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acsversace-news · 6 years

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It’s one of those events that happened if you’re old enough to know where you were when Gianni Versace was murdered on the steps of his South Beach villa in Miami. Ryan Murphy takes us back to 1990’s Miami and explores what drove Andrew Cunanan to murder one of fashion’s most iconic designers in his latest series, American Crime Story: Versace. We explored his childhood, but the road that led to the murder. Along the way, we meet David Madison, a young architect, his whole life ahead of him, but then fate leads him to Cunanan who eventually murders the young man.

Actor Cody Fern talks about getting the phone call for the role, how Madison was perceived at the time and working on a Ryan Murphy production in a role that’s shining a much-warranted spotlight on the Australian actor. If you haven’t seen the series, the show aired on FX and can be streamed for all to see. Fern shines brightly in the series, pay attention because you might not know the name now, but you will very soon.

What was it like walking on to the Versace set for the first time?

It’s a little bit mindblowing, even still. I idolized Ryan and his work for such a long time, especially how he conducts himself as a human being and giving back to community stories that need to be told.

I got the phone call that I was going to be on the show and started screaming because it’s beyond your wildest comprehension. It’s this dream you hope of as an actor, but to get the phone call and to hear you’re going to work with Ryan is overwhelming. Arriving on set, the entire production was so precise and was so well researched by Maureen and then Tom and the team around it. Ryan picks the very best people to work with and they’re so meticulous and so knowledgeable.

I got to play David, he’s such an interesting human being, not just because of his tragic death, but the life he had been living before. I think that’s what the series deals with. He’s a very successful architect and this intelligent guy who is so compassionate. The police actually found presents in his house that were for Christmas. He had bought these gifts months in advance for his nephews, that’s the kind of guy he was. So, I felt a real sense of responsibility to that. I think with this series in particular because it threw people for a six because it’s not just about the Versace family, but the real purpose was to jump into this world that we didn’t know about these four men who were not as famous as Gianni Versace but were equally as important, who had value and their lives were cut short by this man, Andrew Cunanan.

It started with excitement and then it moved into the heavyweight. Arriving on set and knowing that everyone was at the top of their game and knowing that everyone was going to trust me to do what I was going to be doing which was so dark and so complex and complicated. It was a real work out as an actor. To also have Darren Criss who is so dynamic and such a surprising actor. I’d seen him in Glee but what he did in Versace was so layered and complex.

Your character was an interesting character, but also complex. How do you craft David when there’s not so much on him?

The first thing that is important to know, Tom Rob Smith is such a phenomenal writer. If I ever felt lost, I’d go back into the script and you don’t have far to fall if you’re being propped up by Tom. Obviously, there’s Maureen’s book, but really the jumping off point for David was, “Why didn’t he run? Why didn’t he stop the murder of Jeff?” It was really more about the former and that’s where I started to construct everything from.

At the time and with the homophobia of the time and how the police were investigating it, they saw David as a perpetrator. It’s very interesting about what happens when your best friend is murdered right in front of you and stabbed 27 times with a hammer in your apartment by your ex-lover and someone who has been a friend for many years. At this point in time, their friendship had been worn down. Friends and family say he was very compassionate and had a religious background, so these things began to fill in for me as a character who comes from compassion first and foremost. What we were exploring in the series is the shame that gay men carry around and how that shame manifests itself, particularly in this period fo time. That’s a dangerous cocktail because what I learned in playing David was that his compassion knew no bound and he really believed that Andrew was redeemable, even after that horrific act. He believed if they got to the authorities then everything would be alright. Of course, your personality goes out the window when something like that happens. The horror of the media was that they were painting him as someone who was involved in the crime and when you see something like that, your body shuts down. There’s this gay shame he’s carrying around and he doesn’t fit into society and society views him very differently. He must somehow be involved and there’s something sick about him.

