benstones.net

List of local radio phone in topics from April 1982… surprisingly similar to today! #dissertation (Taken with instagram)

Hi Tumblr. Long time no see. I’ll start posting things on here again soon, honest.

copycats:

“Call Your Girlfriend” by Noah and the Whale

Originally by Robyn

danceyrselfclean:

Nothing can really top the talented as fuck swede Robyn doing anything but hey this cover of “Call Your Girlfriend” or ahem now it’s “Call Your Boyfriend” by Noah And The Whale is fun.  I dig it.  Def worth a listen, check it out!

The term celebrity is commonplace. People refer to themselves as a celebrity and others connote celebrity status with well-known or revered individuals; but what defines a celebrity? Here I will examine the notion of the term and apply these ideas to the Twitter user @ElderRon and a pig.

The dictionary definition of the term celebrity is as follows: “the state of being well known”.

To some, the pig from The Only Way Is Essex is revered as a celebrity – he is well known and even has somewhat of a fan base. (I think his name is Mr Darcy, but I could be wrong. Just search Twitter and you’ll soon find his following.) But what about this inimitable pig allows him celebrity status? His starring role in the ITV2 reality-soap-drama-whateverelseyoucancallit series, The Only Way Is Essex (or TOWIE as it’s affectionately known), undoubtedly is the catalyst of his fame but for those who don’t watch the series this humble pig’s celebrity notoriety is lost. Therefore, it can be deduced that the notions of celebrity are relative.

The notions of celebrity are relative to those aware of the person – so Mr Darcy the TOWIE pig is only a celebrity to those who are familiar with the series. It could be asked, however, at what stage of notoriety does “well known” become celebrity? How well known does this pig need to be before he is classed as a celebrity? For me, someone who doesn’t (yet) watch TOWIE (but clearly insists on using the acronym), I don’t consider the pig a celebrity – although his continued appearances on my Twitter and Tumblr feeds would say otherwise.

In a similar way, can we then consider @ElderRon a celebrity? If you didn’t attend the Student Radio Conference last month then already you’re questioning who this Ron guy is, but if you did you probably do notarise him with some celebrity status. Let me explain, Ron was the unforgettable bus driver who tirelessly ferried students between campuses for the Student Radio Conference in Hatfield this year – without him, there would’ve been some long, hungover morning walks between campuses. It wasn’t until after the conference did @ElderRon’s Twitter presence emerge to the #sracon twittersphere – and he was an instant hit. Apparently his presence online is well known by the students of the University of Hertfordshire, and now amongst the attendees of the conference. To everyone else however, he is just another Twitter user. Relatively, to the attendees of the conference and the students that travel on his bus, @ElderRon is a celebrity.

Other than being simply well known, the discourses of the @ElderRon Twitter account can be analysed – his celebrity is not only relative to those who have travelled on his bus service, but also relative to his Twitter account. By including the noun ‘Elder’ in his Twitter username, Ron displays a discourse and connotes ideas of age, seniority and education over his followers and fans – something that is revered as part of his celebrity both on Twitter and in real life. This throws up another question, would @ElderRon’s online persona still echo his real-life celebrity if his username was different?

No doubt you’re as stressed out trying to use Mahara as I am, and the thing that was annoying me the most was the fact that I couldn’t embed any sort of audio into my “view”. Mahara wasn’t having anything - native support for mp3 files or embedding a lovely Soundcloud player.

I was resigned to the fact that I would have to just put mp3 files onto Mahara for people to download - which frankly is a crap idea. But, never fear, because your friendly web specialist has found the bug that was restricting embedding Soundcloud and other players into your Mahara view.

Simply follow these simple steps to embed a Soundcloud player, Vimeo video, Flickr slideshow or any other form of embeddable media into your view. (In theory, this could also be used to embed an entire website into your Mahara!)

Embedding nice stuff into a Mahara view…

1. Go to the source of whatever you want to embed into Mahara… I’ll be embedding a Soundcloud player into my view.

2. Then grab the embed code of whatever you want to embed - this can usually be found somewhere around a share button.

On Soundcloud, click ‘Share’ at the top right of your player and then copy the ‘Embed code’ from the box that appears…



3. Now you need to edit the embed code before you put it into Mahara - to do that open either Notepad on Windows (NOT WordPad!!) or on Mac you need to use a program like Taco HTML Editor (NOT TextEdit!!).

