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RaDiHum20 spricht mit Simon Meier-Vieracker aka @fussballinguist

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Listen to this episode from RaDiHum20 on Spotify. Müssen wir alle für erfolgreiche Wissenschaftskommunikation auf TikTok unterwegs sein? Und wie vermittelt man überhaupt Wissenschaft auf Social Media? Diese und weitere Fragen besprechen wir in dieser Folge mit Simon Meier-Vieracker, auch bekannt als @fussballinguist!

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#10: Creative Coding zwischen Medienproduktion und Selbstexpression | Prof. Dr. Angela Brennecke

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Listen to Autonomie im digitalen Zeitalter on Spotify.

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Bild
Video-Screenshots aus TikTok

Bildrechte: BR/Jakob Fischer

Schlagwörter

Bild
Video-Screenshots aus TikTok

Bildrechte: BR/Jakob Fischer

Schlagwörter

Video-Screenshots aus TikTok

Bildrechte: BR/Jakob Fischer

Teenager, die über Selbstverletzung berichten und Suizidgedanken äußern - TikTok stand in der Kritik, nicht genug gegen diese Videos zu unternehmen. Eine BR-Datenanalyse zeigt: Trotz TikToks Ankündigung, etwas zu ändern, besteht das Problem weiter.

Weniger als eine Minute dauern viele Videos auf TikTok: Nutzerinnen und Nutzer geben Make-up-Tipps, filmen ihre Haustiere oder tanzen zu Musik. Dieses Feuerwerk an Eindrücken zieht Userinnen und User schnell in den Bann und lässt sie ihr Smartphone kaum mehr aus der Hand legen.

Ein Grund hierfür: Stärker als bei anderen sozialen Netzwerken entscheidet bei TikTok ein Algorithmus darüber, was Nutzerinnen und Nutzer zu sehen bekommen. Der Algorithmus kuratiert den wichtigsten Teil der App, den For You-Feed. Eine Art personalisiertes Fernsehprogramm.

PainTok - die dunkle Seite von TikTok

Das ist unproblematisch, wenn Nutzerinnen und Nutzer, die gerne Videos mit Hundebabys sehen, immer mehr süße Welpen angezeigt bekommen. Schwierig wird es, wenn sie in problematische Inhalte eintauchen, weil der Algorithmus den Feed mit immer mehr Videos der gleichen Art flutet. Auf TikTok findet sich so ein ganzes Subgenre, unter dem junge Menschen Videos über Depression, Selbstverletzung oder Suizid produzieren.

Sie sprechen über psychische Probleme, zeigen die Narben von Verletzungen, die sie sich selbst zugefügt haben, äußern Suizidgedanken. In den Kommentarspalten berichten oft andere Nutzerinnen und Nutzer ebenfalls von Suizidversuchen und Selbstverletzungen, geben sich Tipps, wie man blutige Taschentücher so entsorgt, dass die Eltern sie nicht finden. Auf der Plattform finden sich unzählige dieser Videos, manche werden nach einiger Zeit gelöscht, andere stehen monatelang online. Einige von ihnen wurden millionenfach angesehen und geliked. Das Subgenre heißt auch PainTok, also Schmerz-Tok.

TikTok-Feed passt sich im Experiment schnell an

Ein Experiment von BR Data und PULS Reportage zeigt nun, dass Nutzerinnen und Nutzer aus Deutschland durch Interaktion mit solchen Videos in eine Filterblase geraten können, in der sie in ihrem Feed fast nur noch diese Inhalte von TikTok empfohlen bekommen. Für das Experiment setzten die Journalistinnen und -journalisten von BR Data mehrere Test-Accounts auf und simulierten das Verhalten von Personen, die sich für Videos zu Depression, Selbstverletzung und Suizidgedanken interessieren. Das Ergebnis: Der Feed bestand nach kurzer Zeit fast nur noch aus solchen Inhalten.

Der erste Schritt des Experiments bestand darin, auf der Plattform nach Hashtags zu suchen, die häufig bei solchen Videos vergeben werden. Im zweiten Schritt wechselten die Datenjournalistinnen und -journalisten in den For You-Feed. Wenn hier ein Video zu diesen Themen angezeigt wurde, sahen sie es mehrmals an, alle anderen Videos wischten sie möglichst schnell weiter. Im Hintergrund wurden alle Daten für die spätere Auswertung gesichert.

Durch die Hashtag-Suche und die Video-Interaktionen wurde der Algorithmus mit dem vermeintlichen Interesse der Accounts trainiert. Der For You-Feed passte sich relativ schnell an: Nach etwa 150 Videos war im Schnitt bereits jedes dritte Video mit einem Hashtag zu Themen wie Traurigkeit, Depression, Selbstverletzung und Suizidgedanken versehen, in der Praxis war das nach rund 45 Minuten Nutzungsdauer der Fall.

Interagierten die Accounts noch weiter mit diesen Inhalten, waren die Hundebabys schließlich komplett verschwunden. 70 bis 85 Prozent des Feeds bestanden dann aus trauriger Musik, jungen Menschen, die von psychischen Krankheiten oder Selbstverletzungen erzählen und depressiven Zitaten, die zu farbiger LED-Beleuchtung ins Bild fahren.

Visualisierung einer TikTok-Timeline aus dem Experiment

TikTok hat Versprechen noch nicht eingelöst

Das Wallstreet Journal hatte bereits im Juli 2021 auf die Blase aus gefährdenden Inhalten hingewiesen, in die Nutzerinnen und Nutzer geraten können. TikTok kritisierte, dass für diese Recherche automatisierte Accounts, also Bots, verwendet worden seien. Menschen verhielten sich anders, hätten vielschichtigere Interessen. In einem Blogartikel aus dem Dezember 2021 kündigte TikTok dennoch an, daran zu arbeiten, den Feed abwechslungsreicher zu gestalten. Insbesondere bei Inhalten, die einen negativen Effekt haben könnten. Wie die Recherche des BR nun nahelegt, hat TikTok dieses Versprechen bis jetzt in weiten Teilen noch nicht eingelöst.

Orestis Papakyriakopoulos, der an der Universität Princeton zu Algorithmen forscht, sieht bei Social Media-Plattformen allgemein ein Problem darin, dass sie "nicht für solche Situationen entwickelt wurden. Es wird nicht differenziert zwischen guter und schlechter Aktivität." Ihr Ziel sei es, dass Nutzerinnen und Nutzer möglichst viel Zeit auf den Plattformen verbringen, so Papakyriakopoulos.

TikTok verweist auf gelöschte Videos

TikTok selbst untersagt es in seinen Community Guidelines, Inhalte zu posten, "in denen Suizid oder Selbstverletzung beworben, gefördert, als normal verharmlost oder verherrlicht werden". Auf BR-Anfrage, warum dennoch viele Inhalte auf der Plattform zu finden sind, die wohl gegen die Plattform-Richtlinien verstoßen, verweist TikTok auf seine Statistik zu gelöschten Videos. Dort heißt es, man habe im letzten Quartal des Jahres 2021 weltweit über 85 Millionen Videos entfernt. Bei sechs Millionen der Videos gibt TikTok als Entfernungsgrund "Suizid, Selbstverletzung und gefährliche Handlungen" an.

Auf weitere Fragen des BR, etwa, was TikTok zum Filterblasen-Effekt sagt, ob die Kommentarbereiche auf unerlaubte Äußerungen überprüft werden und ob die Empfehlungs-Algorithmen Minderjährige besonders vor gefährdenden Inhalten schützen, antwortete das Unternehmen nicht.

TikTok-Videos können selbstverletzendes Verhalten triggern

Im Rahmen des Experiments sind BR Data und PULS Reportage auch auf Videos gestoßen, die sich konstruktiv mit psychischen Erkrankungen auseinandersetzen. Tatsächlich könne es Betroffenen helfen, wenn andere von überstandenen suizidalen Phasen erzählen oder konkrete Hilfsangebote geben, sagt Psychotherapeutin Anke Glaßmeyer, die selbst auf Instagram Aufklärung zu diesem Thema betreibt. Sie sagt jedoch auch: Wenn Suizidalität ein Thema ist, komme es vor allem darauf an, wie darüber gesprochen wird. "Je gezielter und detaillierter über Suizide berichtet wird, desto eher verleitet es zur Nachahmung."

Zu den Ergebnissen des Experiments sagt Glaßmeyer: Wer gerade in einem psychisch instabilen Zustand sei, könne von solchen Inhalten auf TikTok getriggert werden - damit ist ein Auslösereiz gemeint, der unwillkürlich Erinnerungen und Gefühle an zurückliegende Traumata hervorruft und zu einem Rückfall führen kann.

So schätzt auch Svenja den Effekt dieser Videos auf TikTok ein. Die 19-Jährige heißt in Wahrheit anders, will anonym bleiben. Als Teenager ist sie an einer Depression erkrankt. Ab dem Alter von 14 ging es ihr immer schlechter und sie fing an, sich selbst zu verletzen. Suizidale Gedanken häuften sich. Einmal habe Svenja sogar versucht, sich das Leben zu nehmen. Mittlerweile sei sie stabil, sie befindet sich weiterhin in Behandlung.

Auch sie hat diese Videos auf der Plattform gesehen. "In irgendeiner Art triggert mich das noch, weil da viele sind, die Suizidversuche gemacht haben, erzählen, was sie getan haben und auch von ihrer Selbstverletzung erzählen und Bilder zeigen", sagt Svenja. Mittlerweile könne sie sich von derartigen Inhalten distanzieren. Sie glaubt aber: "Wenn ich mich an den Punkt vor drei Jahren versetze - in so einer Situation kann man sich gar nicht abgrenzen und das kann einen wirklich bis zum Tod führen."

Breymaier fordert Änderungen am Algorithmus

Leni Breymaier (SPD), Obfrau des Familienausschusses im Bundestag, schätzt die Ergebnisse des Experiments von BR Data und PULS Reportage als problematisch ein: "Das Problem ist die schiere Summe der Videos - das Prinzip, dass ich immer mehr vom Gleichen kriege." Breymaier sieht TikTok in der Verantwortung: "Selbstverletzung, Depression, Richtung Suizid: Da halte ich es für wünschenswert, dass Algorithmen so verändert werden, dass diese Dinge sich nicht dauernd verstärken."

In den USA haben die Generalstaatsanwälte mehrerer Bundesstaaten, darunter Kalifornien und Massachusetts, vor wenigen Wochen Untersuchungen zum Einfluss von TikTok auf die psychische Gesundheit von Kindern und jungen Erwachsenen aufgenommen. Und auch in der EU soll sich künftig etwas ändern: Mit einem Gesetz über digitale Dienste (Digital Services Act) sollen große Plattformen unter anderem dazu verpflichtet werden, ihren Nutzerinnen und Nutzern ein Empfehlungssystem zur Wahl anzubieten, das nicht auf persönlichem Profiling beruht.

Forscher Papakyriakopoulos geht noch einen Schritt weiter. Er fordert von den Plattformen, bei Inhalten politischer Art oder zu psychischen Krankheiten prinzipiell auf Empfehlungssysteme zu verzichten.

Hilfe für Betroffene
Psychotherapeutin Glaßmeyer rät Eltern von betroffenen oder gefährdeten Kindern: "Das Gespräch suchen. Das Kind fragen: Was belastet dich? Warum schaust du dir das die ganze Zeit an?" Wichtig sei es, das Verhalten der Kinder und Jugendlichen ernst zu nehmen. "Wenn ich merke, da gibt es wirklich tiefer liegende Ursachen, dann tatsächlich auch mit einer Psychotherapie beginnen", so Glaßmeyer. In der App gibt es laut TikTok Möglichkeiten, Einfluss auf die gezeigten Inhalte zu nehmen, nämlich über den "Die EU-Initiative Klicksafe bietet im Internet weitere Informationen Die Datenjournalistinnen und -journalisten des BR haben für das Experiment mit fünf Accounts gearbeitet, die mit deutschen IP-Adressen das Verhalten von Nutzerinnen und Nutzern nachgeahmt haben. Die Datensicherung geschah mit Hilfe des Algorithmic Transparency Institute, das eine Reihe von Werkzeugen entwickelt hat, mit dem sich die Plattform TikTok näher untersuchen lässt. zum Umgang mit selbstverletzendem Verhalten und Social Media an. Eingeschränkten Modus", den "Begleiteten Modus", oder die "Nicht interessiert"-Funktion.
Über das Experiment

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Sendung
Der Funkstreifzug

Schlagwörter

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Sad TikTok: Der Algorithmus empfiehlt gefährliche Inhalte

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Bild Video-Screenshots aus TikTok Bildrechte: BR/Jakob Fischer Schlagwörter Bild Video-Screenshots aus TikTok Bildrechte: BR/Jakob Fischer Schlagwörter Video-Screenshots aus TikTok Bildrechte: BR/Jakob Fischer Teenager, die über Selbstverletzung berichten und Suizidgedanken äußern - TikTok stand in der Kritik, nicht genug gegen diese Videos zu unternehmen. Eine BR-Datenanalyse zeigt: Trotz TikToks Ankündigung, etwas zu ändern, besteht das Problem weiter.

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FHP WS22/23  ... richtet sich an erstis der sozialen Arbeit ...

blurb: Auf „sozialen“ Plattformen findet ein reger Austausch an humorvoller Kritik, Memes, Persiflagen und performativer Partizipation an gesellschaftlichen Diskursen statt. Das Seminar befragt unterschiedliche Methoden deren Ziel es ist, diese Diskurse inhaltlich wie ästhetisch, in Theorie und Praxis und im Sinne der digitalen Souveränität mitzugestalten. Wir untersuchen Überschneidungen zwischen Digitalen Medien, Theater und Performance und lernen verschiedene Projekte kennen, die Überlappungen der beiden Bereiche generieren um die Potenziale herauszuarbeiten.
Auf Basis der Betrachtungen experimentieren wir mit den Werkzeugkästen der Apps TikTok und Instagram. Im Rahmen der einzelnen Sitzungen werden Ideen und Konzepte für Einsatzszenarien entwickelt und getestet. Vorerfahrungen sind keine nötig.

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Seminar digitales Theater @ FHP Januar22

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Seminar digitales Theater @ FHP Januar22

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👆channel nicht öffentlich weil Tiktok-Techniken und Challenges zu Übungszwecken entstanden sind... Inhalte wie zB Klischee-Aufräum-Memes und Duette - zeige ich euch gern via Zoom...

Das Seminar widmet sich den Überschneidungen zwischen Digitalen Medien und Theater. Die Teilnehmenden lernen verschiedene Projekte kennen, die Überlappungen der beiden Bereiche generieren und arbeiten die Potenziale heraus. Auf Basis der Betrachtungen experimentieren sie mithilfe der App TikTok mit digital-performativen und partizipativen Möglichkeiten. Im Rahmen der einzelnen Sitzungen werden Ideen und Konzepte für Einsatzszenarien entwickelt und getestet. Vorerfahrungen sind keine nötig.
FHP WS 21/22 in Vertretung für Judith Ackermann

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virtuelle TIKTOK- Ausstellung noch bis 28.Nov 22 : 

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virtuelle TIKTOK- Ausstellung noch bis 28.Nov 22 : 

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#HERStory - 3D virtual exhibition by Museum für Kommunikation Berlin

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View the Exhibition: #HERStory. Created by Museum für Kommunikation Berlin. #HERSTory ist das Ergebnis einer TikTok-Werkstatt, die von August bis November 2021 im Museum für Kommunikation Berlin stattgefunden hat. Wie 47 andere Kulturinstitutionen auch haben die Teilnehmer:innen der Werkstatt unter #creatorsfordiversity mit Mitteln der Videoplattform TikTok ihre Inhalt kreativ und performativ veröffentlicht.

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#herstories  - #theirstories  #creatorsfordiversity im Museum für Kommunikation Berlin
Workshop-recherchen ...