One of the police officers in the media stated it was far more likely and it makes far more sense that Andrew and David conspired to commit the crime because gay men have had to hide in the closet for so long. They’re all inclined to dark and psychopathic actions and how that must have affected him growing up.

He was a fascinating character to watch and his arc. Was he fascinating to explore?

Endlessly fascinating. It’s hard to say I had a great time playing him because what happened was so dark. It was a very difficult time but it was very rich. We knew that this show was going to skew towards the victims and that was really important to see and that we were going to see their lives and who they were. To see how Andrew and David fell in love, to see how he had hopes and dreams. In episode four, the death for David, what was most interesting in playing that was how you build a character as an actor and what happens when everything changes in one moment. Jeff is murdered and everything that David has ever known is different. Whoever he thinks he is goes out the window and it becomes about survival. He’s been dogged by gay shame and he’s been hiding his whole life. He has one act and one final act of courage, he grabs the steering wheel and he’s going to stand up. There’s only one way that can go. What it must have been like to mediate Andrew at every step of the way and to know that at any moment he could be killed or anyone else could be killed. To be in public and you’re hiding. In the diner, they’re in there’s this fear. What’s interesting is that it’s not far off from what he would have been feeling as a gay man in that period of time.

I want to see you back on another Ryan show.

So would I

What did you learn from being on a Ryan Murphy set?

First and foremost, so much is said about Ryan as a genius and the word genius is really thrown around these days for anyone who has a hit of any kind. It should be reserved for Ryan. It incorporates something other than stereotypical interpretations. Not enough is said about how kind, how generous and how loyal he is. What I learned the most was not about acting, but it’s about family. The people he has picked and the relationships that he has cultivated. It inspires everybody to dig deeper and to push harder and to be better. There’s this real sense of trust from hair and makeup to the gaffers. Everyone is really together and you’re all ware you’ve been chosen by Ryan to be a part of his family. That means you all band together and you give everything and every moment your all. I think that show.

It’s the director, the crew and everyone is there to do the very best they can for this story. That was really inspiring to come away from. Ryan oversees it all and that’s really touching.

As a viewer, it was dark and sticks with you. Was it easy to shed David?

This was not easy to shed, there was a lot of residue. It depends on how you work as an actor. I try to make a clear distinction as to what my work and my home are. For me, my work is my life. IT’s where I’m most engaged in. With David, the mind knows one thing. The mind knows I’m playing this, this is what’s happening. The body doesn’t., there was a lot of fear, guilt, shame and anxiety. For the most part, there were terrible feelings and it took me a good couple of months to shed that. Also leaving that family behind. I just caught up with everyone at the Pose premiere in New York, to see everyone and to see us all band together was such a special feeling. I will say it shouldn’t be easy to shed the residue of what I went through. Getting`to know David was one of the greatest gifts of my life. To bring him back to life and to say he was here and had value and he mattered, that felt great.

Next we’ll see you in House of Cards. Going from Ryan Murphy into Claire Underwood’s dark world. How is that experience?

It’s been playing longer than I’ve been an actor. I started watching it and knew I had to be on that show. That and Ryan Murphy. I feel like I’m in a weird science fiction world, but again, it was incredibly different. The pace and rhythm have been different. The energy was always uplifting. Everyone is so excited to get behind Robin. It was great. The writers on that show are some of the best on TV. Stepping into the world of Claire Underwood was a real treat.

#acs versace #cody fern #awards daily #interview #article #june 2018

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darwinishungry-blog · 6 years

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Assessment 2 Final Work - “Five Prime Ministers in Five Years”.

Politics is an never-ending cycle of complex interactions between people, introducing equilibrium amongst people, for the betterment of the people. Individual’s political influences are gauged by their power of persuasion and representation, as well as how they are motivated by their personal political motives. Surely, a leader of a nation is certainly bound to have possess some if not many of these great qualities. But what trust is left for the people when 5 consecutive leaders have left their post in a span of 5 years?

