The Experts below are selected from a list of 51 Experts worldwide ranked by ideXlab platform
S B Wicker - One of the best experts on this subject based on the ideXlab platform.
-
do birds of a feather watch each other homophily and Social Surveillance in location based Social networks
Conference on Computer Supported Cooperative Work, 2015Co-Authors: Shion Guha, S B WickerAbstract:Location sharing applications (LSA) have proliferated in recent years. Current research principally focuses on egocentric privacy issues and design but has historically not explored the impact of Surveillance on location sharing behavior. In this paper, we examine homophily in friendship and Surveillance networks for 65 foursquare users. Our results indicate that location Surveillance networks are strongly homophilous along the lines of race and gender while friendship networks are weakly homophilous on income. Qualitatively, an analysis of comments and interviews provides support for a discourse around location Surveillance, which is mainly Social, collaborative, positive and participatory. We relate these findings with prior literature on Surveillance, self-presentation and homophily and situate this study in existing HCI/CSCW scholarship.
Robert S Tokunaga - One of the best experts on this subject based on the ideXlab platform.
-
Social networking site or Social Surveillance site understanding the use of interpersonal electronic Surveillance in romantic relationships
Computers in Human Behavior, 2011Co-Authors: Robert S TokunagaAbstract:Social network sites (SNSs) are commonly used to maintain existing relationships and form connections with new contacts. Recently, concerns of have been expressed over the way these Web-based technologies are used. Estimates suggest that people are increasingly using SNSs for engaging in the Surveillance of others. Given the relatively high rates of prevalence, it can be argued that SNSs have been reinvented into a tool for interpersonal Surveillance along with their Social networking capabilities. This article expands on the concept of interpersonal electronic Surveillance and applies it in the specific context of romantic partners' use of SNSs. The relationships between Surveillance over SNSs and demographic, relational, and Internet use and efficacy variables are studied. The findings reveal that interpersonal Surveillance over SNSs is influenced by age, the time individuals spend on their partners' profiles, the integration of SNSs into daily routines, and Internet self-efficacy.
Shion Guha - One of the best experts on this subject based on the ideXlab platform.
-
do birds of a feather watch each other homophily and Social Surveillance in location based Social networks
Conference on Computer Supported Cooperative Work, 2015Co-Authors: Shion Guha, S B WickerAbstract:Location sharing applications (LSA) have proliferated in recent years. Current research principally focuses on egocentric privacy issues and design but has historically not explored the impact of Surveillance on location sharing behavior. In this paper, we examine homophily in friendship and Surveillance networks for 65 foursquare users. Our results indicate that location Surveillance networks are strongly homophilous along the lines of race and gender while friendship networks are weakly homophilous on income. Qualitatively, an analysis of comments and interviews provides support for a discourse around location Surveillance, which is mainly Social, collaborative, positive and participatory. We relate these findings with prior literature on Surveillance, self-presentation and homophily and situate this study in existing HCI/CSCW scholarship.
Ara Norenzayan - One of the best experts on this subject based on the ideXlab platform.
-
like a camera in the sky thinking about god increases public self awareness and Socially desirable responding
Journal of Experimental Social Psychology, 2012Co-Authors: Will M Gervais, Ara NorenzayanAbstract:Abstract Believers describe God as a strategic Social agent who perceives human thoughts and actions. Thinking about God therefore might make believers feel as if their behavior is being monitored, a possibility we call the supernatural monitoring hypothesis . Three studies offered new and converging empirical support for this hypothesis using two variables that are sensitive to perceived Social Surveillance: public self-awareness and Socially desirable responding. For believers, the effect of an explicit God prime on public self-awareness was comparable to the effect of thinking about how other people view oneself (Experiment 1). An implicit God concepts prime increased public self-awareness (Experiment 2) and Socially desirable responding (Experiment 3) among believers. These studies offer the first direct evidence that thinking of God triggers perceived Social Surveillance.
Johnson Colin - One of the best experts on this subject based on the ideXlab platform.