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Viral Video Voices - junge Stimmen zu Corona (...bis Dez.22) 

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Viral Video Voices - junge Stimmen zu Corona (...bis Dez.22) 

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anti anti beschäftigt sich mit der Prävention von Onlineradikalisierung. Im Nebenprojekt VVV auf Tiktok generieren sich langsam Inhalte. Narrativ des Kanals ist eine kreative Verarbeitung von Veränderungen des Alltags, Einschränkungen im sozialen Leben, in der Schule und Absurditäten wie hamstern oder die digitalen Räume die alternativ die sozialen Gefüge "eben nicht" ersetzt haben... ongoing/auf dem Kanal sind schon ein paar Inhalte...das Projekt geht noch bis Dezember22
https://www.tiktok.com/@viral.video.voices?_t=8WzNN9Efd6z&_r=1

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Viral.Video.Voices ist ein medienpädagogisches Videoprojekt von „AntiAnti" und medialepfade.org. Gefördert wird es über das Programm „Stark trotz Corona" der Berliner Senatsverwaltung für Bildung, Jugend und Familie. Es richtet sich an alle Berliner Jugendlichen zwischen 14 und 21 Jahren. Das Angebot ist kostenlos, eigene technische Geräte und Vorkenntnisse braucht es für die Teilnahme nicht.

Ziel des Projektes ist es, die Wünsche, Sorgen, Gedanken und Beobachtungen junger Menschen während der Corona-Pandemie sichtbar zu machen und auf diese Weise ihre Position in der Gesellschaft zu stärken. Es ist Zeit, dass ihre Perspektiven auf einschneidende Veränderungen in ihrem Leben gehört und gesehen werden!

In unserem Projekt sind die Teilnehmenden eingeladen, eigene Videos zu produzieren. Das Format ist dabei offen, es kann zum Beispiel eine Videocollage aus TikToks, eine Kurzgeschichte, ein Musikclip, eine Animation oder eine Doku sein. Die Erfahrungen und Stimmen der Jugendlichen stehen im Fokus, wir von medialepfade begleiten und bringen unsere Kompetenzen als Medienpädagog*innen ein.

Worum geht es?

Seit mehr als zwei Jahren sind aufgrund der Pandemie viele wichtige Angebote für Kinder und Jugendliche verschoben oder abgesagt worden. Deshalb wollen wir als Teil des Programms "Stark trotz Corona" endlich wieder ins Machen kommen und gemeinsamen etwas erschaffen!

Ob Erfahrungen in der Pandemie oder Ideen für das Leben danach: In den Videos kann es um alles gehen, was bewegt, beschäftigt und Freude macht. Wir wollen mit Neugier und Offenheit in die Zukunft schauen und gemeinsam neue Perspektiven öffnen.

Für die Bearbeitung und Postproduktion haben wir die nötige Expertise und Software, um am Ende richtig gute Ergebnisse zu haben. Alle sind eingeladen, sich dabei einzubringen und zu lernen!

Was? Wo? Wann?

In unserem Kreuzberger MakerStudio können alle sofort einsteigen, mit oder ohne Erfahrung. Wir haben das nötige Equipment: Kameras, Greenscreen, Mikrofone und vieles mehr. Mit unserem Programm kommen wir nach Terminabsprache aber auch direkt vorbei, in einen Jugendclub, Verein, in die Schule oder andere Kiezräume.

Die Teilnehmenden können spannende Videos entwickeln, in Challenges spielerisch Techniken und Formate kennenlernen, eine Story in Bildern erzählen und den individuellen Erzählstil weiterentwickeln, denn all das erfährt man am besten beim Machen!

In aufeinander aufbauenden Studio-Sessions lernen die Filmteams Tricks und Tipps zur Videoproduktion und probieren sich mit TikTok, Smartphone, Kamera- und Tontechnik im Studio oder unter freiem Himmel aus. Sie produzieren eigenes Bild- und Audiomaterial und können daraus ihre Videos montieren. Für die Bearbeitung und Postproduktion haben wir die Expertise und Software, um gemeinsam das Beste aus den Ideen zu machen.

Ziel ist es, Ende 2022 eine gemeinsame öffentliche Premiere zu feiern und die Videos viral gehen zu lassen!

Bei Interesse meldet euch über einen unserer Kanäle:

Adresse MakeSpace:
medialepfade.org - Verein für Medienbildung e.V.
Oranienstr. 19a | 10999 Berlin

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Viral.Video.Voices ist ein medienpädagogisches Videoprojekt von „AntiAnti" und medialepfade.org. Gefördert wird es über das Programm „Stark trotz Corona" der Berliner Senatsverwaltung für Bildung, Jugend und Familie. Es richtet sich an alle Berliner Jugendlichen zwischen 14 und 21 Jahren. Das Angebot ist kostenlos, eigene technische Geräte und Vorkenntnisse braucht es für die Teilnahme nicht.

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The Aesthetics of Global Protest: Visual Culture and Communication

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Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which w...

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A version of this article was published in TIME’s newsletter Into the Metaverse. Subscribe for a weekly guide to the future of the Internet. You can find past issues of the newsletter here.

Nadya Tolokonnikova has held many titles over the past decade: performance artist, feminist, Pussy Riot co-founder, prisoner, foreign agent (according to the Russian government), poet, mother. Some things she is not: a tech mastermind, a scam artist, a hype entrepreneur.

But this month, Tolokonnikova, 32, is launching UnicornDAO, a cryptocurrency investment fund and the first component of the “Pussyverse” she’s building in Web3. She sees the move as a new phase for her as a leader building the feminist future she has been fighting for since she was a teen. “For the first time in years, I don’t feel like I’m the only one person in the room who is encouraging people to think further than just the electoral cycle,” she says over Zoom from an undisclosed location.

Because of her political status as a designated foreign agent in Russia, she has to be cautious about sharing her whereabouts publicly. But her excitement is palpable, even through a screen. “It’s the first time when anarchy is not just a promise, it’s actually something achievable,” she says. “Anarchy means, for me, decentralized, self-governing systems.”

For a Russian watching her country’s economy get battered by Western sanctions following President Vladimir Putin’s invasion of Ukraine, those self-governing systems make more sense each day. Overnight, interest rates sky-rocketed, and the value of the ruble plummeted as many Russian banks were cut off from the traditional global financial system.

Cryptocurrencies are suddenly looking much more stable—despite criticism of volatility. Tolokonnikova is well-prepared for the new attention on crypto. “For the first time in my life, I’m able to use economic tools as my paints and brushes,” she says.

And she did: in the days following the late-February invasion of Ukraine, she helped launch UkraineDAO, a fundraising campaign that racked up almost $7 million in cryptocurrency donations in less than a week, with funds channeled towards Ukrainian aid organizations. “It’s really important for me to be a good activist and be an influential artist to be able to maintain my anti-Putin voice. In that way, it’s all inherently connected,” she says.

Americans might balk at her interest in a concept like anarchy, but for Tolokonnikova, it represents unassailable freedom and equality—something that, as an outspoken Russian, she has been punished for wanting. Born in the city of Norilsk, Tolokonnikova studied philosophy and art, engaging with progressive politics from a young age. In 2012, she was sentenced to two years in prison and jailed outside Moscow, forced to leave her 4-year-old daughter at home. She says she still suffers PTSD from her imprisonment. Her crime: a guerrilla musical performance—with her feminist group Pussy Riot—staged at a Moscow cathedral, called “Punk Prayer: Virgin Mary, Please Get Rid of Putin.” Since then, Tolokonnikova has been one of the most visible faces of political dissent in Russia, while pursuing a punk music career, fundraising for feminist causes like reproductive rights in Texas, and most recently becoming an NFT artist. (For her first collection, she auctioned off copies of the original 2012 prison sentencing documents, graffitied with her own colorful drawings.)

Nadya Tolokonnikova photographed on Feb. 10, 2022.

Alexis Gross for TIME

What Tolokonnikova created with UkraineDAO and is launching now with UnicornDAO are examples of Web3’s buzzy new organizing principles. DAO stands for “decentralized autonomous organization,” and like a casual hedge fund or a group chat with a pooled crypto bank account, DAOs are made up of collections of individuals who are buying in to a shared vision or purpose. The hierarchies are ostensibly flat; the decisions about activities and investments are made based on conversation, often on Discord; and the critical binding component is a so-called “smart contract,” a document that lives on the blockchain. This is not Tolokonnikova’s first foray into collective action; in many ways, Pussy Riot itself was an early DAO, a loose and leaderless organization with a singular mission, many members, and equality of decision-making in its ethos.

UnicornDAO will be primarily an art collectors fund, where DAO members will be asked to contribute to the pool in order to invest in projects from female and non-binary artists. It will also have a non-profit arm dedicated to incubating the careers of those artists, helping them navigate Web3 opportunities and the NFT industry. Appropriately, its founding team is all-female, including co-founder Rebecca Lamis.

Today, DAOs are big business. A DAO social club called Friends With Benefits was recently valued at $100 million by investors (including trend-setting venture capital firm Andreessen Horowitz). An investment bloc called ConstitutionDAO raised $17 million to bid on a copy of the U.S. Constitution. (Their bid failed, but their notoriety was secured.) PleasrDAO has spent millions from their shared coffers on rare collectible NFTs. Each is defined only by its members and their values. Given the malleability of the form, backers believe DAOs could be used as a blueprint for the future structure of corporations, or even to reimagine hedge funds. Venture capital firms have sunk millions into existing DAOs, and estimates show billions of dollars may currently be under DAO management.

Tolokonnikova’s UnicornDAO has a distinct mission. It is focused on the NFT market—and in rebalancing the scales for women-identifying and non-binary artists in a space that is already reflective of problematic gender norms. Currently, art by women sells for 50% less than that of art by men, and as few as 5% of NFT sales go towards projects from female artists, according to Tolokonnikova and her group’s research. That means many artists are missing out on a major financial opportunity: in 2021, around $41 billion worth of cryptocurrency was associated with NFTs, and in a January report, Jefferies Bank forecasted the NFT market capitalization will rise to over $80 billion in 2025.

For Tolokonnikova, it’s also personal. “I had a really unpleasant interaction with a couple of collectors who thought they could take advantage of me just because they’re collecting my artworks,” she says. “It definitely does not fly with me. But I’m bringing a lot of girls into this space. And I don’t want them to experience something like that.” Plus, she wants to make sure that girls like her now-14-year-old daughter don’t feel limited by the “boys’ club” mentality that can prevail in tech. (Consider: her most recent song, “Punish,” which introduces a “vengeful hero who’s going to punish men for wrongdoings,” she says, smiling.)

Nadya Tolokonnikova photographed on February 10th 2022.

Alexis Gross for TIME

“I fell into a trap that’s typical for a girl; that girls are not supposed to do anything tech-related,” she says. Even as an artist, she’s struggled to prove her worth. “Just because of my gender, and the way I look—because I do enjoy wearing short skirts—there could still be a moment where you’re dismissed immediately, and alienated and objectified,” she says. Her answer: building what she calls “infrastructure for a feminist revolution on the blockchain.”

UnicornDAO is not the first crypto-based collective focused on feminism. Projects like HerstoryDAO, Komorebi Collective, and the NFT collection World of Women have sought to establish similarly equal spaces. But with Pussy Riot’s fame attached, and the backing of blockchain payments platform MoonPay and figures like Guy Oseary and Justin Aversano, Bored Ape Yacht Club creators Yuga Labs, artists Beeple and Pak, and Gary Vee’s VaynerFund, UnicornDAO is expected to make a splash. Already, they have planned events at the annual SXSW conference in Texas in March.

UnicornDAO is part of a larger vision—which Tolokonnikova hopes will grow into the virtual Pussyverse, a still-undefined home in Web3 where women, nonbinary, and queer artists and activists will be the dominant forces. Its launch also marks the ten-year anniversary of that infamous protest performance at the Moscow cathedral. “Our ultimate goal always is to change the world, honestly. And create a good art piece. And I’d say that traditional Web2 platforms, they’re not really good [for that],” she says. Platforms owned by corporations—whether traditional auction houses like Sotheby’s or streaming platforms like Spotify or YouTube—give creators little control over the future and value of their work. The decentralized marketplace of NFTs preserves more of it. “I’m consciously trying to rework mistakes that were made in previous systems, especially in terms of gender equality,” she says.

Tolokonnikova’s daughter is already creating her own collection of NFT art, and Tolokonnikova is clearly proud. “She already has a couple of wallets; it’s pretty impressive,” she says. “She does her investigation on her own, then she comes back to me and shares her insights and what she believes is going to be the next big thing.” Tolokonnikova wants a world where her daughter won’t feel intimidated by technology, and won’t be demeaned by structures that minimize women’s work. So she’s building it.

Subscribe to Into the Metaverse for a weekly guide to the future of the Internet.

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Write to Raisa Bruner at raisa.bruner@time.com.

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Exclusive: How Pussy Riot's Nadya Tolokonnikova Is Using Crypto to Fight for Equality

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Tolokonnikova, of the Russian punk band Pussy Riot, is launching UnicornDAO, a new fund to support and incubate the work of women and nonbinary artists in the NFT space.

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The Aesthetics of Global Protest: Visual Culture and Communication

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Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which w...

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https://www.serpentinegalleries.org/whats-on/future-art-ecosystems-2/

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Future Art Ecosystems (FAE) is an annual strategic briefing that provides analytical and conceptual tools for the construction of 21st-century cultural infrastructure: the systems that support art and advanced technologies as a whole, and respond to a broader societal agenda.
The second issue, . For further information, please visit the Future Art Ecosystems: Art x Metaverse (FAE2) has now been released. The launch event will be live streamed via Serpentine's Twitch on 13 July 2021 at 5pm BST event page.

FAE2 is produced in collaboration with Rival Strategy and Luke Caspar Pearson, Guest Producer.
FAE2: Art x Metaverse (Download here)
The advent of the metaverse-an always-online 'second' world and emerging internet megastructure-represents a fundamental shift in our notion of digital systems and physical presence. In this context, FAE2 outlines what is required from 21st century cultural infrastructure in order to shape the metaverse's evolution.

Engaging with over fifty practitioners and organisations across art, film, gaming, technology and wider cultural industries, FAE2 articulates the challenges and opportunities that institutions face in this landscape. Contributors to FAE2 include artists , CEO of UKIE; Larry Achiampong , David Blandy , Danielle Brathwaite-Shirley , Joey Holder , Rindon Johnson , ; Dr Jo Twist OBE Lucy Sollitt , Curator; Jay-Ann Lopez , Founder of Black Girl Gamers; Trevor McFedries, Co-founder of Brud; Andie Nordgren, Producer and Director of Unity Live Platforms; Kadine James and Lucy Wheeler, Founders of Immersive Kind; Gabrielle Jenks, Digital Director, Manchester International Festival and many more.

The strategic briefing is organised into three chapters. explores user experience of art (UXA) as a model for reassessing the key touchstones of cultural institutions' digital strategy with the advent of advanced virtual environments-digitally produced 3D spaces. surveys the emergence of 'metaverse-native' art in art-adjacent fields such as gaming, blockchain, film and architecture as a result of their openness to developing new skills, proficiencies and business models around emerging technologies.

As a planetary-scale infrastructural project, the metaverse represents a challenge to cultural institutions' role as public interest organisations. Cultural institutions can only continue to fulfil this role if they are advocating for and contributing to the construction of an open and accountable 21st-century cultural infrastructure. proposes a set of vectors for a sector-wide effort to take active steps in that direction, which include:

Greater interoperability between cultural institutions as well as with art adjacent fields;

Investment in advanced production capabilities;

Recognising and supporting expanded economic and distribution rationales;

Harnessing new proficiencies that propel deeper engagement with users-as-stakeholders;

Devising new systems of measurement.

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Future Art Ecosystems - Serpentine Galleries

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Future Art Ecosystems (FAE) is an annual strategic briefing that provides analytical and conceptual tools for the construction of 21st-century cultural infrastructure: the systems that support art and advanced technologies as a whole, and respond to a broader societal agenda. The second issue, .

