Introduction
Different types of social buttons have diffused across blogs, news websites, social media platforms and other types of websites. These buttons allow users to share, bookmark or recommend the webpage or blogpost across different platforms such as Facebook, Twitter, Digg, Reddit, Delicious, Stumbleupon, etc. The buttons often show a counter of how many times the page/post has been shared or recommended: x likes, x shares, x tweets. These likes, shares and tweets may be approached from a new media studies perspective as new types of hyperlinks and from an economic sociology perspective open up questions about the increasing interrelation between the social, technicity and value online. Within new media studies the hyperlink has previously been studied as a form of currency of the web establishing an economy of links (Walker 2002 & Jarvis 2009) and as an indicator of a discursive relationship (Rogers 2002).

The economy of links describes the link as a currency of the informational web in which search engines use hyperlinks to look at the relations between websites in order to establish a ranking. The term informational web is often used to describe the world wide web as a publication medium for publishing content (Ross 2009) and is characterized by the linking of information (Wesh 2007).2 In this web search engines act as main actors to be able to navigate through all the information by recommending pages based on authority measures.

According to social networking site Facebook “the informational Web is being eclipsed by the social Web” (Claburn 2009). In contrast to the informational web where search engines focus on links between websites, the social web “is a set of relationships that link together people over the Web” and “the applications and innovations that can be built on top of these relationships” (Halpin & Tuffield 2010) and is characterized by the linking of people (Wesh 2007).3 Within the social web search engines and social media platforms look at the connections between people and their relations to other web users or web objects. Facebook popularized the term Social Graph “to describe how Facebook maps out people’s connections” (Zuckerberg 2009). As Facebook considers its services inherently social and its plugins and buttons are called ‘Social plugins’ we summarize the activities they generate as so-called “social activities.”

Where Google can be seen as the main agent of the informational web and the regulator of the link economy, Facebook is currently seen as the emerging agent of the social web. Especially the company’s recent efforts to make the entire web experience more social mark the advent of a different type of economy which is based on social indexing of the web: the Like economy. Key elements of this economy are the social buttons, the activities they generate and the way they connect Facebook with the entire web.

According to Facebook, liking and sharing are valuable for users and the company because they enable to experience the web more socially. A similar connection between the social and economic value has been developed by Adam Arvidsson (2009) with his idea of an ethical economy in which value creation is based on collective negotiation and in which economic value creation is related to the quality of social bonds that are generated. Within this paper we want to question the centrality of social dynamics and social relations as key driver for platform engagement and the Like economy. Through merging a new media with an economic sociology perspective, we will shift attention away from the users and the social to the impact of issues on social activities, as well as their interrelation with technicity and the fabric of the web. Based on an extensive empirical study of button presence and engagement within a sample of 592 URLs, we ask how issues, technicity and the social create a productive assemblage of value creation in an emerging Like economy.

In what follows, this paper aims to address these questions by first looking at the history of different types of web economies over time. How do these ‘new’ social activities central within the social web relate to the hit and link economy of the informational web? What creates engagement and how does this engagement organize the fabric of the web and sociality? And finally, what are the perspectives of a Like economy?

Download full paper as PDF: GerlitzHelmond-HitLinkLikeShare.pdf

We’d be happy to receive any comments and feedback!

We looked at the most significant rights types per country according to local Google results of the query for “rights” in the local languages. Graphic designer Vera Bekema and I visualized the results and the project was published in the Global Information Society Watch 2009.

Download the pre-print PDF with the original blue colors or the GISwatch purple edition.

Introduction to my paper on Identity 2.0
Yesterday we talked about the web having technological eras, or periods of the web that have specific providers, software and templates. This is also what I indirectly undertake in my study into the reconfiguration of identity in the era of search engines. By studying different software platforms for presenting the self online through their medium specific qualities we see what Fuller calls “digital subjectivity – that software constructs sensoriums, that each piece of software constructs ways of seeing, knowing and doing in the world that at once contain a model of that part of the world it ostensibly pertains to and that also shape it every time it is used” (2003: 19)

The reconfigured relationship between the user, the platform and the search engine is studied from what Manovich calls ‘cultural software,’ a genre of software that is cultural through its use and because it carries atoms of our culture. It is an undertaking that looks at the different software platforms that have been developed over time to allow us to understand how the configuration of the ecology the software is embedded is in has changed with the advent of the search engines. The platforms: the homepage, the blog, the social networking profile, the micro-blog and the lifestream are not presented in a chronological order in order to create a teleological account, rather they are presented in more or less the order in which they came into being. All platforms for presenting the self online still exist, while one may argue that the homepage is slowly disappearing, and some platforms even co-exist in the hands of the user who integrates her Twitter account into her blog.