I’m using Taco on Mac so the first step is to remove anything that it puts in automatically for you. Then copy the code straight into the document…



4. It’ll look like a mess, but honestly trust me on this one. Within the text, you need to find anywhere were the width of the object is specified - circled in red on the example below.

This bit is really important, Mahara can’t handle the fact that Soundcloud adjusts to wherever you put it’s player - using a width of 100% the player will change it’s width for wherever you embed it. Instead Mahara needs you to specify the width.

If you’re using 2 equal width columns for your Mahara view you need to change the width in all instances to 525 - this is the exact width of my Mahara columns…



5. Now you need to save this file onto your computer in order to upload it to Mahara. When saving, call it something like ‘soundcloud.html’ - making sure that you add the ‘.html’ extension (otherwise you’ll kill Mahara).

Using both Taco and Notepad you need to make sure the file type is set to ‘Plain Text’ and then add the ‘.html’ bit on the end of the name of your file…



6. Next, we need to put it into Mahara - so head to your view and start editing your content. Under the ‘Files, Images and Video’ tab you need to drag the ‘Some HTML’ widget into your view…



7. This will open up a configuration box. Give your block a nice title and then click ‘Browse’ to go and find the soundcloud.html file you’ve just created and saved onto your computer…



This will then automatically upload to your Mahara view and all you need to do is click ‘Save’ at the bottom of the box when it’s finished uploading!

8. And there you have it, one Soundcloud player embedded straight onto your Mahara view! This process can be replicated for anything that uses some sort of HTML code to embed itself into a webpage - so Vimeo videos, the Flickr slideshows and so on…



And there you have it, it’s as simple (ish) as that. Don’t get me wrong, this isn’t me advocating Mahara, that’s a pretty hefty work around when Mahara is supposed to be easy to use!

If you’re thinking about using Mahara to send your CV and portfolio off to clients, think again and go have a look at Flavors.me - it will, without all this hastle, draw in content from Soundcloud, LinkedIn, Twitter, blogs and a million other places and even make it look all nice. You can see my Flavors page at flavors.me/bennst to see what it’s all about!

PS. sorry the picture’s aren’t overly clear… my fault. Hopefully they illustrate the point well enough!

So it turns out that my commemorative Wills and Kate Oyster card is useful for so much more than just posterity…

Birmingham based production company Mudlark are in the process of launching location-based alternative reality game (ARG) Chromaroma. Using openly available data from Oyster Card check-ins, the game splits players into coloured teams who compete for ownership of Underground stations, bus routes and for points.

The game is a really exciting example of an ARG truly connecting the real-life with the virtual world. What’s even more exciting is that players can take part through their everyday activities around London - just carry on using your Oyster Card.

This week Chromaroma was featured on the BBC News programme Click, which gave a really great overview of the game.

Now, it’s just a shame that we don’t use Oyster Cards in Birmingham… don’t think you can track a £3.60 DaySaver.

- @wearemudlark on Twitter
- @Chromaroma on Twitter
- www.chromaroma.com

In 2007 the city of Nottingham was voted the 4th worst place to live in the country, according to the inimitable TV duo… Kirstie and Phil. (Sarcasm doesn’t come across so well in words.) In Kirstie’s words, albeit on the 4homes website, she described the city as:

“…this vibrant East Midlands city should be a winner, with loads more on offer than most other places nationwide. But (once again) it’s crime that drags this place down into our worst list. Long gone are the romantic days of Robin Hood robbing the rich to feed the poor.

There’s nothing chivalrous about the gangs round here, with burglary and theft from cars being higher here than anywhere else in the UK.”

Whilst home for me is somewhere in the pork-pie and Stilton filled void between Nottingham and Leicester, I know the city well enough to realise that Kirstie has clearly never lived, worked or most probably set foot in Nottingham aside from the filming of the ‘Worst Places to Live’ programme. The term ‘scare-mongering’ - or moral panic if you’re getting all academic - immediately comes to mind, the “Shottingham” narrative is one which is becoming a permanent representation of the city.

In response to this “definitive” canon, overnight Nottingham pulled together to respond to Channel 4. Ignoring the fact that this video and stunt was, to a certain extent, commercially backed by what was one of the city’s largest radio stations, it brings to light the misrepresentation of the city and how those who actually live there concurrently disagree with the outcome…

Unlike cities like London, Manchester and Birmingham it’s near impossible for Nottingham to rely on it’s skyline for it’s visual representation… can you really tell me what Nottingham Castle looks like? What the city does have is history - Robin Hood is one of the key attractions of the city. Do Kirstie and Phil make note of that? Well, credit where credit’s due, they do but only to reinforce the gang-land discourse so often associated with Nottingham.

