#features of social networking site

[social-engine]

Top 15 Features of a Social Networking Site

Social media has revolutionized the way we connect and communicate. This blog explores the key features that make social networking platforms so popular and successful:

Core Features:

User Profiles: The foundation of social media, allowing users to create digital identities.

News Feeds: Real-time updates from friends, family, and followed accounts.

Friend and Follower Systems: Enabling users to connect with like-minded individuals.

Messaging and Chat: Facilitating direct communication between users.

Media Sharing: Sharing photos, videos, and live streams.

Commenting and Liking: Engaging with content through likes, comments, and shares.

Groups and Communities: Bringing people together based on shared interests.

Events: Planning and organizing both online and offline events.

Hashtags: Categorizing content for better discoverability.

Advanced Features:

Privacy and Security: Protecting user data and allowing for personalized privacy settings.

Notifications and Alerts: Keeping users informed about activity on the platform.

Tailored Preferences: Customizing user experiences based on individual preferences.

Advertising and Monetization: Generating revenue through targeted ads and sponsored content.

Polls and Classified Listings: Enabling user-generated content and community interactions.

Social Login: Simplifying the sign-up process and enabling cross-platform integration.

By understanding these essential features, you can leverage the power of social media to build strong online communities and achieve your digital marketing goals.

For more details, visit:- Top 15 Features of a Social Networking Site

Please mail us at sales@socialengine.com to schedule a quote and become the owner of your best social network site.

[agentromanoffsir]

neocities guide - why you should build your own html website

do you miss the charm of the 90s/00s web where sites had actual personality instead of the same minimalistic theme? are you feeling drained by social media and the constant corporate monopoly of your data and time? do you want to be excited about the internet again? try neocities!!

what is neocities?

neocities is a free hosting website that lets you build your own html website from scratch, with total creative control. in their own words: "we are tired of living in an online world where people are isolated from each other on boring, generic social networks that don't let us truly express ourselves. it's time we took back our personalities from these sterilized, lifeless, monetized, data mined, monitored addiction machines and let our creativity flourish again."

why should I make my own website?

web3 has been overtaken by capitalism & conformity. websites that once were meant to be fun online social spaces now exist solely to steal your data and sell you things. it sucks!! building a personal site is a great way to express yourself and take control of your online experience.

what would I even put on a website?

the best part about making your own site is that you can do literally whatever the hell you want! focus on a specific subject or make it a wild collection of all your interests. share your art! make a shrine for one of your interests! post a picture of every bird you see when you step outside! make a collection of your favorite blinkies! the world is your oyster !! here are some cool example sites to inspire you: recently updated neocities sites | it can be fun to just look through these and browse people's content! space bar | local interstellar dive bar creature feature | halloween & monsters big gulp supreme peanutbuttaz | personal site dragodiluna linwood | personal site patho grove | personal site

getting started: neocities/html guide

sound interesting? here are some guides to help you get started, especially if you aren't familiar with html/css sadgrl.online webmastery | a fantastic resource for getting started with html & web revival. also has a layout builder that you can use to start with in case starting from scratch is too intimidating web design in 4 minutes | good for learning coding basics w3schools | html tutorials templaterr | demo & html for basic web elements eggramen test pages | css page templates to get started with sadgrl background tiles | bg tiles rivendell background tiles | more free bg tiles

fun stuff to add to your site

want your site to be cool? here's some fun stuff that i've found blinkies-cafe | fantastic blinkie maker! (run by @transbro & @graphics-cafe) gificities | internet archive of 90s/00s web gifs internet bumper stickers | web bumper stickers momg | gif gallery 99 gif shop | 3d gifs 123 guestbook | add a guestbook for people to leave messages cbox | add a live chat box moon phases | track the phases of the moon gifypet | a little clickable page pet adopt a shroom | mushroom page pet tamaNOTchi | virtual pet crossword puzzle | daily crossword imood | track your mood neko | cute cat that chases your mouse pollcode | custom poll maker website hit counter | track how many visitors you have

web revival manifestos & communities

also, there's actually a pretty cool community of people out there who want to bring joy back to the web! melonland project | web project/community celebrating individual & joyful online experiences. Also has an online forum melonland intro to web revival | what is web revival? melonking manifesto | status cafe | share your current status nightfall city | online community onio.cafe | leave a message and enjoy the ambiance sadgrl internet manifesto | yesterweb internet manifesto | sadly defunct, still a great resource reclaiming online social spaces | great manifesto on cultivating your online experience

in conclusion

i want everyone to make a neocities site because it's fun af and i love seeing everyone's weird personal sites that they made outside of the control of capitalism :) say hi to me on neocities

[defsiarte]

I highly recommend joining Cara right now!

It’s a new portfolio/social media hybrid website made by artists, for artists, as a way to network, find jobs, and see art. Born from ArtStation, Behance, DeviantArt, Instagram, and countless other websites’ implementing predatory AI policies, it aims to fill a gap left in the community for those who don’t wish to support that stuff.

To me at least, it really captures the better parts of being on DA in the early 2010’s. Account setup is very streamlined, your feed is all art and no ads, and the community is very active (Due to a huge exodus of users moving there from Instagram due to Meta’s new AI policy).

The app has all the same functionality as the main site too! You’re able to customize your timeline, mark your work availability, and even toggle your profile between just being a regular timeline and exclusively a portfolio of your strongest works (I have nothing up though bc I just made my acc lol).

A lot of new websites have popped up in the past couple years due to how awful and predatory tech giants have become, and personally I’m all for it. I don’t want an internet where everyone uses the same 5 websites to get all their content. Anyway yeah I highly recommend Cara.

You can see the official explanation of their features and stuff here.

Obligatory plug to own acc

[goddess-of-frot]

I generally keep my writing on transmisogyny separate from this blog, but given that I’ve now seen the same Mutuals banned four our five times I think it’d be a good time to explain how this is a feature of transmisogynistic social murder itself. After everything has died down, after the ones leading the whisper network or the mob have satisfied themselves in causing enough damage to your life to feel you’ve learned your place, you begin to rebuild. You find new social circles, you recover what you can from old ones without risking exposure to the ones who participates in your own social murder, if you even now which. You try to create a new space for yourself, cultivate new support networks after the old ones were torched and cut ties with you, and you live in fear that it will all burn away again if anyone who participated in your social murder finds you. The unique thing on Tumblr is that while a lot of sites will passively enable social murder, Tumblr’s gone over the deep end. It’s common enough on most sites that auto moderation can be flooded with false reports (or even true reports that wouldn’t have happened without organized groups in places like Kiwi Farm), but on Tumblr you don’t get to know what it was or challenge it. The only cases I’ve seen of successfully challenging mass report campaigns and returning to original blogs took months, and only in the case of some of the most popular TME blogs.

In real life you fear meeting these people again because you know that they learned that social murder works, and now they’ve got experience. Here, every time tumblr refuses to step in or has their CEO harass outspoken victims, the same people perpetrating the abuse of shitty auto moderation learn that it works and is allowed because they won’t do anything, not only that but Tumblr moderation will go out of its way to scrub clean complaints of this and perpetually enforce the social murders that they allowed. Social Murder is a cyclical process meant to cultivate fear, despair, and obedience in the victim, and once it’s happened once you are marked as a target. What Tumblr has done is formalize that targeting and the fear that accompanies it by repeatedly banning the same people for being victims of social murder.

[foone]

fun fact: lots of social media networks regularly OCR your images.

this is important because of how often people post captions and shit, and if they didn't OCR it, the search feature would be basically useless.

additional fun fact: this OCR isn't great. it makes a lot of mistakes. You usually would never know this, because the OCR is never shown to you, it's just use as a hidden bit of text to search against.

yet another fun fact: I sometimes namesearch myself on other sites. A lot of stuff I post here or on mastdodon gets screenshotted and posted on other sites, and I often want to know what people are talking about, you know?

final fun fact: when I named myself (in the mid 2000s) or changed my name (in the early 2010s), the term "goon" had not yet entered the common lexicon. If it existed, it was very niche.

combine these facts together, and you end up with the fun result that I search myself on reddit and find people edging in chastity belts and shit like that.

[photomatt]

You seem rather optimistic about downsizing the team, but are you sure that a small team is enough to run Tumblr? Since Tumblr's last peak, a lot of social media sites have gotten a lot better at the things Tumblr previously (and currently) excelled at. For example, Twitter now allows long posts and 4K image uploads, latter affects the art community a lot (I understand hosting images costs a lot and Tumblr hasn't really been doing financially well). Are you sure the small team is enough to upgrade these aspects? Are there maybe any plans to cross pollinate the team?

