Photo Post Quotes

G.I. Joe boxers!’ Apollo screamed. ‘OH—oh, I can’t even... HAHAHAHAHA!’ ‘Aphrodite,’ Athena giggled. ‘You look simply lovely.’ The gods couldn't stop laughing. Soon they were rolling on the floor, wiping tears from their eyes, taking photos with their phones to post on Tumblr.

As a photographer you have a deep love for light, life and yourself. You know that the eyes of love aren’t blind, they are wide open. Only when your eye, heart and soul shine brighter than the sun, you realize how ordinary it is to love the beautiful, and how beautiful it is to love the ordinary.

I hear women are posting their phone numbers on the site for you.” Accompanied by sexy videos and photos. Judd’s eyes gleamed. “Not after Brenna hacked the site and plastered a message on their homepage pointing out that I’m very happily mated to a wolf with sharp teeth, razored claws, and a wild case of insane jealousy.” A small smile that was nonetheless, quietly satisfied. “She also uploaded several gruesome photos of feral wolf kills.

You stepped on my foot,” Jules snapped at Josh. “Your foot got in my way,” Josh snapped back. “Like I would intentionally put any part of my body in your way—” “I need to Lysol myself to get your—” “Stop it!” Stella slashed her hand through the air, startling everyone with her sharp tone. She was usually the most Zen in our group. “Or I’ll post the candid and very unflattering photos I have of the both of you online.” Josh and Jules gasped. “You wouldn’t,” they said at the same time before glaring at each other.

I see that Nathan already posted the photo along with a caption that reads: The only woman I want.

With the selfies, a photographer has finally found his place in a photograph.

They say they neither set up those cameras nor took the pictures, they just saw some photos posted on a website everyone has access to, and we are treating them like sexual offenders. They distributed the pictures and were complicit in the crimes, but they don’t understand why that’s wrong. It blows

And it’s eliminated my ability to just talk to you.” He was still talking. “I mean, I can’t send you emails, because you immediately forward them to someone else. I can’t send you a photo, because you post it on your own profile. And meanwhile, your company is scanning all of our messages for information they can monetize. Don’t you think this is insane?

When you’ve had a life of overthinking, you have the same reaction time and time again. Shyness becomes habitual. When you’re put in an unfamiliar situation, all you want to do is retreat and hide by default. You watch but don’t participate. You listen but don’t respond. You read, but rarely comment. You take a photo, but you rarely post. You write, but you rarely publish. All of this is because your overthinking mind cannot stop thinking about how you will be perceived by the outside world.

Scientism is gnosticism wrapped in a post-modern package". ~R. Alan Woods [2009]

Not only are the poorest people the most generous but they don't expect anything in return, least of all recognition from others by means of showing off or posting a humble brag like so many from average society do and you can identify these people through the abundance of photos they post, literally with their hands in the air, showing off what they've done for the "less fortunate." I guess they missed the part where God said to be humble and to do good works in private.

Let’s all stop pretending that selfies are an aberration of the high art we’re creating with our smart phones or that posting a photo of yourself is somehow an interruption of the high-level discourse we are used to sharing on social media. You know what selfies can show you? Yourself. And you are worth looking at. You are worth marveling at.

Too busy to write me back, but she has time to post a photo of some deer she saw on a hike?

A selfie has more face and fewer feelings.

Photoshop and Lightroom help me transform my photos into what my heart felt, but my camera couldn't quite capture!

i'm beginning to feel like this. caught the incredible sunshine just in the nick of time today on my walk. the wall of rain approaching from the west desert was pretty spectacular, too. along with being gorgeous, it was sooo muddy. which made driving home in no shoes so very fun :) if only i could post photos here! a picture is worth a thousand words, yes? If a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up.

The thought process that went into building these applications, Facebook being the first of them, . . . was all about: “How do we consume as much of your time and conscious attention as possible?” And that means that we need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever.

Who knew that Instagram could result in so many people suddenly being able to earn an income just by posting photos of themselves with a certain product?

Well, bingo, his name popped up in the database on this crime ring’s computer as one of their own. Sloane, Wilma, KazuKen, Celi-hag, BunnyMuff, were all part of the illegal and criminal cyber-bullying ring that used blackmail to extort celebrities and famous authors, musicians, schools like Aunt Sookie Acting Academy for money or they will post lies, false rumors, photo shopped fake photos, and accusations of fake awards, fake credentials on the internet. They did that to Summer and tried to do that with Aunt Sookie, apparently. But as seemingly innocent as they seem, using young girls’ photos as their supposed fake identities, they really were part of a larger crime ring.”, Loving Summer by Kailin Gow

The enemy, however, is not the historically imagined enemy of brown or black youth, more often depicted as America's problem than as its promise. The enemy is not the nameless, faceless, yet ethnically imagined terrorist that we have been encouraged to fear in the post-9/11 environment. Rather, the greater enemy to American democracy is more likely to be an uninformed and uncritical American public that can be manipulated by soothing political slogans, feelgood photo ops, and an endless round of holiday sales.

one thing I do know for sure is that people’s lives are not always as perfect as the filtered photos or edited statuses they post on Facebook.

To us post-moderns, empathy is a stranger in a strange land". ~R. Alan Woods [2012]

The less gear you use, the more you grow as a photographer. Although there are fewer options available, you'll find more creative ways to capture what you feel! In a way, all your technical options before turn into creative solutions that improve your photography even more.

Her gratitude warms my shivering insides. I forget the picture I could have posted and realize that it’s a gift. Real life doesn’t always need to be posted online. I can remember this moment without a photo.

Quit getting bent out of shape about changes to the privacy policy of this free service you voluntarily use.  Judging by the last few photos you posted from spring break, you’re not too concerned with privacy anyway.

What's Facebook? It's where moms like me post about how much we love the husbands who annoy the living bejesus out of us, and share expertly edited photos of our kids and generally talk about our loves like we're living in an enchanted fairy tale blessed by rainbow angel unicorns. In short, it's for lying. But I'm addicted.

Don't search for answers. I felt like I was always searching. Literally -- when I felt depressed I'd wander online, pressing links, looking for something that would make me feel better. I'd surf from friends' photos to strangers' blog posts about how to apply makeup, to the flight message board, to Googling Will for the hundredth time--and feel worse.

I post Instagram photos that I think of as testaments to my beauty and then obsessively check the likes to see if the internet agrees. I collect this data more than I want to admit, trying to measure my allure as objectively and brutally as possible. I want to calculate my beauty to protect myself, to understand exactly how much power and lovability I have.

we should not be surprised that deep work struggles to compete against the shiny thrum of tweets, likes, tagged photos, walls, posts, and all the other behaviors that we’re now taught are necessary for no other reason than that they exist. Bad

I saw the best minds of my generation destroyed by Facebook, starving hysterical naked, dragging themselves through photo slideshows at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connections of their youth through the machinery of night, who clicking and poking and hollow-eyed and high sat up smoking in the supernatural brightness of tiny screens floating across the tops of cities contemplating likes, who bared their brains to the network and saw who got pregnant and who got fat and who’s living the life best lived by posting Instagrams of themselves staggering on tenement roofs illuminated, who passed through newly cropped profile pics with radiant cool eyes obsessing over whose ex’s new lover is the best looking ex-lover’s lover, who breaking their backs falling out of ergonomic chairs while shouting into the icy streets, Everybody look how clever I am, Look how much fun I am having, Look at this amazing party I went to, Look at how well-liked I am, Look at my effortless carefully constructed casual desperate thrown together fun, Everybody look, This is fun, Look, Look, I swear to God I am having so much fun.