In general, the Digital Methods Initiative researches society through the online, however, what I aim to do is research online web culture through the online software and devices that shape it. How is this research placed within digital methods? At first it seems an ethnographical account of my Web 2.0 being placed within the studies into identity but what it aims to do is to look at the medium specific qualities of the platforms and determine their web native elements, such as the permalink or the status update, in order to see how these tie up to search-engines. In a first small casestudy, it was shown that platforms relate to each other and that some platforms are closer together than others through their entanglement of structuring natively digital objects such as site feeds and embed codes. The question then is, how to operationalize the relationship between the platforms and their distance (topological).

This paper is based on the Networked book chapter ‘Lifetracing’¹ commissioned by Turbulence. Rewritten for the Digital Methods Initiative mini-conference January 20-22, 2010 at the University of Amsterdam.

Identity 2.0: Constructing identity with cultural software.

ABSTRACT: This essay deals with the change of identity on the web as a result of the assemblage of social software platforms, engines and users. It can be stated that major platforms for presenting the self online have developed over time: the homepage, the blog, the social networking profile, the micro-blog and the lifestream. They each have their own specific way for presenting the self online. The advent of the search engine has had a major impact on both the construction and the presentation of the online identity. Search engines not only index the platforms on which identity is performed, but they also organize and construct identity online. They act as a central point where identity performance is indexed. Since identity construction and identity performance have significantly changed with the advent of these engines, identity must be reconsidered. It can be argued that the assembly of platform, engine and user has constructed a new type of identity: Identity 2.0. This type of identity, placed within the period of Web 2.0, is always under construction, never finished, networked, user-generated, distributed and persistent.

Download PDF: Identity 2.0: Constructing identity with cultural software.

1. Helmond, Anne. “Lifetracing. The Traces of a Networked Life.” Networked: a (networked_book) about (networked_art). 2 July 2009. Available online: http://helmond.networkedbook.org/

I contributed three pieces to this part:

1. Mapping E-culture: Alex Adriaanssens, based on interview with Anne Helmond – The Chinese Dream (PDF)
2. Mapping E-culture: Anne Nigten, by Anne Helmond – Patching Zone (PDF)
3. Mapping E-culture: Henk Borgdorff (based on interview with Anne Helmond) Practice-based Research in the Arts (PDF)

Part 2: Navigating E-culture

Part 3: Walled Garden

In the Artist Presentation article (PDF) the Twitter conversation between Mez Breeze (Augmentology) and silvertje (Anne Helmond) at the Walled Garden conference in 2008 was published.

The E-culture book (2009) by Virtueel Platform has been licensed under a Creative Commons Attribution-Noncommercial 3.0 license.

Lifetracing. The Traces of a Networked Life

Identity on the web has changed by the assemblage of social software platforms, engines and users. Four major platforms for presenting the self online have developed over time: the homepage, the blog, the social networking profile and the lifestream. They each have their own specific way for presenting the self online. It should be mentioned that the shift has taken place from the centralized identity on the homepage to the distributed identity on a website with the lifestream.

The homepage is a self-secluded manually coded website containing its content on its own server. With the introduction of blog software the act of self publishing was made available to the public and the blog shows that it is part of a larger network with the embedding of external content from other services and platforms. In this era of the social web, the social networking profile has become a popular way to present the self online. The latest trend is the website containing a lifestream serving as an aggregation point for the distributed identity across various social media platforms.

The advent of the search engines has had a major impact on both the construction and the presentation of the online identity. Search engines do not only index the platforms identity is performed on, but they also organize and construct identity online. They act as a central point where identity performance is indexed. Since search engines have become the main entry point to the web, the idea of identity management has become very important. The case of Nina Brink, for example, shows how Search Engine Reputation Management tactics have been used to adjust online presence for the search engines.

The networked identity has proliferated as a result of the social media user recording the self online. Once content has been published online it becomes part of a larger network in which platforms can automatically exchange data and search engines can index data. The role of the user in this new situation is such that the user has become both content provicer and data provider. User data is used by the search engines for commercial gain but ironically it is also offered to the users in exchange for a ‘free’ account. Users gain access to their own statistics by providing their statistics. These statistics are used to measure the self and to show off the self on the social web.