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The World Wide Web started with so much promise: to connect people across any distance, to allow anyone to become a publisher, and to democratize access to knowledge. However, today the Web seems to be failing us. It's not private, secure, or unifying. The Internet has, in large part, ended up centralizing access and power in the hands of a few dominant platforms.

But what if we could build something better, what some are calling the decentralized web?

In this series of six workshops, METRO will be joined by our partners at Internet Archive, DWeb, and Library Futures to explore the ways in which moving to decentralized technologies may enhance your privacy, empower you to control your own data, and resist censorship:

The Decentralized Web: An Introduction
Thursday, January 27th, from 4:00pm to 5:00pm EST
Find the resource guide to this session here.
See a recording of this session here.

In an Ever-Expanding Library, Using Decentralized Storage to Keep Your Materials Safe
Thursday, February 24th, from 4:00pm to 5:00pm EST
Find the resource guide to this session here.
See a recording of this session here.

Keeping Your Personal Data Personal: How Decentralized Identity Drives Data Privacy
Thursday, March 31, from 4:00pm to 5:00pm EST
Find the resource guide to this session here.
See a recording of this session here.
Read a summary of this event.

Goodbye Facebook, Hello Decentralized Social Media? Can Peer-to-Peer Lead to Less Toxic Online Platforms?
Thursday, April 28, from 4:00pm to 5:00pm EST
Find the resource guide to this session here.
See a recording of this session here.

Decentralized Apps, the Metaverse and the "Next Big Thing"
Thursday, May 26, from 4:00pm to 5:00pm EST
Register here

Ethics of the Decentralized Web & Uses for the Law, Journalism, and Humanitarian Work
Thursday, June 30, from 4:00pm to 5:00pm EST
Register here

We hope to see you there!

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Imagining a Better Online World: Exploring the Decentralized Web

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The World Wide Web started with so much promise: to connect people across any distance, to allow anyone to become a publisher, and to democratize access to knowledge. However, today the Web seems to be failing us. It's not private, secure, or unifying.

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Watch all of joshuacitarella's best archives, VODs, and highlights on Twitch. Find their latest Just Chatting streams and much more right here.

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Postirony, the whole new era to come. And if I’m right, everybody wins. Alex Shakar, 2001 Post-Irony means total imaginative and creative freedom. Com&Com, 2008 Die Zeit der Ironie ist a…

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The memetic history of the 2010's can be divided into six Eras, starting from the influences that precipitated into the ironic meme movement and arriving at the beginning of postirony.

The Six Eras of recent memetic history, based on our 2015 model (Her & Zharova, 2015)

I have divided the decade into these six Eras based on the general contours of recent cybercultural history. The causal explanations for the historical events that distinguish one Era from another can be drawn from various types of preceding states or events: conceptual developments; advancements in digital and social technologies; spread of cultural patterns; levels of memetic literacy; platform-level changes; demographics, and so on. The most useful entrance into this scaffolded web of memetic history is through the lens of the techniques that were adopted by the memers who produced original content. This must be contextualised by comparison with the previous decades, in light of the techniques that developed during those respective periods.

This decade was important for memes not because the most important memes were produced during the decade, but because the way we view and use memes developed substantially. The Eras demarcate this development of Internet memetics through its different historical stages. Memecraft was already highly advanced by the beginning of the decade. In fact, the average shitposter today will find many of the essential skills of the typical 2000's anon arcane and even bewildering. The sense of the Internet as a dangerous place has given way to the sense that the Internet is dangerous only insofar as it is contiguous to real life. While the explorers of the 2000's, particularly channers, sought to find their place online and establish an identity around the platform of their choice, the diaspora was forced to define themselves not against the outgroup on a distant platform but by the differences they could telegraph on mainstream platforms such as Facebook and Twitter. As the use of social media became increasingly necessary, users from memetically advanced platforms began to colonise mainstream platforms by bringing relics from their home platforms. Initially, the mere act of reposting memes which were supposed to be kept to their appropriate environments was a subversive act harkening back to trolling, even forum sliding. The Proto-Ironic Era was characterised by the importation of memes into foreign environments by ex-anons who migrated onto nonymous platforms. On Facebook, off-platform import was the primary form of memetic content. The pattern persisted throughout the decade, with new memes being produced by a minority of memetically literate users on platforms such as 4chan and Twitter and being spread by low memetic literacy users on platforms such as Imgur and Facebook.

According to our 2015 model of memetic evolution, ironic memes emerged through the clash between normies and autists following the diaspora of the latter into mainstream social media. Mariya Zharova and I predicted that the continued spread of ironic memes would lead to the development of postironic memes as the gap between the underground and the mainstream narrowed and the tension between the two intensified. The clash was first and foremost between the anonymous and nonymous modes of engagement, but the armaments were supplied through pseudonymous users on platforms such as Reddit. Pseudonymous users, with secondary identities and a mode of engagement aimed primarily at outside viewers without the underlying assumption of cultural familiarity, imported memes from underground platforms and spread them into mainstream platforms. This route of memetic import and distribution via pseudonymous platforms became established as the idiosyncratic desires of the respective platforms aligned: the channers wanted new content; the Redditors wanted gold from strangers for content that got to the front page; the captive audiences on Facebook waited for content to appear on their feed. By the latter half of the decade, the supply chain of memes turned into a cycle as Facebook memes came into their own enough for them to be imported back onto underground platforms.

Alongside memes that were imported from the underground, metamemetic ideas about what memes are also spread into the mainstream. The corresponding memetic theories informed the development of memetic techniques and practices adapted for the new environment, made up of underground users on a mainstream platform. These memetic techniques were built on top of older techniques that were developed during the only two other decades that can properly be considered a part of meme history: the 90's, during which the concept of the Internet meme developed, and the 2000's, during which virtually all of the fundamental memetic techniques still in use today were invented.

Internet memes as we recognise them have only existed for about 30 years. Richard Dawkins coined the term "meme" in his The Selfish Gene in 1976. 17 years later, in 1993, Mike Godwin coined the term "Internet meme". Godwin developed his idea of the Internet meme concept through his memetic engineering experiment known as Godwin's Law. He designed a "counter-meme" which stated that "As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one." He spread the phrase into newsgroups in which comparisons to Nazis were common, namely by libertarians critical of any government. The countermeme worked as Godwin had hoped, drawing attention to the frequent Nazi comparisons, and helping users quickly discredit them when they happened. The countermeme grew through users by guiding users to note exemplary cases more often, as well as by inspiring other users to come up with other natural laws of the Internet of their own.

Godwin's Law is a good example of an attractor, a kind of conceptual magnet which collected examples of itself and grew in size and gravity through this feedback loop. The concept of the Internet meme itself proved to be an attractor, simultaneously justifying and encouraging the production and the dissemination of spreadable content online. The Internet meme concept was unique to the Anglosphere during this period, and determined the direction in which Western cyberculture would progress. Other cybercivilisations had their own rough conceptual equivalents. For instance, the Korean Internet's memes, called jjalbang (짤방, short for jjalimbangji 짤림방지, literally "prune prevention") are founded on the notion that the basic unit of content online is the individual file. The practice was developed by users on the popular digital camera hobbyist website dcinside (디씨인사이드). The forum became a site of socialisation, and users began including random images on their posts in order to prevent them from being detected as shitposts by moderators and pruned. However, the jjalbang was first and foremost a materialist object, and by no means the same thing as a meme. Purists among contemporary users still refuse to apply the term to anything other than image files, making exception for animated jjalbangs (oomjjal 움짤, short for umjiginoon jjalbang, literally "moving jjalbang").

It is important to note the fact that neither the meme concept nor the Internet meme concept were essential to the development of Internet memes as a cultural technology. In every instance, the digital technology of personal computers and the Internet inevitably led to the practice of memeing, regardless of what cybermetaphysics the theoretically-minded users adopted to explain the phenomenon. This is not to make a technologically determinist claim that memes are inherent to the Internet, or inevitable. Rather, I am arguing that Internet memes are not a particularly novel phenomenon in the grand scheme of human culture. They are the result of our applying ancient techniques and practices onto a new context and object. Just as certain relics acted as vessels of mana in holy rituals, memes act as the locus of mana in the post-Internet era. In fact, the function of memes as omniritualistic relics has allowed users to revive the aura in images a mere 85 years after Walter Benjamin proclaimed its death in "The Work of Art in the Age of Mechanical Reproduction" (1935). A meme, rather than be framed by the environment in the way that Benjamin argued is the focus of reproduced art, frames its environment by recontextualising it. True, a meme changes meaning based on its environment, just as a poster is perceived differently based on how it is framed. But more importantly, a meme brings with it its evolutionary history. The reproductive success of a meme depends on how well it performs its function as a relic: it must be a good vessel for the mana it has inherited from its past.

The 1990's built the conceptual foundations for Internet memes as a kind of art that takes time seriously. Following suit from the cyberspatial vocabulary of the 1980's recognising of the physical nature of the Internet, early theories of Internet memes themselves were dominated by memetic externalist thought. It was entirely ambiguous as to whether Internet memes were supposed to be expressions of internal memes (that is, ideas) or themselves true memes (that is, cultural replicators). The result of this strange metaphysics of Internet memes was that its earliest pioneers designed a structural analogy between a meme and a reliquary (a container for relics) into their archetypal form: a meme was a vessel for ideas, but the vessel itself was a replicator. This is a startling departure from Dawkins' original conception of the meme as self-replicator, a one-part entity which was meant to serve as a metaphor for genes. In fact, Dawkins created the concept during a time when genetics was still primitive. He had hoped to explain genes using the metaphor of the meme. The Internet meme, as designed by its early developers, turned out to be more similar to the notion of the reproducer than a replicator. A meme was to be the cultural bacterium, not the cultural gene.

Some of the most important memes of all time arose during the 2000's. Arguably the most important among them was the Rules of the Internet, which included entries such as "Lurk moar," "You're doing it wrong," "Pics or it didn't happen," and "Anything can be a meme." One version of the rules read "Everything is a meme. No exceptions." The rules acted as a tongue-in-cheek manifesto for the developing online communities such as 4chan and Something Awful, and the selective adoption of the most attractive rules, such as Rule 34, resulted in feedback loops that generated such force that entire markets and platforms formed around them. During that time, when anonymity drove memetic evolution in the West, fluent adherence to rules such as these acted as the shibboleth for subculturalists. This meant that the rules were used both as justification and inspiration for the development of new memes while enforcing a democratic engagement among the users. During the same period, personality cults around oldbies and hierarchies based on post history drove memetic evolution on pseudonymous forums that produced the earliest Korean memecultures. The overall process was the same in both the East and the West. So, while most of the natural laws of the Internet were discovered during the 1990's, they were predominantly applied during the 2000's to invent new ways of using the Internet. This multi-generational transformation has been a recurring pattern throughout meme history.

The new ways of using the Internet that were invented during the 2000's were introduced to the general public through a combination of factors, among which were viral media and hacktivism. A major theme of the 2010's was the flow of underground content into the mainstream. Again, it is essential to put the decade into perspective by remembering that most of what has happened in the 2010's has already been thoroughly explored in the previous decades. Memes and memecultures had broken into the mainstream numerous times before. Most notably, Anonymous began around the beginning of the 2000's as a collection of subcultural mores for mobilising and coordinating nameless users, and ended up as a folk character hivemind, making routine appearances on TV news by the end of the decade.

The importance of the 2010's to meme history was not in its novelty but its scale. During the 2010's, the world reached a cultural boiling point as the underground spilled out irreversibly into the mainstream and destroyed the boundaries between the two. More memes were produced during the 2010's than in all of the Web's history. The historical significance of this explosion is undeniable. With the unprecedented spread of memetic literacy, memes went from novelty content that had to be defined and explained before discussion (usually with reference to Dawkins and pictures of cats) to a commonplace term detached from its etymology. It's no wonder that clickbait outlets are publishing "The Top 10 Memes of the Decade" articles everywhere. Normies love listicles. But this stems from a cargo cult view of memes as something that the Internet spontaneously generates, which their viewers take as they come, dutifully categorising them by their morphology. This leads to superstitious thinking about how memes work. Autists reflected the same superstition about sociopolitical development by adopting the idea of meme magic. It was an exegetical framework which allowed them to recuperate the Clown World political climate, which began around 2013 as memes and exploded in 2016, as the one thing they could control and understand: memes. The 2010's was marked by the scale and frequency of open conflict between various perspectives on memes. The conflict was integral to the memetic history of the 2010's. In the next part of this series about the decade, I will explore the development of ironic memes which resulted from the clash between the mainstream and the underground.

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2010's Decade Review, Part 1: The Origin of 2010's Memecultures

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The importance of the 2010's to meme history was not in its novelty but its scale. During the 2010's, the world reached a cultural boiling point as the underground spilled out irreversibly into the mainstream and destroyed the boundaries between the two.

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This cartography is part of the research project „ Post-Internet Arts Education Research " at the Institute of Art and Art Theory, University of Cologne. The project focusses on conceptual and theoretical foundations of Post-Internet Art as art under conditions of post-digital culture. It aims to explore Post-Internet Art in its theoretical affiliations, which is differentiated and substantiated by interviews with artists and analyses of selected artworks.

The mapping you can see here was used to initially identify central topics within the Post-Internet field. It maps group exhibitions and major publications referring to Post-Internet Art from 2009-2020 by compiling exhibitions mentioning one or more keywords (such as Post-Internet, after the internet, internet aware, etc.) and exhibitions discussed in relevant publications on Post-Internet Art (e.g. Kholeif 2014, Bühler 2015, Cornell/Halter 2015, Gronlund 2017, Respini 2018 etc.). In the further course of the mapping, exhibitions were also added that do not explicitly refer to terms such as Post-Internet and Post-Digital, but primarily address questions of art and digitalization in their entanglement and beyond technocentricity.

Authors: Kristin Klein & Eva Klein, University of Cologne, Germany

Please cite as: Kristin Klein & Eva Klein (2021). Mapping of Exhibitions in the Field of Post-Internet Art, 2009-2020. Post-Internet Arts Education Research, University of Cologne, Germany. Online: http://piaer.net/cartography/

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This cartography is part of the research project „ Post-Internet Arts Education Research " at the Institute of Art and Art Theory, University of Cologne. The project focusses on conceptual and theoretical foundations of Post-Internet Art as art under conditions of post-digital culture.

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Language: English (83,21%), German (16,79%)

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Is the cat poster included?

Yes, of course! It is included in the PDF. And you can still visit the original web site I Can Has History? by Helene Dams.

"La popularité des images de chats n'est-elle pas le plus génial exemple d'usage du réseau  ?" -- écrans (Liberation), France

"This balance between theory and practice is not only interesting but also necessary when introducing a new concept, as the authors intend to." -- Furtherfield, UK

"É difficile immaginare un libro come questo scritto da qualcun'altro (specialmente in questa peculiare forma stampata), in particolar modo con tale passione e instancabile ricerca." -- neural, Italy

"This playfulness, and cohesiveness, makes a great vessel for persistent and at times rigorous analysis of online life, which itself has always been rooted in exploration, discovery and excitement, and benefits from complimentary conveyances (especially when things get technical!)." -- rhizome.org, USA

"El concepto de Folklore Digital resulta, por tanto, atractivo en su reivindicación de la estética amateur frente al aspecto homogéneo que presenta la web hoy en día, a la vez que sugiere un cierto activismo rebelde en el usuario." -- art.es, Spain

"... eine echte Liebeserklärung an volkstümliche Internetgestaltung." -- PAGE 04.2010, Germany

"Digital Folklore fills a gap in the computer and network culture you'd never know existed if you attend only big tech or web design conferences." -- We Make Money Not Art, Internet

"Durchaus spielerisch wird Wissen geschaffen, fleißig zitiert und recherchiert und im Schlusskapitel in künstlerischer Absicht auseinandergenommen und wieder neu kombiniert; alles vereint durch ein Layout so bunt wie das behandelte Thema ist (sic)." -- The Gap, Germany

"Denn hier geht es auch um die Machtverhältnisse im Web, um die technischen Meilensteine und die Spuren, die die Nutzer hinterlassen. Gleichzeitig wird der amateurhafte Umgang mit Grafik-Design und Kommunikation zwar exemplarisch vorgeführt, aber immer wertgeschätzt." -- artnet, Germany

About

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Preface: Do you believe in Users?