The good news about Moore's law is storage, compute, and bandwidth gets cheaper every year. It's funny you point to Twitter adding things we already had, like long posts and high-resolution images. We'll continue stay on the bleeding edge of what technology allows and enables, and hopefully provide pressure for other social networks to step up their game, as they have with dozens of features Tumblr invented and others followed.

I am super open to feedback and engagement with artist communities on what we can provide. Images are easy. Super high res video and streaming probably needs to be paid, but not expensive, and we have some cool Vimeo/Youtube alternative technology at VideoPress.

[virtualtadpole]

Thailand's "cute boy" craze: an explainer

Here's another repost from Reddit, originally from 2022. Since Perfect 10 Liners is currently airing with the "cute boy" page as a key plot point, this seems as good a time as any to re-share (remember that the original novel was first released in 2018). Sorry this one is a wall of text, I wasn't sure it'd be a good idea to include example photos involving people who weren't really public figures at the time.

Those of you following Thai BL will probably have come across this concept of "cute boy" social media fan pages, and might have wondered whether they're an actual thing. Or you may have heard of actors being one of their university's cute boys before joining the industry, and wondered what exactly that meant. Here's my attempt at an explanation.

The roots of the phenomenon go back at least to the popular Thai web forums of the 2000s, especially the youth-oriented Dek-D.com, one of Thailand's biggest and oldest web communities (also known as the web fiction platform which launched many BL novels). Dek-D's forums had a picture-sharing section, with a subsection dedicated to photos of cute guys and girls. It was still the early days of digital cameras and camera phones, and these posts were popular among the site's teen users. A few (mostly girls) who became noticed from these posts became Thailand's first "net idols", many of whom went on to join the entertainment industry.

The arrival of social networking sites around 2007 (first Hi5, then Facebook a few years later) helped facilitate these posts, as publicly posted photos became more easily accessible. The issue of privacy wasn't really on most people's minds then, and most of it was done in a light-hearted spirit. Being featured in these posts meant a boost in followers and online popularity, enabling more teens to become recognized as net idols, but it would be a few more years before this really meant anything. On the other hand, the social networking sites themselves would eventually bypass the traditional forums as a central venue for such posts, and an increasing number of Facebook pages (followed by dedicated Instagram and Twitter accounts) would be created to offer a curated experience instead.

The actual trend of "cute boy" pages took off in 2012, around the same time as the explosive growth of Instagram. Teens flocking to the platform (escaping Facebook, which was now full of parents) filled their public profiles with selfies and portraits of themselves, generating a steady stream of material that these pages could pick up to post and promote. This in turn gave the kids likes and followers, a mutually beneficial arrangement for most thanks to the platform's like-seeking culture.

Of course, not all of these proliferating pages featured teen boys. "Cute girl" pages have their share of followers, though they don't seem to be as visible or talked about, perhaps due to a combination of factors including the way society doesn't consider it as creepy for girls to openly ogle after boys compared to the opposite.

As competition grew, these pages diversified into several niches, including those covering specific schools and universities. Most of the school ones aren't that unusual, given that it's quite natural for students to talk about the popular boys and girls at school, and this had been a trend in school forums long before then. Most of them didn't last long though, as page administrators soon graduated and moved on.

However, things were different for certain high-profile schools, particularly the country's four oldest boys' schools, which participate in the biennial Jaturamitr football competition: Suankularb (SK), Debsirin (DS), Assumption (AC) and Bangkok Christian (BCC). The schools had always been well known, but the Instagram era launched an unprecedented wave of interest in their good-looking students, many of whom attracted huge numbers of followers just by being on Instagram. AC especially stands out in this regard, as Instagram allowed outsiders to glimpse into this exclusive boys' world that served as the basis of Love Sick, the source novel of which was begun in 2008.

Not only were cute boy pages created dedicated to these schools (some by outsiders), some of the boys became minor celebrities in their own right, with fans (mostly sao Y (the Thai term for fujoshi), and also some queer folk) meeting up with and photographing them in real life, especially at school events such as AC's Christmas fair and the Jaturamitr competition. And they were serious about it, coming equipped with professional DLSR cameras and huge telephoto lenses. The schools' student bodies leaned into this popularity, having the popular boys promote fundraising events and selling merchandise to their fans.

The relationship between the boys and their fans seemed to be mostly good, the boys appreciating the positive attention and the fans getting to stan someone much more accessible than the mainstream celebrity. And if they later became famous, then there's the pride of having known them before everyone else. These being sao Y, there sometimes is a bit of shipping, though mostly jokingly. Of course, this was not limited to boys from AC and the other Jaturamitr schools, but they were much more prominent.

This was the backdrop against which Love Sick launched its casting calls in 2014, which generated a huge amount of online buzz throughout the cute boy pages and fan Twitter. There's a reason the series featured such a huge cast with so many minor roles - to provide ample opportunity for fans to latch onto the actors and the show.

In some ways, the cute boy label served as a distancing from the previous term net idol, which by 2014 had begun to develop into a negative stereotype of people using their online fame to sell beauty products for easy profit, especially those livestreaming on emerging platforms such as Socialcam and Bigo Live and whose followers tended to be less sophisticated as opposed to the urban middle-class. Which is why most people appearing on cute boy pages tended to come from higher socioeconomic backgrounds, and much more attention was given to those focusing on elite schools and universities.

At the university level, cute boy (or other similarly named) pages associated with the country's top universities became very prominent online and also offline, often collaborating with the universities' student bodies to promote events and sometimes also assisting in the universities' PR for prospective students. Many universities already had a pageant culture in one form or another, with which these pages tied in well. Most prominent among the pages were Chula Cute Boy and TU Sexy Boy of Chulalongkorn and Thammasat, the country's two oldest universities. The two universities have an annual traditional football match, which the Cute Boy and Sexy Boy pages played large parts promoting in recent years, and is another event that attracts many fangirls.

Some have argued that the net idol phenomenon serves as a democratization of the entertainment industry, opening up opportunities for aspirants to directly connect to audiences as opposed to the traditional model where everything depended on one being picked up by an agency. But it benefits the traditional model as well. While in the old days talent scouts would look for teens hanging out at Siam Square, today they only have to scan the cute boy pages. Many BL actors were discovered this way. Inn Sarin was a long-time favourite of Chula Cute Boy, and Up and Mix first became widely known from there as well. Many others have likewise previously been featured in various cute boy pages, and practically all of the younger actors who joined the industry more recently probably had strong followings before their debut.

But the craze might be coming to an end. While there have long been concerns over today's youth's obsession with looks, and the university cute boy pages have from the beginning been criticized for promoting shallow images of their universities at the expense of academic aspects, they didn't really have any effect on the trend. But this began to change in 2020, when a widespread youth protest movement swept through school and university campuses and liberal progressive ideas rose to the fore. The issue of "beauty privilege" became one of many perpetual topics of discussion, and many began calling for an end to university cute boy pages. Thammasat, long regarded as the university with the strongest student activism, saw the TU Sexy Boy page shutting down (though the admin cited personal reasons and it was never confirmed whether this was in response to the criticism). Many people seem to have stopped tweeting cute boy pictures since then.

On top of the political mood, the pandemic's disruption of normal school life also interrupted the cute boy momentum, as many photo opportunities dried up. Long-time page admins and fans outgrowing the topic and losing interest might also be a factor. The Chula Cute Boy page has also been inactive since late 2020, for undisclosed reasons.

The future seems at best unclear for now. There are still many active pages out there, but on the whole, from what I've seen, there does seem to be a loss of interest. If younger netizens are indeed disinclined to craze after them the same way, the era of cute boy pages might very well soon be over.

Or maybe they've just moved onto TikTok, and I haven't found out how.

----

In the above original post, I neglected to go into the phenomenon of real-people shipping, so I'm attaching this comment from later as an addendum:

Regarding real-people shipping, there are probably two lines of origin that influenced the practice. First is the rise of K-pop and the shipping culture that came with it, which led to a proliferation of online fanfiction in dedicated Thai web communities and a shipping culture forming around the reality singing competitions which were the talk-of-the-town entertainment programs in the 2000s. One of the first really famous shipped pairs was Nat and Tol from Academy Fantasia season 4 in 2007. (That is Nat Sakdatorn, whom you may recognize as the uncle from Never Let Me Go, among many other roles.)