My final work, “Five Prime Ministers in Five Years” consist a series of posters that was derived from Shepard Faireys’ ‘Hope’ poster for Obama’s presidential campaign, which has become a symbol in both his campaign and beyond. The patriotic colours, his facial position, and his idealism and vision symbolizes his ability to persevere through hardships; demonstrating that he can discuss challenging problems and inspire people simultaneously. Through this, I aimed to create my own appropriation of this style of poster in the context of our Prime Ministers switching so often. The aim was to place them in high regards as the face of the poster that it’s almost like telling them to live up to the expectations and observe if they deserved to be there. Like Fairey’s poster “Hope”, the colours around them are themed after our home country but the caption summarizes their time in office; criticising them in a satire way. The union jack alongside the 6 stars that make up our national flag are also present behind the former Prime Ministers, accentuating the pride they were supposed to represent and emphasising their failure as a result. The posters are set up in such a way that it tells a story when read systematically; Kevin Rudd becomes the new Prime Minister by a landslide election victory but fails to meet expectations of his party, Julia Gillard also meets the fate of her predecessor, Kevin Rudd fails again and loses to the opposition due to voter trust falling, Tony Abbott steps down as a result from controversies and bad decisions, and Malcom Turnbull loses popularity after 3 years of PM.

From the start of assessment one to the research, I was settled on critiquing political parties as a result of reflecting the topic question for ‘rebellion’ artworks canonised in the media. One style of rebellious artwork I already see all over the internet was parodies of Donald Trump, and they all incorporate a sense of satire which reflected a particular stage of his presidency. A particular look into these spoofs is an inspired appropriation of Faireys’ “Hope” poster, directly denouncing Trump by placing him on the artwork in place of Obama and with the caption “Nope”. This was my main focus of interest which led me on various experimentations towards my final work. The parody work of Trump also promptly introduces a comparison between the two presidents, depicting Obama’s power over Trump which is especially effective considering that Trump likes to take jabs at Obama and his perspective of politics. Taking in this example, I planned to appropriate similar rebellion creative artwork(s) that criticised the Australian government as opposed to the artwork made in criticism of Trump in America. My very first experiment envisioned a rotoscope animation consisting of decrying Tony Abbott’s victory speech as it was now considered contradictory in many ways in the present context. I also weaved in Abbott eating his onion every phrase, projecting the sense of satire comparable with parody artworks of Trump. It ultimately proved impossible to complete due to the lack of fluidity, but the experiment allowed me to explore the concept of aggregating media forms into a mockery.

The posters turned out as I wanted it to be, taking on similarities from Faireys’ “Hope” poster and turning them into a parody of my own. It could have gone better if I knew how to better readjust the filters and adjustment layers to give it more individual personality, but overall I am happy with the result in how evaluate certain people. Thus, in my critique of the Australian Prime Ministers, I question the individual’s conviction and confidence in Australian politics by appropriating satire imagery of the time they spent in office; comparing them to perceive them in a wider perspective.

Bibliography

PM 2013 Tony Abbott Victory Speech, [Online video], https://www.youtube.com/watch?v=sZmKpKPwG58 (accessed 15/9/2018)

Prime Minister Tony Abbott explains why he ate a raw onion, [Online video], https://www.youtube.com/watch?v=hmPVCKnkKWA (accessed 15/9/2018)

S. Sandhu, “Tony Abbott removed: Australia has had five prime ministers in five years”, Independent, 14 September 2015, https://www.independent.co.uk/news/world/australasia/tony-abbott-removed-australia-has-had-five-prime-ministers-in-five-years-10500229.html (accessed 18/9/2018)

D, Conifer, “Malcom Turnbull to resign from Parliament on Friday”, ABC News, 27 August 2018, http://www.abc.net.au/news/2018-08-27/malcolm-turnbull-to-resign-from-parliament/10170614 (accessed 18/9/2018)