We are all naive users at some time or other; its nothing to be ashamed of. Though some computer people seem to think it is.

Ted Nelson, Dream Machines, 1974

In an ideal world, we would love to skip this introduction - or at least the most difficult part of it, where we, as authors have to define the term used in the book's title.

Isn't it enough to put a unicorn on the cover, throw a bit of Comic Sans over it and announce a chapter on LOLCATS in the table of contents? You would know what we mean.

But sharing our fascination with amateur digital culture is only half of the business at hand. The Grand Plan, to which this book is only a tiny contribution, is to truly reconnect users and computers, users and developers, users and the history of their favorite medium. If this plan works out, perhaps a reasonable relationship between computers and people could be restored.

The personal computer (a meta medium), and the Internet (aka network of the networks), are mistakenly regarded as mere extensions of pre-computer culture. Net, web, media, computer, digital, are the miserable and inadequate prefixes still used to indicate that something was produced with a computer, was maybe digitized or can be accessed through a computer interface. A lot of effort is put into increasing the "fidelity," "realism" and "emotion" of the "content" rushing through digital circuits, and these efforts are almost always praised. These perceived improvements however are likely to wipe out the very reality and emotion that is living inside the computer. It seems that in spite of its prevalence in our culture, the computer's ultimate purpose is to become an invisible "appliance," transparent interface and device denying any characteristics of its own. Most computing power is used in an attempt to make people forget about computers. Thus, the often heard statement that computers are a common thing in today's world is a fallacy. Never before has computer technology been so widely spread and computer culture been so underdeveloped in relation.

If you ask a search engine what "digital folklore" is, it will pull up links to e-books on folk art or recordings of folk music in MP3 format. Likewise, five years ago if you looked for "internet art," you would get linked to galleries selling paintings and sculptures online, even though net art (where "net" was more important than "art"), had long been a unique art form. Computer games are subject to similar attitudes. Either they are seen only in relation to what is commonly regarded as "real" play (especially in the context of children), or they are judged in terms of the preceding mediums (namely cinema). Respect for the unique narrative and expressive potential of games only appeared very recently.

This has to change for the betterment of human culture as a whole, so we proudly coin the term Digital Folklore.

Digital Folklore encompasses the customs, traditions and elements of visual, textual and audio culture that emerged from users' engagement with personal computer applications during the last decade of the 20th and the first decade of the 21st century.

This seemingly over-determined time frame is needed to distinguish Digital Folklore from Home Computer Culture, which ceased to exist in the 1990s. Before, home computers - machines elegant and quirky at the same time - nurtured the development of a passionate community. Using mostly their free time, these self-taught experts created their own culture. Meaningful contributions could be made quickly and with relative ease because of the home computer's technical simplicity. When the home computer became merely a machine for work, when it became a requirement in life to know Microsoft Office, when the workings of the machine became increasingly complex and business oriented, the role of computer users changed.

So what do we exactly mean by user? The movie Tron marks the highest appreciation and most glorious definition of this term. The film is mostly set inside a computer network; programs, represented by actors in glowing costumes, are the main heroes. One program asks another: "You believe in the users?" The other answers: "Yes, sure. If I don't have a user, than who wrote me?" In another conversation it becomes clear that both an account manager and a hacker are called "user" by "their" programs. The relationship of users and programs is depicted as a very close and personal one, almost religious in nature, with a caring and respecting creator and a responsible and dedicated progeny.

This was in 1982. Ten years later the situation became dramatically different. The term "users" was demoted to what the fathers of computer technology dubbed "Real Users,"(1) those who pay to use a computer but are not interested to learn about it, or "Naive Users,"(2) those who simply don't understand the systems.

(1) "People who are buying computers, especially personal computers, just aren't going to take a long time to learn something. They are going to insist on using it awfully quick." J.C.R. Licklider: "Some Reflections on Early History", quoted from: A. Goldberg: A History of Personal Workstations, ACM Press, 1988, p.119

(2) "Person who doesn't know about computers but is going to use the system. Naive user systems are those set up to make things easy and clear for such people". Ted Nelson: "The Most important computer terms for the 70's", in Dream Machines, Tempus Books, 1987, p.9

In 1993 AOL connected their customers to the Internet for the first time and naive users showed up in the thousands - invading the Usenet discussion system formerly only frequented by computer enthusiasts with a university background. These AOL-ers became part of the Internet without any initiation and none of them had any of the technical or social skills deemed necessary to the previous generation of Internet users. The "old guard" was unwilling to deal with a mass of "users" who were ignorant of their highly developed culture and the increasing onslaught was often referred to as an "Eternal September."(3) "User" became a derogatory term for people who need things to be as simple as possible and they became cannon fodder for system administrators and real programmers.

(3) September was a special month in the early days of network culture. With the start of the university term there would always be some new users that needed some introduction and caring for their first steps into the online world. See e.g. the Wikipedia entry

In 1996 The New Hackers Dictionary clearly distinguished two classes of people: Implementors (hackers) and Users (lusers).(4) Twelve years later, "Software Studies: A Lexicon", released by the same publisher The MIT Press, doesn't contain an article on User at all. As a way to deal with this new influx of "lusers," the prevailing tactic was to give them a nice and colorful playground(5) ("user-friendly," "user-oriented") where they could not cause any real damage and leave the hackers alone. This rather cynical view is still perpetuated today - users are being highly entertained, but also exploited as content producers and ad-clicking revenue generators.

(4) Eric S. Raymond: "The New Hacker's Dictionary",The MIT Press, 1996, p. 463

(5) The graphical user interface for "users" is also often called "WIMP," for "Windows, Icons, Mouse Pointer." Real programmers would use a command line interface of course.

While more and more people had personal computers and net access, fewer and fewer were seeing the value of their contributions. As most had agreed to have "no idea about computers," it became virtually impossible for them to reflect on the medium itself. At the same time however these lusers used computers very intensively, producing and uploading content non-stop.

And here we reach the point where we would like to highlight artifacts of Digital Folklore, a distinct user culture developed inside user-oriented applications and services despite their low social status and technical limitations. And their cumulative output began to dominate that of hacker culture.

Consider the way early amateur websites were made. As clumsy as they might appear to trained professionals, in terms of spreading the Internet's architecture and culture, they were of huge importance. In fact, the mental image we have of the medium today: intelligence on the edges of the network, many-to-many communication, open source (even if it was just about how to use the <blink> HTML tag), is the result of these early efforts. Users could easily write the code for their own web pages and were, by building their pages, literally building the Internet.

Already by the end of the 1990's however the rise of web design, the web designer as a new profession, the "new economy" and the whole industry around it, all conspired to point the lowly users back to their place.

These days we can witness how the users' role has been reconsidered in the Web2.0 hype: noble amateurs, crowd-wisdom, user generated content, folksonomy - all crowned by the triumphal "YOU" as the person of the year on the cover of TIME magazine.(6) This grand "comeback" of the user, heralded by the glossy mirrored cover, illustrated just how vast the gap between users and their computers had grown. The implication being that a powerful user is a one-time sensation, not the norm.

(6) Issue December 25, 2006/January 1, 2007

During a short Web 2.0 time the users' creativity earned a lot of praise, whether it was "blinging up" their kids, rating books at Amazon.com or rickrolling colleagues. But being so busy and creative, we missed the moment when Web2.0 was replaced by a new trend, The Cloud: users in front of dumb terminals, feeding centralized databases and über computer clusters. One is easily reminded of the Master Control Program, the boogie man from the aforementioned movie TRON. Whatever association your mind is offering here, whatever the name of the system, it is about powerful computers, not powerful users.

But it won't be technology that will stand up for values like free speech and free thought. And the technological mastery of a few bright minds will not protect the Internet from being blocked, split up, throttled or censored by repressive regimes, conservative industries or religious zealots. Hackers and professionals will have to understand that in order to advance "their" medium and "their" culture, they too, have to tap into the powers of Digital Folklore.

In Germany, where this book originates, the problem has its own specificity because one gets the feeling that "The Internet" is happening somewhere else. Journalists praise Iranian bloggers in their struggle for freedom, yet regard German bloggers voicing their concerns about German governmental control of the web as nutty freaks.

And there seemed to be little time for reflection in between the total neglect of computers and their sudden, unscrutinized adoption: In the 1980s people still generally thought of computers as Cold War machines that guide nuclear missiles, or as surveillance machines turning people into numbers in the 1987 census. Even playing the coin-operated Pac Man arcade machine was illegal for minors. By contrast, today's school children are educated as "Real Users." They learn how to use Microsoft Office to type business letters and design PowerPoint presentations, before they learn how to make a game or even spell IKEMZDOL(7) correctly. Users must understand their integral role in the process, demand comprehensible systems, work for better computer education and begin to see themselves as developers again. Studying Digital Folklore can do this, and help give back users the power they have earned and deserve.

(7) IKEMZDOL = "I könnte mich zu Tode lachen", the German version of ROFL or LOL

The domain of the digital must belong to people, not computers. The personal computer must be regarded as a medium with a cultural history shaped more by its users and less by its inventors. In February 2009, speaking at TED conference, Sir Tim Bernes-Lee stated that he invented the web 20 years ago. Though officially he has the right to claim this, the web is in fact 16 years old, because that is when people started to use it.

Henry Jenkins wrote in his 2002 article "Blog This!"(8): "We learned in the history books about Samuel Morse's invention of the telegraph, but not about the thousands of operators who shaped the circulation of message." To rephrase him, we could say that we have studied the history of hypertext, but not the history of Metallica fan web rings or web rings in general. This book is an attempt to fill this gap.

(8) Henry Jenkins: "Blog This!", Technology Review Issue March 2002, online at Technology Review

It is a collection of texts and projects on the digital vernacular, online amateur culture, DIY electronics, dirtstyle, typo-nihilism, cats, teapots and penis enlargement. We are grateful to our students, former and present, for participating in research and contributing to the book.

~ Olia Lialina & Dragan Espenschied, November 2009 ~

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Language: English (83,21%), German (16,79%) price: ~ 34.50 € ~ +shipping Buy directly from the editors with PayPal Is the cat poster included? Yes, of course! It is included in the PDF. And you can still visit the original web site I Can Has History?

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An der HbK Braunschweig gab es 2015 eine Tagung  über Bildarchive im Wandel: https://www.hbk-bs.de/aktuell/veranstaltungen/details/19780/

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An der HbK Braunschweig gab es 2015 eine Tagung  über Bildarchive im Wandel: https://www.hbk-bs.de/aktuell/veranstaltungen/details/19780/

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Wolfgang Ernst. Das  rumoren der Archive

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Wolfgang Ernst. Das  rumoren der Archive

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Anschluss an die eigene Forschungsarbeit

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https://app.mural.co/invitation/mural/intermedia5183/1639236356912?sender=uc7d06efa6b2225a1a9573277&key=63cd6096-c5ff-4830-b0ee-429a5df230a3

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Speed up your creative process. Collaborative online walls that help you organize your ideas. Get your thoughts down fast and gather all your insights in one place.

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'OK Boomer:' 25-Year-Old New Zealand MP Chlöe Swarbrick Claps Back at Hecklers

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...erste Eindrücke, unter dem Reiter 'Nicole'.

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Online conservatives claim that left-wing politics are the result of feminization caused by consuming everything from soy milk to tap water. And while there are endocrine disrupting chemicals in seemingly everything --a fact that should set off alarm bells for the left, right and center-- this feels like a mostly insufficient explanation.

In recent years, the internet culture wars have focused on sensational stories like Buzzfeed writers with low testosterone levels and a much debated study published in the Evolution and Human Behavior journal which found that physically weaker men are more likely to have favorable opinions on the redistribution of wealth and income.

I had always thought that my political leanings were the result of rational economic planning and a general commitment to the project of human freedom-- but maybe I had been poisoned by modernity. This summer, from June 1st to August 31st, I decided to try every internet folklore male improvement technique and see if it changed my beliefs. Here's what happened:

* Mewing is an exercise technique for the tongue and jaw muscles with the goal of reshaping one's face. In most cases this involves overpriced plastic bite guards or (much more affordable) mastic gum, derived from the sap of a rare tree that grows on the Greek isle of Chios. Increasing one's bite strength helps to build up jaw muscles and create a more desirable Chad-like appearance.

This totally worked and has visibly improved my face. At first, I had a lot of jaw pain and frequent tension headaches, but overtime I refined my technique and got better. The trick is to chew up-and-down but *never* side-to-side! Doing it the wrong way can result in permanent joint damage. If you catch yourself doing weird jaw stuff, or rolling the gum between your teeth, immediately spit it out. Poor form is a sign that your muscles are getting tired. Remember to periodically take breaks from chewing and flatten the gum into a pancake shape on the roof of your mouth. By the end of three months you will see visible results. I recommend sugar free Falim gum, original or fruit flavored.

* Lifting has been an on and off hobby at various points in my life. At times, I have pursued it seriously. The program I'm currently doing is a variation on Zyzz's personal workout routine mixed with a few posts taken from 4chan's /fit/ board. Remember: half of all bro science is true. But you never know which half.

* Raw Onion Juice is a meme that has circulated on /fit/ for a few years. I mostly assumed it was a prank played on new posters who were unfamiliar with the customs of the community. As the legend goes: drinking raw onion juice will increase testosterone levels and result in bigger gains at the gym. Supposedly this has been proven to work on rats. On /fit/, new posters relay stories of violent stomach cramps and projectile vomiting onion smoothies. But these are impossible to confirm as actual experience or merely in-group collaborative fiction. I had to know for sure.

I chopped and blended two full onions: 1 white and 1 red. I drained this mixture through a coffee filter to separate the vegetable fiber from the pale pink liquid. During this time, my eyes were stinging extremely badly and it was difficult to pour accurately because I could not open them fully to see where the cup was. Spilling this mixture will fill the room with a powerful onion smell that is very hard to get rid of for days.

It didn't taste good but it was not nearly as bad as I imagined. Lots of stomach pain, burps and hypersalivation (as if I was going to puke!) but this subsided after a few minutes. Afterwards, drink as much water as you can and eat some bread. Also, brush your teeth because this will be the worst breath you have ever had in your life (you will be able to smell yourself exhale, breathe through your nose as much as possible). For 48 hours after ingesting you will have noticeable body odor as the onion juice is excreted through your pores. Plan your IRL meetings in advance. You can't wash off the smell because it's coming from inside you.
Raw Onion Juice (yes, I took a video...)
* Phthalates are toxic chemicals that are everywhere. Right now, it's already in your blood and in your pee. Avoid drinking from flexible plastic containers. Basically, don't touch plastic at all. I switched to fragrance free Simple soap. Soda cans are okay but most other canned goods have a thin plastic lining on the inside which must be avoided.

From here on, it gets harder. I remain in a constant state of anxiety trying to manage my consumption while avoiding toxicants. I buy fresh produce and when possible I bring my own cloth bag to the store-- the real worry is long term storage in plastic (especially for high fat foods, those are the most absorbent). Any cheese in a plastic container is leeching up tons of xenohormones. I now use glass and/or stainless steel containers for food & drinks.

* Xenoestrogens are an umbrella category for endocrine disrupting chemicals that mimic estrogen in the body. To avoid these I had to cut out all seed oils; soybean, canola, sunflower, sesame, etc. This is tough because seed oils are used in all sorts of products from bread to chocolate. If you're insane enough to eat out, avoid ordering fried foods because these will usually be cooked in canola oil (because it's cheap). Absolutely no alt-milks of any kind, they all have hydrogenated seed oils. Also, no cow's milk: it has recombinant bovine growth hormone (rBHG). No beer: hops are full of phytoestrogens.