I printed out the best-looking photo of him, a joke he’d posted, and some information about his siblings. The scrapbooks weren’t things I liked to carry in public, so I placed my papers neatly in my bag to take home. Sorry, Warner. I swear, it wasn’t me you died for.

How many times have you stopped midsentence to ask a waiter to take a photo and then spent the next five minutes fucking with filters to post it on Instagram? It’s as if we have this strange obsession with proving to the world that we are, in fact, cool. Look, I’m totally guilty of this, and I’m not sure I ever intend to stop. It’s just the culture we live in now, but it’s important to keep things in perspective.

I think we have to be conscious of what we’re after when we’re posting our photo. I think we all have a desire not to feel alone and to feel connected and that’s a basic desire, but in our society celebrity has become the golden lamb . . . if I can get that, I won’t feel alone and will always feel loved.

It’s hard to exaggerate how much the “like” button changed the psychology of Facebook use. What had begun as a passive way to track your friends’ lives was now deeply interactive, and with exactly the sort of unpredictable feedback that motivated Zeiler’s pigeons. Users were gambling every time they shared a photo, web link, or status update. A post with zero likes wasn’t just privately painful, but also a kind of public condemnation: either you didn’t have enough online friends, or, worse still, your online friends weren’t impressed. Like pigeons, we’re more driven to seek feedback when it isn’t guaranteed.

I can think of no sadder example of our food paradigm than two posters taped to the window of a California IHOP. One is a colorful photo of pancakes heaped with bananas, strawberries, nuts, syrups and whipped cream with the caption, 'Welcome to Paradise.' Lower down, an 8x10 photocopy states: 'Chemicals known to cause cancer or birth defects or other reproductive harm may be present in food or beverages sold here.' Such signs are posted on many fast-food outlets. Heaven isn't a place on earth, at least not at these drive-throughs.

Look at that eye-candy you literally have right out your window. Why aren’t you glued to this plate of glass, eating popcorn and posting Instagram photos?

Grace has not been well understood by the post-modern church let alone applied as post-moderns in our lives as a reality that Christ secured for us." ~R. Alan Woods [2012]

Later I check Instagram, and this clown Tanya is posting a photo of some deer. Too busy to write me back, but she has time to post a photo of some deer she saw on a hike?

The monkeys sit on soft rocks Until a scream is released from their clocks They stare into an abyss Post photos of a lunar eclipse Soul-filling moments Consistently missed

Facebook’s strategy, as he described it, was not so different from Napster’s. But rather than exploiting weaknesses in the music industry, it would do so for the human mind. “The thought process that went into building these applications,” Parker told the media conference, “was all about, ‘How do we consume as much of your time and conscious attention as possible?’” To do that, he said, “We need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever. And that’s going to get you to contribute more content, and that’s going to get you more likes and comments.” He termed this the “social-validation feedback loop,” calling it “exactly the kind of thing that a hacker like myself would come up with, because you’re exploiting a vulnerability in human psychology.” He and Zuckerberg “understood this” from the beginning, he said, and “we did it anyway.

Don’t buy clothes at department stores—just take the clothes into the dressing room, post a photo of yourself on Instagram wearing them, and leave as the likes start accumulating by the hundreds.

The human heart was created in the context of the perfection of the garden of Eden. But we don’t live there now. This is why our instincts keep firing off the lie that perfection is possible. We have pictures of perfection etched into the very DNA of our souls. We chase it. We angle our cameras trying to catch it. We take twenty shots hoping to find it. And then even our good photos have to be color corrected, filtered, and cropped. We do our very best to make others think this posted picture is the real deal. But we all know the truth. We all see the charade. We all know the emperor is naked. But there we are, clapping on the sidelines, following along, playing the game. Trying to believe that maybe, just maybe, if we get close to something that looks like perfection it will help us snag a little of its shine for ourselves. But we know even the shiniest of things is headed in the direction of becoming dull. New will always eventually become old. Followers unfollow. People who lift us up will let us down. The most tightly knit aspects of life snag, unravel, and disintegrate before our very eyes. And we are epically disappointed. But we aren’t talking about it.

Introducing these people to our friends and family is, in a way, more heedlessly exhibitionistic than posting nude photos or sex tapes of ourselves online; it’s like letting everyone watch our uncensored dreams.

Posting photos from a protest against border family separation, as I did while writing this, is a microscopically meaningful action, an expression of genuine principle, and also, inescapably, some sort of attempt to signal that I am good.

In such a culture, we should not be surprised that deep work struggles to compete against the shiny thrum of tweets, likes, tagged photos, walls, posts, and all the other behaviors that we’re now taught are necessary for no other reason than that they exist.

Then, on impulse, I scroll back through my previous Instagram posts, looking at the photos of London cafes, sights, drinks, and smiling faces (mostly strangers). The whole thing is like a feel-good movie, and what's wrong with that? Loads of people use colored filters or whatever on Instagram. Well, my filter is the “this is how I'd like it to be” filter. It's not that I lie. I was in those places, even if I couldn't afford a hot chocolate. It's just I don't dwell on any of the not-so-great stuff in my life, like the commute or the prices or having to keep all my stuff in a hammock. Let alone vanilla-whey-coated eggs and abnoxious lechy flatmates. And the point is, it's something to aspire to, something to hope for. One day my life will match my Instagram posts. One day.

Through “posts” and “sharing,” by exhibiting one’s loves and tastes, personal stories, photos, and more, each “curates” a public image of oneself on the web, to which one then continually strives to conform. Personal identity becomes one’s reflection in the others’ eyes.

The researchers found that while sadness is an extreme emotion, it is a wholly unviral one. Sadness, like what one might feel to see a stray dog shivering for warmth or a homeless man begging for money, is typically a low-arousal emotion. Sadness depresses our impulse for social sharing. It’s why nobody wanted to share the Magnum photos but gladly shared the ones on the Huffington Post. The HuffPo photos were awe-some; they made us angry, or they surprised us. Such emotions trigger a desire to act—they are arousing—and that is exactly the reaction a publisher hopes to exploit.

Even before the boxes appeared, the traditional barriers of privacy had long been collapsing, hers already a society of over-sharers. Maura, like so many others, had posted photo after photo online—of decadent meals, of the view from her office, of weekends at the beach with Nina—each one encouraging people to pry deeper and deeper into others’ lives, to expect a certain degree of transparency. Until, finally, even the act of looking at your string—what should have been the most intimate, the most personal of moments—became just another insight into your life that no longer belonged to you alone.

This unintended consequence of performing unity exemplifies the ways in which people can mean well and still do absolutely wrong. Best-case scenario, the black square shows your network that you at least care about black people enough to post a photo, which I should note is free and easy. Unfortunately, worst-case scenario, this insignificant action can set forth a tidal wave of trouble for the grassroots activists on the ground doing the work. Performing solidarity is inherently selfish. Its very point is to virtue-signal that you are a good person, because it matters to you that people know you are a good person.

And they would avoid posting anything that perpetuated some of the new unhealthy trends on the app. They would never post a photo of anybody near a cliff, no matter how beautiful, because they knew that gaining a following on Instagram was becoming so desirable that people were risking their lives for perfect shots.

Instagram something with the intention of it being taken down by Instagram. Take a screenshot of it; keep a record of it. Instagram the screenshot. Screenshot that Instagram. If it is taken down again, repeat the process until all you’re posting is a screenshot of a screenshot of a screenshot . . . of the original photo.

I want to see your photos. In real life. Can I buy one?" she asked, voicing her thoughts aloud. He smiled. "You'd be my first real customer." "But they're so good!" Raden's eyes were very warm and very serious. "No one wants to hang art like that anymore. All they want are little square-shaped selfies they can post online.