The other origin is the rise of "net idols", which followed the arrival of social media sites (in Thailand this was led by Hi5 in 2006). I covered this in more detail in my post on Thailand's "cute boy" craze, but didn't really touch upon the shipping aspect. Indeed, a significant shipping culture did form (a few years later) around net idols/cute boys. At first this focused more on (people who were believed to be) real-life couples, like Both and Newyear, who became famous in 2012. From there, manufactured/imaginary couples naturally followed in hopes of cashing in on the popularity of such shipped pairs.

I'm a bit hazy on when the shipping of actors as couples actually became a regular thing in the BL industry. While the practice of fanservice moments on the promotion circuit go back at least to The Love of Siam, I don't think there was significant shipping of the actors' real-life persona, and the same seemed to be the case with Love Sick, especially after the series ended. The first actor pair to become shipped as such was probably Krist and Singto from SOTUS, and the practice quite definitely became a thing after that.

----

Postscript: Thanks for reading, and sorry the writing in this one isn't as good as the other posts I've shared. If you're interested in further reading on the topic, I can recommend the article The Yaoi Phenomenon in Thailand and Fan/Industry Interaction. (2019). Plaridel, 16(2), 63–89 by Assoc. Prof. Natthanai Prasannam, one of the leading Thai academics on BL/Y culture in Thailand.

[byhees]

how you get the girl ┊ 심재윤 series

précis › what’s the best way to get dating advice? well, after discovering a revolutionary relationship-help site, jake isn’t constantly troubled by the question anymore; it’s a simple thing, really… except for the fact that the admin he’s been consulting, is actually his campus crush, who he’s been using these corny pickup lines on, and he just doesn’t realise it yet.

tldr — jake asks an anonymous admin for advice on how to court a girl he likes, and doesn’t realise that said admin is that girl.

pairing › sim jaeyun and female reader

featuring › face claim : eson___, heeseung & jake & sunghoon & jungwon & riki of enhypen, yunjin of lesserafim, rei & wonyoung of ive, hanni of newjeans (occasional appearances of others!)

genre › social media, written (in certain chapters), slice of life, romance, fluff, high school au

warnings › use of profanities, kys/kms jokes, my horrible humour, warnings to be added in the following chapters

taglist › open. send an ask or comment under this post!

note › my first legitimate smau ^^ hopefully my humour + sloppy mistakes aren’t too unbearable; as always, hope you enjoy!

updates › slow : status ongoing

📓 01 fruit cats assemble! 02 bob the lego builders!

written parts are highlighted with a (written) by the side

000 — lit slander!! (written)

001 — el oh el

002 — six feet under

003 — this isn’t it

to be continued . . . chapter names are subject to change

©byhees

permanent taglist! @halcyoni-ki @wondipity @yjjungwon @shysakuno @niktwazny303 @vnsux @minhosify @haechansbbg @yeomha @stepout-09-15 @chansburgah @sona-verse01 @lilly-bubblelops @smouches @mrchweeee @luvistqrzzz @j1nniee series taglist! @flwrshee @okwons @stories-inbetween-the-stars @jlheon @rikisly @txtistheloml networks! @kflixnet @enhanet @k-labels

[monsterfactoryfanfic]

fuck Reedpop, fuck Ziff Davis, and fuck Consolidation

I wrote this back in November of 2023 for Richard Williams' "What's Hot in Indie TTRPGs" roundup. And though things have moderately improved with the launch of Rascal News, I'm still so heartbroken about the state of games journalism.

Anyone paying attention to games journalism over the last five years could tell you the earth is salted. But it’s been especially hard to see two mainstream outlets for TTRPG news suffer from corporate greed here at the end of 2023. First is the layoff of Lin Codega from Gizmodo, part of a 23-person restructuring that also shuttered the iconic feminist site Jezebel. Codega had received an Ennie Award only a few months prior for their work covering the fiasco Wizards of the Coast invited upon itself when it tried to revise its Dungeons and Dragons “Open Gaming License” in an attempt to squeeze competitors out of the economy. My favorite of their recurring features was “The Gaming Shelf,” which regularly highlighted indie RPGs. It is so rare to see someone with relatively mainstream media access discuss what’s happening on itchio, and to lose this chance to get more eyes on small projects is an absolute travesty. Codega themself puts it best: "I deserved better than this and G/O Media will be poorer for letting me go." The second, which is at this time a travesty-in-progress, is the auctioning of ReedPop’s “Gamer Network” portfolio of websites, which includes Dicebreaker. This news arrived the morning I sat down to write about media consolidation, the week of Dicebreaker’s second Tabletop Awards. Few other sites command the audience and prestige of Dicebreaker, whose journalists regularly feature games by indie creators who otherwise are forced to market their games through increasingly-fractured social media sites. I truly hope the “Gamer Network” portfolio is purchased, and all staff affected keep their jobs, but I’m not optimistic.   My mom was a journalist. She retired over a decade ago, when GateHouse Media swallowed a dozen local newspapers right before filing for bankruptcy. I’m genuinely sorry to see that ten years on, media companies are callous as ever, happy to ruin the lives of hundreds of brilliant people for the sake of a few points on a spreadsheet. Indie games deserve mainstream coverage. And the people who cover them deserve so much better than what they’re getting. 

[fraudulent-cheese]

For the ramble prompts, 1. And 7

You're very lucky as i actually have access to my computer currently!!!

I'll pick 7, as i've already seen some people point out the differences between the twins but NO Staci analysis posts!

So. Staci. What the fuck is up with her. Why did she think lying about her family on a consistent basis and not helping in challenges would work? How exactly did that make her think it was the best she could do, to the point she thought she "was doing so well" (quoting her at her own elimination) after that first day?

I think Staci's goal while on the show was to win via social game - or at least, make friends on the show. Her lying could be due to either 1. wanting attention from them, so she started making shit up to make herself look more important or 2. she actually believes what she says and just wants to impress people with her family history. I don't think i can conclusively say which one canon's leaning into? Realistically, her exaggerating her family's achievements is the more likely option, but her actually believing them would be more tragic.

HOWEVER. Just looking at her one episode of content + her audition tape isn't enough. We need to look at her contestant biography.

YEAH IM GOING THERE! If you weren't aware, for the first 5 (6?) seasons of TD as well as TDRR, there were official biographies for every contestant depending on the season, all of which were available on the official (now defunct) Total Drama Website. I'd consider the information featured in all but two of these biographies canon, as they either came from the official website (ROTI + WT), the Teletoon site (TDAS + TDPI) or from Total Drama: Totally Interactive! Im unsure about the canonicity of the Action bios and the TDRR blurbs (because yeah. they're just blurbs. sad.) as they were released only on Cartoon Network's site and the Action bios have... inconsistencies with other sources, let's say.

Thankfully, Staci was lucky enough to be a gen 2 contestant, so she gets the most detailed contestant answers biography model, so i can get alooot more info out of them.

I'll get the smaller observations out first:

In her last answer, she mentions her great-great-aunt Mildred and how she "told the first lie." I could look into how this could be Staci's least favorite relative (as she does seem to value truth/honesty), but also what if that's Blaineley? Her legal name's Mildred after all! It would be really funny! We need more "Staci and her great aunt Mildred" content STAT

She seems to really like pop music

The only answer not related to lying or to her family is the First Job question, instead it's foreshadowing to her elimination

Now, for a larger one: She barely talks about herself in these answers. Sure, she answers the questions, but she spends the vast majority of her time talking about her family instead. She manages to link the fucking Favorite Color and Food question to them! Her love of her family is made very clear here. Knowing about them is literally what she picks out as her Best Quality!

...but only her distant relatives. No mention of closer grandparents, sisters, nephews/nieces, aunts/uncles, and only a single indirect mention of a mother. Only distant, mostly older family members and cousins. And she had to have met some of them! Her Craziest Dream answer describes a dream where her great-great-uncle Charlie was telling her lies, implying they've met and talked before! So where's the mention of her closer family members?

I'd say it's because if those family members are further away, or if they're dead, it's harder to fact-check what she's saying so her peers wouldn't find out it's at best an exaggeration and at worst an outright lie.

I think the answers that show this the most well are the Best Memory and Most Embarrassing School Moment, her presentation on an older family member and realizing the topic was a lie.