Honestly, you're going to have to pre-plan most of your meals. This is much easier if you work from home. This summer, I've basically survived on eggs, meat and vegetables. On the positive side, I feel great! I have sustained energy throughout the day and my mind feels sharp. If you can manage your consumption this will really improve your life. These rules are extremely tough and you're going to slip up once in a while-- but you're also going to feel so good that you won't want to cheat on the diet.

MOST IMPORTANT -- if you take one piece of advice from this whole experiment-- do not touch receipts!!!!!!!!!! Ever. Do not let anyone hand it to you and definitely do not let the clerk put it in the bag with your food! As I pack up my groceries at the store, I am sure to make eye contact with the cashier and say "Thank you, I don't need the receipt." As an extra level of safety-- I attempt to walk away before it finishes printing.

I distinctly remember this one interaction: I was standing in the kitchen with my father as he recounted an exchange he had in the grocery store that afternoon, all the while holding a receipt in his hand. I felt overwhelming anxiety and began to slowly back away as if he were wielding a weapon. Even looking at a receipt now fills me with existential dread.

Seriously, thermal paper is the single most toxic thing you can come into contact with. It is literally covered in BPA or BPS and these chemicals are immediately absorbed through the skin. Remember, xenoestrogens are not "real" hormones. This stuff does not belong in the human body. It is poison. Be safe.

* Seed Retention is the holy grail of internet bro science. While one is tempted to assume this is purely a myth spread by pornography addicted internet lurkers, the science does seem to show a positive correlation between abstinence and testosterone levels (for at least the first week). However, as I soon learned, this is not a test of your body but of your soul.

To be clear, during no fap: ejaculation is permissible so long as it is not self-induced. But seed retention is the total preservation of your vital essence. Not one drop, under any circumstances.

There were many moments where this was extremely challenging. Cutting out porn was no problem-- for all my other internet weirdo habits, I've never had an issue with that. The trouble really begins around week 2 or 3, where interrupting thoughts will randomly pop into your head throughout the day. Thinking about not thinking about it is part of the problem. The most effective way of managing your mind is to physically shock the body. Immediately drink a tall glass of ice water. The cold sensation will force you to refocus your thoughts. Repeat as needed. After two glasses, a cold shower is the ultimate fail-safe. This is punishing but necessary. Weak men create hard times.

By week 6 or 7, you will feel like a completely new person with boundless energy and focus. Your mind will become sharper. Remember: you will not have gone this long without doing it, since you started doing it. You may not yet know your true potential. The hedonic treadmill is its own trap: an unending cycle of appetites that leaves you stuck in the same place. By stepping off, you are becoming free to truly move in the real world. Time will open up in new ways. This is a mental, physical and spiritual test that will change you.

I'm writing this part several days after August 31st and I'm still going. I think I might just live like this from now on.

* InfoWars: Super Male Vitality is a testosterone boosting supplement sold by the infamous alt-media conspiracy godfather Alex Jones. It contains a mixture of various supplements including: ashwagandha, maca root and tribulus terristris which has been shown to increase libido in rats. Super Male Vitality arrives as a liquid filled vial and is administered by dropper: two in the morning and one in the afternoon. The first shipment broke in the mail and I absorbed many weeks worth of doses through my skin while opening the package. It was euphoric.

This stuff will seriously fuck you up and I strongly recommend not doing it. The morning dose was extremely energizing. This isn't taking a multivitamin, it's getting high.

While I was able to maintain rigid discipline and commitment with every other challenge, I only made it two weeks on Super Male Vitality. Towards the end I found myself muttering out loud as I walked down the sidewalk while pumping my fists (after having spent over an hour at the gym). At the time I remember thinking-- if I can tell I probably look crazy to other people, my awareness of this fact must mean that I am still mostly in touch with reality.

The following day, I had a rage fueled outburst when someone linked a Bell Hooks PDF in the Discord. (That might have happened anyway.) I think I would have been able to ride this out if I slowly eased into these changes but doing them all at once while drenched in InfoWars juice pushed me past a hard limit. I stopped after the first two weeks. I've had a few hits recreationally since then.

Taking Super Male Vitality resulted in increased gains at the gym. The physical effects are great but the mental cost is too high. I think I have a new patch of hair on my back. My beard is fuller. And I've noticed a slight increase in overall body hair.

* Sunning your balls is definitely a made up meme designed to trick gullible internet weirdos into exposing themselves in public. My friend David told me that the best technique was to sun for 5 minutes daily to maximize virility. And that I should be careful to not overheat myself as doing so would reduce my sperm count. Midday is the ideal time for sunning because those hours have a broader spectrum of daylight, including UVB which increases vitamin D production. Pro-tip: you want to get direct and unmediated solar energy-- open up the windows so the glass doesn't absorb any vital rays.

Five minutes of direct sunlight caused a moderate amount of discomfort and a general feeling of tightness that remained throughout the day. I didn't do it again.
Lessons learned:
This has been a miserable but enlightening summer. I've been thinking about doing a project like this for years. I'm glad it's finally done.

First major takeaway-- You're not going to be able to manage your consumption thiscarefully. No one can. Living like this is akin to a religious or military type of discipline without any external support. You're going to screw up. A lot. But this is actually the point-- more than the bodily transformation, the constant anxiety is the experience. Living in a state of vigilant paranoia is more potent than any xenohormone. I'm terrorized in the grocery store. I'm gang stalked by chemicals. The feeling never shuts off because it's never safe. This stuff is literally in the water.

For me, this project was not about a simple before-and-after photo (gym selfie) or measuring a numerical increase in my T levels. Instead, I wanted to experience a material and spiritual transformation to learn if my worldview might be rooted in something of which I was previously unaware. After 90 days, my health has greatly improved. I no longer suffer from frequent headaches. My energy is constant and sustained throughout the day. I feel mentally sharper and more assertive. But I don't feel as if my political leanings have changed. If anything I became more enthusiastic about data and planning. Its almost like fitness and policy are two separate things :thinking:

We're already in a modern world where chemicals reshape our bodies. There is no possibility to exit and no viable path back to a "natural" equilibrium. The only clear position is to acknowledge this reality, to grasp this process and to steer it towards a future of our own intentional design.

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Online conservatives claim that left-wing politics are the result of feminization caused by consuming everything from soy milk to tap water. And while there are endocrine disrupting chemicals in seemingly everything --a fact that should set off alarm bells for the left, right and center-- this feels like a mostly insufficient explanation.

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...ist, weil diese Institution wieder gesellschaftsrelevanter sein sollte.

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Langt dann auch wieder mit dem Ausflug #artmuseum #art #fyp #funny #museumtok #creatorsfordiversity by @gazelleisherxname 💛

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@zkmkarlsruhe
Langt dann auch wieder mit dem Ausflug #artmuseum #art #fyp #funny #museumtok #creatorsfordiversity by @gazelleisherxname 💛
♬ Originalton - zkmkarlsruhe

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...begann mit der Arbeit als Kunstvermittler*in.

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Welcher Typ seid ihr? 🧑🏼‍🎨 #artmuseum #funny #ausstellung #zkm #creatorsfordiversity #arttiktok #fyp

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@zkmkarlsruhe
Welcher Typ seid ihr? 🧑🏼‍🎨 #artmuseum #funny #ausstellung #zkm #creatorsfordiversity #arttiktok #fyp
♬ Originalton - zkmkarlsruhe

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more women⚡️🖼 #art #artmuseum #womeninart #zkm #karlsruhe #girls #artexhibition #museum #creatorsfordiversity

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@zkmkarlsruhe
more women⚡️🖼 #art #artmuseum #womeninart #zkm #karlsruhe #girls #artexhibition #museum #creatorsfordiversity
♬ original sound - edits

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Which #dog is your favourite? Woof, woof! 🐕#rijksmuseum #amsterdam #cute

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@rijksmuseum
Which #dog is your favourite? Woof, woof! 🐕#rijksmuseum #amsterdam #cute
♬ Bubble Doggy - Official Sound Studio

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Feeling 🍑 #statueofdavid #museum #vamuseum #london

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@vamuseum
Feeling 🍑 #statueofdavid #museum #vamuseum #london
♬ original sound - PARIS LAWRENCE

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Museen sollten sich mit Medien und Plattformen beschäftigen.

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Museen sollten sich mit Medien und Plattformen beschäftigen.

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Hi🧚🏻 follow for the daily life and work in an art museum #arttok #austellung #digitalart #karlsruhe #zkm #aufderarbeit

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@zkmkarlsruhe
Hi🧚🏻 follow for the daily life and work in an art museum #arttok #austellung #digitalart #karlsruhe #zkm #aufderarbeit
♬ stream beaux on spotify - beaux

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ZKM - was ich dachte was Museen auf tiktok machen

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ZKM - was ich dachte was Museen auf tiktok machen

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We have an office dog and we wanted to show you 🤎 #dogsofttiktok #doglover #dog #aufderarbeit #doglife #artmuseum #creatorsfordiversity

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@zkmkarlsruhe
We have an office dog and we wanted to show you 🤎 #dogsofttiktok #doglover #dog #aufderarbeit #doglife #artmuseum #creatorsfordiversity
♬ original sound - Milo

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Diese Woche ist Trans Awarness Week❣️Mach das Quiz mit @gazelleisherxname💗#transawarnessweek #transgender #nonbinary #queereducation #lgbtq #fyp

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@zkmkarlsruhe
Diese Woche ist Trans Awarness Week❣️Mach das Quiz mit @gazelleisherxname💗#transawarnessweek #transgender #nonbinary #queereducation #lgbtq #fyp
♬ Originalton - zkmkarlsruhe

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now my eyes hurt but 2G it is 💚💉 #covid #covid19 #pandemic #coronavirus #vaccine #work #homeoffice [Stand 24.11.21]

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@zkmkarlsruhe
now my eyes hurt but 2G it is 💚💉 #covid #covid19 #pandemic #coronavirus #vaccine #work #homeoffice [Stand 24.11.21]
♬ Somebody That I Used To Know - ellie

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Museen sollten die Vielfalt unserer Gesellschaft widerspiegeln.

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Museen sollten die Vielfalt unserer Gesellschaft widerspiegeln.

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...und das nicht nur im "pridemonth".

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Happy Pride! We rolled out the rainbow carpet in our exhibition for you! #pridewk @electra_pain ❤️🧡💛💚💙💜🖤🤎🤍

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@schirnkunsthalle
Happy Pride! We rolled out the rainbow carpet in our exhibition for you! #pridewk @electra_pain ❤️🧡💛💚💙💜🖤🤎🤍
♬ Originalton - Schirn Kunsthalle Frankfurt

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Aufgrund der aktuellen Lage der Corona-Pandemie bleiben die Staatlichen Kunstsammlungen Dresden leider auf weiteres geschlossen. Deshalb sagen wir: „Impfen schützt auch die Kultur!“ #creatorsfordiversity #fyp #viral #corona #art #solidarity #gemeinsamgegencorona

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@skd.museum
Aufgrund der aktuellen Lage der Corona-Pandemie bleiben die Staatlichen Kunstsammlungen Dresden leider auf weiteres geschlossen. Deshalb sagen wir: „Impfen schützt auch die Kultur!“ #creatorsfordiversity #fyp #viral #corona #art #solidarity #gemeinsamgegencorona
♬ Monster kill - Official Sound Studio

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Käte Hamburger Kolleg für Apokalyptische und Postapokalyptische Studien - Universität Heidelberg

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Speed up your creative process. Collaborative online walls that help you organize your ideas. Get your thoughts down fast and gather all your insights in one place.

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Ich finde total spannend, dass bisher in allen Beiträgen und angesichts all des versammelten Materials so ein „Kippmoment“ stattfindet - vor allem auch jetzt gerade mit den „leiseren“ rechten Influencerinnen. Gibt es andere Ansätze als das „Uncanny Valley“ um dieses Phänomen zu beschreiben?

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Ich finde total spannend, dass bisher in allen Beiträgen und angesichts all des versammelten Materials so ein „Kippmoment“ stattfindet - vor allem auch jetzt gerade mit den „leiseren“ rechten Influencerinnen. Gibt es andere Ansätze als das „Uncanny Valley“ um dieses Phänomen zu beschreiben?

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Die Publikation setzt sich mit Rechtspopulismen auseinander, die heute insbesondere das Internet und die Sozialen Medien zur Verbreitung nutzen. Dabei zeichnet das Buch die Entwicklung von einer (Sub-)Kultur der Transgression in Online-Foren wie 4chan bis hin zu Plattformen wie z. B. Breitbart News nach.

Die vorgestellten Künstler und Künstlerinnen beschäftigen sich mit Memes (z. B. Pepe der Frosch, dem wohl bekanntesten Symbol der Trump-Anhänger), mit Figuren wie Steve Bannon, mit Flaggenverehrung, der Prepper-Szene, White Supremacists und Dark Enlightenment.

Neben einer umfassenden Einführung in das Thema enthält der Katalog ein Interview mit der Wissenschaftsautorin Angela Nagle, Werkbeschreibungen aller Arbeiten, ein kritisches Glossar sowie ein Link-Verzeichnis zu weiterführenden Online-Ressourcen.

Künstler/Künstlerinnen: Paula Bulling/Anne König (DE), Simon Denny (NZ), DISNOVATION.ORG (FR/PL), Vera Drebusch & Florian Egermann (DE), Dominic Gagnon (CA), Szabolcs KissPál (HU), Boris Ondreička (SK), Milo Rau, IIPM - International Institute of Political Murder (CH/DE), Vanja Smiljanić (RS), Jonas Staal (NL), Nick Thurston (GB), UBERMORGEN (CH/AT)

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der alt-right-komplex - über rechtspopulismus im netz: hmkv ausstellungsmagazin 2019/1

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Der Alt-Right-Komplex - Über Rechtspopulismus im Netz - HMKV Ausstellungsmagazin 2019/1 | Herausgegeben von: Inke Arns, HMKV (Hartware MedienKunstVerein) | Mit Text von: Inke Arns, Paula Bulling, Vera Drebusch, Florian Egermann, Judith Funke, Jens Kabisch, Anne König, Vanja Smiljanic, Jonas Staal, Nick Thurston, Bernhard Pirkl, Tijan Sila | ISBN 978-3-86206-840-1 | Erschienen 2020 im Verlag Kettler, Dortmund

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What begins as a casual engagement with funny memes can rapidly metastasize. The most common path for this particular group seems to arrive at something called Cyber-nihilism, a blend of Landian techno-pessimism, Primitivist anxiety and Transhumanist detachment. Enough time spent in this space culminates in a type of ideological Stockholm syndrome. Many of these ideas already exist on a continuum tilted towards nihilism; joining a doom cult is not too far a leap.
This item is publicly available as part of the Library Stack Public Branch at NN Contemporary Art.

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What begins as a casual engagement with funny memes can rapidly metastasize. The most common path for this particular group seems to arrive at something called Cyber-nihilism, a blend of Landian techno-pessimism, Primitivist anxiety and Transhumanist detachment. Enough time spent in this space culminates in a type of ideological Stockholm syndrome.