S. Matt, “Obama Hope Poster – Shepard Fairey”, Medium, 2008, https://medium.com/fgd1-the-archive/obama-hope-poster-by-shepard-fairey-1307a8b6c7be (accessed 17/9/2018)

Misdememeor, NOPE Donald Trump Poster [Digital Poster], https://www.redbubble.com/people/misdememeor/works/27515556-nope-donald-trump-poster (accessed 17/9/2018)

#adad1002

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click2watch · 5 years

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Bitcoin SV’s Delisting Isn’t ‘Censorship.’ But It’s Still a Problem

Michael J. Casey is the chairman of CoinDesk’s advisory board and a senior advisor for blockchain research at MIT’s Digital Currency Initiative.

The following article originally appeared in CoinDesk Weekly, a custom-curated newsletter delivered every Sunday exclusively to our subscribers.

Is cryptocurrency exchange Binance’s delisting of bitcoin SV a form of censorship?

And if so, doesn’t that make hypocrites out of all the Bitcoin Core supporters and Craig S. Wright haters who cheered the downgrading of the latter’s competing bitcoin project? Are they not applying a double standard by simultaneously arguing for immutable, “censorship-resistant” blockchains?

These are the questions bitcoin skeptics are putting to a cryptocurrency community they view as failing to comply with the Voltairean maxim that one should fight for someone’s right to say something regardless of whether you agree with it. (Yes, I know it wasn’t actually Voltaire who said that…)

Whether this “gotcha” is fair or not, it has given rise to a far more interesting crypto debate than the tiresome, yearlong squabble between Craig Wright-supporting BSV holders and Craig Wright-loathing BTC holders, the one that triggered the delisting in the first place. (Before Binance CEO Changpeng Zhao, known as CZ, made his decision, BTC supporters had pressured him to punish Wright for filing defamation lawsuits against Twitter accounts that had refuted the bitcoin SV founder’s claim to be Satoshi Nakamoto.)

A popcorn-worthy debate

It’s not all that clear who’s winning this debate. If anything, it has provided a reminder that the words used by both blockchain utopians and their hard-nosed realist critics often fail to adequately capture the nuances of what’s happening in the crypto ecosystem or, for that matter, in the wider world of social media and online communities.

The bitcoin critics’ main point is compelling. It’s that a decision to delist BSV cannot be about whether CSW is a jerk (there is almost universal consensus that the Australian “Faketoshi” meets that characterization). Jerks should not be censored just for being jerks, and doing so contradicts the Cypherpunk ideal of censorship-resistance to which many bitcoin believers subscribe.

(Full disclosure: Craig Wright blocked me on Twitter for using the j-word against him – this from his @ProfFaustus account, which, intriguingly, appears to have been deleted in recent days.)

As I munched on my popcorn, I found myself sympathizing with the ever-astute Angela Walch, a constant, formidable critic of blockchain advocates’ sweeping, hand-wavy claims to the magic of “decentralization.”

In a stage-setting tweetstorm, Walch pointed out that the cheerleading for Binance’s move exposed the “cognitive dissonance in what the space claims to be about.”

Do I have this right…one guy thinks what another guy said is not true so says no one can trade a censorship-resistant, decentralized digital asset on the first guy’s exchange. #crypto #blockchain #veilofdecentralization

— Angela Walch (@angela_walch) April 15, 2019

But then, along came investor Ari Paul, who gave the whole thing a different context.

You see, Paul said, the standard of censorship resistance does not extend to private entities that provide services on top of open systems, much as Binance does with the bitcoin protocol and those of other blockchains. These private agents are free to deal with their clients as they wish.

1/ Freedom of speech is a value near and dear to my heart, so it’s frustrating seeing people misuse “censorship” and conflate radically different cases. It’s not censorship for Amtrak to have a quiet rail car. Let’s explore Binance/BSV:

— Ari Paul (@AriDavidPaul) April 16, 2019

That seemed fair enough too. It accurately distinguished between the decentralized rule-setting of each system’s underlying blockchain – the layer to which the aspiration for censorship-resistance applies – and the centralized entities that access it.