Identity construction and identity performance have significantly changed since the advent of the engines, which calls for a reconsideration of identity. It can be argued that the assembly of platform, engine and user has constructed a new type of identity: Identity 2.0. This type of identity, placed within the period of Web 2.0, is always under construction, never finished, networked, user-generated, distributed and persistent.

Read the whole chapter of Lifetracing. The Traces of a Networked Life.

Official press release:
WE INVITE YOU TO PARTICIPATE . comment, revise, translate, submit a chapter http://networkedbook.org

Two years in the making, Networked: a (networked_book) about (networked_art) is now open for comments, revisions, and translations. You may also submit a chapter for consideration.

Please register and then Read | Write:

THE IMMEDIATED NOW: NETWORK CULTURE AND THE POETICS OF REALITY
Kazys Varnelis
http://varnelis.networkedbook.org

LIFETRACING: THE TRACES OF A NETWORKED LIFE
Anne Helmond
http://helmond.networkedbook.org

STORAGE IN COLLABORATIVE NETWORKED ART
Jason Freeman
http://freeman.networkedbook.org

DATA UNDERMINING: THE WORK OF NETWORKED ART IN AN AGE OF IMPERCEPTIBILITY
Anna Munster
http://munster.networkedbook.org

ART IN THE AGE OF DATAFLOW: NARRATIVE, AUTHORSHIP, AND INDETERMINACY
Patrick Lichty
http://lichty.networkedbook.org

TAGS: active, aethetics, aggregators, authenticity, authorship, BEN FRY, BEN RUBIN, BURAK ARIKAN, collaborative, communication, data, data mining, digital traces, distributed, DIY, EDUARDO NAVAS, everyday life, flow, GOLAN
LEVIN, identity, improvisation, Internet, JANET CARDIFF, JASON FREEMAN, JODI.ORG, JONATHAN HARRIS, latency, lifelogging, lifetracing, MANIK, mapping, MARK HANSEN, MARTIN WATTENBERG, MAX NEUHAUS, Mechanical Turk,
mediation, memory, music, narrative, NastyNets, NATHANIEL STERN, net art, network, NICK KNOUF, nonlinear, OLIVER LARIC, participation, performative, persistance, PETER TRAUB, platform, postmodernism, presentational, privacy,
prosumer, prosurfer, ranking, realism, reality, real-time, relational, remix, representation, research, RYBN, SCARLET ELECTRIC, SCOTT KILDALL, search engine, self, self-exposure, SHIFTSPACE.ORG, social networks, software, sousveillance, STEVE LAMBERT, storage, surveillance, tactical media, telepresence, THE HUB, THEY RULE, TrackMeNot, transmission, TV,
user-generated, visualization, web 2.0, webcam, widget, Wikipedia Art, YES MEN

BACKGROUND

“Networked” proposes that a history or critique of interactive and/or participatory art must itself be interactive and/or participatory; that the technologies used to create a work suggest new forms a “book” might take.

In 2008, Turbulence.org and its project partners — NewMediaFix, Telic Arts Exchange, and Freewaves – issued an international, open call for chapter proposals. We invited contributions that critically and creatively rethink how networked art is categorized, analyzed, legitimized — and by whom — as norms of authority, trust, authenticity and legitimacy evolve.

Our international committee consisted of: Steve Dietz (Northern Lights, MN) :: Martha Gabriel (net artist, Brazil) :: Geert Lovink (Institute for Network Cultures, The Netherlands) :: Nick Montfort (Massachusetts Institute for Technology, MA) :: Anne Bray (LA Freewaves, LA) :: Sean Dockray (Telic Arts Exchange, LA) :: Jo-Anne Green (NRPA, MA) :: Eduardo Navas
(newmediaFIX) :: Helen Thorington (NRPA, NY)

Built by Matthew Belanger (our hero!), http://networkedbook.org is powered by WordPress, CommentPress and BuddyPress.

Networked was made possible with funds from the National Endowment for the Arts (United States). Thank you.

We are deeply grateful to Eduardo Navas for his commitment to both this project and past collaborations with Turbulence.org.

Jo-Anne Green and Helen Thorington
jo at turbulence dot org
newradio at turbulence dot org