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Laia Abril | Thinspiration Mosaic | 2013 17.09. - 27.11.2016 | Fotomuseum Winterthur

, Inkjet-Print, 2013 © Laia Abril[/imagecaption][/image]

ist eine Serie von Porträts junger, magersüchtiger Mädchen, die der Pro-Ana Szene angehören. Pro-Ana Gruppen sind Online-Communitys, welche die Anorexie zum Lebensstil erklären und Essstörungen propagieren, indem sie den ausgemergelten weiblichen Körper glorifizieren. Laia Abril hat Amateur-Selbstporträts, die Tausende von Pro Ana-Anhängerinnen auf Blogs und Webseiten teilen, fotografisch festgehalten und damit die visuelle Sprache dieser Szene eingefangen. Im Akt des Abfotografierens verwandelt die Künstlerin die Körper der Mädchen in eine abstrakte Landschaft von Zwang und Zerstörung. Jeglicher Individualität beraubt, werden sie zu einem schockierenden Zeugnis unserer von Kontrolle und Selbstoptimierung besessenen Gesellschaft. Als Teil einer grösseren thematischen Untersuchung wirft

Fragen über die Auswirkungen von ästhetischen und sozialen Standards auf, die durch medial vermittelte Bilder verbreitet und bekräftigt werden. Das Projekt enthüllt die komplexe Ökonomie der Bilder, die unsere Vorstellungen von Schönheit und unser Verständnis von Geschlecht prägen, und hinterfragt die Rolle, welche die Fotografie und ihre Verbreitung in sozialen Netzwerken dabei spielt. Mehr von Laia Abril:

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Laia Abril | Thinspiration Mosaic | 2013 17.09. - 27.11.2016 | Fotomuseum Winterthur , Inkjet-Print, 2013 © Laia Abril[/imagecaption][/image] ist eine Serie von Porträts junger, magersüchtiger Mädchen, die der Pro-Ana Szene angehören. Pro-Ana Gruppen sind Online-Communitys, welche die Anorexie zum Lebensstil erklären und Essstörungen propagieren, indem sie den ausgemergelten weiblichen Körper glorifizieren.

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Artfacts brings transparency to the art world. Artfacts helps collectors make better purchase decisions and artists understand their position in the art world.

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Stream geDANKen_Nicole Kreckel by Nicole K on desktop and mobile. Play over 265 million tracks for free on SoundCloud.

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Gunkel, Katja – CUTE 1 Squeezing Animals

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Welches Vorwissen brauchen wir um bestimmte Themen zu vermitteln? Vielleicht genauer: wie können wir mehrfach anwendbare Bildanalyse-Tools schleifen?

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cruel relieves - cute (stress) relievers hihi

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cruel relieves - cute (stress) relievers hihi

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Sophie Lingg & Helena Schmidt. COMING BACK FROM IBIZA. 

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Sophie Lingg & Helena Schmidt. COMING BACK FROM IBIZA. 

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Der Instagram-Account Ibiza Austrian Memes als Case-Study für intersektionalen Meme-Aktivismus und (Kunst-)Vermittlung. Sophie Lingg und Helena Schmidt beschreiben in ihrem gemeinsamen Vortrag Memes als Vermittlungstools, Meme-Accounts als aktivistische, intersektionale, künstlerische Vermittlungsprojekte, Memes als Form der politischen Bildung und letztlich deren Bedeutung für die Schule. Dabei basieren sie ihre Überlegungen auf dem österreichischen Memeaccount @ibiza_austrian_memes (https://sfkp.ch/artikel/coming-back-from-ibiza).

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Christina Vollmert & Helene Heuser. LIFE IS NOT A NIGHTMARE. 

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Christina Vollmert & Helene Heuser. LIFE IS NOT A NIGHTMARE. 

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Affirmationen wollen die Praxis des positiven Denkens fördern, indem mit inspirierenden Statements auf grafisch ruhigen Hintergründen eine bejahende Lebenseinstellung beschworen wird. Affirmation-Memes kehren diese Glaubenssätze ins Ironische um: Mit überspitzten Botschaften in Kombination mit Y2K-Visuals und Neon-Fonts parodieren Instagram-Channels wie @afffirmations die ursprünglich zu Zwecken der Selbstoptimierung angelegten Texte und Grafiken. In unserer Exploration wollen wir den Ursprüngen und der Popularität dieses Meme-Genres auf die Spur kommen, über dessen Anatomie und Ästhetik sowie seine Zirkulation in spezifischen Communities sprechen und dessen Relationen zu Zeitgeist und Themenbereichen wie psychischer Gesundheit, Produktivität & Achtsamkeit und Esoterik erforschen.

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Kunstpädagogische Blickwechsel für TikTok-Nobiews & Newbies. Über ikonosiv (prä)apokalyptische Erkenntnisstrategien im Mikroformat. Nähern wir uns netzkulturellen Phänomenen wie TikTok auf der Bildebene, so bildet dieser mediale Schnitt einen spezifischen Zugang zu den heterogenen medialen Konstellationen des TikTok-Contents. Ein kunstpädagogischer Anschluss kann in der Betrachtung ikonosiver Strategien als Verhandlungen sowie Bildungen gegenwärtiger Themen und Phänomene durch Bilder liegen. Der Beitrag widmet sich Bildhandeln aus der Perspektive von Nicht- und Neu-TikToker*innen und fragt danach, wie Gäst*innen TikTok erfahren und welche Überlegungen und Gedanken daraus entstehen.

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Dings, wenn Memes als Übersetzungsstrategie eingesetzt werden und hier dann alles plötzlich spaßig, verdaulich und locker sein kann.

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Superschool’s ‘Gesichtsbuch’ sieht sich als Teil eines Diskurses um die Möglichkeiten künstlerischer Forschung (‘artistic research’) und erprobt Schnittstellen von Wissenschaften und Künsten. Superschool verzichtet bewusst auf eine Festlegung auf bestimmte gesellschaftspolitische Inhalte, sondern besetzt die Zwischenräume von Protagonist*innen, Medien und Empfänger*innen. In der Performance “Gesichtsbuch” wird die digitalisierte Welt des Internet mit dem Besuch eines akademischen Vortrags kombiniert und in eine analoge Bühnenform übertragen. Superschool zweifelt das Ergebnis nicht an. Es ist entweder das interessante Resultat eines kollektiven Findungsprozesses oder die Fantasterei eines Einzelnen. Beide Lösungen sind willkommen, zeigen sie doch die Möglichkeiten und Unzulänglichkeiten von sogenannter demokratischer Wissensherstellung.

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Der Beitrag wird in theoretischer Perspektive der »Mikroformate« (Moormann et al 2021) am Beispiel des Meme »Pepperspray Cop« (2011) der Frage nachgehen, ob und wenn ja welches kritische Potential man solchen Memes zuschreiben kann.

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Nicole Kreckel. Populistische Bilder lesen? 

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Nicole Kreckel. Populistische Bilder lesen? 

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Populistische Bilder lesen? Rechtsextreme Influencerinnen auf Instagram. Populistische Bildstrategien die eine "Heile Welt" präsentieren, begegnen User*innen auf vielen Instagram-Profilen. Aber welche methodischen, künstlerischen oder interdisziplinären Herangehensweisen ermöglichen eine Bilddekodierung? Welche Werkzeuge können wir als Blaupausen formulieren? ...und welche Rolle spielt Weiblichkeit in diesem Zusammenhang?

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Ein Streifzug durch digitale Ökosysteme. Zwischen Entsetzen, Belustigung und Irritation bewegen wir uns gemeinsam durch die Sammlung bedeutungsgeladener, ästhetischer Ausdrucksformen digitaler Kulturen. Die Sammlung befindet sich dabei im Spannungsfeld einer unvermeidlichen Beliebigkeit digitaler Bildauswahlen und einem Fokus unserer (vermeintlich) deterministisch wirkenden Filterblasen. Ganz im Zeichen der Ambivalenz folgt ein kleiner Abstecher in die Welt der (O)possum-Memes.

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Sophie Gruber. „1 like = 4 hours fasting“.

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Sophie Gruber. „1 like = 4 hours fasting“.

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In den Sozialen Medien vernetzen sich abseitige Communities, die die im realen Raum gültigen Tabus brechen und ein verstecktes Dasein führen - denn von den Betreiber*innen der Plattformen, aber auch vom Jugendschutz werden sie als gefährlich eingestuft. Das trifft zum Beispiel auf die Pro Ana Community zu, eine Online-Gemeinschaft von Nutzer*innen, die sich gegen die Pathologisierung ihres Verhaltens auflehnt und sich gegenseitig dabei unterstützen möchte, mit einer Essstörung zu leben. In diesem Worklab wird aufgezeigt und diskutiert, welche Bild- und Memewelten diese kontroverse Community hervorbringt.

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Katja Gunkel. #cute oder how to HUG someone through the internet. 

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Katja Gunkel. #cute oder how to HUG someone through the internet. 

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Mit cuteness widmet sich der Vortrag nicht nur einem integralen Bestandteil digitaler Bildkulturen, sondern zugleich einer Schlüsselästhetik der Gegenwart. Stets auf einer komplexen affektiven Gemengelage basierend, ist das ästhetische Urteil cute für ambivalente Erfahrungen prädestiniert. Niedliches versteht sich dabei nicht bloß als eine ästhetische Entgegnung auf das (vermeintlich) Kleine und Schwache, als Sehnsuchtsfigur des (vorgeblich) Nahbaren, Verständlichen und Behaglichen tritt es inflationär in Entfremdungssituationen wie Krisenzeiten auf den Plan. Mechanismen und Wirksamkeit der Kippfigur des Niedlichen, jener bereits in sich vergifteten happy pill, gehen wir u.a. anhand von Memen nach und befragen sie auf ihr kritisches Potential.

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The era of nonsense. Weirdness, absurdism and surrealism in Internet memes. Favoring drift, serendipity, and the free association of images, texts and sounds, the Internet has multiplied our opportunities to encounter - and generate - weirdness and nonsense. By opposing the category of “common sense”, nonsense can acquire a disruptive value and become a form of resistance to an homologating culture, as well as a creative way to exorcise the contradictions of our time. In an era characterized by a profoundly unstable socio-political framework, and a sense of impending doom, the response - especially among young Western people - takes the form of a Dadaist attitude that manifests itself in a spontaneous way, just as a conditioned reflex.

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https://www.washingtonpost.com/technology/2021/09/25/chloe-side-eye-meme-nft-sale/

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In 2013, Chloe Clem's expression, a side-eyed glance after learning she and her sister were taking a trip to Disneyland, quickly became an Internet sensation. Eight years later, an NFT of the meme has sold for more than $74,000 worth of cryptocurrency. (Courtesy of Katie Clem)

Chloe Clem did not intend to be an Internet sensation. She didn't know her facial expression would resonate with fans for years to come. And she certainly didn't know it would make her family more than $74,000.

It started when Katie Clem decided to record a video telling her daughters the family wasn't driving to school that day - they were headed to Disneyland instead. In the clip, which has been viewed more than 20 million times in the eight years since it was posted, Lily Clem breaks down in tears of excitement and disbelief. Her little sister Chloe, who was 2 at the time, does not seem to share her enthusiasm.

The look Chloe gives the camera made Internet-users around the world say "same."

It's an expression that is disapproving, sassy and a bit concerned. Overall unimpressed. A still of her side-eyed glance became a quintessential reaction meme. There's a Wikipedia entry for Side Eyeing Chloe. You can buy shirts and stickers featuring her likeness.

Eight years later, a non-fungible token (NFT) of the meme was sold Fridayto 3F Music, a music production company based in Dubai, for 25 Ether - the cryptocurrency of the Ethereum network - which was worth more than $74,000 around the time of the sale.

What is an NFT, and how did an artist called Beeple sell one for $69 million at Christie's?

Many other memes have fetched even more for their NFTs. Overly Attached Girlfriend - a woman smiling into the camera, eyes wide - made $411,000. The NFT of a young girl who seems to make eye contact with you as a house burns behind her, Disaster Girl, sold for $500,000. And none of those numbers compares to Doge, a meme of a Shiba Inu, which went for $4 million in June.

3F has bought several high-ticket NFTs, including Overly Attached Girlfriend, Disaster Girl, and an NFT of an image of a New York Times column about NFTs. The company did not respond to The Washington Post's request for comment.

NFTs generally represent specific versions of digital files, though an NFT could also be assigned to an object, said Rebecca Tushnet, a professor of intellectual property law at Harvard Law School.

"It is a way of saying, 'I have a unique instance of a thing that is in fact infinitely replicable,'" she said. "It is basically artificially created uniqueness."

Dr. Merav Ozair, a blockchain expert and professor of financial technology at Rutgers University, said NFTs are a way to show someone is the owner of an authentic version of a digital file like a meme.

"You go to the museum and see the Mona Lisa, but only the museum owns it," she said. "Only they have the original. And they have documents in their offices which can prove that this is really the original."

Museum-goers can take a photo of the Mona Lisa and print it out at home, but that doesn't make them the owner. It's the same with NFTs. Anyone can share a photo or meme, but whoever has its NFT knows they have the original.

Amid the cryptocurrency boom, the NFT business is flourishing. In March, an NFT of a digital art piece went for $69.3 million - the third-highest price ever paid for a work of art.

The NFT market is dramatically lopsided, Tushnet explained, so countless NFTs also go for little or nothing. NFTs are not inherently valuable. They do not mean you own the copyright to a work. But they can fetch large sums.

"If you can convince everyone else to pay for it, then it has value," Tushnet explained. "If you can't, then it doesn't."

Ozair said collecting NFTs is like collecting anything else. People might do it because they expect the item to increase in value, or they might just enjoy collecting.

Tushnet said the market has benefited from the boredom so many have felt during the covid-19 pandemic.

"This is something that you can have fun with at home and feel like something exciting is happening," she said.

Charlie's last bite: Viral video will leave YouTube after fetching $760,999 in NFT auction

Katie Clemsaid she first heard about NFTs of memes selling after the Disaster Girl auction. She and her husband decided they should look into it and spent a few months learning about NFTs before their own auction day.

The NFT of Chloe's meme sold on her older sister Lily's 16th birthday.

"It was a great, great day," Katie Clem said. "It's been a really fun thing as our family to do. It's actually brought us a lot closer over the last few weeks of just trying to figure out everything."

Chloe, now 10, might not understand what an NFT is, but she's been dreaming up ideas of what she wants to do with her earnings. A horse is on the list, her mom said, and a pair of AirPods. The Clem family plans to keep the cryptocurrency for now to see what happens with the market and then put most of the funds in savings.

Most importantly, Katie Clemsaid some of the money will go toward a trip to Walt Disney World.

"I've never been there before, so it'll be my first time so we can go on like all of the rides," Chloe said.

Her favorite Disney movie is "Luca," but she's also excited to see the princesses at the park.

Katie Clemsaid the family is thrilled the auction went well.

"And like with any big event that happens in our family, tomorrow is still Monday. She goes back to school, and we go back to our normal life," she said, laughing.

Crypto artists have been building a rebellious, underground community of outsiders for years. Now they're making a living selling NFTs.

Monumental Sports partners with local artists on Capitals and Wizards NFT collections

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Finally impressed? NFT of side-eyeing toddler meme fetches over $74,000 in cryptocurrency.

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Chloe Clem did not intend to be an Internet sensation. She didn't know her facial expression would resonate with fans for years to come. And she certainly didn't know it would make her family more than $74,000.

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https://brutalsouth.substack.com/p/5-theses-about-possum-memes

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View this post on Instagram

A post shared by sylvie! 💒🐀 (@69possums420)

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View this post on Instagram

A post shared by Global Self Hypnosis (@afffirmations)

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ack in August of 2010, we had the opportunity to talk with artist Matt Furie, creator of the comic Boy's Club which also happens to be the original source material of Feels Good Man catchphrase. Now with our new, shiny KYM Blog up and running, here's the full transcript of Q&A session with Matt.

Interview
Q: I wanna know first, what happened with your MySpace page?
A: Oh, I committed MySpace suicide. MySpace-icide. I did it for Facebook too.
Q: Ah, we were looking up dates for when you originally put up the comics. Do you remember roughly when?
A: I would say late 2005, maybe? Because my actual book was printed in 2006.
Q: What was the whole idea of the comic anyway, where did it come from?
A: I guess my cousin Dave. When we were kids we went to elementary school together, we'd go into the public restroom and he would pull his pants all the way down to go pee and I thought it was hilarious that he did it in public but you know, we were little kids. So then I just thought I'd be funny. I don't even know what age the comic book characters are but they're anywhere between teenagers and twenty-something I guess. That was the idea.
Q: Also, throughout the entire series there are a lot of bodily fluids, puke and what have you. Any reason behind that or just because?
A: I guess I just always think stuff like that is funny. It's pretty silly.
Q: So have you actually seen shoops of "Feels Good Man" online?
A: I have, a friend of mine sent me a page that had a bunch of them. There was like a dog hanging out the window and says "feels good man," and another had John Goodman and said "feels good man." That was my favorite one I think.
Q: How about the people that actually crop out Pepe's face and use it, how do you feel about people remixing your work?
A: I don't really mind. The one thing that's a little weird is that it's all vectorized and the thing that kinda caught on online. So I got my image that I drew but then somebody took that out and vectorized it and made it something kinda different than mine. My original line drawing, and I was like it doesn't look the greatest but I don't care.

