on images on social media

In the last ten years there has been a massive shift in the way communication takes place online, particularly with Social Media. It could be said that online communication once occurred on websites, they became chatrooms/forums then to personal “blogs”. These “blogs” attracted comments and articles from likeminded responders, creating an online community; but “blogs” were still lengthy, word-heavy. These “blogs” became posts, shorter, more concise encouraged by the introduction of Facebook. This essentially led to Twitter and the shorter again 140 word “tweets”. This introduced a new way of communicating, extended further by the introduction of twitter on android smart phones. It wasn’t long before society made the shift to Uploading photos and videos onto social media services and websites. This has become the primary way to share memorable moments with friends and family, or to boost personal engagement with your online community. The increasing use of image centred information may be due to the WWW being completely overloaded with content; imagery as seen on laptops, tablets and smart phones, are very often the best way to seize the attention of an audience. It is obvious that technology companies are well aware of this. There was a time when smartphones and tablets were sold as mobile offices; now most concentrate on how quickly images are captured and shared. For the average person the camera, used to photograph a specific occasion has been replaced by the tablet and smartphone,( and by extension the DashCam and GoCam) as essential part of everyday ware. Photographs of everything encountered, from the everyday, to dramatic events witnessed in passing are “shared” via social media.
The pace of these changes can be seen in the increase in photo-sharing sites like Flickr, followed closely by Pinterest, Tumblr, Instagram and Snapchat who have captured their own percentage of the social media market. There constantly upgraded APP’s provide users with an all-round multimedia device capable of creating, editing, sharing and viewing images on phones and tablets. This means that you now show your ‘followers’ what your preference is instead of just telling them. This is where ‘fashion bloggers’ come into their own, sharing photos of themselves wearing the clothes and/or accessories. International brands soon realised that the image is now the message, utilising how social platforms distribute image content and how people consume it. Imagery is no longer the supporting role but the headline act.
How a person is perceived on Social media can be broken down into three types all of them image based. If they have a personal blog page then a header is essential, usually containing an image of the person in an exciting or exotic place; then the profile image, smaller but no less important than the blog possibly a glamourous image, has to be changed regularly. And finally the post images regular images, once a day or per hour. The increasing use of images on social media has led to many questions regarding ethics, undue influence and the impact on those more vulnerable. This may lead back to an older question of how do you police the web. Social media sites constantly reiterate the ethical protocols regarding images with millions of images uploaded daily can they really stand by them?
#Funeral and Instagram: death, social media, and platform vernacularhttp://www.tandfonline.com/doi/abs/10.1080/1369118X.2014.987152
Zooming into an Instagram City: Reading the local through social media [web article]http://firstmonday.org/ojs/index.php/fm/article/view/4711/3698

The Ethics of Sharing in the Social Media Era


Visual Content Strategy: The New ‘Black’ for Content Marketers

Concerns in curating an image collection.

There are many aspects to curating, in museums, galleries and libraries, in Digital Humanities the main emphasis perhaps is on the curation of Digital images. What can be considered best practices for improving access to data, quality control, and data integrity? Which program should be used that includes time-saving tools that allow ease of access to an extensive online directory, yet is intuitive to use and provides further references to the search area . There is a value to digital curation beyond the academic and research communities those in the commercial and professional sector could benefit from exposure to the concept. There are many in commercial and professional sector who have no concept of digital curation or archive preservation and in many cases are not familiar with these terms. This does not mean that they do not actively curate and preserve archives, what it could mean is that they approach the problem without the knowledge best practice, and without properly trained personal, digital data support or infrastructure. There could be more engagement between those in academia and research and those in the commercial and professional sector. We in Digital Humanities should do more to convey the relevance and value of what we do to specific professions, possibly in the form of interdisciplinary conferences (Rusbridge et al 2005). The benefits of this interaction are the opportunity to safeguard a greater degree of digital imagery whatever it may be.
There are many facets to the Curators of Digital data, with considered best practice or not: the individuals using their hard drives or clouds, departments or groups using shared networks or separate drives, academics , groups of academics of many disciplines, the publishing community, national data collectors, or third parties data agencies. The primary issues in effective curation may include the size of the data, the number of objects to be curated and their complexity/delicacy the intervention/interaction of third parties, social and legal concerns. This should also include access policies, best practices/standards. The DCC consider “optimal approach to curation involves four steps” (DCC 2016). First, all data capture should build curation or re-usability into their workflow. This allows for ease of access regarding, provenance and reputation of information (Curry et al 2007) and self-contained metadata. Secondly curators should allow for scalability, not only data capture and retention. The formats and file type process should be standardised, although in some cases this may also depend on the source.
Thirdly all curators should make available all information regarding ownership and licenced or unlicensed access. Lastly curators should provide metadata to allow data or image to be citable, in accordance with standard formats and practices. The last two are straight forward data protection protocols. The concerns in curating digital image collections may be considered in the overall broader sense of digital capture, be it 2D or 3D. Despite considerable advances in international best practices in capture standards, protocols and future proofing software technology; and the forward thinking and generosity of internationally renowned institutes, Library of Congress, British Museum, the main concerns of curating image collections appear to be copyright and licencing laws.

Digital Curation Centre, http://www.dcc.ac.uk/resources/curation-journals
Curry Edward, Freitas Andre, and O’Riain Sean, The Role of Community-Driven Data Curation for Enterprises (Mar2007). Available at,http://andrefreitas.org/papers/Community_Curated_Enterprise_preprint.pdf.
Rusbridge Chris, Burnhill Peter, Ross Seamus, Buneman Peter, Giaretta David, Lyon Liz Atkinson Malcolm, From local to global: Data interoperability—challenges and technologies, Mass storage and Systems technology. IEEE conference Sardinia Italy, June 20-24 2005.