Haili! Good morning!” She wrapped her arms around my neck and squeezed. “You look wonderful, so nice to be able to buck trends and just slap clothes together, huh? Let’s take a digital. Smile.” Pressing her cheek to mine, she held up her hand, taking the photo with the tech embedded in the tips of her fingers. “I’ll post it on Hansi.

I probably should say that this is what makes you a good traveler in my opinion, but deep down I really think this is just universal, incontrovertible truth. There is the right way to travel, and the wrong way. And if there is one philanthropic deed that can come from this book, maybe it will be that I teach a few more people how to do it right. So, in short, my list of what makes a good traveler, which I recommend you use when interviewing your next potential trip partner: 1. You are open. You say yes to whatever comes your way, whether it’s shots of a putrid-smelling yak-butter tea or an offer for an Albanian toe-licking. (How else are you going to get the volcano dust off?) You say yes because it is the only way to really experience another place, and let it change you. Which, in my opinion, is the mark of a great trip. 2. You venture to the places where the tourists aren’t, in addition to hitting the “must-sees.” If you are exclusively visiting places where busloads of Chinese are following a woman with a flag and a bullhorn, you’re not doing it. 3. You are easygoing about sleeping/eating/comfort issues. You don’t change rooms three times, you’ll take an overnight bus if you must, you can go without meat in India and without vegan soy gluten-free tempeh butter in Bolivia, and you can shut the hell up about it. 4. You are aware of your travel companions, and of not being contrary to their desires/​needs/​schedules more often than necessary. If you find that you want to do things differently than your companions, you happily tell them to go on without you in a way that does not sound like you’re saying, “This is a test.” 5. You can figure it out. How to read a map, how to order when you can’t read the menu, how to find a bathroom, or a train, or a castle. 6. You know what the trip is going to cost, and can afford it. If you can’t afford the trip, you don’t go. Conversely, if your travel companions can’t afford what you can afford, you are willing to slum it in the name of camaraderie. P.S.: Attractive single people almost exclusively stay at dumps. If you’re looking for them, don’t go posh. 7. You are aware of cultural differences, and go out of your way to blend. You don’t wear booty shorts to the Western Wall on Shabbat. You do hike your bathing suit up your booty on the beach in Brazil. Basically, just be aware to show the culturally correct amount of booty. 8. You behave yourself when dealing with local hotel clerks/​train operators/​tour guides etc. Whether it’s for selfish gain, helping the reputation of Americans traveling abroad, or simply the spreading of good vibes, you will make nice even when faced with cultural frustrations and repeated smug “not possible”s. This was an especially important trait for an American traveling during the George W. years, when the world collectively thought we were all either mentally disabled or bent on world destruction. (One anecdote from that dark time: in Greece, I came back to my table at a café to find that Emma had let a nearby [handsome] Greek stranger pick my camera up off our table. He had then stuck it down the front of his pants for a photo. After he snapped it, he handed the camera back to me and said, “Show that to George Bush.” Which was obviously extra funny because of the word bush.) 9. This last rule is the most important to me: you are able to go with the flow in a spontaneous, non-uptight way if you stumble into something amazing that will bump some plan off the day’s schedule. So you missed the freakin’ waterfall—you got invited to a Bahamian family’s post-Christening barbecue where you danced with three generations of locals in a backyard under flower-strewn balconies. You won. Shut the hell up about the waterfall. Sally

This is a plot: I hope he will keep quiet while he looks at them. I dive under the table and push the chest against his patent leather shoes, I put an armload of post cards and photos on his lap: Spain and Spanish Morocco. But I see by his laughing, open look that I have been singularly mistaken in hoping to reduce him to silence. He glances over a view of San Sebastian from Monte Igueldo, sets it cautiously on the table and remains silent for an instant. Then he sighs: 'Ah, Monsieur, you're lucky ... if what they say is true-travel is the best school. Is that your opinion, Monsieur?' I make a vague gesture. Luckily he has not finished. 'It must be such an upheaval. If I were ever to go on a trip, I think I should make written notes of the slightest traits of my character before leaving, so that when I returned I would be able to compare what I was and what I had become. I've read that there are travellers who have changed physically and morally to such an extent that even their closest relatives did not recognize them when they came back.

The thought process that went into building these applications, Facebook being the first of them, . . . was all about: “How do we consume as much of your time and conscious attention as possible?” And that means that we need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever.

From a social psychological standpoint, the selfie phenomenon seems to stem from two basic human motives. The first is to attract attention from other people. Because people’s positive social outcomes in life require that others know them, people are motivated to get and maintain social attention. By posting selfies, people can keep themselves in other people’s minds. In addition, like all photographs that are posted on line, selfies are used to convey a particular impression of oneself. Through the clothes one wears, one’s expression, staging of the physical setting, and the style of the photo, people can convey a particular public image of themselves, presumably one that they think will garner social rewards.

In matters of affection, the rules of engagement at Empire High were detailed yet unambiguous, an extension of procedures established in junior high, a set of guidelines that couldn't have been clearer if they'd been posted on the schoolhouse door. If you were a girl and your heart inclined toward a particular boy, you had one of your girlfriends make inquiries from one of that boy's friends. Such contact represented the commencement of a series of complex negotiations, the opening rounds of which were handled by friends. Boy's friend A might report to Girl's friend B that the boy in question considered her a fox, or, if he felt particularly strongly, a major fox. Those experienced in these matters knew that it was wise to proceed cautiously, since too much ardor could delay things for weeks. The girl in question might be in negotiations with other parties, and no boy wanted to be on record as considering a girl a major fox only to discover that she considered him merely cool. Friends had to be instructed carefully about how much emotional currency they could spend, since rogue emotions led to inflation, lessening the value of everyone's feelings. Once a level of affection within the comfort zone of both parties was agreed upon, the principals could then meet for the exchange of mementos - rings, jackets, photos, key chains - to seal the deal, always assuming that seconds had properly represented the lovers to begin with.

I believe that social media has become a treacherous platform for love interests. Before the Internet invaded our lives, I’m sure that each single person liked a lot of people at one time. Before falling into a committed relationship, there are steps taken to get there. Often, this involves talking to and even dating a few people at once. That’s logical. But with Facebook, your competition is suddenly splattered in your face. All I had to do was click onto Number 23’s profile and scan one after another wall post from ladies who may or may not be his mating potentials or mating pasts. I see their names and faces. When I click onto their photos, I open a Pandora’s box into their lives. I see their friends, professions, achievements, hobbies, and bodies. I evaluate, I compare, and when I’m insecure, I tear apart. I copy, paste, email, and text the images to my friends, so that they can assure me that I’m prettier, smarter, have bigger breasts, clearer skin, have something that would make him a fool to want her over me. Suddenly, I am stalking, letting fits of rage overcome me with violent hatred for these women who I’ve never met.

Questions to Ask When Creating Facebook Micro-Content Is the text too long? Is it provocative, entertaining, or surprising? Is the photo striking and high-quality? Is the logo visible? Have we chosen the right format for the post? Is the call to action in the right place? Is this interesting in any way, to anyone? For real? Are we asking too much of the person consuming the content?

Well, she’d chosen this. She’d chosen to live by the beach, as if she had as much right as anyone else. She could reward herself for two hours’ work with a walk on the beach. A walk on the beach in the middle of the day. She could go back to Blue Blues, buy a coffee to go and then take an arty photo of it sitting on a fence with the sea in the background and post it on Facebook with a comment: Work break! How lucky am I? People would write, Jealous! If she packaged the perfect Facebook life, maybe she would start to believe it herself. Or she could even post, Mad as hell!! Ziggy the only one in the class not invited to a birthday party!! Grrrrr. And everyone would write comforting things, like, WTF? and Awwww. Poor little Ziggy! She could shrink her fears down into innocuous little status updates that drifted away on the news feeds of her friends.