And on that basis, Paul’s point matched how U.S. courts approach First Amendment lawsuits. To preserve free enterprise, courts routinely allow privately-owned entities to pick and choose whom they deal with and what information they publish, whereas they will curtail government entities’ efforts to restrict the speech of private citizens and businesses.

Similarly, we could argue that a price-quoting and trade-executing crypto exchange whose business decisions occur off-chain isn’t subject to the rigid, quasi-constitutional on-chain rules for equitable treatment that govern the decentralized network running a blockchain’s publishing protocol.

An exchange can refuse the prices and transactions of whomever it pleases. Doing so does not compromise the integrity of the free-speech/anti-censorship standards of the underlying blockchain’s governance system.

Holding the big guys to account

The problem is there are countless different blockchains. And within that environment, exchanges such as Binance don’t so much operate an application (i.e. run a private business) and subject it to a single blockchain’s governance system, but rather service the needs of people moving across those systems.

Using the same constitutional analogy, they are flag-less shippers carrying information across borders; they aren’t jurisdictionally bound by any one government.

In playing this role, cryptocurrency exchanges aren’t executing the censorship-resistant rules of a blockchain but, as the on- and off-ramps between different blockchains’ assets, they are nonetheless vital to the functioning of the wider cryptocurrency ecosystem.

That’s why critics like Walch are rightly highlighting their actions. So far, exchanges represent pretty much the only proven business use-case in this space. They are the cryptocurrency industry. Surely, they should be held to high standards of neutrality.

Comparisons can be drawn to the debate over “deplatforming” on Twitter, Facebook and other social media entities. On the one hand, these can be viewed as private entities free to censor whomever they like.

On the other, because of their giant networks, the public naturally wants to hold them to a different standard. Given the enormous role they play in our communication system, there’s a strong case for regulating their publication decisions, much as governments regulate public electricity or water utilities.

Due to its size, Binance could be characterized as the cryptocurrency equivalent of a dominant social media network. Just as being banned from Twitter and Facebook can seriously hurt the economic performance of a social media influencer, so too can a Binance delisting seriously hurt the value of a crypto token.

The role of regulation

That brings us to another analogy proffered by critics of Binance’s actions. Imagine the outcry, some said, if leaders of the New York Stock Exchange or the Nasdaq – both integral to a functioning capital market ecosystem – suspended trading in a company because they didn’t like the comments of its CEO. The point: Binance should be held to similar standards of impartiality.

But the comparison is imperfect. The NYSE and Nasdaq, as well as countless other formal stock exchanges around the world, frequently delist companies for reasons of wrongdoing. It’s just that they apply a highly regulated framework when doing so.

Take a look at the most up-to-date list of “issues pending suspension or delisting” at Nasdaq and you’ll see that the reason many companies are on that list is, very often, one of “regulatory/non-compliance” issues.

In other words, whatever “censorship” decisions that sophisticated, traditional exchanges make tend to occur on the basis of rules set by an external governance system.

In the U.S., it’s an interconnected hierarchy that includes exchange members; self-regulatory organizations such as the Financial Industry Regulatory Industry (FINRA); the exchange’s own internal compliance teams and oversight boards; various bodies of legislation; and external enforcement agencies such as the Securities and Exchange Commission (SEC).

Now consider a thought for CZ. He was under enormous pressure from both sides of the BTC vs. BSV fight to decide what he felt would best serve his and the industry’s long-term interests. But he did so without a set of external rules to refer to. If he had one, he could more comfortably have argued that his hands were tied.

I don’t expect CZ to call for more regulation. But the fact is that regulation, by externalizing the listing rules criteria, would, at least in these kinds of matters, help crypto exchanges manage their public image.