This feels like something that would happen earlier in life to me? Maybe primary school level, or even earlier. If she made her entire class project on it, she had to believe in it, right? Despite how absurd that notion is! This indicates to me that Staci was/is very naive, and her love for her family started in childhood. She seems very interested in her own family's history, to the point of exaggerating their accomplishments; maybe her great-great-aunt Lois created a plate design patent or her Great-great-uncle Jason simply looked into the history of the letter E, so either Staci exaggerated them to seem more interesting, or her family members would exaggerate these achievements at family reunions as jokes or something and little Staci just believed them.

Im also unsure on her family being good or not... her Dream Date answer is apparently Richard Nixon because she'd want to learn more about his life, specifically citing that he "reminds [her] of [her] third cousin once removed, Andrew." If you know anything about recent US political history, that is not a good thing. This also shows she has some interest in politics/recent history/other people's lives! This girl does have interests!!!

And this is where i bring up the Favorite Movie answer. The movie it's based on, according to the wiki, is "The Invention of Lying", a 2009 movie. skimming the Wikipedia article, it's a romantic comedy film about a guy with the ability to lie in a world where people can only tell the truth. He first abuses this power for selfish gain but in the romantic resolution decides to not lie to benefit himself and lets his love interest actually choose to be with him.

I think the reason why Staci likes this movie so much is the romantic resolution; this is what she'd want to happen if/when she'd reveal how her family's achievements are either fake or exaggerated to her friends, and they would stay. That she'd get people interested in her with those lies, before actually being honest with them when they're closer... But it never happened with anyone on the show.

TLDR, i need this girl to realise she doesn't need to lie so much about her family for others to like her, as hiding behind masks won't get you any real friends. Something that applies to the majority of the roti girls, actually.

[jasminewalkerauthor]

Deep dives into folklore: stone henge

Stonehenge, the iconic prehistoric monument standing on the Salisbury Plain in England, has captivated the human imagination for centuries. This deep dive essay embarks on an exploration of the folklore surrounding Stonehenge and the myriad theories proposed to unravel the enigmatic origins of this ancient structure.

I. Folklore and Mythic Narratives:

Stonehenge's folklore is rich with mythic narratives that span centuries and cultures. In Arthurian legend, Merlin is said to have transported the stones from Ireland and arranged them as a monument of healing. The Welsh tale of the Giant's Dance attributes the creation of Stonehenge to giants who brought the massive stones from Africa. These folklore elements intertwine with the cultural fabric of the British Isles, weaving a tapestry of fantastical tales around the monument.

II. Astronomical Alignments: A Cosmic Connection

One prevailing theory suggests that Stonehenge served as an astronomical observatory, aligning with celestial events such as the solstices and equinoxes. The configuration of the stones appears to have been deliberately positioned to mark the movements of the sun and moon. This theory posits that Stonehenge was a sophisticated calendar or ceremonial site, reflecting the profound importance of celestial cycles in the spiritual and cultural practices of its builders.

III. Rituals and Ceremonial Functions:

Another theory proposes that Stonehenge functioned as a sacred space for rituals and ceremonies. The alignment of the stones with celestial events may have served a dual purpose, allowing the ancient builders to not only mark time but also create a sacred arena for religious observances. The presence of burial mounds in the vicinity suggests that Stonehenge may have been a site for funerary rituals, honoring ancestors and aligning with the cycles of life and death.

IV. Social and Cultural Hub:

Some scholars propose that Stonehenge served as a social and cultural hub, drawing people from distant regions for communal activities and trade. The sheer effort required to transport the massive stones over long distances suggests a collaborative and organized effort. Stonehenge may have functioned as a meeting place where diverse communities gathered for seasonal festivals, trade exchanges, or important cultural events.

V. Symbolic and Metaphysical Interpretations:

Stonehenge's enduring mystery has also fueled more esoteric and metaphysical interpretations. Some believe that the monument possesses mystical energies, acting as a portal or conduit for spiritual experiences. New Age enthusiasts and modern pagans often visit Stonehenge during significant celestial events, seeking a connection with ancient wisdom or a transcendent experience.

VI. Architectural Ingenuity:

The technological prowess of the ancient builders of Stonehenge remains a subject of fascination. The precision with which the massive stones were quarried, transported, and erected suggests advanced engineering skills. Recent archaeological discoveries, such as the Stonehenge Riverside Project, have shed light on the complexity of the surrounding landscape, indicating a network of features that complemented the monument's function.

Stonehenge, with its colossal stones standing in silent testimony to the mysteries of the past, continues to inspire wonder, speculation, and exploration. The folklore surrounding this ancient monument, intertwined with Arthurian legends and tales of giants, adds a layer of enchantment to its narrative. Meanwhile, the diverse theories about its origins—from astronomical observatory to cultural hub—reflect the enduring quest to unravel the multifaceted significance of Stonehenge in the lives of its builders and in the broader context of human history. As ongoing research and discoveries unfold, Stonehenge remains an archaeological and cultural treasure, inviting us to contemplate the enduring enigma of this iconic site.

[mariacallous]

X has locked and suspended the accounts of journalists and researchers who shared the alleged identity of a neo-Nazi cartoonist known as Stonetoss after the cartoonist appealed to site owner Elon Musk.

The incident, critics say, highlights once again how Musk has not only welcomed extremists onto his platform but has repeatedly boosted their conspiracies, engaged with their accounts, and seems to have protected them from scrutiny.

A lengthy X thread posted by the antifascist research group Anonymous Comrades Collective last week claimed that Stonetoss is a man named Hans Kristian Graebener from Spring, Texas. Stonetoss cartoons, which feature simple and colorful imagery coupled with racist, homophobic, and antisemitic language, have become hugely popular among right-wing communities since they were first published at least seven years ago.

In its telling, the antifascist research group linked the Stonetoss cartoonist to another anonymous racist cartoonist known as Red Panels by comparing their voices from appearances on extremist podcasts. The researchers say they found an email address linked to Graebener that was used to register the Red Panels accounts on the far-right social media platform Gab. Then, the group says, it was able to match up comments made by Stonetoss with events in Graebener’s life. In one case, Graebener took a trip to Japan in 2019 with a Houston IT company he then worked for; at the same time, Stonetoss posted a picture on X of a “welcome to Japan” sign with the comment, “Finally made it to the ethnostate fellas.” The research group has been doing this kind of work for years and has been credited with unmasking numerous other extremists, including those involved with a neo-Nazi homeschool network.

Graebener has not disputed anything the researchers uncovered. He did not respond to requests for comment from WIRED to his personal email address nor to the email address on the Stonetoss website, and he did not pick up calls from phone numbers associated with his name.

The Anonymous Comrade Collective thread got a lot of attention on X, racking up at least 13.5 million views. On Thursday, the Stonetoss account appealed to X users who have “a direct line” to Musk, X’s owner, to help to get the thread deleted. Musk has, in the past, shared an altered version of a Stonetoss cartoon about the collapse of society. “If Elon's idea of a ‘free speech’ website is one where people can be intimidated into silence, the outcome will be a site where the Stasi will drive out all dissent,” Stonetoss wrote. The account also tagged Musk and offered to share a list of people to target.

In a subsequent post, Stonetoss said this appeal was not about him but about other “artists.”

“This is about others I know personally,” Stonetoss wrote. “There is a whole ecosystem of artists out there who cannot (or have stopped) making art because of people on twitter organized to punish them IRL for doing so.” The cartoonist also added that sales of his plush toy were “going gangbusters” since his alleged identity was revealed.

Hours later, the account associated with the Anonymous Comrades Collective that posted the thread was deleted, and the account was suspended. On Friday, dozens of users, including a number of researchers and journalists, began discussing the incident and posting some of the details of the research, including Graebener’s name.

X locked down many of these accounts and ordered them to delete the offending tweet to get full access to their accounts back. Among those targeted were Jared Holt, a senior research analyst at the Institute for Strategic Dialogue, who covers right-wing extremism; Hannah Gais, a senior research analyst at Southern Poverty Law Center; and Steven Monacelli, an investigative journalist for the Texas Observer. (WIRED has also published Monacelli’s work.)

X also imposed a ban on sharing the link to the Anonymous Comrades Collective blog detailing its research. WIRED verified this on Monday morning by attempting to post the link, only to be met with a pop-up message that read: ‘We can't complete this request because this link has been identified by X or our partners as being potentially harmful.”

Even with the crackdown from X, people kept sharing details of the Stonetoss investigation.

“We all just started posting his name; it was like a Streisand effect,” Alejandra Caraballo, a clinical instructor at the Harvard Law School Cyberlaw Clinic, tells WIRED. “They're just trying to censor his name, and then everyone started getting their accounts locked.”