The first two days without a phone, my insides are jumpy and nauseated, a true withdrawal. My veins ache for information from the Internet, distractions from thought. I’m lonely. My neck, lungs, blood hurt like I’m getting a cold. The world happens without me because I’m exiled with no Wi-Fi. I wonder if my shoes have arrived yet. Maybe Lord is trying to reach me with news of his divorce. I have a parade of grotesque urges. I want to push little buttons quickly. I want information immediately. I want to post pictures of Ruth and me smiling into the sun. I want people to like me, like me, like me. I want to buy things without trying them on. I want to look at photos of drunk kids I knew back in high school. And I want it all in my hand. But my cyborg parts have been ripped out. What’s the temperature? I don’t know. What’s the capital of Hawaii? I don’t know anything. I

This book does not try to “document” any particular aspect of Indian life. To me, doing such a thing would seem a pretentious and pseudo-scientific undertaking, especially for someone from the West. The photographs also make no intentional social or political statement. I never say, when discussing my work, that I am “concerned” with anything (another favorite word tossed about, all too much, by young and socially conscious post-modernists).

Social media activity can draw on the same creativity and imagination as your "serious" work. Ideally, whatever you post connects back to the motivations and themes that drive your writing. The most important thing you can do on any social network is to share things you care about—to express something meaningful rather than dutiful. Never throw up a link or a photo without giving the story behind it, or explaining why it matters to you. People crave meaning.

advances in AI are poised to drive dramatic productivity increases and perhaps eventually full automation. Radiologists, for example, are trained to interpret the images that result from various medical scans. Image processing and recognition technology is advancing rapidly and may soon be able to usurp the radiologist’s traditional role. Software can already recognize people in photos posted on Facebook and even help identify potential terrorists in airports.

The changing trends reflected evolving user preferences, but they were also a reaction against the burnout-inducing standard of the peak influencer era. “We all know the jig is up,” said Matt Klein, a cultural strategist. “We’ve all participated in those staged photos. We all know the stress and anxiety it takes. And we can see through it. Culture is a pendulum and the pendulum is swaying. That’s not to say everyone is going to stop posting perfect photos. But the energy is shifting.” For the reigning influencers, the shift was disorienting and even catastrophic. “What worked for people before doesn’t work anymore,” said James Nord. In 2018, a creator could post a shot with manicured hands on a coffee cup and rake in the likes. By 2019, people would unfollow. According to Fohr, by the end of that year, 60 percent of influencers in his network with more than 100,000 followers were losing followers month over month. “It’s pretty staggering,” he said.

The types of photographs we post need ground rules as well. For example, it is wise to make sure no personally identifying information is accidentally put into a photograph. This includes things like license plates on your cars, the names of your kids’ schools, or your home address. Permission should be sought before posting a photo of someone else. In the case of minor children, this is even more important. It is not fair to them to create a digital trail of their lives that is publicly accessible without their input.

I like to browse my Facebook time line and occasionally “Like” a photograph posted by a random friend from thirty years ago. I would never in a million years call that friend and say, “That was a real cute photo of your baby that you posted.” But liking the photo is my way of connecting with someone that I felt close to at some point in my life, even if it was only because her locker was next to mine in junior high school. Guess what? Turns out, using social media in this way releases oxytocin. You know you feel good when you do it. Do it more.

Have you got your memory back yet, love? You know, a similar thing happened to a friend of mine in 1954. We could not convince her that the war was over. Of course, she ended up forgetting her own name, which I’m sure won’t happen to you.” “No,” said Alice. “It’s Alice. Alice, Alice.” “Tell me she doesn’t post photos of the children on the Internet,” said Nick. “Oh, your children are just beautiful,” said the old lady. “Great. An open invitation to murderers and pedophiles,” said Nick. “I’m sure she doesn’t actually invite people to murder the children,” said Alice. “‘Murderers, check out our

In 2015, the writer Alex Blank Millard engaged in her own gender-swap experiment to highlight the misogynist nature of online abuse. Sick of constantly receiving rape threats from ‘faceless eggs’ online, she changed her Twitter profile photo to that of a white man – but kept the content she posted the same. When Millard tweeted about rape culture, fat shaming, and systemic oppression as Lady Alex, the standard response was a deluge of rape and death threats, and a bunch of guys calling her fat. When she commented on the same things as Straight- and Cis-Looking White Dude Alex, she was retweeted, favourited, and even cited by Buzzfeed (Millard, 2015).

It was a wake-up call to me to learn that Airbnb was by no means unique: Instagram started as a location-based social network called Burbn (which had an optional photo feature). It attracted a core group of users and more than $500,000 in funding. And yet the founders realized that its users were flocking to only one part of the app—the photos and filters. They had a meeting, which one of the founders recounts like this: “We sat down and said, ‘What are we going to work on next? How are we going to evolve this product into something millions of people will want to use? What is the one thing that makes this product unique and interesting?’”7 The service soon retooled to become Instagram as we know it: a mobile app for posting photos with filters. The result? One hundred thousand users within a week of relaunching. Within eighteen months, the founders sold Instagram to Facebook for $1 billion. I know that seems simple, that the marketing lesson from Instragram is that they made a product that was just awesome. But that’s good news for you—it means there’s no secret sauce, and the second your product gets to be that awesome, you can see similar results. Just look at Snapchat, which essentially followed the same playbook by innovating in the mobile photo app space, blew up with young people, and skyrocketed to a $3.5-billion-dollar valuation with next-to-no marketing.

The call of self-expression turned the village of the internet into a city, which expanded at time-lapse speed, social connections bristling like neurons in every direction. At ten, I was clicking around a web ring to check out other Angelfire sites full of animal GIFs and Smash Mouth trivia. At twelve, I was writing five hundred words a day on a public LiveJournal. At fifteen, I was uploading photos of myself in a miniskirt on Myspace. By twenty-five, my job was to write things that would attract, ideally, a hundred thousand strangers per post. Now I’m thirty, and most of my life is inextricable from the internet, and its mazes of incessant forced connection—this feverish, electric, unlivable hell.

Her acknowledgement of his bravery made me feel proud of him, which was a comfort, especially when I was faced with so many other people distancing themselves from us, then having to deal with the press, who behaved like animals. Having followed his story, they swarmed to the house after his death: Henry had become headline news. While he had wanted his story to be shared in the hope it would have a positive impact, for us in the direct aftermath, the reality was extremely difficult to deal with. Every morning, a newspaper was posted through the door with Henry’s photo and huge, normally very blunt, headlines. And the press kept coming, the police seemingly unable to stop them, as they filled the street, ringing the doorbell all day and all night, stooping

For many, Facebook is less about looking up friends than it is about looking at friends. Research tells us that, on average, Facebook users spend more time examining others’ pages than adding content to their own. The site’s most frequent visitors—most often females who post and share photos and who receive status updates—use the site for “social surveillance.” These social investigators usually aren’t getting in touch or staying in touch with friends as much as they are checking up on them. And my clients are right: Judging and evaluating are involved. In one study, nearly four hundred participants examined mock-up Facebook pages and rated web-page owners for attractiveness, only to decide that the best-looking owners were the ones with the best-looking friends.