It might be tempting to believe these are just temporary problems because new decentralized exchange models will let clients maintain custody of their assets and independently execute their trades. But execution isn’t the main reason we depend on exchanges; it’s that, as centralized hubs, they bring many buyers and sellers together in one place, enabling effective price discovery.

The harsh reality is that, until someone achieves the extremely difficult goal of creating an effective, fully open-source trade-matching and price-discovery algorithm running on an entirely decentralized network, cryptocurrency ecosystems will depend upon the network effects that these necessarily centralized entities generate. And that’s why consistent listing standards, and the question of how to enforce them, matter.

In the absence of consistent, externally enforced rules, it’s perhaps unfair to hold Binance – a centralized entity, not a miner in a blockchain – to a “censorship-resistance” standard. CZ had to make a decision amid the chaotic hurly-burly of a boisterous community. By the same token, we can perhaps excuse the seemingly hypocritical stances of many BTC investors who supported that decision.

But that should not stop users from demanding that crypto exchanges establish and adhere to more consistent standards and rules. A company of such size and influence over the crypto ecosystem must be held to account – a standard no different from what we should demand of banks in the fiat ecosystem.

This, and not the tortured discussion over what “censorship” means, is the most important lesson to take from the latest bout of crypto agita stirred up by my Aussie compatriot.

Censorship image via Shutterstock

This news post is collected from CoinDesk

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The post Bitcoin SV’s Delisting Isn’t ‘Censorship.’ But It’s Still a Problem appeared first on Click 2 Watch.

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raintree-nursery · 5 years

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A nursery is the place plants are grown monetarily, either to be sold clearly to the all-inclusive community or to various retailers. A nursery is a key need for development and plant spread techniques and practices is the focal point of nurseries. Enriching plants may be multiplied by seeds, yet consistently alluring cultivars are incited vegetatively by developing, joining together layering, or other nursery systems. The fate of the nursery depends upon the idea of mother plants. A conventional nursery business visionary does not depend upon others for the acquisition of mother plants. Mother plants are required for both scion and stock. Mother plants should be picked dependent on its genetic properties and diverse factors like openness and acclimation to the creating condition. Nurseries are incredibly work raised. Yet a couple of strategies have been mechanized and modernized, others have not. It remains significantly fantastical that all plants treated comparatively meanwhile will arrive at a comparative condition together, so plant care is required. You can Buy blueberry bush online at very affordable prices exclusively available online on a few websites and Raintree Nursery is the one available.

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Sexual procedure for instance by seeds

Vegetative procedure

Sexual procedure

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Techniques used

The seeds are first planted on a seedbed either by entering the system or by conveying methodology

It is then watered step by step

Following three weeks, the rose seedlings will be transplanted into a polythene pot that has to puncture at the base for the exhausting of excess water.

Vegetative System

Enhancing plants have different segments for a vegetative spread, a part of these have been abused by horticulturists and cultivators to copy or clone plants rapidly. People moreover use techniques that plants don't use, for instance, tissue culture and joining together. plants are made using material from a singular parent and everything considered there are no exchange of innate material, appropriately vegetative spread methods regularly produce plants that are undefined to the parent. Vegetative age uses plant parts, for instance, roots stems and leaves in some embellishing plants, seeds can be conveyed without treatment and the seeds contain only the genetic material of the parent plant. As such expansion through abiogenetic seeds or apomixes is agamic duplication anyway not spread. There are many organic product trees available to be purchased online which you can experience nowadays

Scarcely any Frameworks for vegetative spread consolidate;

Layering

Joining

Striking or cuttings

Suckers

Division

Littler scale inducing (Tissue culture)

Layering: This is a strategy for extravagant plant inciting in which a piece of an airborne stem creates joins while still associated with the parent plants and isolates as a free plant. Layering has created as standard techniques for vegetative inciting of different species in indigenous living spaces. Layering is furthermore utilized by horticulturists to spread appealing plants. Regular layering ordinarily happens when a branch contacts the ground, whereupon it produces outward roots. At a later stage, the relationship with the parent plant is detached and another plant is conveyed along these lines.