Caraballo, who shared screenshots of the messages she received from X with WIRED, managed to circumvent the initial ban by appealing it and claiming, ironically, that she was the victim of mass reporting from antifa who were attempting to silence her right-wing viewpoint.

While that appeal was successful, Caraballo was quickly locked out of her account again when she changed her username to “Hans Kristian Graebener is stonetoss.” That resulted in a 12-hour suspension, and when her account was reinstated she was soon punished for earlier posts that shared screenshots of information about Graebener. Caraballo’s account has now been suspended for seven days. Shortly after this article was originally published, Caraballo’s account was restored by X, without an explanation.

An X representative says that the company, following a review of the actions taken against the accounts of Anonymous Comrades Collective, Holt, Gais, Monacelli, and Caraballo, stood by its decision.

“The posts that were removed were all actioned correctly,” says Joe Benarroch, head of business operations at X, adding that the posts violated the company’s “posting private information policy” for “outing the identity of an anonymous user.”

While X does have a policy around sharing private information, the company’s terms of service on March 20 did not mention a policy related to outing the identity of an anonymous user, and Benarroch did not respond to a request for clarification. On March 21, after WIRED published this story, X updated its privacy policy to specifically prohibit posting the ”the identity of an anonymous user, such as their name or media depicting them.”

“According to X’s terms of service, posting someone's name does not constitute doxing, but, many accounts, including my own, have been made to delete posts that merely mention the name of the racist and antisemitic cartoonist Stonetoss,” Monacelli told WIRED before the change. “I've never seen enforcement like this before.”

This policy change could possibly be in response to a post last month from Musk when he wrote, “Any doxxing, which includes revealing real names, will result in account suspension.” Still, in an interview with Don Lemon released on Monday, Musk said that moderation of hate speech is akin to “censorship.”

There are now hundreds of posts on the platform which name Stonetoss as Graebener. There are also numerous accounts on the platform that changed their profile name to “Hans Kristian Graebener is stonetoss”—and they haven’t all been suspended.

“This is completely arbitrary and under Twitter's own community standards it says that a name is never considered private information,” Caraballo tells WIRED. “There's an immense double standard here of the neo-Nazi comic guy being protected” by X. But then, she says, “The people that do this to anyone on the left are not only followed by [Musk] but are boosted by him. It's completely inconsistent.” To her, it seems that whoever Musk favors gets protected, and anyone else is banned. “This is also a pretext for them to be able to go after anyone that they dislike,” Caraballo says.”

Caraballo and others have pointed to accounts like Libs of TikTok and far-right troll Andy Ngo, both of which have shared private information about trans people but have not had their accounts suspended. Musk has also engaged with posts that doxed individuals on X, with seemingly no recourse for those accounts.

For anyone who has tracked Musk’s actions since taking control of X in October 2022, this incident is no surprise. Musk has systematically removed the guardrails the company had put in place to prevent hate speech on the platform and has welcomed back racists, antisemites, and transphobic posters who had been previously banned.

In recent months, Musk has repeatedly endorsed racist conspiracies like the great replacement theory and has engaged with numerous accounts spreading disinformation and hate speech. Just this weekend, Musk interacted with Martin Sellner, the founder of a white ethnonationalist group in Austria who previously communicated with and accepted a donation from the man who shot and killed 51 people at two mosques in Christchurch, New Zealand, in 2019.

After they deleted their posts, most of those restricted for sharing Graebener’s name have had their accounts unlocked. However, the Anonymous Comrade Collective account that shared the details about Graebener is also suspended, and a representative tells WIRED they are unsure when or if it will come back.

[vidding]

VidRecs.com

The first rule of the Rec Club is that you talk about VidRecs.com.

The second rule of the Rec Club is that you hit the reblog button "as hard as you can."

The third rule of the Rec Club is that if you become member you have to rec.

VidRecs.com is a fan created project one stop shop for all your vid recs. Yeah, I got the domain. The passion didn't stop there. Vid Recs deserve a better place than our selective memories and random bookmarks on the internet. "What kind of features should a site called VidRecs.com have?" Remember, you wanted this.

A spot to put a blurb about why you recced/love the vid.

A recs page to showcase both You Tube & Vimeo recs in one spot.

The ability to rec vids with just the Video URL

A way to give proper credit to the original uploader & their description.

A profile page with my avatar and cover image

A profile page with my social network links if I want others to find elsewhere.

A way to find vid recs site-wide by fandom.

Had enough? No?

If the rec is on AO3 a comment button can be added to redirect viewers to the AO3 Comment page

On request you can get your own VidRecs.com profile URL (i.e. "VidRecs.com/yourfandomname" so viewers go directly to your rec page.

Everything you rec is automatically added to an automatically generated profile playlist so viewers can view it as a playlist.

You can create playlists using both your recs and recs of any other members on site.

You can sign up using Tumblr, Discord, Google or the regular email password combo.

Still not impressed. Gee, you're a tough cookie

You can rec vids directly from You Tube or Vimeo.

You can make your vid recs private to logged in users only.

You can make your vid recs private to only those who subscribe to your channel.

No ads!

You need a video overview? There is one below.

It's nearing the end of the year. It's so easy to forget vids you've enjoyed without a reliable place not only to reference but also share them with others. This can be what you want it to be. The groundwork has been done and it's still a work in progress but a lot closer to the ideal than most. All that's missing is a whole bunch of people willing the rec things and the site. Yeah, go ahead and rec the site. 😀

Membership is currently by approval. If you would like to speed things up just contact us at contactus@vidrecs.com. We are working on a way to make the registration process a lot more streamlined. Enough works now about the site to begin using it and if you run into any issues let us know. Thank you! Rec often. Rec hard. Our memories can fail us, and the internet is not reliable.

Additionally, there is also a greater chance vids recced here will be archived in case something happens to them in the future, but I am sure you are ll familiar with that. Reccing can be a democratic process that raises awareness about what should be archived or at least we hope.

Like projects like this?

Follow us for Vidding and archiving related posts.

Like this post and help raise awareness about stuff like this.

Invest some time to assist in any projects you find interesting and see opportunities where you can contribute.

Patron - Become a patron for as low as $1, $2, $3, or $5 a month to support this kind of work. Patreon.com/vidding. We know the AO3 Fundraising drive started today. Please consider us as another way to support vidding-related efforts. 😍💗😍💝

Share - You don't have to share this publicly, but you can share this post privately with anyone who follows you that may be interested in work like this who would like to volunteer or become a patron.

If you liked this post, you might like this:

The last vidder friendly hosting & streaming site?

[aroceu]

some thoughts on leaving a social media website...again

as of 10/16/2024, twitter has announced its intention to implement a new feature into the platform: instead of blocking allowing you to block certain accounts from viewing your profile if it's public, it now just... doesn't do that anymore. it only limits interaction. though this certainly isn't a surprise with musk's twitter rollouts since 2021—when i first saw people start to trickle out—this, in particular, breaks a lot of users boundaries and has prompted many to private their accounts and move to bluesky.

i'm in support of this, btw—the ceo of bsky is strongly opposed to ever running any sort of ads on the site ("won't enshittify the network with ads"), doesn't use any blockchain technology, and has a culture where supplying alt text on images is the norm. your main timeline is in reverse-chronological order (like intended), but there are other separate options to create a custom algorithmic feed for certain types of content, only if you wish to. though bsky is a work in progress, i have high hopes for what it can be in the future: that is, usable, practical, and more reminiscent of what it was like when twitter first started, than how twitter currently is.

but despite my love for bluesky, i won't spend too much time glazing yet another microblogging platform. instead, i'm here to ponder the concept of social media: why we have it, why we use it, and why these moves happen in the first place. people have been trickling in and out of twitter ever since the richest and evilest man in the world took possession of it; especially in a fandom sense, there's been a back and forth between twitter and tumblr due to tumblr's former porn ban, as well. we all have principles and morals that guide the decisions we make, including what websites we decide to use. they speak to a pattern of not only our culture as people at any given time—but how these platforms have the power to implement these changes whenever they want. and we, as individuals, must make decisions both based on those principles, but also our desires to fit in.

i'll start off by saying this—eventually i'm going to start talking about what social media means for creatives. but there is in fact an extremely well-written article about this already that goes into more detail. if you're more interested in that, let me direct you there first: R U AN ARTIST ON SOCIAL MEDIA??? by omoulo

with that out of the way, let's talk about me, shall we?