-
Tensión en la superficie: Improvisando el Performance de la Materialidad Tecnológica en la Obra Glitchbody/Nanostalgia [1454-2015]
'Universidad Distrital Francisco Jose de Caldas', 2019Co-Authors: Johnson ColinAbstract:Over the spring of 2015, UC (University of California) Davis invited the performance artist Guillermo Gomez-Peña to collaborate on a piece called Glitchbody/Nanostalgia [1454–2015]. Glitch intended to engage Social-Surveillance technologies such as Google Glass with the meats, movements, and imaginaries of human bodies. The final performance was preceded by a week of intensive performance games and workshops, a rehearsal done in collaboration with many from the UC Davis community. This paper begins by repeating the frame that Glitchbody enacted: one that separated the affective and improvisatory play of the rehearsal space from the more representational, and at times fetishistic, deployment of technology in the performance. By segregating the processes for developing work in rehearsal from digital technologies and networked connections that formed both the occasion for, and atmosphere of, the performance, the performance framed technology in a “prosthetic” mode, neglecting the embodied potential and material consequences of digital media. In this paper I argue that new media technologies, in addition to being part of the socio-situated milieu for performance, must be seen as bodies with which to contend and improvise. ‘Performance jams’ are the pedagogical methodologies developed by Gomez-Peña (2011) in conjunction with the trans-disciplinary arts collective “La Pocha Nostra”. The jam is utilized to germinate new ideas, images, and personas for the night of the final performance. In these improvisatory spaces, differently-trained bodies touch and move with one another in innovative ways. By intersecting thinkers such as Lipsitz (2013) and Goldman (2007) with work from media studies on prosthetics (Sobchack, 2004) and glitches (Krapp, 2011), and science and technology studies on materiality (Rubio, 2014), I argue that the political necessity of improvisation in both the arts and activism must include a wider nebula of touching that includes the non-human bodies and scales of digital technologies. Engaging the surface tension that exists at the borders of skin and screen requires us to attend to how rehearsal practices foreclose possibilities through framing technology outside of technics.Na primavera de 2015, UC (Universidade da Califórnia) Davis convidou o artista performático Guillermo Gómez-Peña para colaborar em uma peça chamada Glitchbody / Nanostalgia [1454-2015]. Glitch tentou envolver tecnologias de vigilância Social como o Google Glass com as carnes, movimentos e imaginações de corpos humanos. O performance final foi precedido por uma semana de jogos intensivos e workshops, um ensaio em colaboração com muitos membros da comunidade da UC Davis. Este artigo começa por repetir o quadro Glitchbody promulgada: um que separava o teste espaço emocional e improvisação uma implantação de representação e por vezes fetichista, da tecnologia no jogo p performance. Segregando processos para desenvolver o trabalho em testar tecnologias digitais e conexões de rede que se formaram tanto a ocasião como a atmosfera da performance, ele estruturou a tecnologia em um modo de “prótese”, negligenciando as construídas potenciais consequências e materiais de mídia digital. Neste artigo, argumento que novas tecnologias de mídia, bem como sendo parte do meio (milieu) socio-localizados para o desempenho deve ser visto como corpos com os quais lidar e improvisar. ‘Performance jams’ estão ensinando metodologias desenvolvidas pela Gómez-Peña (2011) em conjunto com o coletivo de arte transdisciplinar “La Pocha Nostra”. A jam é usada para germinar novas idéias, imagens e pessoas para a noite da apresentação final. Nesses espaços de improvisação, corpos treinados de diferentes formas se tocam e se movem uns com os outros de maneiras inovadoras. Ao interceptar pensadores como Lipsitz (2013) e Goldman (2007) com trabalhos de estudos de mídia sobre próteses (Sobchack, 2004) Glitches (Krapp, 2011), e estudos de ciência e tecnologia na materialidade (Rubio, 2014) defendo que a necessidade política de improvisação nas artes e ativismo deve incluir um contato mais amplo e vago toque incluindo corpos não-humanos e escalas de tecnologias digitais. Envolver a tensão superficial que existe nas bordas da pele e da tela exige que abordar como práticas de teste excluir possibilidades de enquadramento através de tecnologia fora de técnicas.En la primavera de 2015, UC (Universidad de California) Davis invitó al artista del performance Guillermo Gomez-Peña a colaborar en una pieza llamada Glitchbody / Nanostalgia [1454-2015]. Glitch intentó involucrar tecnologías de vigilancia Social como Google Glass con las carnes, movimientos e imaginarios de cuerpos humanos. La performance final fue precedida por una semana de juegos y talleres intensivos, un ensayo realizado en colaboración con muchos de la comunidad de UC Davis. Este documento comienza repitiendo el marco que Glitchbody promulgó: uno que separaba el juego afectivo e improvisatorio del espacio de ensayo de un más representacional y en ocasiones fetichista, despliegue de tecnología en el performance. Al segregar los procesos para desarrollar el trabajo en el ensayo de las tecnologías digitales y conexiones en red que formaron tanto la ocasión para, como la atmosfera del performance, éste enmarcó la tecnología en un modo “prostético”, descuidando el potencial incorporado y las consecuencias materiales de los medios digitales. En este escrito, yo argumento que las nuevas tecnologías mediáticas, además de ser parte del medio (milieu) socio-situado para el performance, deben ser vistas como cuerpos con los cuales contender e improvisar. Performance jams’ son las metodologías pedagógicas desarrolladas por Gómez-Peña (2011) en conjunción con el colectivo transdisciplinario de arte “La Pocha Nostra”. El jam es utilizado para germinar nuevas ideas, imágenes y personas para la noche del performance final. En estos espacios de improvisación, cuerpos entrenados de formas distintas se tocan y se mueven entre sí de maneras innovadoras. Al interceptar pensadores como Lipsitz (2013) y Goldman (2007) con trabajos de estudios de los medios sobre prótesis (Sobchack, 2004) glitches (Krapp, 2011), y estudios de la ciencia y la tecnología sobre materialidad (Rubio, 2014), yo argumento que la necesidad política de la improvisación tanto en las artes como en el activismo debe incluir una nebulosa más amplia de contacto y del tocar que incluye cuerpos no humanos y escalas de tecnologías digitales. Involucrar la tensión superficial que existe a los bordes de la piel y la pantalla requiere que atendamos a cómo las prácticas de ensayo excluyen posibilidades a través del enmarcar la tecnología fuera de las técnicas