Procedure: The green layering process usually incorporates harming the target zone to reveal the inner stem and on the other hand applying to build up blends. In-ground layering, the stem is bowed down and the target territory shrouded in the earth. This is done in plant nurseries in a pantomime of normal layering by various plants which bow over and contact the tip on the ground, along these lines, everything thought of it as creates roots and when disconnected, can continue as an alternate plant. In either case, the setting up method may take from a large portion of a month to a year. Its elbowroom is that the induced piece continues tolerating water and enhancements from the parent plant while it is forming roots. It is used to expand plants that structure pulls continuously or for multiplying broad species. While in air layering, the target area is harmed and a while later incorporated in a moistness holding wrapper, which is also included in a clamminess obstacle, for instance, polyethylene film. Building up hormone is normally associated with inclination the harmed zone to create roots. Right, when sufficient roots have created from the damage, they originate from the parent plant is removed and planted. It takes around three months for the new plants to finish up create.

Joining together

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Cutting

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In addition, the cutting ought to be taken adequately, it must be at the right time. In gentle countries stem cuttings of energetic wood should take in spring, of hardened wood they need to take in winter. It must have the right size and proportion of foliage; the length of stem cuttings of fragile wood ought to be between 5-15cm and of hardwood between 20-25cm. Also, two-thirds of the foliage of sensitive wood cuttings should be emptied. For hardwood stem cutting, complete foliage removal is indispensable. If the plant is most likely not going to create, by then a joining hormone to 'engage' the plant to create and create may be administered e.g Leader of the Philippines. Notwithstanding the way that not essential, a couple blends may be used to propel the advancement of roots through the hailing activity of plant hormone auxin, and is helpful with especially hard plant species e. g Indole-3-butyric destructive [IBA] used as a powder, liquid course of action or gel. it might be associated with the cut tip of the cutting or as a foliar sprinkle. Nectar, anyway it doesn't contain any plant hormones, can similarly make a practical root substance.

#buy strawberry plants online #buy blueberry bush #strawberry plants for sale #Raintree Nursery

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digitaldeliberations-blog · 6 years

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Digital Citizenship 3: Trolling & Social Media Conflict

Troll in the dungeon? More like troll in every single nook and cranny of the internet… that’s one thing Harry Potter got wrong (possibly the only thing..?). It is undoubtedly true that internet trolls are this century’s (and non-wizarding universe’s) new enemy. Lurking; waiting; ready to pounce; these internet trolls know no bounds, and perhaps that’s because they have no responsibility to answer for their discretions. They are ‘anons,’ or lovable rogues who roam the internet under the guise of anonymity, masquerading as friend but speaking as foe. And yet they’re not so lovable when you’re on the other end of their attention…

An internet troll, broadly defined as someone who “deliberately [tries] to distress someone online,” is perhaps more of an annoyance than an abuser, (Nicol, 2012, pp.3). Take social media website Reddit, for example, which features hundreds of trolls that lurk threads to post rude, inflammatory, or pervasive opinions; they are often easy to identify as their posts are written purely to induce a reaction. Unfortunately, not all internet users have the awareness to brush off troll comments, and take each interaction personally, but could this be due to their own experiences with cyber-bullying and harassment? Now this is where it gets cloudy!

Researcher Anthony McCosker suggests the line between terms like troll, abuser, bully, harasser, or hater are easy to blur, due perhaps to both the proliferation of online conflict on social media sites, as well as a lack of understanding or distinction between varied types of internet users. McCosker highlights that whilst “bullies and trolls are frequently collapsed into the same category, they have different definitions,” and, perhaps more importantly, are “largely carried out by different groups of people,” (2013, pp.2). This differentiation between those that troll and those that bully online is, I believe, an important one, as just like the line between these terms can get blurry, the line between humour and real opinion can too be confused. To troll is to evoke reaction, and this does not always need to be negative; you can even watch a how-to video on Youtube on ‘The Art of Positive Trolling”! (Edinger, 2011).