One of the photos Yaken posted on social media after he made it to Syria showed a bucket filled with severed heads, hashtagged “#headmeat.”36 Irrespective of whether his adventure to the land of the caliphate was spiritually fulfilling, the imagery it produced was a kind of pornography. And like all pornography, it aroused strong reactions, ranging from titillation to revulsion, and sometimes both at once. These reactions share an intellectually disarming effect. As in the case of porn, they resist detached analysis. The scholar of religion Jonathan Z. Smith noted a similar tendency in the failure to understand the mass suicide at Jonestown in 1978. The problem, he said, was an unwillingness to undertake the difficult task of “looking, rather than staring or looking away.”37

When these red flags appeared early on, the narrative was “shaped” in a way that was at times romantic, passionate, and even practical. The old saying of “love is blind” applies here, and before these patterns set in, hope is often what allows people to look the other way when the red flags arise. Over time, the narratives become a bit more realistic, hope begins to fade, and it becomes brutally clear that these patterns of mistrust, anger, and deceit are here to stay. A human relationship should not be built on what you can do for someone, but simply on a mutual partnership. A narcissistic relationship can often devolve into superficial attributes, such as jobs, schools, titles, resources, addresses, photo-shopped images, status posts, quiet children, well-appointed homes, and possessions.

A long time has passed since the last time i was in that courtroom, but I worry I will forever be stuck on the stand. My mind is one step behind where it used to be. I call it the lag. Before I was living in real time. Now I evaluate the moment before I can move into it. I am always asking permission, anticipating have to present myself to an invisible jury, answering questions before a defense. When I reach for a piece of clothing, the first thing I think is, What will they think if I wear this? When I go anywhere I think, Will I be able to explain why I am going? If I post a photo I think, If this were submitted as evidence, would I look too silly, my shoulders too bare? The time I spend questioning what I'm doing, turning things over and talking myself back to normalcy, has become the toll.

In 2011, actor Johnny Depp told the November issue of Vanity Fair that he felt participating in a photoshoot was akin to rape. "Well, you just feel like you're being raped somehow. Raped . . . It feels like a kind of weird - just weird, man. But whenever you have a photo shoot or something like that, it's like - you just feel dumb. It's just so stupid," he said. Likening instances of being flustered or uneasy to the often life-shattering experience of rape has become a far too common comparison in modern lexicon. The phrase "Facebook rape" is perhaps the most widely used, which implies one person has posted on another person's Facebook account - usually something intended to embarrass the person. But the casual, flippant use of the term "rape" in instances that do not involve sexual violence is highly problematic in that it trivialises one of the most despicable invasions of a human being. Desensitising the masses to the term "rape" is just another way the conversation surrounding sexual assault is derailed or diluted in society. Rape is, and should be considered universally, as a serious societal sickness that occurs within the "toxic silence" that surrounds sexual assault as Tara Moss put so elegantly in her recent Q&A appearance. Further to that, the use of the term can be a trigger for rape survivors in that it may jolt terrifying memories of their own experience. According to the Australian Institute of Family Studies, up to 57 per cent of rape survivors suffer post-traumatic stress disorder in their lifetime, with "triggers" including inflammatory words like rape causing deeply traumatic recollections. Beware desensitising the term "rape", Newcastle Herald, June 6, 2014

And I *know* I wrote in the above that I hate biographies and reviews that focus on the psychological, surface detail, especially when they pertain to women writers, because I think it’s really about the cult of the personality, which is essentially problematic, and I think simplistically psychologizing which biographies are so wont to do is really problematic, and dangerous, especially when dealing with complicated women who just by being writers at a certain time and age were labelled as nonconformist, or worse, hysterical or ill or crazy, and I think branding these women as femme fatales is all so often done. And I know in a way I’m contributing to this by posting their bad-ass photos, except hopefully I am humanizing them and thinking of them as complicated selves and intellects AND CELEBRATING THEM AS WRITERS as opposed to straight-up objectifying. One particular review long ago in Poetry that really got my goat was when Brian Phillips used Gertrude Stein’s line about Djuna Barnes having nice ankles as an opener in a review of her poetry, and to my mind it was meant to be entirely dismissive, as of course, Stein was being as well. Stein was many important revolutionary things to literature, but a champion of her fellow women writers she was not. They published my letter, but then let the guy write a reply and scurry to the library and actually read Nightwood, one of my all-time, all-times, and Francis Bacon’s too, there’s another anecdote. And it’s burned in my brain his response, which was as dismissive and bourgeois as the review. I don’t remember the exact wordage, but he concluded by summing up that Djuna Barnes was a minor writer. Well, fuck a duck, as Henry Miller would say. And that is how the canon gets made.

The problem, Augustine came to believe, is that if you think you can organize your own salvation you are magnifying the very sin that keeps you from it. To believe that you can be captain of your own life is to suffer the sin of pride. What is pride? These days the word “pride” has positive connotations. It means feeling good about yourself and the things associated with you. When we use it negatively, we think of the arrogant person, someone who is puffed up and egotistical, boasting and strutting about. But that is not really the core of pride. That is just one way the disease of pride presents itself. By another definition, pride is building your happiness around your accomplishments, using your work as the measure of your worth. It is believing that you can arrive at fulfillment on your own, driven by your own individual efforts. Pride can come in bloated form. This is the puffed-up Donald Trump style of pride. This person wants people to see visible proof of his superiority. He wants to be on the VIP list. In conversation, he boasts, he brags. He needs to see his superiority reflected in other people’s eyes. He believes that this feeling of superiority will eventually bring him peace. That version is familiar. But there are other proud people who have low self-esteem. They feel they haven’t lived up to their potential. They feel unworthy. They want to hide and disappear, to fade into the background and nurse their own hurts. We don’t associate them with pride, but they are still, at root, suffering from the same disease. They are still yoking happiness to accomplishment; it’s just that they are giving themselves a D– rather than an A+. They tend to be just as solipsistic, and in their own way as self-centered, only in a self-pitying and isolating way rather than in an assertive and bragging way. One key paradox of pride is that it often combines extreme self-confidence with extreme anxiety. The proud person often appears self-sufficient and egotistical but is really touchy and unstable. The proud person tries to establish self-worth by winning a great reputation, but of course this makes him utterly dependent on the gossipy and unstable crowd for his own identity. The proud person is competitive. But there are always other people who might do better. The most ruthlessly competitive person in the contest sets the standard that all else must meet or get left behind. Everybody else has to be just as monomaniacally driven to success. One can never be secure. As Dante put it, the “ardor to outshine / Burned in my bosom with a kind of rage.” Hungry for exaltation, the proud person has a tendency to make himself ridiculous. Proud people have an amazing tendency to turn themselves into buffoons, with a comb-over that fools nobody, with golden bathroom fixtures that impress nobody, with name-dropping stories that inspire nobody. Every proud man, Augustine writes, “heeds himself, and he who pleases himself seems great to himself. But he who pleases himself pleases a fool, for he himself is a fool when he is pleasing himself.”16 Pride, the minister and writer Tim Keller has observed, is unstable because other people are absentmindedly or intentionally treating the proud man’s ego with less reverence than he thinks it deserves. He continually finds that his feelings are hurt. He is perpetually putting up a front. The self-cultivator spends more energy trying to display the fact that he is happy—posting highlight reel Facebook photos and all the rest—than he does actually being happy. Augustine suddenly came to realize that the solution to his problem would come only after a transformation more fundamental than any he had previously entertained, a renunciation of the very idea that he could be the source of his own solution.