Q: We also did some research on "Deal With It" phenomenon, which is referenced in one of your comics about a fart in the face. We were thinking that your comic may also be the origin of this for the catchphrase.
A: I don't know. "Deal With It" is pretty universal though.
Q: We are still researching it but what was the idea behind that comic?
A: I had a friend who would say that to me. It's just kind of a funny thing to say. Fart, then say "deal with it" because what are you gunna do, just deal with it.
Q: So Boy's Club is in print now, what is in the future for the comic?
A: I try to do an issue a year which in comic book terms isn't very fast. That's my goal, as long as I can do it.
Q: Are we going to see more online or is it purely just in print now?
A: Yeah I guess pure print at this point now that I killed my MySpace. Unless I get motivated to start a blog or something then I'll throw them up there.
Q: Do you consider yourself now a sort of meme creator? Maybe have some influence on the social web?
A: I think it just kinda took a life of its own. I do think it's kind of an interesting phenomenon that that out of anything else in the comic took off. Seems kinda random but I'm happy that it has.
Q: Are we the first ones to approach you about this?
A: No, people have referred to me as the "Feels Good Guy" and they are like "oh, that's the guy who did Feels Good Man!" and I'm like "that's just ONE comic that I did".
Q: And does that make you "Feel Good Man"?
A: It does. Yeah, I'm glad I'm getting some kind of credit.
Q: Finally, do you have any favorite memes?
A: I love Double Rainbow dude, that guy is hilarious. And I really like, they aren't necessarily icons, but I really like the Insane Clown Posse video, the Miracles video. I love that and also the plug for the festival they have. You can't make that shit up, it's too good.

More Information

You can learn more about Matt Furie and his artwork at his website and you can also order prints of the Boy's Club comic zines at Needles & Pens. Interview conducted August 7, 2010 in person by AJ Mazur.

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ack in August of 2010, we had the opportunity to talk with artist Matt Furie, creator of the comic Boy's Club which also happens to be the original source material of Feels Good Man catchphrase. Now with our new, shiny KYM Blog up and running, here's the full transcript of Q&A session with Matt.

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Remember the Great Meme War? | Meme Wars

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See more 'Meme Wars' images on Know Your Meme!

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"Following Trump's victory in the election on November 9th, a 4chan user submitted a post to /pol/ questioning "will there ever be a meme war like this again?" (shown below). That day, a screenshot of the post was submitted to /r/4chan,[3] where it garnered upwards of 2,100 votes (97% upvoted) and 50 comments."  https://knowyourmeme.com/memes/meme-wars

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"Following Trump's victory in the election on November 9th, a 4chan user submitted a post to /pol/ questioning "will there ever be a meme war like this again?" (shown below). That day, a screenshot of the post was submitted to /r/4chan,[3] where it garnered upwards of 2,100 votes (97% upvoted) and 50 comments."  https://knowyourmeme.com/memes/meme-wars

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Spread

On November 6th, 2010, SpacetimeStudios Forums member smoae submitted a thread titled "Meme War," inviting other users to reply with various internet memes. On March 13th, 2011, YouTuber OnlineJon posted a video titled "Meme Wars," featuring live-action footage of young men with "rage comic": characters superimposed over their heads (shown below).

On August 22nd, the news site Blacklisted News published an article titled "DARPA Prepares for Meme War," which reported on social media research projects by the United States government. On September 7th, 2012, a meme war-themed "One Does Not Simply" image macro was submitted to Quickmeme (shown below).

On July 26th, 2014, the hip-hop news site Battle Rap reported that the rappers Dizaster and Organik were battling on Instagram in a "meme war." On August 1st, 2016, Redditor Xerator uploaded a photograph of an elderly man talking to a younger man at a table with the caption reminiscing about "meme wars" (shown below).

"When you're telling your grand kids all bout the meme wars you fought in back in 2014, 2015, and 2016."

2016 United States Presidential Election

The 2016 United States presidential election has been referred to as "The Great Meme War" by supporters of Republican president-elect Donald Trump. On May 3rd, 2016, YouTuber mikesmikey uploaded a video titled "Meme Wars: Dat Boi Awaken," featuring footage from the film Star Wars: The Force Awakens edited with internet meme references and photos of Donald Trump (shown below).

Following Trump's victory in the election on November 9th, a 4chan user submitted a post to /pol/ questioning "will there ever be a meme war like this again?" (shown below). That day, a screenshot of the post was submitted to /r/ 4chan, where it garnered upwards of 2,100 votes (97% upvoted) and 50 comments.

On November 12th, 2016, a page titled "The Great Meme War" was created on Encyclopedia Dramatica. On November 14th, YouTuber Murdoch Murdoch uploaded a video titled "The Great Meme War of 2016, featuring an animation of Pepe the Frog, Feels Guy, feminists and Pokemon engaging in an epic battle (shown below).

On November 15th, Redditor BigStinkTurd posted a Pepperidge Farms Remembers image macro photoshopped with Pepe the Frog titled "Member the Great Meme War" to the /r/The_Donald subreddit (shown below).

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On November 6th, 2010, SpacetimeStudios Forums member smoae submitted a thread titled "Meme War," inviting other users to reply with various internet memes. On March 13th, 2011, YouTuber OnlineJon posted a video titled "Meme Wars," featuring live-action footage of young men with "rage comic": characters superimposed over their heads (shown below).

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How This Frog Meme Became A Symbol Of Hope And Hate

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Memes as Politics: Episode 8: How to Plant a Meme by Joshua Citarella

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My Antifa Lover, year 1 of collapse, Netflix is a biblical plague, email @ usps .gov, notes on my article in The Guardian, Biden depoliticization in 3, 2, 1.., Destiny de-partnered?, memetic inception + tactics, :salute: Andrew Shuta for spotting the Cap Realism quote, deep down we all know Finland is best country.

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The images the Anti-Defamation League considers symbols of hate are often historically fraught: the swastika, the Confederate flag, the Ku Klux Klan's burning cross. Now they have company from a green cartoon frog.

The ADL, a Jewish group that fights anti-Semitism and other forms of hate, just added Pepe the Frog to its database of hate symbols.

Pepe the Frog has been around the internet for years. Just a year ago he was so innocuous that celebrities like Katy Perry could tweet him without fear of backlash. But more recently, Pepe has morphed into something more insidious - a symbol embraced by the white nationalist alt-right, many of whom hang out on the forums where Pepe first originated years ago.

Pepe made the news recently when Donald J. Trump Jr. posted a photoshopped image of "The Deplorables" - featuring his father, Donald Trump, and his surrogates - he meant to mock Hillary Clinton's comments calling Trump's supporters "racist, sexist, homophobic, xenophobic, Islamophobic, you name it."

But the inclusion of Pepe the Frog suggested to many people that Trump was throwing his lot in with exactly the supporters Clinton was criticizing, the online trolls who, among other things, bombard journalists critical of Trump with anti-Semitic frog memes.

"That cartoon frog is more sinister than you might realize," Clinton's campaign wrote, calling him a "symbol associated with white supremacy."

Pepe the Frog, in other words, is a dog whistle for the internet age, when the memes candidates post circulate far more broadly than any speech they ever make. Donald Trump Jr. says he didn't have any idea what the frog meant. But his father, more than any other presidential candidate, has embraced the ethos of the rumor swamps of the internet. The trolls who love him back, in turn, have turned Pepe the Frog into his mascot.

How Pepe the Frog became a symbol of white nationalism

Like so many stories on the internet, this tale begins with 4chan, the vast, anonymous forum that first popularized Pepe and, eight years later, tied him to white nationalism.

The forum - which Vox's Timothy Lee once described as the "Mos Eisley cantina of the internet" - spawned the hacker collective Anonymous and hosted leaked celebrity nude photos. It was one place where Gamergate activists organized. But because 4chan was a message board based around images long before communicating with images on social media was common, it's also been the birthplace for many memes, including LOLCats, Rickrolling, and, yes, Pepe the frog.

Pepe began as a character in , a comic that started on MySpace in 2005 by cartoonist Matt Furie. Boy's Club was filled with stoner humor - Pepe and his three friends, a dog, a bear, and a wolf, are roommates who spend most of their time high - and the panels eventually began to stand on their own as memes. One in particular, a comic from 2008 about Pepe dropping his pants to pee and explaining it by saying, "Feels good man," became ubiquitous on 4chan.

Originally in black and white, Pepe was colored green. Users created smug frogs and sad frogs and angry frogs.

"Pepe, with his face, he's got these large, expressive eyes with puffy eyelids and big rounded lips, I just think that people reinvent him in all these different ways," Furie told the Atlantic's Adam Serwer. "It's kind of a blank slate. It's just out of my control, what people are doing with it."

Eventually, like many endlessly remixable memes, Pepe crossed over to more mainstream corners of the internet. Katy Perry tweeted a Pepe meme to complain about jet lag:

By 2015, Pepe was the most reblogged meme on Tumblr, recognizable in all kinds of lowest-common-denominator jokes:

And even prom invitations:

Then the Pepe trend got weirder with the phenomenon of "rare Pepe s" - images of Pepe that were newer, weirder, and sometimes offensive. The basic idea was that images of Pepe the Frog had become too common. It was a way for the forums where the joke originated to begin to reclaim it:

The "rare Pepes" craze is layered in irony and in-jokes and is basically impenetrable, so we're not going to get into it very deeply here. The main effect was that it revived Pepe on 4chan - and, at times, as part of offensive images - at a time when the site was becoming a hub for Trump support and members of the alt-right.

4chan loves Pepe the frog, Donald Trump, and the "alt-right"

The alt-right movement - a coalition of white supremacists and reactionaries who believe in rejecting democracy - has provided such visible support for Trump that Hillary Clinton devoted an entire speech to it.

The alt-right is a broad movement. It includes paleoconservatives, isolationists who were frequently anti-Semitic and were generally forced out of the conservative movement in the 1990s. Its intellectual underpinnings are from "reactionaries" who argue that democracy is flawed, that black people may well be genetically inferior to whites, and that the present is worse than the past. Those parts of the movement tend to communicate with lengthy essays, not with memes, and they're not necessarily Trump supporters, as Vox's Dylan Matthews reported.

But the alt-right also includes what BuzzFeed's Joseph Bernstein dubbed the "chanterculture," which, he wrote, "combines age-old racist and sexist rhetoric with bleeding-edge meme culture and technology," mixing opposition to growing racial and gender equality with irony so heavy that it can be hard to tell if they're really serious. Milo Yiannopoulos, the right-wing provocateur and Gamergate supporter, is the most prominent member of this branch of the alt-right.

The politics forum on 4chan, /Pol/, is ground zero for this rhetoric. Perhaps unsurprisingly, /pol/ is also aflame with support for Donald Trump. "It was how much asshurt he causes to others," one 4chan poster wrote in a post preserved on Reddit:

The schadenfreude is so funny that it digs a hole in you, and soon you can't stop laughing - and then, because you've been laughing with him for a while, he begins to grow on you, and you hear what he actually says, and suddenly, because you are predisposed to like him because you're both laughing at Jeb Bush, you find yourself supporting him, even if technically your political ideas don't align perfectly with his.

4chan loves remixing Pepe, and also Donald Trump. So the next step was inevitable: an image of Donald Trump as Pepe. Then in October 2015, Trump himself retweeted the image, along with a parody video compilation called "Can't Stump the Trump" made by Donald Trump fans on 4chan:

At the time, this got almost no attention. Trump was still one of 17 contenders for the Republican nomination, and Pepe was still the most popular meme on Tumblr, not an avatar of the alt-right. A few publications used Trump's tweet as an entry point to writing about his popularity on 4chan: "Trump's affiliation with the site might end up hurting the candidate given that racism is virulent on the message board," Vocativ noted, but continued: "It could also help him: Twitter users responded to Trump's initial twitter post with additional memes offering encouragement."

Trump fans, though, kept tweeting and posting about Pepe. When Politico's Ben White asked about Pepe in May, he got a barrage of Pepe memes in response, many of them very Trumpy:

The Daily Beast's Olivia Nuzzi interviewed two anonymous online white supremacists and alt-right movement members who said this kind of collective response was a "campaign to reclaim Pepe from normies." By summer, there were plenty of "normies" out there - political journalists, for example - who weren't hanging out on 4chan in 2008 or reblogging memes on Tumblr in 2015, and whose first exposure to Pepe was as a symbol used primarily by white supremacists and alt-right Trump supporters.

That's left people more familiar with the meme's context scrambling to explain the nuance. "Pepe the Frog is not a Nazi, no matter what the alt-right says," read a headline at the Daily Dot: "He's not a white supremacist, and he's not a Trump voter. Hell, he's not even real. He is only what we make him, and in this election, the alt-right is trying to make him theirs."

Does a Pepe meme mean you're a white supremacist?

Trump himself hasn't addressed the Pepe controversy. His son Donald Jr. said on Good Morning America: "I've never even heard of Pepe the Frog. I mean, bet you 90 percent of your viewers have never heard of Pepe the Frog. ... I thought it was a frog in a wig. I thought it was funny."

But the "Deplorables" meme wasn't the only time recently that Donald Trump Jr. has seemed to nod to white supremacists. He referenced "warming up the gas chamber" in a recent interview (later saying he was talking about "corporal punishment"), he retweeted a white supremacist, and he appeared on a radio show with a white supremacist who has praised slavery. His tweet comparing Syrian refugees to Skittles was widely criticized but backed by the campaign.

There's a case to be made that thinking this deeply about Pepe memes plays directly into the trolls' hands: What trolls, whether Gamergaters, Trump supporters, or both, want is to get a rise out of the audience, and to get attention. With Pepe, they've likely succeeded beyond their wildest dreams, even if they represent a tiny fraction of the electorate - and even if they're in it to troll, not to vote. As Jesse Singal wrote for New York magazine:

The fact that a subset of louder-than-their numbers hyperactive Twitter and image-board users have conscripted the frog for their offensive purposes doesn't actually mean all that much. It isn't any more "horrifying" than the fact that there are so many people passing around Nazi imagery online in the first place. This is just how internet culture works, whether the culture in question is an innocent Tumblr fan community or an offense-loving chan subset. It iterates and comes up with new weird ways to communicate information.

The counterpoint is that while internet trolls have always existed, they're usually something an ordinary campaign would desperately avoid. The Trump campaign, on the other hand, doesn't care whom it's empowering. The only reason most of us are even aware of an obscure political meme from 4chan is that Trump promoted it in the first place, way back in October.

This was a choice. It's not as if Trump is the only cultural figure the alt-righters of 4chan have claimed as their own. They're also very fond of Taylor Swift, whom they see as their "Aryan goddess." But Swift's reputation has not suffered, because she doesn't retweet praise from white supremacists. The reason Trump's campaign has become associated with racists, xenophobes, and the alt-right is that he's stood by and let it happen.

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Why the Anti-Defamation League just put the Pepe the Frog meme on its hate symbols list

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The images the Anti-Defamation League considers symbols of hate are often historically fraught: the swastika, the Confederate flag, the Ku Klux Klan's burning cross. Now they have company from a green cartoon frog. The ADL, a Jewish group that fights anti-Semitism and other forms of hate, just added Pepe the Frog to its database of hate symbols.

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Denizens of the darker corners of the Internet turned an innocent frog comic into a hate symbol of the "deplorable" alt-right.