Having attended primary school during the beginnings of social media (MySpace was my kingdom, and I was its slave), I have grown up watching the development of the online world from succinctly ‘online’ to ‘in my pocket, my hand, my brain, my everything” as it is today. The “interface” of digital citizenship and associated ethical social practices in the digital space has brought with it new challenges; can cyber-bullying and trolling be neutralised via legislation and governance decisions? (McCosker, 2016, pp.4). Perhaps it is education that holds the key to creating a generation of online users that are respectful digital citizens or, at the very least, able to critically analyse and separate the real from the emotive. As they say, if you can’t beat them (i.e. DESTROY THE TROLLS, BAN THEM FROM THE INTERNET!! But who are we banning exactly…?), join them by teaching our users how to navigate the complex social minefield that is the 2018 internet.

References

Edinger, E 2011. ‘The Art of Online Trolling,’ video recording, YouTube, viewed 24 April 2018, <https://www.youtube.com/watch?v=KWNcCOp0MPM>

McCosker, A 2016. ‘Managing Digital Citizenship: Cyber safety as Three Layers of Control,’ Negotiating Digital Citizenship: Control, Contest and Culture, Rowman & Littlefield Int, London.

Nicol, S 2013. ‘Cyber-bullying and trolling,’ Youth Studies Australia, Australian Clearinghouse for Youth Studies, 34:4.

#mda20009 #digitalcommunities #troll #trolling #troll call #cyber-bullying #digital education #critical thinking

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mollyjoneswrites-blog · 6 years

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How are our social experiences bound up with social media platforms and their affordances and how we make use of them?

We are all familiar with the saying “a picture speaks a thousand words’’ and in todays digital era, it more relevant than ever before with various photo sharing social media platforms existing. Murthy (2013) defined social media as ‘’the many relatively inexpensive and widely accessible electronic tools that enable anyone to publish and access information, collaborate on a common effort, or build relationships.” Social media and sharing our lives on social media platforms has become an integral part of our everyday lives. According to Social Media News (2017), approximately 4 million daily active Australian users use Snap Chat everyday. With so many active users a day, it’s no surprise that Snapchat would be constantly updating their affordances.

Don Norman (2011) says that ‘‘the value of a well designed object is when it has such a rich set of affordances, that the people who use it can do things with it that the designer never imagines.’‘ Social media platforms such as Instagram and Snapchat are constantly updating and refining their ‘affordances’ to consolidate their identity within a rapidly competitive and developing market. Affordances allow various social media platforms to be different from one another and set themselves apart from other platforms with the particular features they offer. Different affordances change the way we connect through these different platforms.

Snap chat is a photo messaging app that lets users send and receive photos and videos that disappear after a set amount of time. Users can send snaps to multiple friends at once or add them to their snap stories, users can also send private messages, and make voice and video calls. Extra features of Snap Chat include decorating your photos and videos by an annotating tool and stickers, multiple layering filters, geo filters, face affects, bit-mojis and snap map where you can track your friends locations. Snapchat allows us to instantly connect and share our experiences with family and friends by capturing a single moment in time #picsoritdidnthappen. This enhances friends and families experience as it makes them feel like they are apart of whatever you are doing in that moment while also allowing you to share your experience with others.

Reference list

Interaction-Design.org 2011, Affordances (Don Norman, 1994), 15 February, viewed 3 August 2016, <https://www.youtube.com/watch?v=NK1Zb_5VxuM>.

Murthy, D 2013, Twitter: Social Communication in the Twitter Age, Polity, Cambridge.

Social Media News, 2017 Social Media Statistics Australia November 2017 <https://www.socialmedianews.com.au/social-media-statistics-australia-november-2017/>

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