In under two weeks, and with no budget, thousands of college students protested the movie on their campuses nationwide, angry citizens vandalized our billboards in multiple neighborhoods, FoxNews.com ran a front-page story about the backlash, Page Six of the New York Post made their first of many mentions of Tucker, and the Chicago Transit Authority banned and stripped the movie’s advertisements from their buses. To cap it all off, two different editorials railing against the film ran in the Washington Post and Chicago Tribune the week it was released. The outrage about Tucker was great enough that a few years later, it was written into the popular television show Portlandia on IFC. I guess it is safe to admit now that the entire firestorm was, essentially, fake. I designed the advertisements, which I bought and placed around the country, and then promptly called and left anonymous complaints about them (and leaked copies of my complaints to blogs for support). I alerted college LGBT and women’s rights groups to screenings in their area and baited them to protest our offensive movie at the theater, knowing that the nightly news would cover it. I started a boycott group on Facebook. I orchestrated fake tweets and posted fake comments to articles online. I even won a contest for being the first one to send in a picture of a defaced ad in Chicago (thanks for the free T-shirt, Chicago RedEye. Oh, also, that photo was from New York). I manufactured preposterous stories about Tucker’s behavior on and off the movie set and reported them to gossip websites, which gleefully repeated them. I paid for anti-woman ads on feminist websites and anti-religion ads on Christian websites, knowing each would write about it. Sometimes I just Photoshopped ads onto screenshots of websites and got coverage for controversial ads that never actually ran. The loop became final when, for the first time in history, I put out a press release to answer my own manufactured criticism: TUCKER MAX RESPONDS TO CTA DECISION: “BLOW ME,” the headline read.

In a chilling 2017 interview, Sean Parker, the first president of Facebook, explained those early years like this: The thought process that went into building these applications Facebook being the first of them... was all about: "How do we consume as much of your time and conscious attention as possible?"... And that means that we need to sort of give you a little dopamine hit every once in a while, because someone like or commented on a photo or a post or whatever. And that's going to get you... more likes and comments... It's a social-validation feedback loop... exactly the kind of thing that a hacker like myself would come up with, because you're exploiting a vulnerability in human psychology. Earlier in the interview, he said, "God only knows what it's doing to our children's brains." In short, iGen [beginning with those born in 1995] is the first generation that spent (and is now spending) its formative teen years immersed in the giant social and commercial experiment of social media. What could go wrong?

I scan my apps to find a new notification—it’s from Instagram. One new follower. I gasp when I open it. Graeme Cracker_Collins has followed me. Graham Cracker. My own private nickname for him. My heart gallops and my chest aches. I click on the tiny photo of Graeme, his face smiling at me from underneath his windswept hair. He’s posted three photos from the Galápagos, and one of them is of me, although you can’t exactly tell. It’s the one he snapped in the highlands. A sunburst obscures most of my face, casting it in shadow, but the outline of my profile cuts a dramatic figure against the trees. I tap on the photo to read the caption. Graeme Cracker_Collins: To the woman who inspired me to rejoin the world, “thank you” will never be enough. Graeme already has more than two hundred followers, many of whom have left messages of love and welcome. Clearly, friends and extended family. Ryan_Collins206 commented on the photo of me: “Who is this woman? I need to give her a kiss.” I swallow past the painful lump in my throat. Graeme has officially returned to the world. Heart cracking, I follow him back.

Systrom and Krieger didn’t want any of this to be on Instagram and knew, as the site got bigger, that they wouldn’t be able to comb through everything to delete the worst stuff manually. After just nine months, the app already hosted 150 million photos, with users posting 15 photos per second. So they brainstormed a way to automatically detect the worst content and prevent it from going up, to preserve Instagram’s fledgling brand. “Don’t do that!” Zollman said. “If we start proactively reviewing content, we are legally liable for all of it. If anyone found out, we’d have to personally review every piece of content before it goes up, which is impossible.” She was right. According to Section 230 of the Communications Decency Act, nobody who provided an “interactive computer service” was considered the “publisher or speaker” of the information, legally speaking, unless they exerted editorial control before that content was posted. The 1996 law was Congress’s attempt to regulate pornographic material on the Internet, but was also crucial to protecting internet companies from legal liability for things like defamation.

Being capable and productive feels somewhat beside the point these days. Either you're popular, and therefore exciting and successful and a winner, or you're unpopular, and therefore unimportant and invisible and devoid of redeeming value. Being capable was much more celebrated in the 1970s when I was growing up. People had real jobs that lasted a lifetime back then, and many workers seemed to embrace the promise that if you worked steadily and capably for years, you would be rewarded for it. Even without those rewards, working hard and knowing how to do things seemed like worthwhile enterprises in themselves. "Can she back a cherry pie, Billy Boy, Billy Boy?" my mom used to sing while rolling out pie crust with her swift, dexterous hands. Sexist as its message may have been, the modern version of that song might be worse. It would center around taking carefully staged and filtered photos of your pretty face next to a piece of cherry pie and posting it to your Instagram account, to be rewarded with two thousand red hearts for your efforts. Making food, tasting it, sharing it, understanding yourself as a human who can do things - all of this is flattened down to nothing, now, since only one or two people would ever know about it. Better to feed two thousand strangers an illusion than engage in real work to limited ends.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the power she was carrying some sort of project about World War II—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some poignant music, out is in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the poster board chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain as it’s happening, and then the moment is over.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the poster she was carrying, some sort of project about World War Two—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration-camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some sort of poignant music, put us in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the posterboard chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain it as it’s happening, and then the moment is over.

The clear transmission of facts and evidence becomes irrelevant in the hyperemotional space of social media. Facts come from a world external to ourselves—namely, reality. Actually, that’s the whole point. But in the social media world, they are either meaningless or threatening to the self we’re constructing and protecting. The world can’t help but degrade into “It’s all about me.” Deluged with information filtered through the lens of popular self, our internal monitoring causes the world to shrink: Did the news make me feel bad? Turn it off. Did that comment upset me? Blast the messenger. Did that criticism hurt me? Get depressed or strike back. This is the tragedy of self-reference where, instead of responding to information from the external environment to create an orderly system of relationships, the narrow band of information obsessively processed creates isolation, stress, and self-defense.6 Focused internally, the outside world where facts reside doesn’t have meaning. Our communication with one another via the Web generates extreme reactions. Think about how small events take over the Internet because people get upset from a photo and minimal information. There doesn’t have to be any basis in fact or any understanding of more complex reasons for why this event happened. People see the visual, comment on it, and viral hysteria takes over. Even when more context is given later that could help people understand the event, it doesn’t change their minds. People go back to scanning and posting, and soon there is another misperceived event to get hysterical about. One commentator calls this “infectious insanity.”7

Starting a little over a decade ago, Target began building a vast data warehouse that assigned every shopper an identification code—known internally as the “Guest ID number”—that kept tabs on how each person shopped. When a customer used a Target-issued credit card, handed over a frequent-buyer tag at the register, redeemed a coupon that was mailed to their house, filled out a survey, mailed in a refund, phoned the customer help line, opened an email from Target, visited Target.com, or purchased anything online, the company’s computers took note. A record of each purchase was linked to that shopper’s Guest ID number along with information on everything else they’d ever bought. Also linked to that Guest ID number was demographic information that Target collected or purchased from other firms, including the shopper’s age, whether they were married and had kids, which part of town they lived in, how long it took them to drive to the store, an estimate of how much money they earned, if they’d moved recently, which websites they visited, the credit cards they carried in their wallet, and their home and mobile phone numbers. Target can purchase data that indicates a shopper’s ethnicity, their job history, what magazines they read, if they have ever declared bankruptcy, the year they bought (or lost) their house, where they went to college or graduate school, and whether they prefer certain brands of coffee, toilet paper, cereal, or applesauce. There are data peddlers such as InfiniGraph that “listen” to shoppers’ online conversations on message boards and Internet forums, and track which products people mention favorably. A firm named Rapleaf sells information on shoppers’ political leanings, reading habits, charitable giving, the number of cars they own, and whether they prefer religious news or deals on cigarettes. Other companies analyze photos that consumers post online, cataloging if they are obese or skinny, short or tall, hairy or bald, and what kinds of products they might want to buy as a result.

