter at my given age and professional standpoint presents me with an inner conflict seemingly common to many of my twitter-using peers. I wish to keep my account open for reasons of public engagement, visibility and, let’s be real, wanting more followers. Existing in the public, however, means that technically anyone with access to Twitter can look at my profile. Those I fret most about include professors, relatives, potential employers, and current employers. Generally, the relationships I maintain with these sorts of “figures,” consist in an element of reservation: I want to conceal certain aspects of my lifestyle, perhaps tailor my language, emphasize the responsible, or intellectual, or well-behaved sides of my self. Of course, the way in which I position my self varies from relationship to relationship.
In the case of Twitter, though, @Buajitti is my sole vessel for self, and this vessel is accessible to all those for whom I’d previously self-customized. Anyone’s encounter with this account will colour their relationship with me. With this in mind, how am I to customize my Twitter? Am I to amalgamate customizations? From my observation and experience, the lowest common denominator is less-than-desirable: when I tweet as though the world is watching, I not only bore but also debase myself, and when I see my friends do the same, I feel a sense of longing and disappointment.
It so often feels as though Twitter is serving as the extension of a resume, rather than a medium within which to socialize. I acknowledge that from a professional point of view, having a venue in which to demonstrate your interests, your outreach, your network, etc. is totally advantageous. Would I opt to use the tool in exclusively this way rather than others? For the time being, I say no.
For the time being, I have told myself that I will not censor my tweets for the sake of the people who might see them. I swear, I say ditzy things, I tweet during work, I insult schools of thought I am “supposed” to support. Sometimes when I think about the way @Buajitti looks, I am mortified, and wonder about who might have read through my Twitter and subsequently thought less of me.
What I tell myself is that if people are going to examine my social habits, they should be ready to see me doing my thang. That I shouldn’t have to talk like a square just because I’m in the public eye. That my twitter account is a space of my personal leisure that people visit willingly, and so shouldn’t that retain some genre of freedom for me. Is this an entitled perspective? Reading over this paragraph, it really sounds that way. I’m not sure yet. If I were to even call this an argument, there would definitely be holes in it.
The truth is: every time I try to reason around my activity within Twitter, I get so overwhelmed by the quickly blurring distinction bewteen public and private (cue Arendt). You can’t expect privacy with a public account, but you are using this public venue to carry out activity that once took place in the so-called private sphere. Clearly, the private and public have been mingling for some time now, but I think the prevalence of social media raises new questions about how we define these spheres, and the behavioural expectations we’ve attached to these definitions. Do we need a new taxonomy? I don’t know. I do wish that people could let loose though.