i got onto the internet through geocities—crazy sentence to say now after all these years. of course, i played neopets and flash games like many other kids, but that was mostly through knowing those websites and urls existed, and preserving them in my mind so i could return to them for some mindless minutes of entertainment later. geocities was my first introduction to the creative, user-designed web, so to speak. instead of being a number to interact with a thing that someone else has made—a flash game, a youtube video, a website where you can collect fictional pets—the idea of geocities to me at the time was this idea of participating on the internet. being a part of it. writing whatever i wanted and posting it. sharing the link with others. having others find it and read it too—a part of me, my method of creative self-expression, whatever i desired to write and post on the less than permanent internet.

my best friend at the time was the one who needled me into creating accounts—first an email address, then an AIM, then a myspace, then an IMVU, so on and so forth. i wasn't going out looking for these, and though i'd heard of them before or seen ads of some of these sites, i wasn't interested in actually being on these platforms and making these accounts until my friend told me that i should. call me a people pleaser or easily influenced or whatever; i was 12. but it was through this link sharing, this naivety and ignorance of the vastness of the internet, that allowed me to be fascinated with the world wide web in the first place.

i usually cite quizilla as my first "fandom" website, because it was—but it wasn't because i found it by accident. it wasn't that i googled it or looked for a personality test and stumbled upon it. no, it's because i was chatting with a friend on AIM, and she had found some crazy chain letter story and shared it to me for how absurd it was, and sent me the link. it was on quizilla.

literally the moment i clicked that link changed my life forever. even though i read the crazy story, i also clicked on the username of the person who posted it, out of curiosity. that person had jonas brothers fanfics on their quizilla profile, of all things, which led me into an obsession with the jonas brothers in the 2 years that followed. through that link—that account—that platform—i got a lot more interested in writing, webdesign, and what it meant to be on the internet, not just as a numbered participant, but also as someone with an imagination, who finds fulfillment in creative expression. i wrote the longest thing i'd ever written in that time (30k of a self-insert, but we won't go into that), began to experiment with css and website design, and participated, sharing stuff that i thought was interesting or fun, worth 5 minutes of anyone's time.

the internet wasn't just about being a place where my presence didn't matter anymore—it became a medium of self-expression. more than that, it became a place where i could meet and socialize with people, especially as i developed avpd in my high school years.

the internet wasn't always like this. right now, when we talk about the internet, we don't talk about the random websites we find, the links we stumble upon. (i have an entire website dedicated to those for me, though.) the games we spend hours playing, by ourselves, without interacting with others. random personality tests, or just simply the news. we talk about google, but in the same way we talk about facebook, or even twitter. it's a verb; it's omnipresent; it exists within the context of our internet culture, but becomes meaningless outside of it. it's not to say it doesn't have meaning—but that the language we use represents our relationship with it, this assumed normalcy. this assumed dependence.

i bring up my own history because as young as i feel compared to many of my older internet friends, and how late to the game i always felt—i was there. i was there on the internet before twitter (since 2009), tumblr (since 2010), facebook (i lied about my age), bluesky now, and whatever will come in the future. i was there when people were saying that the internet was still being written; when websites were made with tables (eugh); when email was the primary way to connect with others, because irc was for nerds and nothing else had been invented yet.

i'm a big advocate for not looking at the past with rose colored glasses and getting caught up in nostalgia and greener grass. i believe that technology is not inherently harmful or bad—it creates more options for accessibility, especially for those who are disabled. and even outside of that, it allows us to learn about more people, communicate with others with a few keystrokes, and form relationships that we otherwise would never get to have. i don't want this to seem like i'm saying "man remember how good the internet used to be?" because i'm not—i believe that as things change, there are benefits as much as there are hindrances.

of course, it bears saying that the primary hindrance—of current twitter, of many platforms over the years, and the internet with increasing recency—is corporations. big money interests. capitalism.

it's why we get so tired of ads—it's why ads exist in the first place. it's why these social media platforms that used to feel like they were made by the same people who would use them (livejournal, youtube, twitter) have suddenly become these soulless impersonal websites. it becomes more obvious that they want you to use them more because they sell you on exclusivity and visual minimalism, rather than because that's where your friends are, and you have this unique way to express yourself.

in fact, i'll say this: the first time i learned about facebook when i was too young to use it, i was not impressed. i had a myspace at the time that i had dolled up to make pretty with sparkly gifs and obnoxious colors and weird fonts. when i saw how boring and samey everyone's facebook profile page was, i was like, what's the point? sure i could talk to my classmates and random other people in my life that i didn't really care about, but what about making myself different from others? what about my creative expression? what about having an account that makes me look unique, instead of blending in with everyone else?

and so here i am nearly two decades later pondering about the use of social media, our individuality as well as our collective interests, and how the internet has changed so much, both in itself and how it affects us, in that time.

i'm here because i want to talk to my friends and meet new people with common interests and get excited about them. i don't want to feel left out, but that's a normal experience—outside of fomo, it is in our core to connect with others. it's the whole meaning of everything. it's why i even made an email in the first place, in my basement with my best friend, secretly setting up a yahoo account because she wanted another way to talk to me, and i wanted another way to talk to her. it's why people have been leaving twitter little by little for another site—the same site as many others, because that's where all their friends are. whether it's bsky or mastodon or misskey or just back here on tumblr, we're here not just because of our desire for community, but even as simple as our desire for a bond, a relationship with another human being. to me, that is how "social media" is defined—a medium through which we socialize because of this innate desire.

and yet, of course the enshittification and corporatification makes this more difficult for us, in ways more than one. because the fact is that as we (as people) became better at using the internet, finished writing it, and understood it—psychologically and sociologically—so did the corporations. or advertisers, you take your pick. we, the everypeople who use the internet as means to fulfill our social and other self-indulgent desires, are not the only people here. as with many things else in the world, the internet turned from an unpredictable but fun mess of us figuring shit out as we went along, into a product designed to keep us using it and engaging with it more, so some rich people can put even more money into their pockets. it's why twitter is the way it is now; even why tumblr is the way it is. why social media has become about "content creation" and "small businesses." why it feels like, every day, we see more ads and AI generated bullshit, as a little bit of the original soul of the internet gets sucked away day by day.

but even there, i don't want to come across as cynical or world-weary. though i believe this to be true, i don't think it says anything about our lack of agency, or our lack of innate humanity. instead, i believe that this means, at least on the individual level, that we should think more about not only what we're doing on the internet, but why we're doing it. how we're doing it. are we here because we're addicted? or is there something we're getting out of it? sure, many websites now have more addictive UI and algorithms that tell the receptors of our brain to return to them because we were getting so much dopamine from them earlier. but i also wouldn't necessarily argue that the only solution to this is to, then, go offline.

i have many friends who've elected to depart social media but stay online—friends who i met through website building, to be fair, but that's one of my main points. i already wrote a manifesto on my love letter to the personal website; but the tl;dr is this:

the internet is not evil, it is not good, it is just a form. if we desire to express ourselves and socialize with others in this space, it does not have to be just about social media, and creating a new account on a new website every time people move. instead, we have personhood—we have individuality, we have agency. we have the ability to build our own websites, no matter how shitty or times new roman comic sansy or color clashy or sometimes inaccessible they can be. regardless of all these seeming impractical setbacks though, it does not absolve us of that ability to do whatever we want on the internet. and it also bears saying that websites, both the personal and impersonal, can change over time, for better or worse.

i am a huge proponent for people making their own personal websites. it makes me so so happy that neocities is gaining popularity, mostly because i love seeing people try their own hand at making a website for themselves, a new form of self-expression. i won't go into too much detail on this because i've already said everything i want to say about it (see above), but if you take away anything from this post, let it be this: consider making a personal website, a corner of the internet, for yourself, by yourself. not just because you want people to engage with it, or because you want to curate to an algorithm or an artistic/fannish trend. not because you want the things you make to gain traction, to get bigger numbers without considering the people behind those numbers, as soon as possible.

do it because you want to. because you have to. because you think it's cool, and because it's you. people may find it and judge it; but they may like it as well. the more unique and authentic and weird we are with each other, the more we are able to appreciate each other for who we really are. the internet is one of many places we can do this.

i don't really see these forms of self-expression separate from social media, but i do see social media separate from it. to me, social media is a vehicle to strengthen those connections, those relationships, much like DMs and IRCs; but it is not the be-all, end all of the internet. it's only a small part of it. not everything is permanent on the internet; but everything that ever has been online is a microcosm of the human experience, whether it's an old cloudflare site or twitter dot com in 2010.

