Michael Connor
Since 2002
Works in Brooklyn, New York United States of America

Getty Images: Still Kinda Sexist?

Portrait of a confident businesswoman

This week, LeanIn.org and Getty teamed up to release a new collection of 2,500 stock photos that aim to "represent women and families in more empowering ways." The need to do this was quite clear; stock photographs had become something of an internet sensation for their lingering embrace of a range of visual clichés, many of them sexist, such as the notorious "Woman Laughing Alone With Salad." As depictions of broadly-applicable situations and people that could be used in a wide variety of publications, particularly for marketing purposes, stock photographs claim to represent generic ideals for easy illustration. Their effect is, in fact, the inverse—it is specific ideologies they illustrate, in order to continue their reproduction.

I (No Longer) Have a Web Site: Access, Authenticity, and the Restoration of GeoCities

"I Have a Website." JPEG version of screenshot from One Terabyte of Kilobyte Age Photo Op.

One year ago, a system developed by artists Olia Lialina and Dragan Espenschied began taking screenshots of now-defunct GeoCities webpages from the late 1990s as they would appear on hardware and software from that time. Every twenty minutes, a new screenshot is automatically uploaded to their Tumblr, One Terabyte of Kilobyte Age Photo Op. Friday marked the one-year anniversary of the project; to celebrate, Espenschied restored the three most reblogged and liked home pages posted there, as tracked by Lialina. This article covers the why and how of this restoration.

It may seem strange to say this about the likes of "Cute Boy Site" or "Divorced Dads Page," but the remains of the GeoCities web hosting service are a vital part of our cultural legacy. In its dial-up heyday, GeoCities was where non-specialist internet users made their first-ever webpages. Today, it exists as a vast, if partial, repository of the anxieties, hopes, and dreams of those creators, and offers a snapshot of the early popular usage of a now-ubiquitous cultural form, the webpage.

Why You Should Not Buy This Painting (So That Michael Connor Can)

Austin Lee, Profile Picture (2013). 11" x 14" Acrylic on canvas.

Postmasters Gallery is now showing a solo exhibition of work by Austin Lee, a young painter whose work you should really not purchase. If his prices remain flat for long enough, it's possible that in the future, when all my babysitting bills are paid, I might stumble across it in the Postmasters sub-basement and offer whatever I happen to have in my wallet. Recent history shows us that the artworks that I have come to own do not significantly appreciate in value. Therefore, an important tip to prudent buyers: do not purchase this painting, or really any other painting by Austin Lee. Are you following my logic?

On the Front Page: Vince McKelvie

On December 2 and 3, Rhizome will present Rendered/Realtime, a series of 24 interactive animations designed and developed by Vince McKelvie. The works are displayed on the front page of Rhizome.org, occupying most of the browser window save for a minimal header and footer. Created specifically for this context, Rendered/Realtime uses a technique adapted from video game graphics, the sprite sheet, to allow the user to rotate, move, and deform rendered animated gifs in real time. Rippling and undulating, riffling and turning inside out, McKelvie's 3D forms defy easy visual comprehension, landing somewhere in between liquid geometric abstraction and sci-fi fantasy.

3 Videos by Hamishi Farah

Surfers' Paradise was an artist residency and exhibition that took place in Melbourne from 1–10 November. Fifteen Australian artists created, documented, and uploaded artworks to the internet over the course of the event. Following are works contributed to the project by Hamishi Farah (who seems to go by first name only); the full selection of works can be seen on the project's Tumblr catalog.


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Feed my Feed: Radical publishing in Facebook Groups

Not really - but I'm using the term public utility in the usual sense of a body that provides something like water or gas to the public, but may be privately or publicly owned. (A NYC example: Con Ed).

If we're talking about publicly owned utilities, then yes, that is something different. I am really interested in the idea of software as publicly owned utility--this is something that was discussed at our recent event with Airbnb Pavilion.

It would be great to see more sharing "economy platforms" run as public utilities, since those often have a very direct economic impact on a city. My sense is that Facebook would be kind of a poor use case for public ownership - but it is interesting to think of as a public utility in the sense of a private company that provides public infrastructure & service and therefore has some level of public accountability.


Feed my Feed: Radical publishing in Facebook Groups

The other consideration I raised was whether the profile was being used for publicity purposes. The larger point there is that not all contexts are created equal, and so violating their integrity can be more or less justifiable.

Again, not commenting on the specific situation but rather the general case: there is a difference between communication that takes place via a profile that is only shared with close friends and the communication that takes place via a profile that is shared with journalists and used for publicity purposes. In the latter case, the contextual integrity violation could be much easier to justify even if the public interest case is relatively weak.


Feed my Feed: Radical publishing in Facebook Groups

It is a mistake to rely too much on what is technically public or private to guide decision-making about whether to respect the contextual integrity of any communication. Hilary Clinton's emails as Secretary of State are technically private, but have no legitimate claim to remaining so. Many Facebook users might accidentally set posts to "public," without intending for them to be shared widely. And even users on the very public Twitter have felt violated, and perhaps rightfully so, when their posts were shared onto other platforms.

Another term I like, since public and private get quite fuzzy, is "contextual integrity," as articulated by Nissenbaum. The idea there is that communication is often intended for a specific context, and when it remains only in that context, then it has integrity. When it is moved to a different context, that integrity has been violated.

A blog posting a screenshot of an artist's Facebook post would certainly be a violation of the artist's contextual integrity--but that doesn't mean it's always indefensible. There might be a strong public interest argument to share the post, and blogs have a responsibility to their publics which might outweigh this consideration. If an artist uses social media as part of the publicity surrounding a work, that might even be crucial for understanding the work, then that also could make it more OK to share.

These questions are very important for our current dynamic web archiving efforts...very tricky stuff.


Feed my Feed: Radical publishing in Facebook Groups

Your examples of the "missing" sense of the term public are all spaces. A more apt analogy for Facebook would be a public utility. Public utilities can be privately owned or publicly owned, they are not necessarily characterized by "mutual ownership" - only by public oversight. And such oversight is only likely to emerge through the organization of users themselves, very possibly with the platform itself as an organizing tool.


Feed my Feed: Radical publishing in Facebook Groups

Thank you for doing such a good job illustrating the impoverishment of commenting culture outside of Facebook! You really captured the patronizing tone of a commenting demographic that feels its relevance waning in the age of social media. What were your inspirations for this pastiche?