"Pepe the Frog" first appeared in 2005 in the comic "Boy's Life" by artist and illustrator Matt Furie. The comics depict Pepe and his anthropomorphized animal friends behaving like stereotypical post-college bros: playing video games, eating pizza, smoking pot and being harmlessly gross.

In 2008, fans of the comic began uploading Furie's work online. In one comic, Pepe responds to a question about his bathroom habits with, "Feels good, man."

That reaction image and catchphrase took on a life of its own on the Internet, meriting a Know Your Meme entry by 2009. Alternate iterations of Pepe, including sad, smug and angry Pepes, followed. Pepe memes are ubiquitous across 4chan, Reddit, Imgur, Tumblr, and other social media and image-sharing sites.

It all seemed in good fun, but in late September, Pepe's green visage was designated a hate symbol by the Anti-Defamation League.

The ADL's online hate symbol database is designed to help law enforcement, educators, and members of the general public identify potentially hateful images, explained Oren Segal, the director of the organization's Center on Extremism. He said that in recent years, hate symbols have proliferated online. Now, with things like Pepe the frog, anti-Semitic images are originating and circulating almost primarily on social media.

In some instances, Pepe wears a Hitler mustache, and his signature message is replaced with "Kill Jews Man." In others, Pepe poses in front of a burning World Trade Center, dressed like an Orthodox Jewish person with a yarmulke and payot. He's also been spotted wearing a Nazi soldier's uniform and in a KKK hood and robe.

In May, the Daily Beast spoke to a white supremacist who said there had been a concerted effort on the site 4chan to "reclaim Pepe" from normal people in late 2015. Pepe had gone mainstream: He's been tweeted by Katy Perry, who said she has a "Pepe file" on her computer, and has made multiple appearances on Nicki Minaj's Instagram. So the supremacist group remixed him with Nazi propaganda for a laugh.

It originated on /rk9/, the 4chan message board associated with some of the least savory elements of the Internet. Last fall, people on that board purposefully framed two innocent individuals for the Umpqua Community College shooting. It's allegedly where Isla Vista shooter Elliot Rodger announced his shooting before it took place - in a post with a Pepe meme.

Nazi Pepe made its way to Twitter, where people who regularly tweeted messages supporting white nationalism and anti-immigrant views quickly absorbed it into their Internet repertoire. People who identify with those movements add the frog emoji to their Twitter name.

In August, Hillary Clinton gave her now-infamous speech denouncing some of Donald Trump's supporters, particularly the segment known as the alt-right, as a "basket of deplorables."

A couple weeks later, Trump's son Donald Trump Jr. posted a photo on Instagram that depicted him and other supporters as "The Deplorables" -- a play on the poster from the movie "The Expendables." In the lineup? Pepe.

BKMtdN5Bam5

Two weeks after that, the ADL made its official designation. Segal, the representative for the organization, said that while the ADL was researching harassment of journalists on Twitter -- particularly the use of the triple-parenthetical (((echo))) around names to designate Jewish people -- they began to notice Pepe's face coming up more frequently.

He said people on his staff were aware of Pepe's original, inoffensive incarnation, but it was clear that the frog had become associated with anti-Semitic opinions online.

"When we felt that [Pepe] was reaching that point of the hateful version becoming more widespread, that's a criteria for adding it to our hate symbols database," he explained.

Hopefully, he says, the Pepe meme will be able to move past this dark point in its history and go back to just being fun. If enough people share positive -- or at least non-hateful -- Pepe memes, to the point where few people encounter Nazi Pepe online, it wouldn't be a hate symbol anymore.

"The hate symbol database isn't the final stop for this meme," he said.

That came as a big relief to Furie, the artist who created Pepe. He has been understandably devastated by the turn his creation has taken.

"To have it evolve into what it is today, it's a nightmare," Furie said. "It's kind of my worst nightmare ... to be tangled in forever with a symbol of hate."

"I would love to help the ADL and do my part by flooding the Internet with positive Pepe memes," he added.

He's not even a particularly political guy. Prior to the ADL's hate symbol announcement, he had never heard of the alt-right or the nascent white supremacist movement that's sprung up around Trump. Though he'd heard of Pepe being used as a meme as far back as 2008, he never made the memes himself. He says he plans to vote for Hillary Clinton.

"I'm a lifelong artist," said Furie, who lives in Los Angeles' Koreatown neighborhood. "Hate and racism couldn't be further from something on my radar. I try to focus on positivity and nature and animals."

Furie stopped drawing Pepe about six years ago, though he did revive him recently for a very special drawing on his Tumblr. It depicts the frog wearing a "Make Pepe Great Again" hat, urinating on a green-faced Trump.

Reclaiming your own work from anti-Semites: Feels good, man.
@jessica_roy jessica.roy@latimes.com ALSO Live updates from the campaign trail Trump is encouraging and amplifying the message of a 'radical fringe' of conservatives, Clinton says

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How 'Pepe the Frog' went from harmless to hate symbol

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Denizens of the darker corners of the Internet turned an innocent frog comic into a hate symbol of the "deplorable" alt-right. "Pepe the Frog" first appeared in 2005 in the comic "Boy's Life" by artist and illustrator Matt Furie.

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The Basilisk – A lecture by Daniel Keller at Spike Berlin

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When we first posed this question, we did so somewhat provocatively, to articulate the feeling of witnessing an institution overlook and not engage with a body of knowledge, a style, and an experience of learning and sharing that is dear to us. We felt that including the internet in discussions about art school was critically necessary, and this question has circulated within memeclassworldwide for several years. Since it was first raised, we have become rather tired of it.

Recently, we have felt it necessary to problematize this question from several perspectives: Which, and therefore whose, art school do we mean? Does the internet really exist on a linear timeline of progress where a single opportunity could be missed? As the question imposes a static nature on the constitutive properties of art school-even though our research has taught us that art school always changes with the external and institutional political environment-has the concept of a singular art school ever existed? Aren't memeclassworldwide and other self-directed emancipatory initiatives, such as the discursive space opened by this very publication, a clear sign that there hasn't ever been just one art school, and that we should no longer believe anyone who attempts to write it into being?

memeclassworldwide emerged in a time and space not claimed by art school bureaucracy, and the question of missing out was posed because these ungoverned moments offered an indication of an answer and a frame of discussion. However, by now, we as initiators, members, students, and guests of memeclassworldwide have all in our own ways moved on from art school as a place we go to regularly, as an institution we accept as immutable and static, and as a time in our lives that we connect to a feeling of longing for change. We are more interested in the perpetual becoming of art school and the importance of continuously reinstituting it through creative, political, and thoughtful practices.

For this Classroom, we have assembled a set of material used in previous moments of instituting memeclassworldwide in seminars and workshops in Kiel, Linz, Bogotá, Basel, and online. The series of videos is a sample of this material and its contextualization.

At various points, we have thought of this material and the ideas it engages with as missing from art school. This sense of absence is what Davina Cooper describes as a defining feature of practices that act as if a desired future is already realized in a fragment of what a community considers reality. These "prefigurative as-if practices" then establish a desired future reality in the present in order to show how this gesture affects the immediate political surroundings. [1] 1
Davina Cooper, "Towards an Adventurous Institutional Politics: The Prefigurative 'as If' and the Reposing of What's Real," Sociological Review, April 6, 2020 →. Rather than re-presenting art school's transformation from its reality to its imagined future in the form of plans and proposals, memeclassworldwide was founded in an effort to perform as if art school adopted the themes and modes we perceived as missing.

As a weisungsfreie Klasse (German for "not given instructions by the rectorate"), memeclassworldwide began running self-organized seminars in 2019, occupying unused classroom spaces at the Muthesius Kunsthochschule in Kiel, Germany. In these weekly sessions, students worked through thematic fields that ranged from the digital practices of love and hate to the ways in which political protest takes place through visual languages born on the web. Through these seminars, memeclassworldwide inscribed themes into the school that were not yet part of its curriculum and proposed a space and time in which other ways of teaching, learning, sharing, and hanging out could be conceived.

These are documented in a perpetual work-in-progress curriculum of pedagogical scripts that memeclassworldwide maintains. This document collects conceptual prompts, performative scores, and course descriptions and is intended to undo the reduction of nuance in the binary distinction between what is considered art practice and what is considered teaching.

memeclassworldwide's inscription into the institution of the art school began by sneaking into the online course administration system to announce our lectures with the help of a friendly fellow student who worked for the school as an assistant. Today, while the initiators are still not paid as lecturers, they are officially permitted to add their courses to this system, and participants are even awarded ECTS points for their participation.

To return to our initial question: when not used in such emancipatory ways, these systems of online course administration help us distinguish between our own fear of missing out on something and the institution of the art school truly missing out on an opportunity, namely the meaningful integration of the internet into art pedagogy.

In fact, the internet and other tools for participating in digital systems were introduced into art schools as early as the 1980s. Yet the ways in which this manifested were contentious. Some institutions purchased rows of specialized SGI computer systems and launched media art programs that engaged in academic-artistic discourse on the aesthetic phenomena and political consequences of digital technologies. The tech industry also heavily marketed its products to art schools, which were ideal places to grow future user bases for standard design tools and subscription-based software required to participate in the creative industries. Equally uncritically, art schools implemented digital disciplinary tools for the self-administration of teaching staff and students, only adding to the fragmentation of the art students' and lecturers' experiences.

To counter this isolation, memeclassworldwide posted hyperbolic, satirical political memes on Instagram to document the cognitive dissonance between being a student and being a critic of the school. At one point during this early stage, the governance office of the university suggested that legal measures be taken against memeclassworldwide for what they considered demotivational slandering. The Instagram account's distinction as protected, political free speech in the tradition of institutional critique precluded any such attempts.

The university's effort to shut down the Instagram account ultimately exposed the art school as an institution struggling to produce the meaningful imagery necessary to succeed in the imaginaries of artists that practice online. Yet a critical perspective toward institutional transformation makes it necessary to speak truth to power in a plurality of voices. This is even more essential as we find ourselves amid a plurality of meanings and truths, where control over signification and interpretation has been taken away from centralized institutions. memeclassworldwide teaches that in the age of digitization, the work of the artist is the work of decoding the implied authority of signs and meanings.

This might come as a surprise, but memeclassworldwide is not focused on teaching internet meme culture in art school. The idea has never been to guide art students in becoming memelords crossposting shitpics for virtual likes. memeclassworldwide makes this ever changing thematic field accessible to artists-in-training from all disciplines and helps them find entry into the mutation of languages in images, text, and aesthetic and political discourses that originate on the web. The generation of meaning has been substantially transformed by the ubiquitous, becoming-default unravelling of the utopian hope of hyperconnective technology-the condition described as "post-digital." [3] 3
Florian Cramer, "What Is 'Post-Digital'?" in Postdigital Aesthetics: Art, Computation and Design, ed. David M. Berry and Michael Dieter (London: Palgrave Macmillan UK, 2015), 12-26 →. These languages need a place to be developed, mutated, adapted, and used collectively for expression and determination.

We find manifestations of this mutating and the endless mutability of digitally manifested information in this selection of material used in memeclassworldwide seminars and produced by memeclassworldwide itself. The series presents a journey through the ways in which art students access discourses on politics and aesthetics today and can lead us to think about the new roles that the art school as an institution and as a place must adopt for new generations of students and artists. These artists-in-training will continue to navigate multidimensional streams of content and networks of communities in self-directed paths through a new landscape in which there is no longer a discernible mainstream, but only ever weirder niches. This work unfolds in a world in which elections are decided by meme-based online activism and psychographic digital campaigning, and in which hyper-referential visual languages interweave archaic image formats with machine learning.

The question that memeclassworldwide seeks to propose is not whether the institution missed out on adapting to the internet, but what art academies are becoming in the ongoing post-digital transformation: Is art school a place for in-depth disciplinary training, protected from the blur of postmodernist socio-informatic juxtapositions, or rather a distinct, intentional social space where bodies-with-knowledge meet, share, and care?

For now, we invite you to enact memeclassworldwide into existence, whenever and wherever you are.
-Bernhard Garnicnig
memeclassworldwide* is an autonomous and parasitic class initiated by three artists* within their art academy in Germany in 2018. The artists organize research retreats, exhibitions, seminars, and workshops. Using the internet as a reference space, the classes investigate post-digital phenomena across their aesthetic, social, and political dimensions, integrating these investigations into practices of teaching and exhibiting. memeclassworldwide collaborates with the artists Bernhard Garnicnig and Jennifer Merlyn Scherler. Their forthcoming book memeclassworldwide: research, documentation, index will be published in 2021.

*Ramona Kortyka, born 1991 in Aachen, Germany; Mateusz Dworczyk, born 1994 in Zabrze, Poland; and Juan Blanco, born 1988 in Bogota, Colombia, live, work and study in Germany.

Bernhard Garnicnig works as an artist, researcher, and lecturer. His current research focuses on the relation between artists and institutions as a site where artistic and political practices emerge. He currently works with memeclassworldwide on a curriculum for post-digital art education, with the Palais des Beaux Arts Wien on the concept for a multidirectional memory site, with the working group "the artist as consultant?" on a critical framework for performative knowledge practices, and with Lucie Kolb on an open access index for Art after Institutions. He is the cofounder of the Bregenz Biennale and the former artistic director at the Palais des Beaux Arts Wien.

Preview image: memeclassworldwide, videotutorial-documentation, 2020. Screenshot from the exhibition and workshop "escaleras futuras," Galeria Santa Fe, Bogota.

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memeclassworldwide - Classroom - Art & Education

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When we first posed this question, we did so somewhat provocatively, to articulate the feeling of witnessing an institution overlook and not engage with a body of knowledge, a style, and an experience of learning and sharing that is dear to us.

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Hashtags (Abkürzungen, Umgehen von Sperren usw.)

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Hashtags (Abkürzungen, Umgehen von Sperren usw.)

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Mögliche Umwege, um zu eigentlich verborgenem Content zu gelangen:

Auslassen von Buchstaben, Abkürzungen (ana, mia, ed & edhumor, bingeed, mh, sh, svv, sucide, sadnes etc.)

Eher offensichtliche Begriffe, die etwas damit zu tun haben (funktioniert ev. besser bei neueren oder kleineren Plattformen mit weniger Restriktionen? Hashtags: starving, sad, hurt, brokenheart, melancholy, lonely, brokenmemes; doomer, blackpill [auf IG scheinbar keine Einschränkungen bei Incel-Hashtags, Community ist ja auch woanders]; truecrime; rehabtoad [drugsandalcohol])

Unter dem Deckmantel von "Prävention" (bzw. Recovery bei ED-Community) kann man ev. ganz gut Insider-Infos verbreiten, z.B. Auflistungen über Suizidmethoden oder Arten von Selbstverletzungen, teilweise mit bunten Farben und Triggerwarnung ausgestattet, inhaltlich aber tw. keine Präventionsabsicht erkennbar.

Community Insider Begriffe (Bsp.: ED-Community: ricecracker, laxatives, ...)

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#MilkCrateChallenge

#StarburstChallenge
#blackoutchallenge

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only fans – only friends
eating disorder – ed
Selbstverletzung – sv
borderline personality disorder – BDP
depression – depresion oder drepression
suicide – unaliving
sex – seggs

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sadtiktok

painhub

draingang

depresion (nur mit einem S, weil “depression” als Hashtag geblockt ist)

mentalhealthmatters

darkacademia

ed (eating disorder)

weirdtok
kinktok
unaliving
onlyfriends

deeptok

queertok

cottagecore

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Soziale Medien und Prüderie - Wie Filter großer Plattformen unsere Sprache beeinflussen

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Listen to this episode from Breitband - Medien und digitale Kultur - Deutschlandfunk Kultur on Spotify. "Corn" statt "porn" - also Mais statt Porno: Um die Filter von TikTok und Co. zu überlisten, müssen Userinnen und User kreativ sein. Welche Auswirkungen das auf die Sprache insgesamt hat, erklärt die Linguistin Konstanze Marx.

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Reddit (Incel-Community)

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Tumblr (Suizid-Community)

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TikTok (ED)