our experiences on the internet are not about corporate interests. it's about using limewire to download pirate music, sharing random links we find, building a design that may not be practical or universally appealing but still represents a form of individuality. when i think of how the internet has grown, i don't think about what it means for companies or advertisers or what meetings must go on to get people like me to keep using it—i think about remembering the difference between addicting games dot com and addicted games dot com, clicking links on websites to find even more websites, sitting at the family computer and deciding if i wanted to spend hours on neopets or that one willy wonka flash game i grinded like several hours on one night when i was 7. i think about what it's always meant to me, because the internet was not always a centralized place where i was going on the same website every day. the rise of internet centralization to the point that it's become expected, the norm, the primary way any of us to be online, is not inherently a bad thing—but i wouldn't say it's a universal good, either, when the internet is a wide and vast space, and can be so much more than that.

because the one thing that remains throughout the years is our agency and choice. we still have the ability to make the internet what we want it to be, or at least a corner of it, something separate from the corporations, the enshittification, economically researched user interfaces and experiences, the advertisements, the "like and share so the algorithm boosts me more." there's still a point to it all without the money, and without twitter. and it's both our desire for creativity and self-expression, as well as our intrinsic bonds with each other. despite it all, it's about our humanity.

as the internet continues to grow, so do we. nevertheless, the importance of our humanity, and retaining it, will remain. oftentimes it is up to us to remind ourselves of that.

-

links here, for access:

Bluesky CEO Jay Graber Says She Won’t ‘Enshittify the Network With Ads’

R U AN ARTIST ON SOCIAL MEDIA??? by omoulo

links @ kingdra.net (my links, like bookmarks)

A manifesto of sorts; or, my love letter to the personal website by me

[religion-is-a-mental-illness]

By: Yascha Mounk

Published: Dec 21, 2024

After Donald Trump won reelection, scores of Americans once again failed to make good on their loudly shared and oft-repeated plan of moving to Canada; but a good number of them did partake in a different, rather less cumbersome, exodus. Complaining that Twitter had been unrecognizably transformed under the ownership of Elon Musk—whom they also blame for supporting Trump—hundreds of thousands of progressives decamped to Bluesky.

Widely touted as a “kinder, gentler” alternative to X, Bluesky aims to emulate the up-to-date news and specialized information-sharing in which Twitter has traditionally excelled. It also promises to cut all the toxicity. In the past weeks, the platform announced plans to quadruple the number of moderators it employs. "We’re trying to go above what the legal requirements are, because we decided that we wanted to be a safe and welcoming space,” Aaron Rodericks, the head of the Trust and Safety Team at Bluesky Social, vowed.

The platform has some features that really do put the user in charge in appealing ways. In traditional social media networks, the executives of profit-driven companies control the algorithm that governs the content which is presented to individual users. Especially on micro-blogging platforms like Twitter, this feature—since well before Musk turned it into X—meant privileging controversial posts that elicit angry debate over milder, more consensual ones. On Bluesky, each user can choose between a great variety of open-source algorithms, which theoretically makes it possible to curate a less rage-inducing experience.

When Bluesky launched, I hoped that it would succeed. But the platform has quickly shown that it is hard for any social network to deliver on its promise of being the place for a kinder or gentler discourse. At its best, Bluesky has become a giant progressive echo chamber, with Blue MAGA accounts freely sharing “misinformation” such as the notion that the vote count in the 2024 election was fraudulent because millions of Democratic votes inexplicably went missing. At its worst, it openly revels in violence—so long as that violence can make a claim, however tenuous, to defend or avenge righteous victims.

In accordance with the platform’s policy of moderating content much more aggressively than X has done under Musk, Bluesky’s moderators have been quick to act when users flout the site’s ideological consensus. In the last weeks, both small accounts with few followers and well-known writers with an established audience have seemingly been banned for such trivial “infractions” as suggesting that the Democratic Party leaving X would be a counterproductive form of “purity politics.” And yet, it was on Bluesky that prominent journalists—including, but not limited to, the infamous Taylor Lorenz—openly rejoiced in the murder of Brian Thompson, the CEO of UnitedHealthcare. As long as progressives perceive the victim of a crime to be morally evil, the moderators on Bluesky appear to believe that threatening violence against them is justifiable.

More recently, Bluesky users with major followings reveled in the prospect of violence against Jesse Singal, a center-left journalist who has ended up in progressive crosshairs because of his reporting about detransitioners and involvement in other heated debates regarding trans issues. Some consisted in crude death threats: “I think Jesse Singal should be beat to death in the streets,” one wrote. But a surprising number explicitly justified calls for violence as being necessary to defend themselves against the ways in which he supposedly put them at risk. “Jesse Singal and assorted grifters want us dead so i similarly want him dead,” another user wrote.1

Though they blatantly violated Bluesky’s restrictive community guidelines, the platform hardly took action against such accounts. It even failed to ban users who shared what they believed to be Singal’s private address or made especially graphic threats against him. Evidently, the people making decisions for the kinder, gentler platform don’t mind actual death threats—as long as they are directed against those who, in their judgment, have it coming to them.

What can possibly explain the descent of a platform populated by progressives who claim to abhor all forms of violence into an echo chamber that revels in violence against anyone who defies its taboos or threatens its ideological conformity?

Some of the dynamic likely has to do with the nature of social media in general, and of microblogging platforms like Twitter and Bluesky in particular. There is also an ideological element—a justification of violence has been interwoven with far-left ideology for well over a century. But as I puzzled over the strange transformation of Bluesky, I was also reminded of a series of interesting social science papers published over the course of the last years. They suggest that the tendency to justify violence by the need to help virtuous victims serves a strategic purpose that is less than benign—and may even have worrying psychological roots.

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Traditionally, most people have wanted to avoid being seen as a victim.

In “honor” societies, like the aristocratic milieus of early modern Europe, the impression that you could not defend yourself spelled dishonor and invited further attacks. When someone failed to pay you the respect to which you believed to be entitled, you did not claim to be a victim; you challenged them to a duel.

The same aversion to casting yourself as a victim persisted even after feudalism gave way to capitalism, and aristocratic “honor cultures” transformed into bourgeois “dignity cultures.” For much of the 19th and 20th centuries, people who were maltreated in some way would insist that such forms of disrespect did not have the power to undermine the dignity we all have as humans. If the duel is the canonical encapsulation of honor culture, the canonical encapsulations of dignity culture are an adult’s determination to keep a “stiff upper lip” in the face of adversity or a child’s resolve that “sticks and stones may break my bones but words shall never hurt me.”

But as Bradley Campbell and Jason Manning have argued in The Rise of Victimhood Culture, we are now entering a new era. Dignity culture is waning rapidly. In its place, we are witnessing the rise of victimhood culture. This new dispensation “differs from both honor and dignity cultures in highlighting rather than downplaying the complainants’ victimhood.” Under these circumstances, people who portray themselves as victims enjoy an elevated moral status. And that, Campbell and Manning write in one of their papers, “only increases the incentive to publicize grievances, and it means aggrieved parties are especially likely to highlight their identity as victims, emphasizing their own suffering and innocence.” (Anyone who has spent time on social media—whether it be Bluesky or Instagram or TikTok—in the decade since Campbell and Manning first wrote that line can’t help but feel that it has proven to be prophetic.)

Ekin Ok and three co-authors from the University of British Columbia pick up on this thread in a 2021 paper published in the Journal of Personality and Social Psychology. Because of the spread of egalitarian values and the paramount importance they give to alleviating suffering, Ok et al argue, contemporary Western democracies have become highly responsive to people who are perceived as victims. Under these circumstances, making a claim to victim status may allow a great variety of people “to pursue an environmental resource extraction strategy that helps them survive, flourish, and achieve their goals.” As a result, “claiming one is a victim has become increasingly advantageous and even fashionable.”

But being a victim may not be enough. Even in contemporary Western societies, the perceived moral status of the victim is likely to influence how much assistance they will receive. As Ok et al demonstrate, for example, respondents are more likely to offer financial assistance to a man who gets shot while volunteering at a charity softball game than they are to a man who gets shot while patronizing a strip club. For “victim-signalling” to have the desired effect, it needs to be accompanied by “virtue-signalling.”

Some people, of course, really are “virtuous victims.” They have suffered genuine injustice. But since managing to establish your status as a virtuous victim is potentially lucrative, it also stands to reason that others will falsely claim to fall into this category. As Ok et al write, some people “intentionally and repeatedly convey their victim status as a manipulative strategy with the explicit aim of altering the behavior of receivers to the signaler’s advantage.”