Don’t get me wrong I’m not saying that the city is absolutely amazing, but in reality is this representation as accurate as Kirstie and Phil would have us believe? Without getting too media on yo ass, their cultural and social capital means that their canon is likely to be more widely accepted than the response video of the people of Nottingham… although you could argue that the people of the city should be more proactive in fairly representing the city meaning they wouldn’t have to react to mainstream representations such as this.

Nottingham. Rant. Done.

In a couple of weeks it’s the Student Radio Conference over in Hartforshire, this year sees the return of the Demo Factor to the conference so guess who’s entering his brand spanking, all new, sparkley radio-type demo thinger… yes, me!

Have a listen and I’d love to know what you think. You can leave comments on the Soundcloud player or Tweet me @BennSt…

This is my Facebook network displayed in an assortment of colours and size dependant on the strength of my ties with them - thanks to the wonders of TouchGraph. This allows me to analyse ym social network…

Unlike some of my classmates graphs, the friendship groups within my Facebook friends are quite distinct. For example, the blue section at the bottom of the graph are all meeja-types from work. The large red area to the right of me, that’s people off the course at uni and the small purple section below that is everyone from Scratch.

This time last week we were on the eve of the epic advancement in awareness of Birmingham’s humongous train fails. Tasked with starting an online activist campaign in the three hours of #mc539 last Tuesday, we launched the Bham #trainFAIL project.

The first post on the Posterous blog explains the key objectives of the campaign and our reasons for venting our anger at Birmingham’s cross-city train service provider. I took a leading role in the group, starting with development of ideas through to conception of our online platforms, communications and ideas. My main role initially was to lead the group to the project objectives and then to work alongside and manage the group to achieve our objectives.

The Bham #trainFAIL campaign played on an already existing activist movement on Twitter - we decided to focus primarily on Twitter rather than other social networking platforms as most commuters would be more statistically contained within the Twitter user demographic. Utilising the pre-existing hashtag meant that we could follow and tweet aggrieved Twitterers to ask them to “get on board” with the project.

The success of this was measured by the rapid response gained on both the Twitter and blog almost instantly - within the three hours we had already had two posts submitted from consumers, some exclusive, inside information and a number of tweets, retweets and comments.

For this campaign to have done better, it would have been essential to carry on the legacy of the blog and hashtag. Whilst having the continuous attention of multiple people over the three hours meant the campaign could progress rapidly, as soon as the lesson ended so did the campaign it seemed. The framework for it’s continuation was there - as was the interest in the topic - but unfortunately we did not persue the project. The campaign does however have a legacy, it can be picked back up at any point.

Overall everyone needs to keep tweeting #trainFAIL and tag @LondonMidland in all your angry train-related tweets. Their cold, calculated replies might be callous, but the more people tweet them the more aware they are going to be that their service is poorly managed and run… I’m not bitter at all.

My second blog post for @ClustaLabs - this morning, along with some of the other MC538 BCU-types, I headed to the Birmingham Social Media Cafe to see what it was all about! Will definitely be going back next month, hopefully with a few more BCUers?

Do you ever go into Topman, see the adverts and models they use, and come away thinking - is it just me, or does everything look like it’s out of the 80s? Retro is still “in” so I’m told, which apparently means that development of fashion has somewhat ceased whilst we regenerate the styles of former years - ironic some would say.

Ironic? Or more new sincerity… the irony of retro isn’t really as ironic as it appears - there is some sincerity in the replication of former styles. Whilst you may look like a bit of an idiot if you do go into Topman and come out looking like Chesney Hawkes, in all seriousness the concept of retro-chic is the appreciation of styles gone by.

But what is this new sincerity business? Well it’s exactly that, the combination of irony and sincerity, whereby there is a lack of irony in something seriously ironic. Quite postmodern, no? In some respects new sincerity is really quite cynical, the ideas have been applied to all forms of art and media by a range of theorists.

Key theorists:
- Epstein, Mikhail (1999) “A Catalogue of New Poetries”
- Yurchak, Alexei (2008) “Post-Post-Communist Sincerity: Pioneers, Cosmonauts, and Other Soviet Heroes Born Today”
- Morris, Jason (2008) “The Time Between Time: Messianism & the Promise of a “New Sincerity,” Jacket 35