Excuse me,” someone said, interrupting a lively discussion about whom they’d each buy a drink for in the cantina. The whole line looked up. There were two women standing on the sidewalk with bakery boxes. One of them cleared her throat. “We heard that people were camping out for Star Wars . . .” “That’s us!” Troy said, only slightly less enthusiastically than he’d said it yesterday. “Where’s everybody else?” she asked. “Are they around the back? Do you do this in shifts?” “It’s just us,” Elena said. “We’re the Cupcake Gals,” the other woman said. “We thought we’d bring Star Wars cupcakes? For the line?” “Great!” Troy said. The Cupcake Gals held on tight to their boxes. “It’s just . . .” the first woman said, “we were going to take a photo of the whole line, and post it on Instagram . . .” “I can help you there!” Elena said. Those cupcakes were not going to just walk away. Not on Elena’s watch. Elena took a selfie of their line, the Cupcake Gals and a theater employee all holding Star Wars cupcakes—it looked like a snapshot from a crowd— and promised to post it across all her channels. The lighting was perfect. Magic hour, no filter necessary. #CupcakeGals #TheForceACAKEns #SalaciousCrumbs The Gals were completely satisfied and left both boxes of cupcakes. “This is the first time I’ve been happy that there were only three of us,” Elena said, helping herself to a second cupcake. It was frosted to look like Chewbacca. “You saved these cupcakes,” Gabe said. “Those women were going to walk away with them.” “I know,” Elena said. “I could see it in their eyes. I would’ve stopped at nothing to change their minds.” “Thank God they were satisfied by a selfie then,” Gabe said. His cupcake looked like Darth Vader, and his tongue was black. “I’m really good at selfies,” Elena said. “Especially for someone with short arms.” “Great job,” Troy said. “You’ll make someone a great provider someday.” “That day is today,” Elena said, leaning back against the theater wall. “You’re both welcome.” “Errrggh,” Troy said, kicking his feet out. “Cupcake coma.” “How many did you eat?” Gabe asked. “Four,” Troy said. “I took down the Jedi Council. Time for a little midday siesta—the Force asleepens.

Self-Obsession & Self-Presentation on Social-Media" Some people always post their cars/bikes photos because they love their cars/bikes so much. Some people always post their dogs/cats/birds/fish/pets photos because they love their pets so much. Some people always post their children’s/families photos because they love their children/families so much. Some people always post their daily happy/sad moments because they love sharing their daily lives so much. Some people always post their poems/songs/novels/writings because they love being poets/lyricists/novelists/writers so much. Some people always copy paste other people’s writings/quotes without mentioning the actual writers name because they love seeking attention/fame so much. [Unacceptable & Illegal] Some people always post their plants/garden’s photos because they love planting/gardening so much. Some people always post their art/paintings because they love their creativity so much. Some people always post their home-made food because they love cooking/thoughtful-presentation so much. Some people always post their makeup/hairstyles selfies because they love wearing makeup/doing hair so much. Some people always post their party related photos because they love those parties so much. Some people always post their travel related photos because they love traveling so much. Some people always post their selfies because they love taking selfies so much. Some people always post restaurant/street-foods because they love eating in restaurants/streets so much. Some people always post their job-related photos because they love their jobs so much. Some people always post religious things because they love spreading their religion so much. Some people always post political things because they love politics/power so much. Some people always post inspirational messages because they love being spiritual. Some people always share others posts because they love sharing links so much. Some people always post their creative photographs because they love photography so much. Some people always post their business-related products because they love advertising so much. And some people always post complaints about other people’s post because they love complaining so much

Sam was about to travel to Asia with her boyfriend and she was fretting about what her backers would think if she released some of her new songs while she was 'on vacation'. She was worried that posting pictures of herself sipping a Mai Tai was going to make her look like an asshole. What does it matter? I asked her, where you are whether you're drinking a coffee, a Mai Tai or a bottle of water? I mean, aren't they paying for your songs so that you can... live? Doesn't living include wandering and collecting emotions and drinking a Mai Tai, not just sitting in a room writing songs without ever leaving the house? I told Sam about another songwriter friend of mine, Kim Boekbinder, who runs her own direct support website through which her fans pay her monthly at levels from $5 to $1,000. She also has a running online wishlist of musical gear and costumes kindof like a wedding registry, to which her fans can contribute money anytime they want. Kim had told me a few days before that she doesn't mind charging her backers during what she calls her 'staring at the wall time'. She thinks this is essential before she can write a new batch of songs. And her fans don't complain, they trust her process. These are new forms of patronage, there are no rules and it's messy, the artists and the patrons they are making the rules as they go along, but whether these artists are using crowdfunding (which is basically, front me some money so I can make a thing) or subscription services (which is more like pay me some money every month so that I can make things) or Patreon, which is like pay per piece of content pledge service (that basically means pay me some money every time I make a thing). It doesn't matter, the fundamental building block of all of these relationships boils down to the same simple thing: trust. If you're asking your fans to support you, the artist, it shouldn't matter what your choices are, as long as you're delivering your side of the bargain. You may be spending the money on guitar picks, Mai Tais, baby formula, college loans, gas for the car or coffee to fuel your all-night writing sessions. As long as art is coming out the other side, and you're making your patrons happy, the money you need to live (and need to live is hard to define) is almost indistinguishable from the money you need to make art. ... (6:06:57) ... When she posts a photo of herself in a vintage dress that she just bought, no one scolds her for spending money on something other than effects pedals. It's not like her fan's money is an allowance with nosy and critical strings attached, it's a gift in the form of money in exchange for her gift, in the form of music. The relative values are... messy. But if we accept the messiness we're all okay. If Beck needs to moisturize his cuticles with truffle oil in order to play guitar tracks on his crowdfunded record, I don't care that the money I fronted him isn't going towards two turntables or a microphone; just as long as the art gets made, I get the album and Beck doesn't die in the process.

A famous British writer is revealed to be the author of an obscure mystery novel. An immigrant is granted asylum when authorities verify he wrote anonymous articles critical of his home country. And a man is convicted of murder when he’s connected to messages painted at the crime scene. The common element in these seemingly disparate cases is “forensic linguistics”—an investigative technique that helps experts determine authorship by identifying quirks in a writer’s style. Advances in computer technology can now parse text with ever-finer accuracy. Consider the recent outing of Harry Potter author J.K. Rowling as the writer of The Cuckoo’s Calling , a crime novel she published under the pen name Robert Galbraith. England’s Sunday Times , responding to an anonymous tip that Rowling was the book’s real author, hired Duquesne University’s Patrick Juola to analyze the text of Cuckoo , using software that he had spent over a decade refining. One of Juola’s tests examined sequences of adjacent words, while another zoomed in on sequences of characters; a third test tallied the most common words, while a fourth examined the author’s preference for long or short words. Juola wound up with a linguistic fingerprint—hard data on the author’s stylistic quirks. He then ran the same tests on four other books: The Casual Vacancy , Rowling’s first post-Harry Potter novel, plus three stylistically similar crime novels by other female writers. Juola concluded that Rowling was the most likely author of The Cuckoo’s Calling , since she was the only one whose writing style showed up as the closest or second-closest match in each of the tests. After consulting an Oxford linguist and receiving a concurring opinion, the newspaper confronted Rowling, who confessed. Juola completed his analysis in about half an hour. By contrast, in the early 1960s, it had taken a team of two statisticians—using what was then a state-of-the-art, high-speed computer at MIT—three years to complete a project to reveal who wrote 12 unsigned Federalist Papers. Robert Leonard, who heads the forensic linguistics program at Hofstra University, has also made a career out of determining authorship. Certified to serve as an expert witness in 13 states, he has presented evidence in cases such as that of Christopher Coleman, who was arrested in 2009 for murdering his family in Waterloo, Illinois. Leonard testified that Coleman’s writing style matched threats spray-painted at his family’s home (photo, left). Coleman was convicted and is serving a life sentence. Since forensic linguists deal in probabilities, not certainties, it is all the more essential to further refine this field of study, experts say. “There have been cases where it was my impression that the evidence on which people were freed or convicted was iffy in one way or another,” says Edward Finegan, president of the International Association of Forensic Linguists. Vanderbilt law professor Edward Cheng, an expert on the reliability of forensic evidence, says that linguistic analysis is best used when only a handful of people could have written a given text. As forensic linguistics continues to make headlines, criminals may realize the importance of choosing their words carefully. And some worry that software also can be used to obscure distinctive written styles. “Anything that you can identify to analyze,” says Juola, “I can identify and try to hide.