The authors of the study even have a hypothesis about who is most likely to do that. People with Dark Triad traits such as narcissism, Machiavellianism, and psychopathy, they argue, are especially likely to engage in “self-promotion, emotional callousness, duplicity and [a] tendency to take advantage of others.” Narcissists seek the limelight. Machiavellians are obsessed with gaining and exercising power over others. Psychopaths don’t care about social norms and disregard others’ emotions. People with all three traits are thus likely to be hugely overrepresented in the “subset of the population both adept at and comfortable with using deception and manipulation to attain personal goals.”

In a succession of clever tests, Ok et al provide plausible evidence that their theory is borne out by reality. Their first striking empirical finding is that people with dark personality traits are also more likely to falsely portray themselves as victims. In one of their studies, they ask you to imagine that you are an intern who is asked to work closely on a project with a peer who is competing for the same full-time job. The other intern is friendly to your face but you get a bad vibe from him. He doesn’t take your suggestions seriously, and you suspect that he may be talking badly about you behind your back. How do you respond?

That seems to depend on who you are. Asked to report on the behavior of the other intern, most participants in the experiment shared some negative opinions but refrained from making false or exaggerated statements. Respondents who had scored high on the dark personality triad, by contrast, were more likely to falsely report that the other intern had engaged in discriminatory behaviour such as making “demeaning or derogatory comments.”

The paper’s second striking empirical finding shows that the tendency of people with dark personality traits to falsely claim being a virtuous victim may also give them cover for engaging in bad behavior. In another experiment, they asked respondents to play a simple coin flip game, which was manipulated in such a way that its participants could easily use deception to increase their monetary payoff. It turns out that people who have portrayed themselves as virtuous victims were far more likely than their peers to lie and to cheat.

This helps to explain some of the features about Bluesky and other social media platforms that might otherwise feel puzzling. The kinds of claims to virtuous victimhood that are so common on that forum don’t just create cover for manipulative people to serve their own ends; they also seem to create license for disregarding moral norms—whether these consist in a prohibition of lying about others to ostracize them or (apparently) even calling for them to be killed.

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When the study by Ok et al first came out, it made some minor waves. My fellow Substacker and recent podcast guest Rob Henderson argued that people with dark personality traits do what they can in any particular social environment to obtain benefits like prestige or material wealth. In current circumstances, he concluded, “those with dark triad traits might find that the best way to extract rewards is by making a public spectacle of their victimhood and virtue.” The psychologist and podcaster Scott Barry Kaufman put a similar conclusion even more starkly: “Some people,” he wrote, just “aren't good-faith actors in this ‘victimhood space.’”

At the time, I found the paper by Ok et al to be intriguing. And I knew that both Henderson and Kaufman usually have a good nose for bullshit. And yet, I have refrained from writing about its findings until now. After all, social psychology suffers from a serious replication crisis. Time and again, findings that are a little too neat or pleasing—from the idea that a child’s ability to resist the temptation of eating a marshmallow predicts later life outcomes to the promise that striking a “power pose” can set you up for success in a job interview—turned out to be dubious or outright false. And isn’t there something a little too neat about the idea that all of those people attesting to their superior virtue are secretly just narcissists and psychopaths trying to manipulate you?

It also seemed to me that a piece of the puzzle was still missing. Some of the people who target others on social media really do portray themselves as virtuous victims. They claim that they are part of the group which the victim of their attacks has supposedly targeted. And many of them clearly have self-serving goals, ranging from increasing their social clout to asking followers to donate cold, hard cash. But others who gang up on, or even threaten violence against, anybody who breaks perceived community norms don’t claim to be victims themselves; rather, they invoke the existence of supposed victims as an excuse to engage in cruel behavior. For all of its strength, there is something about the phenomenon I’ve been trying to make sense of that Ok’s paper can’t quite explain.

But then my research assistant sent me a new paper about the same subject. In a major effort, Timothy C. Bates and five of his colleagues at the University of Edinburgh set out to test whether the finding by Ok et al would replicate. Based on a larger dataset and employing alternative ways to measure key concepts like virtuous victim signalling, they came to an unambiguous conclusion: virtuous victim signalling really does seem to be driven by what they call “narcissistic Machiavellianism.”

More importantly, the paper by Bates et al also adds the missing piece of the puzzle. The “willingness to assert victimhood,” they hypothesize, may also “be amplified by the motive of sadistic pleasure in the downfall of weakened opponents.” In other words, the people who invoke the need to defend victims in order to justify treating others poorly don’t necessarily have a concrete strategic goal in mind; some of them do so because they are looking for a socially sanctioned outlet for their sadistic instincts. In those cases, the cruelty is the point.

To demonstrate that this is indeed the case, Bates et al use a standard battery of questions to measure respondents’ tendencies towards sadism, asking them such questions as whether they would be willing to purposely hurt people if they didn’t like them. They then test whether people with such sadistic tendencies are also more likely to score high on what they call the “victimizer scale,” which asks them to report on such questions as whether they have recently “enjoyed helping cancel someone;” whether they have “joined in on the persecution and condemnation of an individual or group accused of victimizing others;” and whether they have “sought to hurt the reputation of someone accused by others of victimizing.”

Two things are especially notable about this. First, not all sadists claimed that they themselves were virtuous victims. But second, the claim that they were acting on behalf of such victims—whether themselves or others—was the crucial fig leaf they needed to get away with their behavior. This finding, Bates et al argue, supports

the suggestion that sadism may be adapted to exploit strategic opportunities, specifically the legitimization of punishing and inflicting harm on individuals or groups which is created by successful virtuous victim signalling. If individuals high on Machiavellianism and narcissism exploit the resource-release response of nonvictims, sadism appears, as predicted, to exploit the opportunity created by victims in the form of the moral license granted by non-victims, legitimizing attacks on the victimizer by removing moral protection from those accused.

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Many people really do suffer genuine injustices. It is on the whole a good thing that contemporary societies are much more likely to give people who claim to have suffered undeserved misfortune a respectful hearing than they might have gotten in the past. While trying to keep a “stiff upper lip” may have its uses, we certainly wouldn’t want people to fear advocating for a more just society, or coming forward about ways in which they have been maltreated, because doing so might undermine their dignity or bring shame upon them.

But to be sensible and sustainable, every social dispensation—whether it consists in an explicit set of rules or an implicit set of norms—must protect itself against bad actors. When a platform or political subculture allows anyone to portray themselves as victims without any real evidence, bad actors will recognize an opportunity to swoop in. And then these bad actors will quickly weaponize false claims to victimization as an excuse to harass or physically threaten people who supposedly have it coming to them. In a culture of victimhood that has no inbuilt defenses against bad actors, things will—as the recent blowup on Bluesky reminds us—always eventually get out of hand.

Every community, however noble its stated intentions and however progressive its purported values, needs a mechanism for defending itself against the small minority of people who are prone to exploit and manipulate their social environment. If yours doesn’t have one, it’s inviting the sadists, the narcissists and the psychopaths to run the show.

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1 Like many of the things that are said or written about Singal, this claim of course lacks any basis in objective reality.

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When victimhood is currency, expect counterfeiters.

We must fully depreciate "victimhood" as a form of social currency.

[traegorn]

Honestly the reason I went with making a forum instead of a Mastodon instance is that Mastodon is very resource intensive. Like it takes way more resources to run an interconnected social network that talks to other servers and duplicates content.

People forget that when twitter launched, it was just the text part of posts. Hell, you couldn't even @ people, it's just a thing people started doing (people would search for their own username) and Twitter turned it into a feature.

Things like photos and videos came MUCH later, and those cost a lot of resources. They started doing that after they had money. The old internet worked so well because text is cheap, so everything was text. There were specialized hosts for images -- sharing images in these communities is where Flickr and Photobucket came in. You'd upload the image there, and then post it to the forum.

On the forums I just launched, I'm using an API call to Imgur to host images users uploaded. I've made it as convenient as a modern service, but I'm just automating the old way of doing it. It doesn't have to communicate with other sites, so it's not resource intensive. It's literally on the server I run the main Nerd & Tie site... along with my comics, my old ass personal site, and everything else I've put online over the last couple of decades.

But I *do* like the idea of Mastodon and other federated services. And if I was just building something for myself, it's what I'd do. But they just have a higher barrier to entry to build something for public use right now.