Skip to main content
NOT AS PRIVATE AS YOU THINK 
By Emmanuel Koutsouras 
Say you are browsing the internet, maybe reading a movie review, looking through amazon to find a video game you want. Then you decide to go on Instagram sometime later and see an ad for something closely related to that movie review or video game. Social media is arguably the largest collective platform of information that the world has ever seen. There probably is not a single person who is completely off the grid. Social media brings people, ideas, thoughts, facts, and opinions together, in a way that nothing else can do. People put so much of their personal information on the various social media platforms, assuming safety as a given. As is the case with most things in life, nothing is a guarantee, though. The power of surveillance, which when you think about it is truly disturbing is that people whose personal data are collected or observed may not know when or if they are being watched” (Humphreys, 2008).  
 
The process of surveillance is typically carried out across multiple systems, bureaucracies, and social connections all converging into “surveillant assemblages” and embedded within everyday life (Lyon, Haggerty, & Ball, 2012). Social media sites are increasingly resembling such assemblages, as they draw in data on user activity elsewhere on the internet via “cookies” and other tracking mechanisms, this how you see ads for things on social media you were looking up on a different website (like a video game on amazon), and from other sources of information on users, such as retailer loyalty cards, customer surveys, and smartphone location traces. Surveillance is an ancient social process, such as guards for buildings during ancient times, but in the late twentieth century, surveillance became a central organizing social practice, affecting power dynamics, institutional practice, and interpersonal relations. Alongside changing technology, this transformation was driven by factors including increasing managerialism, greater public perception of risk, and political expediency. 
Some factors need to be taken in to account when considering an instance of social media surveillance. Who is carrying it out? A business dealing with customers, or profiling and marketing to potential customers? A community of individuals? What are the power relations between the surveillers and the surveilled? What kinds of data are being collected, and by what means? These might include narrative reports, audiovisual recordings, or activity traces, relating to public, personal, private, sensitive, or intimate situations. In this day in age, all of this now takes place via social media. The rapid development of computing technologies, and the social, political, and economic practices that have shaped and been shaped by this development, is one of the most significant enablers of social media surveillance. Regularly, whole sites or individual profiles are hacked, resulting in private information being released to the public. Recall the mass hacking of iCloud in 2015, in which a number of celebrities had their personal pictures stolen and uploaded to public sites. However, it is not just hackers that can get access to private information. Police investigators will use the law to allow them to collect information from a site, which would otherwise have been considered private information. This is information for everyone. College students need to pay extra attention to this. Your career might be saved.  


References 
Ball, K., Haggerty, K. D., & Lyon, D. (27 mar 2012). Surveillance as biopower. Routledge Handbook of Surveillance Studies. 
Humphreys, L. (2008). Who's Watching Whom? A Field study of Interactive Technology and Surveillance. Conference Papers -- International Communication Association, 1-26. Retrieved from Communication and Mass Media Complete database. 

Word count: 536 


Comments

  1. Emmanuel,

    This is a fine topic for your post. It clearly fits with your group's "theme week" and addresses the rise of surveillance regimes within and through digital technology.

    So far, so good.

    However, there are several glaring problems with your post. First, you haven't used our "house style" for these essays – something we've talked about often and at length in class and via email.

    Second, your use of APA reference style is likewise prone to error. Seems you haven't consulted the reference resources we've discussed throughout the semester.

    Third, and most critically, there are several passages that are clearly NOT your own words. Rather, they are taken straight from published work without attribution. This is UNACCEPTABLE and could lead to disciplinary action.

    I suggest you review the university's policy on such matters. After all, if you are violating procedure for this assignment, you may be doing in your other course work. And that could lead to some real problems.

    In sum, you haven't followed directions very closely, despite repeated guidance to do so. What's more, you are flirting with issues of academic integrity that could have serious consequences.

    15/30 pts.

    ReplyDelete

Post a Comment

Popular posts from this blog

Bisexuality in Popular Television

By Sydney Secuskie Popular culture plays a strong role in the way teens develop and respond to their sexuality. It helps young adults develop a way to interact with their counterparts and helps them get a sense of sexuality and sexual experiences that they may experience in their young lives. However, what happens to this development when the sexuality an individual identifies with is rarely portrayed in popular films and television series? Heterosexuality is normalized within numerous popular television series, making young teens of the LGBTQ+ community struggle to find a character to resonate with. Callie Torres, a bisexual character in the TV hit show Grey’s Anatomy , exemplifies the struggles that many individuals in the LGBTQ+ community face when trying to identify their sexuality. Callie begins the first season as a straight, married female; however, she eventually falls in love with a female doctor after her divorce with her husband. Callie constantly denied her bisexual...

THE HOLLYWOOD LATINA

By: DaBreonna Doss I ran across Jane the Virgin one day in hopes of finding a new series on Netflix. It is about this Latina girl who grows up on strict religious views. She lives with her grandmother and mother, whom was in the country illegally, and she falls in love with a white cop that one night crashed her party. Later, she goes into the doctor for a checkup but instead received an artificial insemination in place of a wife who could not get pregnant. The storyline exaggerates from there, however, there are a few themes that I specifically want to point out. These themes include Jane’s love story, her childhood background, and circumstances her Latina body is placed in. The chapter Mobilizing the Latina Myth by author Priscilla Peña Ovalle in the book In Dance and the Hollywood Latina: Race, Sex, and Stardom exposes the myth of the Latina body and the ways in which Hollywood media and popular culture further these themes. Ovalle begins her analysis by exploring th...

Disney Princesses: A system of commodities?

Disney Princesses: A System of Commodities?  By Katharine McLean Growing up I loved all Disney Princesses, but Cinderella was my favorite by far. I envied her long blonde hair, admired her gorgeous gown, and wished for the day that my Prince Charming would show up on my doorstep with the glass slipper that would turn me into a princess. Now, at the age of nineteen, I cannot help but look back and wonder. . . have the Disney Princesses I’ve grown up with caused me harm? I argue that the stereotypical gender norms found in Disney Princess media and the capitalist nature of popular culture leads to a narrow-minded view of femininity. In Dustin Kidd’s book, Pop Culture Freaks: Identity, Mass Media and Society , he defines popular culture in a myriad of ways, but one that stuck out to me was the idea of popular culture as a system of commodities. Kidd (2014) states, “popular culture is art, transformed into commodity, working double time as advertisement” (p. 69). This d...