Each day, Internet users share more than 1.8 billion photos, according to a report by venture firm Kleiner Perkins Caufield & Byers. For advertisers, the social media posts that include those photos are more valuable than those with just text because pictures reveal how consumers act "in the wild." "You have a window into their world," said Duncan Alney, CEO of Firebelly Marketing in Indianapolis, which uses Ditto Labs' service. Alney, whose firm represents a beer company, learned from Ditto that people drink beer not just with pub grub but also with healthier snacks like hummus. And that consumers who favor mainstream beers also consume craft brews. Other companies use it to interact with fans. Nissan North America found a photo on Twitter of a baby peeking out from behind a cardboard cutout of a Nissan race car driver. Nissan got the Twitter user's permission and reposted the photo on the company's account, garnering 17 retweets and 37 favorites. The original photo was not tagged with "Nissan," so without Ditto the company never would have found it, said Rob Robinson, a senior specialist in social communications at the automaker.

The company has also used its object recognition technology to analyze the characteristics of 160,000 people in the US who posted photos of cats or dogs. The public study found that “cat people” are more likely to enjoy sci-fi films, less likely to be in a relationship and have 26 fewer friends on average than “dog people”.

Taking a deep breath, Sailor decided to lay himself at her feet. "I was imagining the future and thinking of how if everything went according to plan, I'd have a very successful business with a high turnover." He made sure his hands were locked behind Ísa's back--just in case she decided to leave him in her dust a fourth time. "And since I'd be rich, I'd be able to buy houses and other nice things for my family." Ísa frowned. "I don't think your family expects that." "They don't exactly need my largess either," Sailor muttered. "But in my future fantasy, I'm buying everyone fancy cars and houses. Go with it." Ísa's lips twitched. "Okay, big spender. What else is fantasy Sailor doing?" "He's building a ginormous mansion. Swimming pool, tennis court, the works." "Is he hiring a buff personal masseuse named Sven?" "Hell no." He glared at her. "The masseuse is a fifty-year-old forner bodybuilder named Helga. Now, can I carry on?" Pretending to zip up her lips and throw away the key, Ísa made a "go on" motion. "Future Sailor is also creating a huge walk-in closet for you and filling it with designer shoes and clothes. He's giving you everything your heart desires." A flicker of darkness in Ísa's gaze, but she didn't interrupt... though her hands went still on his shoulders. "And there's a tricked-out nursery too," he added. "Plus a private playground for our rug rats." Throat moving, Ísa said, "How many?" It was a husky question. "Seven, I think." "Very funny, mister." "I'm not done." Sailor was the one who swallowed this time. "And in this fantasy house, future Sailor walks in late for dinner again because of a board meeting, and he has a gorgeous, sexy, brilliant wife and adorable children. But his redhead doesn't look at him the same anymore. And it doesn't matter how many shoes he buys her or how many necklaces he gives her, she's never again going to look at him the way she did before he stomped on her heart. Ísa's lower lip began to quiver, but she didn't speak. "I'm so sorry, baby." Sailor cupped her face, made sure she saw the sheer terror he felt at the thought of losing her. "I've been so tied to this idea of becoming a grand success that I forgot what it was all about in the first place--being there for the people I love. Sticking through the good and the bad. Never abandoning them." Silent tears rolled own Ísa's face. "But that great plan of mine?" he said, determined not to give himself any easy outs. "It'd have mean abandoning everyone. How can I be there for anyone when all I do is work? When I shove aside all other commitments? When the people I love hesitate to ask for my time because I'm too tired and too busy?" Using his thumbs, he rubbed away her tears. More splashed onto the backs of his hands, her hurt as hot as acid. "Spitfire, please," he begged, breaking. "I'll let you punch me as many times as you want if you stop crying. With a big red glove. And you can post photos online." Ísa pressed her lips together, blinked rapidly several times. And pretended to punch him with one fist, the touch a butterfly kiss. Catching her hand, he pressed his lips to it. "That's more like my Ísa." He wrapped his arms around her again. And then he told her the most important thing. "I realized that I could become a multimillionaire, but it would mean nothing if my redhead didn't look at me the way she does now, if she expected to have to take care of everything alone like she's always done--because her man was a selfish bastard who was never there." Ísa rubbed her nose against his. "You're being very hard on future Sailor," she whispered, her voice gone throaty. "That dumbass deserves it," Sailor growled. "He was going to put his desire to be a big man above his amazing, smart, loving redhead.

Google was in the water when the waves of Internet traffic came because it was tinkering with new ideas under the umbrella of Google’s famous “20% Time.” “20% Time” is not Google indigenous. It was borrowed from a company formerly known as Minnesota Mining and Manufacturing, aka 3M, which allowed its employees to spend 15 percent of their work hours experimenting with new ideas, no questions asked. 3M’s “15% Time” brought us, among other things, Post-it Notes. Behind this concept (which is meticulously outlined in an excellent book by Ryan Tate called The 20% Doctrine) is the idea of constantly tinkering with potential trends—having a toe in interesting waters in case waves form. This kind of budgeted experimentation helps businesses avoid being disrupted, by helping them harness waves on which younger competitors might otherwise use to ride past them. It’s helped companies like Google, 3M, Flickr, Condé Nast, and NPR remain innovative even as peer companies plateaued. In contrast, companies that are too focused on defending their current business practice and too fearful to experiment often get overtaken. For example, lack of experimentation in digital media has cost photo brand Kodak nearly $ 30 billion in market capitalization since the digital photography wave overwhelmed it in the late ’90s. The best way to be in the water when the wave comes is to budget time for swimming.

Ultimately Old Holborn agrees with /b/: “Would you go post photos of yourself and put them on the internet? So why did she do it? It’s not about teaching her a lesson, but she has to be responsible.

Today, 18 out of 45 customers entering a restaurant ask whether they can sit somewhere else. From that point on, their digital lives take over. Diners take out their phones and try to connect to the nearest Wi-Fi. They hunt down information or check if anyone “liked” their Facebook post, often forgetting that their menus are waiting there on the table, which is why when the waiter asks them if they’re ready to order, most respond that they need more time. Twenty-one minutes later, they’re ready to order. Twenty-six of them spend up to three minutes taking photos of their food. Fourteen snap photos of each other eating, and if the photos are blurry or unflattering, they retake them. Approximately one-half of all diners ask if their server would take a group photo and while he’s at it, would he mind taking a few more? The second half sends their food back to the kitchen, claiming it’s cold (which it is, as they’ve spent the past ten minutes playing with their phones and not eating). Once they pay their check, they leave the restaurant twenty minutes later, versus five minutes in 2004. As they exit, eight diners are so distracted that they bump into another diner, or a waiter, or a table, or a chair. An